http://tvguide.ca/Soaps/Suds/Articles/100507_suds_report_NB.htm

The Suds Report: May 7, 2010

By Nelson Branco

Special Suds Exclusive Edition: In the Emmy winner’s first interview since joining ‘Y&R’ as co-head writer, Hogan Sheffer joins soap chief Maria Arena Bell to discuss May Sweeps, viewer backlash and the perplexing invasion of the doppelgangers!

Just like most beloved, iconic watercooler shows, daytime’s No. 1 sudser, The Young and the Restless has been the subject of much heated discussion online and in the soap press lately.

According to a recent TVGuide.ca poll, 44 per cent of fans hate it, 32 per cent love it, and 24 per cent are on the fence.

For the first time since joining the writing team of Y&R in 2008, former As The World Turns/Days of our Lives Emmy-winning scribe Hogan Sheffer, along with his partner-in-crime Maria Arena Bell, sat down with TVGuide.ca to chat about online viewer dissatisfaction, their regret over killing off their biggest soap star, Mr. Kitty, for a second time, why Y&R is so popular in Canada and explain why an influx of ex-soapers and prime-time stars are visiting soaps’ most famous and dysfunctional town, Genoa City.

TVGuide.ca: Congratulations on all your casting coups! From David Hasselhoff and Marcy Rylan, to Eden Riegel, you guys have been very busy on the casting front. Would you like to tease us about your recent addition, Emmy winner Jeff Branson and film diva Sean Young?

Maria Arena Bell: We’re thrilled to have Jeff Branson on our show. We’re fortunate to have him in a short-term arc. He’ll air primarily over the summer in what I think will be a breakout role for him. I’d like to keep his story under wraps for now. But I can say Jeff will be very pivotal in the coming months.

TVG: I’m most excited about Andrea Evans’s “comeback” as The Bold and the Beautiful’s Tawny next week. It appears that you guys are stunt-casting with a mixture of ex-P&G/All My Children and prime-time/film stars. Is that a fair assessment?

MAB: No. Honestly, we’re just going after the right actors for the right roles. Yes, the majority of them have experience in daytime because we know they can deliver in this hectic medium. But we’re also trying to bring on performers who have done different things, which allows us to introduce a new energy to Genoa City. The calibre of hiring Sean Young in a pivotal yet guest-star capacity is a lot of fun. It’s also compelling for the audience.

TVG: Will we one day see your brother, actor Craig Sheffer, toiling in Genoa City one of these days, Hogan?

Hogan Sheffer: [Laughs] That’s a great question! I don’t know. Craig is an elusive critter.

TVG: Hogan, what’s it like working on the No. 1 soap opera alongside Maria Arena Bell?

HS: [Joking] She’s a walking soap opera [laughs]! It’s a strange transition for me because I’ve been, as you know, the head writer on both As The World Turns and briefly, thank God briefly, on Days of our Lives. At first, I wasn’t sure how it would work out. I didn’t know anything about Maria because I just keep to myself. I don’t pay attention to anyone other than myself! And I say this without any sense of irony: this is the best job I’ve ever had, it’s the best show I’ve ever worked on, and I’m having a ball. You could probably tell if you were fortunate to be in on one of our writer conference calls. It’s a constant state of hilarity. We work very hard. We also love each other a lot. I’ve never seen a team of writers work like this ever before in my life. Maria is extraordinarily generous and very loyal. The best part? I don’t have to deal with the network or the producers. They don’t scream at me and I don’t have to scream at them! That’s just fine with me!

TVG: You guys should tape those conference calls and air them online! Are you relieved that the majority of your contract showdowns are over and you can just focus on story?

HS: One of the most important aspects of this job for me is that everyone’s heads are on the chopping block — [whether it’s cast or crew]. It doesn’t matter how popular or important you are. The stars of our show have had to endure budget cuts because Sony is chopping money left and right. To her own detriment, Maria has remained loyal to her staff.

TVG: How do you guys work together in terms of laying out long-term story? You have three co-head writers — do you split the show into three halves or work in tandem?

HS: When you have three co-head writers like we do, the key is you cannot have an ego — especially in this environment. And that’s the best part of working on Y&R. Maria just wants the best idea out there. She doesn’t care if it comes from me, her, or the janitor who is sweeping nearby who suggests something brilliant. When you work in that kind of liberal environment, you’re free to disagree and free to come up with your own ideas — which is very important creatively. I’m given a very large berth to contribute my ideas. Also, Maria has given me the chance to commandeer certain stories if she has a sense it’s a story I know and can tell very well. She’ll take a back seat and let me run with it. And that’s because there are no egos on this writing team. You know, I’ve worked on several shows where head writers are so protective of their ideas that the rest of the team is walking on eggshells. And I don’t like to work that way. [it’s counterproductive]. Yes, we fight and argue once in a while, but at the end of the day, the best idea wins. That’s why the show is so good.

TVG: What do you think of As The World Turns’s recent cancellation?

HS: Oh, it truly breaks my heart. But it’s not surprising. Actually, it was 10 years ago this month that I began working on World Turns on an eight-week trial basis. After those eight weeks, I was handed the head-writing reins. Obviously that time was very exciting, nostalgic for me. I look back at World Turns with a great deal of affection. As for its cancellation … that’s the reality of the world we live in today. To be on the No. 1 show on daytime, and really the only show that is doing extraordinarily well makes me feel incredibly blessed.

TVG: Your alma mater, Days of our Lives, is also doing well in the ratings. Are you happy for their creative resurgence?

HS: I’m thrilled for them. Their head writer is Chris Whitesell, who is just brilliant. He was one of my co-head writers on World Turns. He’s like a machine gun. He’ll give you a thousand ideas in a minute. Most of them are stupid, but a few of them are brilliant. I can tell the show has a lot of Chris in it. I’m very happy for Chris.

TVG: The Y&R fans who post online are extremely livid with the show. Would you like to address their discontent with your writing team, especially your controversial decision to include not one but two doppelganger storylines?

MAB: Let me tell you what’s funny about that. Someone in the soap press [soap Opera Digest’s Carolyn Hinsey] recently wrote, “Did you guys realize that you have two doppelgangers airing at once?” Yeah, we did [laughs]! It was intentional. The two stories are intertwined. The Sarah and Patty storylines will be a rapid-fire denouement. It gave us an opportunity to tell a fun, clever and interesting culmination of Patty’s story and the pseudo reemergence of Sheila. It gave Tracey Bregman an opportunity to stretch herself as an actress and show a different side, a darker side, in this dual role. It’s a very short arc. But what it gives the audience is a tour-de-force performance from Tracey. You’ll see a very fun explosion this week. Tracey shouldn’t just win an Emmy Award for this portrayal, she should win an Oscar! You’ll see!

