LondonScribe

And good for her. That remains one of the most ridiculous decisions made, and one that still annoys me greatly to this day.

They probably have that in reserve, thinking they have that as leverage, or rather they have no sense of needing to keep her. If they let her walk again, I don’t think they’ll get her back this time, neither will they deserve to. Also, if she wanted to stay in soaps, General Hospital has a better (if very bustling) canvas of actors and they seem to treat their black actors well. Personally, I think she’s talented and charismatic enough to do regular prime time. Also, something must be going on at Y&R, what with this and the rumoured contract issues with Hunter King and Michael Mealor.

My guess is he’s being brought in as the ‘Dev’ role to play spoiler to Cam and Joss. Especially since Trina might be leaving? I’m sure I read that her talented portrayer is off to uni?

I could have this completely wrong, but I wonder if the writers are trying to create a genuine question over Sasha’s motivation in connecting with Brando. The ‘clever’ writing being that she said what she said to Gladys, so it can be taken as Sasha just winding her up.

I’m going to jokingly suggest that the issue is less to do with Kelly Monaco and maybe more to do with Billy Miller. Remember how much Amelia Heinle threw her toys out the pram when Billy Miller left Y&R and basically sandbagged David Tom? 🤣🤣🤣

On May 30th, I said this: ’With Tara, it’s almost a certainty she’ll end up a different character. They didn’t have Ashland warn Jack about her for no reason’ At this rate, any of us could write a more compelling, less predictable version of Y&R … Well, maybe not me (because I got the potential scenario wrong 🤣) but many on here could.

Well that was a bit of a thrill ride. As much as you can get on daytime. Could do with something to help me sleep later…. when’s Y&R on? 🤣

At this rate, Godot will arrive before 👆🏿happens. Plus, having just watched tomorrow’s episode, it’ll be ‘fun’ to play a game of ‘which one was sacrificed to make way’? Cryptic now, but I’ll make sense. And finally, superficially, I’m nearly always taken aback by Imani’s beauty. Casting-wise, she and Hilamanda fit as siblings as well.

I’d be curious to know what criteria they went for when they cast Elizabeth Leiner. I wonder if it is an ability to act terrified and meek with a view to shaking that off down the line, and settle on more confident, etc Re: Summer and Sally. If Mal Young and then Josh Griffith hadn’t made the decision to have Summer employ some of Phyllis’ insecure and impulsive characteristics as recently as last year (essentially becoming her mini-me) this conflict with Sally may have worked if developed organically. Hear me out… I think I remember a brief time when Summer was a mix of her mum and Nick when the occasion required. If that version of Summer had remained and Sally arrived, displaying her [Summer’s] mother’s naked ambition and ruthless scheming that she does, teasing a reaction out of her, that might have worked. As it could have had the subtext of Summer engaging in an organic (and new) battle with a version of her mother and being grown up enough to deal with it properly in a way she couldn’t with Phyllis when she was a teen. Instead, we have the characteristics of one person spread across two people engaged in a rivalry with each other. I pulled that out of my ear, so pardon me if it’s a little wonky 🤣 Because whether by coincidence or by choice, Sally is almost an embodiment of a younger Phyllis: red headed, tall, athletic, attractive (subjective to each, I acknowledge), the characteristics described above.

With Tara, it’s almost a certainty she’ll end up a different character. They didn’t have Ashland warn Jack about her for no reason. At a guess, once Ashland is out of the picture, she’ll turn to Jack, thus making it awkward for Kyle and Summer (again 🙄), especially if she ends up keeping Harrison. Phyllis’ protective instincts will kick in and this ‘new’ Tara will probably then go after Sally for the role she has played in all of this mess. And not a second of it would move outside of ‘first gear’, writing, directing or production-wise.

You could find episodes on most video sharing/upload sites by typing the name of the show and the date of broadcast.

Sorry to be that guy, but with this (undoubtedly good) news, how long before Ken Corday suddenly decides the show needs a new lick of paint and Ron Carlivati is shown the door?

