Y&R: Old Articles

[DRW50]

Scott Reeves never should have done that tanning. It had already started by this photo.

I'm glad they never put Nikki in that hair on the show (did they?) It's Bride of Frankenstein.

[soapfan770]

I haven't seen Scott lately but at least he finally let Melissa off her leash as she's been back on Days now for a year. I have to wonder where at on today's Y&R characters like Ryan and Cole would fit in.

Actually I'd love it if Cole came back and got involved with Victoria again it would give her someone her own age or so to interact with and be would refreshing instead of her moping over Billy. I wonder what J. Eddie Peck is up to these days anyways.

[DRW50]

I think they both had their time and their place - I think Ryan stayed a few years too long. I liked Cole. I actually wouldn't mind seeing him return briefly to usher Victoria off the canvas. That character is dead.

[alphanguy74]

I just wish someone would put Eve Howard's deathbed scene up on youtube. J. Eddie Peck gave one of the best performances in the history of the show in that scene.

[DRW50]

I was reading a TV Radio Mirror announcement of KT Stevens' arrival as the Prentiss mother (no name given at that time I don't think). They said she was a similar type of character to Katharine, and that there was some speculation Jeanne Cooper was going to be dropped, as her contract was almost up. They said Jeanne was worried because she'd only worked five times in the last month. Do you know anything about this? At the time did you ever think Vanessa was going to replace Kay?

[will81]

It happened again in 1981 when the Douglas/Kay/Derek story finished, Jeanne was barely seen on screen for a few months. I think what you are talking about CarlD2 would have been around the time of the failed first attempt at getting the Jill/Derek/Kay story going. From synopsis I have read from that year, Jill/Brenda didn't have much to do once that story was dropped.

It would have been interesting, but I am glad it didn't happen.

[DeeeDee]

No.

It would be like Gloria replacing Katherine.

[DRW50]

Fun little commercial announcing the new Jack.

http://www.youtube.com/watch?v=8wQAjasS5Cg

[Paul Raven]

Good to see Brenda and the girls!

Edited September 29, 2011 by Paul Raven

[DRW50]

Don't forget Janice!

[Paul Raven]

Of course! JLB couldn't offer much competition in that area...

[Paul Raven]

To this day,doctors still refer to this type of catatonic state as a 'carricaburu'

[Paul Raven]

[DRW50]

It's hard to believe they did all this planning for a story no one cared about, with a new and pointless character as the killer. I wonder if they even plan now.

[DRW50]

January 1992 Digest critique of Y&R, by Donna Hoke Kahwaty.

Continuity A+

RIsk-Taking B

Character Development C

Acting A

Realism C

There's a reason why THE YOUNG AND THE RESTLESS remains number one week after week. In fact, there are several reasons.

For starters, THE YOUNG AND THE RESTLESS has the distinction of being the longest-running daytime series with a single, focused voice at the helm - William J. Bell, the show's creator and executive producer (if it wren't for sister soap THE BOLD AND THE BEAUTIFUL, Y&R would be the only show to enjoy such consistency.) The benefits of such a stable soap environment are apparent. There are no massive overhauls, no housecleanings that obliterate storylines and actors, and no wild shifts in storytelling perspective. The result is a well-constructed show that wins viewers with its steadiness.

Because Bell knows every nuance of every story that went before, he rarely overlooks history in favor of a sensational plot. Bell has too much invested in every character he's created; he wouldn't sacrifice one for the sake of story. Viewers may not like certain things in a story, or they may find themselves having to briefly suspend disbelief (Really, how could Sheila switch those babies?), but they'll never find huge loopholes, storylines will never be dropped right in the middle and characters won't suddenly switch personalities to facilitate a story. Although viewers complain about long, drawn-out storylines, long arcs actually contribute to the show's stability. Because Y&R's plots take considerable time to resolve themselves, the show can make corrective changes before anyone's noticed the story has gone awry, and without leaving obvious, annoying loose ends in its wake.

In addition to storyline stability, viewers enjoy actor durability. Actors stay on this show for years and years, providing a comfort level that other shows just can't achieve, no matter how many past favorites they lure back to the show. Viewers who have watched Genoa City's residents for years feel as though they know these characters - perhaps as well as they know their own family members.

When this bonding between character and viewer occurs, small moments like the reaction of Traci's father to her marriage are just as compelling as the high drama that other shows create to generate quick interest. When Jill knocks on Kay's door, viewers can't wait to see what will happen when Kay answers it; that level of anticipation, generated by a seemingly insignificant act, is the result of a thorough knowledge of the characters.

