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Showing posts with label CBS Daytime. Show all posts
Showing posts with label CBS Daytime. Show all posts
Wednesday, February 10, 2010
In The Zone: Soap Talk Days, B & B, Y & R
A weekly talk show discussing the best and worst of all things entertainment -- from soap operas, primetime, reality tv, music, film -- it's all there.
On Friday, February 12, 2010, Soap Opera Source will debut our newest feature, the SOS Pulse -- our weekly online poll for soap fans to vote for their favorite daytime stars and soap couples! Polls will open Fridays at 4PM and close Mondays at 4PM. The top five vote getters will be revealed on Wednesdays.
http://soapoperasource.com/blog/soaps/sos-to-debut-new-weekly-poll.html
Friday, August 7, 2009
Buzz Worthy Radio: Elvera Roussel
Elvera Roussel, formerly Hope Bauer Spaulding from CBS Daytime's Guiding Light, will be making her first out of two appearances on BuzzWorthy Radio! Roussel will be joining us to talk about her time on the show during the golden years, and also what she has been up to since she left the show in 1984. Her 2nd appearance, Roussel will be posing as guest co-host for our GL tribute show, to air on BWR August 18, 2009 at 1 PM EST! Guests who are slated to attend are Krista Tesreau (Mindy Lewis), Denise Pence (ex-Katie Parker 1977-1985), and Judi Evans (ex-Beth Raines 1983-1986). We also will be featuring a GL commentary from Mimi Torchin as well, with more guests to be added to the roster. Stay tuned for more information.
http://www.blogtalkradio.com/buzzworthyradio/2009/08/10/BuzzWorthy-Radio-Elvera-Roussel
BuzzWorthy Radio
Call-in Number: (646) 595-4228
Upcoming Show: 8/10/2009 1:00 PM
http://www.blogtalkradio.com/buzzworthyradio/2009/08/10/BuzzWorthy-Radio-Elvera-Roussel
BuzzWorthy Radio
Call-in Number: (646) 595-4228
Upcoming Show: 8/10/2009 1:00 PM
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
Monday, May 18, 2009
What's in a Name?
For those who have been visiting my blog, you will notice a change in the title. Originally, a Days of Our Lives Blog, it has now been expanded to include other venues. Whether or not Days of Our Lives survives the current writing staff, I have moved on to other projects, which will be posted here along with other television news.
Many say that soap operas have outlived their time. That the fans have lost interest in the genre. That is so far from true. The only changes have been in the board rooms and in technology. The fans are just as loyal as ever; however, their viewership has changed.
The major difference is that they are no longer limited to viewing according the networks schedule. With the Internet, delayed viewing and Soapnet, people have more options of when and how to watch, which has been reflected in the ratings. In the past, soaps were a consistent and stable source of income for the networks. In many cases, they financially carried prime time TV; however, the current members of the board rooms choose to over look the genre's financial history and the loyalty of the fan base.
Part of the problem comes from the soaps as well. Originally, the writing in soaps was unique and fresh. They pushed the limits and addressed social issues. Many of the firsts in television happened in the soap opera genre. Nearly all the soaps have lost this edge. Instead, the writers and executive producers are attempting to compete with the more explicit content of the cable networks. T and A sells short term, but it is well written storylines and characters that keep viewer coming back.
The original three networks had an monopoly. No other network or venue can compete with the decades of loyalty the soaps had. Soap viewing is generational; unlike any other genre or venues, it is handed down from grandparents and parents to the future generation. Many people have fond memories of watching with their mother or grandmother. However, these days most of those same people will not allow their children to watch due solely to the inappropriate content.
I fully believe that if the soaps were to return to the basic that their profitability would again make the board rooms see them as assets to be nurtured, instead of liabilities to be replaced. It is still possible. But it is going to take one person with the courage and financial resources to prove it.
Many say that soap operas have outlived their time. That the fans have lost interest in the genre. That is so far from true. The only changes have been in the board rooms and in technology. The fans are just as loyal as ever; however, their viewership has changed.
