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You are the best!!!! That is a remarkable talent, to not just summarize, but contextualize Draper's dilemma! It is delightful to be able to think of that situation in a new way. - Thank youPlease register in order to view this content
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Has anyone even told Gio that Sonny once shot Dante? -
By skiman12082004 · Posted
There are so many missed opportunities and story beats that could be played out on B&B. Hope was finally able to successfully move on from Liam, with Thomas, and what does Brad Bell do, he ruins it. Hope & Thomas, baggage and all, were really good together. Why Thomas is off the canvas is mind boggling, yet we have a terrible and completely useless character in Daphne still there, please make it make sense. I think Rick is needed on the show too. Have him come back and hook up with Taylor again. That would create some really good drama and cause Ridge & Brooke's heads to explode. And for God's sake just recast RJ and bring Jack to the show as an adult to rip Brooke a new one for basically ignoring him all these years. But yeah, just my opinionPlease register in order to view this content
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By Paul Raven · Posted
Lonely Women was Irna Phillips first new serial since Right to Happiness Lonely Women: NBC: June 29, 1942 to Dec. 10, 1943. (76 Weeks) General Mills Totals: 76 Consecutive Weeks - 380 Episodes Broadcast Irna retooled and renamed the show Today's Children but I don't believe it had any association with the 1930's version. Today's Children NBC: Dec 13, 1943 to June 2, 1950. (338 Weeks) IRNA PHILLIPS is one of radio's most famous writers. Since 1930 her serials have thrilled radio listeners. Just turning 40, she is probably the highest paid woman in the radio industry. For years she has been turning out more than two million words of serial copy each year-enough to make twenty good sized novels. At present Miss Phillips is supervising the writing of four famous dramatic programs. They are "Road of Life " "Guiding Light." "Woman in White " and "Right to Happiness, " To these is now added the new serial, "Lonely Women. This is the author's introduction. WITHIN the cycle of the hours there comés to each one of us, consciously or subconsciously, a split second in which we experience a sense utter aloneness—indefinable, indescribable, yet so poignantly real—that split second of aloneness which can never be shared with anyone. But because of the complexities of life, this split second of aloneness for hundreds of thousands of men and women has extended itself into hours, days, years. We've all heard at one time or another the expression "I never feel so alone as when I'm in a crowd. " We've laughed at the facetious remark "When I'm with you I'm alune. " "You can't know how I feel—how can you, you've never been in my shoes?"—" I wish you could have been with me"—"1 wish you could have seen"—"If only you'd been there"—"It's no f u n doing things alone " . . . common, everyday expressions that each one of us uses, hardly knowing that we do, not recognizing at the moment the universal theme that underlies these common, every-day expressions — the theme of loneliness. Thousands upon thousands of men and women have remained within the bonds of matrimony because they were afraid—are afraid of starting over again, alone. Th e mere physical presence of the other is enough to satisfy at least a small part of the need for some sort of human communion that Is so necessary to make us comfortable . Whether we should blame civilization with Its repetition of wars for the ratio that exists between men and women today is a little difficult to decide. However, we do know that there are more women than men in the world. Out of curiosity I called upon Webster to define the word "alone, " and this is Webster's definition: "Unaccompanied; solitary; single: unmarried" : and he adds, "Usually of women, with humorous or pathetic implication; as a poor lone woman. " Perhaps because there is no one as concerned with woman's destiny as a woman, it occurred to me that an audience primarily made up of women would be interested today, of all times, when men—husbands, brothers, sweethearts sons—are leaving their home s to defend those homes .. . it occurred to me that these women would be interested in a story of lonely women. Perhaps, too, I felt the woman who from time to time feels that hers is a humdrum existence of rearing a family, of preparing three meals a day, of waiting for the children, for the husband—t he woman who believes she sees glamour in the lives of thousands of women who are making their way, alone— w h o have careers, who are in constant touch with the outside world . . . perhaps I felt there was a message that could b e given to these wives, these mothers, these home makers. In the story of "LONELY WOMEN. " AT FIRST glance it might seem that being alone—feeling a sense of aloneness—implies depression, futility, unhappiness. This is not necessarily true. In fact, the sense, the feeling of aloneness can and often is an inexhaustible source from which come some of the most worth-while contributions to mankind . The scientist, the artist, the musician, the literary men and women throughout the ages have not been, as we so often think, alone. They have found an outlet for their aloneness in putting to work their God-given talents in something that could be shared by others. Neither you nor I nor hundreds of thousands like us have been given a divine talent; but in our daily existence we, too, can use our aloneness as an impetus to contribute something worth while to others. We may not be a Michelangelo, a Tschakowsky. an Einstein, a George Sand, an Eleonora Duse, an Elizabeth Browning; but we can create—we can express—we can give of ourselves . . . we can share with others those things that make up our daily existence. We women are in the majority . Th e effect that we can have on others can be as great if not greater at times than the contributions that have been made by men and women in the arts and sciences. In other words, we need not be alone—except in that split second that comes to each of us—that split second of aloneness which can never be shared with anyone. -
