Hackiello's?

Win.

Palpitations.

Lauren Woodland (Brittany) on/near the set of Y&R today.

http://twitvid.com/2946B

I learned it from Michael Muhney's Twitter.

Maybe your wish will come true and she'll be back on the show.

So, bellcurve, how do you feel about Walton?

pre-YouTube, Walton's Jill was the only one I knew. I love watching clips of Brenda as Jill on YouTube, but the best thing for Bill Bell and the show to do was to allow the character to grow and while Dickson's diva behavior forced the recast, I feel like it was necessary for the maturity of the character.

Aside from that, Jess Walton is quite the sweetheart. And probably the only Y&R actor I'd want to be locked in with a room. And Kristoff too.

Michael Fairman didn't ask one critical question. How sad. Not one. Even Bill Bell, Doug Marland or Agnes Nixon make mistakes.

http://michaelfairmansoaps.com/2010/the-young-and-the-restless/the-maria-arena-bell-and-paul-rauch-interview-the-young-and-the-restless/

There were a few things I noticed immediately that seemed wrong to me or did not feel right. One of those was Jill and Katherine relating as mother and daughter. That was something that immediately felt false to me, and because I did not believe it, I kept thinking in my heart, “I just know they are not mother and daughter.” And that was how that storyline was born, because watching them together felt false. I had watched all of the 80’s with the two of them fighting viciously and the 90’s, too.

Then why don't you write them fighting as they did during the 80s and 90s. Due to Phillip, Cane, Billy, etc. they have plenty reason. Their relationship now seems more about being pals (who make up) and that overall mother-daughter connection.

It all comes from the writing. Maria has the whole show in her head and in her hands, and it comes through every single week. My job is to get the performances from the actors, get the nuances from the actors, realize the subtext, and give the writers back what they have given to me in large measure.

Good to know you have a little pre-rush checklist. Now get that shyt done. Dayum. Everything he listed he's failed on. No subtext, writing sucks, acting is flat and the show looks like catshyt.

I am there, and I am in the control room all the time, and Maria is here in her office. We communicate. If she does not like something, she will let me know, or if I don’t like something I will let her know, and we take care of. It’s good synergy.

Clearly you're wasting your time.

I remember I was here when we cast Shemar, and the role of Drucilla. I was working for Bill then. I remembered how those characters really popped.

You witnessed the introduction of two of the greatest black characters ever and you write so poorly for them?

MARIA:

We have been really in sync, such as the character of Daisy. When Yvonne Zima came in to read for that role, it was like, “Wow, did she pop!” She made us go, “Oh, my gosh. She is fantastic!” You just feel it…. that everything we have talked about in regards to that character, and then that person walks in, you know it. It was also true of Darius.

PAUL:

The Darius McCray audition was one of the greatest the network had seen in 20 years.

Crack is whack. Retire. And if Darius popped so much, why isn't he propped like Michael Muhney who joined the show and instantly appears in more episodes than any male character? Billy Miller? Everyone else who is white? Why do black people like Olivia and Malcolm return and get marginalized if they're so great. He appeared in FOUR episodes during his first month back.

Do you read the message boards?

MARIA:

I do, of course. And so does my writing team, and Paul does.

Bullshyt.

Sad. Bill Bell's show... Sad.

Crack is whack. Retire. And if Darius popped so much, why isn't he propped like Michael Muhney who joined the show and instantly appears in more episodes than any male character? Billy Miller? Everyone else who is white? Why do black people like Olivia and Malcolm return and get marginalized if they're so great. He appeared in FOUR episodes during his first month back.

Amen.

I think he can play this edgy, creative, young maverick that Malcolm should be.

He makes great sandwiches.

MARIA:

We have been really in sync, such as the character of Daisy. When Yvonne Zima came in to read for that role, it was like, “Wow, did she pop!” She made us go, “Oh, my gosh. She is fantastic!”

:lol: :lol: :lol:

For instance, the fans love seeing Lauren and Michael together. They are a couple people absolutely love. So if you are going to tell a story with them, the jeopardy needs to be external and about something else. They do not want to see them fighting or having marital problems, because that is a couple they can believe in.

UGH.

PAUL:

Everyone would say and agree that the show has maintained its integrity and become more streamlined. I think this show kind of rocks right now.

...Seriously?

