| Blade Bladeson | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| The Young and the Restless | |||||||||
| Portrayed by | Michael Tylo | ||||||||
| First appearance | 1992 | ||||||||
| Last appearance | 1995 | ||||||||
| Cause/reason | Died in a car accident | ||||||||
| Created by | William J. Bell | ||||||||
| Profile | |||||||||
| Gender | Male | ||||||||
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Blade Bladeson first appeared in 1992 as the twin brother of Rick Bladeson. Both Bladeson twins were portrayed by actor Michael Tylo until 1995.
History
Blade was introduced as a Jabot Cosmetics photographer in 1992. After engaging in an affair with Jill Abbott, Ashley Abbott fell in love with him. They married, even though Blade refused to discuss his past. Blade's ex-lover, Mari Jo Mason, came to town, and she also worked for Jabot. They both agreed to keep their shared past a secret. Blade never forgave Mari Jo for sleeping with his twin, Rick. Mari Jo knew that Blade heard Rick's cries for help while he supposedly drowned. She used that knowledge to her advantage.
In November 1994, Rick turned up alive in Genoa City and was angry with his brother for leaving him to die. Rick went on to date Mari Jo again. Ashley saw them together, and she thought Blade was having an affair. Blade was unable to explain things to Ashley without revealing the truth. Mari Jo went on to fall in love with Ashley's brother, Jack Abbott, while Ashley and Blade try to work on their marriage. Rick kidnapped Blade and replaced him as Ashley's husband. Ashley was overjoyed in the sudden change "Blade" goes through, but Blade managed to escape and convinced Rick to leave town. After they switch places a few more times, Blade died when his car was hit by a train. Rick revealed the truth to Ashley, and she decided to leave Genoa City to privately deal with the pain of her husband's death. Jill and Mari Jo then convinced Rick to get out of town.
Read more about this topic: List Of The Young And The Restless Characters (1990s)
Famous quotes containing the word blade:
“When he painted a road, the roadmakers were there in his imagination. When he painted the turned earth of a ploughed field, the gesture of the blade turning the earth was included in his own act. Wherever he looked he saw the labour of existence; and this labour, recognized as such, was what constituted reality for him.”
—John Berger (b. 1926)