Seed Newsvine
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.
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Tuesday, December 2, 2008
Never Can Say Good-bye-Paranormal Romance
Never Can Say Good-bye: parnormal-romance screenplay. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleeply 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.
To read an excerpt of this awared winning screen play go to http://geocities.com/tirgana/neversaygoodbyeexcerpt.pdf
To read an excerpt of this awared winning screen play go to http://geocities.com/tirgana/neversaygoodbyeexcerpt.pdf
Monday, December 1, 2008
Days of Our Lives 12-2-08
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
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.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
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
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.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
Days of Our Lives: 12-1-08
EXT: LAKE OUTSIDE DIMERA COTTAGE: NIGHT
John treads water a few yards away from the dock, while Marlena does the same a few feet away.
JOHN
You're not going to make this easy.
MARLENA
Nope.
John swims toward her; Marlena easily stays just out of his reach.
JOHN
You're going to make me catch you?
MARLENA
You always could before. Maybe you're no longer up to the challenge.
JOHN
Challenge?
(Annoyed)
So you're testing me again?
MARLENA
Not really.
JOHN
Then what is it?
Marlena submerges. John looks around. He is suddenly startled as she grabs him beneath the water. Marlena resurfaces on the other side of the dock.
You!
MARLENA
(Laughing and splashing)
Me?
JOHN
Two can play at that game.
John submerges. Marlena circles around to the spot where John was; John surfaces were she was last.
Keep it up and we'll be too tired to have fun.
MARLENA
Too tired? Feeling a little old are we?
JOHN
Not likely!
He dives beneath the surface; again, Marlena swims away. She turns to look for him. He doesn't resurface.
MARLENA
John?
(Swimming back)
John?
(Panicking)
John!
He resurfaces and embraces her from behind. Smiling, she turns around and they passionately kiss.
Winston walks out on the dock and looks around. He is surprised to see them in the water.
WINSTON
(Playing it dead pan)
Sir, the staff and I are retiring for the evening.
JOHN
Good night.
WINSTON
Will you or your guests need anything before morning?
JOHN
Like what?
WINSTON
Drinks? Snacks?
JOHN
We'll just raid the kitchen.
WINSTON
If you tell me what you wish, I will prepare it before I retire.
MARLENA
Good night Winston.
WINSTON
It would not be a problem.
JOHN
Good night Winston.
WINSTON
Bathing suits, perhaps?
MARLENA
Winston, you don't approve of skinny-dipping?
WINSTON
I don't approve or disapprove. It's just unwise in a lake over run with snapping turtles--and swimmer's itch.
JOHN
Why didn't you say something?
WINSTON
I just did. Good night.
Winston walks back toward the cottage.
JOHN
Where were we?
MARLENA
Do you think he was kidding?
JOHN
If he wasn't--I'll scratch your--
MARLENA
What's the matter?
JOHN
Did you just touch my leg?
MARLENA
No. Why?
JOHN
I just felt something.
MARLENA
What something?
JOHN
There it is again. You sure it's not you?
MARLENA
(Showing her hands)
It's not me.
John looks down at the water. He flinches and quickly swims toward the ladder. Laughing, Marlena watches. Startled, she flinches and she follows.
CUT
INT: COTTAGE STUDY: NIGHT
Wearing John's shirt, Marlena walks in. John follows; he is wearing his pants and carrying his shoes. They are both dripping.
JOHN
So he wasn't kidding about the turtles.
Towels and a tube of anti-itch cream has been placed on the table. John picks up the cream.
Do you think this will be enough?
MARLENA
(Handing him a towel)
We’ll know soon enough.
Marlena walks towards the hallway.
JOHN
Where are you going?
MARLENA
Sometimes a shower helps.
(Stopping at the doorway)
Care to join me?
Smiling, John follows and they run up the stairs. Moments later, Winston appears with a mope; disapprovingly he looks up the stares and clicks his tongue before wiping up the water from the floor.
CUT
INT: CHEATING HEART: NIGHT
The bar is crowded with people having a good time. Max and Steve walk in. Max looks around
MAX
(Pointing at the bar)
There they are. Duane is the one in the green. Mike is in burgundy.
Steve starts toward them; Max stops him.
Let me. They aren’t exactly the trusting types.
STEVE
I can be subtle.
MAX
They already lied to the cops to protect him.
STEVE
Got it. I’ll be around.
Steve walks around the bar, stopping to talk with one of the guys playing pool. Max walks behind the bar and talks to the bartender for a few moments. The bartender nods and disappears into the kitchen. Max pretend to tidy behind the bar, slowly making his way to the two at the end.
MAX
Mike. Duane. Ready for another round?
DUANE
Not yet.
MAX
Let me know.
MIKE
Where you been?
Steve walks around the bar, talking to people.
MAX
I’ve been helping my ma out at the Pub. What about you guys? Keeping out of trouble?
DUANE
(Angrily)
Us always. Bernie not so much. Cops were asking about him again.
MAX
What for?
MIKE
His ex has been using the cops to harass him.
MAX
I thought your father was the County Sheriff?
MIKE
That’s why she calls the city boys. She’s conned one of their detective into doing her dirty work. He had him locked up for nothing.
DUANE
It wasn’t for nothing. Any man who won’t support his kids isn’t much of a man.
MIKE
She shouldn’t have divorced him.
DUANE
He’s your cousin and all-but he’s still crazy!
Steve sits on the bar stool close to Mike.
STEVE
Give me a draft.
MAX
Coming up.
(Pouring the beer and gives it to Steve
Crazy how?
MIKE
Shut up!
DUANE
No. I won’t!
(To Max)
The court was garnishing his child support. He tried to get Greg to pay him under the table so he wouldn‘t have t pay it. He wouldn’t. Bernie blew up and slugged him. Greg fired him.
MAX
Understandable.
MIKE
Joyce just wants more child support.
DUANE
He was stupid. If he doesn’t keep up with his support, he goes back to jail.
STEVE
My old lady’s like that too. She doesn’t just want a piece, she wants it all.
MIKE
She was never satisfied.
STEVE
They should be made to get a job too. Not just live off us.
MAX
It’s the father responsibility.
STEVE
(To Max)
You married.
MAX
No.
STEVE
Got kids.
MAX
No.
STEVE
Until you do, you can’t understand.
DUANE
I heard he kidnapped his kid.
MIKE
You can’t kidnap your own kid! .
MAX
Do you think he’d hurt him?
MIKE
(Over reacting)
No! I don’t care what anyone says. Bernie loves his son!
STEVE
Whoa! Chill. I understand where he’s coming from. No matter how much you give, she always wants more. No cash--no visitation! There should be a law against it.
MIKE
That’s right! He got a couple of weeks behind and she had him arrested.
DUANE
He was two months behind.
MIKE
His family had to pay up so he could get out.
MAX
Seems fair to me.
STEVE
What do you know? Nothing. I thought about taking my kid and disappearing. Trouble is I got no place to hide.
