Seed Newsvine
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
http://www.theresachaze.com/files/DOOLepione.pdf
Previously posted:
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
If you like what you are reading and would like me to take over as head writer, please contact the following:
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
Saturday, January 31, 2009
Soap Opera Fans: Mad as Hell and They Aren't Going to Take it Any More
Soap Opera Fans: Mad as Hell and They Aren't Going to Take it Any MoreBy
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Friday, January 30, 2009
Thaao Penghlis Fired: Who will be next?
According to Nelson Branco of the TV Guide Suds Report, the ax has come down on another Days of Our Lives vet. Thaao Penghlis, who was know for playing the dual role of Tony and Andre, is the latest vet to be released from contract. He is to die in March as part of a major murder mystery.
The executives and Higley have obviously decided to accelerate their plan to have Days cancelled; hopeful after which their careers in TV will be totally over. Only a moron would hire any of them after the hack job they did on Days.
With the firing of Dee and Drake, they not only brought the wrath of the super couple down on them, but the contempt of soap fans and industry insiders a like. Not only was the firing foolish, but their exit was an insult to the actors and their fans. Hastily put together and without one creative thought, the storyline was disgraceful. Yet then again, what do you expect from a writer who is incapable of writing for intelligent, powerful women--only those who use sex to get what they want.
With the incomplete and nonsensical storylines along with the total disregard for the show and characters' history alike, Days has become a nothing more than soft porn for teens and tweens. The veteran actors who have the loyal fan bases and actually have talent have been tossed aside for younger actors who lack talent enough to get parts in anything other than grammar school productions, where the whole class is forced to participate.
With the sweeps being pushed back to March, due to the digital conversion, Corday and Higley are once again making promises they never intend on keeping. The big romance reunion of Marlena and John was actually a fifteen minute slam-bam-thank-you-mamam as they got the bums rush out the door.
As for Higley's ability to write a major murder mystery--she can't write herself out of a wet paper bag. One industry insider was quotes as says she shouldn't be allowed to write a grocery list, while actors, which she previously worked with have been quoted as calling her a hack.
As another beloved vet is cast off, so will another loyal fan base turn against the show. Who will be next? Soon the only actors remaining will be the teens, who think have sex with older men gives them power. Makes you wonder....
The executives and Higley have obviously decided to accelerate their plan to have Days cancelled; hopeful after which their careers in TV will be totally over. Only a moron would hire any of them after the hack job they did on Days.
With the firing of Dee and Drake, they not only brought the wrath of the super couple down on them, but the contempt of soap fans and industry insiders a like. Not only was the firing foolish, but their exit was an insult to the actors and their fans. Hastily put together and without one creative thought, the storyline was disgraceful. Yet then again, what do you expect from a writer who is incapable of writing for intelligent, powerful women--only those who use sex to get what they want.
With the incomplete and nonsensical storylines along with the total disregard for the show and characters' history alike, Days has become a nothing more than soft porn for teens and tweens. The veteran actors who have the loyal fan bases and actually have talent have been tossed aside for younger actors who lack talent enough to get parts in anything other than grammar school productions, where the whole class is forced to participate.
With the sweeps being pushed back to March, due to the digital conversion, Corday and Higley are once again making promises they never intend on keeping. The big romance reunion of Marlena and John was actually a fifteen minute slam-bam-thank-you-mamam as they got the bums rush out the door.
As for Higley's ability to write a major murder mystery--she can't write herself out of a wet paper bag. One industry insider was quotes as says she shouldn't be allowed to write a grocery list, while actors, which she previously worked with have been quoted as calling her a hack.
As another beloved vet is cast off, so will another loyal fan base turn against the show. Who will be next? Soon the only actors remaining will be the teens, who think have sex with older men gives them power. Makes you wonder....
Thursday, January 29, 2009
Paranormal Romance Film Seeks Producer
Written by Theresa Chaze, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing with violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Won the 2006 International Gloria Film Festival
To read an except go to: http://www.theresachaze.com/files/NeverSayexcerpt.pdf
Monday, January 26, 2009
Repost: Days of Our Lives 1-20-09
Days of Our Lives 1-20-09
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/easternguardian/days1-20-09
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/easternguardian/days1-20-09
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Blog Talk Radio: In the Zone
To listen please go to http://www.blogtalkradio.com/inthezoneradio
In The Zone" is an interactive, live Internet talk-radio show that focuses on entertainment such as soaps, primetime & reality TV, music and more. The show airs Mondays, Wednesdays & Fridays nights at 10PM/EST for 90 minutes.
Sunday, January 25, 2009
From the NBC Days of Our Lives Fan Board: People that don't want to watch Days anymore
Like all industries, television networks and producers sell a product; in their case, it is entertainment. If the company doesn't provide a quality product that meets the consumers interests, standards or expectation, then it simply will not survive. The viewers are consumers and the product. The networks and TV stations used entertainment, news and sports to attract viewer; after which, they sell that attention to sponsors. Simple, yet some in the industry have forgotten that no matter how much they push a show or idea, if the viewers aren't buying there is nothing they can do about it. NBC, Sony and Corday Productions have taken for granted the loyal viewership of the Days of Our Lives. The viewers are just leaving. The executive are driving them away.
The following quotes are from the NBC fan board.
DOOLFr33k
Newbie
Group: Members
Posts: 2
Joined: 23-January 09
Member No.: 346,696
I also feel that letting Drake and Diedre go was a HUGE mistake by TPTB but I will still watch the show to support the veterans that are still on the show.
What so many of you "I'm not gonna watch Days ever again"-ers aren't thinking about is that if you don't watch Days, you will be putting all the other vets out of a job as well by letting the show get cancelled! I personally will not support that.
I really hope that with Drake and Diedre gone it will make more room for Steve and Kayla to have a major storyline of their own.
Hartleyfan
Group: Members
Posts: 8,204
Joined: 14-January 07
From: Ready to leave DOOL with Drake and Deidre
Member No.: 226,229
I completly understand,but I am showing my devotion and loyalty to Drake and Dee and I refuse to continue watching a show that treats fans and actors like a pile of sh**.
gingerp
Group: Members
Posts: 876
Joined: 28-December 05
Member No.: 78,411
Steve and Kayla have had more than one big storyline since they returned. Sorry, but I will never support this show again. I don't care if it stays on the air or is cancelled.
DrakeDBEST
Group: Members
Posts: 920
Joined: 7-September 07
From: Canada
Member No.: 276,726
My all-time favorite actor had his role terminated after 23 CONSECUTIVE years on DAYS even though he NEVER said once that he wanted to leave the show. Drake wanted to stay with the show until it went off the air but it didn't matter to TPTB. I'll never support the show again that did this to him so as of today, I'm done with DAYS. I'm sorry to the vets left behind because IMO they're in for rough times ahead.
StevePatchFan
Group: Members
Posts: 625
Joined: 21-October 07
Member No.: 282,485
I think Drake and Deidre will be back, mark my words.
melly123
Group: Members
Posts: 195
Joined: 9-April 07
Member No.: 248,866
I agree..it will be just like the last time when they "killed off" John. I think they like when they get viewers in a big uproar. I'll still be watching.
