Jump to content

Y&R: Week of September 15, 2008


Recommended Posts

  • Replies 231
  • Created
  • Last Reply
  • Members

I remember catching Elizabeth Hendricksen in an episode of Cold Case once. She did not wow me. I mean, she wasn't bad, she just didn't stand out. I remember changing the channel after a while.

Well, I just saw Monday's US episde and EH brought it. It's more than just the camp, waspish wit and her total command of the character of Chloe (which she has exhibited up until now). It's the fact that this girl is at the top of her game. She was in a scene with five other people including Jeanne Cooper and Jess Walton and she completely dominated.

Chloe has done a really awful thing -- I felt bad for Cane because she has completely destroyed his happiness, his future. She has chained him to her for the next 18 years! And yet I felt completely sorry for her as she struggled to assert herself as a human being in the eyes of all these people who hate her guts. I believed her sudden tears of hurt when Lily pointed out that Chloe's actions made people wonder if she was fit to raise a child. And it's not because of CK. EH owned those scenes and made me root for her.

I don't like to bring on superlatives unless I really mean them. But watching EH was sort of like watching Maura West when she first appeared on ATWT in a way. We were meant to hate her, but MW blew a lot of people away. Well, I cannot hate Chloe and it is entirely due to EH's performance (and not any residual meh-ness about Lane).

P.S.: Rocco was pretty funny. And unexpectedly gentlemanly!

Link to comment
Share on other sites

  • Members

My favorite Jill was Deborah Adair, even though she was not a good fit to the history. (She was classy, sexy....one didn't have that "ex low income manicurist" vibe about her).

But it was plausible, after Jill's many years in the Chancellor shadow, that when she just started working at Jabot she'd class up. But Deborah won me with her (appropriate for the era), bitchy face, sultry voice, beauty. I could understand how John Abbott would fall for her. Like Gloria, she showed an attempt at sophistication...despite her noble upbringing.

When Brenda Dickson returned (though I had enjoyed her Jill) I had a hard time buying it. But they tried to class up Jill (Dickson, in an interview at the time, said Jill had become a "streetfighter in silk"), and I knew it was Adair's choice to leave. So, I just "re-processed" Jill as having won John on the basis of sexual wiles.

Anyway, Dickson's return and sexuality fueled one of the best arcs ever on the show (snowbound Jill has sex with Jack in a cabin; Lindsey Wells happens by and takes photos...the photos change hands several times over the ensuing years, but Jack and Jill play a chronic (and delicious) state of panic). So, the story carried me.

Walton was introduced at a time of great transition for Jill. Phillip (aged) was back, and there was the Nina story. Also, Walton was introduced when Jill was transforming homeless bum Romalotti into "Rex Sterling" to occupy Kay. So, the transition to an 'aged' and 'maternal' and 'single' Jill coincided with the re-cast, which made the change easier for me to take.

So, what you refer to "masculine voice" (she has been a heavy smoker and ex substance abuser) is part of a whole package of changes that took most of the sensuality and vulnereability and softness away from Jill. There was less of the feminine sophistication of Adair. There was none of the hip thrust "do me" moves of Dickson. And it worked!

The Jill we had now was the outcome of 20+ years of bitterness and loss and anger and rivalry. Her sensuality and youth were gone. She was frustrated. Guile had become normal for her (such contrast to her early, soft days in the early-mid seventies). Walton embodied a character who was nearly pure vinegar...whose defensive hardness was erected to protect her heart...and in the process, made her barrenly alone.

Under Walton, even a reunion with John didn't have much romance or passion. Jill soon was bearing John a child he did not want, and screwing the architect (Josh Taylor) who was coming to remodel. She had forgotten how to love or give herself.

I picture Walton's Jill as a woman who, in a different life, would be perched at the end of a bar, smoking wildly, who would quickly launch into all the bad hands life has dealt her. I don't find her "wooden/stiff", but "brittle/defended/hard/harsh/angry". I find her voice to be a growl that beautifully fits the anger that has now become her primary and core emotion.

For me, the fascinating arc for Jill would be to find love and trust...maybe not with a man, but with a friend or a grandchild. I'd love to see if Walton could soften up Jill.

Link to comment
Share on other sites

  • Members

I love this post! I can totally buy this opinion and fully accept it. But too me she is wooden and stiff, almost acidic, there is absolutely no subtlety in anything. And that has little to do — for me — with the way the character was transformed over the years. It just isn't good acting — or maybe it is? Maybe they just want her that way, I wouldn't know. I find it hard to believe in the amouns of unconditional love she receives from fans.

