Contessa Donatella

I didn't realize there was an interpretation issue for Eden either. @janea4old Thanks for adding that clarification! I quite honestly don't know what they should do with the Younger Actor category but it sure seems off this year! But, today's show, hooray, not boring! Dimitri's bangs even look better. And, the scene with him & Leo was actually good. They needed to catch each other up on what the other missed that night after the wreck. Holly & Tate are definitely an oddball couple! Leo going to see Nicole, pretty good cliffhanger.

OMG, give me an umbrella story on a P&G soap & just watch as everything & everyone becomes involved.

Well, as a newbie I gotta tell you that 3-4 days of this warlike combination of business talk & family talk is wearing very thin. Tucker McColl seems like someone who is not worth all this trouble. And everyone seems to be talking in code. At least when Cole & Victoria visited Claire (who may be their thought dead baby) everyone's words made sense. Also Victor & Nikki were comprehensible. I'm looking forward to the DNA results. And, frankly, to more time with Jordan (who maybe could be Eve).

May light perpetual shine upon her. May angels & heavenly hosts guide her to her new resting place. May she be met there by long missed family & friends, throwing a feast in anticipation of her arrival. And, may she be joined there by beloved pets.

And the opening theme, what would we call it hokey rap? I don't think you're allowed to do something hokey. Pretty sure there's a rule. If there's not we are going to make one!

I just remember that when Victoria Grace had to drop out Eden made some sort of a fuss on UglyX about how she was entitled to be there. Speaking about being only with kids. It just screamed, Defensive much? Hooray it wasn't just me! Sticks out like the proverbial sore thumb! So much entitlement to getting the ISA to do stuff! But, let's face it they are going to RUIN that sofa!

Lovely! Anticipation is a good thing.

I have to say I like knowing about it more than watching it.

His hair & facial hair make him look like a young gargoyle.

Okay, thanks. I really really like it!

Yes, I do recognize that. But, is it now being used on the tab where it was not before?

Is there a new italic uppercase S on the tab now?

Uh, I don't think Crystal would have a physical fight with someone else in the cast or crew for a GL prop. Try to arrange ahead of time to get it, sure. Fight over it, no. So, in your scenario, yes, KZ walks away with the prize. As to who was still there at the end, a lot of people. Here is the bitter end, I believe. But I know this was everyone & near the end.

Remind me how she cheated? Here are the 3 reels: I heard Henry Joseph Simari picked the episodes where Douglas told Thomas that he knew he set up Brooke; Douglas tells steffy that Thomas made the recording, not brooke; Douglas plays the recording at Ridge and Taylor’s wedding. Cary Christopher’s Emmy reel… Christopher’s Emmy reel featured the scenes of Thomas fighting with Chad, and Thomas stating that he “just wants his mom back,” as well as Chad’s subsequent apology to Thomas, and then, they go get frozen. (?) Then, Thomas’ tooth falls out, and he is happy there (that shows a different side of his acting compared to the prior emotional scenes). It is followed by a more joyous side, where they are bonding again, and then, he sees Leo (Greg Rikaart), and the longer scene in the precinct. Eden McCoy: Her reel is about the sex tape. 1. Josslyn tells Carly about the revenge porn. 2. Josslyn on the witness stand at Trina’s trial. 3. Scenes of Josslyn and Esme fighting.