Theresa_Chaze
Group: Members
Posts: 1,478
Joined: 7-November 07
Member No.: 285,927
There will be nothing to come back to. Even if Days does last more than a couple of month, both Dee and Drake have enough fans that any show who picked them up would get a big boost in the ratings. Rumor has it GH is courting Dee. It's also rumored that Drake wants to go into producing. Once they move on, they aren't coming back, especially they way were treated.
If you believe Corday when he said they would be back, I got a bridge for you. It doesn't go any where, so I'll give you a good deal on the purchase price.
As for thinking of the other vets, they aren't being treated any better than Dee or Drake. It's just a matter of time before their air time goes down to zero and they are off the show in the same way. It a simple race to what happens first. The cancellation or the next vet firing
JarlenaFan
Group: Members
Posts: 495
Joined: 13-July 08
Member No.: 316,917
I love so many vets on the show, but even with my love of John and Marlena the stories have been hard to watch this year. I don't have the heart or energy to stick around and see what they can do to Hope, Steve, Tony, Anna, Bo, etc.
Mia_Devlin
Group: User Moderators
Posts: 2,108
Joined: 28-December 05
From: Until Matt comes home!
Member No.: 78,463
The problem is why should anyone watch if the show no longer entertains them? I can't find a single storyline happening right now that actually entertains me. It has less to do with the characters then he writing. How about TPTB try and gain fans by 1) writing an entertaining show that actually makes sense and gives the fans a reason to want to watch? 2) How about writing for the characters we have known and loved for years and staying true to those characters rich histories? This show could be so much more then it is. They have talented actors but the writing they are given well it stinks to high heaven and no one should have to watch that unless they enjoy torturing themselves. It isn't the fans responsibility to keep this show on the air it is Corday and Higley's responsibility and one doesn't seem to give a damn and they other can't write worth a damn.
Aeb_2308
Group: Members
Posts: 188
Joined: 10-December 08
Member No.: 340,542
That is true that they should rely on history and a lot of Fan fic writers could do a better job but I will continue watching my favorite Charactors and hope that someday the writing might improve. You can't force people to watch or not watch a show. If people are not entertained by the show than they should not watch it.
I hope that Steve and Kayla get a good story now that John and Marlana are gone.
Jiggs
Group: User Moderators
Posts: 4,417
Joined: 28-December 05
From: J&M Heaven
Member No.: 78,414
Well, I am not a fan of Steve and Kayla, and I don't believe in watching a show I am no longer invested in nor care about. It's suppose to be entertainment, which is a selfish act. I don't watch shows that I don't like. I don't owe Days of Our Lives anything, nor the remaining vets.
mesagirl
Group: Members
Posts: 1,661
Joined: 10-August 07
Member No.: 274,884
My thoughts are that although I understand this loyalty some have to just two characters in a huge ensemble cast, that we need to remember that there would be no "Dee and Drake" if it weren't for Days in the first place.
Days was around a long time before the characters of Marlena and then John were introduced. There is more to Days than just John and Marlena.
When I finally stop watching this show(which is fast approaching I fear), that I've watched for the past quarter of a century I might add, it won't be because two actors got fired because of a very volatile financial climate. It will be because the story lines suck, the writing sucks, etc. Which unfortunately to me, is what has happened.
Watching Days for me the past few months, years almost, has become a chore, a sense of obligation. There is no longer the anticipation that used to come with watching this show. There is no one left to root for, no one to identify with, no character that is interesting enough to make me want to tune in to find out what happens to them. That is the fault of the writers, producers and casting directors.
Where are the epic story lines? Why do people fall in love at the drop of a hat now, instead of letting the story build slowly, so the viewers can be screaming in their living room... just kiss already! Where is the good vs evil story lines? Days is now a blur of characters that walk around with no meaning, no agenda, no story line. Some prop other characters, some just bed hop, some are fading in to the woodwork. Too many s/l's have started and yet have never gone anywhere.... we get a middle that had no beginning, and never sees an end.
Days, like Mia says, has hardly any entertainment value left to it. It's been gone a long time now, well before Dee and Drake were let go, well before Days turned in to an afterschool special.
There's just nothing special left to this soap anymore. It's all been sucked out by the poor s/l's and crappy writing.
Sorry, had to vent there. I'm done heh.
Jiggs
Group: User Moderators
Posts: 4,417
Joined: 28-December 05
From: J&M Heaven
Member No.: 78,414
Mesagirl, I used to enjoy the whole show... over the years that changed until all I cared about anymore was J&M. Of course there is more to Days than J&M, but not for me. I think for many, letting go of D&D is just the last straw.
Moonwind333
Group: Members
Posts: 102
Joined: 20-December 08
Member No.: 341,757
I no longer trust TPTB at DOOL. After what Corday & Co. did to Drake TWICE and now to Dee who is to say who is next? He/they can profess the end of releases all they want but I don't believe it. Why should I invest any more of my time and emotions in a show that could do this again and again to other characters I love with no warning or apologies and once again see them treated like unneeded extras. No, I don't think I want to take a chance again. My love of Days started on day one, but probably won't last to the end, not when TPTB have so little respect for actors that have devoted half their lives to the show and so little respect for the audience that has supported it. And it is not just about two actors leaving, it is about HOW two actors were summarily dismissed.
mesagirl
Group: Members
Posts: 1,661
Joined: 10-August 07
Member No.: 274,884
Yeah I totally get that. I guess for me, J&M were never the end all be all for me on Days. The only couple that truly resonated for me that strongly were Jack and Jennifer, and they left, and I still watched the show. I'm not saying that no longer watching cuz J&M are gone is wrong for some people to do, I'm just saying that their leaving shouldn't break the show, characters come and go on soaps.
Days suffers from things far worse than just losing two main characters, that affect the entire cast as well as most of the remaining viewers.... crappy s/l's and **** poor writing. Not even the amazing acting talents of some of the cast can save the show. The writing is just that bad.
In some ways, Dee and Drake could be viewed as lucky... getting out before their characters were totally destroyed by this cold mess called Days of Our Lives.
To read the rest of the postings on the topic please go to http://boards.nbc.com/nbc/index.php?showtopic=813725&st=0
The NBC boards contain a cross section of the viewers; they come from all genders, ages, ethics and educational backgrounds. It is their voices that need to be heard.
The following quotes are from the NBC fan board.
DOOLFr33k
Newbie
Group: Members
Posts: 2
Joined: 23-January 09
Member No.: 346,696
I also feel that letting Drake and Diedre go was a HUGE mistake by TPTB but I will still watch the show to support the veterans that are still on the show.
What so many of you "I'm not gonna watch Days ever again"-ers aren't thinking about is that if you don't watch Days, you will be putting all the other vets out of a job as well by letting the show get cancelled! I personally will not support that.
I really hope that with Drake and Diedre gone it will make more room for Steve and Kayla to have a major storyline of their own.
Hartleyfan
Group: Members
Posts: 8,204
Joined: 14-January 07
From: Ready to leave DOOL with Drake and Deidre
Member No.: 226,229
I completly understand,but I am showing my devotion and loyalty to Drake and Dee and I refuse to continue watching a show that treats fans and actors like a pile of sh**.
gingerp
Group: Members
Posts: 876
Joined: 28-December 05
Member No.: 78,411
Steve and Kayla have had more than one big storyline since they returned. Sorry, but I will never support this show again. I don't care if it stays on the air or is cancelled.
