Broderick

The scenes between Smitty & Martin were very honest & real. (Brandon Claybon has really stepped up his game in the past 4 or 5 months.)

The girls playing Eva & Kat are just acting their asses off, and that poor guy playing Tomas stands there looking like he's wondering if he can beat rush hour traffic on I-85 when he leaves the studio, or if she go around by I-285. Bless his heart.

After Eva gave Tomas that glowing 5-star review and he sauntered into the shower, I was hoping she would roll her eyes.

Well, in Eva's defense, she did TRY shooing Kat out the door before her 5-Star Review With Droopy Eyelids wandered aimlessly back into the room. And was Vanessa in the bathroom while Allison monitored the (dull) ChelseaKat QVC Expo? Vanessa was talking to Jacob at his desk, I looked away for a minute, suddenly Allison was sitting there babbling about the Eyes of God, and next thing I knew Vanessa was back again & Allison was gone. I feel like Jacob got whiplash during that.

I find it "entertaining", but only because I suspect Leslie will soon have a financial awakening that causes her to crash & burn. This storyline is in no way reflective of real life or how "rich people live". Assuming the Jarvis family owns a "modest" $5 million mansion, the bank carrying the mortgage will expect Leslie to put approximately 20% down at closing ($1,000,000). That's every cent Leslie ever had! She'll have nothing left for renovations. In fact, she'll have nothing left to buy Ramen noodles with, until she receives her next trust distribution. But as we know, Leslie told Vanessa to "double my offer". If she offered $10 million for a house that appraises for $5 million, the bank holding the mortgage will expect her pay approximately $6 million at closing. She obviously doesn't have access to that type of money; nor does she have any method to acquire an additional loan for the down payment. Meanwhile, she's also purchased a condo for Eva, and made various financial promises to Peaches. Plus, she's got a hotel bill to pay. Not to mention, she threw $50,000 in Ted's face on day one, plus she's (theoretically) had to pay-off that $50,000 credit card bill she owed for the wigs. On top of THAT, she has a substantial monthly bill at the country club, and in a matter of months, the board of directors will be looking for Installment #1 of the multi-million gift she's promised to the club for the new building to be named in her honor. I think we have to view this as "dark humor" that's leading to financial disaster. If Michele Val Jean believes there's any semblance of reality in this storyline, she's sadly mistaken, and she takes the viewers for financial ignoramuses. The only possible "out" I see for Leslie in this "negative net worth" scenario is a bail-out from Joey Armstrong, which of course will make Joey the de facto beneficiary of Barbara's trust, until his loan to Leslie is repaid in full, which could take years & years. (And that's assuming Donnell McBride doesn't take Joey to the cleaners first, per the previews for next week.)

No sir, Leslie will have no luck at all securing a bank loan using trust assets as collateral, because she obviously holds no ownership interest in the trust assets. The assets of the trust belong to the trustee, not to the beneficiary. No one (aside from possibly some shady, high-risk loan shark) will grant Leslie a loan under those circumstances. Bank loan officers are savvy enough to understand that if the trustee misappropriates trust assets, there will be no future distributions to the beneficiary, and the bank's loan will go into default. After a lengthy lawsuit against the beneficiary & the trustee, the bank will likely receive pennies on the dollar, which won't even cover the bank's legal fees. Not worth the risk to the bank. ALSO, in the case of the trust Anita established, if another child of Barbara appears on the scene, Leslie's share of distributions will be instantly diminished by 50%. If a third child of Barbara should appear, Leslie becomes a 1/3 beneficiary, rather than a 100% beneficiary. Again, not worth the risk to the bank. I'm only mentioning this, because I serve as trustee for four different trusts and have years of experience dealing with it. The trust document is clear that I as the trustee can utilize the trust assets as collateral for a loan, which I've done on several occasions -- such as to pay property taxes, make a large repair to a building, or to advance a distribution to a beneficiary who's in desperate need of cash. The bank's happy to give ME the money, because I'm the trustee, and as such, I'm the owner of the trust assets. I've seen various beneficiaries go to the bank and try this with zero success. A bank will typically only lend money to a borrower using assets owned by the borrower as collateral. Leslie's got NO collateral; the trustee holds the collateral. The show failed in its research of this issue. All we can do is shake our heads & realize that writers often don't understand what they're writing.

Ha! Thanks, I hadn't seen this. I really enjoyed what Donnell was saying in the preview for next week. If his dad drank himself to oblivion in the casino and was then killed in a fiery car crash, the family would definitely have a wrongful death claim against the casino, the bartender, and the man who brought the drinks to the table (Marcel). Will be fun to see how this plays out. The Cheeks kid looks SHOCKINGLY like I'd imagined Vanessa & Doug's son would be.

