Then Sylph should sit next to me.

And me. She's one of the most overrated scriptwriters on daytime television.

Sylph, why are you so allergic to Janice? The woman worked on Y&R from 1989 to 2007. It can't all be that bad.

But, dmarex, Megan McTavish wrote for AMC for, like, 12 years. Something like that. And what did she do? Destroy it beyond belief. Single-handedly.

Why do you like Janice? You or anyone else. If it's a well-argumented post, I might consider it.

ITA. GH's dialogue writers spin sows' ears into silk purses daily. The show is absolutely dependant on their script-writers to carry the show. They -- and not Guza/Pratt -- are the reason why GH won that Emmy for Best Show a few year's ago.

These people deserve all the praise they can get for turning Guza's sh!t into watchable stuff every single day. If it weren't for them, I would've abandoned GH a looooong time ago!

I wanted to know if opinion on Janice Ferri Esser was based on her abilities (or lack thereof) as a writer or as a person.

I'm not judging one way or another. I was just curious. Reading back on this thread, I can see it's a mixture of both. It was a redundant question anyway.

Yes, it is a mixture of both.

Edited May 23, 200817 yr by Sylph

Well, I definitely couldn't write a well-argumented post to defend Janice. I was only wondering why exactly you don't like her. Whatever happened on Y&R since the beginning to 2006 was mostly okay, and I never exactly thought or watched which writer wrote what... I didn't notice anything bad about Janice. That's why I wondered what part of her job you don't like.

The problem is soaps are not theatre! And they're not comic books (Hogan Sheffer)! What I want to hear is people in soaps talking like real people. Notice that I emphasised like because it is an illusion promoted by cr*ppy screenwriting books that your dialogue should actually be the way people talk in real life! Such an awful suggestion!

The dialogue has to be polished, no silly interruptions, pauses, sentences that go nowhere and make no sense, without ehm's, err's, ooh's and such, it should just flow. To quote a famous screenwriter: "To me, movie dialogue is what real people would say if they could take a few seconds to think between lines. It’s faster, more direct, with much less filler than normal speech."

That is what GH achieves very well. There's absolutely no one on that scriptwriting team I don't like.

The only thing related to dialogue soap operas and theatre share (partly!) is that they tell action (plot) through it! Dialogue advances action.

For Y&R, I prefer "soap opera dialogue" as in I don't really want "real people dialogue." Whenever I watch old school Y&R, I love hearing the "theatrical dialogue."

--------------------------------------------

Victor: "My point it is......That a gold digger like Brad Carleton is not going to walk away from a pot of gold....which he would've had if I fired him. Unless if there was an incentive, in the form of a beautiful lady, who he covets for many reasons....Now that lady couldn't have been you by any chance, could it?"

Nikki: "You know, you're building this case against me ---"

Victor: "DON'T YOU TAKE ME FOR A FOOL! I AM NOT A FOOL! AND DON'T YOU EVER TAKE ME FOR ONE! At least you could've had the decency to tell me that it was Brad Carleton that you went away with. Now you must know, I'm going to find out one way or the other."

Nikki: "Alright......Yes, I was traveling with Brad. I couldn't stand another night of feeling so alone, so if you want to blame someone, blame yourself!"

Victor: "You want me to blame myself for this kind of betrayal?"

Nikki: "I was sick and tired of being lonely, Victor, and I couldn't reach you."

Victor: "So you went to this Brad Carleton fellow as a substitute, isn't it?"

Nikki: "Well, I couldn't say that, he has been wonderful to me."

Victor: "Don't you simply understand that he is trying to find another way to screw me?"

Nikki: "Oh God! Of course this has nothing to do with me, it's all about you."

Victor: "What have you done to us?.........You had an affair with an obnoxious traitor. And don't you tell me that wasn't part of the arrangment FROM THE VERY BEGINNING! DON'T INSULT MY INTELLIGENCE ANY LONGER!"