I decided to do something like a resume post where I will state some positive and negatives from the episodes I've seen so far. Don't hate me. It's just a very primitive overall feel of things. You guys know I love this show, but now... I can also compare it to other shows I've gotten into and make some notes. POSITIVES 1. The writing. When it's good - it's AMAZING. The dialogue makes you bond with the characters. There is development and nothing happens JUST LIKE THAT. We see the glimpses of emotion, then we see it evolve and grow into something big. Love is not written like a fast-cheap-meal like most soaps these days... but a struggle, a path, a learning process. Example - Sharlene and John's emerging relationship is the pearl in the show for me. It's done perfectly for my taste. The writers really LOVE to write for them. They give them dark and light. Beautiful and troubling moments. They make them grow together, but also put distance between them. It helps that the actors are so damn good. 2. The acting. This show impressed me the most in the beginning by how realistic and NOT over the top the performances are. Vicky... Sharlene... Iris... I can go on and on. Even Rachel has some amazing moments. Even though I think they are yet to give Rachel some more powerful stuff. She doesn't have a storyline other than defending her family and being a hawk that watches over them. Few exceptions - Donna Love - the recast actress. Not the real deal. Not my cup of tea, although I know she is good in other shows. Here... I find her incredibly 1 note. 3. The production values. The show is just beautiful. Yes, there are some moments where things are a bit cartoonish, especially when they are in costumes or having a ball, but overall Another World in this era (1988-1989) feels posh and sophisticated. The lighting is so flattering. So cinematic. If you don't know... you'll think you are watching a Hollywood movie at times. 4. The music. I'm very drawn to the soundtrack of this show. I like how the dramatic moments have this drippy, slow, building suspense music, that is so 80s... but still tasteful and powerful. Music if very important for me. It can make or break scenes. 5. The overall magic. It's just a symbiosis of things that make it work... Not all the time, don't get me wrong. The show has it's irritating and lacking moments. And that is something I'm going to delve in right now. NEGATIVES 1. Slow pace in some episodes. Especially since Swajeski replaced Lemay. There are episodes that nothing moves. Nothing happens in terms of plot or action. It's just beautiful dialogue and that's it. That becomes a problem at times, especially for my husband who is prone to fall asleep when he is bored. He loves the show, but I've also woken him up plenty of times. He really starts drifting off at the 5th minute of Vicky and Jamie talking about how Jamie still loves another woman. I like slow pace. But compared to All My Children, where every episode something really interesting happens... AW is really slow at times. Again I'm talking about the particular period I'm watching. 2. Not good enough cliffhangers. The episodes regularly end on a positive note... and then the next episode has NOTHING to do with the ending of the last episode. I am not a fan of this technique. Some may like it. I'm not one of these people. I like a shocking ending or an ending that makes me want to tune in next time. People watching from a window happily in love is not cutting it most of the time. 3. Too much LOVEY-DOVEY moments between couples. NOW... if there is a reason I desert this show in the future - this may be IT. I can't stomach seeing all these people constantly kiss and be happy together. It seems the show has this non-stop cycle of bickering and making up of couples. Of course, this is typical soap opera. But here in AW, compared to all the other shows I've seen - it's too much. Maybe the writers don't know what to do with some couples and that's why they write the same stuff every day. I get extremely bored seeing Amanda and Sam tell each other how much they love one another... when I know they will bicker in the next episode and then REPEAT that same stuff about love and caring again. At times the show is like a commercial for a dating service. Everyone seems so happy and merry, I get reflux. 