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By Paul Raven · Posted
Article discussing the state of daytime in 1971. The 3 networks were competitive for the first time thus leading to the 'daytime wars' of the 70's, with shows cancelled, soaps expanding etc. The high drama of network daytime CBS, reigning champion of the dollar -profitable weekday schedule, faces toughest challenge in 13 years. Although CBS is virtually unchallenged as the ratings leader in nighttime, the picture in daytime, where CBS also leads, is as different as day from night. To begin with, costs of programing are much lower in daytime than in nighttime TV, and the profitability thus potentially higher. For this reason alone, network rivalry in this area is traditionally intense, although not so frequently subject to public view. This year, particularly, the developments in daytime programing are dramatic. It is the first time in 13 years that CBS has been threatened seriously. It continues in the leadership position, but both NBC and ABC are nipping at its heels; in the season to date, CBS is but three tenths of a percentage point ahead of NBC, and but two-thirds of a percentage point in front of ABC. Average ratings for network programing in the daytime periods (Monday - Friday, 10 a.m. -4:30 p.m. EST) this season stand at CBS 7.6, NBC 7.3 and ABC 7.0, giving CBS an edge of 4% above NBC and 9% over ABC. In the similar period of 1970, CBS's lead was more impressive: 8.4 vs. NBC's 6.9 and ABC's 5.9. It is necessary to go back 13 years to find an NBC daytime performance comparable to this year's -and only twice within that period has NBC showed up as well. In the 1958 -59 sea- son, CBS and NBC were in a tie-a 7.7 rating for each -while ABC was a poor third, just starting on its historic "Operation Daybreak" (in which ABC began the so- called scatter plan in daytime, with advertisers buying participations). ABC's rating then: 3.6. NBC again broke through in daytime in the 1961 -62 season: CBS 7.6, NBC 7.1 and ABC 4.1. In the intervening years, daytime television on the weekdays belonged to CBS. It was at perhaps the crest of its leadership in the 1965 -66 season. CBS then had a 4.5 percentage -point advantage over NBC (CBS 10.6, NBC 6.1 and ABC 4.7). CBS officials place the "big turn" in daytime in the 1962 -63 season with the catchy power of the Password game in the lineup. In that season, CBS came up with a three -percentage -point lead over NBC -CBS 9.2, NBC 6.2 and ABC 3.9. From then on it was CBS by a comfortable margin, season after season. ABC's daytime performance has followed the upward curve. While -as CBS officials readily concede -CBS had perhaps nowhere to go but down, ABC could experiment in its scheduling, and hopefully only go up. It did, but not immediately. After a steady climb, ABC's breakthrough occurred in the 1969 -70 season (CBS 9.2, NBC 7.1 and ABC 7.0) with the network gaining ground with its game show scheduling of such vehicles as Let's Make a Deal. Although ABC failed to hold that showing in the 1970 -71 season (CBS 8.9, NBC 7.6 and ABC 6.4), it is now performing at its best daytime level in history. ABC authorities say that network has been building for what might appear to be at least near parity in weekday programing. They cite Let's Make a Deal as having "started things up" with General Hospital and One Life to Live giving additional impetus to the movement. From ABC's point of view, the crucial change in daytime audiences occurred in 1969 when audience shares foretold a "big difference." The real improvement and change in daytime, they say, started in the third quarter of 1971. That followed a repositioning of two daytime staples -ironically Password, CBS's 1962 -63 vintage powerhouse, and Love, American Style. The former series was punched into a new spot in the schedule last spring: Love followed in the summer (the series is still strong in ABC's nighttime lineup). Although ABC executives speak guardedly of daytime audiences more on a level with those of CBS and NBC, the two challenged networks demur. ABC, they note, is nowhere near parity in daytime, although the improvement is admittedly impressive. For one thing, they contend, ABC does not program during the same hours as do NBC and CBS, and ABC carries one hour less than the other two networks in the daytime period. Moreover, they claim the hours that ABC does not program are those with least audience potential. (CBS and NBC start the schedule - excluding Today on NBC and Captain Kangaroo on CBS-at 10 a.m., take a hiatus for a half -hour at 1 p.m., return at 1:30 and program through to 4:30 p.m. ABC starts at 11:30 a.m., does not pause at 1 p.m. but continues through to 4:30.) ABC counters that not only are daytime clearances holding this season, they are actually showing improvement. In numbers, ABC is clearing an average 153 stations live (88.2% coverage) and an average 26 outlets delayed basis (4.4% coverage) for a total 179 stations representing a 92.6% coverage. Last season, clearances were 149 stations live (87.7% coverage), 27 on delays (4.4% ) for a total 176 stations representing a 92.1% coverage. NBC authorities state flatly that their network is in its "strongest daytime position in 10 years -since late 1961." They note how the margin has narrowed between NBC and CBS since last fall; assert NBC has invested money and time in daytime serials, while CBS's "are wearing thin" (the researchers at NBC point to a general lowering of share levels of CBS drama serials in 1971 vs. 1970). ABC's assessment agrees, and also emphasizes the drop in appeal of CBS's soaps, intimating a possible loss in "quality control." CBS, while not denying the declines