OLTL: Discussion for the week November 17-21, 2008
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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. -
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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. -
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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By Contessa Donatella · Posted
Agree to disagree. I think they cared. I think at times fans underestimate both the creative types & the execs. Certainly there can be specific times & specific people when ego & hubris are huge issues. But, basically, and most of the time the people involved very much want things to work. I'm not saying you don't have your Brian Frons or even your JFPs & your Susan D. Lees. We know at the end Chris Goutman had lost his way. -
Pure bull, those scenes were.ere! The whole Liam story is going to end in disaster, just like Brad's other stories. -
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Joey and Vanessa's scenes are boring. Get Vanessa away from him. Anita and Eva scene was great too! Lots of good scenes in today's episode.
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I really hope the next steps with the show are building up/out family or story for both Mona and Shanice. Mona has always struck me as prime real estate for a proper family setup.
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