While most of us here were complaining that the "Chelsea is Kidnapped" story arc came out of nowhere practically, skipped most of the beats, and ended too quickly, I stumbled into a Facebook discussion where everyone agreed that it should have been completed in ONE day instead of five. lol. The "short attention span issue" definitely is at play. A lot of viewers now seem to want a solution to every issue in an hour.

The ONLY reason it occurs to me is Bill Bell's quote about the expansion to an hour. Bell always said, "I resisted the expansion as long as I could, because I preferred the half hour format. Eventually, in 1979, the word came down to me that the show was going to an hour, and it would go WITH me, or it would go WITHOUT me." We can see exactly how that happened. CBS told Columbia, "We no longer want to license a half hour show from Columbia Television. We want to license a full hour. We would prefer it to be Y&R. If it can't be Y&R due to Bill Bell's resistance, we'll drop Y&R and license another show instead." Columbia Television then went to the executive producer of Y&R (John Conboy) and said, "The show is going to an hour by February of 1980. MAKE that happen. We co-own this show with Bell Dramatic Serial Company, and WE license this show to CBS. It's OUR decision to expand it to an hour. You either convince Bell to go along with our decision, or you fire his ass and hire a writer who will do as he's told." That explains Bell's quote about the "word coming down" to him. And it explains why he and John Conboy developed such a contentious working relationship that virtually sabotaged the show and which lasted until John Conboy left in 1982.

Let's add (briefly) that once Conboy and Kenney were BOTH gone from the show, Bell permanently took the title "Senior Executive Producer" so that he could no longer be "bossed around" by an executive producer. That's clearly an issue that had haunted him throughout Conboy's reign as exec producer from 1973 to 1982, and during Kenney's reign as exec producer from 1982 to 1987. Once Bell was the "senior executive producer" and Ed Scott was the executive producer, Bell was able to tell the stories that he WANTED to tell without interference from an executive producer who theoretically held the power to fire the headwriter. And of course that's when the show stopped intermittently hitting #1 and became a permanent #1.

@kalbir I believe if the story is ever told honestly & completely, we'll find Wes Kenney was responsible for the Golden Touch storyline, the Sleazy's Bar storyline, and the Mr. Anthony storyline. I don't think CBS, as the licensee, was in a position to dictate storylines from 1982-1986, but obviously the licensing company/co-owner (Screen Gems/Columbia/Sony) was in a position to do so. And one would assume the Columbia/Sony edict was delivered to the writer (Bell) by the executive producer (Kenney). Bell had obviously written some action/adventure storylines earlier while Conboy was producing (Rose DeVille and the Slavery Ring in the summer of 1979, Rose Deville and the Lingerie Models in the final months of 1979, the [terrible] New World Commune storyline in the summer of 1980, to name just a few.) I'll always believe Columbia Pics wanted MORE of those storylines, and Kenney delivered the news to Bell. Those types of storylines obviously weren't what Bell WANTED to tell, but he generally managed to infuse them with enough character development to make them tolerable, and they kept Y&R from being completely static and stationary during the period of time when Luke and Laura were "on the run", Jesse & Angie were "on the run", Bo & Hope were "on the run", etc.

I've never read the ATV article. Here's what I do know. (1) Kenney fixed the lights. I know that because I could see it with my own eyes. In early 1982, it was often difficult even to tell which set the characters were in. The actors were lit (beautifully), but the sets themselves were merely indistinguishable, murky pools of darkness. By the springtime, when Kenney was settled in, we could suddenly see the Cheshire cats on Kay Chancellor's mantelpiece, we could see the designs on vases, we could see the artwork on the walls, we could tell what color the sofa cushions were and what color the walls were. We could see sunlight and shadows filtering through curtains and blinds. The actors were still beautifully lit, but now we could tell what environment they were in, which had been impossible in Conboy's final year. (2) He updated the taping process. I know this because Wes Kenney said he did. He said that when he arrived, the show was still being taped in sequential order, with the cameras moving from set to set, and then back again. He realized how inefficient that was. He started taping ALL the scenes in Paul's office, then all the scenes at Jonas's club, then all the scenes at the Newman ranch, etc., and then editing them into the order dictated by the script. This allowed for more interesting segues and cutaways between scenes, and it also streamlined the taping process for the actors, the director, and the set crew. (3) He injected himself more into the storytelling than John Conboy did. Eric Braeden admitted in an interview, "I stayed on the show, because Wes made it possible. I could take Wes aside and tell him, 'This scene isn't working.' He would allow me to change it. Now Bill Bell obviously knew Wes was allowing me to change things, but he never got upset because he knew the scenes the scenes that aired were better than the scenes he'd written." We also know that as soon as Wes Kenney arrived, several of the dead-end storylines were abruptly terminated. We can either believe (a) Bill Bell woke up one morning and realized what was working and what was not, or (b) Wes Kenney said, "Bill, if you want me to produce this sh!t, here's what you've gotta do to make it workable." I'm 100% sure it was (b) rather than (a). (4) Bill Bell did NOT LIKE Wes Kenney but respected him. When Bell was asked about John Conboy, he said, "It's better not to say anything about him. Let's talk about someone else." (Obviously by early 1982, Bell hated John Conboy and, most likely, had hated him ever since the show's expansion to an hour in 1980.) Next, Bell was asked about Wes Kenney. Bell said, "He was a great director, a good producer. He and I did NOT see eye-to-eye on many things. I was in Chicago, and he was in Los Angeles, and ... Well, I don't want to say anything bad about him. Next." (I believe his issues with Kenney related to Paragraph #3 above.)

