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Everything posted by EricMontreal22

  1. Was anyone else a bit let down by the finale (I noticed they advertised it as the finale--not season finale or series finale...) It just felt off in a way that earlier episodes hadn't to me--maybe they tried to shove too much into it.
  2. Having a character, the first male incest survivor no less, on a soap completely misremember who had been molesting him for *years* is not really a good precedent (I think a year or two later we had the Cooper sexual abuse story on Loving?) Yeah the use of Married actually sounds rather inspired--a perfect song for them and not an obvious choice (since the song wasn't even used in the movie version of Cabaret--well except as German background music)
  3. That's not quite right... As Vee said Malone's 90s work was always strongest with Griffith as co-HW (even Malone basically admits as much) even if love it or hate it things like Todd and his legacy were more Griffith than Malone. The final year of Malone's OLTL in the 90s was a bit of a mess (the endless Irish mob stuff, etc) and that was after Griffith left and Malone was solo (of course it was still better than much that came after). However you have your credits wrong for the 2003-2004 stuff. Griffith was hired first yes, but with Malone as his creative consultant and then after fou
  4. Didn't they kinda chicken out at the last minute and reveal it was his uncle or someone else and not his father who molested him? Makes a lot of that article come off less impressive. I'm sure it's embarrassing but I always wished that full episode would surface. I can not picture Trisha and Trucker singing When the Children are Asleep from Carousel...
  5. The feeling, frankly, I got (and these are not her words) is that any blame that happened while she was involved after Bill's death, she'd get thrown under the bus for. The existing Bells sound like a family that really does not know what's in the best interest for their own soaps, as much I am not suggesting they sell the shows outright. But they seem extremely conservative and close minded about creative decisions that Bill would not have been about (mind you this is all I have gathered and assumed from a 20 minute conversation!) I agree. I didn't expressly ask about
  6. I was one of those people who thought the CowLip QAF was a pale shadow of the UK original (though I admit it could be ok as a trashy gay soap) but... Nothing about this seems like a good idea to me. Wasn't Davies also an exec producer (he later admitted "in name only" for the US series?) I mean writing wise I think the man can do little wrong, but (and I happened to love Cucumber/Banana which he mostly wrote and seemed like a natural QAF continuity)
  7. I have interviewed the person who said he ran it until 2001 (and he hates when I mention his name...) for its final year--but maybe they were just finishing it off with the students they already had? Either way--that's really too bad. I suspect you would have been a good fit (and when he described to me how the program worked it sounded like an amazing opportunity and--if you don't mind endless work deadlines--a lot of fun). Jean Passanante actually started her ABC career there as someone who would seek out talent among playwrights from universities and regional/off-Broadway theatres (anoth
  8. OK I don't buy that for a second. But I also never thought he was ever in it for the long haul (would his roles at Y&R even have given him more money than his UK soap work?) Unfortunately (and I have this from, well the horse's mouth) the Bells have never stood behind Kay Alden or fought for anything she's wanted post Bill. There's no feud there--they are still friends, but when it comes to the shows, or creative decisions when she's been there, they have never backed her up. And that of course is the fault of the industry. They've cut any soap training programs, etc. i
  9. He's proven to be (often) an excellent co-HW or associate HW under Malone. But that's... really it. (and I firmly believe some people are *great* at one position and not at another--everyone in the bizz seems to think Passanante was the best breakdown writer there was when she was in that position at OLTL, and we all know what has happened when she's been promoted. I'm a casual Y&r viewer but I actually thought Mal's Y&R, while far far far far far far far from great, was finally starting to kinda gel. Oh well.
  10. This was my thought--the Zoe/Zarf story 10+ years back was written better, and that was hardly a masterpiece (though I do think it had some built in obstacles like the opinion that they were trying to find a stealth way to pair Bianca with a man). But a lot of it in hindsight did work as did the classic Agnes Nixon technique (which I think Bradley Bell *has* used) of showing a meeting of "real life" people going through a transition interacting in a support meeting with Zoe. I just don't think Bradley Bell can tell stories like that. It's sad that McTavish can better...
