Showing posts with label Sara Bibel. Show all posts
Showing posts with label Sara Bibel. Show all posts

Saturday, April 25, 2009

Rafe: And so it begins...

ETA: The incredible Anthony D. Langford has started a "Rafe's Story" series on Youtube. I have embedded the first video just beneath the photo.





If you watched the Friday 4/24/09 episode of Y&R, you heard this dialogue:

Lily: Hey, you're gonna find someone. You have to just get back out there. I thought you were gonna go on that, um, that dating site.

Colleen: (Scoffs) yeah, I have.

Lily: And? What do you think so far?

Colleen: Eh.

Lily: (Whispering) hey, do you remember the lawyer that helped ana?

Colleen: (Whispering) yes, I remember. He's cute.

Lily: (Normal voice) hey, rafe.

[snip]

Lily: Yeah. Thank you. Um, so, what's a, uh, a good-looking guy like you doing all alone on a friday night?

Rafe: Um, I'm heading to a, uh, friend's birthday party.

Lily: Uh, are you going with anyone?

Colleen: (Clears throat)

Rafe: Actually, no.

[snip]

Colleen: Bye.

Lily: Bye.

Rafe: Good seeing you.

Colleen: (Chuckles) she's subtle, isn't she?

Rafe: Obviously, she doesn't know I'm gay.

Colleen: Well, matchmaker Lily strikes again.

Rafe: Hey, it's the thought that counts, right?

Colleen: Right. But, you know, we should still check out that bar. We could look for guys together. (Laughs)

Rafe: (Laughs) definitely. It's a date.

and later:

J.T.: That rafe seems like a pretty cool dude.

Colleen: Yeah, he is.

J.T.: It's good to see you dating again.

Colleen: (Chuckles) we are just friends.

J.T.: Oh, give it some time. I'm sure he won't be able to resist you.

Colleen: Oh, I'm sure he will. You, on the other hand...

J.T.: What about me?

Colleen: Much more his type.

J.T.: Uh... oh. Oh. (Chuckles) hey, you taking off?

Rafe: Mm. I got court tomorrow.

J.T.: All right.

Rafe: It was good seeing you, J.T.

J.T.: Yeah, you, too, man.

Rafe: Good night.

Colleen: Bye.

Rafe: Bye.

Colleen: This was fun.

Rafe: We'll come back soon, go trolling together.

Colleen: (Clicks tongue) it's a date.

Rafe: All right. See you guys.

Colleen: (Laughs)

And with that, Y&R launched it's first gay storyline since Katherine Chancellor took a liking to Joanne, back in 1977.

The introduction of the story was...subtle. Rafe's gayness was introduced without controversy...it is an aspect of him, like hair color or eye color. Moreover, although there was a moment of discomfort with Colleen and JT (both of them were a little surprised...the default expectation still reasonably remains "straightness"), it quickly passed. There was no judgement.

Some critics have complained that making a recurring, non-central character is a "cheat", and demonstrates a lack of commitment to the show. But which of their hitherto-straight characters should they turn gay?

The proof will be in the pudding, as we see which characters Rafe hooks up with, and how truly committed the story seems to be to telling his story.

I'm not worried about Rafe's current status. The Williams family was originally introduced in the same way (on the back of recurring island character Paul Williams). So too was the Winters family (Olivia and later Dru were introduced around recurring Aunt Mamie, the Abbott maid...and went on to become a key family for Y&R for many years). So, since Rafe is already tied to the Newman concierge, Estella, I'm hopeful this could lead to the introduction of a whole hispanic/latino family. If the story flows, the character will grow.

It is delicious to speculate where Rafe might find love. My picture at the top of this post sort of signals my wishes...in part because I'd just love to see the boys in bed together. I'm being truthful. It seems like it'd be a delicious sight...for male and female fans :).

The trick will be tying Rafe to a family we care about.

If it is Adam, many of us like him, and he is tied to the Newmans. Maybe finally being honest about his (bi)sexuality will free Adam, and bring him to the light. So it works.

If it is Billy (my wild speculation, since he and Rafe were school friends), it means Rafe is on a wild ride with the town man- whore...again, that will make many of us care.

If it is Phillip IV, that works too...because while we don't know adult Phillip, we saw him conceived, born, and fought over. He's a real lynchpin character, and returning into the maelstrom of the Abbott-Chancellors these days will be interesting. He's already been defined as interesting, because he's a returning soldier. We know he didn't go to Iraq for money (Nina's loaded), which means he did it for "call of duty"...and that makes him instantly interesting to me. If he's a gay "don't ask-don't tell soldier"...and a "hero"...what a truly interesting and innovative character. If, then, as P-IV is introduced to us, he also finds love .. with Rafe...well, I'm popping the corn for that as we speak!

I doubt it is JT. That would be a hard pretzel to twist. On the other hand, we saw Thad play gay (or, maybe, opportunistically bisexual) on Nip/Tuck, and the boy has glutes-of-steel. So, if that is the ride we're going on, bring it on.

The only one I refuse to believe it will be is Kevin (Michael's too old for this arc...they're not going there...he's happy with Lauren). I am totally in agreement that Kevin COULD go that way...it's clear he has spent his life confused, and a lot of his emotions for women were animus, not love. His best female relationships (Mac, Amber) were pure platonic friendship with no real sexual overtones (though I intuit that will change). And Jana...well....there isn't a lot of sexual chemistry there. The actors (Emily O'Brien and Greg Rikaart) even admitted that...they're not the couple that are shown in bed together. And with Jana's headaches, it seems either the couple has more of a "soul connection" (her headaches are his pain), or it's a doomed romance. Either way, it could be Kevin.

But here is why I don't want it to be Kevin. 'Cause Kevin is SCREWED UP. What a message to perpetuate..."the screwed up guy is the fag". That just feeds into too much stuff. On the other hand, I suppose if the arc is "when Kevin admits his sexuality, he is finally free", I will buy it. But I'd really hope not.

Right now, my hopes are (1) Adam, (2) the to-be-seen Phillip IV.

The question is whether we'll get gay bed scenes on Y&R -- something ATWT has so far avoided. (Brothers and Sisters, finally last week, showed a bona fide shirtless kissing/foreplay scene, and I admit even I was scandalized...simply because we'd NEVER seen something like that on primetime before). I doubt Y&R will go there...but they were so beautifully nonchalant about Rafe's sexuality...it was like eye color...I'm hopeful everything about this arc will be natural, realistic, not so unhealthy.

My one worry is the Bell family experience with "disgust" and massive viewer tune-out in the late 1970s. Let's see how they deal with that this time. I think it means there will be a cautious, subtle introduction to this story...and activist gay viewers need to be patient and just go along for the ride. There is much to be rewarded by trust.

Sunday, April 19, 2009

Ratings in context: Soaps near bottom, but slower decline

Roger Newcomb recently linked an article reporting the recent March Sweeps ratings performance (both household rating, and one-year or season-to-date trends) of syndicated daytime and early prime shows. I decided to ask the question of "where do soaps fit in?". I had two questions. First, compared to other genres, how does the average ratings of soaps compare? Second, how does the one-year change rate compare? The answers follow in detail, but in summary, soaps really aren't doing very well in the overall daytime landscape, but their bleeding seems to have slowed. Other genres (judge shows, sitcoms) declined faster in the past year, but because they are cheaper and pull better numbers (sitcoms, anyway), I imagine they might still be more viable.


