There was even rumors of them having an affair before her relationship with Block.

Cady McClain allegedly had an affair with Christopher Goutman? Cady, honey, Grandma Kate Martin might have to pull you aside, serve you some cookies and lemonade, and then give you the business.

Another review from October 2000-a lotta Hogan love here.

Head writer Hogan Sheffer's work is so great, his command of story so solid, that I am reluctant to dissect the stories into the usual components for critiquing. Sheffer is intersecting characters and stories in ways big and small, so my impulse is to look at ATWT as one big story, one community held together by the loves, schemes, antagonisms, and machinations of the characters that populate Oakdale. That's what we, for what seems like forever, have been begging for – a show with stories told against a background of family, friendship, and community. That's a real soap opera, folks, and that is what ATWT is today. Real. Compelling. Excellent. Populated with unique characters who have dimension and personality.

The show seems reborn, and not just in the writing. There are new sets, including the jazzy and modern-looking police station that the camera weaves in and around. The music, always excellent, now has the chance to truly ride the twists and turns of the story, heightening the emotional richness of some scenes, strengthening the tension of others. The actors, finally handed material that matches their talent, seem rejuvenated. Acting talent alone has carried ATWT the past year, the cast proving time and again they can turn crap into almost entertaining drama. Now, with story evolving from character and character motivation, the actors are free to delve into whom they portray and bring nuance and shading to their work. Tom Eplin, Maura West, Benjamen Hendrickson, Teri Conn, Paul Korver, Annie Parisse, Cassandra Creech, Paul Taylor, and Jon Hensley have all benefited from added or new dimension(s) to their characters, thereby allowing them to bring new facets to their performances and sometimes a new "take" on the character.

ATWT under Sheffer now has foundation, story structure, and closure. If the foundation of a story isn't there, it's put there retroactively. Nothing seems to fall through the cracks. The show is propelled not only by story, but by an assuredness that can only come when a writer knows what is going to happen in the future. I don't yet get the feeling Sheffer is plotting more than a few months in advance, but I do feel with some certainty that Sheffer knows what is going to happen with every storyline and with each character. There is not one story that seems to lack direction, that has that "made up as it goes along" sloppiness that defined Leah Laiman's tenure. The fact that a daily episode is so well thought out reinforces this. For example, Monday's episode had a recurring theme: Fear. Molly feared the phone calls and ghosts from the past. Julia feared for her marriage. Lily and Holden each silently feared for their marriage. And Rose feared walking into an uncertain future alone.

Sheffer also uses the old soap standbys that we love, such as staging the story against the backdrop of a party (the Endicott Awards or Craig's upcoming Halloween party). But the party isn't the story, or a substitute for a lack of story. (As a contrast, recall, if you can force yourself, Barbara and Carly's fashion show, or the 2000 New Years Eve shindig at Java Underground). With Sheffer, story and character are everything. And it shows. And I'm loving it!

Okay, I admit it: Sheffer has the talent to stretch one conversation over four or five scenes. Generally, I hate that approach to soap storytelling, feeling it's a cheap and easy way to fill out an episode. But Sheffer doesn't rely totally on the format, nor does he use it as a padding device. He mixes those scene-stretched conversations with other scenes that move and culminate during the episode. Sheffer also does it by making sure that, for scene-stretched conversations, the dialogue is especially strong. He also does it by making sure something new – a character motivation, or a plot point, or a new component of story – is inserted in every scene so the characters aren't just rehashing the same dialogue or plot point.

Sheffer contrasts his one-conversation scenes extended over an episode with just as many scenes that run several minutes long. A conversation will evolve into a new topic, or change course entirely. (Example: Rose, Joe, and Nancy's dinner on Friday) One reason is that overall, the characters have become smarter, which by normal extension requires more talk and interaction. For example, Craig did not just accept Carly's return and proclamations of loyalty. He's as cautious of her motivations as ever, which the writers took the time to show. Here's another example which contrasts the change in writing styles: I always thought Emily accepted Chris at The Intruder and into her life, along with his motivations, a little too quickly. An overheard argument between Tom and Chris in one scene, an angry outburst from Chris in another, and Emily was convinced – hook, line and sinker. Not a chance! Our Em, cold, suspicious, calculating – that's why we love her! -- would have had her antenna up, looking for an ulterior motive. Contrast that with Emily's reaction on Wednesday to Henry's ideas about revamping The Intruder. They were good ideas, great ideas even, and Emily responded well to them. And then she got up, threw every idea back in Henry's face, and walked out. True to character. Writing that did not take the easy way out.