You are more than welcome. Here is an excerpt about the whole book: SURVIVAL OF SOAP OPERA: TRANSFORMATIONS FOR A NEW MEDIA ERA Edited by Sam Ford, Abigail de Kosnik and C. Lee Harrington. University Press of Mississippi, Jackson. © 2012 I can’t say enough good about this book. First, it is a scholarly examination of the U.S. daytime drama at one of its most crucial time periods. But, the use of language is also fan accessible, friendly, etc. Its scope is the whole enchilada, drawing together experts from every field you can think of and then maybe a few more even. It’s a joy to read. Contents Acknowledgements Section One Challenges to the Future of Soaps INTRODUCTION: THE CRISIS OF DAYTIME DRAMA AND WHAT IT MEANS –Sam Ford, Abigail de Kosnik and C. Lee Harrington PERSPECTIVE: SCHOLARS BARBARA IRWIN AND MARY CASSATA ON THE STATE OF U.S. SOAP OPERAS (Based on an Interview by C. Lee Harrington) PERSPECTIVE: HISTORIAN WILLIAM J. REYNOLDS ON MEMORIES OF “THE EDGE OF NIGHT” (Based on an Interview by sam Ford) PERSPECTIVE: WRITER PATRICK MULCAHEY ON CHANGES IN SOAP OPERA WRITING CONTRACTS (Based on an Interview by Giada da Ros PERSPECTIVE: ACTOR TRISTAN ROGERS ON CHANGES IN SOAPS’ INDUSTRY, AUDIENCES AND TEXTS (Based on an Interview by Abigail de Kosnik) DAYTIME BUDGET CUTS — Sara Bibel AGNES NIXON AND SOAP OPERA “CHEMISTRY TESTS” — Carol Traynor Williams GIVING SOAPS A GOOD SCRUB: ABC’S “UGLY BETTY” AND THE ETHNICITY OF TELEVISION FORMATS — Jaime J. Nasser THE WAY WE WERE: THE INSTITUTIONAL LOGICS OF PROFESSIONALS AND FANS IN THE SOAP OPERA INDUSTRY — Melissa C. Scardaville Section Two Capitalizing on History PERSPECTIVE: SCHOLAR HORACE NEWCOMB ON THE PLEASURES AND INFLUENCE OF SOAPS (Based on an Interview by Sam Ford) PERSPECTIVE: SCHOLAR ROBERT C. ALLEN ON STUDYING SOAP OPERAS (Based on an Interview by C. Lee Harrington) GROWING OLD TOGETHER: FOLLOWING “AS THE WORLD TURNS'” TOM HUGHES THROUGH THE YEARS — Sam Ford PERSPECTIVE: WRITER KAY ALDEN ON WHAT MAKES SOAPS UNIQUE (Based on an Interview by Sam Ford) PERSPECTIVE: SCHOLAR NANCY BAYM ON SOAPS AFTER THE O.J. SIMPSON TRIAL (Based on an Interview by Abigail de Kosnik) OF SOAP OPERAS, SPACE OPERAS AND TELEVISION’S ROCKY ROMANCE WITH THE FEMININE FORM — Christine Scodari THE IRONIC AND CONVOLUTED RELATIONSHIPS BETWEEN DAYTIME AND PRIMETIME SOAP OPERAS — Lynn Liccardo PERSPECTIVE: SCHOLAR LOUISE SPENCE ON COMPARING THE SOAP OPERA TO OTHER FORMS (Based on an Interview by Abigail de Kosnik) PERSPECTIVE: SCHOLAR JASON MITTELL ON THE TIES BETWEEN DAYTIME AND PRIMETIME SERIALS (Based on an Interview by Sam Ford) PRESERVING SOAP HISTORY: WHAT WILL IT MEAN FOR THE FUTURE OF SOAPS? — Mary Jeanne Wilson DID THE 2007 WRITERS STRIKE SAVE DAYTIME’S HIGHEST RATED DRAMA? — J.A. Metzler Section Three Experimenting with Production and Distribution “THE RHETORIC OF THE CAMERA TO TELEVISION SOAP OPERA” REVISITED: THE CASE OF “GENERAL HOSPITAL” — Bernard M. Timberg and Ernest Alba IT’S NOT ALL TALK: EDITING AND STORYTELLING IN “AS THE WORLD TURNS” — Deborah L. Jaramillo “GUIDING LIGHT”: RELEVANCE AND RENEWAL IN A CHANGING GENRE — Patrick Erwin THE EVOLUTION OF THE PRODUCTION PROCESS OF SOAP OPERAS TODAY — Erick Yates Green FROM DAYTIME TO “NIGHT SHIFT”: EXAMINING THE ABC DAYTIME/SOAPNET PRIMETIME SPIN-OFF EXPERIMENT — Raquel Gonzales “WHAT THE HELL DOES TIIC MEAN?” ONLILNE CONTENT AND THE STRUGGLE TO SAVE THE SOAPS — Elane Levine THE EVOLUTION OF THE FAN VIDEO AND THE INFLUENCE OF YOUTUBE ON THE CREATIVE DECISION-MAKING PROCESS FOR FANS — Emma F. Webb Section Four Learning From Diverse Audiences SOAPS FOR TOMORROW: MEDIA FANS MAKING ONLINE DRAMA FROM CELEBRITY GOSSIP — Abigail de Kosnik SOAP OPERA CRITICS AND CRITICISM: INDUSTRY AND AUDIENCE IN AN ERA OF TRANSFORMATION — Denise D. Bielby HANGING ON BY A COMMON THREAD — Julie Porter PERSPECTIVE: FAN SITE MODERATOR QUEENEVE ON FAN ACTIVITY AROUND AND AGAINST SOAPS (Based on an Interview by Abigail de Kosnik) THE ROLE OF “THE AUDIENCE” IN THE WRITING PROCESS — Tom Casiello THE “MISSING YEARS”: HOW LOCAL PROGRAMMING RUPTURED “DAYS OF OUR LIVES” IN AUSTRALIA — Rahda O’Meara “AS THE WORLD TURNS'” LUKE AND NOAH AND FAN ACTIVISM — Roger Newcomb CONSTRUCTING THE OLDER AUDIENCE: AGE AND AGING IN SOAPS — C. Lee Harrington and Denise Brothers REFERENCES INDEX