These answers were a little surprising to me, because I don't pay much attention to other genres. As a caveat, I am showing brute averages, and it would probably be more correct to do weighted averages that adjust for numbers of viewers, etc. In addition, these focus on household ratings numbers (which is all I could get, for the most part)--when we're constantly told it is that 18-49 or 18-34 demo we care more about.

Sitcoms: HH = 3.3
1st Hour morning news (e.g., Today): HH = 3.2
Game Shows: HH = 3.2
Entertainment news (e.g., ET): HH = 2.6
Soaps: HH = 2.2
Talk shows: HH = 2.1
Judge shows: HH = 1.6


That's pretty striking. In terms of delivering eyeballs, the relatively expensive soaps are in the bottom half of daily stripped programming! Yikes! If you were a bean counter, what genre would you pick to deliver eyeballs? Probably not a long-running drama that skews old in the demographics.


Now, the one-year decline trends tell a slightly different story...but this is again a bit of a problematic analysis (because it mixes new programs with long-running shows, and it doesn't control for things like affiliate clearance rates and the like). Still, I think several interesting stories emerge from these numbers:


Sitcoms: -13%
Game Shows: -7%
Entertainment news (e.g., ET): -3%
Soaps: 0%
Talk shows: +3%
Judge shows: -13%

First, in the short term, the soaps seem to have bottomed out, something Sara Bibel has also recently wondered. While we have still seen declines in many shows (B&B, GH, ATWT, GL), these have been offset by minimal decline and gain for others (Y&R, DOOL, AMC, OLTL).

Second, the highest decline rates seem to be for judge shows and sitcoms...but both of these are so relatively cheap. The judge shows, both at the bottom of the ratings pack and with the steepest descent, would seem to be at greatest risk...but they cost so little. The sitcom decline is more interesting to me, since the era of the "grand hit" (Friends, Cosby, Seinfeld) is over, and so I don't know if that genre can flourish without another big primetime hit. On the other hand, since there are no incremental production costs for repurposing and stripping primetime shows, I think all it means is that affiliates will be able to license syndicated shows at a lower rate.

Third, there is enormous variability within genres. That talk genre has some shows that show big to huge gains (Oprah, Ellen, The Doctors, Steve Wilkos, Bonnie Hunt), and these all suggest the talk genre still has momentum. On the other hand, no sitcom, judge show, or game show showed gain...and that suggests that some of those genres may be even more stale than soaps. Still, because those other genres are cheap, I'd still predict they have a better shot of persisting than soaps. The celebrity fascination is still viable, with several gossip/entertainment news shows showing growth.Maybe Soapnet is right to bet on more celebrity-oriented fare? It is somewhat surprising that 'reality' has still not found a foothold on daytime.








































































































































































































































































































Wheel of Fortunea

7.2

-8%

Jeopardy

5.8

-6%

Oprah

5.4

+10%

Two and a Half Men

4.8

-8%

Judge Judy

4.4

-6%

Entertainment Tonight

4.3

-2%

Today Show (1st hour)b

4.2








Family Guy4.0-13%
The Young and
the
Restlessc

3.7

-1%

Seinfeld

3.6

-12%

The Viewd

3.5








Dr Phil

3.5

-17%

Good Morning America (1st hour)

3.4








Everybody Loves Raymond

3.1

-16%

The Price is Righte3.0








Inside Edition

3.0

-6%

George Lopez

2.8

-13%

King of Queens

2.8

-7%

King of the Hill

2.7

-17%

Live with Regis & Kelly

2.6

-4%

Friends2.5-14%
Today (2nd hour)

2.5








The Bold and
the
Beautiful

2.5

-9%

Who Wants to Be a Millionaire

2.4

-14%

Ellen Degeneres

2.3

+10%

TMZ

2.3

+5%

Judge Joe Brown

2.2

-12%

Access Hollywood2.2-4%
Days of
Our Lives

2.2

+2%

CBS Early Show (1st hour)

2.1








All My
Children

2.0

+12%

One Life
to Live

2.0+11%
General Hospital

2.0-7%
The Doctors

1.9

+46%

People's Court1.9-17%
As The World
Turns

1.9

-7%

Rachel Ray

1.8

-5%

Maury

1.8

-5%

Extra

1.8

+6%

Insider

1.8

-14%

Deal or No Deal

1.7

+6%

Judge Mathis1.6-20%
Guiding Light

1.6

-4%

Judge Alex

1.5

-12%

Family Feud

1.5

-21%

Today (3rd hour)

1.4








Divorce Court

1.4

-18%

Tyra

1.1

0%

Cristina's Court

1.1

-8%

Jerry Springer

1.1

-8%

Steve Wilkos

1.1

+22%

Bonnie Hunt

1.0

+25%

Judge Karen

0.9

-18%

Morning Show with Mike and Juliet0.9-10%
Judge David Young0.80%
Martha Stewart0.7-30%
Trivial Pursuit0.60%
Family Court0.5-17%



a Ratings and change data taken from http://www.broadcastingcable.com/article/196222-Syndication_Ratings_Doctors_Ahead_of_the_Pack_in_Rookie_Field_During_Sweeps.php; where the show had been on for less than a year, ratings reflected change since premier

b Morning show ratings taken from http://nbcumv.com/release_detail.nbc/news-20090409000000-big039today039.html One year change data were not readily available.

c Soap opera season to date ratings taken from Soap Opera Network, http://boards.soapoperanetwork.com/index.php?s=&showtopic=30056&view=findpost&p=704665. One year change rates computed from one-year change in total viewers as reported at SON

d The View ratings taken from ABC daytime press release http://tvbythenumbers.com/2009/04/09/sweeps-ratings-for-abc-daytime-programming/16404, total viewers = 4,100,000. HH rating estimated by linear regression (Rating = viewers), using data from Soap Opera Network (see footnote c above). The conversion formula was Rating = .096 + 7.081E-7*Viewers. One year change data were not readily available.

e. The Price is Right ratings were averaged over Part 1 and
Part 2(first and second half hour), and reflect season-to-date as reported in January at http://www.medialifemagazine.com/artman2/publish/Dayparts_update_51/Price_is_Right_falls_off_with_new_host.asp, total viewers = 4,800,000. HH rating estimated by linear regression (Rating = viewers), using data from Soap Opera Network (see footnote c above). The conversion formula was Rating = .096 + 7.081E-7*Viewers. One year change data were not readily available.




Saturday, April 4, 2009

Jess Walton "hysteria"? I think not!



I adore Sara Bibel's blog. She has this no-bullshit way of cutting through the melodrama (a task I fail at) and sort of offering an incisive analysis. She is usually spot-on, because she blends industry knowledge, phenomenological experience from the Y&R creative team, and a history as a ratings analyst. That ivy-league education doesn't hurt either.

But Sara espoused something about the recent Jess Walton contract negotiations that I disagree with. (For those not following every twist, Y&R issued a recasting call for "Jill", ostensibly because Walton was 'under the weather'. Sources indicated, however, that it was really part of a tense negotiation between Walton and Sony/Bell/Y&R in which TPTB sought to lower Walton's episode guarantee and/or rate. The recast notice was publicized by Soap Opera Digest last Friday, but by late Monday, initial word came that Walton had re-signed. In other words, one side or both blinked).

Sara said this:

Jess Walton is leaving The Young & The Restless because she’s sick! No, it’s because the show is going to cut her appearances to once a month and her salary to minimum wage! Deidre Hall is going to take over the role. No, Anna Stuart. Actually, Jessica Lange and Goldie Hawn are going to dye their hair and split the role in a casting coup. Even though the show can’t afford Walton. Wait, Walton just signed a new deal. Nevermind.

