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Lots of fast-forwarding in today's episode. The best parts were the Lulu and Tracy scenes and Chase in the tank top. And once again, a horrible cliffhanger with Sonny. -
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A very very brief excerpt from a CBS special is up. That's it. @jam6242 Thank you for the lovely Susan article. I adore that photo of her with Denise - such strong yet different personalities on display. I remember seeing that photo of Denise, Bill and Susan on soap magazines like Afternoon TV. I wonder if they took it or if DAYS did. -
I think Joss does know the material and maybe just plagiarized some of Emma's data? Despite all her actions I do think the show pretends Joss is smart and this class is sort of in her new wheelhouse as a degree. Gio playing Carmen was super high pitched to me. He's a talented musician but that was screechy lol. TBH, we all know I love Sonny to a fault, but I would rather stare at Rebecca Herbst's opening picture for an hour than listen to Sonny and Jason blather on about giving up the mob. You can even try to fake me out at this point. -
By Paul Raven · Posted
Denise's daytime/soap resume courtesy of Slick Jones' Soap Hoppers thread THE CLEAR HORIZON Lois Adams 1960 BEN JERROD Emily Sanders 1963 GENERAL HOSPITAL Lorna Hill May 1965 DAYS OF OUR LIVES Susan Hunter Martin Peters 1966-73 GENERAL HOSPITAL Dr. Lesley Sullivan Williams Faulkner Webber Webber 1973-84; 1996-09;(occasional); 2013; 2017; 2019; 2021 ABC AFTERNOON PLAYBREAK "The Gift of Terror" Laura 4/5/1973 HOTEL Gail McClain 1984 ANOTHER WORLD Mary Callahan McKinnon (LaSalle) McKinnon 1986-89 SUNSET BEACH Sister Beatrice 1997-98 PORT CHARLES Dr. Lesley Williams Faulkner Webber 1999 -
Well as I sit here waiting for my new episode to load on my system, I'm rewatched Friday. Say what you want, but I will always live for the Dupree family moments. And I love how much Vernon and Anita were being there for Nicole. Tag-team comforting. That was just cute. I also love...and I've said it before...how BTG does what Y&R used to do with major characters who you think are not going to be in the episode. Have them pop up later in the episode. It was a nice surprise to see Eva appear halfway through. And I knew at some point that SilkPress Sheila would wind up at that house alone with Nicole. Still gasped since it was the only time she was in the episode. Another thing that I'm loving has been as we are dealing with fallout from the SilkPress storyline which has been the A story...the writers are finally developing the OTHER A story...that's been in the background. That being Martin's Secret. Love the foreshadowing throughout. From Dani vs Bill and asking what else he was hiding to Kat/Smitty talking post another Martin outburst...which are building...to those unexpected Bill/Smitty scenes. Shame on Bill for planting seeds in Smitty's head. And the unexpected combo was also great. Vernon/Nicole. Kat/Smitty. Bill/Smitty. Even getting another Martin/Ted scene in. I liked that characters aren't just sticking too much into story bubbles. I definitely enjoying all the fallout from the SilkPress/Eva reveal. Eva might be done, but she ain't out. And I continue to get SMG Kendall vibes. Was she wrong? Yep. But she was partly tricked, too. So she definitely has an underdog vibe written all over her for some redemption. And one of the best plots on the show continue to be Kat vs Eva. So Kat seeing Eva getting closer to Tomas is only going to make that rivalry worse. It's been interesting to see the effects on the whole Richardson family from Nicole to Ted to Martin. And yes, fingers crossed that Martin stays triggered...since it feels like it's building onto his secret. Oops at Nicole finding out Andre knew about Ted. I do wonder if she might say it to Dani. And then Dani winds up breaking it off permanently with Andre. And yay! Vanessa showed up for her BFF. I'm enjoying the C plot of the homeless woman. I totally think there's more to her. And it gives Naomi and Jacob a story. I'm sure I've said it before, but I do wonder if it will tie into the crooked cop story or even Joey somehow. And good to see Ashley and Derek...ironically in a C plot. And good to see we got three cliffhangers again. I hope this week does the same on Friday. -
By Contessa Donatella · Posted
I believe Cecile was intentionally used for comedic elements maybe twice. I mean, start with her being royalty from where? Tanquir!!! LOL From the first moment it's a gag, isn't it? And, her kidnapping Cass? I mean does a serious character do that? Well, literally, if you go another way & it's horror, sure. And, what you describe, a food fight, yeah, it's going to be played for laughs. Not a problem. I can respect different POVs. Black & Stern is on Les Moonves' head. He knew their work including NO DAYTIME. He recommended them anyway. Thank god their tenure was brief. But, Moonves is CBS not P&G. At any rate we have a true dilemma because we see this time at AW so differently. Vive la difference! -
By Paul Raven · Posted