MIKE
We got a place.
STEVE
Don’t keep it to yourself. I might find the need to flee.
MIKE
(Draining his glass and standing)
I said too much already.
Mike throws some cash on the bar and leaves.
STEVE
(Following)
Damn!
Duane stands to follow; Max grabs his arm and shakes his head.
MAX
Let me buy you a beer.
Uncertain, Duane looks at the door.
You don’t want to go there.
Duane sits back down and Max refills his glass.
CUT
EXT: ALLEY OUTSIDE CHEATING HEART: NIGHT
Mike is walking towards his car. Steve catches up with him.
STEVE
Hey, dude. Wait!
MIKE
(Defensive)
What for?
STEVE
I want to talk to you.
MIKE
I’ve got nothing to say.
STEVE
(Catching up with him)
I just have a couple of questions.
MIKE
I don’t talk to cops I don‘t know.
STEVE
Unfortunately for you dude,
(Throwing him against the wall)
I’m not a cop.
MIKE
(Shoving Steve)
What’s your deal?
STEVE
I just want to know where you cousin took his kid.
MIKE
None of your business!
STEVE
Wrong answer!
MIKE
(Trying to walk away)
It’s the only one you are going to get.
STEVE
I hate when people walk away when I am talking to ‘em.
Steve spins Mike around and punches him. Mike falls against the trashcans; blood trickles out of his nose.
Let I said, where’s Bernie?
MIKE
(Leaping at him)
You son of a bitch!
Steve catches him propels him across the alley. Mike hits the wall. Quickly, he spins around and throws a punch at Steve. Steve grabs his fist. Twisting Mike’s arm around his back, he smashes Mike’s face into the wall.
STEVE
I also hate repeating myself.
MIKE
Go to hell!
STEVE
(Increasing the pressure on Mike’s arm)
Don’t make me ask again.
MIKE
You’ll pay for this! My father is the sheriff--
STEVE
Goody-goody for him. I’m shaking in my boots. Where’s Bernie?
Mike struggles.
When I get bored twisting, I’m going start breaking.
MIKE
You’ll pay for this!
STEVE
I’ve got buck and half that’s not doing nothing.
MIKE
You son of bitch!
Grabbing Mike’s hair with his free hand, he bounces his head off the wall.
STEVE
Don’t insult my mother. It’s rude. Is Bernie at the cabin?
MIKE
You got nothing!
STEVE
I’ll have your ass if you don’t start talking.
Max, Duane and two other men walk out of the bar.
MAX
Steve, I’ve got directions to the cabin.
DUANE
Bernie took us hunting there last fall.
MIKE
Shut up!
STEVE
(Twisting)
That’s not nice way to talk to a friend.
DUANE
I’m not going to stand by and do nothing. Bernie’s crazy. I remember what threatened to do.
MIKE
He was drunk!
MAX
It’s about an hour out.
STEVE
They’d be gone before we got there.
MAX
Not if he didn’t know.
(Indicating Duane and the two other men)
They’ve agreed to keep your friend company until we get back.
STEVE
You see that.
(Releasing him and shoving him toward Duane)
I’m sure they’ll take real good care of you.
(To Duane)
Don’t let him get to a phone.
DUANE
It won’t be a problem. We’re just going to drive around for a while. Maybe go out to Rich’s farm.
MIKE
You won’t get away with this. It’s kidnapping.
STEVE
I don’t see anything. Maxwell, you see anything.
MAX
Me either.
STEVE
Let’s go.
MAX
I’ll call you when we get back.
Steve and Max leave. The three other men surround Mike.
CUT
INT: CONSERVATORY: NIGHT
Tony and Renee sit together on the couch; Andrea Lee watches them from across the room.
RENEE
I’m confused.
ANDREA LEE
You usually are mother.
RENEE
Andrea please!
TONY
I know it is hard to believe.
RENEE
To say the very least.
TONY
It’s true.
RENEE
Emily would never just curse all of Stefano’s children and grandchildren. She wouldn’t hurt me!
TONY
She thinks you’re dead. We all did.
RENEE
What do you want from me?
TONY
Come back to Salem with me.
ANDREA LEE
Why?
TONY
I promised Lee I’d find you and bring you back.
RENEE
You promised Emily’s ghost?
TONY
Renee, darling you have to believe me.
RENEE
(Standing and walking away)
Tony, I’m trying. It just doesn’t make any sense.
ANDREA LEE
Since when did that ever stop you?
TONY
Have you always been so rude to your mother?
ANDREA LEE
Have you always been a bastard?
RENEE
If I go back, she’ll stop?
TONY
Yes. We think so.
RENEE
We?
TONY
Marlena and Celeste. Did you know you have a half brother and sister? Lexie and Elvis.
ANDREA LEE
Elvis? As in Presley?
RENEE
No I didn’t.
TONY
No, as in EJ Wells.
ANDREA LEE
The racecar driver?
TONY
(Nodding)
Lexie is Celeste and Stefano’s daughter. She is doctor. They both live in Salem
ANDREA LEE
It’d be worth the trip just to meet him.
RENEE
I would love to see Marlena again. I have always wanted to contact her, but father said it wouldn’t be a good idea.
TONY
Why? Marlena always cared a great deal about you.
RENEE
Father said they blamed me for your death.
TONY
(Taking her hands in his)
They would never--
RENEE
I bet my funeral was a very lonily affair. Not many people missed me. Bet there were a few who even danced on my grave.
TONY
My sweet Renee--
ANDREA LEE
Stop calling her that!
TONY
(Gently caressing her cheek)
We all missed you. Especially me.
Tony and Renee look into each other eyes.
When you died, my world ended.
ANDREA LEE
Obviously, you got over it.
TONY
(To Andrea)
Could you be a bigger bitch?
ANDREA LEE
For you, sure. I’ll put in the extra effort.
TONY
Don’t put yourself out on my account.
ANDREA LEE
Don’t worry. That’s a debt I won’t mine paying.
RENEE
I never did get a chance to say good-bye to my sister.
TONY
(Confused)
Emily was your mother.
RENEE
I know. But we were raised as sisters.
(Thinking it over)
Okay. I’ll do it.
ANDREA LEE
How gullible can one person be?
RENEE
When do you want to leave?
TONY
Immediately.
RENEE
Why so quick?
TONY
Lee has already hurt two people. She nearly killed EJ’s wife. I don’t know who else she’ll hurt if you don’t come back.
RENEE
(Walking closer to Andrea)
I see. Then I’ll pack right away. Do you want something to eat while you wait?
TONY
No. I’ll eat on the plane. How long before you’ll be ready?
RENEE
An hour. I have to make a few arrangements.
ANDREA LEE
I’ll be ready too.
TONY
You’re going?
ANDREA LEE
I wouldn’t miss it.
TONY
(Embracing Renee)
The plane will be ready.
Tony runs back through the house and out the front door.
ANDREA LEE
Have you lost your mind again?