As for l’affaire de Walton, it seems like it was a standard contract negotiation that unfortunately played out in the press. Unfortunately, everyone in daytime is being asked to take pay cuts these days. Hell, everyone in America is. Nobody likes them. Rest assured, your favorite soap star won’t be showing up at your local food bank anytime soon. They’re still making six figures, just less than they were before. Soaps often take the step of putting out casting calls for recasts when actors balk. It isn’t a friendly tactic. Sometimes it backfires (see Byrne, Martha). But, it often makes people sign on the dotted line. That’s what happened here. The winner, in this case, in the audience who gets to keep watching Walton in the meatiest storyline she has had in years.
Hmmm. Internet over-reaction? Excessive support for an actress during 'customary' negotiations? After all, she won't go hungry (says the previously self-titled 'unemployed' writer).

My view on this is completely different. I think that "l'affaire Walton" demonstrates the new engaged, activist audience, and there are many lessons in the furious weekend of Walton scribblings. At Soap Opera Network, half the posters changed their avatars to Walton images for the weekend!

For the record, the word "hysteria" I use below is the connotation I took from Bibel's piece (and other writers and posters from the same period), and is NOT a quote.

1. Fans had a right to mistrust. A frequent term was the "ABC-Dification of Y&R"...used to refer to the fact that veterans on ABC have been set to recurring or low guarantees...and then become non-viable. This has happened trans-genre.
2. It was compounded by the fact that the LUMINOUS, REMARKABLE, BEST-WORK-OF-HER-CAREER Walton was finally back on the front burner after five years of -- ahem -- misguided storytelling. Now, finally, when Michael Jordan is back and scoring, you're gonna even THREATEN to cut him from the team? This part of the fan response was simply an expression of love -- not hysteria.
3. Y&R itself has a relatively recent history of "botching" (in the fan mind) many of these tense negotiations. While opinions are mixed, the loss of Heather Tom and Victoria Rowell is attributed by many to an unproductively unflinching TPTB. Injudicious cast cutting, in the eyes of some, cost us Jerry Douglas and Don Diamont. Ridiculous inflexibility led to long hiatuses for fan faves like Melody Thomas Scott (who reportedly cleared out her dressing room), Eric Braeden, Joshua Morrow, and Sharon Case. Nobody wanted that for "Jill", the sole "legacy character" who has been there from the beginning.
4. It is true that the news about the negotiations was remarkably 'real time'. Just a few years ago, I'd get my news about 'tense negotiations' from Soap Opera Digest, and by the time I read it, a new deal had already been made. Therefore, it is quite a sign of journalistic evolution that the news now was immediate. Was the fan response "hysteria". In my opinion, the new era of real-time news means that the fans were co-participants in the negotiation! Like a papal nomination, we were thronging outside the Vatican, looking for the color of the smoke.
5. "Tense" negotiations, eh? But they got resolved over a weekend! During that period, many people -- informed by the real time news -- sent notes of protest and support to CBS, Bell, Sony and Walton. One source (another fallacious internet rumor? maybe?) indicates to me that these notes DID reach TPTB, and that some executives WERE surprised at the level of pro-Walton support.

Let's pretend the last point is true? Maybe the fan voices ("hysteria"), in some small way, shifted the valence of the negotiations. Maybe the fan voices made it just a little harder for TPTB to maintain the claim to Walton of "you can be easily replaced". Maybe, just maybe, "hysterical" fans helped prevent the kind of painful, damaging, protracted negotations (often with "bad" outcomes from a fan perspective) that happened before?

Who knows. Even if the fan voices were irrelevant, one cannot underestimate the powerful well-being benefits of a little self-efficacy and locus of control. The illusion of playing a small role in affecting an outcome is -- itself -- a wonderful thing. If that weren't true, why else would many of us go out and vote in elections?

In the end, though, I love happy endings! Glad you're sticking around, Jess!

PS: Ms Walton, I hope you have given up smoking! (A lot of us were scared by that 'under the weather' comment)

Sunday, January 25, 2009

Truth in the Bunker/A Farewell of Sorts

This is really two posts in one.

1. The Bunker




Some of you have surely seen the hilarious (I mean, for me, LITERALLY tear-inducing) viral video Soaps in The Bunker. At a site called Overstream.net, lots of users have apparently been taking a popular German clip (Hitler confronting the reality of his defeat during his final hours in Berlin) and imposing subtitles over it to reflect...whatever. A user named Chris Dunn has done this with soaps...specifically, the inability for the Daytime Emmys to find a network home, which leads to a greater disappointment about the state of the genre. If you haven't seen it, I embedded it at bottom. (If you need any of the "inside" jokes explained, check out this link).

Like all good satire, the best of this video is that has an insider's knowledge, and skewers much (the networks for not showing the Emmys--especially ABC's Brian Frons; columnists Michael Logan and Carolyn Hinsey, bloggers, and the creative state of daytime itself). So, there is a line, during Hitler's final reflections, that tries to be a little serious. It says:

What am I talking about? We brought this on ourselves. We forgot the cardinal rule of daytime. A little hope. A little romance. And a big fat bulge in the hero's pants. Bold and the Beautiful does the same story twelve years running. Did they think no one would notice? All My Kids does a tornado. A tornado! What do they think it is? 1985! They are killing us!

The piece is especially effective because of the use of the quiet tone of the end, and the overlay of this killer nostalgic irony.

Maybe all isn't lost. ... When I turn on my television, just seeing John and Marlena makes me know everything will be alright. Everything will be alright.
In succinct form, the video identifies the chief causes of decline: Redundancy and lack of originality, emphasis on sensations and events rather than real storytelling, overemphasis on prurient interests, and disregard for history and veterans. (Goodbye, John and Marlena)

I have argued repeatedly in this blog that the ratings status of daytime would have happened no matter what--that we're at the mercy of demographic changes and changes in viewing trends. What is happening to daytime is, in many ways, nothing but a microcosm of what is happening to all of the last generation of media. I also believe that at least some of what has happened to soaps creatively has been a reaction to (and perhaps a secondary cause of) this viewership loss. We're seeing the consequences of budget cuts on screen. We're seeing desperation moves (ultimately futile) to stem the demographic tide.

I still stand by that. But there is no denying that daytime is -- creatively -- at a low ebb. We now measure great "moments" on shows, rather than great shows. There are likely differences of opinion about this last statement. Which makes the video--after the tears and stomach pains from the laughing have passed--so effective. I am left, in the end, with the quietness of the end of the Hitler scene. Hope is a delusion. Where we are now is the final chapter of a myriad of earlier strategic missteps. I hope that endnote is wrong.

2. Casiello rejoins the creative side

Congratulations are due to Tom Casiello, who announced that he will begin a trial period as a breakdown writer for The Young and the Restless. I am among the legions of his readers who ardently hope that this is an excellent fit, that he meshes well with his bosses, and enjoys a good long run in the position.

At the same time, it means that Tom will have to leave the blogosphere (he has announced, more or less, that he is doing so). Way back, on his myspace blog (now deleted), he mentioned that there needed to be a firewall of sorts between the creative and fandom sides.

Tom (along with Sara Bibel) has occupied a unique niche in daytime writing. He has been an insider-outsider bridge. He went into daytime writing as a fan, and he has remained one. But he has done a careful job, during these fourteen months of unemployment, at studying the genre and the form. We have explored Douglas Marland's bible with him. He did detailed fan focus groups of every show still on the air (lost, I fear, to Myspace). He explained things to the viewers (e.g., limited use of sets). With his departure from the scene, we lose that soap scholar with an inside view.

