So Jack (Peter Bergman) pops the question to Emily (Stacy Haiduk) after a whirlwind romance of what, three weeks now? Sharon (Sharon Case) says "I do" to Adam (Michael Muhney) after knowing him for about a month? Has The Young and the Restless adopted the three-day-a-week production plan As the World Turns' showrunner Chris Goutman was pushing awhile back? If not, what is up with all the rushed, plot driven storytelling in Genoa City?
Everything onscreen these days seem to be moving faster than a quarterback on the homecoming queen at my old high school, and with much less character development. Jack has only been on a few dates with Patty's doppelganger, now he's about to make her his Mrs., for real? Meanwhile, Sharon, after promising her "dead" daughter she was going to live her life to the fullest and make smarter choices, is now married a known sociopath. So much for empowering women on Y&R. Why is Sharon's character and intelligence being sacrificed all for the advancement of yet another arc in the neverending saga of Adam's reign of terror?
Sure, Sharon doesn't know Adam switched her baby with Ashley's (Eileen Davidson), but she is well aware of the crimes he's committed against Victor (Eric Braeden), like forging a diary to make it look like Sharon's beloved father-in-law committed murder, and that Adam went so far as to seduce his male lawyer to keep someone on his side. She is also well aware of her new hubby's biblical dislike for his half brother— the love of Sharon's life. What on Earth would possibly motivate this longterm heroine to deliberately make such a stupid choice, after the year she just had? I know they say love is blind, but this is ridiculous!
Whatever happened to TPTB restoring Y&R's signature brand of building up storylines slowly, rooted in character, and exploring psychological nuances? Instead of that, the soap's storytelling is now all about racing from plot point to plot point. Isn't that what tanked the previous regime?
Storylines on Y&R seem to be coming out of the blue these days, leaving the audience scratching our heads as we try to figure out why characters we've known and loved for decades are acting so out of character. We understand that given the terrible year soaps faced in 2009, daytime dramas aren't really concentrating on longterm storytelling, and are simply trying to keep their heads above water, but wouldn't it make more sense to go back to the basics of what enthralled soap opera fans in the first place— good storytelling, featuring beloved characters behaving in ways that lineup with who we know them to be?