Nikki (crying): "You don't understand any of this! God! He offered me a future, Victor. He offered me a life filled with love and romance and all those things that I didn't think were possible with you anymore."

Victor: "Let me tell you something.......There are no expectations for our future anymore and there never will be......you got that? Never. Because what you have done is unforgivable."

Victor throws something and then exits the house.

Nikki (still crying): "Oh God.........Victor......."

She runs after him.

Nikki: "Victor!......VICTOR!!!!!!"

She drops to her knees crying.

Nikki: "DON'T GO!!!!!!!! DON'T GOOOOOOO!!!!!!!!!

-----------------------------------

THAT is soapy goodness.

For Y&R, I prefer "soap opera dialogue" as in I don't really want "real people dialogue." Whenever I watch old school Y&R, I love hearing the "theatrical dialogue."

--------------------------------------------

Victor: "My point it is......That a gold digger like Brad Carleton is not going to walk away from a pot of gold....which he would've had if I fired him. Unless if there was an incentive, in the form of a beautiful lady, who he covets for many reasons....Now that lady couldn't have been you by any chance, could it?"

Nikki: "You know, you're building this case against me ---"

Victor: "DON'T YOU TAKE ME FOR A FOOL! I AM NOT A FOOL! AND DON'T YOU EVER TAKE ME FOR ONE! At least you could've had the decency to tell me that it was Brad Carleton that you went away with. Now you must know, I'm going to find out one way or the other."

Sylph, surely you cannot deny the SHEER entertainment value of this level of melodrama? Despite these grand moments, I never once found them as schlocky as B&B.

And me. She's one of the most overrated scriptwriters on daytime television.

I saw this post only now! How could I have missed it?! But it sure made my day.

Sylph, surely you cannot deny the SHEER entertainment value of this level of melodrama? Despite these grand moments, I never once found them as schlocky as B&B.

Irna Phillips taught Bill Bell to write dialogue for the RADIO audience (which is where she got her start). The drama had to be exagerrated for the listeners at home who were filling in the action with their imaginations (how's that for a lost art?). It used to be a scriptwriting rule at Y&R that within the first couple of lines of dialogue in every scene, the characters had to call each other by their given names. This isn't natural, of course, since almost no one does this in real life (..."you're looking lovely today, Nikki... why thank you, Victor....") but it helped the home viewer who was busy ironing or scrubbing floors or whatever to keep an "ear" on the action without having to sit down and watch frame by frame. Since Kay is editing scripts at B&B, it's possible you may be hearing some of that old-time melodrama returning...

Sylph, surely you cannot deny the SHEER entertainment value of this level of melodrama? Despite these grand moments, I never once found them as schlocky as B&B.

I cannot laugh at these things, Mark, anymore. Instead I get a mini-breakdown every time I hear or read something like this. It might make you and Toups laugh, but that doesn't make it any less cr*ppy.

And as for Janice, I remember a few of her B&B scripts. They were... Terrible. I just don't want to remember any of those lines and characters speaking outside character.

I cannot laugh at these things, Mark, anymore. Instead I get a mini-breakdown every time I hear or read something like this. It might make you and Toups laugh, but that doesn't make it any less cr*ppy.

Then give me the crappy dialogue since it's old school Y&R dialogue.

Irna Phillips taught Bill Bell to write dialogue for the RADIO audience (which is where she got her start). The drama had to be exagerrated for the listeners at home who were filling in the action with their imaginations (how's that for a lost art?). It used to be a scriptwriting rule at Y&R that within the first couple of lines of dialogue in every scene, the characters had to call each other by their given names. This isn't natural, of course, since almost no one does this in real life (..."you're looking lovely today, Nikki... why thank you, Victor....") but it helped the home viewer who was busy ironing or scrubbing floors or whatever to keep an "ear" on the action without having to sit down and watch frame by frame. Since Kay is editing scripts at B&B, it's possible you may be hearing some of that old-time melodrama returning...

