It's a cute show but it's VERY light--it's kinda like those VH1 specials where they have tlaking heads say brief things about a subject. I sorta wish it delved into things deeper. Also the company that owns it owns the Canadian rights to all the soaps--EXCEPT OLTL and AMC which are on a different network here. So so far they had one segment on OLTL--and oddly made it on the music box killer storyline, couldnt' show any clips--and it was a waste. I see one of the future episodes is all about Erica--and I hope they manage to actually air clips. But certainly it would fit in well at SoapNet

Oh and thanks to your pic I take back some of what I said--he does resemble his pic a bit I guess lol

I hope I don't offend anybody, but I think Nelson is a bi-polar hack!

His opinions flip flop from week to week.....ATWT is good...then it's bad...then it's good again....

His OLTL opinions are even more erratic.....his column today gives props to OLTL, and Carlivati is once again a "Soap God". Yet his column from Monday and his MM interview from Wednesday damn OLTL as a pile of smelly garbage. Nelson is not a critic that I find reliable or consistent. Yes, he is entertaining as a gossip monger, but I wish he'd leave the critiques to more professional people.

Well it looks like he's changed again. But, IMHO, with good reason:

SOAP SYLLABUS

OLTL: Tarty’s romantic love story begins…

How was your weekend? Mine? It was just peachy! Why? After my One Life interview with RAINN, the anti-sexual assault organization set me up with college rape survivors, who rang me up all weekend with their disgust over One Life’s decision to pair Todd and Marty romantically. Good times, thanks a lot Ron Carlivati (maybe they should be calling the Emmy winner up instead of me). You try explaining this storyline to them…

Hearing their stories was difficult, to say the least. Worse was the fact that I had to set up One Life’s offensive and obscene storyline thread. Needless to say, this was the lowest point in my career (and trust me, in my gay journalism career, I’ve written some depressingly sad articles, but this one takes the cake). Soap Opera Weekly’s former editor, Mimi Torchin was infamous for screaming out in the office, “It’s bad — because it’s wrong,” and that’s how I feel about this story.

To prove my point, click here and here to see Todd and Marty’s first date. Afterwards, dare to look me in the eye and tell me what is currently airing isn’t patriarchal garbage. Only a rape survivor can challenge me on the fact that she or he would ever fall in love with their rapist. Find me one.

Well it looks like he's changed again. But, IMHO, with good reason:

I think Nelson takes things personally and allows that into his column way too often. I think that is why it flips back and forth. I also don't think he should be expected to sing a particular head writer's praise all the time.

I think the Todd and Marty story is offensive and I can understand why, after attending that type session, he would change his opinion. Dr. Jay once posted a thread discussing the story line and how he was concerned about iit. I agreed with his take on it and he was right.

As far as Malone, I still think he is a very good writer and one of OLTL's best writers. During Malone II, I thought the storm of change was excellent. He went south during the second year, but I still think that was outsider influence as much as anything. The Santis were just not consistent with the way he writes. It seemed like the Music Box Killer changed mid-stream.

Edited October 9, 200817 yr by Jess

I think Nelson takes things personally and allows that into his column way too often. I think that is why it flips back and forth. I also don't think he should be expected to sing a particular head writer's praise all the time.

I think the Todd and Marty story is offensive and I can understand why, after attending that type session, he would change his opinion. Dr. Jay once posted a thread discussing the story line and how he was concerned about iit. I agreed with his take on it and he was right.

As far as Malone, I still think he is a very good writer and one of OLTL's best writers. During Malone II, I thought the storm of change was excellent. He went south during the second year, but I still think that was outsider influence as much as anything. The Santis were just not consistent with the way he writes. It seemed like the Music Box Killer changed mid-stream.

For all the mistakes, Malone made he simply appeals to me more as a writer because I like stories that include messy social subjects. I'm a child of Norman Lear television. I'm not completely on board with everything Pratt is doing on AMC (Erica/Adam? Really? Why?) but using the war, bringing on Bianca and Reese, Jesse/Angie/Rebecca that has the potential to be really meaty stuff.

And you're right the Santis...*sigh* What a mess.

As for Nelson, I'm really glad he went to RAINN for feedback. During the Jessica/kiddie porn story OLTL did PSAs for RAINN. The irony there is fist-bitingly sad.

Edited October 9, 200817 yr by marceline

We all like Norman Lear. Malone 2004 was not Norman Lear.

What History of Violence twink? I can't remember an actor in both

Ashton Holmes.

In Malone's answers, I think he does his best to talk about what is happening on the screen, but leaves out a many key items to early literature that speak more to this storyline. most stories of romance and rape in past literature were apart of movements in exploring tragedy and insanity and were quite remarkable for their times. They were progressive in more way than what OLTL is now. But I get the idea that there is nothing new under the sun.

Nelson's work is more like mock-journalism and is quite similar to Michael Moore's mock- documentary style of reporting. He has something to say- he just can't interview himself every week- so he has to interview others, or involve industry connections to validate his opinions enough to be printable. He shouldn't be taken seriously- but his work calls into question those in power, and therefore his work doesn't bother me. Like Todd Manning, I find him entertaining but he's not someone I would ever want to get to know personally.

