Broderick

Sometimes when Lauren is singing with Gina & Traci, you start noticing how much "depth" Patty Weaver and Beth Maitland have in their voices, and how extensive their ranges are and Lauren is just kinda "there" for the ride. I agree with you, though -- she and Michael Damian sounded horrible on the Survivor cover. Just awful. (Evidently, Lauralee Bell must sound like a frawg, or Daddy would've had her singing daily, lol.)

I felt like it was *mainly* a combination of Tim's lies and deceptions (with his "alibis" always being "watertight"), her pregnancy by a man who was disloyal, her love for Danny who was always so helpful to her, and Lauren's inexplicable hatefulness. But you make a great point -- it was likely even more than that.

That was horrific! lol. And when she "left" Paul and went to San Francisco with Shawn Garrett, she recorded a cover of Kenny Loggins' "Forever", which the show played a zillion times over a three week period, and it was plumb terrible too.

Probably crying because Lauren had actually IMPROVED some 😉 I know Tracey Bregman isn't "trained" as a singer, and normally you could tell it, because her vocals sounded hollow and flat. But she doesn't sound half-bad in this particular clip.

Thanks .... thought it was, although in the credits he was shown as "Francois Marie", or something equally French-like.

I believe he also played that lil French weenie in the 1980 CBS miniseries "Scruples" (based on the novel by Judith Krantz). There was a little Frenchman who boinked the heroine, then found out she was poverty-stricken and dumped her. The actor was clearly cast based on his debonair mumbling of "mon cheri" while shirtless. Pretty sure it was the debut of Frank Benard.

After seeing how Eileen Davidson's acting choices completely neutered Brian Forbes and Eric Garrison, Bell probably thought, "I'll pair her with a FRENCHMAN, and his suave accent will counteract some of her mannerisms." Didn't work at all. She overshadowed him, too. Victor Newman and Jack Abbott were really the only males on the show who could keep up with her.

As an American who enjoys history, I watched it all (of course). The American media makes it difficult to watch, though, by always focusing on the "drama" of Harry and Meghan, which is of little interest to me and takes away from the significance of the event itself.

Calling others who offer a different viewpoint "hateful, hateful people" or "bitter nobody's" (sic) typically doesn't enhance one's credibility or underscore one's mission to be helpful.

Back about 1980, Liz was getting cold feet about marrying Stuart Brooks, because she thought the Brooks family was so high-falutin' and socially prominent. Lorie sat down with her and basically said, "Don't worry about not measuring up to my mother's *sterling reputation*, because she was FAR from perfect. In fact, she had an affair that resulted in my birth." But I don't recall she mentioned that Liz's brother Bruce was the co-adulterer, although he obviously was.

That story didn't benefit anyone involved. Nikki was like, "Josh is dead. Oh well!", Victor puffed-up and said, "Being married to ME should give ANYONE the will to live," everyone was too self-involved to notice that the lunatic maid looked just like Miguel's fiancée, but with a mop on her head and some eyeglasses she won at the carnival. It was all pretty terrible. When Sarah/Veronica finally impaled herself on a pitchfork, everyone at my house said, "Put a fork in this mess. It's done!" lol.

I think previous to the Nikki storyline, Kay's vulnerability (or lack thereof) was more attributable to Jeanne Cooper's tics than to the writing. Brock seemed to be one of the few consistent characters during that weird "switch to the hour format". I don't recall any long absences from him until he bailed-out for good in late summer or early fall of 1980. Maybe he scaled-back to once or twice a week during the pilot filming, but I don't believe he disappeared from the show for an extended period.