I love the mentioning of names all the time!

Irna Phillips taught Bill Bell to write dialogue for the RADIO audience (which is where she got her start). The drama had to be exagerrated for the listeners at home who were filling in the action with their imaginations (how's that for a lost art?). It used to be a scriptwriting rule at Y&R that within the first couple of lines of dialogue in every scene, the characters had to call each other by their given names. This isn't natural, of course, since almost no one does this in real life (..."you're looking lovely today, Nikki... why thank you, Victor....") but it helped the home viewer who was busy ironing or scrubbing floors or whatever to keep an "ear" on the action without having to sit down and watch frame by frame. Since Kay is editing scripts at B&B, it's possible you may be hearing some of that old-time melodrama returning...

rain1, you have now gone from feeling unwelcomed a few days ago to being dearly loved...by me anyway.

Okay, so because you're clearly astute about AMC and Y&R (especially), what do YOU think about Y&R's dialog?

Do you think the LML-era modernization was a good thing? Do you think the trademark Bell sound is a good thing?

Me...when the dialog changed in the LML era I was OVERJOYED. It sounded great. I laughed. My show was modern! But then, as other problems set in, I came to realize that the good dialog was disguising much deeper structural problems. When Maria returned, and the pacing slowed, and phrases like "Just know...", or "You've got to know..." or "You're a woman who..." or "Let me look at my beautiful wife..." or "How's my favorite cousin..." started showing up again...it felt like...HOME. Comfort food. The sounds of familiarity.

What do YOU think? Which is better? Is there a happy medium?

Ummm...old school Y&R dialogue kicked ass. Sure it was theatrical, and at times melodramatic, but it sure as hell packed a WALLOP. Hell, at times it was almost Shakespearean. That's what made Y&R stand above the rest in the past, was its superior writing. No one can deny the sheer brilliance of the 1998 Jill crashes Katherine's party, to proclaim this mansion as hers, which of course was delivered exquisitely by Ms. Jess Walton. Even though GH dialogue seems more fresh and lifelike, I still think both soaps are (or in Y&R's case "was" but its slowly getting there again) masterful in that aspect.

Ummm...old school Y&R dialogue kicked ass. Sure it was theatrical, and at times melodramatic, but it sure as hell packed a WALLOP. Hell, at times it was almost Shakespearean. That's what made Y&R stand above the rest in the past, was its superior writing. No one can deny the sheer brilliance of the 1998 Jill crashes Katherine's party, to proclaim this mansion as hers, which of course was delivered exquisitely by Ms. Jess Walton. Even though GH dialogue seems more fresh and lifelike, I still think both soaps are (or in Y&R's case "was" but its slowly getting there again) masterful in that aspect.

A gift from me to you...

Jill: Why I'm so sorry... oh look at you all, you're acting like I'm mistreating some helpless old woman. Well that's because you don't know the facts, the fact is that this house that we are standing in is mine! Phillip died married to me! He died loving me! Alright, he loved her once, he did, but by the time I came into their lives she was a monster, he couldn't stand to be in the same room with her! She was a fallen down drunk and she wreaked of booze and her tongue would rip your head off. I gave him something that that man hadn't had in years, I gave him love, I gave him somebody to talk to and a little attention and yes, sex. Good, healthy sex with a sober, sweet smelling woman and it drove you so mad with jealousy that you killed him! Did you know that? Did you know that she killed Phillip by driving him off a cliff while she was drunk? Go on Katherine, tell us some more about your glorious times in this house with Phillip!

Katherine: This has really got to stop Jill!

Jill: It will stop! As soon as this house and these ground are mine as Phillip wanted them to be!

Katherine: Oh you are dreaming, oh God you are...

Jill: No I'm not! I have the evidence in black and white that Phillip wanted me to have this house! Look I'm sorry about this party, I couldn't think of any other way to do this...

