sheilaforever

Unfortunately not. I've been busy uploading data to IMDb but haven't done my ep counts yet. I will do it eventually. And by then, it might be the complete database for all recuring and contract players... Only about 500 episodes are missing in the Vault to help me make it a full database with my previous counts.

It's just un-be-lie-vable! A dream come true indeed!

I was never a regular DAYS viewers, but judging from the IMDb credits, it seems like James E. Reilly was lured to CBS by the brink of the 1990s wth a kind of network contract. We have his B&B credits which lasted for a mere 87 episodes (April 24-August 22, 1990) as "consultant" - and I assume Y&R was around the same time - before he got on board at GL where he stayed for the next 2 1/2 years or so.

THIS! Flo was a classic story enabler and she worked really well during the baby switch. Keeping her around was not necessary, but bringing on the mother and tying them with Quinn and Wyatt who had ZERO to do for a long time was a nice twist. The writers just missed the beat of the good old soap days of Flo having her happy ending with Wyatt and then write them out by moving someplace else. It's so disppointed that soo many characters never get closure and just vanish.

I look forward to these episodes. I vividly remember the Hollywood Tribute Fashion Show but have totally blanked James' Scottland tale - like completely. So either I did not see consecutive episodes back then or didn't like it. LOL I'm currently at #1580: Macy's alcolism had a really rough start and I have still trouble to accept the super fast descent into addiction because it does not fit with Macy for me. However, as you pointed out, it suddenly gets a gripping tale and everythign begins to click. It's really touching to see Macy caring for Kevin and trying to get her act together and face Thorne. But by the time Keith gets active it's (almost) too late for Macy who's in the downward sprial of drinking in the morning (and covering it from everyone else) or sleeping in the hallway of Sly's apartment. The inpromptu intervention in Sally's office was really good. Schae Harrison once again had the tough job to play Darla ditsy and yet not to drown the serious topic in mud. Darla standing up to Macy and the addict's attempt to take her out as the weakest link at the interention was AMAZING. I also like the layers in Sly who does not have ill intentions but is caught between a rock and a hards place because Macy does obviously not reciprocate his love for her, yet he is pining for her and can easily be stringed along. These storylines needed more focus and by June/July these characters got it. The most fascinating part probably is that Brad Bell backburnered Sheila of all people to make room it. And it works extremely well to see Sheila in a low key storyline all sudden now that she is married to Eric. Bringing her into Brooke's orbit and yet desperate to save Eric's life work and wealth is a stroke of genius. Oh, the drama! The battle of BeLieF is exactly as good as I remembered it. The twist with the signed copy of the contract was great fun - and I had TOTALLY forgotten that Stephanie caused the Forresters to loose Forrester Creations eventually. This was never properly adressed later on in the show, IMO. It always seemed like it was Eric's fault because did not settle his bills with Brooke properly upon his divorce. To the contrary: gloating Stephanie revealed the betrayal of the Forresters and made Brooke so angry. I'm curious whether the following is an unpopular opinion or not: I really like Jacquelline McInnes Wood. BUT: the pairing with Tanner Novlan is sooooo odd. She's acting all diva mode in every single scene they have shared since about mid-2021... Finn is always saying "Yes, mam" towards her and she keeps huffing and puffing, throwing around her busson and huge hair as if she were Brenda Dickson as they are sharing scenes. IMO; she needs to tone down the classic Hollywood diva mode because he is too weak an actor and the writing too weak on Finn to make them look like a couple. Interestingly enough, Thorsten Kaye and Don DIamont can totally elevate material with her. EDIT: if I recall correctly (and it was a bad period on the show and I blanked out a lot by now) back in 2008 (?) when they paired Steffy and Marcus together, there was a similar situation. Even as an ingenue just starting on B&B she was BURNING Texas Battle to death and made him look like an amateur.

