Tomlin/Whitesell would be a perfect fit at B&B. Perhaps Bennett or Broderick could acommpany them to B&B as well.

What bugged me most about Monday's air show was Jess Walton's Jill, especially the scenes in the hospital. Why she wasn't staring at Phillip the entire time during those scenes is beyond me, looking intensely at him, trying to determine if he was her son or not. It's pretty obvious the guy is. The actor is the same, he hasn't changed much, just aged some. But JW seemed to just sleepwalk through the whole set of scenes. She should have been an emotional wreck, or so shocked she's be shaking--something, but I just got nothing from her. As someone posted earlier, TC is saving this whole story. I felt her pain and anger. I saw her honest emotion. Even Jeanne Cooper was off the mark on this one. (Okay, I'll excuse it; she'd has yet another stroke [enough with that plot device, people!!!!!]) But this story is so far-fetched, it just doesn't work for Y&R. GH, yeah. The script was okay. Certainly not JEF's best, but it covered all the bases that needed covering. But what should have been riveting drama didn't materialize, I think as much to the directing and acting as anything.

That whole scene seemed off, and yes TC is the only saving grace, next to JC IMO. I thought it was odd that Jill's motivations changed from being pissed at Cane, to following Murphy and Kay to the hospital. She should have been back at the mansion confronting Phillip, thus not allowing him to leave.

Per Nikki Finke's DeadlineHollywoodDaily:

http://www.deadlinehollywooddaily.com/rip-judi-ann-mason/

R.I.P. Judi Ann Mason

The Writers Guild announced just now that TV/film writer and playwright Judi Ann Mason died last Wednesday of a ruptured aorta in Los Angeles. She was 54. The following comes from the WGA news release: Described as a "trailblazer", Mason joined the WGAW in 1975 and continued the legacy begun in 1953 by Helen Thompson, the Guild’s first African-American member. "As did Thompson, many fellow black and women writers over the years were inspired by Mason’s decades-spanning career in television, film, and on the stage. Writers Guild Award-winning writer Tina Andrews notes about Mason, 'So many of us are here as writers because she was there first willing to assist our journeys. I thank God I had her powerful shoulders to stand upon.'”

The Shreveport, Louisiana native and Grambling State University alumna began in theater and penned over 25 published and produced plays such as: Living Fat, for which she won the Kennedy Center’s Norman Lear Award for comedy writing at only age 19, and A Star Ain’t Nothin’ but a Hole in Heaven, garnering her the first Lorraine Hansberry Playwriting Award in 1977. She also became one of the youngest playwrights – of any race – ever to be produced Off-Broadway. Last fall, she served as inaugural national honorary chair of the First Southern Black Theatre Festival, held in Shreveport. In addition, she was lauded for her latest play Storm Stories: True Dramas of Hurricane Katrina.

She was also a successful television writer/producer. Her career in television began at barely 20 years old after being hired as a writer on the CBS hit Good Times by TV legend Norman Lear. Her other TV writing credits include writing or co-writing for primetime network shows such as A Different World (NBC), American Gothic (CBS), Beverly Hills 90210 (FOX), Sanford (NBC), and the Emmy-nominated series I’ll Fly Away (NBC). Her telefilm credits include Lifetime’s Sophie & the Moonhanger (teleplay by Sara Flanigan and Judi Ann Mason, story by Sara Flanigan). In addition, she wrote on daytime serials, as Head Writer for the Writers Development Program at Guiding Light (CBS), later becoming Associate Head Writer on Generations (NBC), the first soap about an African American family.

Mason’s screen credits include co-writing Sister Act 2: Back in the Habit (written by James Orr & Jim Cruickshank and Judi Ann Mason, based on characters created by Joseph Howard). In fact, before this unexpected tragedy, Mason was in the midst of working on her independent film scheduled to shoot in December called Motherland, about a college history instructor taking middle-class African American students to Africa. Mason also found time for academia, sharing her writing and producing knowledge as a visiting professor at such institutions as the University of Florida and the University of Louisville.

