DramatistDreamer

Interesting point about the fact that RH was a 30 minute serial. In this day and age, I don’t see a network soap being able to center one family, unless they are going to make that world really cloistered, to the point of being nearly claustrophobic. A radio soap, sure- a script to screen with a beginning, middle and end, yes, but a continuing drama, somehow I don’t see viewers putting up with that. Today’s viewers definitely expect more.

I do give Leon credit because, as I said upthread, she did look the part even though, honestly, Y&R botched what were good storyline opportunities that were right in front of them, if only they had opened their eyes. Seriously, the writing for her was pretty awful. To call that reliquary story convoluted is an understatement.

Oh of course, you absolutely need both! Fresh faces and experienced veterans and if this is to be a 60 minute serial as has been suggested, there should be sufficient room for both. That first episode, you need strong talent to do the heavy lifting. I agree with this. No offense to the West but I have seen how B’way works up close and personal, as I once interned for a B’way producer and that discipline involved— actors, even the relatively young and newbies always show up prepared.

You know, I lost completely track of these posts?! I was searching for something else and came across these. A very belated thanks to @Juliajmsand @Bright Eyes for your gracious words. Apart from the weird formatting, this would have made for a pretty good umbrella story. Hm, I had more story regarding the reunion between Colleen and Traci and her family and loved ones, which leads to the mystery of who the donor whose heart went to Victor. Of course, that dreadful DV storyline and shipping off of Mattie and Charlie and the killing off of Hilary and Dina (why was Y&R so quick to kill off these two? The others I could have dealt with but this messes up my flow 🙄). Well, the DV storyline also messes up a lot too. Ugh.

Nvm. Please delete?

Everybody’s gonna try to get in on this. I’m interested in who is going to be doing casting duties. In the old days of P&G soaps, it was common to see certain actors circulate their soaps (EON, ATWT, AW, GL, etc). Back then, it was not uncommon to even see an actor appear in a commercial for one of their products before later appearing in one of their daytime soaps. It’s been nearly 15 years since P&G has produced a daytime soap so I think we can assume that things will be slightly different this time around, and P&G appears to be assuming the role of partner, rather than primary production company as they were in the past. Still, the list of actors who once performed in P&G soaps is pretty impressive- Tonya Pinkins, a pre-Y&R Victoria Rowell, Amelia Marshall, Petronia Paley, Count Stovall and Tamara Tunie, to name a few.

Considering that elections are going on in Russia and we’re unlikely to be informed of anything other than the most predictable outcome, coming across this vintage Phil Donahue episode that took place in Moscow (an episode I have never seen) seems especially timely.

With Leon, I was never sure whether the crappy writing or her performance was the biggest problem I had with the character but I found her characterization of Colleen to lack that endearing quality. And in Fonseca’s performance , even when Colleen was being rebellious and made me want to ground her, she was irrepressibly endearing, kind of like Traci. Sursok, well, about her, I was just indifferent. Today’s soaps waste their legacy characters like nobody’s business.

I wasn’t against Adrianne Leon’s casting per se, only because she had Traci’s build and there were some potential but missed opportunities to have a body positive character, that would be the inverse of where Traci was at that age. But the writing was awful during Leon’s tenure in the role, only exceeded by the atrocious writing in Tammin Sursok’s time (plus she was completely wrong for the role). Even if in a reduced role, I wished they would have worked something out with Lyndsy Fonseca to show up occasionally especially seeing as Fonseca’s performance abilities got considerably sharper over the years and she and Luckinbill have great onscreen chemistry, the were really good together on that television series based on La Femme Nikita.

Wow, really?! I didn’t know that! That was some poor choice making, a particular standout in a sea of poor decision making over decades of this show’s history.

Why oh why did those dumb writers kill off the Carltons? If they felt it was too confusing to have Don Diamont occasionally visit Genoa City, could they not have recast the role? Brad Carlton was one of the few characters left on the canvas who had solid working class roots (aside from Jill and Sharon, both of whom have been terribly underutilized and misused) and I feel that connection to striving and ambition has been lost. Y&R, in its heyday was always ambitious and had at least a handful of characters who embodied this. It’s also sad that, you have Ashley and Jack who have grandchildren that they allegedly dote on and you have Traci, who has demonstrated the greatest capacity of unconditional love, has been left without a daughter or grandchildren. Colleen could have made occasional visits to Genoa city sometimes. Honestly, instead of going there with the hair brained stories they plunged JT Hellstrom into with the Newmans, they should have had he and Colleen run off and elope (with Colleen only sending Traci a cryptic message to show up to a particular destination alone where she finds her way to a rustic chapel somewhere), and return for brief story arcs during the numerous storytelling lulls on this show.

^^ Dang, so many things that have plagued IW over the years! On an up note, honey for everyone, I guess?

Thanks for satisfying my curiosity. Hm, from my brief experience working behind the scenes of a television show…I mean, not to make generalizations or cast aspersions or anything but, in my experience, a lot of media people are fairly spineless and often focused on hunting down their next opportunity, wherever they can find it, no matter where it comes from or where it leads them. No lie, I was once told by a television producer that I had too much integrity to be working for her. By then, the job had made me so sick that I agreed with her.

The last daytime soap opera that used the family’s name that I can think of is Ryan’s Hope, which at least, wasn’t too straightforward thankfully. As soap fans, I think we’re generally used to titles that are a little more elaborate on some level. I think that’s why it comes off as a working title for so many. If the writing and performances are top-notch, I can overlook a generic series title. The family has been described as living in a gated community. The title comes across as very ‘on the nose’ is probably why it reads like a working title but hey, if the quality is great (and ups the ante for the remaining soaps to improve their storytelling), tptb can call it Bebay’s Bay Ridge Hideaway and I would deal with it.

