^^ But then that example truly begs the question - is it a matter of changing writers or are the structures in the hierarchy too rigid to allow anything to change?

It's not just a daytime thing, it's a TV thing in general that everyone is so scared of the losses that no one is taking risks anymore. Gloria Monty wasn't the harbinger of change because she had wonderful ideas, she brought about change because TPTB didn't get in her way. I don't think that's the case anymore.

^^ But then that example truly begs the question - is it a matter of changing writers or are the structures in the hierarchy too rigid to allow anything to change?

Change of writers is essential to stop the bleeding but it will never materialize if someone isn't willing to make a change. All it takes is one exec to stand up, re-asses their tired formula, admit it isn't working, has never been working and stand up for something more - something different. Of course with the studio heads blatant non interest in preserving soaps in their mad dash to make Daytime all talk shows and re-runs it's a lost cause. I truly wish someone - anyone - with executive control loved soaps as much as fans do.

Change of writers is essential to stop the bleeding but it will never materialize if someone isn't willing to make a change. All it takes is one exec to stand up, re-asses their tired formula, admit it isn't working, has never been working and stand up for something more - something different. Of course with the studio heads blatant non interest in preserving soaps in their mad dash to make Daytime all talk shows and re-runs it's a lost cause. I truly wish someone - anyone - with executive control loved soaps as much as fans do.

I agree. But which exec has the kahunas to walk away from their paycheque and bonuses for the principle of something larger?

Right, but mainstream comic books have been going through the EXACT same problems as soaps in terms of writer recycling, burn out, etc, etc, for a while now... (I'm always surpised there hasn't been more comparison of the N American comic book and soap industries since they share so much in common, from both genres being the "pulp" of their mediums, to long runs that are only really remembered by fans for key writer or producer eras, and of course the back from the dead cliches). I'd not think to look at comic books, in their current Marvel/DC form, as a guideline for the networks, LOL.

soaps fans would be shocked to see just what soap operas comic books have become the last 20, 30 years. I guarantee the whole X-Men thing is far more convoluted and ridiculous than trying to explain how everyone in Salem is related. :lol:

soaps fans would be shocked to see just what soap operas comic books have become the last 20, 30 years. I guarantee the whole X-Men thing is far more convoluted and ridiculous than trying to explain how everyone in Salem is related. :lol:

I bet it is too, because its really not that hard to explain. lol. Well, until you get into how people are like doubly and triply related. lol.

I bet it is too, because its really not that hard to explain. lol. Well, until you get into how people are like doubly and triply related. lol.

when I first started watching DOOL I was totally at a loss how Kate was mother to half the town.

soaps fans would be shocked to see just what soap operas comic books have become the last 20, 30 years. I guarantee the whole X-Men thing is far more convoluted and ridiculous than trying to explain how everyone in Salem is related. :lol:

HAHA Exactly (though Claremont's X Men run also opened the genre up to a lot of people who love soaps--his strong examples of women when there weren't many being an example ). Comics have recently lost a lot of audience to manga, and I can't help seeing the soap opera parallel--there was an article about how if someone likes a Japanese anime series, he or she could track down the manga it came from and find a tight, cohesive story (even if told over 21, 200 page volumes like the hit soap opera manga Nana), that reflected what they liked. If, on the other hand, they fell for Spiderman because of the last three movies, they could try to find some volumes of the comic that they liked, that held anything in common with the movie, and probably be lost. I think the average wannabe soap fan would suffer the same fate.

Edited October 26, 201015 yr by EricMontreal22

when I first started watching DOOL I was totally at a loss how Kate was mother to half the town.

Go one better and try explaining Philip's conception/gestation/delivery to a non-soap fan. Unless they're into SciFi it's a big WTF.

My problem from promoting within is that these people are influenced by the same hacks they've seen through the years therefore even if they have fresh ideas their tendency to rely on what they've seen overrides their potential.

I believe that the lack of boundry testing is by network restraints.

They fear they might alienate this focus group, a topic is just too hot for 2 pm timeslot etc. All this is too bad because during the times of Bell, Nixon & Co. they sure did push the envelope...

People.... these are the same execs who had a conniption with Janet Jackson's "Wardrobe Malfunction". They are scared for their hides, and I don't care how progressive you are there is no way you can be open to new movements when you are terrified that you'll loose what you already have.

In Seminary we used to have a saying - "There isn't anything that a couple of well placed deaths won't fix". Morbid? Undoubtedly, but until some of those at the top are removed in a permanent way, there is not going to be willingness to change how things are done. TPTB would rather watch their shows walk to the guillotine than step aside to allow new visions.

What gets me is that one writer and/or producer cancels out a show then go to another one

tanks that one and just moves right on through...How can you hire personnel that people refused to watch the show he wrote/produced for?

Doesn't make sense.

My issue with soaps is "writing" they refuse to write for the audience of today IA there are elements that comprise a soap opera that the genre is known for but that doesn't mean they cant' redefine (tweak) them to fit an audience of 2010 with a fresh approach and a different outcome. Times have changed many soaps have all that was soapy in 1964 may not all be the same now.

Edited October 26, 201015 yr by Cyberologist

they should just do an open recruit for soap writers. open to anyone. cause honestly i think a lot of us fans could put together storylines and executions far better than any one of the hacks these people hire.

they should just do an open recruit for soap writers. open to anyone. cause honestly i think a lot of us fans could put together storylines and executions far better than any one of the hacks these people hire.

ABC Writers Program is still "functioning", correct?

ETA: http://www.abctalentdevelopment.com/programs/programs_writings_daytime.html

they should just do an open recruit for soap writers. open to anyone. cause honestly i think a lot of us fans could put together storylines and executions far better than any one of the hacks these people hire.

There is some seriously good Fanfic out there, so I agree, the writers exist (mind you, there's a whole lot more crap, but we'll ignore that part).

In Seminary we used to have a saying - "There isn't anything that a couple of well placed deaths won't fix". Morbid?

Yes, and a little bit unnerving, too. ;-)

All the new writers you could bring into daytime won't mean a damn if you still have the same idiots in charge of the lineups. You want to salvage this genre? Fire Frons. Fire Bloom. Fire...whoever's in charge of NBC Daytime. It won't solve all the problems, but at least it's a start!