The truth has been spoken! This has ALWAYS been the case with B&B, regardless whether Bill Bell or Bradley Bell was head writing. And it’s quite different to Y&R with the bunch of alpha males (and as forum user Cat would say “with their magic penis” which female genoa City residents are chasing for) and some super strong females like Original-Victoria, Jill and Dru. I had a really tough time to type up a top 10 because I’ve seen some of these actors with better material on other shows, yet looking only by their B&B work it would look like this 1 Jim Storm 2 Thorsten Kaye 3 Ian Buchanan 4 Jacob Young 5 Sean Kanan 6 Mick Cain 7 Dan McVicar 8 John McCook 9 Justin Torkildsen 10 Rick Hearst Runner ups depending on the material they were given: Jack Wagner, Winsor Harmon, Matthew Atkinson, Drew Tyler Bell, Charles Grant, Clayton Norcross and Don Diamont

I couldn't help but start laughing when I read that one of the "traits" you associated with Taylor in the early was her HUUUUUGE hair. It's true, though. LOL I'd say Taylor from 1992-1996 was the ultimate soap heroine. She is never doing bad stuff, but she ain't a saint, either. She has flaws, she has insecurities, she has sex appeal, she is driven, she has a moral compass. And Hunter Tylo was truly BEAUTIFUL back then. Thanks for the other detailed character assessments @divinemotionand @VidenbasThat was an interesting read! He's one the few early guest stars which unfortunately remained uncredited in the early days of B&B... He looks very 80s/Clayton Norcross which of her is not - I've no idea who he could be.... SOrry! Still watching - and enjoying it a lot. Right now at episode # 1557. I recently saw the episode in which Thorne and Macy wanted to meet at the Ocean Club to sort out their feelings. After talking to Sly, Macy's insecruities got the best of her (and Sly was quasi pushing in order to protect his agenda!) and she drank and fell asleep. Meanwhile, Thorne is anxiously to finally reunite with Macy which does not happen. I TOTALLY remembered this episode from decades ago when I first saw it (I was just lurking in and out of B&B with my mom back then). Next stop is Karen calling it quits with Thorne which made oh-so-much-sense and was overdue. In today's soap climate, Thorne would have slept with Karen who would then end up pregnant after already having had a one-nigth stand with someone else on the canvas, I guess. 😉 I also really liked Macy's first real meeting with Keith's (mentally challenged) brother Kevin. It really brought back some depth to the Macy character to balance out her drunken sailor days. The Spectra stuff is getting the short-end of the stick because there is so much going on that just cannot fit into a 30 minute show. It seems like Bill&Darla are over (even though it has not been adressed), Sally&Jack get some moments but not a lot, Karen's role as business woman is non-existent, the fate of the company not really adressed. Sheila has surprisingly also found a spot in the backburner after marrying Eric. The Houdini House was introduced, but she is not seen that often which is interesting. The BIG story is of course the battle for BeLieF. That Steve Crown dude is getting lots of mileage as a recurring player: singing at Bikini Bar, donning massages to Brooke and Karen, getting to kiss Brooke - all in addition to being a never before seen lawyer of thhe Forresters. Ridge and Stephanie lay it on so thick with Brooke and Connor that even a blind-person could see the red traffic lights. It's really delicious to watch! I can't wait for KKL and SF to swing their slapping hands - the big climax is coming up shortly, I guess. I'm beyond ready for it!

We will never now, but I would ask for caution by asssuming that good stuff automatically equals William J. Bell and that Brad Bell does not have the talent. IMO; B&B reached its creative peak and unique flavor during his headwriting tenure in the mid-90s. It was mentined in several interviews that back in 1992 Bill Bell took a break of at least 2 months to travel to Europe to enjoy the Winter Olympics and that he handed producting and head writing duties to his son in the meantime. Bill Bell was also known for giving many writers try-outs for scripts/story-projections etc. even if they did not receive on-screen credit yet. Going by interviews, we also know that by 2002 Bill and even moreso Lee (!) were no longer actively involved with storylines at B&B. Mrs. Bell used to pitch mostly topical stories on HIV, disabilities, addictions. I think their influence was already minimal by then; my guess is that as soon as they were no longer serving as official executive producers of B&B, they more or less stayed out of Brad's orbit and only had their hands over Y&R. Darlene Conley's presence was an instant sensation, even though they kind of retooled the character within a very short time-span and weren't really giving a logical explanation. We just saw more of Sally (plus her troops and daughter) and her darker traits become less obviouss aka. disappeared within two months. Looking at the long foreshadowing of Spectra Fashions, IMO, it however debunks rumours that Sally's character was ever intended to be a short-term character because Bill Bell had worked with Conley before when she was Rose DeVille on Y&R. They might have expanded the character's universe due to Conley's abilities, though, by adding Macy and using Donna as a model.