The internet message boards have been, strangely, filled with mixed opinions about Tom's move. Those who have enjoyed him and his blogs are congratulatory. Grinches (my word), on the other hand, argue that he has become a cause celebre solely because he "spoke to the fans", and so the joy at his promotion are more about his accessibility to fans than his writing skill. Others emphasize that the breakdown writer has limited creative control over a show (and nowhere is that likely truer than a Bell soap), so his impact is unlikely to be felt.

I think this misses the point! Tom has humanized the soap writer. He has offered glimpses through the keyhole (or maybe, through the keyboard). The fact that fans lapped up his blog (tens of thousands of hits, he told us) shows that he filled an unmet need. The shows and the soap press have pretty systematically refused to try to address the deep fan hunger for "meta" content. They don't realize that part of the fun of soap fandom is a peculiar version of "fantasy football". Tom, however, understood it.

Daytime's refusal to acknowledge fandom as co-owners of the creative product is quite in contrast to primetime, I think. Some of the real buzz shows (Heroes, Friday Night Lights, Lost, Gossip Girl, etc) have writers and producers who regularly speak to the fans. They do so directly (e.g., ComicCon) and indirectly (through regular and frequently interviews with folks like Michael Ausiello). Marceline at SON emphasizes that these writers are simply treating the audience as customers, and the customers reward them with loyalty. Presumably, though, this dialogue also opens up a two-way street. Fans feel heard! And, sometimes, shows can improve in response.

This interactive model of creative-fan interactions is definitely in counterpart to the "auteur theory". Bill Bell, for example, was ostensibly legendary in not really listening to fan feedback or network notes. (There were exceptions. As Sara Bibel has told us, when ratings began to plummet after Y&R's Katherine Chancellor appeared to dally with lesbianism, the story was instantly ended. And, when there was a huge negative fan reaction to a baby's death on Days of Our Lives, Bill Bell reportedly vowed never to do it again...although he finally reluctantly did it with Lauren's faux-child Dylan on Y&R in the early 90s). And that worked. Bill Bell was left unimpeded, and so the viewers just needed to go along for the ride on his creative vision. And what an enjoyable ride it usually was.

But most of daytime is not like that now. For the most part, daytime has lost sight of what the customer wants. I take this less from the plummeting ratings (because I think that has more macro-structural causes), but from the universally negative theme in fan internet boards, letters to the soap mags, and critical opinions.

So, it is kind of ironic that Tom is going to the best show on daytime -- and, arguably, only one of two shows that are still auteur-driven. His fourteen months of study, his "open mike" to the fans...the very things that could potentially have made him a kind of "Damon Lindelof of daytime"...are the very things that Y&R probably needs to avoid.

It is GH or ATWT or GL or AMC or DOOL that need to listen to an educated writer with his finger on the pulse of fandom. Sadly, most of those shows don't employ breakdown writers anymore.

So, I salute Tom and thank him for the gifts he has shared with us these past 14 months. I wish him great luck, satisfaction and longevity at Y&R. I hope this trial turns into a long deal. I suspect he'll still take his lessons of the last year and build them into his outlines. Maybe, in some small way, even on his strongly written show, he'll be able to inject his obvious love for the fans in small ways. This is a good passage, but I will surely miss him.

Wednesday, January 7, 2009

On the Rise of the Soap Superblog

An interesting thing happened yesterday. Eric Braeden did his 9,000th interview for The Man Who Came Back. (Just kidding...but he has generated terrific press. Publicist Charles Sherman should be pleased that even the New York Times covered the story. *I stuck a mini-review at the bottom of this post).

Anyway, the interview was with Soaptownusa.com. Not Soap Opera Digest or Soap Opera Weekly. With a little soap blog. (Of course, he does plenty of interviews with the mags too).

New, fan-driven media are on the rise. It seems the old soap (print) press may be left behind in the dust?

Eric Braeden is a sharp businessman. His decision to do an interview with a blogger suggests, to me, that the worm has turned. Moreover, it isn't just Braeden. If you look at the major fan-driven internet radio shows, like Buzzworthy Radio or In The Zone or Stardish Radio or Daytime Confidential, each of them have had major and minor soap stars...in spades!...during this last year. It is not just actors. These radio shows have also featured some top writers, giving die-hard fans FINALLY some insight into the creative process. (My only quibble about the radio stuff is that it is very hard for hearing impaired people like me, especially since mostly telephones are used for the interviews. I wish wish wish there could be transcripts. Indeed, if that were to happen, there would be widespread forwarding...and the impact of these interviews would be greater. Look at what happened with Victoria Rowell!).

And, if we want to talk about the ascendancy of soap blogs (and, I believe, the decline of soap magazines), we need only look at the Guiding Light Blogger-experiment. Someone is paying attention!

That this all ties in to the concept of new media, and finding new ways of having active, engaged fans promote the genre to their peers...something Sam Ford and Tom Casiello have talked to us about...is even more engaging!

In addition, there is the emergence of two new classes of websites that, I think, attract many eyeballs. The first is the rise of the just-in-time news site! Week after week, Nelson Branco breaks major news and gossip, and he also consolidates other news in an unrivalled way. Daily, Daytime Confidential does the same thing, with a mix of opinion and spoilers that is unrivalled. And Roger Newcomb consolidates news, globally, several times a day.

The poor old print outlets, with their delayed release and poor mailing times by their fulfillment houses end up giving us old, cold news. When you take what they offer wrapped up in ads for psychics and collector plates and "fashion spreads" that have little interest for most readers...the days of the clunking magazine dinosaurs seem, sadly, nigh.

There was a time when the mags were the only game in town. What a blessing! But that era seems to have passed.

Also emerging is the "opinion columnist". Now, opinions are never in short supply on the internet (heck, look at me!), but there are a few columnists with genuine street cred! From soap writers Sara Bibel and Tom Casiello to soap-mag-pioneers like Marlena Delacroix, we get opinions based on experience. The insights are truly breathtaking sometimes!

Roger Newcomb and Tom Casiello, in particular, have further been doing something that the magazines fail to do: Embrace history! Roger has shared excerpts from many historical clippings (e.g., Time, Newsweek) on the soaps. Tom has also shared some truly amazing historical documents. SteveFrame's SoapsWEB is a treasure trove of archived historical material. No magazine...no "professional" site...can touch that!

More and more, if I want to look for good criticism, insider insight into the creative and marketing process, breaking soaps "news", or historical documents and perspectives, I look to the Superblogs. Can the soap magazines survive?

On the other hand, can the bloggers survive? For the most part, I suspect, we are seeing "labors of love". If they don't pay the rent too, are they sustainable? Maybe...because they are written for love, not money.

==
* Mini-review:

(By the way, I saw the film. You know...for what it was billed as...a Western revenge picture...it's a fine movie. It is really terrific, as a long-time Braeden fan, to see him bring his particular intensity to this genre. The film is genuinely discomfiting in places -- which it is meant to be. The only sad part is that the film was originally meant to be centered around a large African American labor action in the Reconstruction era. There are still threads of that story in the film, but most of it ended up in the "deleted scenes" part of the DVD. Clearly, they decided to tighten the narrative, and to focus on the more dramatically interesting violation-and-revenge arc. I'd recommend the film to anyone who enjoys Braeden, and wants to see him in a different milieu. Since he had total creative control over the project, the film also offers insights into the kinds of stories that Braeden likes to tell.)