As for viewer dissatisfaction, I want to say I do visit the message boards. I do listen to our fans and critics. Sometimes when you’re watching a storyline unfold, you don’t know where it’s going and you get understandably frustrated. But that’s not necessarily a bad thing. It means people are watching and talking about our show. I’d be more concerned if fans weren’t talking about our show! A perfect example of that is the Adam Newman storyline. Everyone complained about Adam getting away with all his evildoings, yet [we surged almost 300,000 viewers in the ratings the week he was murdered — which proved at the end of the day that the audience really loved the story]. We always ensure there is a great payoff in all of our stories. Just trust us.

HS: Also, these stories are connected.

MAB: That’s the point.

TVG: TV Guide Magazine’s Michael Logan and I recently compared certain aspects of Y&R to Passions. Do you agree that Genoa City is a wacky place to visit these days?

MAB: I was a good friend of James E. Reilly. While I don’t think our show is like Passions at all, I respected James’s work immensely. And let’s not forget [Y&R creator/producer/head writer] Bill Bell did this, too. He built incredible, larger-than-life storytelling from time to time. Everything from David Kimble to Victor Newman in the 1980s. [it’s in our DNA.] When it comes down to it, the Sarah/Patty storyline will come down to a very interesting psychological storyline involving Lauren. Her greatest nemesis will always be Sheila. Yes, Sheila is back in a different form, but how Lauren will conquer Sheila this time around will be fascinating and entertaining to watch. And I think people want to see this. There will be a lot more traditional, romantic, corporate boardroom, fun, and character-driven storylines in the summer. It will all be worth it.

TVG: I wouldn’t mind if Mr. Kitty had a doppelganger out there.

MAB: [laughs] I should have never let Zapato eat that kitty! I feel bad about that.

TVG: All Patty has to do is sew his tail back on! Well, at least we have Patty's new friend, Cat. One of the criticisms with your writing is that you rely too much on mining Bill Bell’s past storylines and fixing ex-head writer Lynn Marie Latham’s errors in judgment. Do you agree?

MAB: I think we have created new, fresh storylines like the Adam Newman storyline. But since I’ve been here, it’s been my motto to always respect the history of the show and be true to its identity. I think it’s intriguing that there are parallels in our current and past storylines. I think that enriches the story experience for the fans on many levels. As much as there is a very vocal minority of fans on the web, I do know that the majority of our fans are enjoying our show. We have an incredible cast of characters who share a rich history. We’re just putting a contemporary spin on everything.

TVG: Although you took a big hit recently in the ratings, Y&R has hovered around a 3.8 for the past few months, which is nothing to squawk at.

MAB: April is historically the lowest-rated month for us. I think we are really bucking the trend. This summer, you can expect a lot of traditional Y&R stories. I think the fans will really love the show. It’s been a fun ride. I hope the majority of the fans feel the same way.

TVG: The direction and production values have been excellent lately.

HS: Production has really stepped up.

MAB: The stuff that aired this week is really feature-film quality. It was a very complex sequence of events we had to shoot. The crew and cast were up until 4:30 a.m. completing the action-packed sequences. You’ll be going, “Wow” when you see it. And everyone on our show, from the cast and crew, are very excited about our direction.

TVG: Hogan’s World Turns appointment proved the industry is smart to invest in new writing talent. Why do you think daytime in general isn’t mining fresh writers? Prime time and film does …

MAB: There are certainly young people on my staff that will be running shows down the road because they’re incredibly talented. I grew up in an environment that made us believe we would move up the ranks with titles of associate and co-head writers. I think that’s still attainable. And I certainly do agree with you that we need new blood on our shows. I encourage show runners on other soaps to look towards the younger generation and give them a chance to learn this business. I think there is a lot of great new talent out there to mine and utilize.

Having said that, I do believe that there is fresh new talent currently employed on most, if not all the soaps. It’s a mixture of seasoned and new talent. But soaps are a particular kind of workload. You have to know and understand the genre. When you bring in a new talent who isn’t passionate or knowledgeable about soaps, it never works. You can never pander or talk down to the audience. Everyone on my team loves this form and genre. We’re doing the best work possible.

HS: Absolutely.

TVG: Hogan, why do you think your fresh take on soaps helped revive World Turns creatively and financially? Was it because you came in with new ideas, or is it simply because you understand this genre?

HS: I didn’t know the form at all. Because I didn’t know the rules, I ended up breaking them! More than that, I had an executive producer who encouraged breaking the rules. Let’s take the dual doppelganger storylines as an example. That’s an iconic soap staple. What I do is ask myself constantly, “How can we tell this kind of storyline differently?” Sometimes you have to take a chance. Yeah, so 20 people hate it online, but our ratings reflect otherwise. You can’t stay stale. I feel everyone in the medium is playing it safe from a production and writing standpoint. The networks are playing it safe. The show that isn’t playing it safe is us! Sometimes it works, sometimes it doesn’t. We don’t care because we put our heart and soul into it. We play the emotional aspect of our stories [authentically], yet we’re not playing it safe. And that’s what I did on World Turns. We took chances. I used to say to [World Turns’ executive producer] Christopher Goutman, “Instead of 22 scenes in a show, why don’t we do 60 scenes?” So we did it, and guess what? We won an Emmy award. Like Maria said, if there is a bit of Jim Reilly on Y&R, then great! There’s room for Jim Reilly in daytime. And there’s room for other stuff as well. If you get stuck in the traditional model of soaps, you’re going to get cancelled.

TVG: Why do you think Y&R is consistently in the Top 15 shows in prime time and daytime in Canada? Why does Genoa City seemingly resonate more in my country than yours? I know it airs at 4:30 p.m. and we’re a day ahead here, but what are your theories as to why Y&R is a mainstream phenomenon in Canada?

MAB: I think Canada is an incredibly smart country [laughs]! We don’t write the show from a geographical point of view because once you do that you dilute your vision, creativity and direction. You can never pander to an audience. In the end, I have no idea why Canada loves our show so much, but I’m so happy you guys do! It’s fantastic. You guys are brilliant.

HS: Canadians have an enormously dry sense of humour and a fantastic sense of irony. When Y&R gets crazy, you guys get it. When it’s loopy, you guys get it, when it’s heartbreaking, you guys get it. Canadians are a very sophisticated audience.

MAB: You have to find the right balance in soap.

HS: Even in the great tradition of Canadian literature, from authors like Robertson William Davies, Bernard Muddiman, and Margaret Atwood, these novelists wrote about an overwhelming, extraordinary cast of characters in ordinary small towns. Canadians gravitate towards that even in their high end of literature. So it makes sense to me that you guys would love the soap opera medium.

TVG: Finally, are you kooks looking forward to the 37th Annual Daytime Emmy Awards in Las Vegas this year? Thankfully, CBS is airing them …

MAB: Absolutely. I hope we get a great attendance of stars from all the shows this year despite it being held in Las Vegas. I’m so thrilled CBS decided to air them this year. I pray the Daytime Emmys garner a high rating so we can prove that there is still a soap audience out there that is alive and well. Y&R’s popularity around the world is still topping prime-time shows. We want to remind the world of that. We want to change the discussion from, “Oh, soaps are dying,” to “Wow, this is still a healthy, vibrant and dynamic art form.”