The major difference is that they are no longer limited to viewing according the networks schedule. With the Internet, delayed viewing and Soapnet, people have more options of when and how to watch, which has been reflected in the ratings. In the past, soaps were a consistent and stable source of income for the networks. In many cases, they financially carried prime time TV; however, the current members of the board rooms choose to over look the genre's financial history and the loyalty of the fan base.
Part of the problem comes from the soaps as well. Originally, the writing in soaps was unique and fresh. They pushed the limits and addressed social issues. Many of the firsts in television happened in the soap opera genre. Nearly all the soaps have lost this edge. Instead, the writers and executive producers are attempting to compete with the more explicit content of the cable networks. T and A sells short term, but it is well written storylines and characters that keep viewer coming back.
The original three networks had an monopoly. No other network or venue can compete with the decades of loyalty the soaps had. Soap viewing is generational; unlike any other genre or venues, it is handed down from grandparents and parents to the future generation. Many people have fond memories of watching with their mother or grandmother. However, these days most of those same people will not allow their children to watch due solely to the inappropriate content.
I fully believe that if the soaps were to return to the basic that their profitability would again make the board rooms see them as assets to be nurtured, instead of liabilities to be replaced. It is still possible. But it is going to take one person with the courage and financial resources to prove it.
Sunday, May 3, 2009
BuzzWorthy Radio: Kelley Menighan Hensley, Emily Stewart,
BuzzWorthy Radio: Kelley Menighan Hensley!
Date / Time: 5/4/2009 4:30 PM eastern
http://www.blogtalkradio.com/buzzworthyradio
Kelley Menighan Hensley, Emily Stewart on CBS Daytime's As The World Turns, will be making an appearance on BuzzWorthy Radio! Never without her Chanel No. 5, Emmy-nominated Hensley has also been organizing a fundraiser for St. Judes. Martha Byrne, Michael Park, and both Kelley and Jon are scheduled to attend the Inaugural Angels for Hope Gala on Friday, May 29 from 7 p.m. to 11 p.m. at The Estate at Florentine Gardens, which is located at 97 Rivervale Road in River Vale, NJ. Tickets are $200 and visit www.stjude.org/angelsforhope.com or call (212) 239-3239 for reservations.
Date / Time: 5/4/2009 4:30 PM eastern
http://www.blogtalkradio.com/buzzworthyradio
Kelley Menighan Hensley, Emily Stewart on CBS Daytime's As The World Turns, will be making an appearance on BuzzWorthy Radio! Never without her Chanel No. 5, Emmy-nominated Hensley has also been organizing a fundraiser for St. Judes. Martha Byrne, Michael Park, and both Kelley and Jon are scheduled to attend the Inaugural Angels for Hope Gala on Friday, May 29 from 7 p.m. to 11 p.m. at The Estate at Florentine Gardens, which is located at 97 Rivervale Road in River Vale, NJ. Tickets are $200 and visit www.stjude.org/angelsforhope.com or call (212) 239-3239 for reservations.
Friday, May 1, 2009
Wednesday, April 15, 2009
Days of Our Live: Wedding Part 3
I promised the fans on the NBC boards that I would do a special storyline. Here it is. It's called The Wedding. Fans of Tony and Anna will particularly enjoy it. It was going to be in two parts; however that has changed. The storyline is taking longer than expected because I'm putting more detail into it and frankly I've been working on other projects.
I've really enjoyed writing the script and bringing back the good, old Days. It is just very sad that the current writers can't do the same. Sex is not romance. Just because a man beds her, it doesn't mean he loves her, which is what Days has become. If I had been given the opportunity, I would have taken Days back to the basics. There wouldn't be the big debate over which man Sami would chose. Eventually I would bring her and Lucas back together, but not until after they had work through their own issues. They both would have been given plots of their own. Sami would have gone back to school to get her high school diploma and on to college. She would have proven that just because you drop out of school to have a child, it doesn't mean that you can't go back. Lucas would have become involved first with helping the Wounded Warriors, before taking over the Horton Foundation. Moving in with Alice would have set them on the path to becoming the new Alice and Tom. A woman from Stefano's past would have not only given him a new love interest, but she would have been an equal partner in crime. EJ and Ava would have become involved with the corruption in the horse industry; they never would be truly good guys, but they also wouldn't be the evil couple in town. Steve and Max would continue to help find missing children, including the granddaughter when her abusive father kidnaps her. Roman and Alyssa would slowly fall in love. There would be the murders that happened John and Marlena's house would be investigated and solved. I would have brought back old friends and new characters who would have been slowly developed. Since there was no Trent in my universe, there would be no Melanie. Without either, Nick would still be on the show. I would have paired him with Eugene to work on the new energy source.