Kind of what I had suspected of P&G over their recent IR reports— they wanted to get back into the production of soaps but didn’t want the onus to be on them to produce them. I guess partnering with entities that have some stability is a better option for the type of corporation that P&G has evolved to over the years. Interesting, when we all think back to all that talk about P&G refusing CBS’s offer to purchase the production rights to As The World Turns.

I would be interested in see what that looks like visually. Of course, not interested enough to watch the actual show.

Same, as it seems like a fairly generic title. In one of my earliest posts, I wrote it as “The Gates” but then got lazy and subsequently left the tile out of quotation marks but I was thinking it was a working tile.

Anyone who is still on Twitter/X, question: How long did Don Lemon’s show last on that platform?

They haven’t known how to write story for Lily and Daniel since they aged out of their teens. Maybe these writers find Daniel too uncomfortably close to Lily’s age? They seem to prefer writing Lily in relationships with much older men.

The Simpson trial, no doubt drew away viewers’ attention from daytime soaps but it’s sad to me that, no one mentions any strategies that were developed and implemented to draw back those lapsed viewers or to actively cultivate new ones, that didn’t involve simply bringing in new characters , copying off-brand Hollywood scripts and cheap gimmicks. Everyone cites O.J., leading me to ask “and then what? What did you do in response to draw those viewers back?” The shows I used to watch back then brought in a whole bunch of dull characters and/or showed storylines that could have been the antidote to insomnia. On occasion of a compelling storyline, there was usually no follow up.

Aww, even though I am no longer watching…still, aww.

That’s a headline from The Root or The Grio.😂

I will have to give that question more thought since I have watched other things since then and it’s no longer as fresh in my mind lol. I know that many people will say that the Thanksgiving (or was it Christmas?) episode was among their favorite episodes but imo, personally, I thought it ran a bit too long, although I just know that Jamie Lee Curtis probably relished diving into such a messy flawed character. I will say that I enjoyed the character arcs of each character and I really think the series is well cast, it was such a nice surprise to see Robert Townsend turn up. Another aspect that the writers do well is, they get you to care about these characters fairly quickly, even the ones who appear to be antagonistic at the outset. Many of the characters clash and can sometimes say awful things to each other, but they are never demonized because the writing shows where each character is coming from emotionally. It’s a lesson that I wish today’s remaining soap writers would learn and adopt because most tend to write overly broad characters-even the so-called “grey” characters are so broadly written as to appear more like caricatures. Here’s how you can write a character, even an antagonist, while maintaining viability. I appreciate how show builds situations that pull the characters into either conflict or rising to the occasion, and in a few instances, both. One really memorable episode for me was when Marcus went to Norway to apprentice to a pastry chef. I thought the episode did well at showing how Marcus was bringing that sense of discipline and focus to build his craftsmanship and up his level of skill. With all of the happiness of his accomplishment, lurking in the background was the precarious state of his mother’s health, which added tension to the episode.

From my on again, off again experience of viewing during his tenure and reading the press surrounding this screenwriter who deigned to condescend to write a daytime soap opera (back then, there still was a LOT of snobbery about what media someone wrote for, as I would learn after getting into a dramatic writing. MFA program when my school’s career services head asked me whether I had submitted a play or a screenplay or television script for my admissions portfolio and when I answered that I had submitted a stage play, he said “oh, that’s a much higher bar!” As someone who specifically applied to that program to gain for experience in writing across all media, I was shocked to hear him say this, needless to say.) It was telling that during his acceptance speech at the Daytime Emmys, Sheffer mixed up All My Children and As The World Turns, as AMC was the soap he had often desired to write for—he really should have prepared a speech, it all came tumbling from his lips during and post acceptance. Bless. So ATWT had become daytime’s version of Weekend At Bernie’s? I know I’m wrong for thinking this, but that image popped into my head immediately when I read this.😂

Paramount+ recently sent me an email offering me a free month after I terminated my subscription, after a promotion that I had received ended. I don’t know if it’s worth it just for a month. For years, power struggles between the Shari Redstone contingent and the Leslie Moonves contingent dominated the corporation and its sense of itself. After one side “won”, it seemed like there wasn’t much of a plan to figure out what came next. Speaking of which, This announcement about The Gates had me wondering just how much of an impact Les Moonves might have had in the mindset and programming choices of every show before his ouster. Everyone knows by now that the CBS under Moonves featured many shows that would be regarded as masculine-centric, if not utterly hypermasculine-The NCIS, CSI, 48 Hours type of shows, lots of crime and detective fare. Anything that seemed to cater to women and minorities, seemed to be outside the purview of his worldview. I know he wasn’t responsible for daytime programming directly but never underestimate the power of company culture-what starts at the top will trickle down to the rest of the departments. I don’t know if Y&R will ever step forward, away from its ambivalence toward its nonwhite viewers @Vee. It feels ingrained in the culture and short of sweeping changes with different people with different creative approaches, I don’t see it changing. If “The Gates” takes off and sees success (whatever that looks like these days), it could force Y&R to adopt some changes, but honestly, it seems like a “we’ll just have to wait and see “ type of scenario #1 in a diminished landscape is still #1 and a #1 show may not see a need to “fix” apparatus that, to them, isn’t broken.