TVG: Hopefully, your writing team will be nominated this year. You were robbed last year.

MAB: Me, too! Just as we did last year, we submitted a very classic and emotional show that typifies what our show is about. I always find myself asking when I judge this category, “What is your show really about?” because of [the reliance of submitting] stand-alone episodes. If we’re not nominated, I feel I handed in a reel which I consider an emblematic representation of what Y&R is all about.

TVG: Hogan is infamous for his hilarious Emmy speeches. Will you both accept the statue if Y&R wins best drama writing team?

MAB: Of course — if we can convince him to travel to Las Vegas!

HS: On a personal level, I hate Las Vegas [laughs]!

http://tvguide.ca/Soaps/Features/Articles/090526_maria_arena_bell_NB

Soap Whisperer

By Nelson Branco

2009-05-27

The Daytime Emmy Awards may have snubbed soap opera saviour, ‘Y&R’s Maria Arena Bell, but she has something better — the best soap on the dial. So there.

That sound you heard on May 14?

My jaw dropping when The 36th annual Daytime Emmy nominations snubbed daytime’s best soap opera, The Young and the Restless, in the top three categories: drama series, writing and directing.

Like President Barack Obama, Bell inherited a bankrupt universe from the ill-equipped hands of daytime’s George W. Bush, Lynn Marie Latham, who, in less than 12 months, destroyed the soap’s heart and soul, recklessly putting daytime’s crown jewel in an economic and creative crisis that few ever thought Y&R could recover from.

However, within a year, a miracle named Maria Arena Bell resurrected daytime’s No. 1 sudser from the ashes by restoring its creative glory without compromising her cast, characters, storytelling or ethics. The winners? The fans. Who said there were no more happy endings in soaps?

Listening astutely to viewers, her cast, and the new realities of the industry, Bell’s approach has been democratic yet stern. William Bell’s daughter-in-law, and true heir apparent, fixed her show from the inside out — and took her time to organically accomplish this goal. Bell also boasts the unique distinction of soap opera autonomy wielding entire creative control of her show, with help from co-executive producer Paul Rauch, and co-head writers Hogan Sheffer and Scott Hamner, of course.

Everyone knows how TV Guide Canada feels about 2008’s Entertainer of the Year, so we’re going to get right into our third interview with the two-time Soap Opera Spirit Award winner this past year.

Hold on to your seats because La Bell dishes about the Emmys snubbing her show, which show reels she really submitted, Guiding Light's cancellation, Chris Engen's (Adam) controversial decision to quit, whether she wants Melody Thomas Scott (Nikki) to re-sign, Thom Bierdz's surprise comeback as Phillip Chancellor, and why more gay characters are headed to Genoa City!

TVGuide.ca: Thanks for speaking to me again Maria. I know how busy you are doing to what amounts to God’s work helming daytime’s No. 1 — and best — soap opera from all angles. You’ve had the quite the week, huh?

Maria Arena Bell: [Laughs] Yes, I have! Your timing for this interview was impeccable!

TVG: [Joking] The soap gods are on my side! Firstly, let me apologize for the idiocy known as the Daytime Emmy Awards. I can’t believe you’re not nominated. But then again, part of me is happy that you are not lumped in with the worst of daytime TV — which is apparently being honoured by the Academy this year.

MAB: Thank you. TV Guide Canada’s support means a lot to our cast and crew. Honestly, when it comes to the Emmys you can never figure them out, control the results, or even begin to understand why these things happen. What can I say? I’m happy for my brother-in-law, Brad Bell [The Bold and the Beautiful’s head writer and executive producer].

TVG: It looks like it’s finally Brad Bell’s year now that you’re not competing in the best drama or best writing races.

MAB: And he deserves it. It’s been 22 years! For a long time, Brad and I worked together on B&B as writing partners, but we were never nominated for anything. It’s really special that he’s nominated this year — and I am rooting for him to win.

TVG: Two years ago, Brad deserved to win best writing and drama series when he penned Stephanie’s child abuse and the 5000th episode, but he lost. Awards shows are always latent when it comes to awarding people, à la Heath Ledger at the Oscars.

MAB: If you are looking at the entire calendar year, the flip side to all of this is that Y&R didn’t [start firing on all cylinders] until last summer/fall. While I’m very proud of what we accomplished last year, I feel 2009 is our year.

TVG: Can I ask you what you submitted for best writing and drama series contention?

MAB: Let me tell you the interesting thing — and this is the philosophy my father-in-law [William Bell, Y&R/B&B creator] had. We never believed in writing a specific Emmy show. Instead, we believed in writing good soap opera. To be honest, we submitted a really fantastic Friday show — not a stunt episode. [Despite what’s being reported], I didn’t submit the heart of the Paris remote. What I submitted was this really wonderful payoff episode that involved a variety of our stories and cast. It was the Friday show when Katherine and Marge drove off the cliff, and Ashley saw Victor in Paris for the first time. All we saw of Paris was during the tag of the episode. It was a show that featured our strong characters. It also boasted a lot of humour, thanks to the shenanigans of Amber, Gloria and Jeffrey. I wanted to show that Y&R boasts humour, dramatic Friday cliffhangers, and incredible building of storytelling — stories beginning, climaxing and concluding. In my opinion, the episode that we submitted showcased what Y&R does best. And I stand by it.

TVG: Were you a judge this year?

MAB: Yes. As an Emmy judge this year, I found myself with a few gripes. I didn’t understand what these shows did on a daily basis. I didn’t get a sense of these shows. I watched one gigantic stunt episode after another. Afterwards, I was left asking: What are these shows really about? What’s their production like on any given day? What’s their storyline process? These shows air 52 weeks a year, and almost air five days a week out of the calendar year. As a judge, I wanted to honour the best drama series of the year, not just one special episode. Which is why I stand by my submission because I felt like what we offered was emblematic of what Y&R delivers each and every day. I wish I had seen more submissions like that because everything I saw was one over-the-top stunt show after another. Yes, I saw superior production values, but they didn’t tell me anything about the show’s [heart and soul]. Or more importantly, their identity. I hope next year the other drama series follow my lead because I want to see strong storytelling, [not bells and whistles].

TVG: NATAS really needs to ask for two episode submissions for best drama and writing. Yes, it takes forever to view all the reels, but in one episode you can’t judge a soap’s quality. And really, in one show, it’s the dialogue that sells best writing, and in the best show category, it’s the budget that dictates who merits the gold.

MAB: You know what, Nelson? I don’t have to time to watch one more reel. We’re all busy — but I think we, as producers and writers, need to choose an appropriate episode that reflects the daily drama viewers watch every day so we can judge a show appropriately and fairly.

TVG: It’s almost impossible to judge long-term storytelling in one episode, let alone two — but it sounds like you tried to do that in your submission.

MAB: That was what I tried to do! [Laughs] You’re exactly right.