Christine: You handled this exactly the way you wanted to.

Jill: Yes, because I have lived for over twenty years feeling dead inside because the only man who ever really loved me was taken away from me! Yes I wanted to hurt Katherine! She killed my Phillip! Woman! You took what was mine and I am taking it back!

Ummm...old school Y&R dialogue kicked ass. Sure it was theatrical, and at times melodramatic, but it sure as hell packed a WALLOP. Hell, at times it was almost Shakespearean. That's what made Y&R stand above the rest in the past, was its superior writing. No one can deny the sheer brilliance of the 1998 Jill crashes Katherine's party, to proclaim this mansion as hers, which of course was delivered exquisitely by Ms. Jess Walton. Even though GH dialogue seems more fresh and lifelike, I still think both soaps are (or in Y&R's case "was" but its slowly getting there again) masterful in that aspect.

I have this transcript I wrote from years ago (no dialogue, but you can infer it)...I'm talking late 80s/early 90s...where Kay reveals that Jill is simultaneously romancing Rex and John at a party....just amazing stuff. And it was ALL dialogue and acting, with brilliant staging and music. A set piece...intimate...maybe just four characters...in Kay's living room for 1/3 or 1/2 the episode. It was really all in the words.... I tried to capture some of the dialogue. (I was almost 20 years younger then...so forgive some of the hyperbole in my summary, too).

This story was, as I recall, AGES in the making. Buildup, buildup, buildup. But then, finally, it all came to explosion in these two episodes...so the buildup was worth it. Note that the story was all "secrets and lies". THAT is what melodrama is about!

I post the transcript here...it's long so you can skip it. Friday October 12, 1990 and Monday October 15, 1990. I wonder who wrote the episodes?

It was, as they might say, the show worth waiting for. Friday Oct. 12 (US) show, the beginning of the end for Jill & Rex, was MAHVELLOUS!

I'll recap the basics for those who missed it. Kay, initially despondent that John Abbott would not make it to her dinner party for Jill and sexy Rexy, bucked up when thinking about what would happen when Leanna saw Jill and Rex. Brock was giving Lee a tour of the Chancellor estate (she was very impressed), while Jill and Rex arrived. Jill and Kay traded barbs instantly. When Brock led Lee into the house, after telling Lee that Jill was the bride to be, and was marrying Mr. Rex Sterling ("guy must be brain damaged", she exclaimed), Lee was overwhelmed. Needless to say, Lee was astonished that Kay would throw such a party for her ex-husband. So, when coming into the house, Lee was astounded to see Roger Bingham with Jill. She was even more dumbfounded when he was announced as Rex Sterling. "I haven't we met before" she asked, near tears. Rex pretended to not to notice her. Jill sensed bizarre dynamics between the two, but couldn't comprehend (she was already ticked off because she had to go and change Esther's baby Kate's diapers--another story; Esther was refusing to serve this "wicked witch of the Midwest" hors d'oevres.)

Anyway, in the tense situation, Rex excused himself to "familiarize himself with the plumbing" (his words in mixed company--I swear). Lee tore out of the room, and followed him into the powder room (Esther saw this). In the powder room, Lee tore into Roger. She was aghast at his deceptions and betrayal ("I found out the old biddy you're involved with really is an old biddy"). Standing in the restroom, Leanna grew angrier and angrier. She realized that Jill must have encouraged Rex to play Roger Bingham to set her up for the INQUISITOR photo, to ruin her "I hate men" reputation and get the show cancelled.

Meanwhile, an annoyed Jill in the living room wondered out loud what was keeping Rex, and where was Leanna. A gloating Esther mumbled "The last time I saw them, they were going into the powder room--together." A livid Jill tore out of the room, as Katherine gave a "high five" sign of victory and appreciation to her maid. Brock just smiled.