RENEE
I don’t care what anyone says. That’s not Tony. Tony’s dead. He almost had me. Emily wouldn’t hurt anyone. She couldn’t. The moment he said she had, I knew he was lying.
ANDREA LEE
Then why are you going along with it.
RENEE
I want to see just how far Andre will take it. Besides, I haven’t been able to contact father.
ANDREA LEE
Do you think Andre knows where he is?
RENEE
I’m certain of it. Before I make him pay for murdering Tony, I’m going find out what he did to father.
CUT
John treads water a few yards away from the dock, while Marlena does the same a few feet away.
JOHN
You're not going to make this easy.
MARLENA
Nope.
John swims toward her; Marlena easily stays just out of his reach.
JOHN
You're going to make me catch you?
MARLENA
You always could before. Maybe you're no longer up to the challenge.
JOHN
Challenge?
(Annoyed)
So you're testing me again?
MARLENA
Not really.
JOHN
Then what is it?
Marlena submerges. John looks around. He is suddenly startled as she grabs him beneath the water. Marlena resurfaces on the other side of the dock.
You!
MARLENA
(Laughing and splashing)
Me?
JOHN
Two can play at that game.
John submerges. Marlena circles around to the spot where John was; John surfaces were she was last.
Keep it up and we'll be too tired to have fun.
MARLENA
Too tired? Feeling a little old are we?
JOHN
Not likely!
He dives beneath the surface; again, Marlena swims away. She turns to look for him. He doesn't resurface.
MARLENA
John?
(Swimming back)
John?
(Panicking)
John!
He resurfaces and embraces her from behind. Smiling, she turns around and they passionately kiss.
Winston walks out on the dock and looks around. He is surprised to see them in the water.
WINSTON
(Playing it dead pan)
Sir, the staff and I are retiring for the evening.
JOHN
Good night.
WINSTON
Will you or your guests need anything before morning?
JOHN
Like what?
WINSTON
Drinks? Snacks?
JOHN
We'll just raid the kitchen.
WINSTON
If you tell me what you wish, I will prepare it before I retire.
MARLENA
Good night Winston.
WINSTON
It would not be a problem.
JOHN
Good night Winston.
WINSTON
Bathing suits, perhaps?
MARLENA
Winston, you don't approve of skinny-dipping?
WINSTON
I don't approve or disapprove. It's just unwise in a lake over run with snapping turtles--and swimmer's itch.
JOHN
Why didn't you say something?
WINSTON
I just did. Good night.
Winston walks back toward the cottage.
JOHN
Where were we?
MARLENA
Do you think he was kidding?
JOHN
If he wasn't--I'll scratch your--
MARLENA
What's the matter?
JOHN
Did you just touch my leg?
MARLENA
No. Why?
JOHN
I just felt something.
MARLENA
What something?
JOHN
There it is again. You sure it's not you?
MARLENA
(Showing her hands)
It's not me.
John looks down at the water. He flinches and quickly swims toward the ladder. Laughing, Marlena watches. Startled, she flinches and she follows.
CUT
INT: COTTAGE STUDY: NIGHT
Wearing John's shirt, Marlena walks in. John follows; he is wearing his pants and carrying his shoes. They are both dripping.
JOHN
So he wasn't kidding about the turtles.
Towels and a tube of anti-itch cream has been placed on the table. John picks up the cream.
Do you think this will be enough?
MARLENA
(Handing him a towel)
We’ll know soon enough.
Marlena walks towards the hallway.
JOHN
Where are you going?
MARLENA
Sometimes a shower helps.
(Stopping at the doorway)
Care to join me?
Smiling, John follows and they run up the stairs. Moments later, Winston appears with a mope; disapprovingly he looks up the stares and clicks his tongue before wiping up the water from the floor.
CUT
INT: CHEATING HEART: NIGHT
The bar is crowded with people having a good time. Max and Steve walk in. Max looks around
MAX
(Pointing at the bar)
There they are. Duane is the one in the green. Mike is in burgundy.
Steve starts toward them; Max stops him.
Let me. They aren’t exactly the trusting types.
STEVE
I can be subtle.
MAX
They already lied to the cops to protect him.
STEVE
Got it. I’ll be around.
Steve walks around the bar, stopping to talk with one of the guys playing pool. Max walks behind the bar and talks to the bartender for a few moments. The bartender nods and disappears into the kitchen. Max pretend to tidy behind the bar, slowly making his way to the two at the end.
MAX
Mike. Duane. Ready for another round?
DUANE
Not yet.
MAX
Let me know.
MIKE
Where you been?
Steve walks around the bar, talking to people.
MAX
I’ve been helping my ma out at the Pub. What about you guys? Keeping out of trouble?
DUANE
(Angrily)
Us always. Bernie not so much. Cops were asking about him again.
MAX
What for?
MIKE
His ex has been using the cops to harass him.
MAX
I thought your father was the County Sheriff?
MIKE
That’s why she calls the city boys. She’s conned one of their detective into doing her dirty work. He had him locked up for nothing.
DUANE
It wasn’t for nothing. Any man who won’t support his kids isn’t much of a man.
MIKE
She shouldn’t have divorced him.
DUANE
He’s your cousin and all-but he’s still crazy!
Steve sits on the bar stool close to Mike.
STEVE
Give me a draft.
MAX
Coming up.
(Pouring the beer and gives it to Steve
Crazy how?
MIKE
Shut up!
DUANE
No. I won’t!
(To Max)
The court was garnishing his child support. He tried to get Greg to pay him under the table so he wouldn‘t have t pay it. He wouldn’t. Bernie blew up and slugged him. Greg fired him.
MAX
Understandable.
MIKE
Joyce just wants more child support.
DUANE
He was stupid. If he doesn’t keep up with his support, he goes back to jail.
STEVE
My old lady’s like that too. She doesn’t just want a piece, she wants it all.
MIKE
She was never satisfied.
STEVE
They should be made to get a job too. Not just live off us.
MAX
It’s the father responsibility.
STEVE
(To Max)
You married.
MAX
No.
STEVE
Got kids.
MAX
No.
STEVE
Until you do, you can’t understand.
DUANE
I heard he kidnapped his kid.
MIKE
You can’t kidnap your own kid! .
MAX
Do you think he’d hurt him?
MIKE
(Over reacting)
No! I don’t care what anyone says. Bernie loves his son!
STEVE
Whoa! Chill. I understand where he’s coming from. No matter how much you give, she always wants more. No cash--no visitation! There should be a law against it.
MIKE
That’s right! He got a couple of weeks behind and she had him arrested.
DUANE
He was two months behind.
MIKE
His family had to pay up so he could get out.
MAX
Seems fair to me.
STEVE
What do you know? Nothing. I thought about taking my kid and disappearing. Trouble is I got no place to hide.
MIKE
We got a place.
STEVE
Don’t keep it to yourself. I might find the need to flee.
MIKE
(Draining his glass and standing)
I said too much already.
