Sabitlenmiş Tweet
Josh Griffith reappeared as a writer on #YR with Episode 11,647. We have gone through 7 years and 1,760 episodes thus far under his poisonous pen. Now, there have been things I have liked. I loved the Aunt Jordan plotline. I loved the end of Ian Ward at the Newman Ranch. I loved the Newman Ranch returning to its former glory. I loved the way Summer was written during Hunter King's final months. I loved Ashley's DID...for the most part. The return of Cameron. And I loved the 50th anniversary month. I loved the casting of Mark Grossman. I loved Sally and Adam...and when Sally initially came on. I loved when Nikki fell off the wagon and ended up in that hotel room with Jack. And I loved Diane coming back from the dead, righting one of Maria Bell's greatest wrongs. But for the most part, my precious "The Young and the Restless," a show I can remember truly watching for 21 years out of my almost 27 years on Earth, has become unrecognizable. I know that word is usually tossed around for soap operas who go through their bad eras, but no era of destruction has quite been this large, especially to the crown jewel of daytime drama. Us Y&R fans accepted many moons ago that the show would never be the same as it was created to be under the brilliance of William J. Bell and his wife Lee Phillip Bell. Their creative minds brought forth a daytime drama that would forever change the genre, and create some of the most memorable moments, characters, stories, and production value integrity. Speaking of production, the lighting on the show is still top notch. I see moments where the camera moves in an old-school cinematic way. But we've been stuck with green screens, limited extras, and characters shuffling around to multiple eateries in one week, sometimes even going back to the restaurant they were at two episodes ago, within the same day. Daytime drama isn't easy to produce or write. It's the biggest, most disrespected grind in the industry. 255 original episodes...one hour of drama Monday through Friday. A show that has to shoot 7 weeks ahead to keep up with the high demand. We laugh, we cry, we wait. And boy have we waited. We have waited for the dismissal of Josh Griffith, as he dismissed the show's breakdown writers via email, without truly fighting for them, all to ultimately assume control of daytime's number one force of nature of a soap opera. So yes, while we understand the grind, the network notes, the high demand that can ultimately break even the most talented, we as fans expect this soap opera to be held to a high standard. Because without our loyal viewership, this show wouldn't have made it as far as it has, and Josh Griffith would've never been employed for this long. CBS and SONY knows that they will never be able to find a successful replacement for this show if it was cancelled tomorrow. After all, the ratings are even up, and above three million viewers weekly. We have somehow stayed and preserved Bill Bell's ultimate legacy through retcons, kidnappings, drug addiction, unnecessary stunt castings, rapist redemption, homophobia, and Emmy winners being given nothing but therapy sessions and day players who moustache twirl. Legacy characters have been sidelined. Black characters have been forced on the backburner. We've been told that Chance and Cole had to die to make room for a de-aged by 20 years Cane Ashby, even though the whole backstory of the character hinged on him being a certain age. Beloved characters have been tortured and given crumbs, such as Sharon Newman, portrayed by the brilliant Sharon Case, who has had all of her stories go to other characters, all of her love interests be tossed aside and away from her, though when the character of Cameron was brought out of prison from the Y&R history books, the show suddenly gained almost 500,000 viewers, as fans geared up to watch one of soaps' most beloved leading ladies be at the forefront of the drama again. I could go on and on about how the years have gone by, how the show has grown stale, how it has lacked stakes, how there have been no promos for the show, how the show has lacked an understanding of itself, and how the network has let this man run amuck. But before I go on, I must take time to celebrate. And I must give a warning to the next Head Writer and to Executive Producer Sally McDonald. Let it be known that your job is to return this show to its former glory, to focus on the YOUNGER generation, and to write a damn good soap opera. We, as fans, are no longer going to roll over and take seven years of bad storytelling lightly. We simply do not have the time or patience anymore. We are a vocal fanbase, and we deserve a damn good show. And to CBS/SONY, the next person you pick, make sure you ask them: WHY DO YOU THINK YOU DESERVE TO WRITE FOR DAYTIME'S NUMBER ONE SOAP OPERA? And if that answer isn't good enough, then they do not deserve the Bell family's treasured soap opera. We're a forgiving fanbase, the ratings are evident of that. But the future will be bright for us, because we will not accept anything less than perfection moving forward, after the house that so many have built from cast to crew, has faced a tornado of epic proportion, destroying its most treasured rooms. So, on a final note, here's to the hopeful rebuilding of "The Young and the Restless."
English
