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AMC: How did Broderick do?


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Not completely terrible, she had some great stuff, but stuff like Damon being Tad's pointless plot device child, giving Tad ANOTHER child he didn't need, all the while he barely acknowledges his daughter's was epic fail, and Adam's son Miguel that went nowhere-which was a blessing in itself.

It would have been great if she could have written Greenlee to actually grow from her experience of losing a year cause of the coma, but instead regressed her is another example of why I wasn't overall impressed with her writing.

I had hoped LB would improve upon things, but alot of it at times still had Pratt's stench all over it.

The one thing that was great during her run was Palmer's memorial.

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HA I guess I'm in the minority--I really liked her stint (yes even the Damon story). I do think that somewhere in the Brooke stuff it got pretty boring for a week or so, but then completely picked up again. I haven't enjoyed watching a soap day by day so much in prob a couple of years at least.

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Broderick did what she was hired to do, which was basically to be a place holder until D&D took the reigns. I think for a transitional writer, her good outweighed the bad, and much of the day to day writing hearkened back to the style of storytelling we don't see any more like drawn out scenes to name one, the second being strong women. (Though Anni did lose her brains there for a second or two, she could hold her own up against J.R.)

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It wasn't the stories, per se. Who knows how much was Pratt clean-up, Broderick-thinking, and D-and-D-prep; despite how much we speculate. What I enjoyed was the overall TONE. I felt like, for the first time in years, my AMC was back. And when I say in years, I'm saying perhaps since Broderick wrote the last time. The pacing recalled AMC when I was first watching; scenes and days ended with true will-they-or-won't-they suspense that had to do with story and not attention grabbers like Krystal madly backing out of a driveway while David runs after her with a WHOOOSH! sound effect.

I once again enjoyed scenes where two people sat and drank coffee! OK, so they didn't exactly sit and drink coffee, but what else were the little touches where Angie (deservedly or not) tells Brooke how much she admires her, Greenlee explains how much David means to her, and Damon tells Colby what it's been like for him. (Despite the ancient ADHD angle, this is the first teen storyline on this show in YEARS I actually care to see progress, mainly because there is a REASON behind why they are with each other and not just because Colby is the only other teen on the show. Love has to grow and be nurtured on soap opera; it's not, "Frankie loves Randi. Why?")

And I'll also go so far as to say the characters actually became literate in their dialogue and didn't just go around throwing slang words and bon mot while traipsing around ConFusion. Save a triflin here or there. ;-)

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Well said, I agree completely re the tone. I thought she did (mostly) a good job at giving characters proper motivation again, as well--even like Annie we really got a sense finally as to why she was so desperate to hold on to her position and scared of her own insanity, etc

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From what I saw, she probably did about what could be expected. Speaking as someone who thought her 90s AMC was heavily reliant on the producer at the time, I wasn't expecting a lot with Frons and hapless Carruthers around.

She seemed to lower the focus on Ryan, and to lower the focus on the sanctimonious Martins against evil David. And she patched JR together, while sidelining pointless characters like Randi and Scott and Marisa.

I know there were also some failures but I think others are probably better at verbalizing those.

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Given ABC Daytime's general opinion of black men, something tells me she wouldn't have had much of a chance to write for Frankie even if she wanted to. The same goes for D&D.

The last year of GL had one of the few interesting black male characters I can remember on daytime in recent years, Remy, so perhaps they might bring that to AMC, who knows.

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