Yes, a great book, even though some of it is now dated. I did blogs with permission for 3 of the essays, I believe. This one & Scardaville & Casiello. Others included in the book: Bielby & Harrington & Ford, of course. Bibel, Chris Scodari, Liccardo, Elana Levine, Roger Newcomb, Mary Cassata, Patrick Mulcahey, etc.

And, we've become aware that AW's Bay City was in no particular state, then in Michigan, then in Illinois. Today's show I was really bored. No one is talking about today's show, so maybe I am not alone!! 🤔🙄😉 Really, Thread Leader ABCEtc. did talk about the show! And, Steph is more interesting when she's angry. Maybe we'll finally get to see her with Stayla if she lives with them for a bit. With the Emmys approaching am I the only one who thinks DAYS might win a few? I'm liking Billy Flynn, Cary Christopher & Stacy Haiduk. I think Y&R is going to be the big winner, though.

Basically you just had to disbelieve Korean War! There was just no way. It was impossible. When the show began, Julie was a teen & she was their grandchild.

I have often made the joke that she owed her whole career to Don Craig. After they read, he told them to hire her, that she was definitely the one, that she was sarcastic & that he liked her. For some reason a number of Jarlena fans don't find it funny.

And, that was in 1976, I believe & I think it is remarkable. Norman Lear was so ahead of everyone else! There aren't enough words, or kudos to express the admiration he deserves.

