Tisy-Lish

I love the fact that BTG is character driven, but the show does have strong plots at times. The only two things that bother me are #1 - The kill Bill plot has gone on far too long. It needs to be wrapped up yesterday. This plot is eating the show. And #2 - None of the antagonists (bad guys/gals) have faced any consequences for their actions. TPTB need to recognize that once in a while a character needs to be written-off, even if played by a good actor. Otherwise, I enjoy BTG. I'm loving the characters and I enjoy the show's pre-1980s-madness style. It's not unlike a soap opera from the 1970s, and I mean that as a compliment.

Nick suddenly wearing a backwards baseball cap -- why? Because that's what drug addicts do? Talk about stereotyping... It's hilarious. The guy is pushing 50 with an adult son. Is Nick a grandpa yet? I truly don't remember, because Y&R now has too many unseen kids to count. I hope the new writers can clean up this mess pronto.

Thank you.

I do hope Jamey Giddens has the opportunity to finish the Chancellor Industries/Jabot bankruptcy loan plot, before Josh drives another storyline into the ground. Jamey is savvy enough to mine some authentic Y&R history and help this loser-of-a-plot make some sense in real Y&R canon.

Are these guys reviving Love of Life without even owning the rights to the show? Or have they licensed the rights? Or is Love of Life now in the public domain? Curious minds want to know...

How about inviting Jerry Lacy to reprise his role as Rick Latimer -- if I'm not mistaken Rick was Love of Life's third longest running character. Is Lee Lawson still living? I believe Rick and Barbara Sterling were once married.

Thank you for the ownership information. Oh course, the Big Finish Dark Shadows audio dramas have been very well done -- at least the few that I've listened to. But those were not continuing episodes presented as an online soap opera. They were, for the most part, individual stories produced as stand alones. And I agree, Big Finish is a larger company with lots of experience.

I was a big fan of Love of Life, especially during Claire Labine's run as head writer around 1974. But I've never enjoyed any of the audio soap operas that have been attempted. In my opinion, most have been poorly acted, poorly written, poorly produced, and poorly edited. Plus, very few produce more than a few episodes. They've seemed very amateurish to me. I hope there have been exceptions, but I haven't been lucky enough to hear any of those. And who owns the rights to Love of Life? Wasn't the show owned by CBS for most of its run? Is it possible LOL is in the public domain at this point?

Absolutely correct.

If these restrictions must stay in place, it is still possible to make the show more compelling. Maybe not Bill Bell quality, but still compelling. However, it is going to take strong leadership from the executive producer to help the writers bring their vision (or at least a version or their vision) to reality. In other words, the executive producer will need strong problem-solving skills. Plus the executive producer and the head writers will need to support each other and work as a team. There are many good storylines that can be brought to life without a huge budget and without dozens of new sets. The new powers that be at Y&R need to be good at thinking outside the box. I wish them luck and good fortune, and I'm looking forward optimistically.

Exactly. Somebody has a big imagination. It never happened. And wouldn't Iris need to be dead in order to donate her corneas?

If I'm not mistaken, hasn't Hayley told Randy she previously poisoned one or two of her wealthy former husbands? I believe that makes Hayley a KILLER.

In my opinion, TPTB seem reluctant to wrap-up the poisoning plot, because they don't want to lose the actress. But the character is a KILLER. I have a similar opinion about any punishment for Dana and Joey (both attempted murderers or worse) -- TPTB have fallen in love with the actors and don't want to lose them. Well folks -- when you write criminals, sooner or later those criminals need to pay for their crimes. Typically by either going to prison, being killed, or escaping police and leaving the show. AND we also have Randy (who is probably a killer) and Heather (apparently a killer, as we found out today). So that gives us FIVE killers, possible killers, or attempted murderers on the canvas. What the Hell???

I am in complete agreement. The plasma smuggling plot was not poorly conceived, but the writers are leaving out too many details, missing too many beats, and too many details take place off-screen. A mystery writer like Henry Slesar (Edge of Night) could have made this plot Emmy material. But not every good soap opera writer is a good mystery writer. Sadly. If only TPTB at BTG had hired a great mystery novelist as a plot consultant for this storyline. It could have been a very compelling plot.

Bridget's Scottish heritage was probably mentioned in a throw-away line or two, but I truly do not remember.

I didn't understand today's final scene with Leslie waking up on the couch. I'm assuming someone she called from the bar picked her up and took her home. But if that is correct, I think they left out (or cut out) a clarifying scene here. On the other hand, perhaps we are supposed to believe the entire episode was just Leslie's dream. But if that is correct, it was a poorly written dream with all those points of view from different characters. So fellow BTG fans -- what was the meaning of the final scene?

This seemed to happen a lot on AW, didn't it? LOL. Many American actors either can't or won't sign on to play an accent long-term on a soap opera. So TPTB often drop any European character details as soon as the role is cast. I do remember John Aniston successfully played characters with accents long-term on two soap operas, Love of Life and Search for Tomorrow. And Barbara Berjer appeared on AW for several years using a Scottish accent. But when Carmen Duncan was cast as Iris on Another World, apparently she was not asked to use an American accent. I assume it was discussed, but they agreed to let her use her native Australian accent for some reason. And on ATWT, when Nick Coster was cast as Eduardo Grimaldi he affected a Maltese accent for a few weeks, and then the accent was dropped with no explanation. Frankly, Coster's attempt at a Maltese accent was embarrassingly bad, but he gets some points for giving it a try.

You mean like Cecile dePoulignac and Phillipe Lyonnes?

Agreed. If a sitcom is going to do a significant amount of location/exterior shooting (The Andy Griffith Show for instance), then single-camera probably works best. But if a show is mostly confined to indoor spaces and/or fake exterior sets, then three-camera (with a studio audience) can be a good choice.

It seems clear to me that they are chem-testing them, and it is probably too late for anyone to change the trajectory. But I agree, NO THANKS.

Sorry, I meant Hayley. I've corrected the post.

Sorry, I meant Hayley. I've corrected the post.

Sorry, I meant Hayley. I've corrected the post.

I love BTG, but one of the stranger choices the writers have made is allowing the three "big antagonists" (Leslie, Joey, and Hayley) to remain on the canvas since day-one, despite all three of them being either murderers or attempted murderers. Can we please serve justice to at least two of them? At this point, I really don't care which two. But this on-going killers never pay a price crap is taking me out of the believability of the rest of the show. Writers, move on from a couple of these "big-bads" and give us some new antagonists.

It's interesting to note all the exterior scenes were shot on videotape (matching the interior scenes). This was unusual (or perhaps unheard of) in 1972, when the few soap operas that did occasional location scenes almost always shot them on film which, of course, did not match the videotaped interiors. No doubt, This Child is Mine had a bigger budget than any of the ongoing daytime soap operas of the day, but still it is amazing that they actively decided to spend the extra money to shoot the exteriors on videotape for this daytime production. If my memory is correct, the final time a daytime soap opera shot exterior scenes on film (rather than videotape) was on As the World Turns in 1981 during the honeymoon of Kim and Nick Andropolis on location in Greece. If this is incorrect, please let me know.