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Y&R January 2017 Discussion Thread

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DramatistDreamer Grand Master

DramatistDreamer

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The previous two writing regimes wrote some pretty awful storylines. Anyone who denies it is just not paying attention or in, well, denial.

 

I've yet to see anything as bad as Pratt and "Jelly" yet in what SS has written. I think SS has produced some well written moments illustrated in various conversations. There have been a lot of 'little moments' that have been interspersed that have shown character/relationship quite deftly. On today's episode, there was that brief awkward moment between Stitch and Abby that was apt for a post relationship moment between two divorced people that don't hate each other but are no longer in love. It was a tiny moment done right. I just wish the bigger moments were done with this much detail and consideration.

 

The frustration for me is in feeling as if there have been some very promising storylines that could truly be great, fall short. For example, it looks as if there is the possibility that Jill and Hillary might be bumping heads. I've wanted them to interact more and clash but I was hoping for it being in a business capacity, out of an organic situation instead of this totally made up scenario with Jill showing all this familial concern for Devon seemingly out of nowhere. Jess Walton almost sells it but the set up does not seem genuine enough to fully convince me.

If they had only done what I asked...

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I'm sensitive to people thinking I'm being too negative (I'm being critical and I think there's a difference but in any case, I'll skip getting into too much detail) so I won't explore the Dylan storyline--others have written about it already--except to say that it definitely looks rushed and an addendum to give the character a heroic exit but there is a far more compelling way to write an exit story for this character, albeit a slightly less chivalrous exit for Dylan. Oh well, Sally gonna Sally.

 

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DramatistDreamer Grand Master

DramatistDreamer

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Unless they put Hillary and Jill at CI clashing with Hillary asserting herself, believing that she's looking out for her husband's investment, with Jill thinking that Hillary's really in it for herself, they are not doing what I asked. 

 

I'm saying this scenario with Jill's sudden familial interest in Devon seems forced and I'm not convinced that it is anything other than them trying to find someplace for Jill to stick her nose in, now that she's pretty much exhausted that role between Billy and Victoria. 

 

Jill ought to be running her business at CI, making her own deals with Chelsea 2.0 to develop a Men's Line to showcase her pet project that she developed with Jabot (after wresting intellectual property away from Jabot, right under Jack's nose while he is busy trying to get Lauren's company). Hillary, should be trying to get a piece of that action, offering to help Jill launch the revamped Men's Line while having her own motives to bolster her name.

Devon would not be directly involved in the storyline at all.

 

I feel like the business storylines are still too basic. Maybe it's just me.

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DramatistDreamer Grand Master

DramatistDreamer

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Abby's got no purpose right now. She should probably be off-screen until they find something worthwhile for her to do. SS should put an end to characters doing and saying things just because they've got nothing else to do or say. In my writing classes we were always urged to only have a character show up if there is a good, strong reason for them being there. These motives for these character actions just don't seem strong enough to justify these motivations. JMO, Sally gonna Sally, I'm sure (shrugs).

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RavenWhitney Collaborator

RavenWhitney

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So Hillary makes Mariah fall on her pumps; Mariah exacts revenge by rigging a teleprompter at an auction and Devon is so furious he steps on the pedal of his fancy race car on the back grounds of Genoa City?  Devon wakes up with amnesia and the family has to fake pretend he should still love Hillary?   How did this look on paper as a story line?  All the fans who protested for Sussman...do they realize that she actually never head wrote YR?  She was a breakdown writer, story consultant and fed the head writers story ideas; but she had never steered the ship. Regardless, I want her and Kay to succeed  but I'm afraid this situation will play out as it did on OLTL when Malone returned or Harding Lemay on AW or Pam Long on GL. These head writer returns rarely work.  I hope this one does but I'm skeptical even though it's early.  Some of the issues are with casting.  First, Ordway as Abby never worked.  Bryton James is capable but not all that compelling.  The actress playing Hillary is phenomenal but the material is too light weight.  Come on YR.  Rev up the stakes and stop playing the same 12 characters every day.  How about humanize Sharon by bringing her mother on and have her terminal and Sharon has to grow up fast. Nick sees her in a new light.  Dramatic, teary, totally Bill Bell.  Recast JT.  Actually, Michael Rourke would have made a great JT, just de-aged.  Lauren's plot is also completely lackluster.  And putting Dinah, I mean Phil in the mix is boring too.    

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Darn Mentor

Darn

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You guys continuously let J***** control the direction of the conversation and I do not get it.

 

 

Lately it's felt like characters are on just to fulfill the actors' guarantee. Victor and Nikki for instance have had no less than 5 conversations about Victor's new attitude over the past month that go nowhere. Chloe and Kevin have nothing resembling a story and they're also somehow inexplicably on two times a week. Abby certainly had zilch to do yet she's on flitting about town being utterly useless. Chelsea was on for a solid month acting as Nick's personal shadow.

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