You don't have to break couples up to keep them interesting. In writing 101, you learn that there four traditional conflict themes to both short stories and novels, however I have added a fifth.
Man against himself
Man against man
Man against nature
Man against God or spirituality
Man against Fate or Karma
If a writer is creative, it is easy to ways to keep couples together and interesting at the same time.
Days could have and should have so much more to offer. It's too bad that it won't be given the opportunity that Betty and Ken Corday gave it. Soaps aren't loosing fan; 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. Thank you for your support and the courage to keep trying to achieve my dream.
http://www.theresachaze.com/files/Dayswedding.pdf
http://www.theresachaze.com/files/dayswedding2.pdf
http://www.theresachaze.com/files/dayswedding3.pdf
There are two new posts, which finishes the ghost story.
Here is the new posting http://www.theresachaze.com/files/days3-20-09.pdf
This is the final chapter in the ghost story.http://www.theresachaze.com/files/days3-21-09.pdf
There will be one more special posting soon.
However, if you are just starting to read the script, you will want to start at the next link in order to understand the plots. 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.
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
http://www.theresachaze.com/files/days2-16-09.pdf
http://www.theresachaze.com/files/Days3-8-09.pdf
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
Episode on:
http://www.theresachaze.com/files/DOOLepione.pdf
Episode two: http://www.theresachaze.com/files/dayseptwo.pdf
I've really enjoyed writing the script and bringing back the good, old Days. It is just very sad that the current writers can't do the same. Sex is not romance. Just because a man beds her, it doesn't mean he loves her, which is what Days has become. If I had been given the opportunity, I would have taken Days back to the basics. There wouldn't be the big debate over which man Sami would chose. Eventually I would bring her and Lucas back together, but not until after they had work through their own issues. They both would have been given plots of their own. Sami would have gone back to school to get her high school diploma and on to college. She would have proven that just because you drop out of school to have a child, it doesn't mean that you can't go back. Lucas would have become involved first with helping the Wounded Warriors, before taking over the Horton Foundation. Moving in with Alice would have set them on the path to becoming the new Alice and Tom. A woman from Stefano's past would have not only given him a new love interest, but she would have been an equal partner in crime. EJ and Ava would have become involved with the corruption in the horse industry; they never would be truly good guys, but they also wouldn't be the evil couple in town. Steve and Max would continue to help find missing children, including the granddaughter when her abusive father kidnaps her. Roman and Alyssa would slowly fall in love. There would be the murders that happened John and Marlena's house would be investigated and solved. I would have brought back old friends and new characters who would have been slowly developed. Since there was no Trent in my universe, there would be no Melanie. Without either, Nick would still be on the show. I would have paired him with Eugene to work on the new energy source.
You don't have to break couples up to keep them interesting. In writing 101, you learn that there four traditional conflict themes to both short stories and novels, however I have added a fifth.
Man against himself
Man against man
Man against nature
Man against God or spirituality
Man against Fate or Karma
If a writer is creative, it is easy to ways to keep couples together and interesting at the same time.
Days could have and should have so much more to offer. It's too bad that it won't be given the opportunity that Betty and Ken Corday gave it. Soaps aren't loosing fan; 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. Thank you for your support and the courage to keep trying to achieve my dream.
http://www.theresachaze.com/files/Dayswedding.pdf
http://www.theresachaze.com/files/dayswedding2.pdf
http://www.theresachaze.com/files/dayswedding3.pdf
There are two new posts, which finishes the ghost story.
Here is the new posting http://www.theresachaze.com/files/days3-20-09.pdf
This is the final chapter in the ghost story.http://www.theresachaze.com/files/days3-21-09.pdf
There will be one more special posting soon.
However, if you are just starting to read the script, you will want to start at the next link in order to understand the plots. 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.