But I think as much as those relationships, it’s the family and friend relationships that are just as crucial. I think that intense rivalry between Jack and Victor, and that incredible friendship between Victor and Katherine, and the links that she had to John Abbott and how that translates to Jack, if you really examine it. It’s all these relationships that are pivotal. It’s the families on the show. I think that is something that is at the core of storytelling in the genre: their histories and their rivalries and their alliances. One shining example of that was recently within the Victor and Jack rivalry, and then the Abbots facing that difficult decision of Colleen’s heart, and giving an absolute beloved child of that family to someone who has been their sworn enemy in many ways. It really showed how those rivalries change and morph and are still there, and it sets up these incredibly strong dilemmas.

Ew.

Edited February 10, 201015 yr by DeeeDee

Crack is whack. Retire. And if Darius popped so much, why isn't he propped like Michael Muhney who joined the show and instantly appears in more episodes than any male character? Billy Miller? Everyone else who is white? Why do black people like Olivia and Malcolm return and get marginalized if they're so great. He appeared in FOUR episodes during his first month back.

Oh, please. Did you really expect him to tell the truth? This is just a bullsh!t interview full of [!@#$%^&*]. They're just... Talking. Nonsense. Everything that crosses their mind. And of course, since their egos are sizable, they're going to talk how the writing is great, how production values are superb and haven't dropped in quality, how they're really in sync, blah, blah. Just classic sh!t stuff.

:lol: :lol: :lol:

:lol:

Oh, please. Did you really expect him to tell the truth? This is just a bullsh!t interview full of [!@#$%^&*]. They're just... Talking. Nonsense. Everything that crosses their mind. And of course, since their egos are sizable, they're going to talk how the writing is great, how production values are superb and haven't dropped in quality, how they're really in sync, blah, blah. Just classic sh!t stuff.

Exactly.

I also love the flavour of fakeness, that inescapable feeling of how someone is talking... Better not say what... For example:

I am constantly going, "Wow, this is fantastic. This is better than my draft."

Don't you just sense the flood of unhealthy enthusiasm, a kind of logorrhoea: OMG, I am so overwhelmed with the gorgeousness of my writing! OMG! I'm, like, I'm fabulous!

:lol:

Edited February 10, 201015 yr by Sylph

I couldn't make it through the whole article. I didn't even see that quote about Colleen. It's ridiculous. They have no shame if they are bringing up Victor getting her heart. And do you notice they put NO burden on Victor or his behavior, it's all about the sacrifice the Abbotts made? Who cares if Victor screws them over.

They must be getting bad feedback on Daisy to justify her the way they did, without being prompted. The only thing that "pops" with her is the blood vessels of viewers who are traumatized by the overbite.

Paul Rauch stamp?

Weak women.

Whites only.

Crappy production values.

Yes, it's the stamp of approval.

MARIA:

We have been really in sync, such as the character of Daisy. When Yvonne Zima came in to read for that role, it was like, “Wow, did she pop!” She made us go, “Oh, my gosh. She is fantastic!”

"Dammit, I told you not to watch Y&R unless you got that caffeine IV. WAKE UP! WAKE UP!!"

I loved the beginning:

When I came back it was during the strike, and it was fairly sudden that I stepped in. The only way of storytelling that I really knew was what I learned from Bill Bell, when I was here before and when I was at B&B. It was all about these character driven stories and rich characters. The minute I got here, it was those characters I knew as a fan and loved, that were brought to the forefront again because I knew the value of those characters and the history of them. I knew by mining the history and really building story out of character that it was really going to be successful for the show, because that is how this show has always been done.

1. If you know only one way to tell a story... Then you need to burn your diploma! And go back to creative writing classes! It really had no purpose then.

2. Notice the exaggerated use of demonstrative pronouns: these, those, that... It really tells a lot. She has no idea what she is talking about. Absolutely no clue.

3. If she can't even write her own interview, make it flow and have coherence, it's really stupid to hope she can write number 1 daytime drama. Just ridiculous. This interview – her answers – is really badly put together. Baaadly.

Edited February 10, 201015 yr by Sylph

I think it’s still a viable genre and still unique, and what we do here at Y&R sort of defies the odds; in that we led the year in every demographic, and primarily winning the youngest demographic, which is the most volatile. Look, I think it’s a totally viable art form, and it’s totally unique, and it’s the only art form where you get into these characters to the extent you can. Where else can you have this epic storytelling unless you are reading a Dickens novel?