Seed Newsvine
Until You Walk the Path, You Won’t Know Where it Goes will be hosting one of the event coordinators of the “Save Our Soaps Rally”, Sue O'Konis on August 29 at 5 pm eastern.
The cancellation of Guiding Light and As the World Turns has caused the fans to band together. Originally, Sue O’Knois and other created websites, mailings and rallies to save their favor soaps. However, they quickly learned the entire genre was in danger of disappearing from their screens. Instead of giving up, they have expanded their efforts.
Tune in at http://www.blogtalkradio.com/theresachaze on August 29 at 5:00 pm eastern to learn what Sue O’Knois and the others at “Save Our Soaps 2010” The phone lines and chat will be available for those who wish to ask questions or share ideas. The phone number to call is (347) 324-3745 or Skype is available by using the click to talk on the show page.. The interactive chat room is also available.
Showing posts with label NBC daytime programming. Show all posts
Showing posts with label NBC daytime programming. Show all posts
Sunday, August 29, 2010
Saturday, July 4, 2009
Days of Our Lives
Days should be number one; it used to have the best cast and crew on TV. It's too bad that it won't be given the opportunity that Betty and Ken Corday gave it. Soaps aren't loosing fans; they are suffering from stagnation and network executives' greed.
There has to be a soap or drama out there who is looking for a creative writer. If you like a good suspense, drama, and romance with a liberal amount of comedy mixed in, you will enjoy reading the following.
http://www.theresachaze.com/files/completeDayswedding.pdf
A special posting for those who love the vets. It would have eventually turned into a murder mystery involving all six characters.
http://www.theresachaze.com/files/daysgift.pdf
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format. However the posts at the bottom are in the format that I will be submitting to other soaps in hope of getting a writing gig.
I started writing The Ghost as a protest to the bad writing. It became so popular that I not only kept it going but expanded it to fit the multi-plot format of soap operas. In the beginning, the format is an old film format. However, later in the story that is corrected.
http://www.theresachaze.com/files/daysofourlives.pdf
http://www.theresachaze.com/files/Days10-16.pdf
http://www.theresachaze.com/files/days10-31-08.pdf
http://www.theresachaze.com/files/days11-2-08.pdf
http://www.theresachaze.com/files/days11-15-08.pdf
http://www.theresachaze.com/files/Days12-2-08.pdf
http://www.theresachaze.com/files/Days12-8-08.pdf
http://www.theresachaze.com/files/day12-14-08.pdf
http://www.theresachaze.com/files/days12-30-08.pdf
http://www.theresachaze.com/files/days1-20-09.pdf
http://www.theresachaze.com/files/days10-26-08.pdf
http://www.theresachaze.com/files/Days_Resume.pdf
There has to be a soap or drama out there who is looking for a creative writer. If you like a good suspense, drama, and romance with a liberal amount of comedy mixed in, you will enjoy reading the following.
http://www.theresachaze.com/files/completeDayswedding.pdf
A special posting for those who love the vets. It would have eventually turned into a murder mystery involving all six characters.
http://www.theresachaze.com/files/daysgift.pdf
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format. However the posts at the bottom are in the format that I will be submitting to other soaps in hope of getting a writing gig.
I started writing The Ghost as a protest to the bad writing. It became so popular that I not only kept it going but expanded it to fit the multi-plot format of soap operas. In the beginning, the format is an old film format. However, later in the story that is corrected.
http://www.theresachaze.com/files/daysofourlives.pdf
http://www.theresachaze.com/files/Days10-16.pdf
http://www.theresachaze.com/files/days10-31-08.pdf
http://www.theresachaze.com/files/days11-2-08.pdf
http://www.theresachaze.com/files/days11-15-08.pdf
http://www.theresachaze.com/files/Days12-2-08.pdf
http://www.theresachaze.com/files/Days12-8-08.pdf
http://www.theresachaze.com/files/day12-14-08.pdf
http://www.theresachaze.com/files/days12-30-08.pdf
http://www.theresachaze.com/files/days1-20-09.pdf
http://www.theresachaze.com/files/days10-26-08.pdf
http://www.theresachaze.com/files/Days_Resume.pdf
Friday, February 27, 2009
GE Stock Prices: Jeffrey Immelt and Stock Holders
Today your stock lost value as did your corporation. Part of it is due to the general financial challenge that the country is working through; however, how much can be contributed to bad policy decisions? You have many good products and services available, yet your stock’s value continues to decline. Part of your issues is that not all of your divisions are working up to their full potential. NBC, under Jeffrey Zucker’s leadership, has declined as it has failed to take into account the changing viewing demographics as well as the deterioration in quality of the programming, thereby decreasing its profitability.
NBC used to be the front running not only in news, but programming that was unique and popular. It was know for the highest quality. Yet that has changed. The shows of the past have with stood the test of time. Decades later, they are still being aired in reruns on other networks and on independent stations. Their popularity was based in the quality of the show and the diversity of their appeal. However, the NBC network is no longer a synonym for quality programming. Instead, it has become known for cheap shows that appeal to the lowest common denominator and those under 20.
During the late 1950’s through the 1960’s, teens and tweens were the most important demographic; they were ones who were the motivating force in bringing television into the homes of most families. However, over the decades that has radically changed, but the marketing model of networks has not been adjusted to account to take into account the shift in median age.
According to the CDC report published in 2005, the average American life expectancy is 78 as compared to 69 in 1955. As of May 15, 2001, the US Census Bureau reported that the new median age of the US population is 35.3, bringing it to an all time high. While the 18-34 age group declined 4%, the 35-64 year old age group rose 28 %. However, the most dramatic increase was in the 45-54 age group, which increased by 49 %.
July, 2000 36.6
July, 2001 36.8
July, 2002 37.1
July, 2003 37.2
July, 2004 37.4
July, 2005 37.6
July, 2007 37.7
July, 2008 37.9
Born from 1946-1964, the baby boomer generation was the first TV generation. Most don’t remember a time when there wasn’t at least one television in the home. They also remember only having two or three stations to choose from. Television was that generation’s new toy, just blackberries and cell phones are the current generation‘s.
Age group Hour per month
Viewing TV
2-11 106:37
12-17 103:48
18-24 118:28
25-34 142:29
35-44 147:21
45-54 173:00
55-64 190:40
65+ 207:29
According to Nielsen, no longer are teens and tween the primary television demographic; the 12-34 age group have been replaced by the 35 and over as the dominate viewing classification. Yet, NBC under Jeffrey Zucker’s leadership continues to program for a declining demographic, while ignoring a market base that is not only expanding in numbers, but also in financial stability. Baby boomers have started reaching retirement age, giving them more time for viewing as well as more stable incomes. Yet instead of scheduling programs that appeal the older age group, NBC promotes shows based on cost and youth appeal.
Nielsen ratings, Feb. 12-18
Rank Show title Network Viewers in millions
1.
American Idol (Tues) Fox 31.2
2.
American Idol (Wed) Fox 28.9
3.
House Fox 26.0
4.
Grey's Anatomy ABC 25.8
5.
CSI CBS 22.7
6.
CSI: Miami CBS 19.9
7.
Desperate Housewives ABC 18.5
8.
Survivor: Fiji CBS 16.1
8.
Deal or No Deal NBC 16.1
10.
Two and a Half Men CBS 15.5
11.
NCIS CBS 15.4
12.
Criminal Minds CBS 15.2
13.
Shark CBS 15.1
14.
CSI: NY CBS 14.8
15.
Heroes NBC 14.7
16.
Extreme Makeover:
Home Edition ABC 14.2
17.
24 Fox 13.7
17.
Ugly Betty ABC 13.7
19.
Rules of Engagement CBS 13.4
20.
N/A Fox 13.1
Choosing to fill its schedule with cheap reality shows, remakes of older shows, and youth based programming, while relegating the professionally produced programs to mid-season replacements, NBC continues to find itself in the bottom of the ratings. In addition, shows with loyal fan bases, such as The Tonight Show with Jay Leno, Saturday Night Live and Days of our Lives have been revamp to appeal the to younger demographic, while slashing their production budgets. The ratings prove that the current management is out of touch with the needs and desires of the viewers. Dumbed down programming and reality shows may appeal sponsors who sell to teens and tweens such as CDs, DVDs and video games, but quality programs that are professional produced appeal to those who control household budgets. Zucker doesn’t seem to realize that no matter how inexpensive a show costs, it is a waste of air time if no one is watching.
The bottom line is that viewers attract sponsors. Zucker’s programming has driving viewers to other networks, taking with them the sponsors and the profits they represent. Profits increase the value of stocks and bring in larger dividends. The stock holders need to ask themselves if they like the 6.5% devaluation of GE stock and the cut in its annual dividend? If the answer is no, wouldn’t it be a good time to rethink management personal?