Y&R 1976 Pt 2 Bill is overjoyed when Jill arrives home with grandson. But Kay is furious and checks into legal action, only to find that there are no grounds (the check was returned). Brock Reynolds, Kay’s son from her first marriage, convinces her she can be the baby’s godmother and provide for him out of love. But just as she’s starting arrangements to do this a legal petition arrives stating that Phillip Chancellor Foster is a rightful heir to and is now claiming his share of Phillip Chancellor’s estate. Jill has to do this, as the Foster family’s finances are now more precarious than ever. In fact, Liz, unable to get her factory job back, has secretly started working for Kay as her housekeeper. Jill explains to Kay that she has to do this for her baby’s sake but will drop the suit immediately if Kay puts it in writing that she will provide for them. Kay, however, retorts that Jill is the one who can’t be trusted—after all, she went back on her agreement to let Kay have the baby. Despite her attorney’s advice to work out an out-of-court agreement, Kay — insists on seeing this through. When Jill takes her little son to Phillip’s grave -on the Chancellor estate, Kay runs her off the property. In court, the geneticist testifies that Phillip could have been the baby’s father, but that Brock could have been, also. Jill then testifies that Phillip was the only man she was ever intimate with, and then only once; that Phillip decided on an immediate divorce from Kay and marriage to her, Jill, so that his baby could have his legal name. But Kay’s lawyer brings up the “dead-man statute,” which holds that conversations with a deceased person are not admissible as evidence because he can’t defend himself. When the judge upholds this statute, Jill comes close to being held in contempt of court. Brock takes the stand and substantiates Jill’s testimony that although he and Jill lived together for a time before her marriage to Phillip, they were never initimate. But the judge rules in favor of Kay; little Phillip’s claim is rejected. Jill emotionally tells the judge he has denied a child a decent life and a man his dying wish. Brad is told by Dr. Snapper Foster,his brother-in-law that his condition, nephritis of the optic nerve, is stable. The optic nerves are still swollen, but since his headaches have stopped he should continue his cortisone treatment. Brad is still firmly insistent that Leslie not be told. From the moment they meet, Lance and Laurie charge the air around them with static. They find each other arrogant and egotistical, but when Lance needs a date for his trip to London, he calls Laurie, and she accepts. The pilot of Lance’s private plane cryptically suggests that Laurie turns his boss on because she seems turned off by him. This seems to hold true for Laurie, too. By the end of their London stay, Lance and Laurie have come to a better understanding of each other. Lance tries to tell her that, with talent of her own, she should not be jealous of Leslie. She tells him she has a book coming out, but it won’t be published under her own name. She explains further that she was an outgoing child and her parents didn’t understand that she needed as much attention as the introverted Leslie did. (Laurie has always felt she existed in Leslie’s shadow. Les is married to the man Laurie wanted, and is a successful concert artist, with the fame and recognition Laurie has tried so desperately to achieve. Laurie’s first book, a sexploitation novel, was a failure, and this new book is a novel based on Leslie’s nervous breakdown and recovery—something Leslie is trying to put behind her.) Gwen Sherman, now Sister Magdellen, will soon take her final vows, but still feels God holds her past against her, because nobody could possibly believe that a prostitute could be pure enough to become a nun. She finds her accidental meetings with Greg Foster (they were once in love) increasingly meaningful to her, and she begins to dream of Greg holding her in his arms. Finally, in torment and uncertainty, she tells the Reverend Mother she’s leaving the convent. But on the day of her release, Greg arrives with one of the convent orphans unconscious in his arms.The boy had fallen from a fence outside. When the boy, Ramon, who had not spoken a word since his arrival, comes to, asking for Sister Magdellen, Gwen sees this as a sign from God and accepts her vocation. She will take her final vows and then enter nurses’ training. Stay tuned... -
I was just about to compose a post where I mention this period AW reminds me of JFP's time on GL (1993-95) where it just reeked of cynicism and desperation. OR ATWT during Black and Stern. The common denominator is P&G. They allowed this stuff to go on. -
I think the first 4-5 years have many strong spots, some beautiful writing, and I didn't find it that hard to watch, but one of the main issues with the show for me - and this just gets worse - is many of the characters we are told to root for I find extremely unlikeable.
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I don't see the people who were brought into AW around 1986 as being that different from JFP, but I don't feel like going back and forth either.
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