Venomous Viper Kay Chancellor Never Vacillates Memphis Press-Scimitar July 1978 "I need to be needed," is Kay Chancellor's favorite explanation on The Young and the Restless, after every cruel and thoughtless act. Wealthy, self-pitying Kay, a widow with a weakness for the bottle and a powerful urge to get her way, is always a top contender for Witch of the Week. Self-centered Kay can give lessons in how to stomp on others without evoking a shred of remorse. She's a remarkable character because she's so predictable. Bad Kay will always surface, defeating Good Kay. If Kay is ever witnessed considering others for a moment, viewers will know her career is finished. Being so awful makes Kay a legend in the world of soap. As played by Jeanne Cooper, Kay has been transformed into a weird and flamboyant character, a lady inhabiting another world. "I've made her bigger than life," Jeanne says, gesturing dramatically with her hands. "I'm the weakest sister playing the strongest character, yet I've never won an award." Told awards don't mean anything, Jeanne throws her arms up high and tosses her head in agreement. She was brought in by creator and writer Bill Bell to bolster a sagging show -- to play the asp among the beautiful people. By this time Jeanne knows exactly what viewers want in Kay, and whenever she feels the widow turning the other cheek, she gets on the phone to Bell in Chicago. "You're making me sympathetic, Bill," says Jeanne. "We can't have Kay turning sweet for a second." Playing the grand, warped, melodramatic, rich, witch for so many years inevitably engenders illusions. That's the way you play Kay Chancellor -- with a flair. "She's smarter than Snapper (a doctor), or Greg (a lawyer), or Brock (an attorney and Kay's son)," notes Jeanne. "Smarter than anybody else in Genoa City, and richer and more misunderstood. It's always that way with the elite, you know, and then comes the old chestnut, 'I need to be needed.'"

It's only "valuable" if it's proven to be accurate. (And no, SONY hasn't put any Y&R "out there"; in fact, old episodes of Y&R, uploaded by fans who have recordings, are frequently removed from internet channels due to "copyright infringement". )

And normally a publicly traded company on the NYSE (such as P&G) feels a great enough obligation to its shareholders not to destroy a marketable product (and those recordings are, after all, "marketable products"), simply to humor a "petty executive with a small dick" so that he will "feel better about himself", without first performing a thorough evaluation of the cost/benefit of storing the product versus the potential realizable revenue of marketing the product. I'm sure there are exceptions to the rule of shareholder fiduciary; this doesn't seem to be one, though.

Sorry, I didn't catch the spoiler thread. And *maybe* she's just temporarily off-contract. I believe she started (as Amanda) in the late summer or early autumn of 2019, so she's definitely at the end of a third-year contract cycle. Hopefully, she'll re-sign. (But if she wants a raise in pay, she's probably barking up the wrong tree.)

Based on yesterday's closing credits, Amanda Sinclair has flown the coop.

The only thing "wrong" with the beginning of the 1795 storyline is there's so much repetition, it sometimes makes it difficult to binge-watch. It was designed of course for people who were watching an episode a day, rather than 5 or 6, the way we watch it now. (It's hard to watch Victoria walk up to everyone in the cast and "accuse" them of being Joe Haskell or Elizabeth Stoddard or Burke Devlin or Mrs. Johnson, or whoever, and then get reprimanded for it. You'd think after her first "identity faux pas", she'd have learned her lesson, lol.)

We know they routinely "wiped" tapes pre-1979 and reused the tapes in order to save money. And that's unfortunate, but understandable. We're lucky that a few episodes and clips are still floating around that weren't wiped for some reason, or were located at the studio of an affiliate, or were in the hands of a performer. But I can't imagine they went to the trouble of "wiping" all the existing post-1979 stuff, when they weren't even planning to reuse the tapes. Perhaps they SAID they did. No telling how many stupid phones calls they get a year -- "Hi, I played Paramedic #3 in a March 1981 episode of Guiding Light, or maybe it was March 1982, and I need to get a copy of that episode!" "Hi, I played the Jury Foreman in a trial on Edge of Night, and I said, 'Yes, your honor, we find Draper Scott guilty of murder'. Can I get someone to make a copy of that for me?" I'd tell them I didn't have access to those tapes anymore, if I worked there and had to deal with that on a routine basis. And honestly, there's no telling how many calls and letters they get about stuff like that. I expect they're just *saying* they don't have it anymore to people who mistakenly believe they don't have anything better to do than search for old episodes and make copies of them. That message -- "we don't have them anymore" -- likely got back to Colleen Zenk and others.

I almost said DAWN, which as we all know takes grease out of your way, because I just walked in from the store with a bottle of it in my hand. 🤣

No doubt Colleen Zenk believes the "wiping" to be true, but I suspect it's a miscommunication. That's a LOT of hassle and expense. Seemingly the material is worthless to P&G right now; they've made that pretty clear. But theoretically P&G has some savvy marketing personnel who are aware of the archives and know that they could profit from hiring an intern to upload the episodes to YouTube, throw in a few commercials for Pampers, Tide, Head & Shoulders, and Swiffer, and mop up some quick cash when the time is right.