NBC used to be the front running not only in news, but programming that was unique and popular. It was know for the highest quality. Yet that has changed. The shows of the past have with stood the test of time. Decades later, they are still being aired in reruns on other networks and on independent stations. Their popularity was based in the quality of the show and the diversity of their appeal. However, the NBC network is no longer a synonym for quality programming. Instead, it has become known for cheap shows that appeal to the lowest common denominator and those under 20.
During the late 1950’s through the 1960’s, teens and tweens were the most important demographic; they were ones who were the motivating force in bringing television into the homes of most families. However, over the decades that has radically changed, but the marketing model of networks has not been adjusted to account to take into account the shift in median age.
According to the CDC report published in 2005, the average American life expectancy is 78 as compared to 69 in 1955. As of May 15, 2001, the US Census Bureau reported that the new median age of the US population is 35.3, bringing it to an all time high. While the 18-34 age group declined 4%, the 35-64 year old age group rose 28 %. However, the most dramatic increase was in the 45-54 age group, which increased by 49 %.
July, 2000 36.6
July, 2001 36.8
July, 2002 37.1
July, 2003 37.2
July, 2004 37.4
July, 2005 37.6
July, 2007 37.7
July, 2008 37.9
Born from 1946-1964, the baby boomer generation was the first TV generation. Most don’t remember a time when there wasn’t at least one television in the home. They also remember only having two or three stations to choose from. Television was that generation’s new toy, just blackberries and cell phones are the current generation‘s.
Age group Hour per month
Viewing TV
2-11 106:37
12-17 103:48
18-24 118:28
25-34 142:29
35-44 147:21
45-54 173:00
55-64 190:40
65+ 207:29
According to Nielsen, no longer are teens and tween the primary television demographic; the 12-34 age group have been replaced by the 35 and over as the dominate viewing classification. Yet, NBC under Jeffrey Zucker’s leadership continues to program for a declining demographic, while ignoring a market base that is not only expanding in numbers, but also in financial stability. Baby boomers have started reaching retirement age, giving them more time for viewing as well as more stable incomes. Yet instead of scheduling programs that appeal the older age group, NBC promotes shows based on cost and youth appeal.
Nielsen ratings, Feb. 12-18
Rank Show title Network Viewers in millions
1.
American Idol (Tues) Fox 31.2
2.
American Idol (Wed) Fox 28.9
3.
House Fox 26.0
4.
Grey's Anatomy ABC 25.8
5.
CSI CBS 22.7
6.
CSI: Miami CBS 19.9
7.
Desperate Housewives ABC 18.5
8.
Survivor: Fiji CBS 16.1
8.
Deal or No Deal NBC 16.1
10.
Two and a Half Men CBS 15.5
11.
NCIS CBS 15.4
12.
Criminal Minds CBS 15.2
13.
Shark CBS 15.1
14.
CSI: NY CBS 14.8
15.
Heroes NBC 14.7
16.
Extreme Makeover:
Home Edition ABC 14.2
17.
24 Fox 13.7
17.
Ugly Betty ABC 13.7
19.
Rules of Engagement CBS 13.4
20.
N/A Fox 13.1
Choosing to fill its schedule with cheap reality shows, remakes of older shows, and youth based programming, while relegating the professionally produced programs to mid-season replacements, NBC continues to find itself in the bottom of the ratings. In addition, shows with loyal fan bases, such as The Tonight Show with Jay Leno, Saturday Night Live and Days of our Lives have been revamp to appeal the to younger demographic, while slashing their production budgets. The ratings prove that the current management is out of touch with the needs and desires of the viewers. Dumbed down programming and reality shows may appeal sponsors who sell to teens and tweens such as CDs, DVDs and video games, but quality programs that are professional produced appeal to those who control household budgets. Zucker doesn’t seem to realize that no matter how inexpensive a show costs, it is a waste of air time if no one is watching.
The bottom line is that viewers attract sponsors. Zucker’s programming has driving viewers to other networks, taking with them the sponsors and the profits they represent. Profits increase the value of stocks and bring in larger dividends. The stock holders need to ask themselves if they like the 6.5% devaluation of GE stock and the cut in its annual dividend? If the answer is no, wouldn’t it be a good time to rethink management personal?
Sunday, December 14, 2008
Days of Our Lives 12-14-08
EXT: CABIN: NIGHT
In the background, the remains of the cabin are burning. Pieces of the cabin lay burning on the ground. Max has carried Garret far enough away to be safe. Garret is crying; he is scared but not hurt. Unconscious, Bernie lies face down in the dirt a few feet away. Steve leans against a tree: his knuckles are scraped and bruised.
STEVE
The kid okay?
MAX
(Checking Garret for injuries)
He seems to be.
(To Garret)
You scared?
Garret nods.
Me too.
(Wiping his tears)
I'm going to take you back to your mom. Would you like that?
GARRET
Yes. Please.
MAX
(Startled)
Yes. Please.
(Comforting him)
This wasn't your fault.
(To Steve)
How about you? You okay?
STEVE
Oh me. I'm fine. My knuckles hurt a little.
MAX
No doubt, Bernie will be saying the same about his face.
STEVE
His face will be hurting more than a little. Actually, I regret hitting him that hard.
MAX
Only because you had to carry his sorry ass out.
(Looking at the prone figure)
You could have left him.
STEVE
Now you tell me.
MAX
So do we wait for the cavilry or drive back?
STEVE
(Pointing at Bernie)
Do you want to carry him to the car?
MAX
Like I said, we'll wait for them here.
STEVE
That's what I thought you said. If you gave good directions, they should be here in no time.
(Waiting)
You did call?
MAX
Ah, ya. Plus I turned on Onstar and asked them to forward coordinates to Salem PD.
STEVE
They're good people.
MAX
You look please with yourself.
STEVE
I made a difference.
MAX
(Wiping the dirt off Garret's face)
Yea, we did.
Garret clings to him.
STEVE
It feels good.
(Looking at Bernie)
I don't understand it. How could any father want to hurt his own kid?
MAX
I don't know what I would happened if you and Kayla hadn't found me.
STEVE
Kids get hurt or go missing every day.
MAX
Maybe we should do something about it?
STEVE
Like what?
MAX
Like this?
STEVE
You want to blow up more cabins in the woods?
MAX
No. But we could help save them. Do what John Walsh does only better.
STEVE
You want to put this face on TV?
MAX
No.
STEVE
(Teasing)
Why not? My face is just as pretty as yours.
MAX
On the drive up I was thinking.
STEVE
Is that why you were so quiet? I thought my driving was scaring you.
MAX
Get real. Even Stephanie could have lapped you twice.
STEVE
That was uncalled for.
MAX
We could help find them. I got lucky when you and Kayla found me.
STEVE
(Become serious)
I know where you are coming from.
MAX
I know you do. I remember the hearing the stories.
STEVE
If I could save just one kid--
MAX
It would make up for a lot.
STEVE
Yes, it would.
MAX
Ever since Pop died, I've felt out of place.
STEVE
I always thought you'd go back to racing.
MAX
I thought about it. Ma has needed me.
STEVE
She's wants you to be happy.
MAX
I had offers--it's just not the same. At first, I thought I lost my nerve after the accident.
STEVE
That wasn't it.
MAX
No. It's hard to explain. Coming back made me realize how homesick I'd been. Just how empty I felt. Racing was an adrenaline high. But you have to come down sometime. When I did, it was just lonely. Racing would keep me away more than I would be at home. I want roots. I want more than the trophies. I want to give back for all the blessings that were given to me.
The lights of multiple cars are seen racing down the road toward them.
STEVE
I hear ya.
(Seeing the lights and standing)
I think the cavilry is here.
MAX
You in or out?
STEVE
I went all in when Bo first asked me to find him. You're not the only one who as been feeling useless. .
MAX
Everyone else seemed to have a purpose.
STEVE
(Extending his hand)
To steal a line from the movies--this could be the beginning of a beautiful friendship.
MAX
(Eagerly shaking his hand)
The Racer and the Pirate--Johnny Depp eat your heart out.
STEVE
The Pirate and the Racer.
The police vehicles pull into the driveway.
We'd better keep it to ourselves. Or we'll be fighting Bo for top billing.
MAX
Works for me.
(To Garret)
Let's get you back to you mom.
GARRET
Yes, please.
STEVE
(Laughing)
Polite little rugrat.
CUT
INT: AVA'S HOSPITAL ROOM: NIGHT
Ava lies in bed. Miles opens the door. EJ walks in; immediately he walks to Ava. He takes her hand and kisses her.
EJ
Darling, you had me so scared.
(To Miles)
How is she?
MILES
(Confused)
She's fine. All her vitals are normal.
AVA
I’m right here. You can ask me.
EJ
(Startled)
Darling, how are you? I was so afraid. He told me there was no hope.
AVA
I couldn’t leave you. Not now.
MILES
I'm confused. All the tests--
.
EJ
Either the tests were wrong or you're incompetent. Which is it?
