Showing posts with label daytime TV. Show all posts
Showing posts with label daytime TV. Show all posts
Wednesday, February 25, 2009
Sunday, October 05, 2008
Writing and Producing a Soap Opera
Writing and Producing Soap Operas
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Saturday, April 19, 2008
If I was the head writer at Day of our Lives
INT: DEMERIA STUDY: AFTERNOON
Sami is standing in front of Stephano's portrait, staring up at it. Unseen by her, John walks in and goes to get a cigar.
JOHN
(Taking a cigar out of the box)
What's up Little Blondie?
SAMI
(Startled)
John? I didn't hear you come in.
John walks up beside her.
It gives me the creeps.
JOHN
It’s just a picture.
SAMI
It’s Stephano’s picture. Just like this house.
JOHN
It’s my house now.
SAMI
It’s still the same creepy place.
JOHN
You think I’m creepy.
SAMI
You didn’t use to be.
JOHN
But I am now?
SAMI
I didn’t say that.
JOHN
But you think my house is creepy?
SAMI
It’s still Stephano’s house. Look around. You didn’t change anything. You haven’t changed anything. The portrait up of the man who stole your life is still hanging like shrine.
John looks up at the picture.
JOHN
You don’t like the picture.
SAMI
Stephano isn’t here. But he’s still feels like he’s the lord of the manor.
JOHN
It’s my house now.
SAMI
Is it? Then why haven’t you changed anything?
JOHN
I like it the way it is.
SAMI
You and Mom always had a home of love. It was bright and alive. It was always a safe place.
JOHN
And this isn’t?
SAMI
It’s a mausoleum. A monument to all the DiMera secrets.
JOHN
Does your mother feel the same way?
SAMI
How could she not?
JOHN
Do you want me to raze the place and start over? We’d all be looking for a place to live.
SAMI
You could start by taking that thing down.
JOHN
(Taking the portrait off the wall)
Now what?
SAMI
I can think of a better use of the match than lighting that cigar.
JOHN
Waste of a nice frame.
EJ walks into the room
EJ
What are you doing with my father’s portrait?
JOHN
We’re deciding that now. It could make fine dartboard.
EJ
Put it back.
JOHN
Little Blondie doesn’t like it.
EJ
I don’t care. Put it back.
(Grabbing the portrait)
He is still my father!
SAMI
He’s the monster that tormented my family. Growing up I never knew from one day to the next which of my parents were going to disappear. One day, they told my dad was dead. But then no. His alive, but he looks different. Then mom’s gone. Then she’s back. Then my dad isn’t my dad any more; he’s John. My first dad is my day again, but he looks different. Why? Stephano. If it wasn’t for him, I’d grown up with both my parents. If it wasn’t for him, I be living happily with all my children and the love of my life!
JOHN
Isn’t he the love of your life?
SAMI
Get real.
JOHN
You are staying with him why?
SAMI
I don’t want my twins to grow up like I had to.
EJ
I’ll be there for all of you.
SAMI
You can’t replace Lucas. .
JOHN
You got me thinking.
EJ
Scary thought.
JOHN
You are right. I do need to make some changes. You are going to help me.
SAMI
What can I do?
JOHN
You know what Blondie likes? Turn this into a place she can call home. Money’s no object.
SAMI
Are you serious?
EJ
This is still my father house.
JOHN
It’s my house. Get use to it kid.
(Shouting)
Rolf!
ROLF
(Running in)
What is it?
JOHN
Get rid of that.
ROLF
Stephano’s portrait?
EJ
I’ll take care of it
JOHN
Get it out of my house.
Angrily EJ carries the painting out of the room.
Rolf, I have a new job for you. We’re going to be redecorating.
ROLF
I’m not an interior designer.
JOHN
Learn how to diversify..
CUT
INT: DIMERA HOUSE HALLWAY: LATE AFTERNOON
Sami and Rolf walks down carrying a note pad and the baby monitor. She looks at the windows and makes a few notes. Turning, toward the door, she tried to open it. It’s locked.
SAMI
Rolf. I can’t open this door.
ROLF
(Nervous)
It stays locked.
SAMI
What’s on the other side?
ROLF
(Pulling her away)
The west wing. Nobody goes there.
SAMI
Why?
ROLF
I have other duties to attend to. Excuse me.