Friday, December 19, 2008

The Template for Saving Daytime, Part 2

In my last post, I suggested that Marland's Rules, plus a few others, were essentially being used by Maria Arena Bell to "save" the Young and The Restless. The show had become mired in sensationalistic plots, changing characters (e.g., Nikki now a senatorial candidate???), and a general disorganization that did not bode well for the future. I suggested that Maria Arena Bell and her team have "saved" the show creatively.

But "saving" a show creatively IS NOT equivalent to saving it financially. The primetime landscape is littered with shows that were very good--often critically successful--that didn't last more than a few episodes.

In the world of commercial TV, the only way a show can survive is to attract enough (of the right kind of) eyeballs to make it appealing to advertisers to pay the freight. With ever shrinking numbers of viewers, the traditional broadcast advertiser-supported model is getting trickier and tricker to uphold.

In his remarkable interview with Maria Arena Bell and Paul Rauch, from which I quoted heavily in my last post, Nelson Branco also revealed that this leader has keen insights into the evolution of the business model. I believe she is on the right track regarding how to save daytime financially too. Now...if only someone would listen!

What the rest of this show suggests is that the Bell team has figured out a way to maximize viewership using a mix of quality and sumptuousness, DVR loyalty, cable and internet distribution, and international distribution. In other countries, viewership has been further maximized by moving to late afternoon/early evening time slots (Canada, eh!).

It is up to the media outlets and the advertisers to figure out how to monetize that. Y&R is delivering the eyeballs. By my count, the number is close to 8-10 million daily viewers in the US, and substantially more in international distribution. (CBS claims 5.6 million domestically and about another 4.5 million globally, but I think these are underestimates only count live TV broadcast viewers). Now, it is time for those in charge of making money to capitalize on those well delivered eyeballs.

Here is what I mean:

1. Maintain a unified creative vision and historical integrity

Translation: You have to want to watch the show!

Arena Bells says:
We have a very respectful relationship with the network. But this is my show and my vision.
This is standard for primetime. A showrunner is selected, and the show rises and falls with the showrunner's vision. Of course there is (always, endemically) corporate interference, but there is some respect for the "auteur". Daytime has really let that go in the last two decades.

If the show isn't watchable...if it doesn't produce an enjoyable and coherent experience...people won't tune in. This is a necessary, but not sufficient, condition for the survival of a soap.

One of the reasons Y&R still 'works' just happened in my home. My parents visited. They haven't watched the show regularly since the late 1980s. But, when I clicked it on, there was Katherine and Jill and Nikki and Victor and Paul and Jack and Ashley and Neil and Brad... Moreover, to the extent that those characters were seen, they all still acted like they used to. Victor was still controlling, and still in his love-hate dance with Nikki. Jack was still trying to bring down the moustache.

Because Y&R offers a consistent feeling of "home" to its loyal viewers, they keep returning. Obviously in ever-shrinking numbers (see below...there are reasons for that)...but more of them keep returning than for any other show.

(I should add that Y&R also manages to remain visually pleasurable to watch. Sumptuous sets and lighting, in crisp widescreen high definition. Y&R has been the trademark 'beautiful' soap from the beginning. It is easier for viewers to keep tuning into something that is a sensual treat, with stirring music, and a wide array of captivating sets...than to watch something that just looks cheap).

But what about the future?

2. Consider changing the timeslots

I have previously written that, in the rest of the world, soaps have mostly left the daytime. In those countries where they are enormously successful, late afternoon/early evening/even primetime berths assure sufficient numbers.

To this, Maria Arena Bell says, in her Branco interview,

All I can tell you is that there is talk about a lot of possibilities. We’ll have to see. As you know, there are constant changes in programming. Look at Jay Leno — he is filling the 10 p.m. slot five days a week! So, who knows?

In my view, the experiment to do is to let Y&R premiere each new episode weeknights at 8 pm (Eastern Time), and then rebroadcast the next day (on CBS) at 12:30 pm (Eastern Time), or the equivalent Central/Mountain/Pacific times. The cost savings for CBS would be enormous...that is five hours of primetime they wouldn't have to program. There would be only relatively small incremental licensing costs to Bell. If CBS follows the "Leno" model, I'd urge them to try it with Y&R. (This would likely mean cancelling the Soapnet deal).

3. On TV: Build it, they will come, and then show the advertisers

Following on what Sara Bibel said, Maria Bell notes in her Branco interview:

If you take into account that a third more viewers are watching our show since that’s the statistic — if you factor in DVR+7 — then the soaps have not taken the dip media analysts have claimed. There are still a lot of eyes on this show. Yesterday, we celebrated 20 years as the No. 1 soap opera in America — along with being No. 1 in all the demos by the widest margin we’ve ever had. Yes, I agree — we need the numbers from viewers who catch us on their computer, DVR, and SOAPnet. Even without those numbers, we’re second only to Oprah in daytime. That’s a lot of eyes! We’re certainly more viable than people give us credit for.
Think about that! It is true. Y&R is usually the #2 show in daytime...overall and with the "desirable" demographic.

Moreover, it gains a large number with those DVR views. I confess I am one of them.

This is a huge audience. The problem is not the show's...they are still delivering the eyeballs.

The flaw is the networks and the advertisers, who have failed to find better ways to capture these fast-forwarding eyeballs. The lack of creativity is on the part of the advertisers and the broadcasters.

Why are none of the successful internet strategies being used on TV? Banner ads? DVR codes that prohibit fast-forwarding (with the quid-pro-quo of fewer and more memorable ads)? Ads that flash a single "slide like" message on screen...so you can't miss the message even if you fast forward?

Product placement is also a clever approach, but it has really been done badly so far.

The next few points were not stated by Arena Bell, but are consistent (I believe) with her vision.

4. On the Internet: Build it, they will come, and then show the advertisers

I have mentioned before how broadly Y&R is streaming these days: Fancast.com, msn.com, cbs.com, youtube.com, yr.globaltv.com.

Every one of these is a countable hit, often with a cookie-trackable user, and with the ability to track minute-by-minute tuneouts, fast-forwards, reversals, quits. CBS.com even recently added a social networking/chat component (dish while you watch). Honestly, it is a data analyst's wet dream. Think of all the rich qualitative data you could get from the chat transcripts!

Interestingly this is all being done with virtually no promotion. My fear is that they don't want to inflame the affiliates.

Technologically, they have already figured out that delivering a smaller number of ads makes the audience happy, and increases the memorability of the ads. The presentations sometimes allow surrounding screens and banners to keep the ad ALWAYS PRESENT during the show. You cannot skip or fast forward the ads...but few fans get upset because the promotions are few in number.

Let us also add that if we could just DUMP the expensive infrastructure of affiliates and broadcast (too many middlemen), it would cost a lot less to deliver these shows over the internet. No FCC licensing.

The infrastructure is there. It is time to stop living in fear of the old media, and to sell-sell-sell the new!

There are clear indications of success in this sphere. In Canada, Y&R was recently listed among the top internet search terms. At CBS.com, Y&R consistently appears (solely among daytime soaps) as among the "most popular" streaming shows.

I'd add "move to cable" as an option...but...err...Soapnet hasn't exactly embraced soaps these days. I will note, though, that by airing Y&R in "early prime", that show is the number-one rated show for the network. Soapnet may not want soaps anymore...but surely some cable outfit wouldn't mind?

5. Cultivate and maintain an international base

The Bell shows are clear international winners. B&B is the big daddy here, but Y&R does pretty well too. Per the Young and the Restless 35th anniversary fact sheet,
The Young and the Restless international markets include Australia, Belgium, Canada, France, Greece, India, Israel, Italy, the Middle East, New Zealand, Romania, Slovenia, South Africa, Switzerland, Turkey and the U.K.