DrakeDBEST
Group: Members
Posts: 920
Joined: 7-September 07
From: Canada
Member No.: 276,726
My all-time favorite actor had his role terminated after 23 CONSECUTIVE years on DAYS even though he NEVER said once that he wanted to leave the show. Drake wanted to stay with the show until it went off the air but it didn't matter to TPTB. I'll never support the show again that did this to him so as of today, I'm done with DAYS. I'm sorry to the vets left behind because IMO they're in for rough times ahead.
StevePatchFan
Group: Members
Posts: 625
Joined: 21-October 07
Member No.: 282,485
I think Drake and Deidre will be back, mark my words.
melly123
Group: Members
Posts: 195
Joined: 9-April 07
Member No.: 248,866
I agree..it will be just like the last time when they "killed off" John. I think they like when they get viewers in a big uproar. I'll still be watching.
Theresa_Chaze
Group: Members
Posts: 1,478
Joined: 7-November 07
Member No.: 285,927
There will be nothing to come back to. Even if Days does last more than a couple of month, both Dee and Drake have enough fans that any show who picked them up would get a big boost in the ratings. Rumor has it GH is courting Dee. It's also rumored that Drake wants to go into producing. Once they move on, they aren't coming back, especially they way were treated.
If you believe Corday when he said they would be back, I got a bridge for you. It doesn't go any where, so I'll give you a good deal on the purchase price.
As for thinking of the other vets, they aren't being treated any better than Dee or Drake. It's just a matter of time before their air time goes down to zero and they are off the show in the same way. It a simple race to what happens first. The cancellation or the next vet firing
JarlenaFan
Group: Members
Posts: 495
Joined: 13-July 08
Member No.: 316,917
I love so many vets on the show, but even with my love of John and Marlena the stories have been hard to watch this year. I don't have the heart or energy to stick around and see what they can do to Hope, Steve, Tony, Anna, Bo, etc.
Mia_Devlin
Group: User Moderators
Posts: 2,108
Joined: 28-December 05
From: Until Matt comes home!
Member No.: 78,463
The problem is why should anyone watch if the show no longer entertains them? I can't find a single storyline happening right now that actually entertains me. It has less to do with the characters then he writing. How about TPTB try and gain fans by 1) writing an entertaining show that actually makes sense and gives the fans a reason to want to watch? 2) How about writing for the characters we have known and loved for years and staying true to those characters rich histories? This show could be so much more then it is. They have talented actors but the writing they are given well it stinks to high heaven and no one should have to watch that unless they enjoy torturing themselves. It isn't the fans responsibility to keep this show on the air it is Corday and Higley's responsibility and one doesn't seem to give a damn and they other can't write worth a damn.
Aeb_2308
Group: Members
Posts: 188
Joined: 10-December 08
Member No.: 340,542
That is true that they should rely on history and a lot of Fan fic writers could do a better job but I will continue watching my favorite Charactors and hope that someday the writing might improve. You can't force people to watch or not watch a show. If people are not entertained by the show than they should not watch it.
I hope that Steve and Kayla get a good story now that John and Marlana are gone.
Jiggs
Group: User Moderators
Posts: 4,417
Joined: 28-December 05
From: J&M Heaven
Member No.: 78,414
Well, I am not a fan of Steve and Kayla, and I don't believe in watching a show I am no longer invested in nor care about. It's suppose to be entertainment, which is a selfish act. I don't watch shows that I don't like. I don't owe Days of Our Lives anything, nor the remaining vets.
mesagirl
Group: Members
Posts: 1,661
Joined: 10-August 07
Member No.: 274,884
My thoughts are that although I understand this loyalty some have to just two characters in a huge ensemble cast, that we need to remember that there would be no "Dee and Drake" if it weren't for Days in the first place.
Days was around a long time before the characters of Marlena and then John were introduced. There is more to Days than just John and Marlena.
When I finally stop watching this show(which is fast approaching I fear), that I've watched for the past quarter of a century I might add, it won't be because two actors got fired because of a very volatile financial climate. It will be because the story lines suck, the writing sucks, etc. Which unfortunately to me, is what has happened.
Watching Days for me the past few months, years almost, has become a chore, a sense of obligation. There is no longer the anticipation that used to come with watching this show. There is no one left to root for, no one to identify with, no character that is interesting enough to make me want to tune in to find out what happens to them. That is the fault of the writers, producers and casting directors.
Where are the epic story lines? Why do people fall in love at the drop of a hat now, instead of letting the story build slowly, so the viewers can be screaming in their living room... just kiss already! Where is the good vs evil story lines? Days is now a blur of characters that walk around with no meaning, no agenda, no story line. Some prop other characters, some just bed hop, some are fading in to the woodwork. Too many s/l's have started and yet have never gone anywhere.... we get a middle that had no beginning, and never sees an end.
Days, like Mia says, has hardly any entertainment value left to it. It's been gone a long time now, well before Dee and Drake were let go, well before Days turned in to an afterschool special.
There's just nothing special left to this soap anymore. It's all been sucked out by the poor s/l's and crappy writing.
Sorry, had to vent there. I'm done heh.
Jiggs
Group: User Moderators
Posts: 4,417
Joined: 28-December 05
From: J&M Heaven
Member No.: 78,414
Mesagirl, I used to enjoy the whole show... over the years that changed until all I cared about anymore was J&M. Of course there is more to Days than J&M, but not for me. I think for many, letting go of D&D is just the last straw.
Moonwind333
Group: Members
Posts: 102
Joined: 20-December 08
Member No.: 341,757
I no longer trust TPTB at DOOL. After what Corday & Co. did to Drake TWICE and now to Dee who is to say who is next? He/they can profess the end of releases all they want but I don't believe it. Why should I invest any more of my time and emotions in a show that could do this again and again to other characters I love with no warning or apologies and once again see them treated like unneeded extras. No, I don't think I want to take a chance again. My love of Days started on day one, but probably won't last to the end, not when TPTB have so little respect for actors that have devoted half their lives to the show and so little respect for the audience that has supported it. And it is not just about two actors leaving, it is about HOW two actors were summarily dismissed.
mesagirl
Group: Members
Posts: 1,661
Joined: 10-August 07
Member No.: 274,884
Yeah I totally get that. I guess for me, J&M were never the end all be all for me on Days. The only couple that truly resonated for me that strongly were Jack and Jennifer, and they left, and I still watched the show. I'm not saying that no longer watching cuz J&M are gone is wrong for some people to do, I'm just saying that their leaving shouldn't break the show, characters come and go on soaps.
Days suffers from things far worse than just losing two main characters, that affect the entire cast as well as most of the remaining viewers.... crappy s/l's and **** poor writing. Not even the amazing acting talents of some of the cast can save the show. The writing is just that bad.
In some ways, Dee and Drake could be viewed as lucky... getting out before their characters were totally destroyed by this cold mess called Days of Our Lives.
To read the rest of the postings on the topic please go to http://boards.nbc.com/nbc/index.php?showtopic=813725&st=0
The NBC boards contain a cross section of the viewers; they come from all genders, ages, ethics and educational backgrounds. It is their voices that need to be heard.
Saturday, January 24, 2009
Blog Talk Radio: Be Weird and Wonderful
Hi,
My radio show on Sunday is going to be how humor and comedy can sometimes not only be the best medicine, but also the only medicine that works. A good sense of humor can relief stress and diffuse challenging situations. However instead of my talking, I'm going to be playing music, telling jokes and generally being my weird and wonderful self. The show is going to be simply play time. I'm not sure what I'm going to come up with yet, but you can bet dollars to donuts, it'll be wacky and unexpected. So bring your jokes, the good, the bad and I don't thing you can say that on the radio and join in.