Mike throws some cash on the bar and leaves.
STEVE
(Following)
Damn!
Duane stands to follow; Max grabs his arm and shakes his head.
MAX
Let me buy you a beer.
Uncertain, Duane looks at the door.
You don’t want to go there.
Duane sits back down and Max refills his glass.
CUT
EXT: ALLEY OUTSIDE CHEATING HEART: NIGHT
Mike is walking towards his car. Steve catches up with him.
STEVE
Hey, dude. Wait!
MIKE
(Defensive)
What for?
STEVE
I want to talk to you.
MIKE
I’ve got nothing to say.
STEVE
(Catching up with him)
I just have a couple of questions.
MIKE
I don’t talk to cops I don‘t know.
STEVE
Unfortunately for you dude,
(Throwing him against the wall)
I’m not a cop.
MIKE
(Shoving Steve)
What’s your deal?
STEVE
I just want to know where you cousin took his kid.
MIKE
None of your business!
STEVE
Wrong answer!
MIKE
(Trying to walk away)
It’s the only one you are going to get.
STEVE
I hate when people walk away when I am talking to ‘em.
Steve spins Mike around and punches him. Mike falls against the trashcans; blood trickles out of his nose.
Let I said, where’s Bernie?
MIKE
(Leaping at him)
You son of a bitch!
Steve catches him propels him across the alley. Mike hits the wall. Quickly, he spins around and throws a punch at Steve. Steve grabs his fist. Twisting Mike’s arm around his back, he smashes Mike’s face into the wall.
STEVE
I also hate repeating myself.
MIKE
Go to hell!
STEVE
(Increasing the pressure on Mike’s arm)
Don’t make me ask again.
MIKE
You’ll pay for this! My father is the sheriff--
STEVE
Goody-goody for him. I’m shaking in my boots. Where’s Bernie?
Mike struggles.
When I get bored twisting, I’m going start breaking.
MIKE
You’ll pay for this!
STEVE
I’ve got buck and half that’s not doing nothing.
MIKE
You son of bitch!
Grabbing Mike’s hair with his free hand, he bounces his head off the wall.
STEVE
Don’t insult my mother. It’s rude. Is Bernie at the cabin?
MIKE
You got nothing!
STEVE
I’ll have your ass if you don’t start talking.
Max, Duane and two other men walk out of the bar.
MAX
Steve, I’ve got directions to the cabin.
DUANE
Bernie took us hunting there last fall.
MIKE
Shut up!
STEVE
(Twisting)
That’s not nice way to talk to a friend.
DUANE
I’m not going to stand by and do nothing. Bernie’s crazy. I remember what threatened to do.
MIKE
He was drunk!
MAX
It’s about an hour out.
STEVE
They’d be gone before we got there.
MAX
Not if he didn’t know.
(Indicating Duane and the two other men)
They’ve agreed to keep your friend company until we get back.
STEVE
You see that.
(Releasing him and shoving him toward Duane)
I’m sure they’ll take real good care of you.
(To Duane)
Don’t let him get to a phone.
DUANE
It won’t be a problem. We’re just going to drive around for a while. Maybe go out to Rich’s farm.
MIKE
You won’t get away with this. It’s kidnapping.
STEVE
I don’t see anything. Maxwell, you see anything.
MAX
Me either.
STEVE
Let’s go.
MAX
I’ll call you when we get back.
Steve and Max leave. The three other men surround Mike.
CUT
INT: CONSERVATORY: NIGHT
Tony and Renee sit together on the couch; Andrea Lee watches them from across the room.
RENEE
I’m confused.
ANDREA LEE
You usually are mother.
RENEE
Andrea please!
TONY
I know it is hard to believe.
RENEE
To say the very least.
TONY
It’s true.
RENEE
Emily would never just curse all of Stefano’s children and grandchildren. She wouldn’t hurt me!
TONY
She thinks you’re dead. We all did.
RENEE
What do you want from me?
TONY
Come back to Salem with me.
ANDREA LEE
Why?
TONY
I promised Lee I’d find you and bring you back.
RENEE
You promised Emily’s ghost?
TONY
Renee, darling you have to believe me.
RENEE
(Standing and walking away)
Tony, I’m trying. It just doesn’t make any sense.
ANDREA LEE
Since when did that ever stop you?
TONY
Have you always been so rude to your mother?
ANDREA LEE
Have you always been a bastard?
RENEE
If I go back, she’ll stop?
TONY
Yes. We think so.
RENEE
We?
TONY
Marlena and Celeste. Did you know you have a half brother and sister? Lexie and Elvis.
ANDREA LEE
Elvis? As in Presley?
RENEE
No I didn’t.
TONY
No, as in EJ Wells.
ANDREA LEE
The racecar driver?
TONY
(Nodding)
Lexie is Celeste and Stefano’s daughter. She is doctor. They both live in Salem
ANDREA LEE
It’d be worth the trip just to meet him.
RENEE
I would love to see Marlena again. I have always wanted to contact her, but father said it wouldn’t be a good idea.
TONY
Why? Marlena always cared a great deal about you.
RENEE
Father said they blamed me for your death.
TONY
(Taking her hands in his)
They would never--
RENEE
I bet my funeral was a very lonily affair. Not many people missed me. Bet there were a few who even danced on my grave.
TONY
My sweet Renee--
ANDREA LEE
Stop calling her that!
TONY
(Gently caressing her cheek)
We all missed you. Especially me.
Tony and Renee look into each other eyes.
When you died, my world ended.
ANDREA LEE
Obviously, you got over it.
TONY
(To Andrea)
Could you be a bigger bitch?
ANDREA LEE
For you, sure. I’ll put in the extra effort.
TONY
Don’t put yourself out on my account.
ANDREA LEE
Don’t worry. That’s a debt I won’t mine paying.
RENEE
I never did get a chance to say good-bye to my sister.
TONY
(Confused)
Emily was your mother.
RENEE
I know. But we were raised as sisters.
(Thinking it over)
Okay. I’ll do it.
ANDREA LEE
How gullible can one person be?
RENEE
When do you want to leave?
TONY
Immediately.
RENEE
Why so quick?
TONY
Lee has already hurt two people. She nearly killed EJ’s wife. I don’t know who else she’ll hurt if you don’t come back.
RENEE
(Walking closer to Andrea)
I see. Then I’ll pack right away. Do you want something to eat while you wait?
TONY
No. I’ll eat on the plane. How long before you’ll be ready?
RENEE
An hour. I have to make a few arrangements.
ANDREA LEE
I’ll be ready too.
TONY
You’re going?
ANDREA LEE
I wouldn’t miss it.
TONY
(Embracing Renee)
The plane will be ready.
Tony runs back through the house and out the front door.
ANDREA LEE
Have you lost your mind again?
RENEE
I don’t care what anyone says. That’s not Tony. Tony’s dead. He almost had me. Emily wouldn’t hurt anyone. She couldn’t. The moment he said she had, I knew he was lying.
