Y&R: Josh Griffith is back (confirmed)...

[frequentsoapfan]

I wouldn't say the writing improves when a soap gets cancelled they just bring back alot of people and fans get nostalgic.  

[DramatistDreamer]

The writing for ATWT certainly did not improve once its cancellation was announced.

 

It's like @frequentsoapfan said, they brought back a lot of characters, which no doubt, felt nostalgic for some. 

For me, it felt sad because it just reminded me how far down the show had fallen with each passing year of its final decade.

[frequentsoapfan]

@DramatistDreamer I also don't like the way soaps feel the need to tie everything up in a neat bow for the most part either the way the majority of characters get their happy ending.

[kalbir]

Are CBS/Sony trying to purposely tank Y&R?

[LondonScribe]

I agree with the above. And that is something some UK shows do well when they are ended. The Bill ended at the conclusion of a day’s work. You knew they were coming back to do it again the next day. No exits or deaths of main characters. Just did a single shot roam of characters going home, to the pub, or to wherever (and I think those on the night shift coming in). I remember complaints by some people that they didn’t bring any legendary characters back like Burnside, Bob Cryer, Jim Carver, June Ackland or Tony Stamp but it was realistic.

 

Family Affairs ended with a stroke of midnight to see in a new year and even though long-suffering Eileen was revealed to have got a Happy ever after, and Yasmin finally got her man, it was not a case of wrapping everything up nicely for everyone. In fact Doug McKenzie left Cat in the street and we were left with a never-to-be-answered ‘what happened next?’ with Katie and murderous pub landlord, Rex.

 

I certainly hope Y&R has more than a little while to go and that whatever step is taken (with or without Mal Young) can do more than halting the decline. That it actually raises quality... I know, right?

 

A ‘dream’ scenario for those who want meritocracy implemented here is for (long time writers, hired by Bill Bell and Kay Alden and you would assume have an understanding of the show’s torn fabric) Natalie Minardi Slater and Janice Ferri Esser to steer the writer while Sally McDonald is finally rewarded for her hard work with an Executive Producer’s credit. 

 

But, Devil’s advocate, do they even want the jobs? Could they do the jobs? Or is Sally Sussman merely the exception to the rule that all writers schooled (or hired) by Bill Bell can effectively write the show, staying true to its roots?

 

And even if they could write (and produce) the show, returning it to some kind of semblance of what was, would the ‘current target’ audience respond or reject it? 

 

Personally, I don’t think network executives are willing to take the risk and give writers and producers untested in showrunning opportunities to do so. Hence revolving door of the same people with their mistakes, missteps and failures for all to see, somehow hoping for a different result. This isn’t exclusive to the United States. It happens in the U.K and in Australia, Home Away went back to Louise Bowes last year as producer, even though she previously overran the show with the Braxtons/River Boys, crime and dodgy characters and seemingly migrated half of Mangrove River to Summer Bay in the process. It sometimes works but often does not.

 

Anyway, there’s a saying born out of that kind of action... 

[DramatistDreamer]

44 minutes ago, frequentsoapfan said:

@DramatistDreamer I also don't like the way soaps feel the need to tie everything up in a neat bow for the most part either the way the majority of characters get their happy ending.

 

Also, something ATWT was guilty of (the lone exception was Lily & Holden's relationship being left in limbo, which seemed oddly appropriate considering their romantic history). 

People complained about AMC's cliffhanger ending on ABC but imo, that cliffhanger was what made it possible for the 2.0 series to happen on Hulu a few years back.  There was just enough intrigue to interest someone to want to revive the series, even for awhile.

 

27 minutes ago, kalbir said:

Are CBS/Sony trying to purposely tank Y&R?

 

It's possible. The longer Mal remains at the helm, the more convinced I become that he's there to help usher the show toward it's end.

11 minutes ago, UK LAW said:

I certainly hope Y&R has more than a little while to go and that whatever step is taken (with or without Mal Young) can do more than halting the decline. That it actually raises quality... I know, right?