Jill stood angrily outside the bathroom door "Rex," she hollered "What's going on in there?" Leanna flushed the toilet, and then she and Rex came out. Jill was utterly surprised. Kay and Brock, who had followed Jill in her flight out of the parlour, stood in the background.

Everyone filed back into the living room, passing Esther and her tray of champagne. "I'm not even going to try to explain this", Rex muttered. Back in the living room, Jill sequestered Rex. "You only saw her twice-- right? You only saw her at the studio and at the Colonnade Room, right? Why does it seem like there was more between you, Rex?" Rex tries to deflect--Leanna was understandably upset with Jill and Rex because she realized the magnitude to which she had been set up in the Roger Bingham caper. But Jill wasn't buying completely--she sensed more.

Rex quickly grabbed two more champagne glasses, one for himself and one for Jill. Lee took another drink for herself too (with all the liquor Esther was serving on her little tray, everyone was getting mighty pickled!) and went to commisserate with Kay. "Dear Leanna," Kay said, "I'm sorry you had to find out this way, but I couldn't figure out how to get everything out in the open. I didn't know how to tell you that your Roger was my Rex, and OUR Rex was planning to marry Jill Abbott". "It's enought to make you sick," Lee exclaimed. "Oh yes," Kay replied, "many times over!" In the midst of the tension, the doorbell rang. Esther ran to get it, and off camera she loudly called out "Oh, Mr. Abbott!!" Jill stiffened suddenly, with fear, as Kay's face reflected pure joy.

As John filed into the room, A plastic smile that was never to leave Jill's face came into place. Jill stood immobile, wondering how she could continue with her concealments. Kay was ecstatic. "Oh John, how wonderful to see you. Don't tell me I dragged you away from one of those ridiculous holiday cruises." Leanna, ignorant to this compnent of the fireworks said "Oh Mr. Abbott. How wonderful to see you." Rex concurred, and John took champagne from Esther.

"You know, Katherine, you're a sly one. I've been racking my brain about who this engagement party was for," John began. Rex smiled, beginning to feel a tribute coming on. "Katherine, you sly one! You and Rex have gotten back together! Congratulations". Rex stiffened with surprise. Seeing John standing so close to his future wife, was Rex beginning to sense how profoundly deceitful his relationship with her had become? So much for the update of this component.

This truly was the show worth waiting for. The Bells take ages to develop their stories, and things plod along for months. It is nice to see it all come to such a beautful explosion after all the buildup! I personally cannot wait for Monday's show. Will John find out? Will rex find out?

I personally want John to be kept in the dark here, because I think John and Jill could have a meaningful and sincere relationship. Jill is with Rex because of her old feud with Kay. Jill is with John because of rekindled love.

SET YOUR VCRs for MONDAY!!

It continued on Monday. Again long, so skip it. But I'm trapped in a memory reverie.

This is not an update of all of Monday's show--you know enough about that if I tell you that Paul convinced Lauren to work on her marriage and forget Sheila, and Lauren's phone call convinced Scott to stop kissing Sheila and meet his wife for dinner. You should also know that Lynne discussed her meeting with Drucilla with Paul, and Nathan proposed to Olivia (without a ring). Nathan came home dreading what sexy outfit Dru would have on, and was pleased to see her in wool slacks and a sweater.

On to the dinner party, which I recount in some detail.

We rejoin the action a few seconds before we left it on Friday. John proposes a toast to the "happy couple" he figured out--"To Rex and Kay, who have rediscovered each other". Jill is uncomfortable. Rex pulls Katherine to the side and asks what is going on. Kay professes surprise.

At another end of the room, Lee tells Brock she is confused. When she and Rex cross paths, Lee taunts "Roger," then calls him Rex. "I actually like the name Rex. It reminds me of a dog I once had, only he was loyal and faithful, totally devoted to one mistress." Lee asks Rex whom he is really going to marry--Jill or Kay. "I know--next we'll find out you're really going to marry Esther, and that you're the father of her baby".