ANDREA LEE
Then why are you going along with it.
RENEE
I want to see just how far Andre will take it. Besides, I haven’t been able to contact father.
ANDREA LEE
Do you think Andre knows where he is?
RENEE
I’m certain of it. Before I make him pay for murdering Tony, I’m going find out what he did to father.
CUT
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.
Sunday, November 23, 2008
Days of Our Lives: Fans Missing the Good Old Days
Fans Missing the Good Old Days
As a writer and long time viewer of Days of our Lives, I'm more than a little saddened at the lost of my beloved soap, especially when it didn't need to be. As with all soaps, the fans of Days were known to be rabidly loyal until they are given cause not to be. Since the beginning of 2007, the viewers have been given more than just cause to change the channel. Ignoring the importance of the vets and corrupting the show’s history while pandering to the younger viewer only proved that the current writers and producers simply don't understand how soap loyalty is built. Factoring in the incomplete storylines and the endless triangles, there is little wonder why the ratings dropped from 2.7 to 1.9 in four months and never really recovered.
Like most, I started watching soaps with my mother and grandmother. It was something we shared especially through the teen years when it was sometimes the only safe topic of conversation. My Mom started me with Dark Shadows with its endless cliffhangers and spooky storylines... My grade school was five blocks from home and even through the show started the same time school ended, I was able to run fast enough to make it home before end of the opening credits, which wasn't bad for a short eight year old. During that half hour, people knew not to call or stop by unless it was an emergency; after once, they new they wouldn‘t be well received.
When Dark Shadows was cancelled in 1970, Mom switched to Days of Our Lives and Another World, I naturally followed. Although, I could only watch on sick days, holidays and summer vacations, Mom kept me updated. When The Young and the Restless premiered in 1973, I briefly watched, but it simply wasn’t the same and I went back to NBC’s soaps. Even back then, I was able to see where the storylines were gong, which used to drive my Mom nuts. She had her own in house spoiler, who would tell what was going to happen days and sometimes weeks ahead.
Days has always pushed the limits. Not just the typical soap, the gothic flavor kept its storylines unique. The plots were complex and well developed. The mysteries were suspenseful, with twisting plots and believable misdirection. The romances were developed in such a way that that the sexual tension drove the fans crazy--the love stories were slowly developed with so many misses and close calls that when it was consummated the fans also smoked a cigarette. The characters were written to have more shades of gray. Alice Horton, who was the perfect everything, still helped break Roman Brady out of jail, while Stefano DiMera, the epitome of evil, was still be willing risk his own life in duel with the devil for the soul of someone he loved. Whether you loved to hate or just simple loved the characters, over the decades they have become member of the family. Unlike the other soaps, humor has always been a keystone to Day’s success. From Eugene’s unique perspective on the world to the multitude of sexual innuendos of the developing relationships, humor has been used to tease and romance the audiences. By equally balancing these elements, Days became show based on suspense, romance, drama and humor, which fans were willing to suspend their disbelief even through the space alien twins whose parentage kept changing.
Although there have been dry spots when the storylines weren’t exactly up to par and many people watched out of habit instead of real interest, it was never was as bad or lasted as long as now; nor were the long-time viewers sacrificed to favor of younger. Obviously, the writers and executive don’t know or don’t understand that the new viewers have been and always be brought in by the loyal ones. With the vet being ignored and dismissed, the writers and executives are also casting aside the viewers who have stuck with the show for decades. While they are casting their net for the tweens and teens, they have forgotten that is this their parents and grandparents who not only control how the household budget is spent; they are also the ones who have the secure incomes and the buying power the advertisers are seeking.
Daytime dramas weren’t nicknamed soaps because of their clean content, but due to their advertising base that was directed toward women who were home in the middle of the afternoon. Detergents and cleaning products of all types were the primary sponsors of daytime television. With the technological, economic and life style changes, the society has changed. Women are still the primary target audience; however, the twenty-something's are no longer the power age group. Not only have popular actors aged, but so have their fans. The typical soap viewer per the Soap Opera Digest
* working woman
* 35-44 years of age
* married
* has children
* At least a high school graduate
* With a household income over $70,000.
This demographic has no interest in teeny boppers in heat or in seeing middle-aged men lusting after the barely-legal. However, seeing older women, who still have romance and adventure in their lives gives these women hope that they will have the same. They don’t fantasize about being a whiny teen, but growing older with passion, love and adventure. Marlena and John, Bo and Hope, Maggie and Mickey, and Kayla and Steve represent this demographic’s ideal. Kate is every single woman heroine; she is intelligent, powerful and sexy enough to get the attention of every man in the room. This demographic is also the ones with the spending power to buy the cars, take the trips, and buy the luxury items as well as the household products.
With the writers strike in 2007, all the soaps suffered; however, Days took the biggest hit. Writing first as a scab, Dena Higley officially joined the staff as the head writer in March. Previously Higley had been fired from One Life to Live; her writing style not only dropped the show in the rankings, but also put her at odds with both the cast members and fans alike. Emmy Award winning actress and grand dame of One Live to Live, Erika Slezak was quotes as saying, "‘Dena doesn't care about the rich history of the show, which is evident in what she writes,’ and that Higley ‘wants to write stories that she thinks are interesting but nobody else does.’" Evidently, Higley learned nothing from her dismissal as she has carried this same thought process to Days as within weeks of her taking the helm, the ratings nosed dived from 2.7 to 1.9. Instead of competing for the top spot, Days is now found at the bottom, frequently tying for last place.
As with OLTL, Higley has totally disregarded the show’s history and established characters. Her storyline are incomplete and make no sense. From the rape victim falling in love with her attacker to the incestuous relationship between Stephanie and Max to sex in the elevator, her vision of romance more closely resembles soft porn than a soap opera. Storylines were launched only to be dropped. Neither murder mystery ever had much mystery nor did any one care about the victims or if the killers were caught. The clues made no sense as did the revelation of the murderer. She turned the strongest younger character to a psycho-stalker in a matter of weeks without any build up. Hope’s statement that she saw it coming for almost a year has no basis in fact. It was only after the fans starting pointing the finger at Melanie’s mother, who would have been portrayed by Eve Plumb, did Nick start loosing his grip on reality. Writing Alison Sweeny’s pregnancy into the show only proves how little respect Higley has for her fans. The most obvious mistake was the timing. A teen or an obese woman may not notice they are five months pregnant, but most women, especially those who had children before, would have known after their second missed moon time. Time is also a factor in the Abe for mayor storyline. Although it’s great for the character, the illogic behind the plot is staggering. There is no way a political campaign could be launched in three weeks much less the candidate win.
