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Y&R Discussion Week of June 14


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When Daniel and Abby were in the pool; it looked like she was making out with a dirty old man.

I really wish that the writers would slow the hell down when it comes to their romantic pairings. Daniel barely divorced Amber and he's already with someone. The only way we'll see slow burning romances are if the writers don't really care about the pairing a la Neil and Ashley.

Billy/Victoria are becoming the new Phick, sex everyday they're on.

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Due to flash floods, today's Y&R was pre-empted in my viewing area (OKC).

Pardon me if I'm not heartbroken by this development (the pre-emption, not the flooding).

Eh..all you missed was

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Victor Newman...god bless Eric Braeden

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Adam & Sharon...Adam professing his love.....Sharon acting dumb and dumber

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Jack & Victor looking for Adam.

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Victoria & Billy do some kind of [[email protected]#$%^&*]!

Billy & Victoria

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Billy/Victoria are becoming the new Phick, sex everyday they're on.

Like brother, like sister. ;-)

Reading about upcoming visits from Julianna McCarthy (Liz), David Hasselhoff (Snapper), and Wings Hauser (Greg)

just makes me long for the good old days of Y&R - which is strange, b/c Y&R used to get on my nerves when I was a young lad.

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just makes me long for the good old days of Y&R - which is strange, b/c Y&R used to get on my nerves when I was a young lad.

When you compare it to what Y&R is now, you'll wish for any of the bad stuff you hated back then was on right now.

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ICAM, lovely_m, lol.

I think what I appreciate now but didn't back then was how meticulous Papa Bell was in his storytelling. It often drove me nuts how s-l-o-w-l-y everything would progress on Y&R. Now, though, I realize he wasn't doing it just to keep everyone coming back everyday. Bell was also trying to explore every possible viewpoint inherent in the situation, so that we weren't ever confused about any given character's motivation; everything he or she did made absolute sense.

I miss that.

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Bill Bell often gets bashed for his pacing but that was one of his best attributes.

The intensive character development more than made up for it.

Agreed, which is why I often get agitated when someone compares Bill Bell with JER. They might have been slow in their pacing, but Bill actually developed characters rather than keeping them stagnant or regressing them like JER did.

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Agreed, which is why I often get agitated when someone compares Bill Bell with JER. They might have been slow in their pacing, but Bill actually developed characters rather than keeping them stagnant or regressing them like JER did.

Exactly.

Bill's pacing was well done too (albeit being slow) cause he climaxed his umbrella stories in successful waves.

He had his share of horrible stuff (like every other HW) but he's the one that is most often overlooked & under appreciated compared to his peers.

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In the long run Bell got the acclaim which mattered the most -- from the audience, who helped make Y&R #1 even with so much upheaval on the show and in daytime itself, and kept it at #1. It's just too bad his own family seem at best uninterested and at worst resentful towards what made him such a legend.

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In the long run Bell got the acclaim which mattered the most -- from the audience, who helped make Y&R #1 even with so much upheaval on the show and in daytime itself, and kept it at #1. It's just too bad his own family seem at best uninterested and at worst resentful towards what made him such a legend.

His successors seem to think that to be as successful as Bill Bell was, you have to tell stories "from the gut." Well, it was more than that. Bill Bell was very shrewd at gauging his audience; he knew exactly how long to keep dangling that carrot in front of their eyes. He didn't pander to audiences that weren't there, though; he wrote specifically for people who "got" his kind of storytelling and expected it only from him. Same holds true, I think, for Marland and Nixon.

How did Sharon get Adam's number?

Google is a powerful, powerful tool.

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You know what else I begrudgingly give Papa Bell credit for? Knowing when to cut his losses and move on from a story that wasn't working. If you, the writer, can't stand it, how can you ask your audience to? And no, sticking to your guns with it, ramping it up, adding more bells and whistles to it, won't make it any less shitty for them, either.

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