I did have some difficulty with that elitist "Chicken Parm" stuff from Amanda Beall...but that can't be what you're talking about.

Mark, I ALSO agree about the "flippant" thing. Since me and you BOTH agree on that, I bet that makes it just about unanimous. I also don't see much wrong with the dialogue itself... I cringed at the "chicken parm" and the whole salisbury steak business.... mainly because I wouldn't expect that from Mac, if it had come out of JILL'S mouth... then that's different. I think the dialogue for most characters have been on point, especially for Beth Maitland, who is on so infrequently, it would be more difficult for people to write for her... it makes me wonder if Janice Ferri Esser writes Maitland's dialogue, it's not stilted or odd in any way.

Edited September 5, 200916 yr by alphanguy74

But what do you mean about "does the dialogue have to be THAT BAD?!". Do you have any specific things you're thinking of?

ASHLEY: Victor says he loves me. He doesn't love me or he could never betray me this way. (BEAT) What if we're not together anymore and he tries to take my baby from me?!

(FLASH OF LIGHT. TAKE ASHLEY, COMPLETELY THROWN BY THE UNWANTED GUEST. ENTER SABRINA.)

ASHLEY: Sabrina!

SABRINA: He'll get you. Like he got me.

ASHLEY: What are you talking about?

SABRINA: Ashley. You're life's in danger. You and your baby.

ASHLEY: No. No. No.

SABRINA: Yes. Yes. Yes.

(ANOTHER FLASH OF LIGHT. SABRINA LOOKS ONWARD AS THE LIGHT FROM ANOTHER CAR SHINES INTO THE BACK SEAT OF THE LIMO.)

SABRINA: Here he comes, here he comes, you have to stop him!

(ASHLEY AND SABRINA SCREAM.)

BLACKOUT.

Edited September 5, 200916 yr by bellcurve

Don't forget:

Adam: I have feelings, don't you?

Edited September 5, 200916 yr by Y&RWorldTurner

I mostly haven't minded the dialogue (although I actually thought it was often better in the LML era...I thought the sitcom writers actually got some wittiness in there), but I'm eager to know what badness you're perceiving.

Which LML writers were from sitcoms? Most of the names I recognized were from some of the best primetime soaps of the 80s and 90s (Homefront should be on DVD dammit!) but none of the names jump out from comedy.

The show has had horrid dialogue for months and months now--which, of course, is partly attributed to the insane pace of the scenes and stories.

Mark, I ALSO agree about the "flippant" thing. Since me and you BOTH agree on that, I bet that makes it just about unanimous. I also don't see much wrong with the dialogue itself... I cringed at the "chicken parm" and the whole salisbury steak business.... mainly because I wouldn't expect that from Mac, if it had come out of JILL'S mouth... then that's different. I think the dialogue for most characters have been on point, especially for Beth Maitland, who is on so infrequently, it would be more difficult for people to write for her... it makes me wonder if Janice Ferri Esser writes Maitland's dialogue, it's not stilted or odd in any way.

Teresa Zimmerman, a former B&B writer, wrote Beth Maitland's dialogue on Friday's air show. For the most part, Zimmerman seems to have a good ear for these characters.

Which LML writers were from sitcoms? Most of the names I recognized were from some of the best primetime soaps of the 80s and 90s (Homefront should be on DVD dammit!) but none of the names jump out from comedy.

Christian McLaughlin and Valerie Ahern(Clueless, Married With Children, among others). But they also had soap experience, together at MTV's Spyder Games and he at B&B as a scriptwriter.

And then there's Lindsey Dufour and Marina Alburger. They never wrote for a sitcom, but the mere thought of those sophomoric hacks writing for Y&R is laughable in and of itself.

Edited September 7, 200916 yr by bellcurve

Ashley's gaslighting and the Shick/Phick hell of 2009 are among the worst I can remember in Y&R's history. And they never, ever end. You can see the contortions they go through to keep these stories going as long as possible.

WORD!

.

.

Edited September 7, 200916 yr by Stevie

I have never thought that Y&R ever had good dialogue. During the 80's and 90's, I would tune out as characters repeated the same scenes with simplistic annoying dialogue for months. With the always favorite, "what is going on with you?" Made me want to stick a fork in my eyeball. Gah.