 

See, I doubt that Mal is even capable of halting the decline.  Have you seen the latest ratings? Year over year, it is quite...something.

 

Also, I've watched some U.K. soaps and Australian soaps and I just believe U.S. soaps exist in a totally different ecosystem.  Perhaps some of the NYC based soaps might have had more in common with U.K. soaps but certainly the West Coast based soaps are grounded in a hierarchy that resembles something of a mini Hollywood and Burbank, where 'box office' and the concept of broad entertainment is king.

[ranger1rg]

Making Mal both HW and Exec. Producer was a HUGE mistake. Obvious red flags went up among a lot of us at that point, and if we could see those flags, it's crazy that TPTB couldn't. Why they trusted Mal Young so much, I don't know.

 

I don't believe anyone is deliberately trying to tank Y&R. That makes no sense on any level, not when a show was bringing in more daytime viewers than just about any other show.

 

I've been worried about the show for a good while, but that concern really kicked in over the handling of Mishael Morgan's and Eileen Davidson's contracts. Playing hardball is fine, but losing two HUGE actors is a big problem. Now we hear about CK's contract and wonder what that says about the presence of blacks in the cast -- while at the same time we hear Arturo's family gets a big expansion.

 

All this change this quickly? That's a recipe for ratings losses, and any IDIOT can see that.

 

Yes, Mal Young sees the ratings losses. However, instead of at least keeping an ear to the ground to listen to fans, he goes batsh_it crazy with plots like "Mariah worries about Tessa, who's off-camera for all of it" and "Nick becomes the dark character he never was and never can be" and "Victor becomes marginalized like never before."

 

MESS.

[Faulkner]

 

 

[LondonScribe]

32 minutes ago, Faulkner said:

 

 

I note this article speaks ‘definitively’ about the fact that Mal Young is nearing exit at CBS Studios. 

[Faulkner]

4 minutes ago, UK LAW said:

I note this article speaks ‘definitively’ about the fact that Mal Young is nearing exit at CBS Studios. 

Yeah. He doesn’t clearly have all of the facts completely correct about the show and its history, but he’s legit, of course. Not that he’s saying anything that most people weren’t already assuming.

[KMan101]

Yeah, there's very little doubt Mal is approaching his exit. Those in charge can't be thrilled about all the negativity they're receiving and ratings dropping and actors running for the hills.

 

But then again, maybe they actually don't care?

 

I wouldn't say Griffith is the answer. But to me it seems like there's probably a reason Griffith was quietly brought back. I say quietly because it's not like they shouted it from the rooftops.

Edited August 29, 2018 by KMan101

[LondonScribe]

5 minutes ago, Faulkner said:

Yeah. He doesn’t clearly have all of the facts completely correct about the show and its history, but he’s legit, of course. Not that he’s saying anything that most people weren’t already assuming.

I fully accept that. My initial reaction was perhaps it was as it seemed (and I won’t edit it) but the more I read from those on here who know the U.S. business more than I and with more recent news/allegations the more it almost seems inevitable. 

 

Josh Griffith, though? Not because I think he’s horrible, as I’ve liked his stuff but it has shown at least twice now that he might not be the best fit for the show’s style or canvas. 

[Faulkner]

3 minutes ago, UK LAW said:

I fully accept that. My initial reaction was perhaps it was as it seemed (and I won’t edit it) but the more I read from those on here who know the U.S. business more than I and with more recent news/allegations the more it almost seems inevitable. 

 

Josh Griffith, though? Not because I think he’s horrible, as I’ve liked his stuff but it has shown at least twice now that he might not be the best fit for the show’s style or canvas. 

I also question the idea of an EP/HW. Maybe it’s a cost-cutting measure?

[DramatistDreamer]

The idea behind the Broadway musical The Producers is not an imaginary concept, it is real but if Mal is on his way out, perhaps someone still does care, whether Y&R survives or not. 