  11. I had forgotten what was said and wanted to know for my essay--and of course no longer can find the video anywhere... The US airing of Cucumber/Banana was atrocious--wrong aspect ratio (I'm talking about Logo), edited for mudity of course (it always seems odd to me that Logo of all channels doesn't allow nudity) and the distinctive score was ripped to shreds for movie rights. The US release of the UK Queer as Folk had the same music issues (it's just not the same when, say, Sexy Boy is replaced by generic dance beats) but no content editing. I hope the streaming version is bette
  12. Sussman started that story before she quit but didn't get to really write it, but in an exit interview she mentioned how she was warned repeatedly, while TPTB were all for it, that Y&r had the most conservative audience out of the soaps and basically told that it could be put to a stop at any minute depending on viewer reaction. In speaking online with Kay Alden briefly for my MA essay she basically flat out said that they were told during most of her time on the show to not even think to pitch a gay story. Right, I see both points. I guess in theory, too, I was thi
  13. That's why I thought the Kevin storyline on AMC worked so well and I appreciated how slowly it was played, coming out of the Michael Delaney storyline and the shooting (a true umbrella storyline). He was disowned, sent to deprogramming (tricked to it--I think the first example of that shown on American TV) would try to reconnect with his brother in jail who would constantly call him fag, taken under the wing by Opal who, despite good intentions, still tries to push him to be straight (and we have the "twist" that only Palmer out of those helping him seems to have any understanding of the situ
  14. I never thought of Making Love as a bi movie--at the time it wasn't marketed as such. But I do think it's actually pretty good -- I know it underperformed and for a while was kinda derided by gay audiences, but I think it succeeds at what it intended to do. Though in the past they've found ways to manage to make these stories WTD stories (kinda).
  15. Ah and then we can just get a series of rotating Lucky recasts, with Vaughan returning when Young tires of the role...
  16. Like a lot of the media, GLBT characters seem to be kinda treated all as one issue on soaps--but this raises a good point. Particularly when it comes to gay or lesbian storylines and how soaps don't seem capable of having both at the same time. But does one go over better than the other with viewers? It seems early storyline attempts involved lesbians (though some of this may have just been dictated--as I mentioned originally AMC was gonna do a gay storyline when ABC said they already had a gay male storyline on Dynasty so to make it a lesbian story). And subsequently it seems like gay mal
  17. I agree with all that. The only reason I tend to look over MHMH is it was under none of the restrictions (or few) that the daytime soaps of its time were. It was syndicated, and usually late at night, so had no network interference, no P&G interference, no assumption that it was playing to a conservative audience of housewives, no concern that children might turn the show on... MHMH sorta exists for me in its own unique soap universe and didn't have to play by the same rules, in fact part of its point was that it didn't play by the same rules. Speaking of I'm curious as to how Mar
  18. That does make sense when you put it that way--I guess it's more that I'm not sure why Llanview suddenly would be so keen on a gay mayor. A pro-gay mayor I could see (even if still a bit of an idealized fantasy). I did like the woman who played her assistant/wife (who I think they quickly got rid of with the story)
  19. I haven't read these ones but do have some others--I have the three AMC ones from 1980 that covered 1970s storylines by romance novelist Rosemarie Santini: Tara and Philip, The Lovers, and Erica. Apparently these started the trend. Santini isn't a great writer but she's not bad either and they're a fun, quick read that seem to stick closely to the original scripts. (They go for 20 or so bucks even used so I better make sure I still have my copies as I haven't seen them since I moved in the Summer https://www.amazon.com/Agnes-Nixons-Children-Book-Philip/dp/0515048925/ref=sr_1_2?s=books&am
  20. Oh I liked it for what it was (even if the Dorian impetus to pretend to be lesbian made no sense--couldn't she have just instead gone on the platform of being pro gay--doing something good again for her own benefit--and gotten the same result?) I didn't mean to sound like I didn't. It was actually one of the few camp Carlivati stories I thoroughly enjoyed (and a Jackie Hoffman cameo as a homophobe no less!) It was just poor timing -- something Valentini probably should really be held responsible for.
  21. Although that has been a BIG issue with B&B for a while now (think of Thorne for years). Characters on recurring just NEVER come back even when they should. Young prob saw the writing on the wall.
  22. GH is in some ways the one that drives me the craziest for just that reason. I had heard that in past decades the writers were told to put a lid on how many gay characters--Bianca on AMC was extremely popular so keep her, give her a gf or two, but when she's on that means we can't introduce a major gay male character (and vice versa I assume). When Bianca hadn't come out Greenlee and Leo saw her in a lesbian bar--theyw ere slumming for fun or something. I always found it amusing that there was a lesbian bar in or near Pine Valley and that Bianca never seemed to hang out there again..)
  23. Reid was great. Unfortunately Passanante and crew didn't seem to know what to do with him and were too scared to actually break up Nuke for good (though that's become a common problem with soaps and "supercouples" not just gay ones--it's always obvious to the audience who the writers are keeping as endgame). The UK soaps, at least in the past ten-fifteen years (even the more old fashioned ones like Corrie) have been much better at exactly this--they have their own issues with gay characters (and as much as I enjoy watching Hollyoaks--at least occasionally--sometimes it
  24. I never really get that attitude myself, though it seems common. I mean I think Ron Carlivati mostly sucks at writing gay characters, but, maybe I'm just an optimist, that doesn't mean I wish he'd simply never try. It strikes me as absolutely ridiculous that any modern soap now wouldn't have gay characters and, I mean my current issue about the writing applies to all of the characters gay and straight. At this point I don't think poor writing for the gay characters is negatively affecting potentially bigotted viewers into thinking less of gay people in real life. I get that audiences still
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