TVG: As an Emmy whore, let me tell you what I would have submitted. The problem with airing an excellent show like Y&R is that you have plethora of overwhelming material to choose from because every given day was a blockbuster in terms of quality. Conversely, DAYS and B&B didn’t have that problem. But if I had to choose, I would have submitted Victor and Nikki’s showdown scenes in Mexico for best writing because the dialogue was intensely beautiful and powerful. And then, I’d submit either Katherine’s funeral or Michael’s "It’s A Wonderful Life" episode for best drama.

MAB: I looked at those episodes you mentioned, and I agree they were standouts, but they lacked humour and because our show is funny, I wanted to show the voters that we had lighter side, too. My submission embodied our entire spirit. Daytime boasts a lot of humour, and I wish comedy was honoured and respected more. Soaps can be fun. It’s not all [sturm and Drang], you know?

TVG: NATAS needs to revamp like, yesterday. It’s embarrassing, really. We’re not curing cancer here, people! A select group of critics, journalists and perhaps some past Emmy winners should nominate, and then the industry can vote for the winners. The Emmys are ridiculous. Which is why no one is tuning into the Emmy Awards anymore because it has lost all integrity, credibility and prestige. For example, why would anyone waste his or her time tuning in to see mediocrity being honoured? I want to see Eric Braeden [Victor] and Trevor St. John [Todd, One Life] do battle for best actor rights — not Peter Reckell [bo, Days of our Lives] and Daniel Cosgrove [bill, Guiding Light] vying for Emmy supremacy. Will you attend the ceremony on Aug. 30?

MAB: Oh my God, of course. I will show up and support our nominated actors, crew, the industry, and most important, The Bold and The Beautiful. My father-in-law always wanted B&B to be recognized as best drama series and for best writing, so I want to be there to see Brad honoured. That’s very important to the Bell family.

TVG: You’re a pro. All right — I have to ask about Chris Engen quitting as Adam Newman this past week. Do you want to comment?

MAB: It was Chris’ personal decision to leave the show. We’re sorry he did. But we’re really excited about the actor we hired to replace him. Michael Muhney is an incredibly strong actor with fantastic prime-time TV credits. He’s also theatre-trained, so he’s well equipped. Michael is stepping into an amazing role. I have to tell you that Adam Newman is by far the most interesting and fascinating character I have on the canvas right now. While I won’t comment on Chris’ decision, I will admit I was saddened that we had to recast because Engen was really [gelling] in the role. However, I have no doubt that Michael will make Adam his own.

TVG: For the past two weeks, I’ve raved about Chris’ performances. He wasn’t the easiest actor to fall in love with, but I’m finally hooked.

MAB: I know!

TVG: I always wanted Tom Pelphrey [Jonathan, GL] to play Adam, but of course the Emmy winner is no longer available. Any comment on Melody Thomas Scott’s [Nikki] contract negotiations?

MAB: Unfortunately, I can’t comment on contract negotiations.

TVG: But you hope she stays, right?

MAB: Oh my God, of course! Nikki is one of the most important characters on our canvas. And always will be.

TVG: This past winter, you told TV Guide Magazine that your show was exempt from pay cuts and vet dismissals, but a few months later you’re dealing with this issue.

MAB: What I said was that we had been fortunate that we hadn’t had to deal with those economic realities at the time of the interview. Our licencing fee was recently [slashed] so we’re dealing with it the best we can. I think we’re doing a great job in that respect without having to sacrifice quality or our history. We’re also not reacting to these cuts as dramatically as other shows are. Y&R will look and feel the same with, by and large, the same cast. I want all our viewers to know that everything will be OK because I still feel that we’re not at the mercy of these cuts.

TVG: Cool. It must have been hard for you guys to hear about Guiding Light’s cancellation.

MAB: We’re genuinely saddened. Any time a show is cancelled, the entire industry mourns. We don’t want to see our business headed in this direction. The reason why I infuse my heart and soul into my work is because I want to see this industry survive. And to continue airing on the TV airwaves. Soap opera, as an artistic form, is worth saving. I want each and every soap to prosper. I really mean that from the bottom of my heart. And I say that as both a fan and as a professional.

TVG: Is there anyone from the Guiding Light cast that you would like to “steal.” I mean, you already have a full cast…

MAB: As we all know, Guiding Light has some incredible actors on that show. I’m never going to say never, but we’ll just see what happens down the road. Like you, I’m also a big fan of Tom Pelphrey’s, but there hasn’t been a right time for him to come on to the show.

TVG: Would you ever consider expanding Y&R to 90 minutes? I know your co-executive producer, my hero Paul Rauch, has had experience in the 1970s with soap expansion when he worked on Another World.

MAB: You know, when we heard of Guiding Light’s cancellation, we thought it could be great if B&B expanded to an hour. Or we could even develop a Y&R spinoff. But considering the climate in the industry, soap expansion or creating a spinoff is not realistic for anyone to consider right now. Having said that, if things were different, I would be eager to consider those possibilities — if they were somehow viable. The Young and the Restless, CBS

TVG: Recently, my DVR ate over a handful of Y&R episodes. I’m still surprised that Canada didn’t experience an earthquake from my screaming! That’s a testament to the show that you are producing and writing. You must be proud of yourself.

MAB: You know what? I’m not afraid to say I am. I watch the air shows back-to-back even though I’m writing the show and watching it taped every day. You can’t miss a minute or even a second of our show. Yet, because our storytelling is at a comfortable pace now, if you miss one show by accident, I don’t think the viewers will be left hanging in the wind, either. But you’re right — you will miss something magical.

TVG: Congratulations on keeping Thom Bierdz’s [Phillip] shocking comeback a secret for months! Wow. Did you ever work for the CIA?

MAB: [Laughs] No, but thank you! We’re all amazed we managed to keep it quiet. This storyline was months and months in the making. You know what? Back in the day, we used to black out scripts, tape scenes secretly, and not tell CBS everything we were doing. And I’m talking long before, like the late ‘80s/early ‘90s.

TVG: And before the Internet and weekly soap magazines! I’ve always agreed with Bill Bell that spoilers affected ratings negatively. I spoil casting news, but try to avoid ruining a story for fans.

MAB: Even if it’s practically impossible to accomplish these days, it’s really important to have that incredible element of surprise in daytime TV. I’ll admit keeping Thom’s return a secret involved pretty strategic planning. We knew we’d have a lot of eyeballs on our show that day because it was Cane and Lily’s wedding. Due to our scheduling, we could promote that event without anyone being suspicious that something bigger was happening. I was excited to introduce that twist on that Friday tag.

TVG: I had to break it after the Canadian episode aired here because fans were already clipping the scene on Thursday evening on messageboards.

MAB: You know what? We are so thrilled and proud that we made it that far. This is one of the biggest stories we’ve ever told — and it’s going to great. We’re thrilled to have Thom back.

TVG: The big news is you’re making Genoa City a lot pinker these days. When we first met on the Emmy red carpet last year, I asked you for my Pink Soap article if it was possible for a soap star to come out of the closet. You said you would completely support anyone who wanted to be honest about his or her sexuality. I believed you. And once the article went live, I received countless emails from closeted actors saying how much your words of encouragement and support meant to them. Many closeted stars never thought being real with the press and fans was even a possibility. A year later, you boast two out-and-proud actors on your soap [Clementine Ford, Mac; and Bierdz], and introduced a gay character, Rafe. You really mean business, don’t you?