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
http://www.theresachaze.com/files/days2-16-09.pdf
http://www.theresachaze.com/files/Days3-8-09.pdf
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
Episode on:
http://www.theresachaze.com/files/DOOLepione.pdf
Episode two: http://www.theresachaze.com/files/dayseptwo.pdf
Monday, April 13, 2009
In the Zone Radio: Soap Talk
In The Zone Radio
"In The Zone" is an interactive, live Internet talk-radio show that focuses on entertainment such as soaps, primetime & reality TV, music and more. The show airs Mondays, Wednesdays & Fridays nights at 10PM/EST for 90 minutes.
In The Zone Radio
Date / Time: 4/13/2009 10:00 PM eastern
Call-in Number: (347) 996-5978
http://www.blogtalkradio.com/inthezoneradio
"In The Zone" is an interactive, live Internet talk-radio show that focuses on entertainment such as soaps, primetime & reality TV, music and more. The show airs Mondays, Wednesdays & Fridays nights at 10PM/EST for 90 minutes.
In The Zone Radio
Date / Time: 4/13/2009 10:00 PM eastern
Call-in Number: (347) 996-5978
http://www.blogtalkradio.com/inthezoneradio
Tuesday, April 7, 2009
BuzzWorthy Radio: Campaigning to Save GUIDING LIGHT!
BuzzWorthy Radio: GUIDING LIGHT!
BuzzWorthy Radio
Date / Time: 4/8/2009 10:30 PM
Call-in Number: (646) 595-4228
http://www.blogtalkradio.com/buzzworthyradio
Join BuzzWorthy Radio as we talk about the latest developments regarding Guiding Light. Hear Tracey Smeltzer on her campaign to keep the show on the air, as well as others discuss on how they felt when they heard the news of the cancellation. Fans are urged to call in and show their support of the show, as well as their favorite moments of the daytime drama! Be sure to also listen in for information on what you can do to keep GL on the air.
BuzzWorthy Radio
Date / Time: 4/8/2009 10:30 PM
Call-in Number: (646) 595-4228
http://www.blogtalkradio.com/buzzworthyradio
Join BuzzWorthy Radio as we talk about the latest developments regarding Guiding Light. Hear Tracey Smeltzer on her campaign to keep the show on the air, as well as others discuss on how they felt when they heard the news of the cancellation. Fans are urged to call in and show their support of the show, as well as their favorite moments of the daytime drama! Be sure to also listen in for information on what you can do to keep GL on the air.
Monday, April 6, 2009
The Fallacy of Soap Opera Ratings
The Fallacy of Soap Opera Ratings
By
Theresa Chaze
The cancellation of Guiding Light only proves that the network executives don’t understand their own industry. Soap operas are the only genre where they have a true monopoly. It is the single aspect of programming that independent and cable networks simply don’t have a way to compete. To say that the soaps were grandfathered into our lives is into an understatement. Before VCRs or DVR’s, viewers planned their schedules around their favorite TV shows, including soap operas. If they were forced to miss, they found a fellow addict to catch them up or waited for the rerun. Soaps by their very nature don‘t rerun episodes, therefore their viewers became the most loyal and reliable in the industry, making them also a consistent form of income for the networks with their own built in sponsorship consortium.
During television’s infancy, most people only had access to three stations. Competition for viewers was low in comparison to today. This was the era that soap operas were born and their fan base established. It was the guilty pleasure that no one would admit to watching, yet everyone knew what was happening. After school and on vacations, children watched and became addicted to the shows their mothers and grandmothers watched. It is a legacy of fond memories that the children of the 1960s forward have carried into their adulthood.
Although viewership has always been consistent and loyal, it has always been also under reported by Nielsen; people simply didn’t always want to admit they watched soap operas. Even through society and technology has changed, Nielsen’s way of reporting has not. They do not acknowledge delayed viewing, which has become the primary means of watching daytime programming for those who work from 9 to 5. Instead of upgrading their accounting systems to more accurate methods, they continue to use the diaries and equipment that fail to account for delayed or remote viewing.