The show is 5 pm eastern at http://www.blogtalkradio.com/theresachaze
My radio show on Sunday is going to be how humor and comedy can sometimes not only be the best medicine, but also the only medicine that works. A good sense of humor can relief stress and diffuse challenging situations. However instead of my talking, I'm going to be playing music, telling jokes and generally being my weird and wonderful self. The show is going to be simply play time. I'm not sure what I'm going to come up with yet, but you can bet dollars to donuts, it'll be wacky and unexpected. So bring your jokes, the good, the bad and I don't thing you can say that on the radio and join in.
The show is 5 pm eastern at http://www.blogtalkradio.com/theresachaze
Friday, January 23, 2009
Jeffrey Immelt, Jeffrey Zucker, Michael Lynton, Ken Corday
Ken Corday
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Theresa Chaze
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Theresa Chaze
Wednesday, January 21, 2009
Repost: Fax Numbers for Corday Production, NBC, Sony Pictures
Fax Campaign to Save Days of Our Lives
As I previously posted there is a campaign to protest the firing of Dee and Drake. Started by Drake_Cake on the sony board, the idea is to fax protests 1/23/09 stating that "I just watched Days for the last time. If we could get everyone to participate then he could physically see how many people are going to be tuning out because of his decision. If you could share this with your J&M and friends I would appreciate it. I would love to hit Corday hard one more time. You can fax for free at http://faxzero.com/ "
One thing else to remember, no matter how angry or disappointed you are--be respectful and accurate. If you come across as out of control or illiterate, you will be discounted or ignored. However, if you concise with you wording, you will be taken seriously or at least more so than if you call Corday every nasty adult word you know--he may deserve it and it might feel good but it won't get you want you want. Tell them why you liked the both the couple and show. If you have watched for a long time, add that in. End by asking for the changes that you want. Remember to also include your full name and contact information--at least a phone number. It'll show the diversity of the complaints and prove that there isn't just a few with over active fax machines.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
As I previously posted there is a campaign to protest the firing of Dee and Drake. Started by Drake_Cake on the sony board, the idea is to fax protests 1/23/09 stating that "I just watched Days for the last time. If we could get everyone to participate then he could physically see how many people are going to be tuning out because of his decision. If you could share this with your J&M and friends I would appreciate it. I would love to hit Corday hard one more time. You can fax for free at http://faxzero.com/ "
One thing else to remember, no matter how angry or disappointed you are--be respectful and accurate. If you come across as out of control or illiterate, you will be discounted or ignored. However, if you concise with you wording, you will be taken seriously or at least more so than if you call Corday every nasty adult word you know--he may deserve it and it might feel good but it won't get you want you want. Tell them why you liked the both the couple and show. If you have watched for a long time, add that in. End by asking for the changes that you want. Remember to also include your full name and contact information--at least a phone number. It'll show the diversity of the complaints and prove that there isn't just a few with over active fax machines.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
Tuesday, January 20, 2009
Days of Our Lives 1-20-09
Days of Our Lives 1-20-09
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/easternguardian/days1-20-09
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/easternguardian/days1-20-09
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Monday, January 19, 2009
Saturday, January 17, 2009
Writers: Only One Creative Element in Successful Television
Writers: Only One Creative Element in Successful Television
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Friday, January 16, 2009
Days of Our Lives: Character Sketch--Stefano DiMera aka Joseph Mascolo
Days of Our Lives: Character Sketch--Stefano DiMera aka Joseph Mascolo
In 1982, veteran actor Joseph Mascolo joined the Days of Our Lives cast as devilishly handsome and manipulative Stefano DiMera. Complex, passionate and frequently controversial, Stefano has been the character the fans loved to hate. Even though family and power have always been important to him, it is the thrill of the hunt and the conquest which is the key to his character. To deny him is to only further attract his attention and in many cases his wrath.
Born the seventh son of a seventh son, Stefano not only considered himself indestructible, hence naming himself the Phoenix, but he also thought himself above the laws of man and God. Raised as the family crowded prince, he was never to be question, but blindly obeyed. Whether friend, family or foe, to disobey his command was to bring down the fury of Stefano. Not only did his charisma and magnetism attract the attention of the women who didn‘t learn to fear him until it was too late, but his intelligence always kept him three moves ahead of ISA and the Salem PD. In many ways his love of opera reflected how he fancied himself to be akin to the Divine as he controlled and manipulated the mere mortals he walked among. The people of the world, including his own children, were merely pawns to for him to use and discard at will.
In spite of the relatively recent rewrite in history, it was not the feud with the Bradys that brought Stefano to Salem, but the long standing dispute with the Bradfords and the legend of the Baka. The Brady's only became targets after Roman thwarted Stefano's plans. Nor was Marlena originally the target of his obsession. Instead, Stefano saw her as perfect wife for Tony. It was only after she interfered with his scheme and stood up to him, that he became fixated with owning and controlling her.
Larger than life, he was always a passionate character with a dynamic personality, whose laugh could be both amusing and terrifying. Stefano wanted what he wanted and it didn't care what he had to do or to whom as long as he achieved his goal. It was his strong will and quick wit that made him in many ways invincible. His schemes were a strange mixture of gothic romance, sci-fi fantasy and horror. From the faking his death to programming memories of one character into another, Stefano quintessential villain that fans love to hate. He was always the master conductor who orchestrated international plots, while his henchmen did the dirty work.
Unfortunately, for the Days and the viewers, the current writers have trivialized him. Instead of the dramatic character that considered the world his oyster, Stefano has been turned into a baby-cooing supporting character for the younger actors. The head writer has effectively castrated the character with her inability to write complex storylines that involve multi-dimensional characters whose power comes from between their ears not between their legs. Instead of being master of all her surveys, the writers have him worrying about grandchildren and his legacy, when the real Stefano thinks of himself as the seventh son of the seventh son destined never to die. The writers sent him out like one of his flunkies on the great diamond caper. Stefano isn’t an errand boy; he would have been at home smoking a Cuban cigar, drinking 100 year old brandy, and listening to opera while his pawns did the dirty work.
Although there are many storylines with diabolical plot and schemes that could yet be written for Stefano, they are not likely to be seen on the screen. No matter how talent the actors, unless there is writers create plots and storylines to for them to hang their performance on, there cannot be romance, drama or suspense; all the things that keep the viewers turning in.
So to quote Shakespeare:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
So it will be as the sands run out and Days of Our Lives will fade in to history.
In 1982, veteran actor Joseph Mascolo joined the Days of Our Lives cast as devilishly handsome and manipulative Stefano DiMera. Complex, passionate and frequently controversial, Stefano has been the character the fans loved to hate. Even though family and power have always been important to him, it is the thrill of the hunt and the conquest which is the key to his character. To deny him is to only further attract his attention and in many cases his wrath.
Born the seventh son of a seventh son, Stefano not only considered himself indestructible, hence naming himself the Phoenix, but he also thought himself above the laws of man and God. Raised as the family crowded prince, he was never to be question, but blindly obeyed. Whether friend, family or foe, to disobey his command was to bring down the fury of Stefano. Not only did his charisma and magnetism attract the attention of the women who didn‘t learn to fear him until it was too late, but his intelligence always kept him three moves ahead of ISA and the Salem PD. In many ways his love of opera reflected how he fancied himself to be akin to the Divine as he controlled and manipulated the mere mortals he walked among. The people of the world, including his own children, were merely pawns to for him to use and discard at will.