History of Head Writers March 23, 1987 (#1) - May 4, 1993 (#1533): William J. Bell May 5, 1933 (#1534) - May 19, 1993 (#1544): no head writer listed OR John F. Smith & Bradley Bell May 20, 1933 (#1545) - ....: Bradley Bell The inital story started under WJB but the entire climax happened during Bradley's reign.

I wasn't necessarily crying, but I thought it was an extremly poignant storyline handled very well by Susan Flannery and Michelle Davidson (Ruthanne). It was actually one of those stories which did not last long enough, IMO. They could have played it for another month or without getting stale or broing. Stephanie eating food scrabs behind Pierre's café gave the chills. The dating with Adam was romantic (if so cheesy), especially with previous "spa day" at the hotel where they sneaked in to get a shower etc. @Videnbas did you surpass me with your 1993 rewatch or are we still in synch? I've just seen #1549 where Thorne and Macy fiiiiiiiiinally begin to talk and these characters seem to make sense again for the first time in months. EDIT on the trivia front: As of #1545 Brad Bell is now credited above John F. Smith in the writing credits, meaning the creidts reflect his promotion to head writer.

Wyatt and Flo have been in storyline limbo since Fall 2020. They got engaged later on and made a crossover trip to Genoa City related to Sally, but appearance have been scarce. The Flo actress is off contract by now and has not been seen in ages. Darrin Brooks is also off-screen for 99% of the year - and IMO; he is NOT missed at all. Shauna had a MAJOR storyline with Ridge in 2020, but very little to do afterwards. She kind of fizzled away with Flo in 2021. Zoe was unlocky in love with both Thomas and Carter. When the latter romance bombed due to his involvement with Quinn, Zoe left town abruptly in July (?) 2021 for a modeling assingment in Paris and never returned. As for Xander: I actually had to google on his exit because I could not remember at all. Kind of telling what a great character it was. LOL The google search was not that helpful either. So to the best of my knowledge, Xander got fired from Forrester Creations after keeping the babyswitch a secret together with Zoe. Zoe got eventually rehired at FC but Xander just vanished into thin air (as far away as in 2019???) because the show then brought back Zende with a new actor.

The photo had me LMAO as well. Just mayyyyyybe, it will make sense. Like Carter&Paris are somewhere you cannot drive by car.

It still does? I’m keeping my fingers crossed that we will get to so more of 1993 eventually…

I totally agree with your assessment on Sly. And I had never made the connection, but you are totally right that he filled voids left by Clarke's departure. I never liked Sly as a person, but I thought he was a fun character - until Jessica's rape of course. As for Connor: it's a nice touch that he is bonding pretty well with Bridget and seems genuinely interested. However, in the long-run he is such an ill-defined character and completely useless. #1540: Delusional Brooke is in high form. My hatred for the character is back in the floring 90s spirit. What a pathetic woman she was back - the writing has shited soooo much since then. Hard to believe that it's almsot 20 years now that we have lady of the manor Brooke and no longer destiny chasing "sleep with Ridge"-Brooke. LOL What caused my anger: Brooke - who is not living there and no longer family - shows up at the pool of the Forrester Mansion, explaing that she does so regularly. Say what!? Then, Brooke had one of about 500 of these wash-rinse-repeat conversations with Ridge of 1988-1994. Brooke keeps pushing a much married Ridge. Just as soon as he is avoiding a straight answer, Brooke exclaims "I can hear your words, but I feel what you really feel, Wiiiidge!" Yikes!

Wow - actual production values to create something shocking on-screen!? Why did the car catch flames, though? Is it that hot in LA right now??? And too bad for the ending with Sheila smiling. Back in the good old days, Sheila remained very rootable because bad things happened to other people and she was pleased to protect her cover but never gloating...