AVA
Don't please. EJ, please don’t.
EJ
I want another doctor.
MILES
That is your prerogative.
AVA
No. Don’t. I don’t want another doctor.
EJ
Darling, he completely misdiagnosed you.
AVA
I'm all right. Isn't that the only thing that matters?
EJ
Yes, but that's not the point.
MILES
I don't understand it. The test showed that--
The camera zooms into Ava's eye and the sound around her becomes muted. In the darkness, Ava is bound by bands of light. Lee walks around her.
AVA
What are you doing?
LEE
You lied. My daughter is dead. I will use your body to fulfill my curse.
AVA
But I didn't. I saw her. I give you my word.
LEE
The word of a DiMera?
AVA
What makes you different from Stefano? You're using others to get what you want. EJ and I did nothing to you!
LEE
You would have died, if it wasn't for me.
AVA
I was dying because of you.
LEE
You lied.
AVA
(Very slow and deliberate)
No. I didn't.
LEE
This is a pointless conversation. Here you are. Here you will stay.
AVA
What are you going to do?
LEE
(Implying a threat)
Why my dear, I'm going to take very good care of my new husband.
AVA
You can't! EJ!
Lee laughs. The camera zooms back out to a bright light scanning back and forth as Miles checks her pupils. EJ is holding her hand.
AVA
(Annoyed)
What are you doing?
(Pushing Miles' hand away)
Stop it!
EJ
Darling, you were just staring into space.
AVA
(Thinking quickly)
Like either of you noticed.
MILES
Your eyes were fixed.
AVA
Neither of you were listening to me.
EJ
I'm sorry.
AVA
I want both of you to go away.
MILES
I need to run some tests. I need to know why--
AVA
I'm tired. I hurt Does that answer your question?
MILES
Ms Vitali--
AVA
DiMera. My name is Ava DiMera.
MILES
You need to remain calm.
AVA
I'll calm down when you go away. Both of you. I just want to sleep.
MILES
Fine. I will have another doctor assigned to your case. Until then, I’ll send a nurse in with something for the pain.
Miles leaves.
AVA
You too.
EJ
Darling, I--
AVA
Stop it. I'm not your darling. If it wasn't for you. I wouldn't be here.
Stunned, EJ stares at her.
Am I not speaking English? I want to be alone. I need to think.
EJ
How selfish of me.
He tries to kiss her; she turns away. He looks at her strangely and leaves.
AVA
(Watching the door close)
I have plans to make. First on my list is finding Stefano.
CUT
INT: HOSPITAL HALLWAY OUTSIDE AVA'S ROOM: NIGHT
Miles is at the nurses’ station. EJ rapidly walks up.
EJ
There is a problem with Ava.
MILES
I've already made arrangements with another doctor.
EJ
She's different.
(Pointing at the room)
That isn't Ava.
MILES
I'm too tired for your games. What exactly are you accusing us of?
EJ
I'm not sure.
MILES
You're not sure. Then what the hell do you want me to do about it?
EJ
Keep her here.
A nurse walks out of the back room with a tray with a syringe on
MILES
Trust me. She's going anywhere. Not only is she still weak from the surgery, but also that nurse is going to sedate her.
The nurse walks down hall.
EJ
What room is Celeste Perrault in?
MILES
Why?
EJ
I have to talk to her.
MILES
It’s after visiting hours.
EJ
Visiting hours be damn. Tell me or I’ll search every room until I find her.
MILES
What could be so important?
EJ
You wouldn’t believe me if I told your.
MILES
Let me guess. Evil spirits.
EJ
You know about that?
MILES
I was being sarcastic.
EJ
Which room?
MILES
No room. She went home.
EJ
(Walking toward the elevator)
Why didn’t you just say that?
MILES
The whole family’s crazy.
CUT
INT: BRADY PUB: EARLY MORNING
Caroline and Pete are working the breakfast crowd. Max walks in. Caroline sees him and walks from behind the bar to meet him.
CAROLINE
The hero of the hour.
MAX
Wow! The news gets around fast.
CAROLINE
Why is it that Bo had to tell me?
MAX
I didn't want you to worry.
They walk to the bar and Max pours himself a cup of coffee.
CAROLINE
You look tired. You could have only gotten a couple hours sleep.
MAX
I actually I didn't get any. By the time I finished giving my statement, I barely had enough time to shower and changed.
CAROLINE
You're not scheduled.
MAX
Keith Olbermann is doing a book signing at Baker's Books.
CAROLINE
Since when are you a fan?
MAX
I’m not. Chelsea is.
CAROLINE
Don‘t I know it. It‘s all she‘s talked about since Mandy put the sign up in the window.
MAX
She was nervous about meeting him. So she made Stephanie and me promise to go with her. We‘re meeting here.
CAROLINE
If you time it right, you’ll miss the crowds. She’s bringing him here before the signing for breakfast.
Stephanie and Chelsea walk in.
MAX
You might not want to mention it.
CAROLINE
What are you up to?
MAX
Me? What could I be up to?
CAROLINE
The list is endless.
Max meets Chelsea and Stephanie
MAX
I thought we’d have breakfast first.
CHELSEA
I’m too nervous to eat. Hi Grandma.
CAROLINE
Chelsea, Stephanie. What a surprise.
STEPHANIE
(Going to the bar to get coffee)
Morning. I need coffee.
CAROLINE
It seems to be going around.
STEPHANIE
(To Chelsea)
You owe me big time.
Stephanie, Max and Chelsea sit at a table.
CAROLINE
Aren’t you excited to meet Mr. Olbermann?
STEPHANIE
I’d be a lot more excited later this morning. The signing doesn’t even start for another two hours.
CHELSEA
We want to be first in line.
MAX
You want to be first in line. We’re just going along cause of you.
STEPHANIE
I still don’t see what the big deal is.
CHELSEA
He is a big deal! Think of all the people he’s interviewed. I love his worst persons in the world segment.
MAX
I get it. You’re a fan.
CHELSEA
It’s more than that. I want to know how he crossed over from sports to politics.
CAROLINE
When did you get into politics?
CHELSEA
It’s not the politics. I just like how he makes a difference. He digs in and gets to the heart of the story.
MAX
Isn’t he a commentator?
CHELSEA
Yea, but he was also a sports reporter and a news anchor. That’s what I want to do.
MAX
You and sports?
CHELSEA
No. Reporting.
STEPHANIE
I thought you wanted to work in business like me.
CHELSEA
I wanted to talk to you about that. It’s boring.
STEPHANIE
No, it’s not.
CHELSEA
Yes, it is Steph. It’s the same thing every day. Suits, ties and endless meetings. I want to be a combination of Olbermann and Geraldo Rivera
CAROLINE
I can see you doing that. You had the courage to stand up for your sorority sisters by exposing Ford Decker. I was very proud of you.
STEPHANIE
Max?
MAX
Don’t look at me. I’m with her. I hated the business part of the garage.
CAROLINE
Doesn’t Victor own a few TV stations? He could help you get a start.
CHELSEA
I’ve already talked to him about an internship this summer. I’m going to be a gopher for the news editor. He also thought it was a good idea if I got some technical experience.
STEPHANIE
We won’t be able to take classes together.
CHELSEA
We can hang out after.
CAROLINE
Anyone want breakfast?
STEPHANIE
I’m too tired to eat. I studied for finals most of the night.
CHELSEA
I’m too excited. Do you think we should get in line?
STEPHANIE
(Sitting at a table)
Not me. I’m staying here until the doors open.
CHELSEA
Come on Steph.
STEPHANIE
We just came in. Did you see a big line forming at the bookstore door?
CHELSEA
No. But I want to be the first to meet him.
MAX
(Pointing toward the door)
I don’t think that will be a problem.
Keith Olbermann walks in with Mandy Baker. In her mid to late 30’s, Mandy Baker is a woman of contradictions. Her body language gives the impression that she is on equal footing with Olbermann, yet there is a fear in her eyes that she cannot hide.
CHELSEA
(Loudly)
Oh my God.
KEITH
No. But Bill O thinks of himself that way. I’m just a humble commentator.
CUT
INT: BEDROOM IN DIMERA COTTAGE: EARLY MORNING
Although the bedroom is very lavish, it is also very impersonal and cold. Lucas is in bed. Marlena is has just finished examining him.
MARLENA
Lucas, you need to be careful. You pulled a few stitches and there was little bleeding.
LUCAS
I picked up Johnny.
MARLENA
Didn’t Miles give you a list of things you can and cannot do?
LUCAS
Mostly cannot.
MARLESA
You have to take this seriously.
LUCAS
I am.
MARLENA
Even with the pins, your ribs are still very fragile.
LUCAS
No lifting. No sudden movements.
MARLENA
No intimacy.
LUCAS
Yea, that too.
MARLENA
We’re serious.