This is from a blog I wrote with permission. It's from an essay in a book that most fans aren't going to have access to. The author was invited to the show to learn about the new production model. I think people might get something out of reading it. This Blog is from THE SURVIVAL OF SOAP OPERA: TRANSFORMATIONS FOR A NEW MEDIA ERA. Edited by Sam Ford, Abigail de Kosnik, and C. Lee Harrington. University Press of Mississippi/Jackson. © 2011. GL Relevance and Renewal in a Changing Genre by Patrick Erwin Patrick Erwin is a freelance writer and journalist and author of the soap opera blog ‘A Thousand Other Worlds’ (http://1000worlds.wordpress.com/). He has also written about soaps for the Marlena De Lacroix site (http://www.marlenadelacroix.com/). While he watches a variety of daytime serial dramas airing today, he was a lifelong viewer of ‘Guiding Light’ and ‘As the World Turns.’ “GL” and “ATWT” were the last two PGP soaps when at one point PGP had had more soaps than anyone else. When GL was renewed in 2005, some actors were put on recurring and taken off of contract, where they would only be paid per appearance. The actors who were retained on contract status, were asked to take a 15 per cent pay cut. Some veteran actors left the show at that point, including Jerry verDorn, who was a multiple Emmy winner for his portrayal of Ross Marler. As it happened OLTL was in dire need of a replacement Clint Buchanan, having lost the actor who had played Clint before. They called Jerry and within days he was signed to a contract with OLTL. Now, there could be no two characters any more different than Ross Marler of Springfield and Clint Buchanan of Llanview. That’s just how talented Jerry verDorn is! GL then experienced another major transition in 2008 when the show migrated to a dramatically different production model. Patrick was one of a group of people invited to the set for a December 2008 taping to observe, talk to actors, writers and producers. SIGNIFICANT CHANGES The new production style began airing on February 29, 2008. As part of the new model, producers TeleNext (funded by Procter & Gamble) started taping the show entirely with digital cameras, made substantial changes to studio sets, and began featuring several scenes a week taped on location. The producers also modified the storytelling approach to match the on-screen changes. CAMERAS Prior to the production model changeover, GL had used the traditional stationary three-camera format. Cameras were placed on ‘runways’ and aimed at three-wall sets. They captured the sets and the actors just as an audience member would view a theater performance, by facing the proscenium framework of the stage. These cameras were large and had to be mounted on wheels for mobility. Though the camera range was substantial, the agility of the camera itself was limited. In many ways this method had remained the same since the 1950s. The new model used digital cameras for ‘all’ taping. ABC’s “All My Children” began using digital cameras for some of its scenes, but GL was the first show to adopt this format exclusively. These handheld cameras can be used in a wider range of settings, and allow for both indoor and outdoor taping, as well as taping in spaces that may have been too challenging or too small for a traditional stationary camera. This flexibility was the catalyst for embracing the other major components of the new production model as well. INDOOR SETS For decades, GL’s primary studios had been in midtown Manhattan. Instead of larger temporary sets, the new approach allowed for smaller permanent sets to be built. According to Executive Producer Ellen Wheeler (2008), “Before we went to this model, we could play eight sets a week. We’ve moved from eight sets a week to what is in our studio space (about forty-five sets). If you count the sets that are actually built in our studio, and the offices, and the other locations around the building where we shot on a regular basis, we have another forty sort of regular locations here.” To maximize the number of available settings, many of the GL production offices had a ‘double life.’ Writer Jill Lorie Hurst’s office doubled as a motel room; Wheeler’s office also served as a chapel. Wheeler noted, “We shouldn’t be spending money on storing 250 sets in a warehouse when I could be spending that money on the screen.” OUTDOOR SETS The most visually dramatic change was the migration of a number of a significant number of scenes to an outdoor setting. Traditionally, soaps had only used outdoors to underscore the culmination of a big storyline; those scenes are generally limited in scope and play out on air for only a few days. In the mid-1990s, some soaps took advantage of developing recurring outdoor locales. ABC’s “The City” used a number of outdoor locales for New York City shooting, and NBC”s “Days of Our Lives” created an outdoor mall set which they used with great regularity. The outdoor taping for GL was especially notable in its approach—the show essentially set up a second studio in a small town in New Jersey—and its scope—approximately 40 percent of the show was taped there. Wheeler and location producer Lou Geraci looked at several settings before settling on Peapack, New Jersey, located less than fifty miles west of New York City. The production usually coordinated taping all exterior scenes on a single day of the week. GL made arrangements with many of the town’s businesses and institutions to serve as exteriors in taping. Thus, the local cemetery where Tammy Winslow Randall is buried, the exterior of an ornate stone house doubled as the patio of the grand Spaulding mansion, and the porch of the Gladstone Tavern stood in for the porch attached to Company, Springfield’s eatery. TeleNext also leased a house in Peapack that the production staff referred to as the “show house”. The house included a kitchen/break room, a make-up/wardrobe area, and several other indoor sets. STORYTELLING As the changes in production were being made, Wheeler and the writing team also modified storytelling practices. On air, scenes were more streamlined and less complicated. Co-headwriter Jill Lorie Hurst (2008) confirmed this observation during my set visit: “It’s not that no one will ever have a long speech or that there won’t be a big theatrical, dramatic exchange. But, for the most part, we do try to keep it simpler (…) It works with the whole look of the show, and for editing purposes.” With a trimmed-down cast and enormous visual changes, many of the scenes became “vignettes,” short scenes with one or two characters. Rather than move a long-range story arc forward, these scenes were more a slice-of-life. Characters were seen in their kitchens or driving their cars, generally living their lives. Although they shaded the experiences and feelings of a specific character, these