The Young and the Restless is currently distributed in nearly 30 foreign countries on five continents through Sony Pictures Television International. The episodes currently aired abroad are not concurrent with the episodes airing in the U.S. and Canada.

The Young and the Restless is the top-rated daytime drama (M-F) in France.

These are extra sources of revenue. Along with (hopefully) growing revenues from cable and internet streaming and clever ways of monetizing DVR views, this international base buttresses a show against declines in the homeland.

I also think that the historical consistency and lush beauty of the show helps in international distribution. Having lived overseas, one of the things that international viewers love about American serials is their conspicuous consumption. Big cars, big houses, (at one time) big shoulders. Y&R is one of the few soaps that still embraces this quintessential component of the American serial.

Personally, I love verite too. I think there is room for that. But the traditional base of the international appeal of US shows is "lifestyles of the rich and famous". Y&R offers that.

Wednesday, December 10, 2008

Wow! GL and the blogosphere!

I'll get back to J. Bernard Jones one more time in my next post.

But, in the meantime, have you been following the blogosphere?

Michael Fairman and Sara Bibel and Patrick Erwin and Roger Newcomb and Soaps.com's Matt Purvis have all been invited to Peapack, NJ to have a whole set of in depth encounters with the GL creative team from top to bottom.

Regardless, it was only recently that Tom Casiello reminded us of the SuperFan (my word), and the use of social networking and devoted fans to "spread the word" about media properties. Sam Ford (sample blog here) has often talked about this whole area of "convergence culture", and is basically single-handedly introducing the concept to "thinking fans" who care about soaps.

There can be no clearer sign that the GL team remains committed to moving the show into the new world. I give much credit to that team. Even though I don't know how long the GL experiment can last in this economy, and I'm not sure they're doing everything right, I want to kiss them all for trying. I can't wait to hear the many insights that will flow from this.

Sara Bibel mentions that it is daring and innovative (I think that was her phrase) for GL to invite all these bloggers. True. Bloggers are a fiercely independent lot, and surely not part of the publicist-controlled media.

More importantly, I think it speaks volumes about the declining (last gasp?) influence of the soap opera magazines. As Roger Newcomb has railed for a while now, GL can't even get a COVER of SOD. So, how clever for GL to bypass the old media, and go straight to the new! This can not only help GL...it further helps establish the legitimacy of this newer form of disseminating information and publicity.

Bravo to the whole lot of you!

Wednesday, November 26, 2008

What Barack Obama should learn from Lynn Latham

I hope that is not too provocative.

Yesterday in Chicago, Barack Obama announced more members of his economic advisory team. A large number of his team members served in the Clinton and even Carter administrations...prompting some critics to argue that this is not the "change" Obama promised.

To this, Mr. Obama replied, in part

The reality is is that sometimes policymaking in Washington can become a little bit too ingrown, a little bit too insular. The walls of the echo chamber can sometimes keep out fresh voices and new ways of thinking. You start engaging in groupthink. And those who serve in Washington don't always have a ground-level sense of which programs and policies are working for people and businesses, and which aren't.

This board will provide that fresh perspective to me and my administration with an infusion of ideas from across the country and from all sectors of our economy, input that will be informed by members' firsthand observations of how our efforts are impacting the daily lives of our families.

Later, he said

And I suspect that you would be troubled and the American people would be troubled if I selected a Treasury secretary or a chairman of the National Economic Council at one of the most critical economic times in our history who had no experience in government whatsoever.

What we are going to do is combine experience with fresh thinking. But understand where the -- the vision for change comes from first and foremost. It comes from me. That's my job, is to provide a vision in terms of where we are going and to make sure, then, that my team is implementing it. I think that when you ultimately look at what this advisory board looks like, you'll say this is a cross-section of opinion that in some ways reinforces conventional wisdom, in some ways breaks with orthodoxy in all sorts of ways.

And that's the kind of discussion that we're going to want. We want ideas from everybody. But what I don't want to do is to somehow suggest that because you served in the last Democratic administration that you're somehow barred from serving again, because we need people who are going to be able to hit the ground running.

I am mindful of how much this sounds like early language from Lynn Latham at Y&R. When Latham first joined the show, it was sort of "under cover of night", first appearing as consultant, then later as one of three headwriters, then official top-dog headwriter, then later, executive producer.

In one of her earlier interviews, there was a respect for tradition, combined with a freshness of perspective, that was really inspiring (at least to me). Moreover, I found the energy she brought to early Y&R quite positive. I really liked that -- while she was new (but herself experienced) -- she was working with whole legacy team! Of course, history has since shown that she was not sincere about this...rapidly cutting loose her ties to the show's heritage, and creating an increasingly inconsistent mess with bad management.

But that early interview with Latham was great. In the 6/27/06 issue of SOW she said, in part:

Respect for history

1. Her "number one rule" in making changes was to "respect the history of the characters and the series". (Sadly, that seemed to have stopped later on)

2. It looked like she was working with the people in charge. In response to the new sets, moving cameras, actors walking and talking, Latham said many had created the changes. She said changes were initiated by Bill Bell Jr., Steve Kent of Sony, and CBS Daytime head Barbara Bloom. They wanted to pick up the pace in storytelling and production. Apparently, everyone was agreed on these changes, and worked together. (What I didn't pick up, at the time, was that key leaders like Kay Alden, Jack Smith and Ed Scott were missing from her list of collaborators)

3. She pledged to work with existing sets and team leaders, just reinvigorate them: She said that Bill Hultstrom had actually redesigned Newman Towers so that characters could be followed moving through elevators and offices. She also noted that they added the break room because she, too, has her best conversations with colleagues by the office microwave. (She also notes the break room is more upscale than hers...no Formica, hanging wine glases). (Now, in retrospect, we know that the Formica was probably as much a politically correct desire to get artificial and anti-green and poverty-encouraging materials off the set as anything else. Latham later expunged plastic water bottles, diamonds, and indoor fires for all the same reasons.)

Freshness

1. The biggest change, she said, would be replacing traditional Y&R stylistic devices ("slow arcs and pans at the beginning of scenes") with more "dynamic blocking and camera movement". She said they would be cutting away sooner, without multiple reaction shots. She called this "Y&R Plus", because characters would get more air time in this active style. "I love the actors here so much, I always want to see them more!". On this note, she said they dropped the"waiter shot", where the camera follows a waiter until it finally settles on the actors. So, too, closeups of gorgeous floral arrangements are also gone. (Interestingly, on 12/27/2007, when the Bells reclaimed the show, lingering scenery shots immediately reappeared. As time has moved on, these are no longer as common as they used to be)

2. From the writing perspective, she said they would be writing more movement into the scripts, eliminating greetings and exits, and they wanted each day to end with a "tag" (mini-cliffhanger) to encourage more days of viewership. (In the end, the pace got so fast that...if you missed a day...you were likely to say "huh? when did that happen? It didn't encourage more viewership...just more confusion.)

3. As a result, wardrobe was having to contend with many more costume changes.

In another interview from this era, the Pittsburgh Post-Gazette (7/16/2006) reported:

Latham, who took over at "Y&R" in the past six months, said she didn't do a full-scale housecleaning as some new daytime executive producers do.

"I have leaned very heavily on the actors, too, to help me fill in on the story," she said.

Actor Don Diamont, who plays Brad Carlton, said that's rare.

"To Lynn's credit, by the way, that's not something you'll come across? with every head writer," Diamont said. "Lynn said, 'Can we have lunch? I want to meet each and every one of you and hear what you have to say about the character you've been playing for 20 years. Who is he?'And that's a rarity."


