I'm really pleased with the way they have been writing Sharon recently, especially post-reveal. This is the Sharon that most of us really liked - a good person who is sensitive and wants to take the higher ground. Nick is being written in a ridiculous manner. So, I have to go with Sharon scorch the Newman earth by bringing up every horrible thing they've done. At a minimum, drag Victor into it and get the judge to ban him from seeing Faith after pulling the Mariah stunt. In fact, maybe Sharon could get Sherman to blackmail Victor into getting to drop the custody nonsense that way or I'm hoping she discovers what Nikki is doing and uses that.

Didn't they also work together on Santa Barbara?

Yes. JFP and Pratt both left GH to join Santa Barbara (as music director and script writer, respectively) when it premiered in 1984 and climbed to the EP and HW positions. They held those spots during what many consider the show's golden years, 1987-1990, and won five Emmys between them during their reign. Ex-Y&R/Capitol producer John Conboy fired them both when he took over the show in 1990. Steve Kent, who oversees Y&R now for Sony, was a producer for the entire run of SB. JFP and Pratt went their separate ways--she to other daytime soaps, he to primetime soaps--until they were reunited at GH in 2002. (Bob Guza was also at GH in the early '80s and joined the SB writing staff in 1989. He outlasted JFP and Pratt there and, of course, crossed paths again with them at GH in the '00s.)

Edited December 14, 201411 yr by redontop4

Pratt will be the final nail in the coffin, I have no doubts about it. I still can't believe he's gotten his grummy hands on this show.

Pratt will be the final nail in the coffin, I have no doubts about it. I still can't believe he's gotten his grummy hands on this show.

You are right if only Jean and Shelley got a chance to continue their smart writing.

You are right if only Jean and Shelley got a chance to continue their smart writing.

I give you points for consistency at least.

Pratt will be the final nail in the coffin, I have no doubts about it. I still can't believe he's gotten his grummy hands on this show.

Pratt just feels like the wrong choice for Y&R for so many reasons. I read somewhere (sorry, I hate when people say that, but I honestly don't remember where) that JFP wanted Josh Griffith back as HW but Sony/CBS shot that down so she pushed for Pratt, with whom she has a cordial, established relationship. Whatever the case, it's safe to say that the show is soon to take a sharp turn in a different (and, let's hope, better) direction.

I also only watched Roger in the nineties (though I have some tapes of his Adam Malik stuff and his reveal at Blake's wedding), but what makes him different from the othervrapists/psychos mentioned is that while he had front burner stories you didn't get the sense that the writers were twisting themselves into pretzels trying to make us love and forgive and worship this guy. He never ever stopped being a pariah no matter who loved and embraced him at whatever point. To see the way writers have jumped through hoops putting on the Roger Howarth show for the last twenty years is just sickening. As the kids say, "You doin' too much."

Exactly. Roger was written as dastardly and he rarely had people cutting for him; he always was knocked down a peg or two but got back up fighting.

Chuck Pratt is exactly what this show deserves.

Chuck Pratt is exactly what this show deserves.

Hey Dee. Just curious is there anything you like about the show now? :-)

Edited December 14, 201411 yr by GMac

Not really.

There are way too many new characters (Joe, Stitch, Kelly, Chelsea, Austin, Sage) in frontburner stories (not counting the recent recasts), the vets who ARE getting story are being warped (Victor, Sharon, Nick, Victoria), stuck in pointless relationships (Jack, Cricket, Paul, Jill, Ashley) or dealing with sweeps driven medical problems (Michael, Nikki, Lauren), the Black characters remain seriously segregated (Neil, Hilary, Devon, Lily) or non existent (Tyler, Leslie, Barton, Mason), Kevin is STILL alive, the non-Black twentysomethings are useless (Noah, Abby, Summer, Mariah, Fen), characters who should be tertiary are eating up precious screentime (Avery, Dylan, Colin, Cane) & Jeanne's presence is seriously missing.

Edited December 14, 201411 yr by DeeeDee

Can anyone explain the point of that damn music box story? What was the box all about? Every time I tuned in and saw it it was just Jess Walton and Robert Scorpio doing stupid "wacky vet hijinks".

Not really.

There are way too many new characters (Joe, Stitch, Kelly, Chelsea, Austin, Sage) in frontburner stories (not counting the recent recasts), the vets who ARE getting story are being warped (Victor, Sharon, Nick, Victoria), stuck in pointless relationships (Jack, Cricket, Paul, Jill, Ashley) or dealing with sweeps driven medical problems (Michael, Nikki, Lauren), the Black characters remain seriously segregated (Neil, Hilary, Devon, Lily) or non existent (Tyler, Leslie, Barton, Mason), Kevin is STILL alive, the non-Black twentysomethings are useless (Noah, Abby, Summer, Mariah, Fen), characters who should be tertiary are eating up precious screentime (Avery, Dylan, Colin, Cane) & Jeanne's presence is seriously missing.

This kind of writing is an acquired taste

This kind of writing is an acquired taste

Yes, it's strictly for the Room Temperature Club.

What happened to On the Boulevard? Does Billy still own it? I like that set.

What happened to On the Boulevard? Does Billy still own it? I like that set.

David Tom's Billy sold it and went to work at Jabot