Brock congratulates his Duchess--Kay tells him that this scenario has work out better than her wildest dreams. Elsewhere, Jill is deeply sipping champagne. Rex storms over--"What the hell is this about?" Why didn't Jill correct John? Jill tries to convince Rex that John is drunk, even though this is not apparent. "This used to happen all the time when we were married. He drinks on top of his medication..." Rex insists they set the record straight, but Jill refuses, saying that they cannot possibly embarrass John in front of all these people. "So we're just going to humour this guy?" an incredulous Rex asks.

John goes to tell Kay how pleased he is for Rex and her, and tells her that "while not for publication" he is considering the same thing with Jill. Kay begs "please, oh please John" that John announce this to the group tonight--it would so improve the party. John appears to consider.

Leanna tells Brock how much fun this all is. First, Roger turns out to be Rex. Then, John thinks Rex and Kay are remarrying. This must mean, Lee surmises, that Jill and John have been making hanky panky, and that is why Kay invited Mr. Abbott. Brock confirms this suspicion, and Lee cackles loudly across the room with delight.

John approaches his Jill. "I'm glad you came" Jill lies. John asks if Jill got his message, and she replies that she did not. John tells Jill that he wanted to persuade her to join him on his Caribbean cruise, and to marry him aboard the ship. A tearful, joyful Jill wastes no time: "Oh John, you can't know how long I've waited to hear this. Yes, oh yes!" A desparate Jill wants to leave right now, catch a plane to Miami right now. They can explain to everyone later.

His intended having accepted, John turns to the room to make an announcement. Jill is desparate to shut him up--she even clamps her hand before his mouth. Kay tenses with anticipation. "Everybody", John shouts, "Jill and I are leaving." Rex's face tenses with confusion. Jill is clearly ready to faint; she is giddy with weakness. "Another second marriage is about to happen. Jill and I are going to remarry." Rex's eyes open in astonishment. Leanna howls with ear-piercing cackles of glee. Kay applauds, her adrenaline practically boiling to the surface. Rex is incredulous--he is inching toward Jill.

Kay makes a beeline for the glowing John and his weak bride-t0-be. "Congratulations" Kay hisses. Jill cowers into John's side, as though wishing to hide. Kay is visibly thrilled, and notes Jill's apparent weakness. "Your bride is blushing", she laughs.

Rex will not be put off any longer. As Kay and Leanna distract John, Rex very roughly grabs Jill's arm (she squeals in pain) and drags her to the other end of the room. "What the hell is going on. This is bordering on the bizarre. You've got to correct this man. He is making an even bigger drunken ass of himself with his false assumptions." Jill is steadfast in her refusal to publicly embarrass her boss.

Jill tells Rex that she is going to quickly "run John home." As Jill tries to lead John out of the parlour, Rex stands in front of John, so close as to invade his "space bubble". "Listen, John", Rex begins, "Let me give you some friendly advice. Don't go. Katherine has what, 150 rooms. Sleep it off pal." John is instantly affronted. "You are way out of line", he retorts.

John moves to leave again, not even comprehending what Rex is insinuating. "We are going to drive to the airport, catch a plane to Miami. You are in our way."

Rex is louder, more insistent. "We both been had, pal. She's played us both for sucker." Jill leans agains the exit doors to the parlour, even more weakened. John turns around, livid. He is approaching violence. Rex says, "This was to be Jill and my engagement party." Kay, in the background, is failing at an attempt to suppress her glee. "Jill and I have been living together. We have been waiting for my divorce to become final".

John now looks a little stricken (I wondered if another cardiovascular complication might befall him). "Is this true?" He asks Jill.

Before Jill can answer, Rex muses out loud, looking at Jill. "Now I understand all the late hours".

Jill weeps audibly, pressing tighter into the doors.