Some time in the early 2000s B&B started to follow the trend to "speed up" storylines. Hence actual built-up fell out of the window, yet there were multiple storylines and at least the climax of these stories was often to die for. Then by 2008 (after the writer's strike headlined by Kay Alden) it started to get really sloppy story-wise and we ended up with mostly one A story and the occasional appearance of other characters in so-called stories which lasted 5 episodes max. By 2020, IMO, the show took a turn for the better by bringing back at least 2-3 actual rotating storylines. Unfortunately, only on very few occasion more than one storyline takes place within one episode. Pacing also still feels off, but this might be linked to the show's production model of always taping at least 2 episodes per day. Therefore two episodes often feel like one big episode stretched to the max, e.g. same characters/similar conversation. The production model was implemented in Spring 2005 leading the longer stuido break around Christmas, late March around the show's b-day and summer (usual late July-August) where the lights are dark for 3-4 weeks at Television City. Speaking of Karen: it's a HUGE storyline bomb that by spring 1993 the writers have zero interest in the character. Her friendship with Brooke makes absolutely no sense to me after she was made to believe that Ridge is the man of dreams because she is Caroline 2.0. Then, she is working at Spectra and should focus all her energy into making her mark at company - plus, she has that "solid" relationship with Thorne which is based on a lie or at least some not-telling. Befriending Brooke is completely counter-productive to get into the good graces of Stephanie as well. I appreciated that scene with Karen standing up to the Forrester matriarch that she is making her own life choices. Yet, it does not make so much sense in the first that Brooke and Karen spend so much time together. Sally and Brooke could have worked... Here, the writers felt the need to use Joanana Johnson's contract guarantees for something and did not find a better than to make the replacement of Katie, Donna or a nanny who is listening to Brooke's sh*t and gushing about it.

Smith was an important writer at both B&B and Y&R and worked on both show simultaneously at times. Credit-wise we know very little how the writing team worked from 1987-1993 because script writers did not exist until then. From some interviews we know that Bill Bell sometimes wrote VERY detailed outlines and even drafted some dialogue as part of his head-writing duties. John Smith always seemed to be a lay-outer who cut Bill's story-projections for a certain week into single episodes (breakdown writer) and regularly drafted the dialogue. Brad Bell also served in this capacity from 1989-1993. From at least 1994 to 2001, the writing duties were shared as followed: Brad Bell as headwriter, Jack Smith as breakdown writer and occasional script writer. Then for half of 2002 (basically Sheila's run) John Smith was promoted co-head writer to get a kick start on leadership before becoming lead head writer over at Y&R. He was never credited above Brad Bell, though - unlike those May 1993 episodes!? For the past decade or so, it seems like Michael Minnis, originally a script writer at both B&B (he wrote most of Sheila's episodes 1996-1998) and Y&R, has taken the John F. Smith role at B&B.

Odd is probably the right word. It was like watching a 60s musical. As you pointed out, it felt sooo out of place because it zero connects to the rest of the cast and usual style of the show. The whole settlement meeting with the lawyers was also yet another highly contrieved event where Macy and Thorne beat around the bush instead of talking. Yikes! PS: I tried to google the lyrics and couldn't find any result. So you might be right about your hunch. EDIT: B&B's only real headwriter change can now finally be confirmed, but not how we thought it took place... #1532 which aired May 3, 1993 is the last episode with William J. Bell credited as head writer #1533 has no credits #1534 which aired May 5, 1993 has William J. Bell no longer listed as head writer but "executive story consultant". However, the writing credits start with John F. Smith in first position and Bradley Bell in second place... Could have either been a typo (but it happens again the following episodes...) or a trial phase before Brad Bell really took over as head writer.

1996 (probably around Feb-April). The exact airdate is still a slight mystery as we have to wait for "re-runs" to reach that year. There is a lack of episodes with closing titles for 1996 so far. It's most certainly the BOLDED part. I'm quite happy that I enjoy Ridge&Taylor as much as I remembered; I find them playful and charming. That's what frustrated me post 2005: It was a complete rewrite as to who Ridge had the healthier relationship with: Brooke or Taylor. However, the triangle as such and the constant "say that you love we, Wiiiidge. Just say it, pleaaaaaase" is so one-note and annoying. It's really hard to stay invested in those scenes and the back and forth considering it's more or less the same drivel we have seen for 30 years now. LOL

I'm currently up to #1529: Stephanie is about to stage the ultimatum to keep Eric from marrying Sheila. Highlights of 1993? The paternity test, Sheila& Mike - it still holds up soooo well. Lauren's visit in LA which felt so right as if she has always been part of B&B. The scenes with Sheila, Stephanie, Eric, Ridge and Brooke are all so spot on. Highlight of a different kind... #1520 - have you seen IT yet??? I don't want to spoil anything - I just say musical montage at Forrester Creations... Macy's alcoholism as well as everything connected to it is NOT working for me. I think it all happens too soon and with too little investment by the writers. The Ridge & Brooke stuff is starting to get annoying in April (wasn't fond of Connor's intro), but I'm really PUMPED about the battle for BeLieF because Steve Crown is already befriending Brooke in my last episode...