In spite of the relatively recent rewrite in history, it was not the feud with the Bradys that brought Stefano to Salem, but the long standing dispute with the Bradfords and the legend of the Baka. The Brady's only became targets after Roman thwarted Stefano's plans. Nor was Marlena originally the target of his obsession. Instead, Stefano saw her as perfect wife for Tony. It was only after she interfered with his scheme and stood up to him, that he became fixated with owning and controlling her.
Larger than life, he was always a passionate character with a dynamic personality, whose laugh could be both amusing and terrifying. Stefano wanted what he wanted and it didn't care what he had to do or to whom as long as he achieved his goal. It was his strong will and quick wit that made him in many ways invincible. His schemes were a strange mixture of gothic romance, sci-fi fantasy and horror. From the faking his death to programming memories of one character into another, Stefano quintessential villain that fans love to hate. He was always the master conductor who orchestrated international plots, while his henchmen did the dirty work.
Unfortunately, for the Days and the viewers, the current writers have trivialized him. Instead of the dramatic character that considered the world his oyster, Stefano has been turned into a baby-cooing supporting character for the younger actors. The head writer has effectively castrated the character with her inability to write complex storylines that involve multi-dimensional characters whose power comes from between their ears not between their legs. Instead of being master of all her surveys, the writers have him worrying about grandchildren and his legacy, when the real Stefano thinks of himself as the seventh son of the seventh son destined never to die. The writers sent him out like one of his flunkies on the great diamond caper. Stefano isn’t an errand boy; he would have been at home smoking a Cuban cigar, drinking 100 year old brandy, and listening to opera while his pawns did the dirty work.
Although there are many storylines with diabolical plot and schemes that could yet be written for Stefano, they are not likely to be seen on the screen. No matter how talent the actors, unless there is writers create plots and storylines to for them to hang their performance on, there cannot be romance, drama or suspense; all the things that keep the viewers turning in.
So to quote Shakespeare:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
So it will be as the sands run out and Days of Our Lives will fade in to history.
Thursday, January 15, 2009
Days of Our Lives--No longer just a One Soap Opera Blog
Some of you will notice that I changed the title to my blog. There is a reason. Although I love Days of Our Lives very much, after January 23 I will no longer be watching it. It was a very difficult to decision to make. I have been watching since nearly the beginning. I have grown up with many of the characters. Alice and Tom Horton were as near and dear to me as my own grandparents. The romance, suspense and humor was a constant in my life; unfortunately, that show has been missing for a long time. For nearly two years, Days hasn't been the show that I loved. The writing has rapidly degraded into to being nothing more than soft porn. Favorite characters have been dismissed, rewritten to be shadows of their former selves, and ignored. There hasn't been an actually storyline for over a year. The firing of Dee and Drake for me was the finally straw. The ratings prove that I am not the only one who misses the good old Days.
In April, I started writing alternative storylines in protest to the bad writing. It started as a way to embarrass the writers to doing their job. However, it became so popular that I not only kept it going, but applied for the head writer gig. In hind sight, I'm not surprised that I didn't get taken seriously. At best the application was amateurish; at worse, just plain wrong. If there was another mistake I could have done, I certainly can't think of it. Anyway, the past is the past. I would still like the head writer gig, but at this rate it would be a temp job. Instead, I'm going to edit the script for format and style, bringing it into industry standards. After which, I'm going to apply to the other soaps for a paying gig on the staff. With Days, I know the history and the characters; but I'm a quick study. With a little help from the actors, I can catch up.
In April, I started writing alternative storylines in protest to the bad writing. It started as a way to embarrass the writers to doing their job. However, it became so popular that I not only kept it going, but applied for the head writer gig. In hind sight, I'm not surprised that I didn't get taken seriously. At best the application was amateurish; at worse, just plain wrong. If there was another mistake I could have done, I certainly can't think of it. Anyway, the past is the past. I would still like the head writer gig, but at this rate it would be a temp job. Instead, I'm going to edit the script for format and style, bringing it into industry standards. After which, I'm going to apply to the other soaps for a paying gig on the staff. With Days, I know the history and the characters; but I'm a quick study. With a little help from the actors, I can catch up.
Buzz Worthy Blog Talk Radio: Catherine Hickland, Lindsay Rappaport
Catherine Hickland, Lindsay Rappaport from ABC Daytime's One Life to Live, will be making another appearance on BuzzWorthy Radio! We are going to catch up with the actress by talking with her about her latest book, The Heartbreak Cure. Also, Cat has her own BlogTalkRaido show and will be discussing about that as well. You want advice? Talk about the book? Or just say how much you miss Cat on OLTL?
Formatting Soap Opera Scripts
Formatting Soap Opera Scripts
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
Sunday, January 11, 2009
Reality TV: Maximize Profits With Discount Entertainment
Reality TV: Maximize Profits With Discount Entertainment
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
My radio show on Manifesting Miracles
Hi,
This week's show is on manifesting and creating miracles in your live. It airs live today, Sunday January 11 5 pm eastern. The address is http://www.blogtalkradio.com/theresachaze
If you don't have speakers or a good internet connection, you can also listen my calling in.
If you don't have speakers or a good internet connection, you can also listen my calling in.
Theresa
Saturday, January 10, 2009
Fax Campaign to Save Days of Our Lives
As I previously posted there is a campaign to protest the firing of Dee and Drake. Started by Drake_Cake on the sony board, the idea is to fax protests 1/23/09 stating that "I just watched Days for the last time. If we could get everyone to participate then he could physically see how many people are going to be tuning out because of his decision. If you could share this with your J&M and friends I would appreciate it. I would love to hit Corday hard one more time. You can fax for free at http://faxzero.com/ "
One thing else to remember, no matter how angry or disappointed you are--be respectful and accurate. If you come across as out of control or illiterate, you will be discounted or ignored. However, if you concise with you wording, you will be taken seriously or at least more so than if you call Corday every nasty adult word you know--he may deserve it and it might feel good but it won't get you want you want. Tell them why you liked the both the couple and show. If you have watched for a long time, add that in. End by asking for the changes that you want. Remember to also include your full name and contact information--at least a phone number. It'll show the diversity of the complaints and prove that there isn't just a few with over active fax machines.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
One thing else to remember, no matter how angry or disappointed you are--be respectful and accurate. If you come across as out of control or illiterate, you will be discounted or ignored. However, if you concise with you wording, you will be taken seriously or at least more so than if you call Corday every nasty adult word you know--he may deserve it and it might feel good but it won't get you want you want. Tell them why you liked the both the couple and show. If you have watched for a long time, add that in. End by asking for the changes that you want. Remember to also include your full name and contact information--at least a phone number. It'll show the diversity of the complaints and prove that there isn't just a few with over active fax machines.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
Tuesday, January 6, 2009
Days of Our Lives: What the NBC Board Fans think.
The NBC Days of Our Lives fan board contains a cross section of the fan base. I thought it would be interesting to share what is being said about Days with others who care about the show. Below are a couple of threads that were started by different people. They copied and pasted in full without edits.
