13 minutes ago, NothinButAttitude said:

  3 hours ago, Tisy-Lish said:

Interesting stuff. But why would Iris consider a potential affair with middle-class Mike Randolph as social gain for herself? If anything it would have been the other way around, with Michael gaining social status from a relationship with Iris. Maybe AI didn't catch the fact that Iris was a jet-setting socialite who had spent most of her life in Manhattan, the south of France, and Switzerland.

I don't think it caught it either, but that's something that could be easily tweaked by feeding Gemini more information and why Iris wouldn't be the best choice. Wouldn't Molly Ordaway be better? Didn't she and Michael get involved at once? At least I thought I heard it in the clip where Olive and Liz locked horns before Liz spoke to John.

If I'm not mistaken, Molly and Mike had been married briefly. They divorced rather quickly, and Molly left town.

I'm not sure in what year the AI scenario is supposed to take place. But Mike's history is already canon, until the time he married his second wife, Karen. They were both written off not long after Harding Lemay left as head-writer. So the last time we saw Mike was likely in 1979. I'm assuming the AI stuff must take place after 1979. But who really knows?

Did a scenario using the current B&B Katie v. Brooke pending story and I said:

"Can you now devise a long story on Bold and the Beautiful where Katie Logan opens a rival fashion house against Forrester Creations? Brooke and Katie need to be at odds. Donna need to be torn between the battling sisters. And how will it affect her marriage with Eric? And Brooke's children (Hope, Rick, RJ, and Jack) need to be involved. What sides will they choose? How will it affect Will and Electra? Steffi? Ivy? Carter? Eric? How will the return of Amber impact everything? What side will she choose? Will be a mole? Don't forget Bill Spencer needs to be heavily involved, pulling the strings and ensuring Logan fashion house excels. In true B&B fashion, the story needs to be filled with double-crossing, intrigue, and sex. We want to recapture classic Bold and the Beautiful but it needs to be modern."

AI said...

This is the kind of high-stakes, glamorous warfare that The Bold and the Beautiful was built on. To make it modern, we move away from simple boardroom bickering and into a full-scale "Logan Civil War."

Here is the blueprint for the storyline: "The Logan Legacy: Divided We Fall."

---

The Catalyst: The "Forgotten" Logan

After years of being the moral compass at Forrester Creations, Katie Logan is passed over for a leadership role in favor of Steffy and RJ. Feeling invisible, Katie finds an unlikely ally in Bill Spencer.

Fueling her fire, Bill offers her the ultimate revenge: "Logan Luxe," a rival fashion house backed by the Spencer billions. He doesn't just want Katie to succeed; he wants to dismantle the Forrester dynasty brick by brick.

---

The Lines Are Drawn

The Rivalry: Brooke vs. Katie

Brooke views Katie’s move as the ultimate betrayal of the family and Eric’s legacy.

• The Conflict: Brooke tries to "big sister" Katie into folding, but Katie snaps. The rivalry turns personal when Katie lures Forrester’s top model—and Brooke’s youngest son—Jack Marone, to be the face of the Logan Luxe Men’s Line.

• The Intrigue: To get back at Katie, Brooke begins a secret flirtation with Bill, testing if his loyalty is to the "new" Katie or his "classic" obsession with Brooke.

The Heart: Donna and Eric

Donna is the "Lady of the Mansion," but her life becomes a nightmare.

• The Marriage: Eric is devastated. He views Logan Luxe as an attack on his life's work. When Donna is caught leaking a Forrester sketch to Katie (out of pity), Eric kicks her out of the mansion.

• The Fallout: Donna finds herself living in a Spencer penthouse, effectively becoming Katie’s reluctant spy, though her heart is still in Eric’s bed.

The Next Generation: Picking Sides

• Team Logan Luxe (Katie): * Jack Marone: Wants to step out of the Forrester/Marone shadow.

  • Rick Logan: Returns from Paris with a grudge. He’s tired of Ridge’s kids running the show and becomes Katie’s ruthless CEO.

  • Will Spencer: Working alongside his father, Will uses his tech brilliance to sabotage Forrester’s digital runway launch.

• Team Forrester (Brooke/Ridge):

  • RJ Forrester: Loyal to his father’s design legacy, RJ is heartbroken to be designing against his aunts.

  • Hope Logan: Torn. She hates the fighting, but when Katie’s line starts outselling Hope for the Future, the "Logans against Logans" battle turns Hope into a "Dark Logan" who will do anything to stay on top.

---

The Wild Cards: Amber, Steffy, and Ivy

The Return of Amber Moore

Rick brings Amber Moore back to Los Angeles to lead the design team for Logan Luxe.

• The Mole: Amber is technically working for Katie, but she’s secretly sleeping with Carter Walton.

• The Double-Cross: Carter, feeling undervalued by the Forresters, is tempted to join Logan Luxe. Amber uses their "intense" physical connection to siphon legal secrets from Forrester. But is she loyal to Rick, or is she playing her own game to become the new matriarch?

The Steffy & Ivy Factor

Steffy is in "full CEO mode," viewing the Logans as a "cancer" that finally cut itself out of Forrester. She aligns with Ivy Forrester, who returns to bring the jewelry division back to the forefront. Steffy and Ivy use the chaos to try and push Brooke out of Forrester entirely, leading to a physical confrontation in the design office involving a champagne bucket and silk organza.