Higley gutted the veterans with an old, rusty knife, inflicting pain on both the actors and viewers alike. With little or nor regard for what the fans want, the veterans and favorite couples were shoved aside to give air time to younger characters. She would only have to read the boards to learn what and who the fans want and don’t want. Repeatedly the fans asked for better storylines and more air time with the vets--the real vets: Marlena, John, Bo, Hope, Kayla and Steve. By no stretch of the imagination could EJ be considered a vet; he’s only been on the show for two years. We also miss Francis Reid. We were told she was scheduled to appear, but had to decline for health reasons. It makes me wonder if she was really ill or if what was happening on the screen was making her sick. There was even a tongue-in-cheek thread where posters were asked to describe the best ways to get rid of the characters they hated. Max, Chelsea, Stephanie, and Melanie were those most often killed off, yet these are the ones Higley put front and center.
She turned the strong women of Days into spineless, wimps who have lost all direction in life. Higley simply doesn’t have a clue how to write for strong women. She turned Sami, who used take no prisoners--I’m going to get my man character into one who was indecisive and inconsistent. The real Sami wouldn’t have jumped into bed with EJ when she received Lucas letter; she would have jumped into her car and drove to the prison. Even if she would have had to break in, Sami would have gone to Lucas. Sami being Sami, she would have gotten caught. I can see it now: Roman clicking his tongue and saying, “Sami, Sami. Breaking into prison? I taught you better than that.” Not only would have it be character consistent, but if well written, it could have also been hilarious. Stephanie went from a world-class racer to worrying about where Max was; at least the scripts were ecologically responsible; they just recycled them day after day. When Marlena was given a storyline, she was either trying to save John or used as a crutch to prop up the younger characters.
I wondered why way Ken Corday keeps trying to kill John Black; you would think he has a personal grudge against the character--almost as if Corday has the same obsession with Marlena that Stefano had and is jealous of their relationship. However, Corday should be aware that Higley has ripped Stefano’s balls off and has turned him from a powerful character that controls his world into a simpering, goo-gooing secondary caricature of his former self. She has also turned EJ from strong villain, who was reminiscent of Al Pacino‘s Michael Corleone, into Sami’s whipping boy, who has no life other being part of Ejamie.
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. It seems the industry has become so inbred and arrogant that they believe no one outside their clique could possible write for soaps. Some people claim that I’m just bitter because I’m not invited the party and that I just want the fame of being the head writer. If I wanted fame there are better and easer ways to achieve it. When head writer does their job right, they spend their career making 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. Would I still like the gig? Sure, without a doubt; however, at this rate, it would be a temp job.
Trying to make this about me doesn't change the facts. Days came into 2007 with 2.7 rating within four months, they dropped to 1.9. So congratulations Higley, everyone knows your name; however, your career will always be credited with the death of an icon. By tanking Days, you have done the same to your career. Only a moron would hire you after Days is done. The cast and crew, especially the vets, will always be loved enough for the fans to not only look for them but to also follow them to whichever show picks them up. As for me, I've gone back to my projects and will have another novel coming out by the end of the year; as time and energy permits, I'll continue what I started, at least until after the ghost story.
As a writer and long time viewer of Days of our Lives, I'm more than a little saddened at the lost of my beloved soap, especially when it didn't need to be. As with all soaps, the fans of Days were known to be rabidly loyal until they are given cause not to be. Since the beginning of 2007, the viewers have been given more than just cause to change the channel. Ignoring the importance of the vets and corrupting the show’s history while pandering to the younger viewer only proved that the current writers and producers simply don't understand how soap loyalty is built. Factoring in the incomplete storylines and the endless triangles, there is little wonder why the ratings dropped from 2.7 to 1.9 in four months and never really recovered.
Like most, I started watching soaps with my mother and grandmother. It was something we shared especially through the teen years when it was sometimes the only safe topic of conversation. My Mom started me with Dark Shadows with its endless cliffhangers and spooky storylines... My grade school was five blocks from home and even through the show started the same time school ended, I was able to run fast enough to make it home before end of the opening credits, which wasn't bad for a short eight year old. During that half hour, people knew not to call or stop by unless it was an emergency; after once, they new they wouldn‘t be well received.
When Dark Shadows was cancelled in 1970, Mom switched to Days of Our Lives and Another World, I naturally followed. Although, I could only watch on sick days, holidays and summer vacations, Mom kept me updated. When The Young and the Restless premiered in 1973, I briefly watched, but it simply wasn’t the same and I went back to NBC’s soaps. Even back then, I was able to see where the storylines were gong, which used to drive my Mom nuts. She had her own in house spoiler, who would tell what was going to happen days and sometimes weeks ahead.
Days has always pushed the limits. Not just the typical soap, the gothic flavor kept its storylines unique. The plots were complex and well developed. The mysteries were suspenseful, with twisting plots and believable misdirection. The romances were developed in such a way that that the sexual tension drove the fans crazy--the love stories were slowly developed with so many misses and close calls that when it was consummated the fans also smoked a cigarette. The characters were written to have more shades of gray. Alice Horton, who was the perfect everything, still helped break Roman Brady out of jail, while Stefano DiMera, the epitome of evil, was still be willing risk his own life in duel with the devil for the soul of someone he loved. Whether you loved to hate or just simple loved the characters, over the decades they have become member of the family. Unlike the other soaps, humor has always been a keystone to Day’s success. From Eugene’s unique perspective on the world to the multitude of sexual innuendos of the developing relationships, humor has been used to tease and romance the audiences. By equally balancing these elements, Days became show based on suspense, romance, drama and humor, which fans were willing to suspend their disbelief even through the space alien twins whose parentage kept changing.
Although there have been dry spots when the storylines weren’t exactly up to par and many people watched out of habit instead of real interest, it was never was as bad or lasted as long as now; nor were the long-time viewers sacrificed to favor of younger. Obviously, the writers and executive don’t know or don’t understand that the new viewers have been and always be brought in by the loyal ones. With the vet being ignored and dismissed, the writers and executives are also casting aside the viewers who have stuck with the show for decades. While they are casting their net for the tweens and teens, they have forgotten that is this their parents and grandparents who not only control how the household budget is spent; they are also the ones who have the secure incomes and the buying power the advertisers are seeking.
Daytime dramas weren’t nicknamed soaps because of their clean content, but due to their advertising base that was directed toward women who were home in the middle of the afternoon. Detergents and cleaning products of all types were the primary sponsors of daytime television. With the technological, economic and life style changes, the society has changed. Women are still the primary target audience; however, the twenty-something's are no longer the power age group. Not only have popular actors aged, but so have their fans. The typical soap viewer per the Soap Opera Digest
* working woman
* 35-44 years of age
* married
* has children
* At least a high school graduate
* With a household income over $70,000.
This demographic has no interest in teeny boppers in heat or in seeing middle-aged men lusting after the barely-legal. However, seeing older women, who still have romance and adventure in their lives gives these women hope that they will have the same. They don’t fantasize about being a whiny teen, but growing older with passion, love and adventure. Marlena and John, Bo and Hope, Maggie and Mickey, and Kayla and Steve represent this demographic’s ideal. Kate is every single woman heroine; she is intelligent, powerful and sexy enough to get the attention of every man in the room. This demographic is also the ones with the spending power to buy the cars, take the trips, and buy the luxury items as well as the household products.