The end of DAYS for me-started by Purpur
Purpur
I have been a faithful viewer of DOOL since November 16, 1966. There were lapses of five-month intervals twice a year for several years while I was in school. However, when I could watch the show, I did. Every so often, I would get discouraged about the show when the writing was particularly inane and the viewers' intelligence insulted more than usual. Still, I made excuses for the writers and producers and kept watching.
Now, with the new developments, it has come time to part ways. I am disappointed and disgusted that "old-time warriors" are to be pushed aside for young "twinkies" and a more "hip" story. The money they could have saved by better writing and decision making, by not hiring superfluous actors and not writing inconsequential storylines, would surely have paid the salaries of the veteran actors. For decades, the veterans like Alice and Tom, Julie and Doug have kept the story together and it was still interesting and engaging to watch DOOL. All that is now water under the bridge.
I feel for the newly hired young actors as well as for veterans like Alison Sweeney, et al. The new young actors surely were delighted to finally have landed a role to support themselves. The veterans are probably constantly worried over job security. I truly have compassion for them. It is not fair to them. But then, it is not fair to the viewer either. I know actors come and go and sometimes it is necessary to let someone go, but this usually has much less to do with the actors themselves than it does with the writing.
I realize that conflict is what keeps a story going. I wouldn't presume to be so conceited as to proclaim that I could write a better story line. But then, I don't get paid for this kind of work either. If one gets paid for a certain job, then it is his/her responsibility to deliver. That goes for producers of a show as well. They make millions on programs, but delivery of DOOL has not been up to par for some time now.
So, here is my proclamation: As of today, DOOL has lost one viewer. This probably means diddley-squat to those in charge, but it gives me the satisfaction that I have exercised my right to not support a show that is written in an inferior manner and that treats its actors like easily and arbitrarily replaceable commodities. From the NBC Boards I understand that many fans, whether they be Sami and EJ fans (as I was) or EJ and Nicole fans or Sami and Rafe die-hards, seem to be in an unhappy frame of mind regarding DOOL. Perhaps the producers and writers should pay heed.
Thank you for having given me the opportunity to speak my mind.
Merry Christmas and a Happy New Year to all.
Devil Doll
Sorry to hear your leaving purpur but I can understand it because I know had EJ been paired back up with Sami I would be doing the same thing....so I guess my staying cancels out your leaving or the other way around if writers suddenly change the storyline. I guess I don't share your thoughts on the writing right now since I think in the last few months its improved a great deal and is back to holding peoples attention at least. I know getting past the vets not being on as much as you were used to is also disappointing, but I think every generation has had to go thru that as the characters that were once so popular and loved are pushed to the back burner to make room for younger less experienced actors...but I don't hold DOOL personally responsible for that because its just the way its always gone, not just on this show but others as well. I hope you'll reconsider and think about staying because this show needs all the support it can get now and who knows maybe someday you might wanna tune back in after taking a break from it and it would be a shame if it was no longer there when you did.
Daisy 132
Sorry to hear that, Purpur, but I do understand. I'm hardly watching anymore either, and many of us have left already. I don't care about supporting the show. It's a disaster, as far as I'm concerned. None of the stories are interesting to me, some of them absurd. Anyways, put the extra hour in the day to good use.
Tcpdesigns
I think it is interesting that so many different fan bases are jumping ship. For once it isn't about "if my favourite couple isn't together I'm not watching". It is about the overall quality of the show. We could all handle our favourite couple leaving if the show had anything else to fall back on. It doesn't.
Aeb_2308
I am sorry to her that you are leaving. I only watch a few times everyweek myseff I will forget to watch my tapes and watch some of the stuff I have never seen on youtube.
EjamiLove18
I understand and agree with you the writing seems to have gotten arbitrary and terrible but I gotta stay for my man James Scott! and my girls Allison and Molly.
i hope it gets better -cuz ill keep complaining if it doesn't! lol but I love the actors and dool has been one of the consistant things in my life since watching it 12 years ago with my mom. but merry christmas to you as well
Wicked Game
I quit watching almost 3 weeks ago. I really don't miss it, especially after I come here and read that I am not really missing all that much. Who is to say if I come back in the future, but as long as HIGLEY is writing schlock it will be this way.
I too have been watching since I was 12. I think that was even before Doug and Addie.
Caged Bird
I've been watching the show for twenty-five years, and I am truly disappointed in the turn it has taken. I don't even know why I continue to watch. The last year has been one of the most boring since I've been watching.
Dayzer
Sorry to hear you are disappointed in the show. I have been a fan of Days for over 25 yrs as well, so I feel your pain. DOOL was so good back in the day. In fact I was just watching old episodes on youtube of Jack and Jennifer *sigh* they were so cute. It seems like the writers don't get it. Where is the romance? Who wants to watch the sleaze we are being subjected to everyday? Not me...I have about twenty shows backed up on Tivo and I have no desire to watch them.
NoleDays
This is an excellent post, and I wish TIIC could see it. I agree with everything you said. However, I've watched since 1965, when I was 9 years old, and it's a part of my life. It's the first thing I do when I get home from work. I watch the Days I recorded that day and chill. It's comfort food...of course I'm getting quite a bit of indigestion from this comfort food lately.
I'll keep watching at least until the last vet and semi-vet (Sami, etc.) are off the show. (And I'll fast-forward through the cr@p.) When it has totally become the serialized afterschool special I suspect they are going toward, then I will no longer watch either. It will be sad to have such a big part of my life gone, but then, it will no longer be the Days I grew up loving.
Wicked Game
<
Dool crazy
I'm like you and will not give up the show. I have watched from the first day 43 years ago and can not imagine a day without my Days. Your right in calling it comfort food. LOL I will not allow Corday or anyone to drive me off and will continue to support the veteran actors we have with the show. I don't care a whif about this younger bunch except for Max. I find it so sad to see the deplorable state the show is in now. It was so wonderful and the stories were so exciting and wonderful. I could hardly wait for the next days show. Talk about going from the top of the world to the bottom of the tank. I still hope in my heart that things will change. Wouldn't that be grand?
Windy Lindy 48
I've watched Days since 1969 and I agree with you. I'm getting very discouraged with the story line. Maybe they should fire poor writers and keep the good actors. The story lines have become boring, boring, boring.
The youngsters they've hired aren't nearly as interesting as the oldies but goodies.
Sofasu
I'm so sad to hear you're leaving us but I totally understand...the young acting is
definitely subpar and there are no longer s/ls that you can't miss for several days
and still know what's up. As another poster said, I too am appalled at the sleaze
they are purporting as romance. There is no wholesomeness to this show what-
so ever. I have never ff'd through so many "kissing" scenes in my life. It seems
like everything is upsidedown....nothing is the way it should be.....there are no
values, no goodness.....sometimes I think this is more like soft porn for the
teenagers to watch. They definitely need some fresh ideas - enough of all the
copycat s/ls, also, they need to listen to hear what the viewing audience wants to see.
Don't they ever have anyone read this board to find out how disgusting it all is
now? Recently the boards have reached an alltime low as well. It used to be fun
to exchange ideas with everyone, but not anymore. I am so close to giving up but
then the positive side of me says it has to change - it can't stay the way it is....
but then again, I am probably wrong.
Daisy132
No, you're not wrong. I completely agree with everything you've said, and actually, after reading this post I wonder why I'm watching the show myself.