Rolf rapidly leaves. Confused, Sami tries to open the door.
INT: DIMERA STUDY: EARLY EVENING
John is on the phone. Sami walks in.
JOHN
Right. Just take care of it. I’ll expect an update tomorrow
(Hangs up the phone)
Well, what do you think?
SAMI
I couldn’t get into the other wing of the house. The door was locked.
JOHN
Did you ask Rolf for the key?
SAMI
He wouldn‘t open it.
JOHN
Rolf!
EJ
(Walking in)
His in the kitchen.
JOHN
Where is the key to the west wing?
EJ
It’s off limits.
JOHN
That’s not what I asked. Rolf!
SAMI
Why?
ROLF
I’m coming.
(Entering the room)
I was getting the wine for dinner.
JOHN
Where is the key to the door to the west wing?
ROLF
No one is to go there. Stephano’s orders.
SAMI
Why? What’s in there?
EJ
I don’t know.
JOHN
I want the key.
ROLF
I don’t know where it is.
JOHN
Rolfie, why is that I don’t believe you.
EJ
I’m telling you not to go there. It’s not safe.
JOHN
You said you don’t know what’s there.
EJ
Father had his reasons.
JOHN
(Walking toward the door)
Anyone else curious?
SAMI
You don’t have a key.
JOHN
I don’t need no stinking key.
SAMI
(Following)
Good point.
CUT
INT: DIMERA HALLWAY OUTSIDE west WING DOOR: EARLY EVENING
John is picking the lock while Sami watches.
JOHN
Just about...got it.
EJ
(Running down the hall)
Don’t do it!
JOHN
(Turning the knob)
To late junior
The door swings open to a large dark room. The last rays of the day filter between the curtains. The furniture is covered. The room is decorated more feminine than the rest of the house. It appears to have been closed off for a long time.
CUT
INT: ROOM IN WEST WING: EARLY EVENING
From the perspective of near the ceiling, John, Sami and EJ are seen in the doorway. The perspective circles around the room focusing on John and Sami as they walk in the door. EJ refuses to enter
EJ
Don’t go in there.
SAMI
It’s all musty.
EJ
I beg you.
JOHN
What are you afraid of Elvis?
EJ
Sami, for the sake of your children.
JOHN
What secrets did Stephano hide here?
SAMI
Maybe you should say who did he hide here?
JOHN
It wasn’t me. My accommodations were as grand.
SAMI
(Walking to EJ)
So whom did your father lock up here?
The perspective stops and focuses on EJ
My mother? Did her keep her here? Or did he kidnap another woman?
EJ
I don’t know Samantha. I just know you have to get out of there
EJ reaches for her. The perspective rush at him, knocking him backwards onto the floor. He wipes the blood from his nose. Stunned, EJ stares at her.
Why did you hit me!
SAMI
I didn’t.
JOHN
(Looking from EJ to Sami)
You’re stronger than you look.
CUT
INT: CARVER LIVING ROOM: EARLY EVENING
Celeste walking down the stairs after putting Theo to bed. Reaching the bottom stair, she suddenly stops and fearfully looks around.
CELESTE
Something is wrong. I can feel it.
She picks up her Tarot deck. Queen of Sword fall on the table
What does this mean?
The Tower drops beside it. The front door slams open. Celeste doubles over in pain.
Oh, my God! The seal has been broken!
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Sami is standing in front of Stephano's portrait, staring up at it. Unseen by her, John walks in and goes to get a cigar.
JOHN
(Taking a cigar out of the box)
What's up Little Blondie?
SAMI
(Startled)
John? I didn't hear you come in.
John walks up beside her.
It gives me the creeps.
JOHN
It’s just a picture.
SAMI
It’s Stephano’s picture. Just like this house.
JOHN
It’s my house now.
SAMI
It’s still the same creepy place.
JOHN
You think I’m creepy.
SAMI
You didn’t use to be.
JOHN
But I am now?
SAMI
I didn’t say that.
JOHN
But you think my house is creepy?
SAMI
It’s still Stephano’s house. Look around. You didn’t change anything. You haven’t changed anything. The portrait up of the man who stole your life is still hanging like shrine.
John looks up at the picture.
JOHN
You don’t like the picture.
SAMI
Stephano isn’t here. But he’s still feels like he’s the lord of the manor.