4. The show seems confused at times at where is going. That's a storyline-plotting critique. There are periods where I've felt that not only the pacing is wrong... but overall the storylines are not going anywhere. There are positives in this - you can build characters, write fascinating dialogue... but still. My husband starts asking - so... when is Iris going to do something. She's just talking about it and nothing is happening episode after episode. I always tell him - TRUST THE SLOW BURN. But still... sometimes it doesn't feel like a slow burn, but just... confusion. Still I consider it a slow burn and trust it. 5. Felicia Gallant. The more and more I watch... the more I struggle to see how this character fits in the show. She's just like an odd man out... I'm not saying you can't have a character like this, but she is really out of place for me. Her storylines are not connected to the other characters as much... and she seems like an All My Children character that got lost in sea... and ended up in Bay City. I still love her... but... still - she feels like she doesn't belong in the show. Maybe that will change in the future. Maybe not. We'll see. And I'm also struggling to understand why her Joan Crawford wardrobe is always worn in kitchens and these incredibly domestic settings. I swear I remember seeing Felicia have breakfast in a MET Gala gown. It's cute... but I'm also... split about it. Can't decide how I feel. -
Carrie Nye is just a little too arch for my taste, slinking around like some python on the make. (And some of the dialogue she utters...I'm surprised she could say it with a straight face.) The Cottage story is just a little too convoluted (yes, I know, someone's thinking "this, from the defender of The Fishing Trip, say what again? LOL...). And it's centered on three characters I don't care about (Tony, Annabelle and Jim). Yes, even though Tony and Annabelle are at the center of the Fishing Trip, it's balanced out with Nola and Henry and is an umbrella story that ripples through the town. I don't give a rip about the Spaulding history backstory. Other than some gorgeous scenery and shots (when Alex and Victoria go to spread Brandon and ....(? I can't come up with her name off the tip of my tongue) ashes is beautiful. But this was an action adventure story that should've been grounded. -
Kim Hunter is excellent, and she only gets better & better. By the time the storyline ends, she's downright DAZZLING. As for whether or not Nola Madison will encounter Eliot Dorn again, all I can say is that everything on the show happens for a reason. lol. Paige Madison is a wealthy young debutante. In real-life, in the 1970s, there was a rich heiress in California named Patricia Hearst who joined a violent gang and committed a crime; there was some question about whether Patty Hearst was brainwashed or whether she voluntarily broke the law. Paige Madison is the "Edge of Night" version of Patty Hearst. Paige Madison's storyline is loosely based on the real-life events surrounding Patty Hearst & the Symbionese Liberation Army. In the show, Paige Madison assisted a mysterious man named Tobias in stealing some firearms from the US government & delivering those stolen firearms to revolutionaries in a South American country. Paige faces jail time for what she did. However, she's been given temporary immunity from a prison sentence if she cooperates with the police in finding the other members of the Tobias Gang. The only problem is that various members of the Tobias Gang keep popping out of the woodwork and trying to kill her, before she talks to the authorities; that's why her father has hired a bodyguard to protect her. There is ALSO some fear by her family that she was romantically involved with Tobias himself, and that perhaps Tobias (or "Toby", as she calls him) still has a certain hold over her emotionally. All of that will play-out in the coming weeks and will involve a VERY surprising character whom you've already met. Paige Madison is NOT involved with the blond-haired, blue-eyed bodyguard. He has a girlfriend of his own. He's involved with a cute, red-headed female police detective played by actress Frances Fisher. Miss Fisher has been given a few weeks off to rest, because she's about to be featured very heavily in the Nola Madison storyline. Paige Madison is in love with her step-brother, Brian Madison. The "official story" of the Madison family is that Paige Madison is the daughter of Owen Madison and his first wife (a lady named Elizabeth); Brian Madison is the son of Nola Patterson Madison and her first husband. Many years ago, Owen Madison's marriage fell apart, and Nola Patterson's marriage fell apart; Owen and Nola then married, raising Paige and Brian as step-siblings. But in 1976, Owen had a "secret talk" with Brian about certain events from the past; Brian was so horrified by what he learned that he ran away from home and joined the Navy. Nola and Owen didn't hear from Brian for three years. He's recently returned home, and he feels VERY uncomfortable around Paige. She would like to resume dating Brian, but Brian isn't willing to participate. All of this will be discussed in coming episodes, and you'll learn the "secret" that sent Brian away three years earlier. The show's logo will change drastically in the summer of 1980 to something that doesn't look cheap at all. lol. I'll defend Draper to the "death" on this business with Margo. The woman is absolutely wretched to him. Not only did she trick him into purchasing a $100,000 house (which she led him to believe cost $65,000), she wheedled and schemed until she got APRIL to participate in the subterfuge of tricking Draper. Now Draper is not only annoyed that Margo lied to him, he's subconsciously realizing that Margo is easily able to manipulate APRIL into lying to him; he's wondering if Margo has created an environment in which his own wife will callously lie to him about important things in order to take advantage of Margo's open checkbook. The "subtext" is that he's unsure if he can trust April to be honest with him anymore, thanks to her horrible mother's haughty interference. (But of course the worst thing that Margo has done is interfere with the lucrative job he landed in New York City, an offer which was immediately rescinded before he even started. He doesn't know yet that Margo used sexual blackmail against the senior law partner in New York to snatch his job away from him, but the audience knows.) Right now, Draper isn't working for the Crime Commission. He's Mike Karr's "junior" law partner. Remember, Mike & Nancy Karr encouraged him to take the job in New York City, because the pay was so much better than what earns working for Mike. Then when Margo pulled her ace out of her sleeve and yanked the job away from Draper, Mike happily welcomed him back. -