Families on YOUNG AND RESTLESS act like families - they're alternately combative, loving or jealous - which provides a frame of reference amid Y&R's signature glamour. As long as the characters on YOUNG AND RESTLESS remain in Genoa City, viewers will continue to care about them - and watch them - without fires, earthquakes or gimmicks.

Much of the credit for character continuity goes to Bell, who is very protective of the actors, he casts. Hit or miss is not a game that Bill Bell plays. Since stories are in place before an actor is hired, Bell knows what he wants and casts accordingly. There are so few miscasts that YOUNG AND RESTLESS boasts a strong and immensely talented cast all the way from young Heather Tom (Victoria) to stalwart Jeanne Cooper (Katherine). As a result, there are few of the jarring recasts other shows implement to make a character fit a story that's just been written (ALL MY CHILDREN is a prime offender in this regard; SANTA BARBARA ran through three C.C.'s before it latched on to Jed Allan).

There are times on Y&R, as on any show, when recasts are inevitable. And newcomers to this show are required to make the grade. If there is a criticism to be made of some of the major recasts - Jess Walton as Jill, Brenda Epperson as Ashley and Peter Bergman as Jack - it is only that these actors are less quirky than their predecessors. With this group, Jill is less neurotic, Ashley is more wholesome and Jack is less acerbic. While all are wonderful, appealing actors - two have won Emmys - their less distinctive styles have taken away a bit of the show's individuality.

The remaining unique characters, such as Eric Braeden's Victor, Jeanne Cooper's Kay and Victoria Rowell's Drucilla, have become that much more important as the Abbott family has become more mainstream; Y&R's lighter moments, such as Leanne's crazy stunts, or David Kimble requesting to look like David Hasselhoff (ex-Snapper) are also more integral, because in general, Y&R characters do not have a great deal of depth. Instead, they have rich pasts. What is Paul William's like? He's a detective with a sullied past and he thinks about Lauren. (And, for a sexy and popular leading man played by the talented Doug Davidson, he's very underused as of late.) If Nikki goes into a room and Victor is there, she thinks about Victor. Many of the key characters on this show are defined by their significant relationships in the past, as they relate to their significant relationships in the present. Viewers always wonder if characters are in love with the person they are supposed to be in love with, or if they're still pining for the person from the past. Does Nikki still love Victor? Does Ashley still love Brad? Does Paul still love Lauren? Is it impossible for Jack to help Nikki, simply because he's not Victor? Although it's refreshing not to have a writer's point of view shoved down our throats, there is such a thing as too many possibilities open.

Because its characters (with several notable exceptions) tend to be shallow, &R's latest attempt at creating a villain of substance failed. David Kimble was a cardboard fiend. The fact that he was evil was his only motivation. Never once did we root for him to succeed in his villainy, something that must happen in order for a villain to endure. Kimble could never have been redeemed and, in the end, Y&R had no choice but to kill him off.

Because character focus is so tight, characters seldom have conversations with anyone outside their storylines. There is no finely woven tapestry on Y&R; rather, stories seem to stand alone. Even Lauren's tragedy is not drawing Paul as much into the fray as it should. Unless a classic ripple effect is in place, one story doesn't generate interest in another.

But these criticisms ironically also explain why YOUNG AND RESTLESS stands out. It's uncomplicated, and it boasts a straight plotline that never convolutes. Some may say that Y&R's slow pace and repetitive dialogue mean the show doesn't take chances, but those who watch the show know this isn't true. Teens having sex, "KILLER" carved in a forehead and babies dying are stories that risk offending viewers, but Y&R knows they're more than that - they're stories about humanity. Victoria's story of teen sex was excellent; it was surprisingly realistic, and demonstrates that a certain degree of realism can work withing YOUNG AND RESTLESS's glamorous context.

Y&R is careful not to go too far. It's grittier social situations - like crack addiction and AIDS - often end a little too perfectly. Yes, Cricket, Julie and Danny went to see crack babies, but Julie conveniently miscarried before she gave birth to one herself. Alcoholic Nikki was always impeccably dressed. She even escaped from an alcohol rehab center to dress up in a Phantom of the Opera costume.

Reality whitewash also comes in the form of luxurious clothes and lush sets. It's not real, but that's precisely what many viewers look for in a soap. Y&R is the perfect escape.