JOHN
It’s my house now.
SAMI
Is it? Then why haven’t you changed anything?
JOHN
I like it the way it is.
SAMI
You and Mom always had a home of love. It was bright and alive. It was always a safe place.
JOHN
And this isn’t?
SAMI
It’s a mausoleum. A monument to all the DiMera secrets.
JOHN
Does your mother feel the same way?
SAMI
How could she not?
JOHN
Do you want me to raze the place and start over? We’d all be looking for a place to live.
SAMI
You could start by taking that thing down.
JOHN
(Taking the portrait off the wall)
Now what?
SAMI
I can think of a better use of the match than lighting that cigar.
JOHN
Waste of a nice frame.
EJ walks into the room
EJ
What are you doing with my father’s portrait?
JOHN
We’re deciding that now. It could make fine dartboard.
EJ
Put it back.
JOHN
Little Blondie doesn’t like it.
EJ
I don’t care. Put it back.
(Grabbing the portrait)
He is still my father!
SAMI
He’s the monster that tormented my family. Growing up I never knew from one day to the next which of my parents were going to disappear. One day, they told my dad was dead. But then no. His alive, but he looks different. Then mom’s gone. Then she’s back. Then my dad isn’t my dad any more; he’s John. My first dad is my day again, but he looks different. Why? Stephano. If it wasn’t for him, I’d grown up with both my parents. If it wasn’t for him, I be living happily with all my children and the love of my life!
JOHN
Isn’t he the love of your life?
SAMI
Get real.
JOHN
You are staying with him why?
SAMI
I don’t want my twins to grow up like I had to.
EJ
I’ll be there for all of you.
SAMI
You can’t replace Lucas. .
JOHN
You got me thinking.
EJ
Scary thought.
JOHN
You are right. I do need to make some changes. You are going to help me.
SAMI
What can I do?
JOHN
You know what Blondie likes? Turn this into a place she can call home. Money’s no object.
SAMI
Are you serious?
EJ
This is still my father house.
JOHN
It’s my house. Get use to it kid.
(Shouting)
Rolf!
ROLF
(Running in)
What is it?
JOHN
Get rid of that.
ROLF
Stephano’s portrait?
EJ
I’ll take care of it
JOHN
Get it out of my house.
Angrily EJ carries the painting out of the room.
Rolf, I have a new job for you. We’re going to be redecorating.
ROLF
I’m not an interior designer.
JOHN
Learn how to diversify..
CUT
INT: DIMERA HOUSE HALLWAY: LATE AFTERNOON
Sami and Rolf walks down carrying a note pad and the baby monitor. She looks at the windows and makes a few notes. Turning, toward the door, she tried to open it. It’s locked.
SAMI
Rolf. I can’t open this door.
ROLF
(Nervous)
It stays locked.
SAMI
What’s on the other side?
ROLF
(Pulling her away)
The west wing. Nobody goes there.
SAMI
Why?
ROLF
I have other duties to attend to. Excuse me.
Rolf rapidly leaves. Confused, Sami tries to open the door.
INT: DIMERA STUDY: EARLY EVENING
John is on the phone. Sami walks in.
JOHN
Right. Just take care of it. I’ll expect an update tomorrow
(Hangs up the phone)
Well, what do you think?
SAMI
I couldn’t get into the other wing of the house. The door was locked.
JOHN
Did you ask Rolf for the key?
SAMI
He wouldn‘t open it.
JOHN
Rolf!
EJ
(Walking in)
His in the kitchen.
JOHN
Where is the key to the west wing?
EJ
It’s off limits.
JOHN
That’s not what I asked. Rolf!
SAMI
Why?
ROLF
I’m coming.
(Entering the room)
I was getting the wine for dinner.
JOHN
Where is the key to the door to the west wing?
ROLF
No one is to go there. Stephano’s orders.
SAMI
Why? What’s in there?
EJ
I don’t know.
JOHN
I want the key.
ROLF
I don’t know where it is.
JOHN
Rolfie, why is that I don’t believe you.
EJ
I’m telling you not to go there. It’s not safe.
JOHN
You said you don’t know what’s there.
EJ
Father had his reasons.
JOHN
(Walking toward the door)
Anyone else curious?
SAMI
You don’t have a key.
