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GH: O’Connor/Van Etten OUT! Mulcahey/Korte IN!


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I've always tried to be an advocate for Chris Van Etten & Dan O'Connor. When their material first aired it, to me, was a breath of fresh air. Then COVID happened and things just... stalled, and instead of pushing forward with a real-time time jump, they went ahead and just picked up where they left off. And then everything dragged on, but when situations like Emma Samms' one-month stint, it proved when given a timeframe they have to tell a story in they are capable of doing it. Then the strike team came in and shook the entire canvas up; history was being brought into scripts, things for moving at a pace and it showed just how lacking Van Etten & O'Connor were in their scripts, so it was apparent then a change needed to come.

Easily, they could have promoted from within and made Elizabeth Korte and another staffer co-head writers. Instead they went against the grain and hired a writer that fans have been clamoring to be hired as a head writer, predominately at The Young and the Restless. To quote my friend: ❝ Fück, you all got Patrick Mulcahey? Damn. That is a win! ❞ so that is the precedence set for Mulcahey and his writing, etc.

Mhmm; he his the second-longest tenured executive producer General Hospital has had in terms of a singular stint. James Young held the title for a total of thirteen years (1963–1976).

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As I've said many a time, I like what I've seen of CVE and DOC as people. They seem witty, funny and talented in other creative spaces (YA books, etc). I think their work at GH was an improvement on Jean Passanante. But that's really not saying a lot, and I think the show ultimately has been micromanaged for a long time in ways we've all enumerated. So while I don't think we've ever gotten a look at what they could do unencumbered, I am glad GH is done being their arena. It's a very forgettable era for me.

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Right. Certainly, the boys were not the worst-possible writers for the show, but what we need now are writers who are actually GOOD; who make the audience excited about tuning in. If the new team including Mulcahey doesn't cut the mustard, either, then TPTB will have to try again to find someone with a winning formula. At least we have reason to believe/hope that the chances are on PM's side.

The situation with Young was curious. I enjoyed his tenure into the 1970s (the early part of that decade was good),  but then the show took a nosedive around 1974-75-ish, and it was hard to watch for a few years there. Heaven knows what happened backstage.

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As i've always stated and still believe: TPTB (a.k.a. Disney-ABC) need to allow Mulcahey to do what he needs to do, and I keep saying Mulcahey over Mulcahey/Korte, because I do believe unlike Van Etten/O'Connor (who alternate in primary credit), Mulcahey is the main head writer (a-la Shelly Altman & Van Etten), and I know it'll be a battle between him and Disney-ABC if they try to say "no" to him or vice-versa. But I'm choosing to have hope Disney-ABC are going to try and take a step back with Mulcahey at the writing helm. He is a prime name with history behind him. Chances are on his side, and time will tell.

In 1973, Jerome & Bridget Dobson were name head writers, following creators Frank & Doris Hursley. Perhaps that is why it was hard to watch? We know from experience the Dobsons are very strong in their views and their decisions, as seen at Santa Barbara. Could the same situations have arisen at General Hospital with Young?

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I have been saying for decades that the network suits have to hire the best potential writers they can, and then back off enough to give them space to BREATHE and WRITE. I remember both Henry Slesar and  William J. Bell saying in vintage interviews that they had to present storyline outlines to the network, but they were generally allowed to do/write what they wanted. Harding Lemay said this was true for him as well, when the ratings  were stable.

From what I remember, they were good enough (although my memory is foggy about which writers wrote what specific material back then. Everything is sort of mixed together in my mind.) I do recall that the writing was awful during the "married couple" regimes that followed: the Hollands, the Pollacks and the Elmans. Then Douglas Marland came aboard and saved the day.

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Yeah; it's my guess, based on Nathan Varni's posts that this regime change is to lure back lapsed viewers and I hope if that is accomplished it means Mulcahey & Korte are given their freedoms to do what needs to be done. Otherwise it's a waste of talent and time (predominately Mulcahey). It's times like this I miss Michael Logan to gain that interview because he asked the questions that needed to be asked, instead of tip-toeing around, scared of not landing an exclusive.

Let's hope Mulcahey is to 2024 what Douglas Marland was to 1977. 47 years of difference!

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I grew up watching and loving soaps, and would love to have a well-written and intelligent one to watch on a daily basis again.

I do acknowledge that there are good shows on primetime TV and streaming services to enjoy, but nothing beats a great soap!

It's my personal conspiracy theory that the owners of surviving soap archives are not allowing the vintage years to be streamed anywhere, because the golden oldies would put the modern product to shame, LOL.

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Classic The Doctors, Dark Shadows and The Bold and the Beautiful (on youtube) have been made available, and I believe they are doing fairly well; certainly well enough to keep on airing. 

What I really want to see again, though, are Days of our Lives and The Young and the Restless from the beginning. I was thrilled when CBS re-aired the first two episodes of Y&R from 1973 (although edited, which was a travesty).

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