…to William J. Bell, cocreator (with his talk-show-host wife) of The Young and the Restless.

When the soap began in 1973, some critics called it a daring experiment in adapting the format to a hip young audience. Not quite. Bell, who’d apprenticed under the pioneering soap creator Irna Phillips, had simply added a veneer of Hollywood glamour to a classic daytime-drama formula.

In the show’s early years, its sets were small and dimly lit. This was a throwback to the first TV soaps of the ’50s, whose studios were tiny and whose settings were cheap to the point of abstraction. When Bell invoked the same look on a larger budget, it emphasized the characters and de-emphasized all other visual elements.

Before the show expanded from a half hour to an hour in 1980, its cast had as few as 16 regular characters, almost all of whom belonged to just three families. The hour-long format necessitated larger casts and more complicated plotlines; but Bell still emphasized his traditional themes of romantic and class conflict. He mostly avoided the other soaps’ digressions into espionage, weird/kinky crime, and improbable fantasy.

Bell continued as Y&R‘s head writer into the ’90s, and as its senior executive producer until his death. As fads came and went, the show remained constant to his vision. It remained a low-key, ploddingly-slow affair. (Some episodes would open with a minute-long shot of a woman pacing back and forth in an office, waiting for a phone to ring.) It eschewed flash, noise, hit-song samples, and everything else Those Kids Today were supposed to like.

(It even kept its original theme song, borrowed from a background track in the Stanley Kramer film Bless the Beasts & Children, and which became a top-40 single in ’76 after ABC Sports used it in a profile of Olympic gymnast Nadia Comaneci.)

The reward for Bell’s intransigence: Y&R has been the highest-rated show on US daytime television for more than a decade.