Very sad news indeed.

Can Lauralee write? She's doing that "Family Dinner" thing....

She's also writing "Family Dinner", huh?

I saw the first "webisode" and thought it was cringe-inducing. Love Phyllis Diller, love Aaron Lustig, love Lauralee - but the writing was so un-funny.

Per Nikki Finke's DeadlineHollywoodDaily:

http://www.deadlineh...judi-ann-mason/

R.I.P. Judi Ann Mason

The Writers Guild announced just now that TV/film writer and playwright Judi Ann Mason died last Wednesday of a ruptured aorta in Los Angeles. She was 54. The following comes from the WGA news release: Described as a "trailblazer", Mason joined the WGAW in 1975 and continued the legacy begun in 1953 by Helen Thompson, the Guild's first African-American member. "As did Thompson, many fellow black and women writers over the years were inspired by Mason's decades-spanning career in television, film, and on the stage. Writers Guild Award-winning writer Tina Andrews notes about Mason, 'So many of us are here as writers because she was there first willing to assist our journeys. I thank God I had her powerful shoulders to stand upon.'"

The Shreveport, Louisiana native and Grambling State University alumna began in theater and penned over 25 published and produced plays such as: Living Fat, for which she won the Kennedy Center's Norman Lear Award for comedy writing at only age 19, and A Star Ain't Nothin' but a Hole in Heaven, garnering her the first Lorraine Hansberry Playwriting Award in 1977. She also became one of the youngest playwrights – of any race – ever to be produced Off-Broadway. Last fall, she served as inaugural national honorary chair of the First Southern Black Theatre Festival, held in Shreveport. In addition, she was lauded for her latest play Storm Stories: True Dramas of Hurricane Katrina.

She was also a successful television writer/producer. Her career in television began at barely 20 years old after being hired as a writer on the CBS hit Good Times by TV legend Norman Lear. Her other TV writing credits include writing or co-writing for primetime network shows such as A Different World (NBC), American Gothic (CBS), Beverly Hills 90210 (FOX), Sanford (NBC), and the Emmy-nominated series I'll Fly Away (NBC). Her telefilm credits include Lifetime's Sophie & the Moonhanger (teleplay by Sara Flanigan and Judi Ann Mason, story by Sara Flanigan). In addition, she wrote on daytime serials, as Head Writer for the Writers Development Program at Guiding Light (CBS), later becoming Associate Head Writer on Generations (NBC), the first soap about an African American family.

Mason's screen credits include co-writing Sister Act 2: Back in the Habit (written by James Orr & Jim Cruickshank and Judi Ann Mason, based on characters created by Joseph Howard). In fact, before this unexpected tragedy, Mason was in the midst of working on her independent film scheduled to shoot in December called Motherland, about a college history instructor taking middle-class African American students to Africa. Mason also found time for academia, sharing her writing and producing knowledge as a visiting professor at such institutions as the University of Florida and the University of Louisville.

Very sad news indeed.

Oh, wow! Sorry to hear that! I was just thinking about how there are sooo many black female writers that could be used in Daytime right now. Some of which who have had an abundance of primetime success and probably won't grace the recycled world of Daytime television writing. But others who have -- such as Judi Ann Mason.

Scott Sickles wrote today's OLTL script.

What's up with AMC's Michelle Patrick? I think she's been MIA for more than a month.

Scott Sickles wrote today's OLTL script.

What's up with AMC's Michelle Patrick? I think she's been MIA for more than a month.

It's my understanding that Ms. Patrick doesn't write for "AMC" anymore.

Scott Sickles wrote today's OLTL script.

Interesting. I had no idea about this.

It's my understanding that Ms. Patrick doesn't write for "AMC" anymore.

I had no idea about this too. I wonder want went wrong.

It's my understanding that Ms. Patrick doesn't write for "AMC" anymore.

