At least a better producer may actually stop needless spending, improve the horrid, almost salmon lighting and whip those lazy-ass, annoying actors back into shape so that they finally start to, you know, act.

Dude, LML was about as edgy as a bagel and as controversial as a Buick Regal.

Continue.

I often get this feeling this MAB doesn't do much more than posture as Grande Dame and delegate duties in between parties and interviews. Goutman would probably enjoy being her gopher.

As long as Y&R continues to ride the top of the ratings, folks, nothing will change for the better. These people believe they're doing wonderfully, and their viewers keep "rewarding" them for it in the ratings. :-(

Exactly.

As long as Y&R continues to ride the top of the ratings, folks, nothing will change for the better. These people believe they're doing wonderfully, and their viewers keep "rewarding" them for it in the ratings. :-(

You're probably right, but massive changes were made in the last decade, several times, so all it would take is a ratings drop.

soaps don't need to "evolve". no TV show needs to evolve, because then you destroy what made it special in the first place. That's why so many TV shows jump the shark. If you create a show, hae a hit... KEEP IT THAT WAY. You need to appreciate your brand, and cherish it. I've made this analogy before, but you don't need to be opening a box of cheerios to find fruit loops. You can use "limited edition flavors" meaning use of edgy or interesting or topical storylines, but all basic tenets of production must stay the the same. Hollywood always want to call it "Dated", it's "classic" mother$uckers! Two examples of shows that didn't change their brands and went out on top... Carol Burnett and Mary Tyler Moore.

Edited February 19, 201114 yr by alphanguy74

you don't need to be opening a box of cheerios to find fruit loops.

If there ever was a Fruit Loops/Cheerios mix, I'd die. That would be the KING of cereal orgasms.

soaps don't need to "evolve". no TV show needs to evolve, because then you destroy what made it special in the first place. That's why so many TV shows jump the shark. If you create a show, hae a hit... KEEP IT THAT WAY. You need to appreciate your brand, and cherish it. I've made this analogy before, but you don't need to be opening a box of cheerios to find fruit loops. You can use "limited edition flavors" meaning use of edgy or interesting or topical storylines, but all basic tenets of production must stay the the same. Hollywood always want to call it "Dated", it's "classic" mother$uckers! Two examples of shows that didn't change their brands and went out on top... Carol Burnett and Mary Tyler Moore.

However, that does not mean soap operas should condone flagitious behahviour. Or any kind of racism. Evolution is a polysemantic noun. Switching from tape to film wouldn't mean the death of a genre, e.g. Or to any other technique of shooting.

If there ever was a Fruit Loops/Cheerios mix, I'd die. That would be the KING of cereal orgasms.

However, that does not mean soap operas should condone flagitious behahviour. Or any kind of racism. Evolution is a polysemantic noun. Switching from tape to film wouldn't mean the death of a genre, e.g. Or to any other technique of shooting.

I wasn't talking about racism, though. I was just referring to the production model. If the show would still LOOK and FEEL like Y&R, it would help to smotth out the potholes and rough edges when it comes to the shortcomings in writing or acting. I still don't understand why people are convinced that Rauch is beind some black conspiracy, when he's only the producer, and not the writer or casting director? Wouldn't the unions have something to say about that if he were making those decisions that were out of his authority? Granted... i'm no fan of the man, with his bright ass lights and bullshit camera shots, but I just don't think he's responsible for all that's being laid on him. I mean, we all know that he's a hard ass... so if he were doing things at Y&R that were in violation of his union contract, i'm sure there would be at least a FEW people who hate him enough to blow the whistle. Look at all the trouble Ed Scott got into when he stuck his finger into the wrong pie. I think Barbara Bloom being gone is the best thing since sliced bread. you notice that Thom Beirdz is back in much heavier rotation now that Babs the butthead is out on her keester? I also notice that Shackelford is nowhere to be found. And Gloria is basically occupying the place on the canvas that Gina used to.

And Amello... Cereal orgasm? Right now i'd settle for a SERIAL orgasm. If Victor gets knocked down a few notches, that would happen... but I doubt that it will. Unless part of Braeden's re-negotiation last year was that he has less power over his character... that would be a dream come true. The last time this show gave me a real jolt of excitement is when they pulled out the 1973 background music for Billy and Victoria's wedding episode. Too bad the writing can't get me that excited.

Edited February 20, 201114 yr by alphanguy74

Yes. They fail at the basics:

1. Exposition
   • Introduction
   • Intrigue
   • The plot starts

Development

• 1st revelation
• Turning point
• 2nd revelation
• Crisis

<li>Resolution

• Confrontation
• Climax
• Finale

Mesh with three other stories. And there you go. Simple.

Edited February 21, 201114 yr by Sylph

Yes. They fail at the basics:

1. Exposition
   
   
   • Introduction
     
   • Intrigue
     
   • The plot starts
     

[*]Development

• 1st revelation
  
• Turning point
  
• 2nd revelation
  
• Crisis
  
  
  
• Resolution
  
  

  • Confrontation
    
  • Climax
    
  • Finale
    

  Mix with three other plots and enjoy. Simple.

Nelson Branco has been dropping hints re the new producer:

-White (duh!)

-Past director

-Female

Kathryn Foster?

Nelson Branco has been dropping hints re the new producer:

-White (duh!)

-Past director

-Female

Kathryn Foster?

Bet ya a dollar it's Sally McDonald.

Yes. They fail at the basics:

1. Exposition
   • Introduction
   • Intrigue
   • The plot starts

Development*

• 1st revelation
• Turning point
• 2nd revelation
• Crisis

<li>Resolution

• Confrontation
• Climax
• Finale

Mesh with three other stories. And there you go. Simple.

*The Jim Reilly Method recommends repeating this at least 20 times.

Edited February 22, 201114 yr by bellcurve