LUCAS
It’s not an issue. Sami and I agreed that we weren’t just going to pick up were we left off. There are too many things that have happened. We still love each other, but until we work things out, we’re not going there. We have agreed to take it slow We have to learn not only learn how to trust each other again, but to have faith.
MARLENA
How uncharacteristically sensible.
LUCAS
It’s about time, don’t you think.
MARLENA
I think you are both very passionate. Sometimes it has made you both say and do things that you regret.
LUCAS
Sometimes?
MARLENA
How do you feel about Sami?
LUCAS
I love her very much. I think I always will.
(Thinking)
If it wasn’t for my mother and EJ
MARLENA
You and Sami would be happily.
LUCAS
But it all happened. The vendetta. The divorce. Sami marrying EJ.
MARLENA
EJ getting shot.
LUCAS
That too. Sami was trying so hard to make it up to her family for what she did in the past.
MARLENA
We’ve forgiven her for that.
LUCAS
Have you really?
MARLENA
What do you mean by that?
LUCAS
Think about it. When something happened, didn’t everyone--including me--automatically think the worse? If it had been Carrie, instead of Sami that my mother set up with Brandon wouldn’t Carrie been given a chance to explain. A benefit of doubt.
MARLENA
Carrie’s different.
LUCAS
Yes, she is. Sami has a history. So has Carrie. What Sami has never done is cheat. The same can’t be said of Carrie.
MARLENA
I know Carrie hurt you.
LUCAS
Yes. But she also cheated on Austin with Mike. But that’s not my point. Carrie was forgiven and the slate was wiped clean. No matter how Sami has tried to change, her past is still there--not just for her family, but also for her. It was the guilt that made her agree to Stefano’s terms. She was willing to sacrifice her happiness to proof to her family that she changed.
MARLENA
We tried to tell her.
LUCAS
You know Sami. She can’t always trust what people tell her.
MARLENA
Especially when our actions contradict our word.
LUCAS
Exactly.
MARLENA
She’s not the only one who sacrificed her happiness.
LUCAS
I don’t know what you mean.
MARLENA
You’re stilling lying to Sami.
LUCAS
I don’t know what you mean.
MARLENA
I talked to Will. I know the truth.
LUCAS
It’s over and done with.
MARLENA
No. It’s not. Sami has to know the truth. She is miserable with out him.
LUCAS
I know.
MARLENA
They are both hurting.
LUCAS
I know that too. How do you think Sami would feel if she knew?
MARLENA
The guilt would be incredible.
LUCAS
After everything that‘s happened. It would be more than she could handle. Sami is like an oyster.
MARLENA
(Amused)
An oyster?
LUCAS
When Sami gets hurt, she doesn’t deal with it directly. She wraps it up in anger, but she doesn’t really deal with it. Just like an oyster does with a piece of dirt.
MARLENA
I’m going have to call you on that. When Sami’s angry, everyone knows it.
LUCAS
True. She shows the angry--not the hurt or the guilt or any of her sadness. She simply doesn’t deal with them. I had a lot of time to think in prison. About her and me. We have both been so afraid of showing how other hurt us because we were certain that they would do it again. I kept waiting for the trauma of the rape to hit. When it didn’t, my own issues-my fears kicked in. I thought maybe it wasn’t rape--that Sami wanted him.
MARLENA
That wasn’t true. Sami never would have--
LUCAS
I know that now. Burying it and making nice with EJ was Sami saving her family. It took me a long time to see it.
MARLENA
She still needs to know the truth.
LUCAS
How do you think Sami would feel if she knew her actions led Will to shoot EJ?
MARLENA
I think it would be more guilt than she could bear.
CUT
INT: OUTSIDE BEDROOM DOOR: LATE AFTER NOON
Sami is listening at the door.
LUCAS
(Off camera)
That’s why you can’t tell her.
MARLENA
You can’t keep it hidden forever.
LUCAS
No. Just until she is strong enough to deal with it.
Crying, Sami backs away from the door and runs down the hall.
CUT
.
In the background, the remains of the cabin are burning. Pieces of the cabin lay burning on the ground. Max has carried Garret far enough away to be safe. Garret is crying; he is scared but not hurt. Unconscious, Bernie lies face down in the dirt a few feet away. Steve leans against a tree: his knuckles are scraped and bruised.
STEVE
The kid okay?
MAX
(Checking Garret for injuries)
He seems to be.
(To Garret)
You scared?
Garret nods.
Me too.
(Wiping his tears)
I'm going to take you back to your mom. Would you like that?
GARRET
Yes. Please.
MAX
(Startled)
Yes. Please.
(Comforting him)
This wasn't your fault.
(To Steve)
How about you? You okay?
STEVE
Oh me. I'm fine. My knuckles hurt a little.
MAX
No doubt, Bernie will be saying the same about his face.
STEVE
His face will be hurting more than a little. Actually, I regret hitting him that hard.
MAX
Only because you had to carry his sorry ass out.
(Looking at the prone figure)
You could have left him.
STEVE
Now you tell me.
MAX
So do we wait for the cavilry or drive back?
STEVE
(Pointing at Bernie)
Do you want to carry him to the car?
MAX
Like I said, we'll wait for them here.
STEVE
That's what I thought you said. If you gave good directions, they should be here in no time.
(Waiting)
You did call?
MAX
Ah, ya. Plus I turned on Onstar and asked them to forward coordinates to Salem PD.
STEVE
They're good people.
MAX
You look please with yourself.
STEVE
I made a difference.
MAX
(Wiping the dirt off Garret's face)
Yea, we did.
Garret clings to him.
STEVE
It feels good.
(Looking at Bernie)
I don't understand it. How could any father want to hurt his own kid?
MAX
I don't know what I would happened if you and Kayla hadn't found me.
STEVE
Kids get hurt or go missing every day.
MAX
Maybe we should do something about it?
STEVE
Like what?
MAX
Like this?
STEVE
You want to blow up more cabins in the woods?
MAX
No. But we could help save them. Do what John Walsh does only better.
STEVE
You want to put this face on TV?
MAX
No.
STEVE
(Teasing)
Why not? My face is just as pretty as yours.
MAX
On the drive up I was thinking.
STEVE
Is that why you were so quiet? I thought my driving was scaring you.
MAX
Get real. Even Stephanie could have lapped you twice.
STEVE
That was uncalled for.
MAX
We could help find them. I got lucky when you and Kayla found me.
STEVE
(Become serious)
I know where you are coming from.
MAX
I know you do. I remember the hearing the stories.
STEVE
If I could save just one kid--
MAX
It would make up for a lot.
STEVE
Yes, it would.
MAX
Ever since Pop died, I've felt out of place.
STEVE
I always thought you'd go back to racing.
MAX
I thought about it. Ma has needed me.
STEVE
She's wants you to be happy.
MAX
I had offers--it's just not the same. At first, I thought I lost my nerve after the accident.
STEVE
That wasn't it.
MAX
No. It's hard to explain. Coming back made me realize how homesick I'd been. Just how empty I felt. Racing was an adrenaline high. But you have to come down sometime. When I did, it was just lonely. Racing would keep me away more than I would be at home. I want roots. I want more than the trophies. I want to give back for all the blessings that were given to me.
The lights of multiple cars are seen racing down the road toward them.
STEVE
I hear ya.
(Seeing the lights and standing)
I think the cavilry is here.
MAX
You in or out?
STEVE
I went all in when Bo first asked me to find him. You're not the only one who as been feeling useless. .
MAX
Everyone else seemed to have a purpose.
STEVE
(Extending his hand)
To steal a line from the movies--this could be the beginning of a beautiful friendship.
MAX
(Eagerly shaking his hand)
The Racer and the Pirate--Johnny Depp eat your heart out.
STEVE
The Pirate and the Racer.
The police vehicles pull into the driveway.
We'd better keep it to ourselves. Or we'll be fighting Bo for top billing.
MAX
Works for me.
(To Garret)
Let's get you back to you mom.
GARRET
Yes, please.
STEVE
(Laughing)
Polite little rugrat.
CUT
INT: AVA'S HOSPITAL ROOM: NIGHT
Ava lies in bed. Miles opens the door. EJ walks in; immediately he walks to Ava. He takes her hand and kisses her.
EJ
Darling, you had me so scared.
(To Miles)
How is she?
MILES
(Confused)
She's fine. All her vitals are normal.
AVA
I’m right here. You can ask me.
EJ
(Startled)
Darling, how are you? I was so afraid. He told me there was no hope.
AVA
I couldn’t leave you. Not now.
MILES
I'm confused. All the tests--
.
EJ
Either the tests were wrong or you're incompetent. Which is it?
AVA
Don't please. EJ, please don’t.
EJ
I want another doctor.
MILES
That is your prerogative.
AVA
No. Don’t. I don’t want another doctor.
EJ
Darling, he completely misdiagnosed you.
AVA
I'm all right. Isn't that the only thing that matters?
EJ
Yes, but that's not the point.