The fact that he changes his mind in some ways validate his opinion because it proves he's not a biased reporter. Emotionally shallow perhaps, but I'm pretty sure many CNN reporters fall under that same category. I don't see how anyone would buy stock in what he says, as much as read it and form their own opinion. And like many on these boards- I'm sure he wouldn't mind occasionally being proven wrong

The storm of change was all Josh Griffith. Malone only returned originally as a consultant but then became a head writer. The show when it was Grffith/Malone was not bad during the second run but just Malone was dreadful. I actually tuned out. People are missing the point of this storyline is they is not Marty/Todd falling in love. This storyline is Todd taking advantage of a memory erased Marty but once Marty finds out, WOWSA ALL HELL FREAKING BREAKS LOOSE. Then Tea comes into the picture and it should be good with all the history between all these parties.

The storm of change was all Josh Griffith. Malone only returned originally as a consultant but then became a head writer. The show when it was Grffith/Malone was not bad during the second run but just Malone was dreadful. I actually tuned out. People are missing the point of this storyline is they is not Marty/Todd falling in love. This storyline is Todd taking advantage of a memory erased Marty but once Marty finds out, WOWSA ALL HELL FREAKING BREAKS LOOSE. Then Tea comes into the picture and it should be good with all the history between all these parties.

No, I got that from the beginning- but how is this any different from Dena's plot driven story telling, it doesn't follow history and character development. I think the point of the story was very clear, but the results were not of any interest to many who enjoyed the two characters dynamics in the past. I think there are some pretty irrational things all characters on the show could be involved in that could produce similar results , where character driven storyline could be thrown out the window and would follow shock appeal and add to some amazing Emmy performances.---But I don't think that's what many want from their soaps.

From what I understand, Malone was only a consultant "in name only." You could tell very obviously when and how his type of writing was onscreen within the first several weeks. Particularly in the treatment of Joey, Jen, Flash, Andrew, Max, Antonio, and Jessica. Good intent, generally terrible conclusion. It was no surprise to anyone when he became first co-HW and then the only HW. It was just a matter of credits.

Which is not to say that he was untalented, or that Josh Griffith was not (though he clearly was not suited for Bell soaps). But they mangled their own work last time. There was a poetry and art to their writing in their original run which you only got vague, muddled hints of in the second tenure. It was like watching two great artists struggle to paint with their old glory while in the throes of Alzheimer's or dementia.

The Santis were pure Malone, I'm sorry to say. You could tell. Who but Malone would write that Antonio, his favorite character, was actually a "lost prince," the son of an 'evil king,' the druglord Manuel Santi? Who would resurrect the nickname he gave Antonio (El Leon) and use the hamhanded imagery and metaphor of his going up against Tico, who Malone told us was nicknamed El Tiburon (the shark)? Who would put the sinister Santis in his gothic castle, Lion's Heart? Who would have Tico rhapsodize about his obsession with Jessica, "you are like a wild bird I have caught?" It was like Tennessee Williams blended with Shakespeare and a case of Thunderbird and motor oil. A fun disaster to watch, but absolutely terrible.

Edited October 9, 200817 yr by Vee

We all like Norman Lear. Malone 2004 was not Norman Lear.

*hides* I don't. I don't think he's aged well. I still love Maude--which he was a producer for but didn't write (he did create the character on All in the Family) and I LOOOOVE Mary Hartman Mary Hartman--i was gonna start a thread on it-- which he again produced but again didn't do any writing for (soap writer Ann Marcus did most of the writing with sitcom writer Gail Parent). I think his tv work was VERY important, I appreciate all he did, and often it was very very funny. But his issue oriented shows often to a modern eye now seem like PSAs--more so than Malone's (I knwo some criticize him for that).

Trying to pinpoint Lear's major flaw (again from a modern perspective) -- a tendency toward preachiness. In small doses that was acceptable (and at least he was preaching a gospel -- liberalism -- that I believed in), but after a while it bogged down what was otherwise very sharply written comedy/dramedy. If Lear had simply preached by example the shows would have been more bearable, but he invariably had some smug know-it-all come out and give a speech. This is one reason I think his 90s spin off of All in the Family, 704 Hauser. It was too obvious for its time

"From what I understand, Malone was only a consultant "in name only." You could tell very obviously when and how his type of writing was onscreen within the first several weeks. Particularly in the treatment of Joey, Jen, Flash, Andrew, Max, Antonio, and Jessica. Good intent, generally terrible conclusion. It was no surprise to anyone when he became first co-HW and then the only HW. It was just a matter of credits."

I doubt that. Malone and Griffith are huge friends and have tons of respect for each other--I believe Griffith when Malone is consultant to him--and I think the early era showed that. The show really crumbled in March 2004 when Griffith left cuz of too much interference--Malone has never had much success writign soaps on his own--1996 on OLTL also shows this. However it's interesting that Malone still gets top credit for the second era--when the actual credits were Josh Griffith with Malone's name SECOND (that said even when they were paired up in the early 90s Griffith ws always right unde rMalone--on the same tier as the head wrtier--yuet most magazines and fans seem to forget he co wrote--apparantly much of the Todd stuff was his for example)

I'm not saying Malone muscled Griffith out. I'm saying he was always at least co-HW despite his credit. JG had to drag him back to daytime; originally Frons went for Griffith, who said he would only come back with Malone, and that's how MM got involved. He must've originally only wanted to be a "consultant," but well, as you can see by the results, it was awfully Malone-y from the start.

And the spring and summer of 2003 were as awful as anything in 2004. Mitchfest was unbelievable. Frankly the entire year was full of problems but that period was the worst due to Mitch's reign of terror and the ridiculous fantasy aspects with the diamond, etc.

Edited October 10, 200817 yr by Vee

Oh! sorry I completely misunderstood you. I agree with all that

Although I admit in some weird way I liekd all that gothic nonsense--not sayign I want it back but I at least watched every day unlike the EYARS under Higley...