The writers are now using multiple topics of conversation in a scene, something rarely done in the past. These longer scenes give the characters a chance to really interact and give the show a solidity that makes the viewer pay attention. With lesser writing talent, the temptation as a scene stretched along would be to turn away. Sheffer and the writers won't allow that. The scenes always have a purpose, whether it is an emotional turning point (Rose and her father trying to reconnect) or a dramatic plot development (Bryant trying to get Jennifer to have sex, his hand moving again and again toward the waistband of her slacks). You can really see the difference in substance and style if you tune into an episode of another soap such as Days of our Lives or One Life to Live where many scenes last about 30 seconds or have exchanges that involve no more than five or six sentences. ATWT is providing, by and large, sophisticated writing aimed at intelligent viewers. Holden's post-coital soliloquy on Friday was beautifully written, as were the long, understated scenes between he and Lily that followed. You find yourself hanging on to the words, becoming as entwined in the conversation AND the relationship as the particpants.

I have yet to watch one throwaway or filler scene since Sheffer took over as head writer. The scene on Monday between Molly, Carly, and Abigail where they huddled on the couch screaming in fear because of the lightening rang as true as a new church bell on its first pull in the tower. It was funny. Humor derived from character and story always is. It showed the bond between the characters involved and it reinforced each scene that preceded it. It helped tremendously that the actresses involved all looked like they were having a blast. Their screams and giggles put a big smile on my face.

The closest to throwaway scenes (or story) that I've witnessed is Molly's dreams with the red door and the screaming that apparently is tied to the ghost or presence of Vicky (or something that has yet to be explained). I admit I'm a little leery of this story. So apparently is Sheffer, who in a recent TV Guide interview with Michael Logan stated that he "hates" ghost stories and will never write another one. So I can only surmise that Sheffer was forced to write the upcoming story involving Jake/Molly and Vicky's "presence." It stands in stark contrast to the very realistic colors Sheffer has so painstakingly used to repaint the basic foundation of the show. For the most part, Sheffer is trying to eliminate gimmicky storytelling. Suddenly here's a gimmick (ghost, forcefield, whatever) forced upon him (I'm assuming) and us. So my strong, loud advice to Proctor & Gamble, or CBS, or whomever issued the mandate for this story is: "Leave Sheffer alone! Let him write and tell the stories he wants to tell! Butt out!" Having had my tantrum, I will go on record as being nonetheless open to this storyline, reservations so noted. Jensen Buchanan is a great actress and will be a nice, if temporary addition to ATWT. If anybody can make the story work, can make it real, can make it emotional, it's Hogan Sheffer. Go for it.

Sheffer is not just wasting screentime. While simultaneously setting up and unfolding storylines, he is working on characters. Some characters need redefining (e.g., Molly, Carly, Emily, Jake, Lily, Holden, Hal, Barbara, Julia). Others were never defined, or never defined beyond one dimension under Laiman and tehrefore need an identity (e.g., Henry, Katie, Simon, Isaac).

I can easily block out the Craig of the past when presented with the current incarnation! Sheffer has given Oakdale a true power mogul in Craig Montgomery, and he is wisely sticking Craig's finger into every storyline pie. Craig's power and charisma are there on the written page, but they are also there in Hunt Block's cocky, preening performances. Block is just fantastic, the epitome of handsome swagger and assuredness. He's a player who can play and, as written by Sheffer, he's a successful player, perhaps to become one of those daytime characters allowed to swindle and steal and manipulate their way to success without paying the price -- at least not initially. And that's fine, because for a character to be *viewed* and *accepted* as powerful, they must first be seen wielding that power and accomplishing goals.

Craig is also being utilized to tie and unite a great part of the cast while also serving to intersect various stories. Again, Sheffer is taking the time to get everything set up, to line up all the dominos so that they can begin to tip and fall, begetting new story. I'm glad Sheffer is not hurrying himself, though the temptation must be there to do a quick set-up. Yes, let him take his own sweet time, because little or no foundation and set-up have sabotaged many a good story.

