Faulkner

Ex-Travis from Y&R

Spinelli is only NOW involved in this Esme/Trina phone mess? Get the f-ck outta here. And he’s stumped? Frank, Chris, and Dan think we’re all idiots. As someone said on Twitter, “Spinelli created a program that showed us Drew’s original face. He’s hacked into cameras, security systems, the hospital mainframe, erased the sex tape from public pages etc. But you’re telling me that 19-year-old mean girl has outsmarted the jackal?”

Imani doing her little Lady Macbeth thing on Nate LOL.

A party that actually seems somewhat busy in Genoa City, where the crowd noise actually feels appropriate to the number of people shown on screen? They’ve been taking notes.

Watching Susan Walters single-handedly rescue Y&R from the doldrums inspired this thread. The show only becomes watchable IMO when Diane is on screen. What are some stories/characters/performances that stood out as exceptional even when your show was in the dumps? (Granted, this was a lot easier when shows still had many of their fundamentals, like active families.)

More of Adrian 🇺🇸

Michael from 🇺🇸

Yeah. The lip service is so disingenuous. I’m not loving GH these days, so I’m not watching as much, but it seems like a lot of the time I tune in, I see a lot of people *talking* about Trina, but I don’t actually *see* Trina. Feels like she’s a bystander in her own story.

Kristina Wagner’s acting 😬 You’d think Esme were the heroine of this story with the level of access we’re getting to her inner world.

That was a cute nod to the original. But yes, everyone effing each other felt really desperate this early on.

Shame that she couldn’t replicate that dream run to Olympic gold elsewhere.

Totally agree with this, by the way. The trauma would have had a greater impact if we knew the characters involved. But there’s a sense here that all the characters are defined by their traumas. And the shooting apparently was a key selling point to getting this reboot made, which is telling about how TPTB view queer lives. One thing I miss here is that both previous versions presented characters as rooted in a larger context. They had jobs and other connections. (They made a big deal about hiring Ed Begley, Jr. for this new series, and he’s barely shown as Brodie and Julian’s dad.) Aside from the brief aside about Noah’s lawyering job (and not making partner due to his rampant meth habit, an addiction which was largely dropped as a story), Ruthie’s teaching (which we don’t really see), and Julian’s quest to be a flight attendant (which we don’t see), the characters’ lives outside of screwing and clubbing go unexplored. Did you finish?

Word. And they still keep handing out contracts for straight white male characters like dinner rolls at the Olive Garden, instead of investing in the LGBTQ+ characters that the audience is already invested in.

He was lovely and poignant in Magnolia.

“Running Up That Hill” rises to No. 4 this week. Kate Bush has her first U.S. top 5 hit:

This show is a mess.

Tony nominee Sidney du Pont serving body.

Very sad. She says she’s on the road to recovery, which is great.