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Commentary by Brent Kellogg

September 3, 2009

Are you waiting for the day that someone in Genoa City, most likely Lily Ashby, asks, "Where does the sun go at night?" When that happens we'll know for certain that these people have hit rock bottom stupid.

For example, I've been wondering why Nick Newman didn't try to reach his wife again by telephone. Okay, reception is bad, the connection ends without the important message that he's the father of Sharon Collins' baby getting out, so why not try again? Why simply give up? Why not move near a window - or something - unless the entire phone system went down which it didn't.

And what about moronic wife #2 having heard part of the call, but not bothering to at least make one attempt to reestablish the connection? It's not like Phyllis Newman was in a rush to leave town. Christ, she had time to visit with grandpa Victor and step-son Noah, who by the way doesn't even live with his parents anymore. Ain't that just the strangest thing you ever did hear?

Of course it isn't.

But this may be.

It's one of those puff pieces written for and by people who actually consider some of the most poorly written dialog to be Masterpiece Theatre quality. That's why I use the word 'shit' a lot. You offer these idiots a plate of health food or a plate of shit and they'll pick shit every time.

To wit: "The cat is out of the bag this week when Nick finally learns that he, not Jack, is the father of Sharon's baby. Joshua Morrow details the stunning revelation -- and the fallout."

Oh god, it's pathetic. The "stunning" revelation. The "cat" out of the bag. The actor himself intrigued because where else could he get paid for spewing such dialog?

And here it comes from Morrow:

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