I was dreading Vanessa's reaction to the news about Doug. Very often, actors take an opportunity like that for sheer histrionics, with lots of melodramatic weeping, wailing, and gnashing of teeth. She didn't. She was more about Disbelief, Quiet Regret, and Deep Remorse. She's REALLY good. I don't blame Miss Nicole for getting so snippy with Andre. The scenes were more like, "I'd like to snatch a KNOT in Ted right now for sleeping with that slut again, but since he's not here, I'll just take it out on YOU, Andre." Jacob is awfully Eagle Scouty, but he's definitely not a dummy, and Marcel knows it.

I probably should've "spoilered" it, but they popped him right into the credits for all the world to see. (They also gave the Anita Williams Impersonator a character name -- "Miss Jackie Tyree".) Oh, Doug could always pop up later, I guess. But that last shot of him Wednesday, his eyes were all blurry, and he seemed very confused. Marcel had been bringing him drinks. I believe the drinks had a sedative in them, they knocked him off, put him in a wrecked car by a tree, and set it on fire.

I looked up the Donnell actor after seeing his name in the credits today. He's an Atlanta kid named Alexander Cheeks. And he looks like we would expect Vanessa and Doug's son to look. He's a shade darker than Vanessa and about two shades lighter than Doug. I think Doug is deader than a hammer. (The reason he was "burned beyond recognition" is Marcel Malone killed him in the casino and then staged the car wreck. He had to be burned so the autopsy won't detect his actual cause of death. Just my humble opinion.)

What an episode. Yes, Dani is an utter lunatic, but when she does something ridiculous, she's awfully cute. Loved her advice to Big Bill ("Go home and cut up some bananas for your child bride's Frosted Flakes!'), and his response ("Your new husband was still playing with blocks while we were on our honeymoon!") And the whole deal in which she "critiqued" the quality of her leaked wedding photo. I always had a suspicion the annulment would get "delayed" indefinitely while Dani and Andre make Big Bill and Dull Ashley jealous. I expected Vanessa to go over-the-top with her reaction to Doug's death. She didn't. The girl who plays Vanessa is REALLY good. Do y'all look at the closing credits? The name "Donnell McBride" and the name "Peaches" jumped out at me today when the cast list rolled.

It doesn't even have to be an "elaborate" office. When we saw the footage of Jan 6 2021, we repeatedly saw the office of Nancy Pelosi (and she was the Speaker of the House at the time). Her office wasn't anything gigantic or ornate. It was like an insurance agent's office with a flag in it, lol. If they would stick Martin's young Bubble in a little "junior congressman" office, it would open a TREMENDOUS amount of storyline for him (and Smitty), involving fictional bills, colleagues, corruption, compromising, maneuvering, negotiating, and campaigning. If they're frightened of "party affiliation", that's silly. I think MOST of us probably assume Martin (as a young Black male from the East Coast whose grandfather was a civil rights pioneer) is most likely a Democrat. Just identify him as a Democrat, and roll with it.

Thanks, I hadn't seen that. According to that article, there really were about a half dozen headwriting teams over the show's (brief) 5-year life. That's an almost unheard of turnover rate. (And of course with each switchover, there was a change in tone.) My main memory of the show is that it was TERRIBLY inconsistent, and most of the "experts" in the article seemed to place the blame on the lack of a clear vision from a consistent headwriter.

It also highlights how little Martin interacts with his parents and siblings. (Most of his scenes now are with Smitty & their kids.) But I suppose Martin doesn't really NEED a father, a mother, and a pair of sisters. After all, he's got Big Daddy Vernon who wants to install him in the White House, and he's got Big Mama Anita, who's always ready at the drop of a hat to tuck him into bed, read him a beddy-bye story, sing him a lullaby, and pop a pacifier in his mouth. lol.