This statistical over sight has made it appear that the genre is no longer an asset to the networks. This is far from the truth. One would only have to look at the popularity of the fan events, the merchandizing and the demand for interviews with the soap stars to see that their fan base is not only enthusiastic, but actively growing. Fans love their soaps and their stars enough to spend their time, their money and their energy on them. The peripheral businesses make hundreds of million dollars from around the world from fans that simply cannot get enough of their favorite soap.
Yet the sponsor and the networks look only at the ratings without putting them into proper context. The ratings of the past were higher due to the lack of competition for viewers. When the pie is only split three ways, all the pieces are bigger. Cable and satellite networks now give viewers more options for programming, thereby increasing the number of slices in the pie. So the question that must be both asked and answered is--are the lower rating for soap operas just a natural result of the increased division of viewers or is the genre run its course? As long as the comparisons aren’t made on a level playing field, the information they yield cannot be accurate. Before a network makes the irreversible decision to cancel a soap opera, thereby infuriating the fans base, it really needs to compare the ratings across the board for that day part. To do less could very easily cost them a valuable asset.
By
Theresa Chaze
The cancellation of Guiding Light only proves that the network executives don’t understand their own industry. Soap operas are the only genre where they have a true monopoly. It is the single aspect of programming that independent and cable networks simply don’t have a way to compete. To say that the soaps were grandfathered into our lives is into an understatement. Before VCRs or DVR’s, viewers planned their schedules around their favorite TV shows, including soap operas. If they were forced to miss, they found a fellow addict to catch them up or waited for the rerun. Soaps by their very nature don‘t rerun episodes, therefore their viewers became the most loyal and reliable in the industry, making them also a consistent form of income for the networks with their own built in sponsorship consortium.
During television’s infancy, most people only had access to three stations. Competition for viewers was low in comparison to today. This was the era that soap operas were born and their fan base established. It was the guilty pleasure that no one would admit to watching, yet everyone knew what was happening. After school and on vacations, children watched and became addicted to the shows their mothers and grandmothers watched. It is a legacy of fond memories that the children of the 1960s forward have carried into their adulthood.
Although viewership has always been consistent and loyal, it has always been also under reported by Nielsen; people simply didn’t always want to admit they watched soap operas. Even through society and technology has changed, Nielsen’s way of reporting has not. They do not acknowledge delayed viewing, which has become the primary means of watching daytime programming for those who work from 9 to 5. Instead of upgrading their accounting systems to more accurate methods, they continue to use the diaries and equipment that fail to account for delayed or remote viewing.
This statistical over sight has made it appear that the genre is no longer an asset to the networks. This is far from the truth. One would only have to look at the popularity of the fan events, the merchandizing and the demand for interviews with the soap stars to see that their fan base is not only enthusiastic, but actively growing. Fans love their soaps and their stars enough to spend their time, their money and their energy on them. The peripheral businesses make hundreds of million dollars from around the world from fans that simply cannot get enough of their favorite soap.
Yet the sponsor and the networks look only at the ratings without putting them into proper context. The ratings of the past were higher due to the lack of competition for viewers. When the pie is only split three ways, all the pieces are bigger. Cable and satellite networks now give viewers more options for programming, thereby increasing the number of slices in the pie. So the question that must be both asked and answered is--are the lower rating for soap operas just a natural result of the increased division of viewers or is the genre run its course? As long as the comparisons aren’t made on a level playing field, the information they yield cannot be accurate. Before a network makes the irreversible decision to cancel a soap opera, thereby infuriating the fans base, it really needs to compare the ratings across the board for that day part. To do less could very easily cost them a valuable asset.
Thursday, April 2, 2009
In the Zone Radio: Guiding Light Cancellation
On tonight's show we discuss the sad news of GL's cancellation and how and who will be effected by the loss of the 72 year old soap.
Tuesday, March 17, 2009
Nia Peeples Interview
She first came to our collective attention as spunky dancer Nicole on the classic '80s television series "Fame," and we've loved her in all her various incarnations --- TV host, pop singer, butt-kicking action star, and respected actress --- ever since. Now having a blast on "The Young and the Restless" (for which she just received an Image Award nomination), the sensational Nia Peeples is dropping by the Buzz to discuss her latest projects and her extraordinary career!
