I never actually understood properly how people who are paid to have taste — have none. Costume and set designers, for example. Budget is not really an issue when you're good at what you do and know how to be creative with what you've got.

I think I've called for Brad Bell's firing a few times .

No, I don't think in those terms. I'm not savvy enough about behind the scenes stuff. I know what I like and what I don't like. Even now, Y&R has some things I'm enjoying/find promising, and other things I don't. In general, in any industry, I consider firing to be wasteful and a kind of "last resort" thing. That said, by the time LML left, I was ready for her to go. But I enjoyed her early run.

Last resort? But then you hinder the prospect of someone better coming along. I can't possibly understand your stance on this. You have your limits, don't you? How much longer would you have kept McTavish, for example?

I initially thought he was an improvement over the HORRIBLY BLAND way the show looked under Latham and then Griffith, now it's not only bland, but a VERY TACKY looking show, especially the lighting, set design, hair, and wardrobe.

I think you can sum Rauch's style up as - Bright Lights, Big Sh*tty.

I think you can sum Rauch's style up as - Bright Lights, Big Sh*tty.

That's another mystery — how come his AW was so splendidly produced, by all accounts, and then after that, he just slipped into mediocrity and below?

No, I don't think in those terms. I'm not savvy enough about behind the scenes stuff. I know what I like and what I don't like. Even now, Y&R has some things I'm enjoying/find promising, and other things I don't. In general, in any industry, I consider firing to be wasteful and a kind of "last resort" thing. That said, by the time LML left, I was ready for her to go. But I enjoyed her early run.

And you're not ready for this regime to go yet because.....?

Sad to say, I saw more potential in Latham's final months than I do now on the show. Latham sucked but often her ideas were solid on paper, but crummy on execution. With this regime, their creative strategy and creative execution generally sucks, and they've failed in more massive ways at basic soap opera elements like family dynamics, ensemble writing, pacing, establishing characters, than even Latham did.

Even though Maria is a weak leader and incompetent, at the very least, Sheffer, Rauch, Hamner, and some staff writers should be given their walking papers. This show could benefit from a better Co-HW for Maria (and only ONE!), some better staff writers (who actually GET the show and its characters)to get the day to day writing on track, and a savvy technical Executive Producer who can bring the show to life and make it look aesthetically pleasing under a crappy budget.

If daytime is dying in a few years anyway, then now is the time to start being "wasteful." When the ship is going down, you pull out all the stops for a stronger show, which means replacing the writing regime that clearly isn't working.

Y&R needs this "last resort", if only to say the show tried to save itself when it all ended. Instead of ending and doing nothing to improve its condition. Can we say this about GL or even ATWT? I don't think so. Those got canceled and did very little or nothing at all to improve themselves, it's as if they didn't even try...

Edited December 16, 200915 yr by Y&RWorldTurner

That's another mystery — how come his AW was so splendidly produced, by all accounts, and then after that, he just slipped into mediocrity and below?

He was at AW for a long time, about 7 or 8 years. I know the Lemay years were seen as sumptuous, but I wonder how much of that was the writing and the casting. I also wonder what the show looked like after Lemay left. I have only seen a few bits and pieces.

If daytime is dying in a few years anyway, then now is the time to start being "wasteful." When the ship is going down, you pull out all the stops for a stronger show, which means replacing the writing regime that clearly isn't working.

I agree. If DAYS had not canned Sheffer, I truly do not think that show would be on the air now, or if it was, it would be in its last few months.

Remember John Conboy. He was top gun in the '70s too, like Rauch. But he didn't adjust to the times and his GL was also a nightmare, an old man trying to do modern vogue. I think it's as simple as that.

Sad to say, I saw more potential in Latham's final months than I do now on the show. Latham sucked but often her ideas were solid on paper, but crummy on execution.

Some of the reasons she sucked:

1. Did not like Y&R. Or was indifferent. Just took a job to get that delicious paycheck.

2. Was given a mandate. So she didn't really write what she wanted, but what she was told. All her ideas had to fit a certain mould. So any creativity she might have had, which is questionable, got suffocated because it had to go through a prism she was given from up above.

3. Her character, temper.

4. Chose all the wrong people to write for her.

5. Didn't really study the material.

Y&R needed a transformation, but not the kind she proposed.

He was at AW for a long time, about 7 or 8 years. I know the Lemay years were seen as sumptuous, but I wonder how much of that was the writing and the casting. I also wonder what the show looked like after Lemay left. I have only seen a few bits and pieces.

I wonder too. I just think good taste is eternal.

Edited December 16, 200915 yr by Sylph

Remember John Conboy. He was top gun in the '70s too, like Rauch. But he didn't adjust to the times and his GL was also a nightmare, an old man trying to do modern vogue. I think it's as simple as that.