MAB: Absolutely! You know what — I would never edit or prevent any actor from talking about their personal life in the press, whether they are gay, straight or whatever. As far as it comes to Y&R, I felt it was important to introduce characters from all walks of life on our show. I disagree that Rafe announcing to his friend that he’s gay was our first gay storyline because it was just a fact of his life. It’s like, “yeah, so what — what do you want for lunch?” But — we do have a gay storyline in the works. Perhaps more than one. And more than one gay character. More importantly, the gay storyline we’re planning on telling will reflect real life. I couldn’t be happier.

TVG: William Bell tried to tell a lesbian storyline in the late ‘70s with Jeanne Cooper’s Katherine, so in a way you are paying homage to the history of the show. Unfortunately, ratings nosedived prompting Bell to kill the story before it started. What would Bill think of the show right now if he was able to watch?

MAB: I think he would be really happy. I think he would be proud of me because he loved telling all these great stories with his favourite characters. I hope he approves. But believe me when I say, if he was still around, he would be penning this show, not me. I think of him all the time when I write this show. We used to have these ‘layout’ calls back in the day, and he would dictate Victor Newman’s dialogue in Victor Newman’s voice. He was these characters. In fact, when he passed by the actors in the hall he would only address them as their characters only because they were that real to him. In the past year, I find myself doing that very same thing more and more. I think he’d be pleased with his show, especially considering these modern times. We’ve moved into the 21st century, but Y&R is still a classic.

TVG: I think Bill would be most proud of Katherine’s storyline this past year. As a viewer, when I saw this story begin a year ago with Kay’s senior moments, I never realized the endgame, or rather the genesis of this plot, was to undo the fact that Katherine was Jill’s mother. This story was classically written, modernly told, and had one hell of a payoff! That never happens anymore.

MAB: And it’s still paying off. When one story ends, another begins. Now we have Nina working on a movie about Kay’s life, which will lead to her unravelling more secrets, and propelling the story further. The story should never end.

TVG: To have an octo-diva drive your entire story for over a year is unheard of. I mean, you threw Jeanne Cooper out of cars, off cliffs, had her serving in a diner, married, and thrown in jail! [Laughs]

MAB: [Laughs] I know!

TVG: Do you think you have influenced or inspired other soap writers to utilize their vets more?

MAB: There was a time when we in the business always talked about ageism in Hollywood — whether or not you were in front of or behind the camera. There was a lot of discussion over the fact that at a certain age in this business you were simply washed up. And yet today, I’m leading in this younger demographic — and my front-burner storyline involves an 80-year-old woman!

TVG: And you hit a 4.1 during the start of that story!

MAB: You know what — this proves that telling stories or attracting new viewers through manipulation never works. It was just a good story. It didn’t matter that [the heroine] was 80 years old. I love how it bucked conventional wisdom, and yes, a lot of my friends have responded to the success of this story.

TVG: Do you watch other soaps? I doubt you even have time to sleep these days…

MAB: I really don’t have time. Over the course of my life, I’ve certainly been a soap fan and watched other soaps. But at this point in my life, I live in Genoa City. It’s a 24-hour commitment. My kids laugh at me because I’m always talking about Y&R and they’re getting sick of it. [Laughs] So as a family we now have a rule that we can’t talk shop at the dinner table. They’re beginning to think my characters are real people!

TVG: [Joking] Your kids are lucky, tell them to be quiet! Let’s talk about your soap origins. How did you meet Bill Bell?

MAB: I know how privileged and lucky I am to have someone of Bill’s calibre and talent as my mentor. He really gave me a chance by taking me under his wing. I was straight out of Northwestern University when he gave me a shot on B&B because I had been working in the fashion industry and they needed that expertise on the show. I didn’t realize until now how much of his advice I retained. I really was taking mental notes back then. For example, yes, I didn’t get nominated for best show or writing, but I know that I submitted an episode he would have submitted. And quite frankly, he hardly won with his submissions. He won very few times for writing and drama — which is odd considering how long he dominated the industry. In the end, I can sleep at night because I know I haven’t [deviated from his style or sensibility].

TVG: Let’s gossip about casting: Shemar Moore told me he’d come back to Y&R anytime during his Criminal Minds’ hiatuses. Is that door still open despite the fact that you-know-who told Shemar that door was closed?

MAB: Absolutely. He’s incredible. Shemar was introduced when I started working on Y&R, and he’s grown into a really strong actor. I was astonished to read what I read that he wasn’t welcomed back. Note to self: very interesting…

TVG: Now that Thom is back, will Lauralee Bell [Christine] return soon? Thom told me Lauralee had a punishing crush on him at one point!

MAB: Yeah, they were very close friends, and I think she did have a crush on him. Thom is a very nice and great person. Listen, every few months at the dinner table, I ask: “When are you ready to come back?” She always responds, “Not yet, but one day.” I just can’t say when, but it will happen because I am always needling her! [Laughs]

TVG: [Joking] Who does she think she is, Rachel McAdams? Lauralee is very picky these days — and you know what? I kind of like that!

MAB: I get it. She’s very much about her private life, her children, and business. She’s also working a lot in independent film and prime time. One day over Thanksgiving turkey, I’ll get my way! [Laughs]

TVG: Can we expect more gay characters in Genoa City?

MAB: Absolutely. We are going to be telling our gay stories in ways you wouldn’t expect. I don’t want to tell a traditional coming-out story because I feel that has been done to death. Our stories are about relationships — and our gay stories will be no different. You’re going to see gay themes in several different ways on the show. I won’t spoil anything because viewers will really enjoy how it all unfolds. We’re portraying being gay as it is: a part of life.

TVG: Do you think it’s possible for Y&R to hit a 4.5?

MAB: Oh, God — I’m not going to say that’s not possible. Obviously, I wouldn’t be working on Y&R if I didn’t think anything was possible. Weren’t you the one who said we could hit a 4.0 last year?

TVG: Guilty.

MAB: And you were right: this past November we earned a 4.1! So we’ll see. Honestly, we have phenomenal story this summer. Everything will hit a crescendo all at once. I think it’s possible to gain viewers. Our numbers have really grown in the past year in all areas, so we’re hopeful.

TVG: Would you ever act on a soap? Let’s face it, most head writers and executives aren’t the easiest to look at but you’re a stunner.

MAB: You’re funny. I’ll tell you something I don’t think anyone knows. When I graduated from Northwestern in writing and art history, I took a job with my stepdad who was a garmento in downtown L.A., à la Sally Spectra. Lee Phillip introduced me to Bill when I inquired about job opportunities at B&B. I told Bill I was a fashion knockoff artist re-imagining Versace gowns for $12.95. I hated the job, but I didn’t know how to make a career as a writer. When I started out with Bill, I wrote for B&B and Y&R, but at the same time I was trying to pay my rent, so I did some extra work on Y&R. When Eileen Davidson [Ashley] left Y&R the first time, at the end of that episode, I was seen as a nurse at the hospital. [Laughs] I remember being so excited because I made $75, and I really needed it! Yes, my acting career ended with the nurse who didn’t speak! And that was perfect for me!

