Jump to content

B&B: January Discussion Thread


Recommended Posts

  • Replies 123
  • Created
  • Last Reply
  • Members

Sylph speaks so much truth here...

When Brad tries to tell slow-building stories, it usually borders on repetition of the same scenes and dialogue.

Brad can tell good, contemporary stories without dragging things on forever and hitting the appropriate story beats. He just gets lazy and bored.

We see these flashes of brilliance in Brad(Storm's death, Ashley/Ridge, the Erica Lovejoy Story), but I agree that he is lazy. I think he opts for safe because he doesn't want to sit down and think, "Longterm story projection." I think he's okay with making it up as he goes along because he thinks people won't know the difference. It's painfully obvious which stories he devotes attention to over the ones he just makes up out of thin air with no clear plan.

Exactly.

What was so interesting about people like Bill Bell and Agnes and the like were that they plucked people who had never worked in television before, but wanted to write for soaps. And if thought to have talent, they trained them, told them what they liked/didn't like, and worked with them. People think that's such a dangerous concept, but it's really not.

But in this day and age, it's simply not enough to want to write because you believe in the art of it. It's all about cheap work for a hefty check and residuals so you can retire early. That depresses the hell out of me, because daytime used to be such an intimate genre.

And you think Mulcahey was a safe choice. I think he was the right choice and still believe he is. He's their strongest scriptwriter and he has great instincts. Anyone can read his interviews and see that. I don't see Patrick as being "safe" simply because he has experience. I don't think Patrick is afraid to push boundaries or buttons or is afraid the audience will take his brilliance for granted. The problem is Brad and almost everyone else surrounded by him on his writing team. People like Jack Smith and Kay Alden, with all due respect, may have experience but they are played out. If Kay is good at editing dialogue, the show shouldn't SOUND this generic and bad. Tracey can write a good show every now and again(amid the four shows she writes every week), but she is basically the filler girl, not the "money shot" writer. That's simply unacceptable and it's no wonder why her work(along with almost everyone else's) is so...to be polite...consistent. EVERY scriptwriter on a writing staff should be the "money shot" writer. It shouldn't be "Patrick writes the Emmy show." Everyone should work towards writing Emmy material every day. And if you're burned out, then go into early retirement or over to Y&R where lazy, unimaginative dialogue writers are appreciated.

I absolutely agree. This moment should have been built up for months before this moment. It comes off as incredibly false and unearned. We don't know anything about adult Hope, so why should we care?

Brad misses these important beats when he is developing the story. He thinks that if viewers are presented a situation, that they will laugh, cry, and wait at anything he throws their way. They teach you in any basic writing class that you have to earn it. And not just the payoff and conclusion, but why characters feel the way they do, think the way they do, right down to the job titles they hold.

That is the biggest problem with B&B. Brad writes moments and events, but none of them have weight because he didn't do the work to earn them.

Link to comment
Share on other sites

  • Members

I liked the way Kim played out the reveal of her conception. She's a fine actress with the potential to grow and completely get the hang of acting in soaps. I saw her on a web series, Pink, and she was just grand. So I know she can bring it.

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

    • Looks like they never removed it as it is still there as of this reply.
    • In a way, it's a shame that Lynne Adams decided to leave the show when she did, because I think Mike and Leslie were positioned very well to become GL's tentpole couple.
    • Correct. Lynne Adams (Leslie) decided she wanted to leave the show, as Leslie hadn't been given much to do since Adams returned as Leslie in 1973 (and now everyone can witness her first scene returning as Leslie in 1973 on YT - unreal) I don't think the Dobsons tried to stop that from happening, as I think they wanted Mike single again. I agree, @DeeVee - they should have let Mike and Leslie have a child together. I wonder it they thought it would be too strange to have two siblings that could also be cousins 

      Please register in order to view this content

      . As far as Ed and Holly go, at least they allowed Ed to show up at the end of TGL and take Holly on a "trip around the world". IMHO, I don't think Peter Simon had as much chemistry with Maureen Garrett as Mart Hulswit had, but I'm glad the show gave them a final scene together.
    • IF this gets a renewal I can't see LY sticking around    
    • Well, I'm glad to know Devane and I are on the same wavelength, lol.  But seriously.  I don't believe there's any other word to describe the machinations that the producers constructed in the name of keeping Greg and Paige apart.  Greg and Paige made Sam and Diane look mature by comparison! Which would have been just as well, since a character like Greg Sumner didn't really belong in the '90's, as the storyline with the task force proved only too well.  If KL had returned for another season, it would've needed a MASSIVE overhaul, including ditching Greg, Paige, Claudia and Anne.  Mack and Karen would've needed to be there for the sake of continuity; and maybe some mileage could've been gained from exploring Gary's new life as a widowed single father.  (I still would've loved to bring back Julie Harris and have Lilimae help Gary take care of the twins).  Otherwise, it would've been a new era for KL, one without The Sumner Group, or stories like Wolfbridge and Empire Valley.
    • This is "Last Call" for anyone who wants to download a copy of any of these Award show files. Daytime Emmys, Full Episodes: 1982, .. 1985, 1986, 1987, 1988, 1989, .. 1991, 1992, 1993, 1994, 1995 Daytime Emmys, Extras or Partials: 1990 1998 SOD Awards
    • What he said. 

      Please register in order to view this content

    • Didn't she know when she involved him in her scheme, before the character was introduced? I thought she tracked down Janice's son and poisoned his mind against Rachel in order to get him on board.  It's a bit confusing because in the summer of 1988 we get a lot of Drew Marsten (whom I had forgotten was Nicole's ex) and mentions of a mysterious Countess and also Reginald working to undermine Cory. Drew disappears around the same time Evan arrives, and gradually we get the reveals that he is in cahoots with Iris, Janice's son, etc. 
    • I apply totally different standards. For Felicia & anyone else in Bay City it's reel as opposed to out here in the universe where it's real.  
×
×
  • Create New...

Important Information

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