I'm slightly torn on the assessment that all of these characters are a shell of their former self. Putting aside the obvious much less skillful storylines than in the good old days, I think some parts of Brooke's and Sheila's character is a natural evolution which is actually believable. The Brooke of old was a chemist and smart business woman. Nowadays, she is a desperate housewife who is walking around Forrester Creations in perfect hair, awesome outfits and big clutches, but does NOTHING. However, I could never care for Brooke back then because she was a pathetic homewrecker who always put her needs and destiny of the month first. Therefore, I like Grande Dame Brooke (which started around 2012 with occasional back to the roots moments like "Brill" affair) much better and think it suits her age and role in life to be more grounded - admittedly to some extent Brooke is now more boring, but I think B&B did the right thing by adding a viable younger generation because some stories should not be told with the old guard. Same goes for Sheila: she was always struggling to find love because she lacked something in her childhood. She wanted to e loved for who she is, but was never able to experience true love. All this backstory was told on B&B in the mid/late 90s, sometimes in a rather religious context like in 1996. The evolution of Sheila already began with Amber and having a child with James. I'm pretty surprised by the praise for her 2002 return: while it made great TV, it all really hurt her character: she killed Lance with bees (IMO; her only REAL murder) and her sole ambition was to get her daughter pregnant by Rick!? The shooting at the Forrester Mansion was an accident; so there were chances for redemption which Brad Bell did not follow up with. Her 2005 Y&R run started off amazing but then it was like WTF - and already over. Therefore; I liked her 2017 with a balance of camp and excitement, but never jumping the shark. Sheila's antics are now more grounded and less extreme. For this reason I find her current run also pretty smart and it is actually classic Bell storytelling that a character is making a BIIIIIG fuss about switching a lable of a bottle. Remember the good old days on Y&R and B&B when we viewers were on the edge of our seats by such important decisions (which often took and entire week) whether Nikki was driving into town from the ranch to confront Ashley!? My point is: yes, the production values of B&B are way less exciting. The storylines used to be plotted smarter with better build-up (that said, I think Brad Bell and team show actual ambition to tell more than just one story at a time and make the consecutive stories actually fit with each other in the past 2 years…). On the other hand, I appreciate that Brooke or Sheila of 2022 act different than they did 20 or 30 years ago. It is always a thin line to keep such an evolution in line with the nature of the character. At least for those two, I can dig it. What I could do without is the hallowing sounds around Kimberlin Brown’s scenes because as you pointed it, it totally defeats the purpose to make her an adult character which wants to be good but somehow ends up doing bad stuff.

It's really difficult to pin it down to a favorite scene. They had so much great story going and the show was so smart to constantly bring back Mike in the 90s just when you thought that he was dropped for good. The early stuff is oh so interesting because Mike was introduced as being tech-savvy and Sheila had to use quite a lot of her femine charme to play him. Later on, Mike was head over heels in love with his "babe" and therefore came off as rather one-note. I thought it was a shame that the Psycho house story with Mike and his brother Marty was cut short due to Kimberlin Brown's pregnancy because there was so much potential.

Bringing back James would be awesome indeed! That said: never in a million years did I imagine to have Mike Guthrie back in town. The 2010 return was so random when he gave Stephen (or was it Pam?) a gun. Even though the last 12 years did not go by on him without ageing

I second both. Mid 2014-2015 was GREAT. The best in many years. 2017 showed lots of promise and did some good stuff like the Spectra revival and Sheila's return. It fizzled in the fall, but overall it was still highly watchable. Ever since the only really strong moments were the baby Beth baby switch, Thomas and the Mannequin plus Sheila's latest return. Oh, and for camp's sake I really digged Sally's fake illness with Dr. Penny Escobar the wannabe designer. EDIT: cast wise - 2022 is the strongest set-up in more than a decade, IMO. Bringing back Sheila, Deacon and Taylor were all unexpected but oh so smart decisions which have potential for greatness.

She missed out on the GOOD directing days at Y&R, but hey, promoting from within, is at least a classic Y&R tradition. Therefore congrats to her!