By the end of Latham's tenure, just about EVERY legacy writer on the show (excluding, I think, Natalie Minardi Slater, Eric Freiwald/Linda Schreiber, and Sandra Weintraub) was gone. The new writers few through in a revolving door that...sometimes...bewildered even them (with a lack of writing time and minimal opportunities to get to know the characters she was actually writing for). Tom Casiello wrote (originally here, but that post now requires "friend" adds at Myspace). The point is that--by NOT relying on the benefits of experience--you actually burden and burn out the fresh perspectives. They NEED experience to lean on!

I chose Young and the Restless.

What I found when I started was a show in deep transition. It happens. I survived two transitions at As the World Turns, and one at One Life to Live. They're tough, but they're part of the nature of this business. Lynn Latham had just taken over EP duties (along with being HW), a lot of longtime Bell writers were let go (and many were rumored to be on their way out, so I only had a few weeks to pick their brains and learn all I could from them), there was a mandate to move the show into the next generation, and while all of this seemed thrilling and exciting, there was part of me that said: "What have I signed up for?"

While the fan in me wondered why you'd want to fix something that's not broken, the writer in me could appreciate and respect the desire TPTB had to amp up the watchability factor. So I thought to myself: "Self? For better or worse, you have to give this your all. Read up on the history, learn about these characters, give them what they're looking for, dive in head first. You may stumble now and then, but you're a writer. You can do this."

And I did. But then production fell behind... the writers fell behind... sometimes we'd have LESS THAN TWENTY-FOUR HOURS to write an episode. Whatever was going on at the top trickled its way down to all of us, and we were under a gun, blindfolded and typing madly in the pitch black. Sometimes completely left to our own devices. I spent most of my week sitting around waiting to find out what I was supposed to do while I read up on fan history pages, and the last few remaining hours doing more research than I've ever done -- but NOT on Y&R! On deafness, on epilepsy, on Judaism. Everything BUT the characters and emotional content in my episodes. I'm not foolish or arrogant enough to be able to say I know what caused this behind the scenes, but whatever it was, it led to me ripping out handfuls of hair on many a Saturday night at three o'clock in the morning.

I could clearly see that whether it was my fault or not, I would not last through my first cycle. Working under those conditions AND trying to learn the rhythms and practices of a show both behind the scenes and in front of it, was just too difficult a task. But this was not a complete loss, by any means. I'm very grateful for my thirteen weeks there because I met some pretty amazing writers who were kind, welcoming, and ready to help me with character, with motivation, with history. Writers who would respond to an e-mail immediately, or even answer a frantic phone call at eleven o'clock at night. Kay Alden, and Janice Esser, and Natalie Slater and Sara Bibel.

It led to a profusion of excellent viewer comments like this:

Just wanted to say that I think they've destroyed the show with the plot driven writing, full of continuity errors and characterizations which change depending on who wrote what episode and what story is being told.

I am a big fan of Lynn Latham from Knots Landing and Homefront, but she's not fit for daytime. Major events like Jill and Ji Min's first love scene or Mackenzie's abortion now happen during the commercial break. What we get on screen is endless drivel about Clear Springs, MEEthane gas or reliquaries.

It was a mistake to completely uproot the show instead of fine tuning it. Now nobody knows the history of the show or what made it successful. Bill Bell must be rolling in his grave.
So, how do I tie this all back to Obama? Because I really do feel (obviously in very different spheres...I don't mean to trivialize Obama's huge mission) that early Obama sounds an awful lot like early Latham...which is a good thing. He's trying to respect experience and to select the things that have worked in the past. At the same time, he wants to innovate, bring in fresh perspectives...and he cites HIMSELF as the genesis of many of those fresh ideas. Bravo! Work with old, encourage the new.

Six months after that Latham interview above, essentially all of the "old guard" were gone. Left to her own devices, without the benefits of experience, the show imploded. Let's hope that Obama tries to mix innovation with experience for the next eight years!

Saturday, November 8, 2008

Did I say no hope? Scratch that...

While we sit here and lament the demise of soaps, CBS' Y&R is kicking ASS. Viewership approaches the classic days of yore...just in new ways.

1. Broadcast Neilsen ratings are at an all time low for Y&R on CBS. Last week's average household rating was an all-time low of 3.4. Surely I'm delusional? Not really.

2. Soapnet, in October, reported an all-time high. This ends up adding about 15% to the total number of Y&R viewers.

3. Sara Bibel says seven-day DVR plays of Y&R add almost 25% to Y&R's audience.

4. We don't know how many people are watching the many legal online streams of Y&R, but it must be a lot. Unknown numbers at cbs.com, hulu, fancast, msn tv, legal Youtube...unknown, BUT think of this: EVERY WEEK, on their home page, CBS lists Y&R as one of their "most popular" streamed shows (no other soaps)

I have been as noisy as the rest of us about the "decline of soaps" and "the end is near" and all that jazz. But it is easy to look at these broadcast Neilsen trends and think all is lost. But when you ADD IN the numbers from these different venues, you suddenly realize that it is not out of the question that Y&R reaches 8-10 million people a day.

8-10 MILLION (and that could be an underestimate, since I have no clue what the online numbers are...that 8-10 million number could come from just Soapnet + delayed DVR views)!

A DAY!

What it says (and I can't speak to the rest of the daytime lineup) is that Y&R is still pulling numbers that aren't so far off from its' glory days!

It also says that if the chief revenue model still relies on same-day ad rates on CBS broadcast...well, then we're all f*cked.

If almost half your viewers are watching your show in other ways....they need to count...and you need to get the revenues from those other venues.

For me, meanwhile, I'm retreating from the doom and gloom a bit. These combined Y&R numbers are AMAZING...and they rival some of primetime viewership. The future is HERE. The audience is still HERE. Let's catch up with the business model!

Saturday, September 13, 2008

On credentials in the new media

Who the hell am I, asks a "commenter" in one of my Carolyn Hinsey blogs from a few weeks back.

Who indeed? What are my credentials? None. I am, proudly, a nobody.

Let me explain that. There are terrific bloggers out there with bona fide credentials in the soap industry. First and foremost we have Tom Casiello (thank you for the recent shout out...I am humbled) and Sara Bibel. These two have real street cred as people who know the industry, and many of the players still in it. They have taken different post-strike approaches (Tom seems to blog out of sheer sense of community...his voice is so passionate and ardent that sometimes my eyes get teary at his love of the genre...but he is not making any money off it; Sara seems to be transforming into a soap journalist, with a combination of interviews, editorials, and historical insights), but both have become must-read because (at least for me) you feel a little smarter and more insightful after reading their words.

Then we have the once-published journalists (Marlena Delacroix and Lynn Liccardo), who offer the insights of long time fans with historical insight, knowledge of the industry. The gang at Daytime Confidential produces a product that simply trumps every soap publication left for breaking new and outstanding (podcast) interviews. The Canadian TV Guide Online has filled the void left behind after the US TV Guide Online essentially abandoned soaps...with a voice that is best described as "Perez Hilton for Daytime".

Then we have Roger Newcomb, who is pioneering fan-written (radio!) soaps (and whose Manhattanites independent film is eagerly awaited by many of us). Roger's "We Love Soaps" blog initially functioned as a consolidator of headlines. This is amazing. I do not know what kind of RSS feeds Roger has figured out, but literally no soap item (even regarding ex-soap actors) breaks, even in some podunk farm village, without Roger finding it and posting a link to it. Lately, Roger has been bringing more of his own "voice" to his blog, as recent pieces of fan advocacy for ATWT's Nuke or an insightful analysis of the impact of men/older viewers on rating shows.