TVG: I’ll be looking for that episode on YouTube now! [sarcastically] Maybe you’ll have better luck being Emmy-nominated for your acting instead of what you do best.

http://michaelfairmansoaps.com/the-young-and-the-restless/the-maria-arena-bell-and-paul-rauch-interview-the-young-and-the-restless/2010/02/10/

By Michael Fairman

February 10th, 2010

The Maria Arena Bell and Paul Rauch Interview – The Young and the Restless

As of this week, with more than 9,330 episodes aired on network television, and having ranked as the #1 daytime drama for 21 consecutive years (that’s over 1,100 consecutive weeks, for anyone who is counting) in the soap genre, The Young and the Restless has set the standard for quality and excellence. In a time where doomsday reports continue to signal that the soap genre is becoming an endangered species, Y&R is still going strong. The series will celebrate its 37th anniversary next month, on March 26th. So what are the secrets to success that keep Genoa City on the map? On-Air On-Soaps sat down with two of daytime’s greatest creative forces, Y&R Co-Executive Producers, Maria Arena-Bell and Paul Rauch, better known as “The Dream Team,” to get some answers.

But before we begin, let’s take a look at a bit of the background. As many know, Maria Arena Bell, (daughter-in-law to Y&R’s late creator, Bill Bell) back in 2008, also took over the head writing reigns. She began to restore the glory of Y&R without comprising the integrity of her cast, characters, and the history of the show. Enter Rauch, who with tenures as head honcho at Another World, One Life to Live, Guiding Light and Santa Barbara, and whose classic soap values lends itself to Y&R’s on-screen culture, was a perfect match for Bell’s sensibilities. So how do the duo work in synergy? You’ll find out. And, we discuss the topics that have been on many fans minds, the re-casting of Stephen Nichols in the role of Tucker McCall, and Darius McCrary in the role of Malcolm Winters… plus, the duo’s thoughts on the health and prosperity of the current state of the genre.

This is a must read for any long time viewer of The Young and the Restless, as we take a look from the inside at the inner-workings of the number one show on daytime.

MICHAEL: Part of what the two of you have accomplished together, is that you seemed to have restored the historical value of Y&R, and continued where creator, Bill Bell, had left off. Was that the plan?

MARIA: When I came back it was during the strike, and it was fairly sudden that I stepped in. The only way of storytelling that I really knew was what I learned from Bill Bell, when I was here before and when I was at B&B. It was all about these character driven stories and rich characters. The minute I got here, it was those characters I knew as a fan and loved, that were brought to the forefront again because I knew the value of those characters and the history of them. I knew by mining the history and really building story out of character that it was really going to be successful for the show, because that is how this show has always been done.

MICHAEL: Can you give me an example when you came in and re-plotted the path of a legacy storyline?

MARIA: There were a few things I noticed immediately that seemed wrong to me or did not feel right. One of those was Jill and Katherine relating as mother and daughter. That was something that immediately felt false to me, and because I did not believe it, I kept thinking in my heart, “I just know they are not mother and daughter.” And that was how that storyline was born, because watching them together felt false. I had watched all of the 80’s with the two of them fighting viciously and the 90’s, too. It was such an incredible relationship that I just don’t feel it or believe it on some intrinsic level. I think there were a lot of people in the audience who did not feel it 100% true.

MICHAEL: Jeanne Cooper (Katherine) in past interviews was vocal about it. She had always spoken that she wished the relationship was switched back to Jill and Kay not being related. Does an actor’s preference or thoughts ever influence you or the writing?

MARIA: I can tell you when I started feeling it, I did not know about Jeanne’s position on it. However, I met with Jeanne and she was not shy about saying that it felt false to her, and in some ways I think it felt false to Jess Walton (Jill), too. Not that they did not play the story beautifully and believably, it’s just those of us who knew their characters were like, “Really? They are mother and daughter? I don’t know about that.” It was more of my gut instincts than anything. But, Bill Bell would have told you in his era, that the actors had zero influence on the show and that was the Bill Bell way, to be honest with you. It’s one of those things where people say, “Are you exactly like Bill or are you not?” The truth is, I am not exactly like Bill because I do like talking to the actors, particularly the people who have been in these roles for so very long who understand the characters so very well.

MICHAEL: I am sure the show veterans have great insight into their classic soap roles.

MARIA: There was a one time where Peter Bergman (Jack) was nominated for an Emmy and in reviewing his submission reels he would say, “You know, I can’t find anything I can really sink my teeth into here.” He was not sure of what storyline to submit and we were talking about it and he said, “I just want the Abbott family together.” Peter was talking about wanting the actors back together, but that is really true to who Jack Abbott is. He has this vision of the Abbots being back together and owning Jabot, and that comment alone drove the storyline for me. It clarified, of course, that that is intrinsic to the character and the actor, and that has been Jack’s guiding dilemma. He gets really close and then it moves away. It’s sort of been something we have done for the last two years, and that definitely came from Peter.

MICHAEL: Paul, you have been at the helm of many a soap opera. Did you come to Y&R and put the Paul Rauch stamp on it? And what do you feel you contribute to the overall process?

PAUL: No, the show had its own stamp and Maria has put her stamp on the show. I think the single most important thing that I got accomplished when I came here, was to make good the relationship between writing and production and to establish proper communication, which there was a lack of. Maria was having a hard time getting through to production and she needed to be way more involved than she was and consulted a lot more than she was. I think we took care of that in pretty short order. I think Maria has great taste in acting, and great taste in actors. I think she and I are in sync with everything we do.

MICHAEL: What do you feel is the single most important element for Y&R’s success?

PAUL: It all comes from the writing. Maria has the whole show in her head and in her hands, and it comes through every single week. My job is to get the performances from the actors, get the nuances from the actors, realize the subtext, and give the writers back what they have given to me in large measure.

MICHAEL: Paul, we hear you are pretty hands-on at the set. Are you in the production booth most of the time?

PAUL: I am there, and I am in the control room all the time, and Maria is here in her office. We communicate. If she does not like something, she will let me know, or if I don’t like something I will let her know, and we take care of. It’s good synergy.

MICHAEL: Working with the actors and giving them a slight shift or note on their performance is something you are known for on the set. Can you give me an example of how that works and helps the scenes?

PAUL: First off, the actors have always been fabulous. I haven’t made them better actors, but I can help them realize certain things. For example, I was playing a scene with Tucker McCall, our new billionaire, and Jill Abbott. They have had a sexual relationship, and it had morphed into a business relationship with sexual over and undertones. Tucker said, “You can work anywhere you want and anywhere in my division. I will even start a company up for you, if you want.” She played it as if she wanted Jabot only. Instead of realizing this man was really reaching out to her, because of the relationship they had…the personal relationship. He was making an enormous offer, which for him was a tribute to their relationship, as well as everything else going on. I asked Jess to play it, and she took her time with that, and Jill was gratified by the offer and she was pleased with him as a man. So, we can get extra value in those moments just by me talking to the actors about that moment, in addition to what is on the page.