With the writers strike in 2007, all the soaps suffered; however, Days took the biggest hit. Writing first as a scab, Dena Higley officially joined the staff as the head writer in March. Previously Higley had been fired from One Life to Live; her writing style not only dropped the show in the rankings, but also put her at odds with both the cast members and fans alike. Emmy Award winning actress and grand dame of One Live to Live, Erika Slezak was quotes as saying, "‘Dena doesn't care about the rich history of the show, which is evident in what she writes,’ and that Higley ‘wants to write stories that she thinks are interesting but nobody else does.’" Evidently, Higley learned nothing from her dismissal as she has carried this same thought process to Days as within weeks of her taking the helm, the ratings nosed dived from 2.7 to 1.9. Instead of competing for the top spot, Days is now found at the bottom, frequently tying for last place.
As with OLTL, Higley has totally disregarded the show’s history and established characters. Her storyline are incomplete and make no sense. From the rape victim falling in love with her attacker to the incestuous relationship between Stephanie and Max to sex in the elevator, her vision of romance more closely resembles soft porn than a soap opera. Storylines were launched only to be dropped. Neither murder mystery ever had much mystery nor did any one care about the victims or if the killers were caught. The clues made no sense as did the revelation of the murderer. She turned the strongest younger character to a psycho-stalker in a matter of weeks without any build up. Hope’s statement that she saw it coming for almost a year has no basis in fact. It was only after the fans starting pointing the finger at Melanie’s mother, who would have been portrayed by Eve Plumb, did Nick start loosing his grip on reality. Writing Alison Sweeny’s pregnancy into the show only proves how little respect Higley has for her fans. The most obvious mistake was the timing. A teen or an obese woman may not notice they are five months pregnant, but most women, especially those who had children before, would have known after their second missed moon time. Time is also a factor in the Abe for mayor storyline. Although it’s great for the character, the illogic behind the plot is staggering. There is no way a political campaign could be launched in three weeks much less the candidate win.
Higley gutted the veterans with an old, rusty knife, inflicting pain on both the actors and viewers alike. With little or nor regard for what the fans want, the veterans and favorite couples were shoved aside to give air time to younger characters. She would only have to read the boards to learn what and who the fans want and don’t want. Repeatedly the fans asked for better storylines and more air time with the vets--the real vets: Marlena, John, Bo, Hope, Kayla and Steve. By no stretch of the imagination could EJ be considered a vet; he’s only been on the show for two years. We also miss Francis Reid. We were told she was scheduled to appear, but had to decline for health reasons. It makes me wonder if she was really ill or if what was happening on the screen was making her sick. There was even a tongue-in-cheek thread where posters were asked to describe the best ways to get rid of the characters they hated. Max, Chelsea, Stephanie, and Melanie were those most often killed off, yet these are the ones Higley put front and center.
She turned the strong women of Days into spineless, wimps who have lost all direction in life. Higley simply doesn’t have a clue how to write for strong women. She turned Sami, who used take no prisoners--I’m going to get my man character into one who was indecisive and inconsistent. The real Sami wouldn’t have jumped into bed with EJ when she received Lucas letter; she would have jumped into her car and drove to the prison. Even if she would have had to break in, Sami would have gone to Lucas. Sami being Sami, she would have gotten caught. I can see it now: Roman clicking his tongue and saying, “Sami, Sami. Breaking into prison? I taught you better than that.” Not only would have it be character consistent, but if well written, it could have also been hilarious. Stephanie went from a world-class racer to worrying about where Max was; at least the scripts were ecologically responsible; they just recycled them day after day. When Marlena was given a storyline, she was either trying to save John or used as a crutch to prop up the younger characters.
I wondered why way Ken Corday keeps trying to kill John Black; you would think he has a personal grudge against the character--almost as if Corday has the same obsession with Marlena that Stefano had and is jealous of their relationship. However, Corday should be aware that Higley has ripped Stefano’s balls off and has turned him from a powerful character that controls his world into a simpering, goo-gooing secondary caricature of his former self. She has also turned EJ from strong villain, who was reminiscent of Al Pacino‘s Michael Corleone, into Sami’s whipping boy, who has no life other being part of Ejamie.
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. It seems the industry has become so inbred and arrogant that they believe no one outside their clique could possible write for soaps. Some people claim that I’m just bitter because I’m not invited the party and that I just want the fame of being the head writer. If I wanted fame there are better and easer ways to achieve it. When head writer does their job right, they spend their career making 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. Would I still like the gig? Sure, without a doubt; however, at this rate, it would be a temp job.
Trying to make this about me doesn't change the facts. Days came into 2007 with 2.7 rating within four months, they dropped to 1.9. So congratulations Higley, everyone knows your name; however, your career will always be credited with the death of an icon. By tanking Days, you have done the same to your career. Only a moron would hire you after Days is done. The cast and crew, especially the vets, will always be loved enough for the fans to not only look for them but to also follow them to whichever show picks them up. As for me, I've gone back to my projects and will have another novel coming out by the end of the year; as time and energy permits, I'll continue what I started, at least until after the ghost story.
Saturday, November 22, 2008
Days of Our Lives: Why it will be Cancelled
Days of Our Lives: The Numbers Don't Lie
By
Theresa Chaze
Even though the ink isn’t even dry the new agreement, which renews Days of Our Lives until September 2010, there are already rumors that the soap is living on borrowed time. The non-traditional 18-month contract along with executive producer, Ken Corday, agreeing to make onscreen changes, including adjustments to the cast list, could herald the end of Days as the long-time fans’ wishes continue to be ignored.
Days was the top ranking soap for years, placing first or second in the overall standings until March 2007. With the disappearance of John Black (Drake Hogestyn), the attempted forced pairing of a rapist and victim, who's the daddy and the Colleen/Santo storylines offended many of the viewers. Their dissatisfaction was dramatically reflected in the ratings. While Days came into 2008 with a high of 2.7 and a low of 2.5, by April, the highest ranking was 2.1 with a low of 1.9.
Dena Higley officially joining the Days staff as the head writer in March 2008; however, it was reported that she was one of the scab writers who ghost wrote Days during the strike. Although she inherited rankings that ranged from 2.0 to 2.4, her writing style has only served hasten the drop in the rankings. Even though she was able to bring back both John Black and Stefano, her propensity to focus on romantic triangles and to only write for the characters or couples she likes gained her no favor with the viewers.
August 6, 2007 Corday Productions announced the Emmy award winning producer, Ed Scott, would be joining the Day of Our Lives team as co-executive producer. Ken Corday was quoted as saying, "Ed comes with more than 20 years experience with The Young and the Restless and brings a new, vibrant, creative energy and strength to this all-important position of leadership,"
Instead of working together to improve Days, Higley and Scott chose to ignore both the shows history and the fans favorite characters.. The Colleen/Santo story, although it had the potential of being a wonderfully romantic and suspenseful tale in its own right, was instead turned into a way of forcing the pairing of EJ and Sami down the viewers' throats. The DiMera Vendetta was not only another ploy to support Ejamie as the couple had been nicknamed, but it was also used to kill off Shawn Sr. and John Black. It also totally disregarded the show's history and characters' family backgrounds. The viewers expressed their displeasure as the ratings continued to drop.