MILES
I don't understand it. The test showed that--
The camera zooms into Ava's eye and the sound around her becomes muted. In the darkness, Ava is bound by bands of light. Lee walks around her.
AVA
What are you doing?
LEE
You lied. My daughter is dead. I will use your body to fulfill my curse.
AVA
But I didn't. I saw her. I give you my word.
LEE
The word of a DiMera?
AVA
What makes you different from Stefano? You're using others to get what you want. EJ and I did nothing to you!
LEE
You would have died, if it wasn't for me.
AVA
I was dying because of you.
LEE
You lied.
AVA
(Very slow and deliberate)
No. I didn't.
LEE
This is a pointless conversation. Here you are. Here you will stay.
AVA
What are you going to do?
LEE
(Implying a threat)
Why my dear, I'm going to take very good care of my new husband.
AVA
You can't! EJ!
Lee laughs. The camera zooms back out to a bright light scanning back and forth as Miles checks her pupils. EJ is holding her hand.
AVA
(Annoyed)
What are you doing?
(Pushing Miles' hand away)
Stop it!
EJ
Darling, you were just staring into space.
AVA
(Thinking quickly)
Like either of you noticed.
MILES
Your eyes were fixed.
AVA
Neither of you were listening to me.
EJ
I'm sorry.
AVA
I want both of you to go away.
MILES
I need to run some tests. I need to know why--
AVA
I'm tired. I hurt Does that answer your question?
MILES
Ms Vitali--
AVA
DiMera. My name is Ava DiMera.
MILES
You need to remain calm.
AVA
I'll calm down when you go away. Both of you. I just want to sleep.
MILES
Fine. I will have another doctor assigned to your case. Until then, I’ll send a nurse in with something for the pain.
Miles leaves.
AVA
You too.
EJ
Darling, I--
AVA
Stop it. I'm not your darling. If it wasn't for you. I wouldn't be here.
Stunned, EJ stares at her.
Am I not speaking English? I want to be alone. I need to think.
EJ
How selfish of me.
He tries to kiss her; she turns away. He looks at her strangely and leaves.
AVA
(Watching the door close)
I have plans to make. First on my list is finding Stefano.
CUT
INT: HOSPITAL HALLWAY OUTSIDE AVA'S ROOM: NIGHT
Miles is at the nurses’ station. EJ rapidly walks up.
EJ
There is a problem with Ava.
MILES
I've already made arrangements with another doctor.
EJ
She's different.
(Pointing at the room)
That isn't Ava.
MILES
I'm too tired for your games. What exactly are you accusing us of?
EJ
I'm not sure.
MILES
You're not sure. Then what the hell do you want me to do about it?
EJ
Keep her here.
A nurse walks out of the back room with a tray with a syringe on
MILES
Trust me. She's going anywhere. Not only is she still weak from the surgery, but also that nurse is going to sedate her.
The nurse walks down hall.
EJ
What room is Celeste Perrault in?
MILES
Why?
EJ
I have to talk to her.
MILES
It’s after visiting hours.
EJ
Visiting hours be damn. Tell me or I’ll search every room until I find her.
MILES
What could be so important?
EJ
You wouldn’t believe me if I told your.
MILES
Let me guess. Evil spirits.
EJ
You know about that?
MILES
I was being sarcastic.
EJ
Which room?
MILES
No room. She went home.
EJ
(Walking toward the elevator)
Why didn’t you just say that?
MILES
The whole family’s crazy.
CUT
INT: BRADY PUB: EARLY MORNING
Caroline and Pete are working the breakfast crowd. Max walks in. Caroline sees him and walks from behind the bar to meet him.
CAROLINE
The hero of the hour.
MAX
Wow! The news gets around fast.
CAROLINE
Why is it that Bo had to tell me?
MAX
I didn't want you to worry.
They walk to the bar and Max pours himself a cup of coffee.
CAROLINE
You look tired. You could have only gotten a couple hours sleep.
MAX
I actually I didn't get any. By the time I finished giving my statement, I barely had enough time to shower and changed.
CAROLINE
You're not scheduled.
MAX
Keith Olbermann is doing a book signing at Baker's Books.
CAROLINE
Since when are you a fan?
MAX
I’m not. Chelsea is.
CAROLINE
Don‘t I know it. It‘s all she‘s talked about since Mandy put the sign up in the window.
MAX
She was nervous about meeting him. So she made Stephanie and me promise to go with her. We‘re meeting here.
CAROLINE
If you time it right, you’ll miss the crowds. She’s bringing him here before the signing for breakfast.
Stephanie and Chelsea walk in.
MAX
You might not want to mention it.
CAROLINE
What are you up to?
MAX
Me? What could I be up to?
CAROLINE
The list is endless.
Max meets Chelsea and Stephanie
MAX
I thought we’d have breakfast first.
CHELSEA
I’m too nervous to eat. Hi Grandma.
CAROLINE
Chelsea, Stephanie. What a surprise.
STEPHANIE
(Going to the bar to get coffee)
Morning. I need coffee.
CAROLINE
It seems to be going around.
STEPHANIE
(To Chelsea)
You owe me big time.
Stephanie, Max and Chelsea sit at a table.
CAROLINE
Aren’t you excited to meet Mr. Olbermann?
STEPHANIE
I’d be a lot more excited later this morning. The signing doesn’t even start for another two hours.
CHELSEA
We want to be first in line.
MAX
You want to be first in line. We’re just going along cause of you.
STEPHANIE
I still don’t see what the big deal is.
CHELSEA
He is a big deal! Think of all the people he’s interviewed. I love his worst persons in the world segment.
MAX
I get it. You’re a fan.
CHELSEA
It’s more than that. I want to know how he crossed over from sports to politics.
CAROLINE
When did you get into politics?
CHELSEA
It’s not the politics. I just like how he makes a difference. He digs in and gets to the heart of the story.
MAX
Isn’t he a commentator?
CHELSEA
Yea, but he was also a sports reporter and a news anchor. That’s what I want to do.
MAX
You and sports?
CHELSEA
No. Reporting.
STEPHANIE
I thought you wanted to work in business like me.
CHELSEA
I wanted to talk to you about that. It’s boring.
STEPHANIE
No, it’s not.
CHELSEA
Yes, it is Steph. It’s the same thing every day. Suits, ties and endless meetings. I want to be a combination of Olbermann and Geraldo Rivera
CAROLINE
I can see you doing that. You had the courage to stand up for your sorority sisters by exposing Ford Decker. I was very proud of you.
STEPHANIE
Max?
MAX
Don’t look at me. I’m with her. I hated the business part of the garage.
CAROLINE
Doesn’t Victor own a few TV stations? He could help you get a start.
CHELSEA
I’ve already talked to him about an internship this summer. I’m going to be a gopher for the news editor. He also thought it was a good idea if I got some technical experience.
STEPHANIE
We won’t be able to take classes together.
CHELSEA
We can hang out after.
CAROLINE
Anyone want breakfast?
STEPHANIE
I’m too tired to eat. I studied for finals most of the night.
CHELSEA
I’m too excited. Do you think we should get in line?
STEPHANIE
(Sitting at a table)
Not me. I’m staying here until the doors open.
CHELSEA
Come on Steph.
STEPHANIE
We just came in. Did you see a big line forming at the bookstore door?
CHELSEA
No. But I want to be the first to meet him.
MAX
(Pointing toward the door)
I don’t think that will be a problem.
Keith Olbermann walks in with Mandy Baker. In her mid to late 30’s, Mandy Baker is a woman of contradictions. Her body language gives the impression that she is on equal footing with Olbermann, yet there is a fear in her eyes that she cannot hide.
CHELSEA
(Loudly)
Oh my God.
KEITH
No. But Bill O thinks of himself that way. I’m just a humble commentator.
CUT
INT: BEDROOM IN DIMERA COTTAGE: EARLY MORNING
Although the bedroom is very lavish, it is also very impersonal and cold. Lucas is in bed. Marlena is has just finished examining him.
MARLENA
Lucas, you need to be careful. You pulled a few stitches and there was little bleeding.
LUCAS
I picked up Johnny.
MARLENA
Didn’t Miles give you a list of things you can and cannot do?
LUCAS
Mostly cannot.
MARLESA
You have to take this seriously.
LUCAS
I am.
MARLENA
Even with the pins, your ribs are still very fragile.
LUCAS
No lifting. No sudden movements.
MARLENA
No intimacy.
LUCAS
Yea, that too.
MARLENA
We’re serious.
LUCAS
It’s not an issue. Sami and I agreed that we weren’t just going to pick up were we left off. There are too many things that have happened. We still love each other, but until we work things out, we’re not going there. We have agreed to take it slow We have to learn not only learn how to trust each other again, but to have faith.
MARLENA
How uncharacteristically sensible.
LUCAS
It’s about time, don’t you think.
MARLENA
I think you are both very passionate. Sometimes it has made you both say and do things that you regret.