One of Sheffer's most amazing accomplishments has been to make me look at Katie anew. Katie has always been expendable in my book. But Sheffer has provided such insight into Katie's character (through her interactions with Craig) that now I am beginning to find the character interesting. Katie's restless ambition, combined with her temper tantrums and overwhelming need to be the center of attention, have all helped turn a Barbie doll into a real life, breathing human being. Teri Conn's performances have become sharper, too, as she has been given something of substance to bite into.

Lily's attempt to make spaghetti with Luke wasn't just cutesy and corny, though it admittedly was a little of both. It also underscored Lily's journey toward self-discovery. Right now Lily is still lost in her own environment (Oakdale, her home, her marriage) and so she finds herself trying to be someone she's not (as shown in the scenes with Luke in Emma's kitchen). That's why she could make love with Holden on Friday, but then balk at them reconciling. Things are still too out of whack for Lily. The ground on which her marriage sits is still too shaky, even though it pains her to watch Holden almost punch a whole in the wall in frustration.

Meanwhile, Rose is searching for her own identity and a place to belong. Both sisters are discombobulated, yet Sheffer has cunningly chosen to put Rose on the surer footing, implying perhaps that it is better to have a future unknown than have an unknown future because your past wasn't as secure or solid as you thought. Sheffer has also highlighted one of the internal conflicts in Rose. She wants her due, as she perceives it: money and the good life. Rose made that very clear on Friday over dinner with Joe and Nancy. Yet she also wants a husband, a home, and love. What pulls her the most, or how Rose will try to satisfy all her desires, looks to be the driving force of the story.

By the way, did you notice on Monday that Rose finally got her diamond? True, it wasn't the large, multi-million dollar rock that sank to the bottom of the ocean with Celia. But the look on Rose's face as she looked at her Mother's ring with the diamond you'd "need a magnifying glass to see" indicated she thought it priceless. When was the last time a writer provided such attention to detail, such insight, such wonderful texture and beautiful irony to story? That's the Sheffer difference and what makes watching ATWT such an absolute joy.

There are many examples of Sheffer's wonderful tinkering with character and I'll examine a few. Sheffer has started the process of defining Simon, as evidenced on Friday in his scenes with Lucinda. Those scenes were outstanding, as fiery as that torch Simon almost used to burn Lucinda's bribe. Simon desperately needs an identity, as desperately as he needs to interact with more residents of Oakdale. Sheffer has taken the first steps and using Hubbard's headstrong, independent Lucinda (even covered in motor oil!) is a great start.

Look closely and you will see Molly moving into heroine territory, the result of her romance with Jake. That's probably a good thing, although it would still be a radical departure from the Molly of old, even with the strides toward self-improvement Molly has made. Molly's scenes with Emily on Thursday were wonderful, an almost sadistic give and take between two strong women. The amazing Kelley Menighan-Hensley can put a smile and smirk on Emily's face of self-satisfaction, and she used it to great advantage in those scenes. Lesli Kay, on the other hand, gave a performance of subdued anger and self-control. Great work from both actresses, and could Tom Eplin have it any better?

Holden has been literally taken back to his roots, working on the farm. He and Lily are in effect starting over, or making some awkward attempts at it, and the progression forward as they look backwards for inspiration has been very entertaining.

The most profound changes have been with Julia. She hasn't quite drifted into "bad girl" territory, though she's getting closer. For now, Julia has been shaded in colors of manipulation and desperation, a delectable palate of eccentricities. Watch how often Sheffer has Julia on or near the floor – hitting bottom, if you will. I can't take my eyes off the transformation Sheffer is taking Julia through. Annie Parisse has been great at playing all the quirks and tics of Julia's downfall. Julia moves from jumpy paranoia to underwear clad seductress ("Untie my apron, Jack?") in a matter of minutes and because we have been told and seen what motivates the character, it's all believable. However, it's difficult to portray. Parisse has handled it all admirably.

