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<blockquote data-quote="Monzo" data-source="post: 441566" data-attributes="member: 19949"><p>I always felt that Diane’s return was meant to be Y&R’s version of Sheila’s return on B&B—except that, unlike Sheila, Diane never went off the deep end again. Strictly speaking, most of the stuff surrounding Diane and the forgiveness she received makes no sense, but Susan Walters is the reason I turn a blind eye to that. I’ve known Susan Walters since Hotel, yet I never thought she was particularly great there, or in Nightingales or Melrose Place. She first caught my eye in a positive way on The Vampire Diaries; even so, I wasn't thrilled when it was announced she was returning to Y&R, but she completely won me over. I suddenly find her to be a good actress; she’s aged well and doesn't come across the (unreal) way some other soap actresses her age do. Diane’s current storyline is awful, of course, but I actually enjoy the scenes between Susan Walters and Jere Burns a little—which is entirely down to the two actors. The fact that Jack has fallen in love with Diane again (and so quickly after her return) remains a mystery to me, but I do hope they stay a couple because the chemistry is there, and I don't think you could find anyone better for old Jack in terms of chemistry. That’s why I feel Victor and Nikki belong together for the rest of their lives; it’s pointless to separate them because no one wants to see them with anyone else. Nikki’s latest health crisis isn't exactly creative, but I always love seeing how worried and caring Victor is when she’s unwell, so I’m actually okay with the plot.</p><p></p><p>Much like Diane, Holden is a character who works for me because I like the actor. I was never really a fan of Nathan Owens until he had a lovely, tragic run on Batwoman. I found Holden’s introduction—where he turned out to be an imposter posing as Nate’s brother—quite interesting, but things have become complicated around him since then. First, there’s the backstory regarding why Stephanie didn't tell him that Malcolm is his father. So, the man Holden thought was his father died when he was a baby, meaning he had no emotional bond with him whatsoever; yet Stephanie (who is still a welcome return for me) never told him he had a father—and probably never would have, had Malcolm not become her patient—and still, Holden is incredibly understanding toward his mother. There is no real anger or disappointment; there are only smiles when they are together (usually with Lily and Cane present). And then there’s Holden’s romance with Claire. Claire ought to be a red flag for any man, yet Holden constantly lets her reproach him for not confiding every little piece of his past to her. Claire has become a very difficult character anyway. Her admiration for Victor is hard to believe, considering how similar Victor and her aunt Jordan are in certain (bad) respects.</p><p></p><p>I don’t really get the point of Matt’s current storyline. The writers are playing around a bit again, signaling to the audience that Cane is smart—that he knows Matt is using him and is simply playing along—but ultimately, it will turn out that Cane isn’t smart enough and ends up trusting Matt after all.</p><p></p><p>The fact that Lily and Cane are now an item (or almost one?) is hard to believe, but at some point, you have to see if there’s hot chemistry between the two actors. Their chemistry reminds me a bit of Victoria and Billy Miller’s Billy (though Billy Flynn on Y&R reminds me a lot of Billy Miller anyway—albeit more like a wannabe than a true successor). I prefer adult chemistry like Jack and Diane in soaps over the childish chemistry between characters like Lily and Cane, though I know there are plenty of daytime fans who like to watch lovebirds giggle and tease each other.</p><p></p><p>It’s amazing how Y&R manages to recycle sets. First, we see the train car from Nice back in Genoa City (because Cane apparently has the same train on every continent!?!), and then Noah simply sets up the Shadowroom in Genoa City just like it was in Los Angeles. To save on production costs, there’s no construction work shown; instead, it’s presented as a big surprise—fully furnished (exactly like in LA) and ready for an immediate grand opening.</p></blockquote><p></p>
[QUOTE="Monzo, post: 441566, member: 19949"] I always felt that Diane’s return was meant to be Y&R’s version of Sheila’s return on B&B—except that, unlike Sheila, Diane never went off the deep end again. Strictly speaking, most of the stuff surrounding Diane and the forgiveness she received makes no sense, but Susan Walters is the reason I turn a blind eye to that. I’ve known Susan Walters since Hotel, yet I never thought she was particularly great there, or in Nightingales or Melrose Place. She first caught my eye in a positive way on The Vampire Diaries; even so, I wasn't thrilled when it was announced she was returning to Y&R, but she completely won me over. I suddenly find her to be a good actress; she’s aged well and doesn't come across the (unreal) way some other soap actresses her age do. Diane’s current storyline is awful, of course, but I actually enjoy the scenes between Susan Walters and Jere Burns a little—which is entirely down to the two actors. The fact that Jack has fallen in love with Diane again (and so quickly after her return) remains a mystery to me, but I do hope they stay a couple because the chemistry is there, and I don't think you could find anyone better for old Jack in terms of chemistry. That’s why I feel Victor and Nikki belong together for the rest of their lives; it’s pointless to separate them because no one wants to see them with anyone else. Nikki’s latest health crisis isn't exactly creative, but I always love seeing how worried and caring Victor is when she’s unwell, so I’m actually okay with the plot. Much like Diane, Holden is a character who works for me because I like the actor. I was never really a fan of Nathan Owens until he had a lovely, tragic run on Batwoman. I found Holden’s introduction—where he turned out to be an imposter posing as Nate’s brother—quite interesting, but things have become complicated around him since then. First, there’s the backstory regarding why Stephanie didn't tell him that Malcolm is his father. So, the man Holden thought was his father died when he was a baby, meaning he had no emotional bond with him whatsoever; yet Stephanie (who is still a welcome return for me) never told him he had a father—and probably never would have, had Malcolm not become her patient—and still, Holden is incredibly understanding toward his mother. There is no real anger or disappointment; there are only smiles when they are together (usually with Lily and Cane present). And then there’s Holden’s romance with Claire. Claire ought to be a red flag for any man, yet Holden constantly lets her reproach him for not confiding every little piece of his past to her. Claire has become a very difficult character anyway. Her admiration for Victor is hard to believe, considering how similar Victor and her aunt Jordan are in certain (bad) respects. I don’t really get the point of Matt’s current storyline. The writers are playing around a bit again, signaling to the audience that Cane is smart—that he knows Matt is using him and is simply playing along—but ultimately, it will turn out that Cane isn’t smart enough and ends up trusting Matt after all. The fact that Lily and Cane are now an item (or almost one?) is hard to believe, but at some point, you have to see if there’s hot chemistry between the two actors. Their chemistry reminds me a bit of Victoria and Billy Miller’s Billy (though Billy Flynn on Y&R reminds me a lot of Billy Miller anyway—albeit more like a wannabe than a true successor). I prefer adult chemistry like Jack and Diane in soaps over the childish chemistry between characters like Lily and Cane, though I know there are plenty of daytime fans who like to watch lovebirds giggle and tease each other. It’s amazing how Y&R manages to recycle sets. First, we see the train car from Nice back in Genoa City (because Cane apparently has the same train on every continent!?!), and then Noah simply sets up the Shadowroom in Genoa City just like it was in Los Angeles. To save on production costs, there’s no construction work shown; instead, it’s presented as a big surprise—fully furnished (exactly like in LA) and ready for an immediate grand opening. [/QUOTE]
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