JOHN
I don’t need no stinking key.
SAMI
(Following)
Good point.
CUT
INT: DIMERA HALLWAY OUTSIDE west WING DOOR: EARLY EVENING
John is picking the lock while Sami watches.
JOHN
Just about...got it.
EJ
(Running down the hall)
Don’t do it!
JOHN
(Turning the knob)
To late junior
The door swings open to a large dark room. The last rays of the day filter between the curtains. The furniture is covered. The room is decorated more feminine than the rest of the house. It appears to have been closed off for a long time.
CUT
INT: ROOM IN WEST WING: EARLY EVENING
From the perspective of near the ceiling, John, Sami and EJ are seen in the doorway. The perspective circles around the room focusing on John and Sami as they walk in the door. EJ refuses to enter
EJ
Don’t go in there.
SAMI
It’s all musty.
EJ
I beg you.
JOHN
What are you afraid of Elvis?
EJ
Sami, for the sake of your children.
JOHN
What secrets did Stephano hide here?
SAMI
Maybe you should say who did he hide here?
JOHN
It wasn’t me. My accommodations were as grand.
SAMI
(Walking to EJ)
So whom did your father lock up here?
The perspective stops and focuses on EJ
My mother? Did her keep her here? Or did he kidnap another woman?
EJ
I don’t know Samantha. I just know you have to get out of there
EJ reaches for her. The perspective rush at him, knocking him backwards onto the floor. He wipes the blood from his nose. Stunned, EJ stares at her.
Why did you hit me!
SAMI
I didn’t.
JOHN
(Looking from EJ to Sami)
You’re stronger than you look.
CUT
INT: CARVER LIVING ROOM: EARLY EVENING
Celeste walking down the stairs after putting Theo to bed. Reaching the bottom stair, she suddenly stops and fearfully looks around.
CELESTE
Something is wrong. I can feel it.
She picks up her Tarot deck. Queen of Sword fall on the table
What does this mean?
The Tower drops beside it. The front door slams open. Celeste doubles over in pain.
Oh, my God! The seal has been broken!
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Wednesday, November 07, 2007
The Writers's Strike Best Think For Days Of Our Lives
The Writer’s Strike Best Thing For Days Of Our Lives
The writers strike could be the best thing that happened to the daytime serial, Days of Our Lives. Their hack writers have taken an award winning show from first place to nearly dead last. Their story ideas are worn out, they are degrading to women and they lack the suspense and freshness that the soap was based on for decades.
Anybody remember Another World. When the network was trying to cancel it, they had the writers kill off Carl and dreadful stories with characters going against their history and the morals. Any of this sounding familiar? From Sami "loving her rapist" to the murder of John, the writers have been chipping away at the foundation of the show so the network can substitute a cheaper talk show. I've been watching since Doug and Julie were the super couple. Back when Alice Horton broke Roman out of jail, the storylines enhanced the characters, now the writers are breaking down decades of traditions. If they had any creativity at all, they could have easily found a storyline for John and Marlena other than them necking in public. They keep focusing on the younger characters, ignoring the fact that most younger people follow the parents' soap viewing traditions. The more you ignore the characters we grew up with, the more annoyed the fans will be come and the faster the ratings will drop.
Drake Hogestyn as John has been a favorite character from the beginning. He was always a knight in shining armor and a true hero. Deidre Hall as Marlena Evans has been his equal. Together they have shared love and faced the devil. In life and death, they have been an exciting and romantic couple. Killing the character off was just simply stupid and has left a void in the show. Just like the killing of Carl in Another World, the lost of the character has left a void in the show that will not easily be filled. But there is a way to fix it. The last few weeks could have simply been one of Celeste's visions. The vision ends and Celeste arrives in time to save John. It is not as bad as the way Dallas brought Bobby back, but it would work within the show.