scenes seldom fed into a traditional long-range story arc. TRANSITION TO NEW MODEL MOTIVATION For years, GL was the lowest rated US daytime drama among the eighteen-to-forty-nine-year-old female demographic. Further, after NBC moved “Passions” to ‘DirecTV’ in 2007 and then canceled it altogether in 2008, GL took on the role of being the consistently lowest-rated soap overall. With a downward trend in viewership and thus increasingly smaller licensing fees paid to TeleNext for the show, the production renovation was largely driven by financial necessity. The changes in sets and camera not only led to the visible on-screen changes mentioned earlier, they also meant a smaller crew could produce the show. Press reports suggested that, in late 2007, approximately fifty members of the show’s staff—mostly on the production team—lost their jobs. Wheeler said, “There are people who no longer work for us because this change means we don’t have those job functions any more. They don’t exist in the new model.” (Levinsky 2008) For example, the portable monitors of the new digital cameras led GL to terminate its studio-based control room, thus eliminating a number of processes as well as the employees who performed them. After significant budget cuts, staff reductions and implementing the new model, GL appeared to be more profitable. Manager and agent Michael Bruno indicated that GL was, “saving an enormous amount of money. They’re making money, and believe me, that’s what gets looked at.” (Levinsky 2008) When the new model was unveiled, Wheeler attributed the changes to budgetary concerns but also expressed a desire to reexamine old production methods and implement more efficient ones. So, a secondary motivation (and the one that TeleNext and GL focused strongly on in the press) was the need to update and/or bypass some soap opera conventions. In the old model, characters seen at the start of the show could be reasonably expected to appear on the same set and within the same camera range —and visual palette—for the duration on the scenes. With the new model, producers and directors had flexibility in how a scene could be shot. For outdoor shots, sequential scenes were often positioned at different angles within the same set. A scene might begin with actors inside a gazebo. The following scene might show them at an adjacent bench, or walking on the grounds around that landmark viewed in the scene before. PRODUCTION ISSUES Since soaps are in production continuously, there was no opportunity for significant testing of the new model. Several problems had to be worked out “in real time, live, on the air”. The most common issue plaguing the show was audio quality. That showed up in post-production or even while on the air. Adverse weather conditions, rain for example, muffled actors’ dialogue. Wheeler talked about their trying “lavalier microphones” but that not working out. Eventually they switched to boom mics: “If there is an airplane overhead, we can EQ it out but we couldn’t EQ out the sound of “lav mics” brushing against clothing. (“EQ”, equalization, allows techs to remove a background sound while retaining the main foreground sound.) Early on, the digital cameras produced the “shaky cam” effect. People learned how to work the digital cameras better. A major issue in timing was that the Writers’ Strike ran from Nov. 5, 2007 to Feb. 11, 2008. Much of the new production model was hampered by scripts written during the strike. REACTIONS TO CHANGES STAFF REACTIONS GL actors were, for the most part, supportive. Liz Keifer loved working outside in Peapack. Someone complained to Carolyn Hinsey about having to change clothes in a car in Peapack. Maureen Garrett returned to the show and was overwhelmingly negative: “You do not see the other actors. There are no rehearsals, no monitors on which to watch the action, Actors are led from hair to make up to a kind of holding pen. Then they’re guided through the maze of pieces of sets to their spot (…) There’s no director, no time, no spontaneity. If this is what has to be done to save the form, I think there’s room for debate about trying to preserve the process, too. You can’t really create connections or foster ” ‘chemistry’ without the work.” (Torchin 2009) VIEWER REACTIONS Initial viewer reaction was overwhelmingly negative for a variety of reasons: Those issues with audio and taping The change itself and especially the visual palette was jarring to viewers & interrupted the narrative. Up so close Early action did not use the new model well. Even after fans got used to it the reviews were “mixed”. Some people loved it. (I did.) Some people hated it. AFTERMATH AND CONCLUSION GL regained its hold on storytelling. Phillip The King returned! “Otalia” was a brilliant much adored international draw. However, it did no good. But, GL led the way for all of soapdom in their new production model and many soaps came to GL to find out about it. On July 24, 2009, TeleNext announced that no new venue had been found for GL. The final episode aired on September 18, 2009. The announcement that ATWT was also being canceled came along next. NOTES 1. The other with Patrick that day in Dec. were Sara Bibel and Roger Newcomb, both of whom have essays in this collection. 2. Timberg and Alba give a more detailed account about the cameras. 3. See Metzler’s essay for more about the strike and its impact.

A number of different things were going on in a general time frame but at the same time. 1. Budget. It was dire. Definitely a hardship budget. They did not have enough money, period. 2. The new production model. This was initiated by CBS & was made a mandate as part of an agreement between CBS & P&G that if CBS would not cancel them, then, P&G would change things about their production techniques. Obviously, implementation brought in another aspect. 3. Yes, adding the Peapack location was both to be able to afford to produce & to enhance how they could produce. 4. Ellen Wheeler's ideas & things she initiated like using offices as sets & like selling P&G products within the show, etc.

And I mention one DAYS story that can not be said too many times & that is the paternity reveal of Mike Horton where the audience knew for 8 years before all of the players on the canvas finally learned.

For years people always asked me for pictures of Linda with long hair & they simply weren't to be found. So I made them.

I think about her & things that were going on & Paul Rauch & another producer & the words legendary & iconic & I have one more word to offer and that is an important one, truth-teller. We owe such a debt to those who are brave enough & have enough insight to be the truth-tellers to our society. God bless, Ellen Holly. I plan to re-read her book soonest. https://interviews.televisionacademy.com/interviews/ellen-holly