Let's don't overlook the most important line in this article: "according to Fox News". This article is merely a regurgitation of a Fox News article that completely contradicts the NBC press release. NBC said subscribers to Peacock would get "the robust library" of previous Days episodes (which are episodes from the 18 months). Someone from Fox News saw the expression "robust library", then read the Wikipedia article that mentions the show has 14,000 previous episodes, and jumped to a crazy and wrong conclusion. No way anyone's about to digitalize 14,000 episodes for Peacock.

And they've squabbled over that deal since the very beginning. There's a case from the 1970s called First National Bank of Chicago vs. Screen Gems. 1st Nat'l Bank was the executor of the Irna Phillips Estate. Elizabeth "Betty" Corday was a co-plaintiff, representing Theodore "Ted" Corday. On November 1, 1961, Irna Phillips, Theodore Corday, and Allan Chase entered into an ownership agreement. On September 15, 1964, Theodore Corday alone entered into an agency agreement with Screen Gems. The first agreement stated that each of the three parties (Phillips, Corday, and Chase) owned a one-third interest in a dramatic serial composition which they wished to have presented and disseminated to various media for public presentation. Each of the three parties was to be entitled to one-third of fees in connection with the property resulting from any type of exploitation. In the event of an outright sale of the property, each of the three parties was to be entitled to one-third of the proceeds, but there would be no sale of the property without unanimous written consent of the three parties. Each of the three parties agreed not to sell or assign his/her interest without giving the remaining parties a right of first refusal to purchase such interest upon the terms proffered. Phillips would serve as story editor of the dramatic serial, Corday as executive producer of the dramatic serial, Chase as script editor. On September 15, 1964, Corday alone signed an agreement, prepared on the letterhead of Screen Gems. Corday represented to Screen Gems that he, Irna Phillips, and Allan Chase were the co-owners of the dramatic, literary property in question, and Corday represented that he was authorized on behalf of Irna Phillips and Allan Chase to enter into an agency agreement with Screen Gems. Under the agreement signed by Corday, Screen Gems could market the property for broadcast licensing. If a licensing deal was secured, the owners would be paid $750 per week for the first year, and $1,000 per week for each subsequent year. And, if Screen Gems successfully licensed the property to a national network, Screen Gems would retain its rights in the property in perpetuity. Screen Gems (now SONY) did indeed secure a "national broadcaster" (NBC) for the product, which earned SONY the perpetual right to distribute the property. When Irna Phillips and Ted Corday were still living, they sued Screen Gems for "exercising creative control" over the product. Phillips and Corday wanted to make it clear that they (and Allan Chase) owned the intellectual property, and Screen Gems was merely the distributor, who lacked the ability to exert creative control over the show. Once Phillips and Corday were deceased, Irna's estate and Betty Corday had to reestablish the same facts. Ultimately, I suppose Chase and Phillips sold their interest to Corday, making Corday Productions the "sole owner of the intellectual property", but Screen Gems/Columbia Pictures/SONY will be the distributor of the property for as long as the property exists. I hope that makes sense. Ken Corday can't enter an agreement (without SONY) to air the property anywhere, at any time, ever. It's up to SONY to license and distribute the property forever. And whomever SONY licenses it to gets to air it.

I'm not sure if it was a "test", or if it was merely an "incentive". It appears to me that SONY Pictures and Corday Productions have known for the past year that "Days" would spend its final season (#58) on Peacock, so they shaved a little off the budget all along and funneled the savings into the Xmas movie and "Beyond Salem" to let the audience know, "Hey, we're capable of doing BETTER work on Peacock. Join as a subscriber!" (But what they'll probably present on Peacock is more of what they've been producing on daytime -- for at least the next six months. Afterwards, as someone else pointed out, you may get a few bare bottoms, but you won't be able to see them very well due to the Peapack Production Values that will likely define the final six months. And in September 2023 -- the end.)

While we'd all like to see it succeed, it doesn't really make much sense to think a show that barely attracts 1.5 million daily viewers when it's completely free is somehow going to exponentially increase "paid subscriptions" to a streaming platform. If people ain't watching for free, they're not apt to pay for the privilege. (Y&R's "library" is merely the current season. You can view the past five episodes free on the CBS site, but if you'd like to watch anything else from September 2021 till now, you have to subscribe.)