LUCAS
Sometimes?
MARLENA
How do you feel about Sami?
LUCAS
I love her very much. I think I always will.
(Thinking)
If it wasn’t for my mother and EJ
MARLENA
You and Sami would be happily.
LUCAS
But it all happened. The vendetta. The divorce. Sami marrying EJ.
MARLENA
EJ getting shot.
LUCAS
That too. Sami was trying so hard to make it up to her family for what she did in the past.
MARLENA
We’ve forgiven her for that.
LUCAS
Have you really?
MARLENA
What do you mean by that?
LUCAS
Think about it. When something happened, didn’t everyone--including me--automatically think the worse? If it had been Carrie, instead of Sami that my mother set up with Brandon wouldn’t Carrie been given a chance to explain. A benefit of doubt.
MARLENA
Carrie’s different.
LUCAS
Yes, she is. Sami has a history. So has Carrie. What Sami has never done is cheat. The same can’t be said of Carrie.
MARLENA
I know Carrie hurt you.
LUCAS
Yes. But she also cheated on Austin with Mike. But that’s not my point. Carrie was forgiven and the slate was wiped clean. No matter how Sami has tried to change, her past is still there--not just for her family, but also for her. It was the guilt that made her agree to Stefano’s terms. She was willing to sacrifice her happiness to proof to her family that she changed.
MARLENA
We tried to tell her.
LUCAS
You know Sami. She can’t always trust what people tell her.
MARLENA
Especially when our actions contradict our word.
LUCAS
Exactly.
MARLENA
She’s not the only one who sacrificed her happiness.
LUCAS
I don’t know what you mean.
MARLENA
You’re stilling lying to Sami.
LUCAS
I don’t know what you mean.
MARLENA
I talked to Will. I know the truth.
LUCAS
It’s over and done with.
MARLENA
No. It’s not. Sami has to know the truth. She is miserable with out him.
LUCAS
I know.
MARLENA
They are both hurting.
LUCAS
I know that too. How do you think Sami would feel if she knew?
MARLENA
The guilt would be incredible.
LUCAS
After everything that‘s happened. It would be more than she could handle. Sami is like an oyster.
MARLENA
(Amused)
An oyster?
LUCAS
When Sami gets hurt, she doesn’t deal with it directly. She wraps it up in anger, but she doesn’t really deal with it. Just like an oyster does with a piece of dirt.
MARLENA
I’m going have to call you on that. When Sami’s angry, everyone knows it.
LUCAS
True. She shows the angry--not the hurt or the guilt or any of her sadness. She simply doesn’t deal with them. I had a lot of time to think in prison. About her and me. We have both been so afraid of showing how other hurt us because we were certain that they would do it again. I kept waiting for the trauma of the rape to hit. When it didn’t, my own issues-my fears kicked in. I thought maybe it wasn’t rape--that Sami wanted him.
MARLENA
That wasn’t true. Sami never would have--
LUCAS
I know that now. Burying it and making nice with EJ was Sami saving her family. It took me a long time to see it.
MARLENA
She still needs to know the truth.
LUCAS
How do you think Sami would feel if she knew her actions led Will to shoot EJ?
MARLENA
I think it would be more guilt than she could bear.
CUT
INT: OUTSIDE BEDROOM DOOR: LATE AFTER NOON
Sami is listening at the door.
LUCAS
(Off camera)
That’s why you can’t tell her.
MARLENA
You can’t keep it hidden forever.
LUCAS
No. Just until she is strong enough to deal with it.
Crying, Sami backs away from the door and runs down the hall.
CUT
.
Wednesday, December 10, 2008
Saturday, December 6, 2008
To Jeffrey Immelt
Greetings Mr. Jeffrey Immelt,
In order for a company to succeed, it has to provide a product or service the public finds valuable. In addition, a company that ignores their customers’ needs will rapidly find that they don't have customers. Mr. Immelt, you know all this. You weren't just handed the CEO position of one of the world largest corporations, you earned it.
You know what it's like to be creative enough to make something out of nothing. Unfortunately, there are those do the reverse; they make nothing out of something. This is what Ken Corday and Dena Higley are doing to Days of Our Lives. To some people it's just a soap, but to many it is a connection to our mothers and grandmothers as well as a little port in the stormy sea of life. These two have nearly destroyed a very successful and prosperous business. Ratings and thus revenues are down solely due to their mismanagement and incompetence. The fans are leaving due to the bad writing and the recent firings. There does need to be drastic changes made in the staff. In business, you fire the people who aren’t getting the job done, not the ones who go above and beyond.
Mr. Immelt, you have the power to change this and save an icon. GE owns NBC. NBC holds Corday’s leash. A phone call from you could make the needed changes But why would you? After all it’s just a soap. A 43 year run is great, but all good things must come to an end. All true. It’s also true that Days has an extremely loyal fan base. They had remained devoted until now, when there is no longer a reason to be.
Daytime soaps are failing not because lack of interest but due to exclusiveness of the business. It seems the industry has become so inbred and arrogant that they believe no one outside their clique could possible write for soaps. When a writer is fired from one show for incompetence, she or he just moves onto the next until eventually she or he completes the circuit and is hired back by the original show. Soaps are failing because the fans are tired of the same old storylines. Higley has been fired for the same reason by every soap she has worked for, including Days. Yet, here she is again, writing the same old stuff. The industry hasn‘t run its course, it’s merely stagnant.
In April, I started writing alternative storylines for Days and posting on the NBC boards. It was in protest to the bad writing and was only meant to be short term. I had my own writing projects to work on that didn’t leave much extra time for an off-the-cuff project. However, so many people like what I wrote that the project took on life of its own My script had more favorable comments than what was being shown on the screen and many suggested I contact executive producers. I did, but wasn’t even given basic common courtesy. They only wanted to know how I got Gary Tomlin’s private office number; I’m a writer--a real one, which means I know how to do research. When a head writer does their job right, they spend their career making the show, the executive producers and the actors look good, while quietly standing in the background. The only time anyone outside the industry wants to know their name is when they really screw up.
According to your bio, you not only encourage change, but you are willing take risks in order to make it happen. If the doors were opened to new writers with fresh voices, this would revitalize the genre, once again making them an asset to the network. You are also known for being able to see new opportunities even in the darkest of challenges. If this be true, I challenge you to create change not only for Days, but for me as well. I want the head writing gig. I can’t guarantee to make it number one. I can’t even promise to save it; however, I would like the opportunity to do my best to do both. What I written is at http://elfmagic.blogspot.com/ along with some of the comments from the NBC fan board and articles I wrote about soaps.
Mr. Immelt, please call whoever you need to in order to make this changes happen.
Thanks
Theresa Chaze
In order for a company to succeed, it has to provide a product or service the public finds valuable. In addition, a company that ignores their customers’ needs will rapidly find that they don't have customers. Mr. Immelt, you know all this. You weren't just handed the CEO position of one of the world largest corporations, you earned it.
You know what it's like to be creative enough to make something out of nothing. Unfortunately, there are those do the reverse; they make nothing out of something. This is what Ken Corday and Dena Higley are doing to Days of Our Lives. To some people it's just a soap, but to many it is a connection to our mothers and grandmothers as well as a little port in the stormy sea of life. These two have nearly destroyed a very successful and prosperous business. Ratings and thus revenues are down solely due to their mismanagement and incompetence. The fans are leaving due to the bad writing and the recent firings. There does need to be drastic changes made in the staff. In business, you fire the people who aren’t getting the job done, not the ones who go above and beyond.
Mr. Immelt, you have the power to change this and save an icon. GE owns NBC. NBC holds Corday’s leash. A phone call from you could make the needed changes But why would you? After all it’s just a soap. A 43 year run is great, but all good things must come to an end. All true. It’s also true that Days has an extremely loyal fan base. They had remained devoted until now, when there is no longer a reason to be.
Daytime soaps are failing not because lack of interest but due to exclusiveness of the business. It seems the industry has become so inbred and arrogant that they believe no one outside their clique could possible write for soaps. When a writer is fired from one show for incompetence, she or he just moves onto the next until eventually she or he completes the circuit and is hired back by the original show. Soaps are failing because the fans are tired of the same old storylines. Higley has been fired for the same reason by every soap she has worked for, including Days. Yet, here she is again, writing the same old stuff. The industry hasn‘t run its course, it’s merely stagnant.
In April, I started writing alternative storylines for Days and posting on the NBC boards. It was in protest to the bad writing and was only meant to be short term. I had my own writing projects to work on that didn’t leave much extra time for an off-the-cuff project. However, so many people like what I wrote that the project took on life of its own My script had more favorable comments than what was being shown on the screen and many suggested I contact executive producers. I did, but wasn’t even given basic common courtesy. They only wanted to know how I got Gary Tomlin’s private office number; I’m a writer--a real one, which means I know how to do research. When a head writer does their job right, they spend their career making the show, the executive producers and the actors look good, while quietly standing in the background. The only time anyone outside the industry wants to know their name is when they really screw up.