I think that if we tune in again in about six months, we wouldn't have missed very much. I'm thinking of doing that, and maybe ask one of the mods, as I did before, to suspend me from this addictive board for a while to keep me from posting so much.
Smiley Cat
As soon as Marlena leaves, I'll be tuning in another show and starting to forget all about Days, too.
Shaena30
To me it seems like the worse Nicole's storyline is the meaner we all get, we want it to end, the Ej/ Nicole (I'm sorry but Ecole sounds like a germ) people want it to go on and have EJ and Nicole live happily ever after when we all know that the signs are all pointing to a EJ and Sami pairing, so out of our frustrations we all come here and fight with each other about who likes Nicole and Sami and who hates them. It's makin me crazy.....lol
Mommapry
I know that you are not the only one to make this comment, but it bothers me that so many people seem to be picking on the new young actors. If the writing stinks, is it the actors fault? It is a little hard to be an interesting actor with boring writing. I think we should give the younger actors the benefit of the doubt until they get some sort of story line. Who knows if Melanie is a good actor or not, all the writers have her doing is whining!
GimmiMoreEJami
If I remember back, the previous young hipsters were Bo, Hope, Marlena, Roman, Jack, Jen, Kayla & Steve and they shoved Marie, Neil, Don, Liz, Laura and Bill out the door when they arrived.
I don't think we have the writing staff with those same skills that once made soaps great and probably never will again.
Cook fan
I'm glad that someone pointed this out. I don't necessarily agree with everything that is going on with DAYS right now. I've seen lots of my favorites come/go. I can remember how devastated I was when they axed Matt Ashford not once but twice. I didn't think I'd have the heart to keep watching. But, I've been a faithful viewer for 21 years now. You just have to roll with the punches. You have to have vets. But, the door also must be open for new arrivals. That's how the show carries on. Julie/Doug were all the rage back in the 60's. Then, John/Marlena/Bo/Hope/Steve/Kayla/etc. all rolled in and Julie/Doug/Maggie/Mickey all took a backseat to the trials/relationships of these newbies. Unfortunately, the day has arrived where new generations/characters have to come on board. We wouldn't have ever had Carly/Lawrence/Vivian/Billie/EJ/Sami/Nicole/Phillip/Brady if we had just tried to hang onto the past. You must have the new as well as the old.
The end of DAYS for me-started by Purpur
Purpur
I have been a faithful viewer of DOOL since November 16, 1966. There were lapses of five-month intervals twice a year for several years while I was in school. However, when I could watch the show, I did. Every so often, I would get discouraged about the show when the writing was particularly inane and the viewers' intelligence insulted more than usual. Still, I made excuses for the writers and producers and kept watching.
Now, with the new developments, it has come time to part ways. I am disappointed and disgusted that "old-time warriors" are to be pushed aside for young "twinkies" and a more "hip" story. The money they could have saved by better writing and decision making, by not hiring superfluous actors and not writing inconsequential storylines, would surely have paid the salaries of the veteran actors. For decades, the veterans like Alice and Tom, Julie and Doug have kept the story together and it was still interesting and engaging to watch DOOL. All that is now water under the bridge.
I feel for the newly hired young actors as well as for veterans like Alison Sweeney, et al. The new young actors surely were delighted to finally have landed a role to support themselves. The veterans are probably constantly worried over job security. I truly have compassion for them. It is not fair to them. But then, it is not fair to the viewer either. I know actors come and go and sometimes it is necessary to let someone go, but this usually has much less to do with the actors themselves than it does with the writing.
I realize that conflict is what keeps a story going. I wouldn't presume to be so conceited as to proclaim that I could write a better story line. But then, I don't get paid for this kind of work either. If one gets paid for a certain job, then it is his/her responsibility to deliver. That goes for producers of a show as well. They make millions on programs, but delivery of DOOL has not been up to par for some time now.
So, here is my proclamation: As of today, DOOL has lost one viewer. This probably means diddley-squat to those in charge, but it gives me the satisfaction that I have exercised my right to not support a show that is written in an inferior manner and that treats its actors like easily and arbitrarily replaceable commodities. From the NBC Boards I understand that many fans, whether they be Sami and EJ fans (as I was) or EJ and Nicole fans or Sami and Rafe die-hards, seem to be in an unhappy frame of mind regarding DOOL. Perhaps the producers and writers should pay heed.
Thank you for having given me the opportunity to speak my mind.
Merry Christmas and a Happy New Year to all.
Devil Doll
Sorry to hear your leaving purpur but I can understand it because I know had EJ been paired back up with Sami I would be doing the same thing....so I guess my staying cancels out your leaving or the other way around if writers suddenly change the storyline. I guess I don't share your thoughts on the writing right now since I think in the last few months its improved a great deal and is back to holding peoples attention at least. I know getting past the vets not being on as much as you were used to is also disappointing, but I think every generation has had to go thru that as the characters that were once so popular and loved are pushed to the back burner to make room for younger less experienced actors...but I don't hold DOOL personally responsible for that because its just the way its always gone, not just on this show but others as well. I hope you'll reconsider and think about staying because this show needs all the support it can get now and who knows maybe someday you might wanna tune back in after taking a break from it and it would be a shame if it was no longer there when you did.
Daisy 132
Sorry to hear that, Purpur, but I do understand. I'm hardly watching anymore either, and many of us have left already. I don't care about supporting the show. It's a disaster, as far as I'm concerned. None of the stories are interesting to me, some of them absurd. Anyways, put the extra hour in the day to good use.
Tcpdesigns
I think it is interesting that so many different fan bases are jumping ship. For once it isn't about "if my favourite couple isn't together I'm not watching". It is about the overall quality of the show. We could all handle our favourite couple leaving if the show had anything else to fall back on. It doesn't.
Aeb_2308
I am sorry to her that you are leaving. I only watch a few times everyweek myseff I will forget to watch my tapes and watch some of the stuff I have never seen on youtube.
EjamiLove18
I understand and agree with you the writing seems to have gotten arbitrary and terrible but I gotta stay for my man James Scott! and my girls Allison and Molly.
i hope it gets better -cuz ill keep complaining if it doesn't! lol but I love the actors and dool has been one of the consistant things in my life since watching it 12 years ago with my mom. but merry christmas to you as well
Wicked Game
I quit watching almost 3 weeks ago. I really don't miss it, especially after I come here and read that I am not really missing all that much. Who is to say if I come back in the future, but as long as HIGLEY is writing schlock it will be this way.
I too have been watching since I was 12. I think that was even before Doug and Addie.
Caged Bird
I've been watching the show for twenty-five years, and I am truly disappointed in the turn it has taken. I don't even know why I continue to watch. The last year has been one of the most boring since I've been watching.
Dayzer
Sorry to hear you are disappointed in the show. I have been a fan of Days for over 25 yrs as well, so I feel your pain. DOOL was so good back in the day. In fact I was just watching old episodes on youtube of Jack and Jennifer *sigh* they were so cute. It seems like the writers don't get it. Where is the romance? Who wants to watch the sleaze we are being subjected to everyday? Not me...I have about twenty shows backed up on Tivo and I have no desire to watch them.
NoleDays
This is an excellent post, and I wish TIIC could see it. I agree with everything you said. However, I've watched since 1965, when I was 9 years old, and it's a part of my life. It's the first thing I do when I get home from work. I watch the Days I recorded that day and chill. It's comfort food...of course I'm getting quite a bit of indigestion from this comfort food lately.