Saturday, March 7, 2009
Days of Our Lives 3-8-09
Newest post:
Here is the new posting http://www.theresachaze.com/files/Days3-8-09.pdf
However, if you are just starting to read the script, you will want to start at the next link in order to understand the plots. 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.
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
http://www.theresachaze.com/files/days2-16-09.pdf
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
Episode on:
http://www.theresachaze.com/files/DOOLepione.pdf
Episode two: http://www.theresachaze.com/files/dayseptwo.pdf
If you like what you are reading and would like me to take over as head writer, please contact the following:
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
Here is the new posting http://www.theresachaze.com/files/Days3-8-09.pdf
However, if you are just starting to read the script, you will want to start at the next link in order to understand the plots. 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.
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
http://www.theresachaze.com/files/days2-16-09.pdf
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
Episode on:
http://www.theresachaze.com/files/DOOLepione.pdf
Episode two: http://www.theresachaze.com/files/dayseptwo.pdf
If you like what you are reading and would like me to take over as head writer, please contact the following:
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
Tuesday, February 17, 2009
BuzzWorthy Radio: Beth Chamberlin!
Beth Chamberlin, who plays the role of Beth Raines on CBS Daytime's Guiding Light, will be making her second appearance on BuzzWorthy Radio! Beth will be discussing the recent return of Phillip Spaulding, played by Grant Aleksander, as well as what is in store for her character as well as more returns along the way.
Sunday, February 8, 2009
Buzz Worthy Radio: Eileen Davidson
Eileen Davidson, who has returned home to Genoa City as Ashley Abbott on CBS Daytime's The Young and the Restless, will be making her 2nd appearance on BuzzWorthy Radio! Davidson will be talking about her new book, "Death in Daytime," which can be ordered at www.amazon.com, as well as what is coming up with Ashley on the daytime drama!
To listen or participate in the show please go to http://www.blogtalkradio.com/buzzworthyradio
http://www.eileendavidson.org/
Call-in Number: (646) 595-4228
Upcoming Show: 2/10/2009 3:00 PM
However to fully participate in the show, you will need to sign up in advance for a free account at www.blogtalkradio.com
Tuesday, February 3, 2009
Days of Our Lives
Here is the deal. On January 23, I participated in the protect fax campaign; only instead of just contacting Corday Productions, I faxed NBC Corporate and Sony Picture. I couldn't find the phone number for GE so I called Jeffrey Immelt. His assistant was very nice and took a message. Later that day, I Katie from NBC Corporate called and left a message, including her unlisted office phone number. She didn't give me any details but asked that I call her back. I thought finally, I have the ear of someone who get me in the door for a job interview.
Monday, I called back and left a message. Tenacious isn't my issue, patience is. When she hadn't called back by Tuesday afternoon, I again left a message. Even though I'm very persistent, I'm also a realist. I waited and focused on other projects. Yesterday, I again called, only this time Katie answered the phone. I explained I was returning her phone call; she didn't know what I was talking about. She just started a new job and she didn't do that any more, but she would refer me to the person who did. After which, she hung up on me. Me being me, I called back and this time she forwarded the call. Once again I left a message. Not very professional by any stretch of the imagination.
Although, I would dearly love the head writer gig and would be very good at it, the realist part of me has kicked in. With the firing of Thaao Penghlis, proves that NBC, Sony and Ken Corday want Days of Our Lives cancelled. Their actions prove that they would rather force a cheap programming down the viewers throat and hope they swallow, than actually bring the fans back with quality shows. So be it.
There are other networks, who aren't afraid to give the viewers what they want and are still able to make a profit. They know that quality cost, but in the long run the profits are so much greater. Those networks will make it through these financially challenging times; however, the small-minded, short-term thinking of NBC, Sony and Corday Productions will only lead them to be left behind. With hundreds of channels and even more entertainment options, why would anyone stick with a company who produces crap?
It's too bad. I think Days and I could have been a good match. I love the show and know it well. But that show doesn't exist any more; it's been hacked up and replaced by teen porn. So forward to better hunting grounds, cause the world has a multitude of possibilities for a person who is creative enough to think outside the box and has the courage to go for it.
