AMC - Friday - September 23, 2011
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By Liberty City · Posted
Errol already confirmed she is back at Y&R and in a non-producing role; this alludes to she is not credited for the role she has. -
I don't think Lisa served a purpose after the serial killer storyline. The writers never gave her anything to do but be Vicky's nemesis. Joanna Going deserved better. Another example of a character taking over the show and then the writers not having a longterm plan for the character. Exhibit B: Sally Spencer. Such a missed opportunity. It really angers me how they misused her. She could sing and act and they just threw her away in that sexist nonsense storyline. Once the story was over, they wrote her off. The McKinnons should have lasted for years. I will give the show credit for how they introduced Sandra Ferguson as Amanda. I thought it was expertly done. She comes in and she immediately connected to RKK's Sam. She has chemistry with Matthew and she has realistic conversations with MAc and Rachel. That's how it is done. -
Great points, and it has not completely vanished. Leslie on Beyond the Gates fits the trope (she's still not over that Ted lovin' two decades later), though I will say there does seem to be an effort to make her more complex. -
I understand why people speculate, but I have to say it doesn’t sound very plausible that Jill Farren Phelps would be working at Y&R in any uncredited role. CBS daytime shows are tightly bound by union contracts and corporate oversight, and that kind of informal arrangement would be a major liability in 2025. Before the mergers of SAG-AFTRA and the two WGA branches, it may have been easier to hire someone quietly or off the books. But those days are behind us. With digital payroll, tighter pension tracking, and increased scrutiny from legal and compliance departments, it’s just not the kind of thing anyone can get away with anymore. Most union members, especially producers nearing retirement, would not risk their eligibility or benefits to take an uncredited role. The Producers Guild of America is also very clear about crediting. To even receive the PGA mark, a producer has to be verified through a formal review process. According to their credit certification guidelines (source), "only individuals who performed a majority of the producing functions on a motion picture or television production" are eligible for credit, and those credits must be official and recorded. If someone is functioning in that capacity, they are not supposed to be uncredited. Studios that are union signatories, like CBS and Sony, know better than to skirt those rules. If anyone has a legitimate, primary source confirming that CBS is hiring someone like Phelps in an uncredited production role, I’d honestly be curious to read it. But without that, this just feels like rumor—not reality. -
I keep thinking about the persistent trend of eroticizing mental illness on Guiding Light. Sonni and Annie were never more compelling, or more attractive to the show, than when they were manic. It played into a recurring theme: strong women undone by their unhinged reaction to sex. The writers were likely inspired by Basic Instinct and the broader wave of neo-noir films in the late '80s and early '90s, where female sexuality was often equated with instability. The result was a crude portrayal, not just of mental illness, but of womanhood itself. Both Sonni and Annie were introduced as sharp, capable women, brought in specifically as formidable antagonists to Reva. They were logical and composed, standing in contrast to Reva’s emotional volatility. That difference made them threatening, but not especially “sexy”—until desire became their undoing. In a very male fantasy, their strength unraveled the moment they slept with Joshua. As soon as they got a taste of Lewis lovin’, they spiraled into scheming lunatics, willing to torch everything to hold on to him. It was part of a larger trend in the culture. Fatal Attraction, Single White Female, and The Hand That Rocks the Cradle all traded on the idea that female desire was dangerous, barely held in check, and always teetering on the edge of madness. Looking back, it's a pretty grim trope. And while it's not completely vanished, I'm grateful we don't see it quite as often today.
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Elements of it were silly, but it was a small price to pay to get Zas back. I should say there's a difference between in town and out of town returns. It's understandable for Roger to skulk around town in a bad wig and clown suit when he's in Springfield and running the risk of bumping in to people he knows. Taking us out of town to find someone always has a short shelf life. Then it usually becomes about another character knowing X is alive but determined to keep them out of Springfield. Like Alan discovering Amish Reva. I don't know how long it went on, but it was probably twice as long as necessary. -
Elizabeth Dennehy complained on the Locher Room about how ridiculous so much of the writing was for Roger's return. She laughed at so much of Roger's antics and how it was hard for her to take them seriously. Probably another reason she was fired as she didn't play the game.
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By Liberty City · Posted
Only thing I enjoyed was Abby / Olivia, etc., and the addiction storyline. Otherwise, I could do without the season. -
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Roger's return storyline may have been silly but Roger's return was what lead to GL's last golden era. It was the combination of Roger's return and Robert Calhoun becoming EP that got GL to finally hit it's stride after some really bad years. It will always disappoint me that the ratings during Robert Calhoun's run didn't reflect the quality of the show.
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