Some of the sets were very eye-catching, and lush. They just couldn't afford that type of filler (and then the fashion show with Marj Dusay in Lite Brite, or whatever).

I do wonder if Rauch said "to hell with it" when the budget started going. This is just all cheap, tacky stuff. Victoria and Sharon look like they're trying out for a porn version of Eliza Doolittle.

Too bad Brenda Dickson isn't still with the show. She wouldn't put up with this crap. She'd just wear her own clothes.

Even though Maria is a weak leader and incompetent, at the very least, Sheffer, Rauch, Hamner, and some staff writers should be given their walking papers. This show could benefit from a better Co-HW for Maria (and only ONE!), some better staff writers (who actually GET the show and its characters)to get the day to day writing on track, and a savvy technical Executive Producer who can bring the show to life and make it look aesthetically pleasing under a crappy budget.

I would fire them all. All. I really wouldn't know who to keep. Every single person on that writing team needs to go.

And some fresh blood needs to come in. Talented young writers, from different backgrounds. Thoroughly analysed (do they like soaps, the show, have they seen it etc.) before signing the contract.

Some of the reasons she sucked:

1. Did not like Y&R. Or was indifferent. Just took a job to get that delicious paycheck.

2. Was given a mandate. So she didn't really write what she wanted, but what she was told. All her ideas had to fit a certain mould. So any creativity she might have had, which is questionable, got suffocated because it had to go through a prism she was given from up above.

3. Her character, temper.

4. Choose all the wrong people to write for her.

5. Didn't really study the material.

Y&R needed a transformation, but not the kind she proposed.

And the sad thing is, this regime seems to have taken on many of her qualities and expanded upon them. Only she seemed more successful at writing that type of thing than they do, even though both variations of the show suck for both common and distinct reasons.

Also when this regime tries to fix Latham's "mistakes," they end up making matters worse.

Edited December 16, 200915 yr by Y&RWorldTurner

Some of the reasons she sucked:

1. Did not like Y&R. Or was indifferent. Just took a job to get that delicious paycheck.

2. Was given a mandate. So she didn't really write what she wanted, but what she was told. All her ideas had to fit a certain mould. So any creativity she might have had, which is questionable, got suffocated because it had to go through a prism she was given from up above.

3. Her character, temper.

4. Choose all the wrong people to write for her.

5. Didn't really study the material.

Y&R needed a transformation, but not the kind she proposed.

And the sad thing is, this regime seems to have taken on many of her qualities and expanded upon them. Only she seemed more successful at writing that type of thing than they do, even though both variations of the show suck for both common and distinct reasons.

Alaos when this regime tries to fix Latham's "mistakes," they end up making matters worse.

If there's such a thing as karma, then I guess this is karma for that smirky bit where MAB had Katherine reading about how the crime rate in Genoa City had suddenly dropped. Boy does that seem like a long time ago.

And the sad thing is, this regime seems to have taken on many of her qualities and expanded upon them. Only she seemed more successful at writing that type of thing than they do, even though both variations of the show suck for both common and distinct reasons.

Alaos when this regime tries to fix Latham's "mistakes," they end up making matters worse.

It really spelt disaster ever since Maria came on. Why? Well, you know things aren't really gonna go well when someone asserts his/her power like that. Not only is she a head writer, but an EP. Please. On what basis?

The that gargantuan writing team, the size of Denmark. Please. What was that?! (Although, I admit I miss the pure hilarity of it all... Those weird names popping out of nowhere... )

And they go and pick Rauch, a "safe bet".

If daytime is dying in a few years anyway, then now is the time to start being "wasteful." When the ship is going down, you pull out all the stops for a stronger show, which means replacing the writing regime that clearly isn't working.

A check is a check to them.

As long as TPTB get paid they don't care about the quality of the product.

If there's such a thing as karma, then I guess this is karma for that smirky bit where MAB had Katherine reading about how the crime rate in Genoa City had suddenly dropped. Boy does that seem like a long time ago.

Pretty much!

I would fire them all. All. I really wouldn't know who to keep. Every single person on that writing team needs to go.

And some fresh blood needs to come in. Talented young writers, from different backgrounds. Thoroughly analysed (do they like soaps, the show, have they seen it etc.) before signing the contract.

A mass firing would serve the arrogant producers and writers on this show right.

But something like this isn't realistic, though it would be nice to see happen.

Does Sony have any Writer Development Programs? This show needs to accept that it's a soap, but at least try to push the envelope again. Sony should try to force some experimental producer on this show or something, along with a filters writing team, but it would never happen.