According to your bio, you not only encourage change, but you are willing take risks in order to make it happen. If the doors were opened to new writers with fresh voices, this would revitalize the genre, once again making them an asset to the network. You are also known for being able to see new opportunities even in the darkest of challenges. If this be true, I challenge you to create change not only for Days, but for me as well. I want the head writing gig. I can’t guarantee to make it number one. I can’t even promise to save it; however, I would like the opportunity to do my best to do both. What I written is at http://elfmagic.blogspot.com/ along with some of the comments from the NBC fan board and articles I wrote about soaps.
Mr. Immelt, please call whoever you need to in order to make this changes happen.
Thanks
Theresa Chaze
Friday, December 5, 2008
Days of Our Lives: A Letter From a Fan to Dena Higley
This letter was originally posted on the NBC Days of Our Lives Message Board. It has been reproduced with the permission of the author.
Dear Ms. Higley:
I realize that now the show has been renewed for 18 months, and not likely to be renewed again, that you feel that you can write whatever you want, consequences and for that matter fan bases be damned. And I also realize that it is impossible to make every fan base happy. But why do you insist on upsetting every single fan base, and further more the general audience? If you know what the general audience wants to see, why is it so hard for you to take a cue from them, and write in favor of their views? After all, a show is NOTHING without their fans!
Days of our lives as you well know has been on the air for over 40 years, and has a very dedicated audience. All we wish to do is watch a show (that many of us have watched since we were children) and escape reality for an hour and enjoy our soap. However, since you have taken the reigns, it's become increasingly harder for us to do that. The plot point writing and lack of, make that NO direction makes watching this show almost equivalent to a root canal (okay maybe that's taking it a little too far) but I digress.
My request is that you really consider what the audience is asking of you and make these next 18 months the best this show has ever seen! Because I have feeling we are not going to get another chance.
Thank you for your time,
Gina
Dear Ms. Higley:
I realize that now the show has been renewed for 18 months, and not likely to be renewed again, that you feel that you can write whatever you want, consequences and for that matter fan bases be damned. And I also realize that it is impossible to make every fan base happy. But why do you insist on upsetting every single fan base, and further more the general audience? If you know what the general audience wants to see, why is it so hard for you to take a cue from them, and write in favor of their views? After all, a show is NOTHING without their fans!
Days of our lives as you well know has been on the air for over 40 years, and has a very dedicated audience. All we wish to do is watch a show (that many of us have watched since we were children) and escape reality for an hour and enjoy our soap. However, since you have taken the reigns, it's become increasingly harder for us to do that. The plot point writing and lack of, make that NO direction makes watching this show almost equivalent to a root canal (okay maybe that's taking it a little too far) but I digress.
My request is that you really consider what the audience is asking of you and make these next 18 months the best this show has ever seen! Because I have feeling we are not going to get another chance.
Thank you for your time,
Gina
Tuesday, December 2, 2008
Viewers control the Television Industry, Networks Listen or Lose
Viewers control the Television Industry, Networks Listen or Lose
On the surface, the television industry seems complicated; however, in many ways it is just like every other industry. In order to be successful, a business not only has to provide a product or service that customers want to buy, it also needs to provide the highest quality for the value. Broadcast television is no different except that it has two customers bases instead of one. No longer limited to two or three stations, the competition for both viewers and advertisers has not only raised the stakes, but has also shifted the power away from the networks and bestowed on the viewers
Unlike most industries, broadcast television has a dual flow of both product and customers. Both viewers and advertisers can be considered clients. Whereas the viewer seeks entertainment and information, the advertisers search for exposure for their products or services. Television sells entertainment to the viewers and viewers to the advertisers.
Whether over the air or through cable, broadcasting attracts viewers with entertainment, news and sports. Although the viewers don't lay down cash for the programming, they do pay for the entertainment by watching the commercials. By investing their time, attention and loyalty to a program or actor, the viewer becomes not only a client, but also a product the broadcast industry sells the advertisers. TV shows that respect the viewers by providing quality entertainment or accurate facts in the case of news programs will be the one to garter the viewers’ loyalty and increase their viewers. Advertisers will compete for the limited air time during these programs, thereby increasing the revenues of the networks. However, the reverse is also true; unpopular programming will not only lack viewers, but will also have to fight for sponsors by lowering the commercial rates.
Technical advances in cable and satellite dishes have increased the number of available channels, not only increasing the competition for viewers, but also diversifying the programs available. No longer limited to their local stations or the three big networks, the viewers are the ones who control the remote and decide which programs will succeed. Independent stations and new networks have shattered the monopoly of the elitist network and program executives. If the viewers don’t like what they are seeing, they simply change the channel to another one of the hundreds available; they are not bound to watch any program or event
This symbiotic relationship between viewers and advertisers gives them control over what is produced and broadcast. Viewers won't watch programming they don't like; advertisers won't buy time on shows the viewers don't like; therefore, it is the viewers who control the success or failure of a program, not the executive producers, writers, or network management. No matter what the industry insiders want or what agenda they try to push, if the viewers aren’t interested, they will not watch. Those in the industry who provide what the viewers want will be successful; those who chose to ignore the viewers’ wishes will soon find themselves on the outside, looking in at those execs, producers and writers who do fulfill the viewers needs and expectations.
.
On the surface, the television industry seems complicated; however, in many ways it is just like every other industry. In order to be successful, a business not only has to provide a product or service that customers want to buy, it also needs to provide the highest quality for the value. Broadcast television is no different except that it has two customers bases instead of one. No longer limited to two or three stations, the competition for both viewers and advertisers has not only raised the stakes, but has also shifted the power away from the networks and bestowed on the viewers
Unlike most industries, broadcast television has a dual flow of both product and customers. Both viewers and advertisers can be considered clients. Whereas the viewer seeks entertainment and information, the advertisers search for exposure for their products or services. Television sells entertainment to the viewers and viewers to the advertisers.
Whether over the air or through cable, broadcasting attracts viewers with entertainment, news and sports. Although the viewers don't lay down cash for the programming, they do pay for the entertainment by watching the commercials. By investing their time, attention and loyalty to a program or actor, the viewer becomes not only a client, but also a product the broadcast industry sells the advertisers. TV shows that respect the viewers by providing quality entertainment or accurate facts in the case of news programs will be the one to garter the viewers’ loyalty and increase their viewers. Advertisers will compete for the limited air time during these programs, thereby increasing the revenues of the networks. However, the reverse is also true; unpopular programming will not only lack viewers, but will also have to fight for sponsors by lowering the commercial rates.
Technical advances in cable and satellite dishes have increased the number of available channels, not only increasing the competition for viewers, but also diversifying the programs available. No longer limited to their local stations or the three big networks, the viewers are the ones who control the remote and decide which programs will succeed. Independent stations and new networks have shattered the monopoly of the elitist network and program executives. If the viewers don’t like what they are seeing, they simply change the channel to another one of the hundreds available; they are not bound to watch any program or event
This symbiotic relationship between viewers and advertisers gives them control over what is produced and broadcast. Viewers won't watch programming they don't like; advertisers won't buy time on shows the viewers don't like; therefore, it is the viewers who control the success or failure of a program, not the executive producers, writers, or network management. No matter what the industry insiders want or what agenda they try to push, if the viewers aren’t interested, they will not watch. Those in the industry who provide what the viewers want will be successful; those who chose to ignore the viewers’ wishes will soon find themselves on the outside, looking in at those execs, producers and writers who do fulfill the viewers needs and expectations.
.
Tuesday, November 25, 2008
Soap Operas: The Cliff Hanger-The Backbone of the Genre
Soap Operas: The Cliff Hanger-The Backbone of the Genre
By
Theresa Chaze
The cliffhanger has been the both a source of pleasure and bane to soap opera viewer since the genre was created. It is one of the hooks that keep the viewers coming back. From radio to daytime to the emergence of primetime soaps, the cliffhanger has been the one element that has remained constant. However, in the past few years with the movement away from the traditional soap opera format to one that is more titillating, the cliffhanger has also been cast aside.
In the era of multi-media and channel options, cliff hangers have become more important than ever in the success of a soap opera. With so many choices, all shows need to give the viewers a reason to keep tuning in. Historically, cliff hangers have been the genre’s best tools to create loyal fans. According the World English dictionary, the definition of a cliffhanger is:
1. Arts literature ending left teasingly unresolved: an unresolved ending in a serialized drama or book that leaves the audience or reader desperate to know what will happen in the next part
2. Arts drama serial with suspenseful endings: a drama serial that has episodes that often end in suspenseful unresolved endings
3. Tense situation: a situation full of tension or suspense because it is not clear what will happen next
By keeping the audience guessing, the writers insure they will tune in next time to learn what happens to their favorite characters. However, the more invested the viewer is in the characters the easier it is to hook them. Yet on the flip side, it is nearly impossible to retain the interest of the viewers if they can’t identify with the character or if the plot doesn‘t fit within the perimeters the show has already established. The more the viewers care about the characters, the more likely they will be loyal to the show.
