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LondonScribe

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  1. This. I thought he did a pretty good job on Days Of Our Lives as Executive Producer but had the rug pulled from under him before he could make a real impact.
  2. Amen. While I imagine fans are delighted to see classic clips and scenes, it should show fans and executives alike what they are being forced to accept (and present) as standard today. I say should in the case of the executives, but I wouldn’t be surprised if one or two of them are only merely irritated by ‘old’ clips. Lastly, I can’t stress enough how invested Peter Bergman was in those older scenes.
  3. What IS the situation regarding Josh Griffith and a potential replacement? We’ve heard everything from a 3 month extension (though that has apparently been debunked) to names being spoken to, as well as him possibly being out within the next few weeks.
  4. Sony/CBS have continually shown that they cannot make a good decision. It would be just typical if Dena Higley was hired. I didn’t watch her OLTL (but heard it ranged from mundane-offensively bad) but did catch both her tenures at Days of Our Lives, and I wouldn’t wish her on Y&R.
  5. On another thread within this board. Think in the Spoiler section. I hold my hands up as a messenger/carrier of speculation (in this instance, if unverified at this stage) 🙈
  6. And apparently, Josh Griffith has been given a 3 Month extension as Head Writer? 🤷🏿‍♂️
  7. Best way to put it is yes, having restored some of them, but even then on an inconsistent basis. The newer cues are still most prominent. What I have noticed is that the classic scores are no longer being overdubbed with bland recent music when a vintage flashback is used. Under Jill Farren Phelps and even Mal Young for a while (at least up to the point I stepped away from watching) that was being done.
  8. That can be levelled at every Head Writer and Executive Producer since Kay Alden and David Shaughnessy respectively. One thing that stuck with me watching the episode was as the flashbacks became more recent, you could see the writing and production values decrease. From the lighting to the camera angles, direction and music.
  9. All very true and all very sad. When I was younger, I wanted to be a soap opera Head Writer or equivalent in the U.K. Now, given where daytime TV is and the interference of those above, I’m very happy not to. I quite enjoy my own pace and space. I naively thought there was hope that things could be rescued. Heck, I even defended Josh Griffith’s tenure at Days of Our Lives, but something is severely lacking at Y&R. And not just with the writing.
  10. I wasn’t much of a Guiding Light watcher in the 90’s even though Sky showed it. But darn, that was a powerful episode, with sophisticated writing. I simply cannot imagine this brand of writing being permitted by any network/studio executive these days. Y&R is ‘my’ soap (even given the shell it has become) but I’m not sure they’d know what to do with someone like Patrick Mulcahey or any mature, nuanced writing 🙁
  11. Thank you very much for all of this. It clears things up nicely. I dabble in short scripts and stories, so it’s good to know what works and doesn’t work. Here and the U.S. Plus, I love me some good soap (especially Y&R pre-2004)😊
  12. I can usually get a grasp on the strengths and weaknesses of writers over the years, but I don’t know a great deal about Patrick Mulcahey, in terms of his strengths. For those who appear excited about the (at the moment, remote) possibility of him moving over to Y&R, what’s the appeal? What’s strengths does he possess that would make him a good get or even potential Head Writer? Many Thanks.
  13. Wow 🤭 Though I see the strictly business/budget sense in such a move, I agree that if the show is renewed, the cast will likely change, and how that will be explained away is an interesting question, unless, they tape a massive disaster to close up the filming this month. Also, don’t be surprised if both the production and writing teams have an axe taken to them.
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