MICHAEL: Stephen Nichols was quickly recast as Tucker McCall, and William Russ who had just started, was let-go. How did you come to make a decision like that, and why was the switch made so early on during Russ’s time with the show?

MARIA: I think we wanted to play the character originally in a different direction. This is an incredible cast and it’s all about the chemistry between everybody on the screen, and as much as I think William Russ is a fantastic actor, when I watched the scenes it was not exactly how I wanted Tucker to be. It was not exactly how he was conceived to be, and rather than walk down the road where you are thinking, “Well, it’s not quite right, but maybe…” It felt like it was going to be better to make a decisive move early on. I figured the audience would accept it better, if it happened very quickly.

PAUL: So, it’s not as much of a blow.

MARIA: Honestly, in watching Stephen in the role, he is Tucker McCall. He is the character we had created. It was one of those things that was not fitting with what that character needed to be. There is no accepting what is not quite right, and the way it was going to impact the storytelling was what is important to me.

MICHAEL: Recently, you re-cast the role of Malcolm, played originally by Shemar Moore who was so identifiable in the role, with another actor, Darius McCray. Fans have been unsure of why that choice was made. He looks so different from Shemar. How do you make these decisions to recast a major role like that, with someone who is a complete 180 from what the fans might expect?

MARIA: I remember I was here when we cast Shemar, and the role of Drucilla. I was working for Bill then. I remembered how those characters really popped. What I remembered of the character of Malcolm was, he was conceived as a guy who had spent some time where he had been on the streets. He was artistic, he was edgy, and Shemar was phenomenal. When we went to cast for it, we looked at what the original conception of the character was; not about casting an actor who would do an imitation of Shemar doing Malcolm, but an actor who would own the role, who would be Malcolm. It’s a classic story of the brother who is the good guy who always achieved everything, and went to Stanford and got an MBA, and is now running a company, and the other brother who struggled and made something out of his life, but is more the creative type. It’s such a core of the show to bring that brother back and to have Malcolm come back, and be inhabited by a new actor, and have it go back to the origins of the character. I think he can play this edgy, creative, young maverick that Malcolm should be. I think Darius is going to pop off the screen in that role and be a very popular character.

MICHAEL: When the two of you are in auditions together, do you know immediately when the right actor walks in for the part you are casting?

MARIA: We have been really in sync, such as the character of Daisy. When Yvonne Zima came in to read for that role, it was like, “Wow, did she pop!” She made us go, “Oh, my gosh. She is fantastic!” You just feel it…. that everything we have talked about in regards to that character, and then that person walks in, you know it. It was also true of Darius.

PAUL: The Darius McCray audition was one of the greatest the network had seen in 20 years.

MARIA: The quality of the actors that were up for the role was extraordinarily high. Everyone who came in for the final audition, and there were four in the finals, they were all fantastic. They were all very different from one another, and in the end, it was about this kind of special quality that Darius had. We just felt that “Star Quality”.

MICHAEL: Do you ever face challenges where you have a more difficult time writing for certain characters?

MARIA: You have to be careful when you write story not to write them into a corner where it becomes difficult to play them. I think one of the most challenging things to play is a happily married couple. I think that is one of things that is a challenge for everybody in this business. For instance, the fans love seeing Lauren and Michael together. They are a couple people absolutely love. So if you are going to tell a story with them, the jeopardy needs to be external and about something else. They do not want to see them fighting or having marital problems, because that is a couple they can believe in. So, it does not mean it’s less inspiring to write for them, because for one thing they are two of the more fantastic characters on the canvas on the show. But it does mean you have to think about how you tell story a little bit differently, which is not a bad thing. It challenges you and pushes you in a different way.

MICHAEL: Do you use fan focus groups as input to how stories and characters are working with the audience and use their feedback to alter or determine story?

PAUL: We do focus groups. I think you can take certain things from focus groups but you cannot rely on them. I know people from shows and executives who rely too much on them, but I don’t think that is the case here. But it’s always good to get a taste of what the audience is feeling or thinking. You take what you can or want out of it.

MARIA: I think what is interesting is going back to how Bill thought about focus groups. He thought it was old information because we have moved past that in storytelling, and the audience is actually commenting on what they are seeing now. It was things like that, which made him feel it was inaccurate. What has changed and has made it really interesting is the ability to poll people immediately online – the stuff CBS.com and SONY has done on their websites to see immediate responses of what happened the day of air and that does make us more nimble. Now that does mean we can sense how the audience is feeling. I am not saying that I would pull a story totally out if it was not working, but I certainly see the negative feedback.

PAUL: I will also know if something will work instinctively…. if I am on the floor.

MICHAEL: So what happens if you are on the floor, and you go, “this is not working”?

PAUL: Maria will know before I will.

MARIA: It’s like I can tell when there is a story I need to segue out of because it’s been played out, or it’s not as strong a story as I had hoped, and it does happen. It happens very rarely though on Y&R, because production is so strong and the actors are so incredibly strong. You write a storyline and it’s almost always better once it’s produced, even than it was in your own head, as opposed to having this great concept in this head, and going, “Oh, geez! That was not what I really had in mind.” Instead, I am constantly astounded on this show on how the production is. I am constantly going, “Wow, this is fantastic. This is better than my draft.”

MICHAEL: Do you feel pressure to keep this show at number one?

PAUL: I provide my own pressure. It’s more difficult when all of the shows are cutting back because of their financial situations. I would say for Maria and myself, while we struggle with it, we are winning the battle. Maria is winning the battle on the writing side, and I don’t think anybody is seeing a diminution of production values. The pressure for us comes on trying to get the show done on time, get the performances that we want. But we streamline it, and make it as efficient as we want. We still get it done and maintain the same value.

MICHAEL: Y&R was known for those long arduous scenes back in its heyday, and now it seems to have quick shorter scenes or snippets. Did you intentionally change the pace?

MARIA: As far as that goes, look, the pacing is certainly different than it was 21 years ago, especially historically. There were longer scenes. If people watched it now they would be surprised at how long those scenes were. The change is the pacing has evolved in a nice hybrid, and it’s not like we are attempting to be primetime and cut to that level and be a feature film. We are still a daytime serial, and we are intimate, and it’s still about character, and sometimes you do create movement in a show through editing and the alignment of the scene.

PAUL: Everyone would say and agree that the show has maintained its integrity and become more streamlined. I think this show kind of rocks right now.

MARIA: That is the goal to keep it as engaging as possible in this day and age.

MICHAEL: What are your feelings on the state of the genre and the stability of Y&R? We know it’s been renewed for two more years, but CBS just cancelled in the same year both Guiding Light and As the World Turns.