So, I watched today’s episode. Not appalling, not amazing, but for those yet to see it… Jordan and Portia had an (episode-long) exchange that touched on Cameron’s fate in the stand off, and expanded to other themes. All I kept thinking was ‘yeah, I can see this going down badly with some of the viewers’ for a variety of reasons. It spills into another conversation as well.

Ah, Roger Thorpe. They don’t conceive characters as layered and complex as that anymore. And yes, I know Michael Zaslow was a huge part of that. Current soaps write shallow ‘types’ for what I think they feel is a dumber, less engaged viewer.

Given Kate Oates’ role and portfolio, she may be able to skate this. Jon Sen, I suspect, may need to look over his shoulder professionally.

Every show has a moment, a storyline, an episode, an axing that makes the viewers revolt to such an extent the senior executives take note, then take action. This appears to be that moment. I suspect Jon Sen is not long for his position. Given everything that has happened on the show since the 35th anniversary, this moment seems to have caused the biggest backlash.

At this point, I wouldn’t be surprised if the producers and Wes Ramsey himself are just trolling everyone. They can’t be completely oblivious to a lot of the viewer pushback that isn’t based on the character construction, writing etc

That’s an interfering frame of reference. May I ask you to expand of what (else) you have seen this go around under Josh Griffith that you like? The general consensus here is that he's not got it right (including the writing for Adam) so I’m open to any perspectives that allow me to think about things more ☺️

I'm not the ‘target demo’ for that casting but even I can appreciate that Alison Sweeney is probably thanking whoever she worships 🤣 Height-wise, he appears to be my height (6’1) and James Scott is 6’5, but I doubt people will care too much.

It’s widely known that, save for the loyal U.K. audience and the financial investment by Channel 5, Neighbours would have been axed years ago. The ratings in Australia haven’t been good for a long time, hence it being moved from Network 10 to their digital platform. And no, I can’t assist with numbers, I’m afraid. I think Home and Away stands a little more on its own and remains on Network 7 in Australia. Which is interesting because I personally found the efforts of producers and senior writers Louise Bowes and Lucy Addario uninspiring, to the extent I stopped watching. I hear the show has found its groove but I’m too far removed to get back into it.

I was surprised by this as I genuinely thought the TV networks were done with new soaps. The BBC has Eastenders, Doctors and 2 continuing medical dramas, Casualty and Holby City. As well as River City in Scotland. ITV with Coronation Street and Emmerdale, having stripped back on their output over the last 20 years, ditching Crossroads, Heartbeat, The Royal, The Royal Today, Night And Day and The Bill. Channel 4 only has Hollyoaks, after cancelling Brookside. Channel 5 with no homegrown soap, instead showing the 2 main Australian soaps, Home And Away and Neighbours. If this new project is as it seems, it’s success will depend on who is chosen to develop it and produce it. Like America, I don’t have a huge amount of confidence in the current crop of producers and showrunners. Diederick Santer (Eastenders), early Kate Oates (Emmerdale) galvanising after Stuart Blackburn decimated that show, Bryan Kirkwood in Hollyoaks the 1st time round, and Myar Craig-Brown (Holby City) being the last ‘emerging’ producers of any consequence in the last 15 years.

I wonder if you may have stumbled across Y&R’s next Head Writer in waiting (possibly with Christopher Whitesell)? Unless either or both are retired. They both fall into the ‘experienced/recycled’ category favoured. There are suitable (and new) voices within the existing team, but TPTB seem reluctant to promote from within.

Given what has been discussed specifically about Josh Griffith (his name on the ‘marquee’ as it were) and the conclusion drawn about his evident inability to tell stories/Head Write, what were the ingredients that made his first collaboration with Michael Malone over at One Life To Live work so well?

Eventually, everyone is sacrificed at the altar of Victor Newman. He might end up being Eric Braeden’s 80th Birthday special storyline. I jest, of course.

Did a quick search (I should be asleep, it’s 3:40am where I am 🤦🏿‍♂️) and if it’s the same Susan Banks who used to be with TV One, this may turn out to be rather interesting... The Susan Banks previously associated with TV One has a wealth of experience writing... and Executive Producing. As in a LOT of experience. If it’s one and the same, then may I cheekily (and unrealistically) throw out there that it may be squeaky bum time at the studio?