Cliff hangers need storylines that are not only well written, but also well thought out and exactly timed. Cutting the scene in the middle of the action is not a cliff hanger; it is a poorly placed cut. In order to be effective, it has to be the logical progression of the plot throughout the episode. By properly organizing and timing the sequence of scenes, the writer builds the suspense and drama. Inter-cutting the primary storyline to build a secondary, not only heightens the tension, but it also initiates the next primary storyline and helps insure the show will end at climatic moment. As with comedy, timing isn't the only thing, it's everything.
Many of the current soaps have given up writing the complicated storylines that are associated with cliff hangers in favor of gratuitous sexual scenes that aren’t based in plot or character. Instead of developing characters or stories the viewers can identify with and care about, the writers have chosen to focus shallow characters and plots that more closely resemble soft porn, which is why the genre has been slowly dying. In traditional soaps, sex was the end result of romance that was gradually created over weeks of teasing, testing and sexual tension. Instant romance and relationships give nothing for the viewer to look forward to since they already know what the end results will be sex. Until the writers return to storylines, which are based on suspense, drama, romance and humor, cliff hangers will be a thing of the past, taking with them the whole genre.
By
Theresa Chaze
The cliffhanger has been the both a source of pleasure and bane to soap opera viewer since the genre was created. It is one of the hooks that keep the viewers coming back. From radio to daytime to the emergence of primetime soaps, the cliffhanger has been the one element that has remained constant. However, in the past few years with the movement away from the traditional soap opera format to one that is more titillating, the cliffhanger has also been cast aside.
In the era of multi-media and channel options, cliff hangers have become more important than ever in the success of a soap opera. With so many choices, all shows need to give the viewers a reason to keep tuning in. Historically, cliff hangers have been the genre’s best tools to create loyal fans. According the World English dictionary, the definition of a cliffhanger is:
1. Arts literature ending left teasingly unresolved: an unresolved ending in a serialized drama or book that leaves the audience or reader desperate to know what will happen in the next part
2. Arts drama serial with suspenseful endings: a drama serial that has episodes that often end in suspenseful unresolved endings
3. Tense situation: a situation full of tension or suspense because it is not clear what will happen next
By keeping the audience guessing, the writers insure they will tune in next time to learn what happens to their favorite characters. However, the more invested the viewer is in the characters the easier it is to hook them. Yet on the flip side, it is nearly impossible to retain the interest of the viewers if they can’t identify with the character or if the plot doesn‘t fit within the perimeters the show has already established. The more the viewers care about the characters, the more likely they will be loyal to the show.
Cliff hangers need storylines that are not only well written, but also well thought out and exactly timed. Cutting the scene in the middle of the action is not a cliff hanger; it is a poorly placed cut. In order to be effective, it has to be the logical progression of the plot throughout the episode. By properly organizing and timing the sequence of scenes, the writer builds the suspense and drama. Inter-cutting the primary storyline to build a secondary, not only heightens the tension, but it also initiates the next primary storyline and helps insure the show will end at climatic moment. As with comedy, timing isn't the only thing, it's everything.
Many of the current soaps have given up writing the complicated storylines that are associated with cliff hangers in favor of gratuitous sexual scenes that aren’t based in plot or character. Instead of developing characters or stories the viewers can identify with and care about, the writers have chosen to focus shallow characters and plots that more closely resemble soft porn, which is why the genre has been slowly dying. In traditional soaps, sex was the end result of romance that was gradually created over weeks of teasing, testing and sexual tension. Instant romance and relationships give nothing for the viewer to look forward to since they already know what the end results will be sex. Until the writers return to storylines, which are based on suspense, drama, romance and humor, cliff hangers will be a thing of the past, taking with them the whole genre.
Tuesday, November 18, 2008
Days of Our Lives:Saving Days
With the firing of Deidre and Drake with only more to come for budgetary concerns, Ken Corday is announcing the death of Days of Our Lives. It is not the actors or crew who have brought Days to the brink of cancellation, but the bad writing, the corruption of beloved characters and the endless triangles. The fans want Days to go back to the basics of romance, suspense, drama and humor. Corday Productions produced a show few people wanted to watch and couldn’t understand why the ratings tanked.
If money is Corday’s main concern, it is the perfect way to get his attention. These are sweeps weeks. Ratings are calculated and recorded not only daily but hourly,. It’s this rapid return that can be turned to the fans’ favor. For the rest of the week, boycott Days. The storylines suck anyway. If there is a rapid, sudden drop in ratings Corday will be held accountable.
If money is Corday’s main concern, it is the perfect way to get his attention. These are sweeps weeks. Ratings are calculated and recorded not only daily but hourly,. It’s this rapid return that can be turned to the fans’ favor. For the rest of the week, boycott Days. The storylines suck anyway. If there is a rapid, sudden drop in ratings Corday will be held accountable.
Saturday, November 15, 2008
Days of Our Lives 11-15-08
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.
This is what I previously posted on the NBC Days boards 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
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
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
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards 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
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
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
Thursday, November 13, 2008
Viewers' Opinion of Days of Our Lives
I am doing research about what you think about Days both current and past shows. If I can't write for Days, I'll write about it. These questions aren't about me or fan bases but the show in general. By answering the questions, not only will you help me, but through the article you might clue in the executive producers and writers. In order to quote you in the article, I will need your legal name and the state you live in.
How long have you watched Days?
Why did you start?
Are you happy with what you are seeing on your screen? Why?
How many times a week do you watch?
Has your viewing increased or decreased?
When and why did you change your viewing habit?
What has been your favorite storyline? Why?
What has been your least favorite storyline? Why?
In comparing the show from when you first started watching to now. which did you enjoy more? Why?
If you suddenly became the owner of Days, what changes would you make? Why?
What things would you keep? Why?
Is there anything you would like to say about Days?
How long have you watched Days?
Why did you start?
Are you happy with what you are seeing on your screen? Why?
How many times a week do you watch?
Has your viewing increased or decreased?
When and why did you change your viewing habit?
What has been your favorite storyline? Why?
What has been your least favorite storyline? Why?
In comparing the show from when you first started watching to now. which did you enjoy more? Why?
If you suddenly became the owner of Days, what changes would you make? Why?
What things would you keep? Why?
Is there anything you would like to say about Days?
Friday, November 7, 2008
Gary Tomlin Happy with Days of Our Lives Being 4th
Okay, I'm believer in elves, dragons, and miracle. So I made one final phone call to Gary Tomlin to make my case to join the writing staff. Gary, you guard dog did her job. I was told to please not to call the number again because it is very private.
I pointed out that with Days being in last place more often than not and with their fan bases crumbling that it was time to start thinking outside the box, she told me that they were in fourth and the rest didn't matter. She was more concern about my calling than what I had to say.
So being fourth is good enough and what the fans want....well, you can see that on the screen. Can you just imagine what Betty Corday or Irna Philips would say? Betty loved Days; It was her pride and joy. It's too bad Ken or Gary can't say the same.
I pointed out that with Days being in last place more often than not and with their fan bases crumbling that it was time to start thinking outside the box, she told me that they were in fourth and the rest didn't matter. She was more concern about my calling than what I had to say.
So being fourth is good enough and what the fans want....well, you can see that on the screen. Can you just imagine what Betty Corday or Irna Philips would say? Betty loved Days; It was her pride and joy. It's too bad Ken or Gary can't say the same.
Wednesday, November 5, 2008
Days of Our Lives
Today, I once again called Gary Tomlin to ask for a job. According to his assistant, he was in a meeting. When I explained why I wanted to talk to him, she gave me very little hope that he would call me back. The show needs a head writer who cannot only do her own work, but who knows the characters and the show's history enough to be able to write storylines that will honor both. Day's used to be able suspense, drama, romance and humor; it hasn't been that way in a long time. I have already proven that I do that. Your kind words and support have proven that you enjoy my work. Unfortunately, I need a job and I need it now. I've done my best to storm the gates both directly and indirectly. I have used time and energy that I could have used to provide for my family to work towards getting the gig. It's not that I'm giving up, I still want the gig; it's just that I'm running out of road. If I wanted to be bitch about it, I would post the phone number of his direct line that I found; however, ethically I can't go there.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
Sunday, November 2, 2008
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.
This is what I previously posted on the NBC Days boards 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
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
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
Technorati Tags:
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
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards 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
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
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
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Friday, October 31, 2008
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.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
The newest installment is at www.geocities.com/tirgana/days10-31-08.pdf
The last two entries aren't in the proper format; I'll fix it later.
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
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
The newest installment is at www.geocities.com/tirgana/days10-31-08.pdf
The last two entries aren't in the proper format; I'll fix it later.
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
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