MARIA: I think it’s still a viable genre and still unique, and what we do here at Y&R sort of defies the odds; in that we led the year in every demographic, and primarily winning the youngest demographic, which is the most volatile. Look, I think it’s a totally viable art form, and it’s totally unique, and it’s the only art form where you get into these characters to the extent you can. Where else can you have this epic storytelling unless you are reading a Dickens novel?

MICHAEL: With game shows and reality shows taking over television and daytime, it feels like we are losing must-see appointment television, which soaps are!

MARIA: We were both saddened to see any daytime drama cancelled. It’s really disappointing for all of us, because we want to see them all stay on the air. That being said, we are very fortunate with this show to be in the position we are. And we have shown it’s possible to have gains or hold your own, and stay viable with the audience. And I think we have proved that. So, when you ask about the pressure to be number one, I don’t think about it as I am telling the story or as I am doing my job. Because at that point, I am thinking about doing the absolute best that I can do and am capable of, and bring my team together to do the best we can do, and it’s an incredible group effort. We want to achieve the excellence we can for ourselves and for our fans. The fact that we are number one is fantastic and it’s not to be taken for granted.

MICHAEL: One of the things Y&R does differently than the other soaps is truly hold back storyline shockers so they do not leak out too early to ruin the big surprise. ABC lets some of their story out a month or so before it airs. Is this part of the ingredients to your successes?

MARIA: Sure. You have to tune in. We have managed to keep some very must-see things a secret till it’s time to reveal them. Really hard secrets to keep….we have blacked out names in scripts, changed names in scripts; brought in people after hours… we have done that.

PAUL: We cast all contract parts by other names!

MARIA: Sure, and even beyond that. For instance, when we were bringing back the character of Phillip III with Thom Bierdz, Thom was just an incredibly beloved guy in that role when I was here in the 80’s. To me, he always captured that spirit as to what that role was. I still stand by that story. I loved bringing him back and having him on the canvas. I wanted to keep it a shocker surprise. So, poor Thom was sworn to secrecy, and everyone in the building was sworn to secrecy. I think Thom was a great partner in making it a surprise. I remember meeting him to talk to him about the role at some coffee shop like, “I will meet you by the third pillar and we will talk about this.” (Laughs) Because it’s about shocks and surprises… this is about what is going to happen next… this is about cliffhangers. I think one of things I think I instilled back into the show was building towards that Friday tag, and wondering what’s going to happen over the weekend and having that burning curiosity of “Oh, my God!” And that goes back to the classic soaps and days of radio, and that is what soaps are about.

MICHAEL: Now, don’t you also try to get big moments to happen during the week so they are not only in Friday tags?

MARIA: In the storytelling I try to do that, but my team is sort of addicted now to the Friday tags. They are like, “But wait, should we do that at the end of the week?” I am like, “No, you have to have surprises on other days, too.” Everyday is a Friday is my motto, but I do like the idea of audiences on pins and needles over the weekend.” I love what fans are doing on the message boards going, “OMG! What’s going to happen?”

MICHAEL: Do you read the message boards?

MARIA: I do, of course. And so does my writing team, and Paul does. And is it sometime tough when there is negative feedback? Yeah, it can be tough to read that. But on top of it, not only do we read it and listen, but also we are not always dictated by what the fans say, because as you say, sometimes you do want to do something that pushes them to the edge. And right now that is the character of Adam. Is he a hate or love to hate? People are obsessed with when is this guy is going to get his comeuppance! They scream, “I can’t take it anymore!” I get it and I understand, and I know it’s driving you crazy, but that is the point. We want you to like, “Argh, when is it going to unravel?” Because, when it does, and it will, it will be huge!

MICHAEL: Has there ever been a time where an actor comes to you and goes “I don’t like this. What is going on here”?

MARIA: Sure, most often. I have never had a meeting where actor does not walk out going, “Ok, now I get it. I get that it’s a journey.”

PAUL: You don’t tell the actors their entire story because they have to play it in the moment and you don’t want them to anticipate the end of the story of what they are playing. You need that degree of spontaneity from the actor, and the enthusiasm from the actor is important. I had an actor come to me last night going, “Why won’t you tell me what is going on here?” I looked at him and said, “You have got to play the moment and the spontaneity of it.”

MICHAEL: What happens when actors want to know their storylines a year out so they know how to play something? It seems some actors I have talked to say they know story quite in advance, and some don’t know at all. Do you let them know? Do they leave you alone on that since you are the writer?

MARIA: Quite the opposite, I get grilled! They go, “Am I going to be with so-so?” I won’t answer! I tell them, “I can’t tell you.” I mean there are times when somebody is really concerned about a direction their character is going in and selectively we talk about it. But in general, that’s part of the ride and being on this side, and the group of people we have now, they have faith in the standards of the writing, and so they are not questioning a lot.

MICHAEL: Victor/Nikki, Sharon/Nick are some of the true super couples of the show. Don’t you think romance is a key ingredient to Y&R’s integral success?

MARIA: I think it’s not just the couples. Victor and Nikki is one of the most powerful love stories on the show and even through when they are not together they have this pull, and even when they are married to other people, there is this pull that will never end. It’s an incredible larger than life, grand love story. But I think as much as those relationships, it’s the family and friend relationships that are just as crucial. I think that intense rivalry between Jack and Victor, and that incredible friendship between Victor and Katherine, and the links that she had to John Abbott and how that translates to Jack, if you really examine it. It’s all these relationships that are pivotal. It’s the families on the show. I think that is something that is at the core of storytelling in the genre: their histories and their rivalries and their alliances. One shining example of that was recently within the Victor and Jack rivalry, and then the Abbots facing that difficult decision of Colleen’s heart, and giving an absolute beloved child of that family to someone who has been their sworn enemy in many ways. It really showed how those rivalries change and morph and are still there, and it sets up these incredibly strong dilemmas. That is just as important.

MICHAEL: Y&R has a legacy of great psycho and twisted characters like Sheila, and now Patty.

MARIA: Stacy Haiduk as Patty/Emily has been great in every single one of the morphs she has had to play on the show. I think you need catalysts that make things happen, which are a little twisted or a villainess perhaps, or a little off, or a little crazy, to inject into a grounded realistic group of characters and that does add some spice and excitement to it.

MICHAEL: Social issues have been a big part of Y&R’s history, and in 2009 you tackled the gay issue with Phillip Chancellor returning some 20 years later, announcing he is gay to his family. He is now off the canvas. Will Y&R address same-sex relationships in the future?

MARIA: I would absolutely like to do more with that, and I loved and love the character of Phillip, and his son, Chance, is still on the canvas. Nina is on his canvas, his mother and grandmother are on the canvas, and he will be back. The truth of the matter is I wanted to do those relationships in this very organic way. So, I absolutely think there will be in the future, love for everyone in the show at some point.

MICHAEL: Your closing thoughts on why Y&R is so unique in the soap world?

MARIA: The thing that has made this special is still these characters. I think there is something magical about this show, and the magic is still there and I think that is why people are tuning in.

PAUL: You’ve got to have magicians. Well, two magicians! (Laughs)