I love Allison is a fabulous actress; she does marvelous work making Sami grow and develop. But the whole idea of Sami marrying her rapist is a sexist, male driven view of the world. When women are raped, they don't fall in love with the men who have violated them. Some claim that it wasn't rape. Let see, she could either sleep with EJ or let Lucas die? She didn't have a choice. By definition, rape is a being forced to have sex. He didn't use a weapon, but he still raped her all the same. The whole storyline is absurd. It is a throw back to stupid romance novels where the woman is forcibly carried off and held hostage only to fall in love with the capture. Women are not prizes or possessions. There is nothing romantic about being raped. Sami doesn't forgive easily--true. EJ raped her. Shot John. Blackmailed her. The list goes on. The fact that she didn't drop the match and finish it all only shows how she has grown as a character. If she went back to being the old Sami, she would seek to revenge on the person who caused her pain, which would be EJ. She would make his life a living hell. If the writers actually knew any history of the show, there is a big old lie that would break Sami and Lucus up if it came out. If EJ used it, he would actually have a chance. But then again the writer would actually have to do...research and work
It is the whole cast that make the show work. Killing John was simply stupid. Not using Marlena is even worse. Patch and Kayla, Bo and Hope, the list under valued talent goes on. There is so many more interesting story ideas available--if they had writers who had even one creative bone in their collective body, the show would be first. They have the creative talent, they have the history, they have the best tech people--and the absolute worse writers. Rumor has it that they have enough scripts until February. It the producers had any brains or the will to keep the show on the air, they would seek alternative writers who had the creativity to undue the damage that has already been done.
The writers strike could be the best thing that happened to the daytime serial, Days of Our Lives. Their hack writers have taken an award winning show from first place to nearly dead last. Their story ideas are worn out, they are degrading to women and they lack the suspense and freshness that the soap was based on for decades.
Anybody remember Another World. When the network was trying to cancel it, they had the writers kill off Carl and dreadful stories with characters going against their history and the morals. Any of this sounding familiar? From Sami "loving her rapist" to the murder of John, the writers have been chipping away at the foundation of the show so the network can substitute a cheaper talk show. I've been watching since Doug and Julie were the super couple. Back when Alice Horton broke Roman out of jail, the storylines enhanced the characters, now the writers are breaking down decades of traditions. If they had any creativity at all, they could have easily found a storyline for John and Marlena other than them necking in public. They keep focusing on the younger characters, ignoring the fact that most younger people follow the parents' soap viewing traditions. The more you ignore the characters we grew up with, the more annoyed the fans will be come and the faster the ratings will drop.
Drake Hogestyn as John has been a favorite character from the beginning. He was always a knight in shining armor and a true hero. Deidre Hall as Marlena Evans has been his equal. Together they have shared love and faced the devil. In life and death, they have been an exciting and romantic couple. Killing the character off was just simply stupid and has left a void in the show. Just like the killing of Carl in Another World, the lost of the character has left a void in the show that will not easily be filled. But there is a way to fix it. The last few weeks could have simply been one of Celeste's visions. The vision ends and Celeste arrives in time to save John. It is not as bad as the way Dallas brought Bobby back, but it would work within the show.
I love Allison is a fabulous actress; she does marvelous work making Sami grow and develop. But the whole idea of Sami marrying her rapist is a sexist, male driven view of the world. When women are raped, they don't fall in love with the men who have violated them. Some claim that it wasn't rape. Let see, she could either sleep with EJ or let Lucas die? She didn't have a choice. By definition, rape is a being forced to have sex. He didn't use a weapon, but he still raped her all the same. The whole storyline is absurd. It is a throw back to stupid romance novels where the woman is forcibly carried off and held hostage only to fall in love with the capture. Women are not prizes or possessions. There is nothing romantic about being raped. Sami doesn't forgive easily--true. EJ raped her. Shot John. Blackmailed her. The list goes on. The fact that she didn't drop the match and finish it all only shows how she has grown as a character. If she went back to being the old Sami, she would seek to revenge on the person who caused her pain, which would be EJ. She would make his life a living hell. If the writers actually knew any history of the show, there is a big old lie that would break Sami and Lucus up if it came out. If EJ used it, he would actually have a chance. But then again the writer would actually have to do...research and work
It is the whole cast that make the show work. Killing John was simply stupid. Not using Marlena is even worse. Patch and Kayla, Bo and Hope, the list under valued talent goes on. There is so many more interesting story ideas available--if they had writers who had even one creative bone in their collective body, the show would be first. They have the creative talent, they have the history, they have the best tech people--and the absolute worse writers. Rumor has it that they have enough scripts until February. It the producers had any brains or the will to keep the show on the air, they would seek alternative writers who had the creativity to undue the damage that has already been done.
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