Sheffer should take note, however, of (so far) one major surprise I'm seeing translating from the page to the screen. Parisse is eerily and chillingly effective in the scenes when Julia's anger has turned into stone-faced acceptance or rigidity, as when Jack came home and found Julia curled up on the couch in the dark, or the wildly bizarre and unsettling moment when Julia fired six bullets into David's corpse. In these moments Parisse says her lines with the heavy weight of all Julia's insecurities and problems, her gorgeous face set in unreadable stone. Scary. . .yet almost seductive in its cold edginess. Julia the character probably has never been truly defined, and Sheffer hasn't really defined it so much as focused on facets of it, albeit ones he decided to create and explore. But dang if it isn't fascinating and dang if Annie Parisse's exotic beauty and regal stature don't simultaneously play both into and against these darks roads Sheffer is carving out for the character.

Give me more. More of everything on ATWT. ATWT is just so great that I want more!

Grade for the Week: A

Performances of the Week: Lauren B. Martin; Larry Bryggman; Martha Byrne; Lesli Kay; Tom Eplin; Kelley Menighan-Hensley; Hunt Block; Maura West; Annie Parisse; Paul Leyden; Elizabeth Hubbard; Craig Lawlor.

Here's the condensed version:

WOOOOOOOO! HOAGAN IZ AWESOME! WOOOOOOOOOO!

I have to laugh at all the talk of "Parisse's exotic beauty". HUH? Not that she was ugly...but obviously someone had quite a hard-on for her. Personally, I found her a little horse-faced with a distracting nose...but whatever.

Anyone who "started to find Katie interesting" had to be bitterly disappointed by the end. *snort*

I don't remember any of this exotic stunning work from Annie Parisse. I remember jumpy, shrieky, bellowy - a performance that reminded me of Laraine Newman's impersonation of a possessed chicken.

The amazing Kelley Menighan-Hensley can put a smile and smirk on Emily's face of self-satisfaction, and she used it to great advantage in those scenes.

I will say Emily was one of the few characters I thought improved with Sheffer, although that had its limits.

All this hype sounds like generic stuff for generic work - it really was Sheffer, not his work, that got such hype for years.

I should track down that SOD article which praised the oh-so-comedic rape of Jack by Julia.

I don't remember any of this exotic stunning work from Annie Parisse. I remember jumpy, shrieky, bellowy - a performance that reminded me of Laraine Newman's impersonation of a possessed chicken.

I wouldn't have called it "better" work either. I think she was so utterly boring as Oakdale's latest "runaway princess", that the radical shift looked daring in comparison. She wasn't Yvonne Zima, but she wasn't Cynthia Watros either.

Paul, where is that review from?

Cady McClain allegedly had an affair with Christopher Goutman? Cady, honey, Grandma Kate Martin might have to pull you aside, serve you some cookies and lemonade, and then give you the business.

She came into my bar in NYC and I don't think she and Goutman did anything. She was with Lindstrom and Block in real life. Oddly, she isn't very social and usually travels alone.

Eric,I saved those reviews from an old ATWT website.They were called Ven's critiques.

Got to thinking and realized that Hogan did nothing for ATWT. The ratings didn't improve in significant way and WORLD would have never been axed before GL. ATWT had a loyal following and benefitted from following B&B/Y&R. All Hogan, as well as Goutman, did way buy good will in the soap press. Even at the end, when the writing was dreadful and there was no budget, ATWT ranked in about the same range as the non-Bell soaps.

All Hogan did was make ATWT an Emmys darling for a handful of years.

The ratings weren't that impressive. If I remember correctly, the show managed to get to #3, but obviously they couldn't sustain that.

I'll admit that I enjoyed 2001 and even some of 2002. Yes, I actually REALLY enjoyed the Spa storyline because it was so over-the-top and ridiculous. But around that time the show started to unravel.

My biggest complaint about Hogan's tenure was that it was too sterile. There was no warmth, no love, no sense of family and connection. Friendships were fleeting, "romance"was nothing but lust (one night stands, affairs). None of the characters were really that likable. The "likable" characters were all wimps. And the "anti-heros/heroines" were psychos. The only reason why I still enjoyed some of the characters was because I had grown up watching them. I actually think I disliked a good 90% of new characters and recasts (ie. CRAIG!)

I will say Emily was one of the few characters I thought improved with Sheffer, although that had its limits.

Hal & Emily were love.

So of course Hogan destroyed it.