So... Contrary to you (of course; have we ever agreed on something? :D), I would like her to be a strong woman, a powerful female executive, someone with a dash of charm and sophistication. All that is badly missing in here.

BTW, what's Deborah doing these days?

Link to comment
Share on other sites

  • Members

^^I have a few Deborah Adair scenes from 1982 but I have no idea how to transfer DVD to comp and then to YouTube :(

My biggest problem with Dickson's Jill was that, after Dickson got ultra-glammed up, I sometimes found it hard to see what John ever saw in her.

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

  • Recently Browsing   0 members

    • No registered users viewing this page.



  • Recent Posts

    • Maybe it’s me, and the fact that RC isn’t at the helm, but since Cwikly and Ford have taken over I’ve noticed the show doing a lot of things differently directing wise, and since the storyline of John’s demise began, the show has been using different scores, and dare I say better ones than this time last year. It’s interesting and I wonder if the any of it is Noel Maxam’s influence before being promoted.
    • I think Nicole is about to figure out what's going on between Andre and Dani.
    • @Efulton thank you. I don't know how I missed it or didn't recall it.  I'll blame amnesia . Anyway @Errol Could the newer thread be merged to the existing? Thanks in advance.
    • I just finished watching and I have to admit, not once did I find myself wondering who wasn't there. Quick question for anyone who followed this better than I did: was it only Andrew who rescued Cat and John from Clyde, or was Shane involved too? The reactions during their scenes today felt a little off to me. I know it was meant to be vague, but I didn't find it strange that they already knew each other.  
    • Yeah, financially, Luna is in better shape than Deacon and Sheila.   -- Scott Clifton must have decided to chew the scenery in every scene of this "Liam is Dying" storyline. Yikes.  
    • If J.R. wasn't busy with Ewing Oil, he'd be a heckuva soap recapper. He was SO gleeful at recapping Jenna-Bobby-Pam when the trio and Mark encountered each other at the Oil Baron's Ball. That being said, Lucy, presumably Sue Ellen and maybe Ray should all know this story, or at least part of it. Lucy was definitely at Southfork during Jenna and Bobby's relationship, and I believe Sue Ellen was about to marry J.R. around the time Jenna jilted Bobby. (Ray might not have given a damn.)
    • Broadcasting Magazine (May 5, 1980) : Future US-Next TV : Free Download, Borrow, and Streaming : Internet Archive On page 48 there's an interview with Lee Rich about Lorimar's fortunes.
    • Broadcasting Magazine (May 5, 1980) : Future US-Next TV : Free Download, Borrow, and Streaming : Internet Archive From a May 1980 Broadcasting issue: Meredith Broadcasting in association with Alan Sloan Inc has committed itself to produce series of five half hours in soap opera form, "designed for youngers 11-14 and their parents." Programs, yet untitled, "will deal with problems teen-agers face in their relationships with peers and parents," with script topics reviewed in advance by teachers, psychologists and others. First episode is to air on Meredith's five TV's in September and ground broadcaster also anticipates syndication. If successful, idea is to go to full-fledged series. 
    • Broadcasting Magazine (May 5, 1980) : Future US-Next TV : Free Download, Borrow, and Streaming : Internet Archive Looking at an old Broadcast issue with a fall schedule preview. Their description of the show: Lorimar Productions turns its cameras "below the surface of a small, traditional, thriving college town still large controlled by its founders, the Millingtons." Plot elements include "nurtured dreams, closely-held desires, closeted shame and vital truths about friends and family." Lee Rich, Michael Filerman and David Jacobs are executive producers of the Roundelay production, in association with Lorimar.  They also mention the show in a small section about advertising's point of view.  Advertising agency reaction to the new fall line-ups announced by ABC and CBS last week varied. But upfront, some agency types were apprehensive that their advertisers might be turned off by some of the new "titillating" entries. "I'm concerned about the amount of permissiveness," said one executive, with CBS' Secrets of Midland Heights commonly mentioned as one possible offender.
    • I just saw this. Thanks for sharing. The classic Y&R thread may enjoy your posts. It was in very poor taste for Andy Cohen to blindside MTS with that type of question, but I'm not surprised as he's an awful person.
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Privacy Policy