in its soaps, refuses to accept the implication that the drama serial may be curtailed. (CBS has eight soaps compared with NBC's five and ABC's three). Four of CBS's shows are Procter & Gamble vehicles: As the World Turns, Search for Tomorrow, Guiding Light and Edge of Night. CBS authorities say you can be sure P &G as well as CBS programers are working on plans to strengthen their respective properties. CBS officials contend the drama serial not only is still well up in share (although off from prior years) at the network but continues as the most "flexible" among daytime entries. If a game show starts to plummet, they say, there's not much that can be done to "change" the format. With soaps, a fall -off in viewer interest can be countered by extensive changes in storyline and /or characters; a role can be written in or out of a script almost at will. CBS cites just such a turnaround accomplished with Love is a Many Splendored Thing. Fred Silverman, then in charge of daytime programing at CBS (and now in charge of the whole ball game), effected a series of changes until "only the title and the music were recognizable." The surgery worked. For years, CBS has been conscious of the adage that change for the sake of change, when the network is on top, entails needless risk. But the numbers have changed now and CBS must contend with the altered picture. "Everybody is ashamed of daytime," one CBS executive admits. Changes will be made. The first quick snip comes Dec. 20 when My Three Sons replaces The Beverly Hillbillies in the 10:30 -11 a.m. period. Hillbillies is one of three shows rated lowest on the CBS daytime schedule -the others are the seemingly tireless Lucy and Gomer Pyle (the latter, at least, considered by CBS officials as a candidate for cancellation.) Snips two, three and onward may be expected to follow in rapid succession. -
By Gatecrashers · Posted
That's me - in a nutshell. But, it's because BTG is so damn good! I also wondered who was watching soccer during the day, mid-week, or even watching soccer at all. However, I know SOOOO many people that never followed soaps that were downright shocked that a new soap premiered in 2025. Why? Because they didn't know that people still watch TV during the day, mid-week, or still watched soaps at all. Many also didn't realize that soaps streamed, too. So, I feel foolish, but I guess I don't have all the answers with regard to the programming of major TV networks. I'm glad they have people that focus on these things, because that is how we got BTG in the first place. -
Kelly looks so good in today’s episode (taped mid-March). I’ve always maintained Kelly looks fab in blue, and when they keep her hair straight like this. When they curl her hair, I feel it doesn’t suit her beautiful face.Please register in order to view this content
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Thank you @BoldKara. I hadn’t realised it’s only a few months away with the current YouTube uploads. I’m happy to wait until then - hopefully they won’t skip the episode this time around.
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Am I the only one welcoming the preemptions because I've been mad busy and have to catch up on over a week of episodes? Just saying. -
Deniece Williams song "Blind Dating" from the album "Let's Hear it for the Boy". Blind Dating is co-written by Michele Val Jean.Please register in order to view this content
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No. Agnes Nixon had worked on a number of shows before creating OLTL (and AMC, which she had in her drawer waiting to come to life). AW was only one of them. Many classic soaps have personnel coming across back and forth all over the map, it's not a unique situation. And to my knowledge very few of the head creative teams at AW came to OLTL. If you're thinking of Harding Lemay, he did only a very brief consulting stint in '98 and maybe '99, and clearly had little actual impact on the writing. Paul Rauch was also a different EP at AW than he was at OLTL, GL, Santa Barbara, Y&R, etc. Nor do I recall him bringing many writers with him. Nor did his work at those shows resemble his time with Lemay at AW AFAIC. Frankly '70s Rauch and '80s Rauch seem like night and day. Beyond Rauch, the only two examples of key AW additions I know of would be first when George Reinholt and Jacquie Courtney jumped from AW to OLTL in the '70s. They were debatably the first daytime supercouple (some might cite Penny and Jeff from ATWT), and the show attempted to recreate that with new characters at OLTL to garner ratings. This was not unique to these shows; many soaps attempted the same trick after them. It might've worked but Reinholt's behavior once again drove him to quit and/or be fired. Robin Strasser was hired several years later as Dorian, but not opposite them in any triangle. Reinholt was long gone. JFP would be the other example and the only one who actively tried to model it after AW, bringing over several of her favorite actors from AW and several other shows she'd worked on in 1998-99. She was accused of trying to remake her AW at OLTL, but it was a poor fit because of their being very different. (She tried the same at GH.) I don't think OLTL was ever seen as 'just Another World' even remotely. It simply occasionally had AW stars coming aboard. And in the late '90s, they didn't fit. Jacquie Courtney and George Reinholt's characters fit in much easier, but Reinholt's in particular didn't last and Courtney's became quite different. OLTL and AW were dramatically different shows IMO, which is why JFP forcing actors from it onto the show didn't work or last.
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