Faulkner

I’ll tell you when I’m done with Marland-era ATWT, but every detail feels very purposeful, intertwined with other stories, and going somewhere. Just how the Lucinda/Lily/Iva/Craig/Sierra/Tonio stories converge and deepen over time (and even throwing in Betsy/Steve), and how Lucinda serves as a nexus for so many different characters.

Yeah, I think they might end up being really bland. Noah doesn’t have much of a personality, and she’s all shy sunshine. It’s a shame because Rory Gibson is hot af, and he seems to have a sly sense of humor that we see none of on Y&R.

Yeah, I mean, it happens. It’s a daily show with a low budget and we’ve seen it happen in the past even things were more meticulous and retakes could be done. Even big-budget movies have obvious continuity errors and boom mics showing.

I like her too. I just don’t love that she seems like a Mary Sue. I’d love to see more of an edge emerge.

Wow, yes: “Thank you, Beth.” She later said “Traci.” This is a show that recently left a watermark visible in the stock footage used in the opening credits, so I’m not surprised that it’s this sloppy.

Lord hamercy, no to KA.

Mikael from Indianapolis 🇺🇸

They really blew it with that show, and they promoted it to *death*. As said before, this needed to be on streaming or premium cable. It can’t just be a soapy girlfriend’s show on ABC. It needed real grit and sex and stank and F-bombs.

Those years really gutted what was left of Y&R. At least what LML hadn’t already destroyed. It’s hard to even really take stock of all the convoluted stories and age-old soap clichés that were burned through in the late 2000s and early-to-mid 2010s. Felt a bit scorched earth. Hard to take Y&R seriously after all of that. Sharon, Nick, Victoria, Victor, Jack, you name ‘em—worn out. By the way, Alan Sarapa tweetstormed what he thought a Ron Carlivati-written Y&R would feel like. Pretty much a lot like that era with lower production values and more camp.

Future and Drake dethrone Harry. Drake now has 10 No. 1s in a tie with Janet Jackson and Stevie Wonder. He also passes Ariana Grande and BTS for most No. 1 debuts with six.

Amelia Heinle is clearly a more accomplished actress than Melissa Ordway, but there’s something similar in their “acting” styles. I just don’t feel a lot of conviction from AH, as if she constantly doesn’t believe the words coming out of her mouth. Maybe that’s a feature, not a bug—as they want to portray Victoria as conflicted, vulnerable to the men in her life, and faking it to make it. I don’t enjoy this characterization. They are playing Kyle as really “young.” He’s not a boy who needs his family to make choices for him. The Abbott scenes with Diane were good (Diane dredging up each family member’s past), but as directed, they played as theatrical in a very stiff and flat way.

They rarely delve into it, but hasn’t Diane committed several types of fraud to fake her own death? They could just throw her ass in jail. Would you keep Kyle and Allie? I suppose they don’t need their dad. Alan-Michael survived just fine with just his Aunt Alex as the head of the Spauldings with Alan off the canvas. Of course, that’s when soap were quality.

Just an interesting tidbit.

Lol that’s not gonna endear him to the Italians.

Lol. That’s really what it is. They should have only 2-3 nominees per year for Outstanding Drama Series, but I guess that would be a greater admission of the award’s irrelevance. They want to be inclusive and give all viewers something to root for in the most important category. But it’s funny: looking at overall stats, these surviving shows rack up Outstanding Drama Series nominations for simply existing. I suppose only showbiz awards nerds care about such things.

Bruce from China 🇨🇳

Post-Sabrina, Victor became an absolute monster, yet a lot of people seemed to love that.

Some are saying that once Alcaraz improves his serve, he may become essentially unplayable. We shall see. No one but God knows what his trajectory will be.

Can this be his costume, though? I’d be here for that.

He’s lovely.