 

The history of the daytime soap is littered with tales of production companies and execs who did not care, opted to bleed the show and let it limp off to cancellation. 

It's actually not a far-fetched concept to see why someone might be led to believe that this could be in the works.

 

It is intriguing to see which direction this show goes, far more intriguing than the actual show.

Edited August 29, 2018 by DramatistDreamer

[KMan101]

16 hours ago, ranger1rg said:

Making Mal both HW and Exec. Producer was a HUGE mistake. Obvious red flags went up among a lot of us at that point, and if we could see those flags, it's crazy that TPTB couldn't. Why they trusted Mal Young so much, I don't know.

 

I don't believe anyone is deliberately trying to tank Y&R. That makes no sense on any level, not when a show was bringing in more daytime viewers than just about any other show.

 

I've been worried about the show for a good while, but that concern really kicked in over the handling of Mishael Morgan's and Eileen Davidson's contracts. Playing hardball is fine, but losing two HUGE actors is a big problem. Now we hear about CK's contract and wonder what that says about the presence of blacks in the cast -- while at the same time we hear Arturo's family gets a big expansion.

 

All this change this quickly? That's a recipe for ratings losses, and any IDIOT can see that.

 

Yes, Mal Young sees the ratings losses. However, instead of at least keeping an ear to the ground to listen to fans, he goes batsh_it crazy with plots like "Mariah worries about Tessa, who's off-camera for all of it" and "Nick becomes the dark character he never was and never can be" and "Victor becomes marginalized like never before."

 

MESS.

 

+1000

 

I saw it for the mistake it was the moment he was announced as both. I also mused they were letting him hang himself out to dry, so to speak. Basically he would either sink or swim and he sank. And sank. And sank. And sank.

 

I'm disappointed the show is in this position but I'm not surprised under Mal. 

 

Let's see ...

 

Jack's not an Abbott. So neither is his only son on the canvas, Kyle.

 

Ashley's not an Abbott. So Eileen is leaving.

 

Traci, a blood Abbott, is barely recurring, if that. (Though Mal used her more than some)

 

Billy, who's been recast several times, and Phyllis, a de-aged recast, are now taking over the show.

 

Two African American actresses were shown the door. (I.E. FIRED) Including one they should have done everything possible to hang on to.

 

Mal "no new characters" Young is now populating the show with new characters.

 

Nick is dark for no reason.

 

Victoria is MIA (thank god for small favors?) but before that was dominating the airtime and, she too, is a recast. But she's been here long enough that she, unfortunately, is Victoria now.

 

Victoria's son Reed was shipped off.

 

Lauren who? Paul who? Michael who? (Though at one time I would have loved less Christian LeBlanc) Neil who? Dina who?

 

Arturo, Rey and Lola are replacing the Winters clan. But yet Daniel Goddard remains employed. Hmm. If Goddard wouldn't fight his character being shady I'd have no issues. I actually liked Cane vs. Victoria and how nasty they got. That felt so much more in character for both of them.

 

The Abbots are more or less erased, the Newmans are all useless (Noah was dumped; Mariah is aimless) ... I mean, I can't believe I'm defending the Newmans, who I've long wanted a break from.

 

I could go on. Matt Hanvey on Twitter posted a nice little reminder of how far down Mal has taken the show.

 

But man ... I truly do not recognize this show.

 

The producers also need to tell the actors they are tired of letting them dictate things. Sorry Josh Morrow, we don't care you don't want Shick. Do your job.

 

Mal's a dark writer. No different than Guza/Pratt, Phelps, McTavish at her worst, MAB at her worst, Tom Langan on DAYS ... sigh.

 

Always ended up messy, dark and everyone hates each other. Sounds like Mal's Y&R! I don't like my soaps miserable all the time. I want drama, not misery, not everyone hating each other and fighting. If I want to see miserable people I watch UK soaps

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 lol. They're often dark and miserable. But they also have light stuff. There can be a balance.

Edited August 29, 2018 by KMan101