Days of our Lives is not like other soaps. When a pairing doesn’t work, we have to endure it for about a year before the show pulls the plug. We are sure somewhere in DAYS’ cache of already taped shows, Brady and Sarah are already over, but for now, they are the awkward couple we have to see every day. Everything about them feels forced, and just a few small scenes made that apparent on the Friday, May 29, 2026, episode.
Days of our Lives’ Brady does it again
Maybe one of the reasons we can’t seem to enjoy Brady (Eric Martsolf) and Sarah (Linsey Godfrey) is that it’s just so apparent that Sarah’s feelings for Xander (Paul Telfer) are as strong as ever. Every time he is around, Sarah puts up a wall, but within seconds of conversation, we can see that wall start to come down. Xander and Sarah are the endgame pair even if they don’t know it.
And Brady? This is what he does. He falls for women he has known for years who are hung up on someone else and always ends up alone again, naturally. There are few soap men who are as unlucky in love and just keep trying anyway. It’s so clear that is what is going to happen again that all we want to do it fast forward their scenes.
Sweet Bits can’t make Brady and Sarah sweet
When Sarah stopped by Brady’s place in the morning with some baked goods from Sweet Bits like the regular sweet girlfriend, the entire scene felt forced. Even their banter about the rage room made us cringe. Was Tate (Leo Howard) ready to also cringe?
There is nothing wrong with Brady and Sarah as characters, as they can each be quite likable, but they are just not enjoyable when they are together. There is no chemistry and it’s also clear there is no future, so it’s hard to get invested.
We know Sarah will eventually marry Xander for the third time until he doesn’t meet her standards again, but what about Brady. He could always end up back with Kristen (Stacy Haiduk), which is typically toxic, so maybe it’s time to bring Chloe Lane back into the fold…
Catch all-new episodes of Days of our Lives weekdays on Peacock.
Edited by Hope Campbell