---

The "B&B" Twist: Sex and Sabotage

• The Secret Affair: Amidst the corporate war, Will Spencer and Electra (who is supposed to be loyal to Forrester) begin a torrid, forbidden romance. They meet in the Spencer gym and Forrester sauna, trading trade secrets for kisses.

• The Sabotage: The night before the "Logan Luxe" debut at the Beach Club, someone slashes the entire collection. Katie blames Brooke; Brooke blames Amber; but the cameras show a mysterious figure in a Spencer hoodie.

---

The Climax: The Duel of the Runways

The story culminates in a "Simultaneous Runway" event. Bill Spencer buys the lot directly across from Forrester Creations and sets up a transparent tent.

As the models walk, Bill pulls the ultimate string: He reveals he has acquired a 51% stake in the building that houses Forrester Creations. He isn't just Katie's backer—he is now Eric and Ridge's landlord. He threatens to evict Forrester unless Brooke spends one night with him at the Spencer estate.

3 minutes ago, Tisy-Lish said:

If I'm not mistaken, Molly and Mike had been married briefly. They divorced rather quickly, and Molly left town.

I'm not sure in what year the AI scenario is supposed to take place. But Mike's history is already canon, until the time he married his second wife, Karen. They were both written off not long after Harding Lemay left as head-writer. So the last time we saw Mike was likely in 1979. I'm assuming the AI stuff must take place after 1979. But who really knows?

The end says 1975.

4 minutes ago, Tisy-Lish said:

If I'm not mistaken, Molly and Mike had been married briefly. They divorced rather quickly, and Molly left town.

I'm not sure in what year the AI scenario is supposed to take place. But Mike's history is already canon, until the time he married his second wife, Karen. They were both written off not long after Harding Lemay left as head-writer. So the last time we saw Mike was likely in 1979. I'm assuming the AI stuff must take place after 1979. But who really knows?

I think it pulled from Lemay's "Eight Years in Another World" around the time he wanted to tell the story (which I need to re-read to confirm), which AI is saying 1975 (as @DRW50 pointed out). I did tell AI to reference the book and the Another World Homepage, too.

With AI, if you feed it information or tell it where to pull resources from, it'll do so. I am learning more about it as my job slightly encourages us to use AI at times.

5 minutes ago, DRW50 said:

The end says 1975.

Thank you for providing the date. But if AI changes canon, it is really rather useless and silly in my opinion. Anybody could go back and write a plot that changes canon. The real challenge comes when the writer is expected to respect established canon, and then carry a story forward.

8 minutes ago, Tisy-Lish said:

Thank you for providing the date. But if AI changes canon, it is really rather useless and silly in my opinion. Anybody could go back and write a plot that changes canon. The real challenge comes when the writer is expected to respect established canon, and then carry a story forward.

We only did that scenario because @DRW50 said he'd be interested to see if AI could handle old, classic stories that never happened basically. It's a "what-if_ situation like all these prompts.

7 minutes ago, NothinButAttitude said:

We only did that scenario because @DRW50 said he'd be interested to see if AI could handle old, classic stories that never happened basically. It's a "what-if_ situation like all these prompts.

Yes. Thanks again. It's not the same as writers putting together actual stories, of course, I was just interested in seeing how far they can go with lesser known characters and material.

4 minutes ago, NothinButAttitude said:

We only did that scenario because @DRW50 said he'd be interested to see if AI could handle old, classic stories that never happened basically. It's a "what-if_ situation like all these prompts.

Okay, I think I understand. But again -- anybody can write what-if situations regarding old classic soap opera storylines. That would be easy, at least for me and countless other serious fans of daytime. The hard part of writing a soap opera is taking established canon (even the bad, ineffective, and sometimes embarrassing plots from the past), and moving the drama forward into the future.

I'm not trying to be argumentative. I hope this is a discussion, not an argument. But if AI cannot do anything more than what you or I are capable of doing, what is the point of it?

3 minutes ago, Tisy-Lish said:

Okay, I think I understand. But again -- anybody can write what-if situations regarding old classic soap opera storylines. That would be easy, at least for me and countless other serious fans of daytime. The hard part of writing a soap opera is taking established canon (even the bad, ineffective, and sometimes embarrassing plots from the past), and moving the drama forward into the future.

I'm not trying to be argumentative. I hope this is a discussion, not an argument. But if AI cannot do anything more than what you or I are capable of doing, what is the point of it?

I am on the fence as I think AI can do a lot, but of course, it has to be human fed first.

From these "what-if" situations, I am seeing AI devise better stories than Josh Griffith and Brad Bell have composed in 25 years. My point of this thread goes back to my comment in another thread where I said we'd be better having AI devise long story at this point instead of those two. What it is churning out is more compelling.

6 minutes ago, NothinButAttitude said:

I am on the fence as I think AI can do a lot, but of course, it has to be human fed first.

From these "what-if" situations, I am seeing AI devise better stories than Josh Griffith and Brad Bell have composed in 25 years. My point of this thread goes back to my comment in another thread where I said we'd be better having AI devise long story at this point instead of those two. What it is churning out is more compelling.

I can't argue with that. So what I'm taking away from this discussion is-- AI would likely write a better soap opera than an untalented human writer. But AI-writing would be unlikely to be as compelling as the master soap-opera writers such as Irna Phillips, Agnes Nixon, Bill Bell, Harding Lemay, Henry Slesar, Douglas Marland, Claire Labine, etc. Interesting discussion.