Dr. Theodore Richardson: "Family is the most important thing in the world to me. More than words can say!" (Except I barely know my own two grandchildren, have no idea they've reconnected with their biological mother, have no idea their mother now works in Orphey Gene's, and therefore I don't have a clue who you are, ma'am.) That scene REALLY made Ted look silly. I didn't see it as a "chemistry test". I think June was destined in the script to find Naomi's rings, and she needed another scene to justify her salary for the episode. So the breakdown writer sent Ted into the diner to unload more "wedding ring drama" on her to solidify the episode's Ring Theme. Poor Doug. I was hoping Vanessa would reach a certain level of appreciation for him before he croaks. However, it appears he'll bite the dust while she's rolling around in Motel 6 with her Bargain Basement Tony Soprano.

"How I Went from Under the Bridge in Tent City to Beyond the Gates in Fairmont Crest in Sixty Days" --- A Memoir by June

I'm really not qualified to answer that. I'm sure some posters in this thread were big fans of Capitol throughout its run and can offer a better critique of it. It lasted 5 years, and it went through about 5 different teams of writers during that time. Seems like the creators were the writers for a few months, then the Corringtons, then Peggy Somebody, Henry Slesar, James Lipton. You'd think a show that lasted a mere 5 years would've had only one or possibly two headwriting teams, but Capitol had about half a dozen failed attempts to find a consistent writer. Shortly after it was cancelled, Bill Bell, who launched the replacement series for the show, remarked to Soap Opera Digest that "while Capitol was brilliantly produced, it lacked consistent writing. Everyone seems to agree that was its biggest problem." [Not the exact quote, but that's the gist of it.] Several years after the show bit the dust, John Conboy grudgingly admitted, "We needed a Bill Bell as our writer. We didn't have one."

I think the drunken wedding was the best thing that could've happened to Dani & Andre storyline-wise. Opens up a world of opportunities for both characters, who currently don't seem to take their "marriage" very seriously and are simply having fun with it calling each other "Husband" & "Wife". But things can change in a heartbeat when they get back to Fairmont Crest. Martin NEVER thinks about the consequences of what he's doing. Doesn't use his head at all, just relies on his Infamous "Bubble" to get the job done for him, lol. Samantha: "When I was a little girl, June disappeared and left me alone without food. She was addicted to drugs. She has mental health issues. She lived under a bridge and paid for food with toy money. I'm not even sure who my biological father is. I think I'll go ask her for advice about my love life. She seems so level-headed and smart." Martin: "Great idea, Samantha! I'll drop you off and pick you up when June has finished imparting her wisdom!"

Seems as though we were permanently rid of John Conboy by February of 1982. By June of that year, we had Eileen Davidson, Beth Maitland, Terry Lester, Lilibet Stern, Jerry Douglas, and Marguerite Ray all sharing the Abbott house, with Deborah Adair working her way in. We were completely rid of all that dreadfully dull April Stevens, Barbara Ann Harting, Wayne and Dorothy cesspool. Although I LIKED John Gibson, killing off Jerry Cashman freed up Kay Chancellor to be worked back into the Jill Foster/John Abbott story, as well as introducing a mother and father for Kevin Bancroft to provide more conflict for Nikki and Victor. The show's lighting was adjusted so that we could actually SEE the set decor Brock Broughton had worked so diligently on assembling and which John Conboy had been shielding in shadows and murky pools of depressing light. Everything shaped up once John Conboy was gone, in my humble opinion. Once the (remaining) Brooks girls were mercifully dispensed with, it was like a whole fresh new show.

I think John Conboy had great ideas, but he never, in his entire career, understood when he'd gone too far with it. When Y&R expanded to an hour, the writing suffered tremendously. Bell & Alden had no idea how to structure and write an hour show, and many of the storylines went off the rails. The ratings nosedived. John Conboy, in his (misguided) efforts to keep the ratings up, turned the lights down even lower, turned the music up higher, and put the cast in scantier clothing. By 1981, the show almost looked like a cheap parody of the Y&R which had been such a phenomenal success in the 1970s. The soap critic (John Kelly Genovese) wisely described the failing show as "cheap tits & ass titillation backed by dull stories". Wes Kenney fixed all of that nonsense immediately, and I believe he objectively told Bill Bell which storylines were working and which ones needed to be ditched immediately. Within a month of John Conboy's exit, the show started a whole new resurgence -- a prettier and cleaner product than it had ever been under John Conboy. I'm thankful to "Capitol" for relieving Y&R of John Conboy before the entire product crashed.