This blog will still be updated. I have promised to finish the ghost story. I am a person of my word. Plus, I will be jumping ahead to scenes that would have happened if I had continued writing for a couple of months. Fans of Thaao Penghlis, Deidre and Drake will especially be interested. In addition I will start writing about other soaps--cause you ain't seen nothing yet.
Monday, I called back and left a message. Tenacious isn't my issue, patience is. When she hadn't called back by Tuesday afternoon, I again left a message. Even though I'm very persistent, I'm also a realist. I waited and focused on other projects. Yesterday, I again called, only this time Katie answered the phone. I explained I was returning her phone call; she didn't know what I was talking about. She just started a new job and she didn't do that any more, but she would refer me to the person who did. After which, she hung up on me. Me being me, I called back and this time she forwarded the call. Once again I left a message. Not very professional by any stretch of the imagination.
Although, I would dearly love the head writer gig and would be very good at it, the realist part of me has kicked in. With the firing of Thaao Penghlis, proves that NBC, Sony and Ken Corday want Days of Our Lives cancelled. Their actions prove that they would rather force a cheap programming down the viewers throat and hope they swallow, than actually bring the fans back with quality shows. So be it.
There are other networks, who aren't afraid to give the viewers what they want and are still able to make a profit. They know that quality cost, but in the long run the profits are so much greater. Those networks will make it through these financially challenging times; however, the small-minded, short-term thinking of NBC, Sony and Corday Productions will only lead them to be left behind. With hundreds of channels and even more entertainment options, why would anyone stick with a company who produces crap?
It's too bad. I think Days and I could have been a good match. I love the show and know it well. But that show doesn't exist any more; it's been hacked up and replaced by teen porn. So forward to better hunting grounds, cause the world has a multitude of possibilities for a person who is creative enough to think outside the box and has the courage to go for it.
This blog will still be updated. I have promised to finish the ghost story. I am a person of my word. Plus, I will be jumping ahead to scenes that would have happened if I had continued writing for a couple of months. Fans of Thaao Penghlis, Deidre and Drake will especially be interested. In addition I will start writing about other soaps--cause you ain't seen nothing yet.
Saturday, January 31, 2009
Days of Our Lives--Getting the Kinks out
Here's the deal. I am cleaning up and formatting the script that I have already posted into the correct format. I will be using it as resume material to get a writing gig on one of the other soaps. Although much of it will be familiar who have been keeping up, there have been a reshuffling of the scenes as well as some tweaking. Originally, I put little effort into the scrip, especially in the beginning. This better reflects me as a professional writer. However, since the program I am using doesn't have a spell check, there may still be some typos. If you see any, please let me know in the comments section. Thanks.
http://www.theresachaze.com/files/DOOLepione.pdf
Previously posted:
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
If you like what you are reading and would like me to take over as head writer, please contact the following:
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
http://www.theresachaze.com/files/DOOLepione.pdf
Previously posted:
This is what I previously posted on the NBC Days boards not all of the posting are in the current proper format
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
http://www.geocities.com/tirgana/days12-30-08.pdf
http://www.geocities.com/easternguardian/days1-20-09
If you like what you are reading and would like me to take over as head writer, please contact the following:
Corday Productions Fax number
818)840-4968
Production phone number: 818-295-2820
Sony Pictures owns the rights to Days
Michael Lynton
Chairman & CEO, Sony Pictures Entertainment
Amy Pascal
Co-Chairman, Sony Pictures Entertainment
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
Phone: (310) 244-4000
Fax: (310) 244-2626
another phone line: 310-244-5722
NBC
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
The GE Building at Rockefeller Plaza is NBC's corporate headquarters\
Phone: 212-664-4444. Fax: 212-664-4085
GE information
Jeffrey Immelt, CEO
General Electric Company
3135 Easton Turnpike
Fairfield, CT 06828
(203) 373-2211
Soap Opera Fans: Mad as Hell and They Aren't Going to Take it Any More
Soap Opera Fans: Mad as Hell and They Aren't Going to Take it Any MoreBy
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Saturday, January 17, 2009
Writers: Only One Creative Element in Successful Television
Writers: Only One Creative Element in Successful Television
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
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