Thanks, remos. I kept thinking Georgie's death was preplanned, along with Coop's and Emily's, but I don't know for sure. Most of what I remember of the strike are the little moments, and then some of the quick stories like when Liz got upset when Cameron playing with matches, and the house caught on fire.

They would survive a strike, but not declining ratings. And after every strike, it is a known fact that people leave and never return. It happened in '88, it happened in '08 and it will happen if there's another strike in '11.

'81 was more mixed wasn't it? I thought '88 was also kind of mixed - someone told me DAYS' ratings went up during the strike.

I realize now that I am being glib about what is a very serious matter for a lot of writers and which puts many out of work. I'm sorry for that. I was just thinking of some of the weak writers in daytime and how I feel like almost anything might be better. I think soaps have lost so much that they might not lose anymore at this point. If people used to leave during strikes because of loss of continuity or quality, those days seem gone.

I wish I cared whether they survived or not...

^^ Garin Wolf was HW for GH during the strike but there was heavy JFP influence.

Rumour at the time had it that they were working from some rough draft ideas from Guza et al for the early part or the strike, then when it seemed obvious that the strike would be coming to an end Jilly-poo decided to get more involved with story and push what she wanted. Now how far we can take that I don't know, considering there is a substantial anti-JFP attitude around. What can be noted with more confidence is that a real dividing line was drawn during the strike between October - January, and February - end of strike. It was almost like two different shows had happened. Whatever shifts occurred behind the scenes were blatantly shown through the canvas.

'81 was more mixed wasn't it? I thought '88 was also kind of mixed - someone told me DAYS' ratings went up during the strike.

I meant overall, not during the strike.

I read that in all dayparts, the ratings went down and people never returned. People discovered cable, home movies, etc. And it happened in 2008 too.

If the Fall Season is delayed, those same viewers will turn to Netflix, the internet, and cable for their fix. If the strike lasts into the Fall, networks and syndication companies(ESPN/Disney) may be smart to beef up sports programming to fill the void. Even games that might not normally be televised.

I realize now that I am being glib about what is a very serious matter for a lot of writers and which puts many out of work. I'm sorry for that. I was just thinking of some of the weak writers in daytime and how I feel like almost anything might be better. I think soaps have lost so much that they might not lose anymore at this point. If people used to leave during strikes because of loss of continuity or quality, those days seem gone.

We all risk sounding glib when we bring matters up for discussion - but the discussion is usually very insightful.

As for soap writers being weak I wonder.... are they weak or are they overwhelmed and perhaps a little burned out? I think it can be acknowledged fairly broadly that daytime soap writers have a larger output than any other writing genre. Those poor dears work damn hard for the pittance they receive and we are a highly demanding group of fans. Know your history! Keep it in character! Don't repeat! Don't miss any steps in the process! I mean really..... I'd tell us to go frak off pretty quickly.

I wish I cared whether they survived or not...

You'll always have Dot One Million Dollars Per Year Cotton!

Until they decide to whack her for the next big story.

You'll always have Dot One Million Dollars Per Year Cotton!

Until they decide to whack her for the next big story.

Now Sylph, I know you ain't one to gossip.

June Brown's yearly salary could probably finance a daytime US daytime soap these days though.

And no, Dot will never die!!!

And another thing...on what universe is the CW a "cable network"? It's featured on lowpower stations or as someone's subchannel, but it's still over the air. How the hell does that make CW a "cable network"? That's bullshit.

Now Sylph, I know you ain't one to gossip.

June Brown's yearly salary could probably finance a daytime US daytime soap these days though.

And no, Dot will never die!!!

LOL! Apparently, in 2008 she signed a one year contract for £570,000. By now that must mean more than $1m per year.

And another thing...on what universe is the CW a "cable network"? It's featured on lowpower stations or as someone's subchannel, but it's still over the air. How the hell does that make CW a "cable network"? That's bullshit.

That's a good question - as a Canadian I've always been puzzled by what constitutes "Cable" in the States.

Up here it's pretty bacic - if it's not CTV, CBC or owned by Rogers, it's Cable.

(Once you've answered that one, can you please explain the difference between College and University - I still don't get that one. )

I meant overall, not during the strike.

I read that in all dayparts, the ratings went down and people never returned. People discovered cable, home movies, etc. And it happened in 2008 too.

If the Fall Season is delayed, those same viewers will turn to Netflix, the internet, and cable for their fix. If the strike lasts into the Fall, networks and syndication companies(ESPN/Disney) may be smart to beef up sports programming to fill the void. Even games that might not normally be televised.

I wonder if this is another why some of the big companies are trying to restrict access to Netflix and to make it more difficult for people to watch their shows online, because they know a strike is coming.

I feel like these days a lot of the people who might leave for a strike are already gone...but then I guess soaps might still keep going down no matter what. I'm at the point where I just want to see some changes.

Edited October 26, 201015 yr by CarlD2

I'm at the point where I just want to see some changes.

Oh, who wouldn't, Carl, who wouldn't? Except that changing writers is the easy part. The mindset however? Not so much. I feel like you'd have to change the whole industry behind soap operas in order to have some sort of progress. Everybody wants to be a writer but not write. That can't be good. Executives need to learn how to manage and control the writers without blatantly pushing their own agendas and rewriting everything.

I wonder if this is another why some of the big companies are trying to restrict access to Netflix and to make it more difficult for people to watch their shows online, because they know a strike is coming.

I feel like these days a lot of the people who might leave for a strike are already gone...but then I guess soaps might still keep going down no matter what. I'm at the point where I just want to see some changes.

I doubt it's even that well thought out. I think this is much like the battles between Radio and TV back in the 50's. We are in the middle of a change in how we watch this stuff. Motion Pictures have gone for special effects and live-action comic books rather than anything with real depth, TV writers are under enormous pressure to have Nielson ratings rather than good material, and what's happening in the process? Independent companies are making smaller run films of substance and the internet is hosting more and more original shows. It's a revolution and those who were in power for the old guard are not those who will have the success in the new world. They know it and they are resisting.

I honestly think before any real improvement in quality is seen, we will be having more strikes and limitations. The squeeze isn't firm enough yet - sadly.

Well, the shows will be fine with Fi-Core writers, they did it before and they'll do it again.

What would be worrisome is an actor's strike. Susan Flannery has pushed hard for SAG and AFTRA to unite, a SAG strike, if it was merged with AFTRA, would be suicide from daytime.

Actors loose regardless of who strikes. Theirs is such a precarious career.