In addition the veteran actors were pushed aside in favor of the younger generation; the campus rapist and the Sorority house was intended to attract younger viewers. Intention and reality were never on the same page. Instead of attracting younger viewers, the storyline drove away the loyal long-time fans. September, October and November registered the worse ratings of 2008 with September and October bottoming out at 1.8 while November did little better with 1.9. With the return of the vets, John Black as well as Tony and Anna DiMera, the ratings once again began to climb. January through April of 2008, Days gained .4, bringing it to a high of 2.4 and returning it to third place.
With the backstage conflicts between Scott and Higley spilling out not only on the set but out into rumor mill, the personality and professional conflicts between them came to a head when Higley reportedly quit, accusing Scott of rewriting her scripts and encouraging the actors to do the same. Corday convinced Higley to remain; Scott was fired. .
Gary Tomlin was chosen as Scott’s replacement. A soap opera veteran, Tomlin has worked as an actor, director, writer and producer. Again, Corday expressed his utmost confidence and faith in his new choice, promising that Tomlin‘s "...long successful history of being an actor's producer and a writer's producer to our cast and crew and I know the viewers will see the immediate results of this change for the better." However, months later that promise has yet to be fulfilled.
Except for a brief bump in the ratings that herald the return of Stefano, portrayed by Joseph Mascolo, the ratings remain flat and near the bottom of the list. Instead, leading the genre in ratings and awards, Days suddenly finds itself at the bottom with their highest rankings in 2008 equaling that of it’s lows in 2006. In the three months Tomlin has acted as the co-executive producer, Days’ ratings haven’t risen above a 2.0 and fourth place. From the two murder whodunits where no one cares who did or who died to the once again back burning vets in favor of new characters, the fans have had few kind words for either Higley or Tomlin.
Corday Productions seem to have difficulty learning from their past mistakes. With the soap on life support, Corday has chosen once again to shake up the cast by releasing popular actors, while adding younger talent. It has been recently rumored that Drake Hogestyn will be once again leaving the show along with Jay Kenneth Johnson. At the beginning of 2007 when Corday disregarded the fans wishes, Days fell from first to fourth (2.7 to 1.9) within four months; at this point, there is no place left to fall except off the air.
Leave a comment be entered to win one of my novels.
By
Theresa Chaze
Even though the ink isn’t even dry the new agreement, which renews Days of Our Lives until September 2010, there are already rumors that the soap is living on borrowed time. The non-traditional 18-month contract along with executive producer, Ken Corday, agreeing to make onscreen changes, including adjustments to the cast list, could herald the end of Days as the long-time fans’ wishes continue to be ignored.
Days was the top ranking soap for years, placing first or second in the overall standings until March 2007. With the disappearance of John Black (Drake Hogestyn), the attempted forced pairing of a rapist and victim, who's the daddy and the Colleen/Santo storylines offended many of the viewers. Their dissatisfaction was dramatically reflected in the ratings. While Days came into 2008 with a high of 2.7 and a low of 2.5, by April, the highest ranking was 2.1 with a low of 1.9.
Dena Higley officially joining the Days staff as the head writer in March 2008; however, it was reported that she was one of the scab writers who ghost wrote Days during the strike. Although she inherited rankings that ranged from 2.0 to 2.4, her writing style has only served hasten the drop in the rankings. Even though she was able to bring back both John Black and Stefano, her propensity to focus on romantic triangles and to only write for the characters or couples she likes gained her no favor with the viewers.
August 6, 2007 Corday Productions announced the Emmy award winning producer, Ed Scott, would be joining the Day of Our Lives team as co-executive producer. Ken Corday was quoted as saying, "Ed comes with more than 20 years experience with The Young and the Restless and brings a new, vibrant, creative energy and strength to this all-important position of leadership,"
Instead of working together to improve Days, Higley and Scott chose to ignore both the shows history and the fans favorite characters.. The Colleen/Santo story, although it had the potential of being a wonderfully romantic and suspenseful tale in its own right, was instead turned into a way of forcing the pairing of EJ and Sami down the viewers' throats. The DiMera Vendetta was not only another ploy to support Ejamie as the couple had been nicknamed, but it was also used to kill off Shawn Sr. and John Black. It also totally disregarded the show's history and characters' family backgrounds. The viewers expressed their displeasure as the ratings continued to drop.
In addition the veteran actors were pushed aside in favor of the younger generation; the campus rapist and the Sorority house was intended to attract younger viewers. Intention and reality were never on the same page. Instead of attracting younger viewers, the storyline drove away the loyal long-time fans. September, October and November registered the worse ratings of 2008 with September and October bottoming out at 1.8 while November did little better with 1.9. With the return of the vets, John Black as well as Tony and Anna DiMera, the ratings once again began to climb. January through April of 2008, Days gained .4, bringing it to a high of 2.4 and returning it to third place.
With the backstage conflicts between Scott and Higley spilling out not only on the set but out into rumor mill, the personality and professional conflicts between them came to a head when Higley reportedly quit, accusing Scott of rewriting her scripts and encouraging the actors to do the same. Corday convinced Higley to remain; Scott was fired. .
Gary Tomlin was chosen as Scott’s replacement. A soap opera veteran, Tomlin has worked as an actor, director, writer and producer. Again, Corday expressed his utmost confidence and faith in his new choice, promising that Tomlin‘s "...long successful history of being an actor's producer and a writer's producer to our cast and crew and I know the viewers will see the immediate results of this change for the better." However, months later that promise has yet to be fulfilled.
Except for a brief bump in the ratings that herald the return of Stefano, portrayed by Joseph Mascolo, the ratings remain flat and near the bottom of the list. Instead, leading the genre in ratings and awards, Days suddenly finds itself at the bottom with their highest rankings in 2008 equaling that of it’s lows in 2006. In the three months Tomlin has acted as the co-executive producer, Days’ ratings haven’t risen above a 2.0 and fourth place. From the two murder whodunits where no one cares who did or who died to the once again back burning vets in favor of new characters, the fans have had few kind words for either Higley or Tomlin.
Corday Productions seem to have difficulty learning from their past mistakes. With the soap on life support, Corday has chosen once again to shake up the cast by releasing popular actors, while adding younger talent. It has been recently rumored that Drake Hogestyn will be once again leaving the show along with Jay Kenneth Johnson. At the beginning of 2007 when Corday disregarded the fans wishes, Days fell from first to fourth (2.7 to 1.9) within four months; at this point, there is no place left to fall except off the air.
Leave a comment be entered to win one of my novels.
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