MAB cannot be forgiven for having two crappy Doppelganger stories running at the same time.

It's kind of pathetic and I'm sad about having a conversation about which of four terrible consecutive writing teams was worse when the new one coming looks to be dreadful.

Young and the Restless has loyal fans, no other soap has survived 10 years of turmoil in TPTB. The fact they haven't lost more viewers is amazing.

Edited September 24, 201411 yr by titan1978

Sony needs to fire JFP & Hire Wendy Riche

Wendy would be a great choice for Y and R and on her twitter she states she loves the show. SONY won't replace JFP considering all this power she is getting. I swear JFP is the hardest bitch to kill in daytime

From what I've read Alden said she doesn't have a desire to be head writer. I dunno if that's true, but that's what Jamey Giddens was saying. He said she said it in an interview

I'd believe it. She's not all thatyoung anymore, and I gather it's a lot more work (especially on an hour show,) than the position she is in. She's older than Lorraine Broderick who apparently has made it clear she's happy being a AHW from now on (coming back to AMC as a favour to Agnes, notwithstanding.)

Lucci never really complained either but she let it be known about Pratt. AMC suffered from not changing exec producers around 2007 to 2008. I am sad about y and r it shows they want nothing to do with what made y and r a success. Bill Bell would be rolling in his grave. Y and R has such a signature vision really only Bell could write. Pratt is a horrible fit for this show. He fit GH more then this show.

As did Agnes Nixon, as I said. As for AMC and EPs, by 2007-2008 they could have used basically any EP and it wouldn't have mattered--Brian was EP.

After what he did to AMC I shudder to think of what will become of Y&R.

Did he ever get the ratings up at AMC?

Briefly, at first.

I do wonder about how Kay Alden would've done with AMC

No sane, talented writer would want to be a HW and deal with insane micromanaging and purposeful destroying of quality in these times. No big surprise.

Can somebody who was a fan of Pratt's AMC and GH work tell me what positives he will bring to Y&R?

I did like some of his early stuff on AMC as I've said (and I agree with Marceline there.) Granted, the show under McTavish's last year or so was a mess, and then Brown/Esenstein's show was focused on one (not very good) story and had a dire pace--so when he came on (and I'm not even sure how much credit he gets for this,) the early months had a lot more diverse canvas, bits of humour (like Petey's fantasies,) that felt fitting for classic AMC, some topical storylines, and an at first welcome faster pace. Of course Agnes Nixon has said it was a few months in that she was locked out of story meetings, and suddenly it was like he was trying to write a daytime Melrose Place. Seriously. He was only on for 18 months or so, but the last 12 were pretty awful, and the last 6 (if not more) really did make the show unrecognizable in a way I don't remember it being before-- even during some McTavish years or Passanante's crappy time. When Broderick came back as an interim writer for the anniversary the change was so quickly apparent.

Back then, it was said that (probably due to his primetime credit -- remember he also for some reason had exec consultant credits on Desperate Housewives and Ugly Betty,) he was VERY expensive which was one reason he was dropped from GH and why Frons did allow him to be replaced at AMC (ratings had tumbled by then, after their initial spike, anyway.)

Wasn't the transition from Pratt to Broderick around the time AMC went to LA

Oh Melrose Place had a couple of outstanding years. I will never forget that wig coming off and how crazy Kimberly looked in that mirror.

Darren Star essentially left as show runner right after Season 3 of Melrose I believe and that's when Pratt replaced him (he had written episodes before, and I may have the timeline wrong,) but, if you like Melrose, he did some fun stuff. Hell, I even enjoyed in a guilty way his Models Inc, Hell I even liked the very short lived Dynasty update, Titans. But they were trashy, primetime soaps and after that Pratt seemed to think daytime soaps should be written and even paced the same way which does NOT work (particularly for a show like AMC.) Despite primetime soaps taking much of their inspiration from daytime, and then upping the anti by 110%, they're such different beasts. (Didn't Pratt co-create Sunset Beach but never HW?)

It's the difference between micro and macro. Dialogue is about the moment while a good HW has to take the long view. Both skills are necessary.

Right and while you do a lot to fill in the details (depending more or less on the writer,) you really don't get much say as a script writer (compared to even a breakdown writer,) in even suggesting story direction or ideas.

IIRC, Pratt DID co-create Sunset Beach

I thought Frank South was the showrunner for seasons 4 to sometime in season 6?