I was really hoping she wasn't gone. Now there's really nobody left on the AMC team from the good old days and their only black writer is gone. I wonder if she had issues with Pratt's writing for the Hubbards. The only reason I say that is because Patrick herself admitted that she was very vocal about the writing for black characters back in the 90s (Taylor and her mom Vivienne specifically) and that it earned her a bit of a reputation. And Pratt has completely destroyed the magic of the Hubbards IMO.

It must be hell for the AMC scriptwriters with only 4 of them having to do all the scripts and their own breakdowns.

I was really hoping she wasn't gone. Now there's really nobody left on the AMC team from the good old days and their only black writer is gone. I wonder if she had issues with Pratt's writing for the Hubbards. The only reason I say that is because Patrick herself admitted that she was very vocal about the writing for black characters back in the 90s (Taylor and her mom Vivienne specifically) and that it earned her a bit of a reputation. And Pratt has completely destroyed the magic of the Hubbards IMO.

It must be hell for the AMC scriptwriters with only 4 of them having to do all the scripts and their own breakdowns.

See, that's the thing. I think it's more work and less freedom. I don't get the writing process at AMC. At all! I don't understand how you exhaust a writer's creativity by having them write their own outlines and scripts week after week.

See, that's the thing. I think it's more work and less freedom. I don't get the writing process at AMC. At all! I don't understand how you exhaust a writer's creativity by having them write their own outlines and scripts week after week.

On the one hand I hope that Tracey Thomson doesn't start doing scripts again. I thought she was really bad. On the other hand the remaining 4 need some of the weight taken off their shoulders.

Maybe Pratt got the GL writer he wanted. Or maybe Lynsey Dufour is coming back *shudders*. She is one of Pratt's few friends on Facebook (as is James Harmon Brown...which is sadly not surprising at all).

Edited July 17, 200916 yr by LeClerc

On the one hand I hope that Tracey Thomson doesn't start doing scripts again. I thought she was really bad. On the other hand the remaining 4 need some of the weight taken off their shoulders.

She is one of Pratt's few friends on Facebook (as is James Harmon Brown...which is sadly not surprising at all).

LOL! They may be lousy writers, but that doesn't mean they both aren't nice guys and enjoy each other's company. LMAO!!!!!

Maybe Pratt got the GL writer he wanted. Or maybe Lynsey Dufour is coming back *shudders*. She is one of Pratt's few friends on Facebook (as is James Harmon Brown...which is sadly not surprising at all).

Facebook Rule #1: friending someone on "the 'book" doesn't automatically make them your BFF. Lynsey "We're gonna turn this show back around" Dufour may be using it as a networking tool, but Chuck Pratt may be "friending" Dufour to laugh at her ridiculous horse smile and awful posing for the camera, while remembering her cringeworthy, frat party dialogue.

Haha, bellcurve, exactly. As Sara Bibel posted as a status update shortly after she became Facebook friends with James Harmon Brown: "Nothing like getting a friend request from someone who fired you!"

Haha, bellcurve, exactly. As Sara Bibel posted as a status update shortly after she became Facebook friends with James Harmon Brown: "Nothing like getting a friend request from someone who fired you!"

LOL. That's funny.

I don't care too much for Sara Bibel these days, but at least she has a good sense of humor.

The Writers Guild announced just now that TV/film writer and playwright Judi Ann Mason died last Wednesday of a ruptured aorta in Los Angeles. She was 54. The following comes from the WGA news release: Described as a "trailblazer", Mason joined the WGAW in 1975 and continued the legacy begun in 1953 by Helen Thompson, the Guild’s first African-American member. "As did Thompson, many fellow black and women writers over the years were inspired by Mason’s decades-spanning career in television, film, and on the stage. Writers Guild Award-winning writer Tina Andrews notes about Mason, 'So many of us are here as writers because she was there first willing to assist our journeys. I thank God I had her powerful shoulders to stand upon.'”

Tina Andrews, who gave the quote about Mason, was the original Valerie Grant on "Days of our Lives."

Edited July 20, 200916 yr by dc11786