I'll keep watching at least until the last vet and semi-vet (Sami, etc.) are off the show. (And I'll fast-forward through the cr@p.) When it has totally become the serialized afterschool special I suspect they are going toward, then I will no longer watch either. It will be sad to have such a big part of my life gone, but then, it will no longer be the Days I grew up loving.
Wicked Game
<
Dool crazy
I'm like you and will not give up the show. I have watched from the first day 43 years ago and can not imagine a day without my Days. Your right in calling it comfort food. LOL I will not allow Corday or anyone to drive me off and will continue to support the veteran actors we have with the show. I don't care a whif about this younger bunch except for Max. I find it so sad to see the deplorable state the show is in now. It was so wonderful and the stories were so exciting and wonderful. I could hardly wait for the next days show. Talk about going from the top of the world to the bottom of the tank. I still hope in my heart that things will change. Wouldn't that be grand?
Windy Lindy 48
I've watched Days since 1969 and I agree with you. I'm getting very discouraged with the story line. Maybe they should fire poor writers and keep the good actors. The story lines have become boring, boring, boring.
The youngsters they've hired aren't nearly as interesting as the oldies but goodies.
Sofasu
I'm so sad to hear you're leaving us but I totally understand...the young acting is
definitely subpar and there are no longer s/ls that you can't miss for several days
and still know what's up. As another poster said, I too am appalled at the sleaze
they are purporting as romance. There is no wholesomeness to this show what-
so ever. I have never ff'd through so many "kissing" scenes in my life. It seems
like everything is upsidedown....nothing is the way it should be.....there are no
values, no goodness.....sometimes I think this is more like soft porn for the
teenagers to watch. They definitely need some fresh ideas - enough of all the
copycat s/ls, also, they need to listen to hear what the viewing audience wants to see.
Don't they ever have anyone read this board to find out how disgusting it all is
now? Recently the boards have reached an alltime low as well. It used to be fun
to exchange ideas with everyone, but not anymore. I am so close to giving up but
then the positive side of me says it has to change - it can't stay the way it is....
but then again, I am probably wrong.
Daisy132
No, you're not wrong. I completely agree with everything you've said, and actually, after reading this post I wonder why I'm watching the show myself.
I think that if we tune in again in about six months, we wouldn't have missed very much. I'm thinking of doing that, and maybe ask one of the mods, as I did before, to suspend me from this addictive board for a while to keep me from posting so much.
Smiley Cat
As soon as Marlena leaves, I'll be tuning in another show and starting to forget all about Days, too.
Shaena30
To me it seems like the worse Nicole's storyline is the meaner we all get, we want it to end, the Ej/ Nicole (I'm sorry but Ecole sounds like a germ) people want it to go on and have EJ and Nicole live happily ever after when we all know that the signs are all pointing to a EJ and Sami pairing, so out of our frustrations we all come here and fight with each other about who likes Nicole and Sami and who hates them. It's makin me crazy.....lol
Mommapry
I know that you are not the only one to make this comment, but it bothers me that so many people seem to be picking on the new young actors. If the writing stinks, is it the actors fault? It is a little hard to be an interesting actor with boring writing. I think we should give the younger actors the benefit of the doubt until they get some sort of story line. Who knows if Melanie is a good actor or not, all the writers have her doing is whining!
GimmiMoreEJami
If I remember back, the previous young hipsters were Bo, Hope, Marlena, Roman, Jack, Jen, Kayla & Steve and they shoved Marie, Neil, Don, Liz, Laura and Bill out the door when they arrived.
I don't think we have the writing staff with those same skills that once made soaps great and probably never will again.
Cook fan
I'm glad that someone pointed this out. I don't necessarily agree with everything that is going on with DAYS right now. I've seen lots of my favorites come/go. I can remember how devastated I was when they axed Matt Ashford not once but twice. I didn't think I'd have the heart to keep watching. But, I've been a faithful viewer for 21 years now. You just have to roll with the punches. You have to have vets. But, the door also must be open for new arrivals. That's how the show carries on. Julie/Doug were all the rage back in the 60's. Then, John/Marlena/Bo/Hope/Steve/Kayla/etc. all rolled in and Julie/Doug/Maggie/Mickey all took a backseat to the trials/relationships of these newbies. Unfortunately, the day has arrived where new generations/characters have to come on board. We wouldn't have ever had Carly/Lawrence/Vivian/Billie/EJ/Sami/Nicole/Phillip/Brady if we had just tried to hang onto the past. You must have the new as well as the old.
Monday, January 5, 2009
Avalon Sisterhood Awakens
To watch the video go to http://www.youtube.com/watch?v=IeeljmFMF0U
The Avalon Sisterhood was charged by the Earth Mother to spread themselves to the four winds. In each in turned learned from the Goddesses of the world of the different lands and peoples, so that might gain new wisdom and an understanding of the cultures of world. The Templar Knights swore a blood oath to protect the sisterhood and to save guard the means they would need at the time of the planetary awakening. As the Piscean age finally comes to an end, the Sisters awaken. It's now time for the Knights to fulfill their oath.
Saturday, January 3, 2009
Thaao Penghlis: Nina & the Mystery of the Secret Room Trailer
Nina is home from college for summer break. The central feature of her parent's house is an over-sized bathroom with a big mirror. It's rumored the bathroom was designed as the private Turkish bath for a silent movie star. But another function for the bathroom awaits discovery: the mirror is double sided, and behind the mirror lies a concealed chamber. When Nina discovers this room, she begins spying on her parents. But the thrill of voyeurism is offset by the realization that she is finding out more about her family's hidden life than she bargained for.
Directed by Stephen Eckelberry
Produced by Kimberley Kates Michael Manasseri David Zappone
Stars Kelly LeBrock, Erin Cahill, Thaao Penghlis, Bryan Callen,
Dedrie Hall and Drake Hogestyn Fans
Fan on the Sony and NBC boards, the Dedrie Hall and Drake Hogestyn Fans have started a new campaign to save the vets. Drake_Cake posted on the Sony board the idea to fax Ken Corday on 1/23/09, declaring that "I just watched Days for the last time." The concept is known by a few names; however, the concept is to tie up communications enough to disrupt business as a way of making changes. There some who suggested that waiting wasn't necessary. In order for the "paper blizzard" to be effective it has to happen over a short period of time--one day, two at the most." I recommend 1/22 and 1/23. By concentrating the efforts on those two days, the strategy will be more effective.
I added a few other contact numbers.
http://faxzero.com/ is a site to send free faxes.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
Technorati Tags:
Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze, Renee DiMera, Philece Sampler, Ken Corday, Corday Production, Sony Pictues, Gary Tomlin, Michael Lynton, contacting days of our lives, DOOL cancelation, NBC daytime tv, NBC, Jeffrey Immelt, GE, fax numbers, paper blizzard
I added a few other contact numbers.
http://faxzero.com/ is a site to send free faxes.
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
I couldn't find a fax number, but I have yet to look very hard. If someone has it please post it.
Technorati Tags:
Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze, Renee DiMera, Philece Sampler, Ken Corday, Corday Production, Sony Pictues, Gary Tomlin, Michael Lynton, contacting days of our lives, DOOL cancelation, NBC daytime tv, NBC, Jeffrey Immelt, GE, fax numbers, paper blizzard
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