John turns to Kay now, for confirmation. "I ask you, Katherine, whom was this party for." Kay, not doing well to manufacture sincere sympathy, steps forward. "In truth, this party was for both of you (John and Rex). I wanted to show you what kind of woman Jill really is!"

John now turns again to Jill. "For God's sake, aren't you going to explain?"

Jill tries. Her voice is barely a whisper. "Not here. Let me get you alone...." As John interrupts her, not willing to listen to her lies, Jill wails across the room at her nemesis: "Damn you, Katherine!"

John's eyes now bore more intensely into Jill. "I was stupid enough to think you had changed. I admired watching you grow professionally. I so enjoyed the rapport between us, the closeness. I actually fell in love with you. I see now what a fool I have been. You haven't changed-- you're worse than ever!" With that, John leaves. Jill is tear-stained.

The room is silent. Kay closes her eyes in enjoyment of her victory.

Jill is a survivor. She leaves the comfort of her door, and rushes to Rex's side. "I don't know what just happened," she begins, "I'm a little confused". Rex interrupts this feeble attempt. "Let's try a little honesty, " he shouts, his voice becoming more heated with every word, "For once in your miserable life!"

Jill is weak. The shrillness that usually characterizes her voice is dead. All that is left is a small, weak, hollow whisper. "Take me home", she begs.

Rex moves forward, makes to push her away. "Take yourself home". He leaves.

As Rex departs, Jill physically tumbles forward, but she does not fall. All remaining eyes are upon her. Katherine moves in for the kill. "Why Jill, if you're desparate enough, my chauffeur is available to take you home. I'll ring him if you wish."

"You're going to pay, Katherine" Jill utters, before walking slowly out the exit.

With that, Kay stands alone, glancing skyward. There has been a transition in her mood--Jill's profound despair has permeated everything. Katherine is elated, but there is no longer a quality of joy. In the end, this party had nothing to do with getting Rex back. It was a payback for 20 years of simmering hatred with her arch-rival (do these women know that one could not exist without the other?). Kay is savoring a malevolent enjoyment of the havoc she has wreaked.

This mood, a cold evil, has filtered to the remaining party guests. Brock removes his jacket. Leanna looks wilted; she walks toward Katherine.

"So, this is how the other half loves," she says ironically. "I'm rather sorry the party's over." Her wistfulness speaks volumes--the illusions of love and happiness are gone. The bitterness of two old enemies has once more turned everything to dust. (I wonder, if you HAVEN'T been watching 17-1/2 years like I have, if you can fully appreciate these last two days. These bitches have been ripping each other apart for all these years, with blowouts like this one about twice a decade. Their hatred is so palpable an entity you can feel it--even though the writers often disguise it with humour or irony. These women are killing one another over and over, and it is so perfect that their poor behavior drives everyone else away. They are lonely old crows--ultimately it is only their hatred for one another that keeps them going).

Responding to Lee's wistfulness about "the party being over," Katherine rubs a rose beneath her chin. She speaks now with the strength of a ruthless victor who has achieved her ends--"Yes, Leanna, the party is most definitely over." Does Leanna realize that Kay had it in for her too. Does Leanna realize that Katherine thinks she has dispatched Leanna Love fully from her life?

Bathed in the lights of her parlor, Kay glances outward, nowhere. She is almost humming with anger and victory and pain and joy. This is not the time to talk to her. Lee and Brock stand behind her, contemplating her actions as deeply as she contemplates her next step.

^^^Indeed. Just brilliance from the above. Things took a long time to progress, but when all was said and done, the result was absolutely marvellous. That dialogue, writing, staging, music, is what made Y&R so orgasmic in its heyday. The captivating acting was just the icing on the cake. These days, Y&R's dialogue is boardering on generic to downright humiliating at times.

Then give me the crappy dialogue since it's old school Y&R dialogue.

I love the mentioning of names all the time!

I'm considering going all brimike on all of you – Toups, Mark, MTSRocks.

Edited May 27, 200817 yr by Sylph