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I’m up to Feb. 20, 1996, which means I’ve officially watched a little over a full year (Feb. 10, 95 - Feb. 19, 96)!Please register in order to view this content
Everyone found out Nadine was the body in the lake, and what a heartbreaking scene watching Frank put the pieces together and realizing the dead body’s ring and jewelry was Nadines. He broke down and then had to tell Buzz. So sad and heartbreaking. The funeral was nice, but small; I’m curious to see if anyone else in SF hears or reacts to her death or if that funeral was basically the end of Nadine. Eleni had a really powerful episode when she found out Nadine died. She yelled into the rain alone, crying and asking God why this all happened. It was pretty powerful and the best material nuEleni has gotten in the year she’s been with the show. Nola’s son, J, just showed up to town. His father kicked him out for hitting on his 20-something girlfriend (blah). Michelle instantly locked her eyes on him at Company and she starts dressing sexier to get him to ask her on a date. They go and he takes her to the lighthouse where Brent is holding Lucy. J forces himself a little too hard on Michelle, which upsets her, and Brent sees this and gets angrier because women keep teasing men with their sexual advances. J and Michelle escape the lighthouse unscathed, but Michelle is unsure about J now. A few days later, J identifies Brent on the TV at the mall, while Brent is there, and calls him out. Brent runs and accuses J of stealing his wallet, escapes and J is brought into the police station where Nola bails him out after convincing everyone that he really saw Brent. I do enjoy how they intertwine all these characters into this larger storyline. At long last, the Brent storyline wrapped and what a wild ride the last couple weeks were at the lighthouse! I was very surprised to see Beaty come back for 2 episodes in the lighthouse, and then Wolf came back again for a few more episodes after that before Beaty finally finished it out. They must have shot some scenes out of order, which is a bit jarring, but I’m glad Beaty got to finish out the last few climactic episodes at the lighthouse and jail. There was a very romantic scene with Lucy and A-M held captive, alone, and saying their vows to each other. I’m just happy they’re finally able to be happy, free of Brent/Marian and the HIV scare. The Brent/Marian saga was very enjoyable, but I don’t think pieces of it were fully baked. It was clear they made a few things up along the way, like the mother’s mental/physical abuse and his mental illness/personality disorder. It definitely set up a potential return storyline that Beaty ultimately declined, but overall it seemed like the first 9 months was just a mad frat biz daddy who was set on revenge vs. a real mental illness that developed in the last 3 months. But yeah, I really enjoyed it overall and thought the acting was top notch amongst Frank, Sonia, Ric and the other supporting actors. This storyline was the reason I started my GL journey and it didn’t disappoint - I’m hooked on Springfield now! The Blake/Amanda feud is heating up and I’m enjoying it. Amanda is teaming up with Dinah, and their antics included framing Blake for locking Amanda up in a warehouse and almost dying from hypothermia. Blake got arrested and put into the jail cell next to Brent Lawrence, who was either pretending or really believing he’s still Marian (his last few scenes!). He introduces himself to Blake and offers her a back massage through the cell bars and she freaks out - so funny! I still need to know what secret Amanda and Matt have from their days in CA. Oh and now Amanda followed Ross to his cabin and Ross just willingly kissed Amanda, just as Blake got to the cabin and watched through the window! This should be good… Finally, the other big storyline is Reva and the fight for custody over Marah/Shane. The judge eventually awards custody of the kids to Josh, but requires Annie to leave the house and live somewhere else given the testimony given about her alcoholism. Of course I’m very sad for Annie, but I can see the crazy in her coming out more and more. The performances by Zimmer, Watros and Newman are wonderful, but I can’t help but wonder if the old Reva/Josh fans were pissed at this storyline or not. I just feel like if your wife/mother comes back from the dead years later, there would be more discussions and less fighting. They went too quickly into a nasty custody battle and everyone hating Reva like she’s this huge villain (having Alan in her ear hasn’t helped). I just wish things would have gone differently here, but I’m still curious to see where it goes… -
The kid's a violinist, he's not James Dean looking for trouble on the beachside streets of Port Charles.
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