In the ranks of such luminaries, what am I? Nothing...just a fan for all my days, but with no particular expertise.

Moreover, if you take my show (Y&R), there are 5 million people like me. And more than a few of us have blogs.

Yet, I think, that is where I have something unique to contribute. My voice (and the other 4,999,999 voices) are the outsiders, the consumers. Each of us views the soaps from a unique lens. Mine is as a 40-something guy with a lifelong attachment to soaps, and with some schooling (behavioral science, gerontology, statistics) that gives me a particular take on what is happening to the industry. Someone else--say, a mother of four who works at home--has a different lens (how the show fits into her busy life, why she makes time for it, how it resonates with the reality of her life...or maybe how it represents a 'Take me Away' part of her day).

The blogosphere is very different than old media. Access to "publishing" is no longer limited. The good part is that, in the beautiful anarchy that results, a much broader mix of voices can be heard. I suspect that the soap industry would be wise to sample this more than they apparently do. (Indeed, ATWT's Christopher Goutman has espoused the belief that internet fans are a trivial minority....I suspect he does this at his own risk).

On the other hand, it means that blowhards like me can espouse opinions that have very little backing. They are not "industry-savvy". I may lack experience, history, insight, etc. Yet, because I have carved out a "place" on the internet, some may feel that I am claiming myself to be an "authority" (which I am not).

For me, as a reader, I think the new media is an exciting way to get real time information and analysis that is less filtered, less polished. I think each of us adds interesting perspectives which, taken in their whole, represent a real resource for criticism and opinion. But a fair disclaimer: Opinions are worth what you pay for them.

Saturday, June 21, 2008

GLBT on US soaps: A listing

Updated on 7/7/09. I discovered the amazing resource by David Wyatt which lists GLBT TV characters. Below, where there is a Wyatt reference, I have now linked it. Wyatt also reminded me of some missing characters (Passions' Simone, Santa Barbara's Channing) that I have added, and also gave me a full name and more backstory on Days' Sarah. Updated later that day with some extra corrections from Roger Newcomb's blog.

I'm not sure this is canonical, but the incredible furor over Luke and Noah on ATWT (now dissipated since they were briefly affectionate) makes me want to list broader history. I originally thought I was being original, and with the help of Usenet's DonnaB compiled this list. Then I saw that afterelton.com had done most of the work...so most of the text here is taken from them. Other sources include soapcentral.com, Sara Bibel, wikipedia, tvguide.com. Individual sources are listed next to each entry. At bottom, there are some footnotes from DonnaB about a few other cases. ETA: 6/23/08...Michael/Rthrquiet added some corrections (see comments section) which led to edits, as noted, on these pages.


The Young and the Restless
1977, Joanne Curtis and Katherine Chancellor
It was 1977. There were only three television networks. The sexual revolution was migrating from its young, urban roots to the suburbs. (For a fictional representation of this era, check out episodes of Swingtown on this site.) In primetime, CBS featured “edgy” Norman Lear sitcoms such as All In The Family that frequently, and heavy handedly, tackled social issues. It was also the year Three’s Company debuted on ABC, titillating audiences with its main character who pretended to be gay so he could share an apartment with two straight women. (Am I the only one who never understood this premise?) Homosexuality had been classified as a psychological disorder until 1973. Prejudice against gay people was the norm in many parts of the country.

In daytime, The Young & The Restless was popular but not yet the number one show. The series had already tackled social issues including rape and alcoholism. The show made the bold decision to have Katherine Chancellor, lonely after the death of her beloved Phillip, start to develop romantic feelings for her friend and roommate Joanne Curtis. I assumed that the intent of the story, in addition to exploring Katherine’s emotional state, was to educate the audience. According to Alden, it was also about ratings. “The idea was to attract the avant garde viewers. Soap operas, at the time, had a very conservative Midwestern audience. I did a lot of research. Cosmopolitan magazine had a lot of articles about lesbianism at the time.” (While today Cosmo is not well respected, in the 1970s, Helen Gurley Brown’s version of magazine was influential. It encouraged young women to enjoy being single and explore their sexuality. Lesbianism was presented as another lifestyle choice, along with open relationships and one night stands.)

I wondered how Y&R convinced CBS that the time was right for the story. “We didn’t tell the network in advance,” explained Alden. “Back then we didn’t have to get stories approved.”

As one of the youngest members of the writing staff, Alden spearheaded the story. “This was not an idea Bill Bell would have thought of on his own.” Alden, living in Southern Missouri at the time, was interested in fully telling Kay and Joanne’s story but sensitive to how carefully the show had to tread with potentially controversial material.

According to Alden, the story was played very subtly. There was no overt dialogue or physicality. In fact, the show didn’t expect viewers to have an inkling of where the plot was headed. Instead, the moment Kay touched Joanne’s hand, “You could hear television sets clicking off all across America,” recalled Alden. “The audience knew exactly what was going on. It was one of the most remarkable experiences of my career. At no other time can I remember an instant ratings drop because of a single storyline.” The show quickly wrapped up the story, with Kay’s son Brock confronting her about her feelings and Joann leaving town.

Y&R had miscalculated. Instead of drawing in new viewers, the show had alienated many of the viewers it already had. Eventually, the show’s ratings rebounded. But it would be years before another soap would dare to tackle a gay storyline and decades before a gay character would be allowed to have a love interest.
2009, Rafael Torres

Introduced in 2008, legal aid lawyer Rafe Torres was introduced as an old friend of Billy Abbott's, a "scholarship student" at Walnut Grove to whom Billy served as friend and protector. Billy asked Rafe to help the Winters in their custody fight to stop Ana from being returned to her drug addicted mother, Yolanda (also Devon's mom). Rafe also served as lawyer and, eventually, friend to Victor "Adam Wilson" Newman Jr., who was jailed and convicted for framing his father for murder (via a "forged diary" he concocted with Jack Abbott). On April 24, 2009, Lily Winters tried to fix up Rafe with her best friend, Colleen Carlton. To this, Rafe confided he was gay, but still attended Adam's birthday party with Colleen. Later, Adam said he'd like to "troll" the bars with Colleen (presumably for male companionship) at some future date.

2009, Victor "Adam Wilson" Newman Jr.

Introduced in 2008, Victor Newman's Harvard-educated namesake was initially a mix of calculating and charming. His early stories involved getting under the skin of his half-siblings and starting an engaging romance with sexy female lawyer Heather Stevens, a Princeton grad. After Victor Sr. "died" in a capsized boat, the inheritance went to Adam's head. He kicked his siblings out of the company and took selfish control of everything. When Victor returned from the dead, Adam was kicked out and penniless. He was therefore ripe for Jack Abbott's scheme to forge a "diary" in which Victor "admitted" to killing a mobster during his "death". Cleverly, Jack made sure all signs of culpability for the diary pointed at Adam--which eventually led to Adam's imprisonment. Adam began a clever scheme (he got himself beaten, and feigned blindness by injecting botox into his eyes) that got him "house-arrested" at the Newman ranch. There, Adam did terrible things--mostly gaslighting his father's fiance Ashley (and causing her to lose a baby). When Rafe Torres began to suspect Adam of the devious deeds, Adam thought quickly about how to distract Rafe. He then had sex with him.

Adam is most likely NOT gay or even bi. (Indeed, he needed to immediately shower after having sex with Rafe, and then he quickly called his girlfriend Heather over to assert his masculinity). But this gay-ruse was a first for daytime. The Adam character earns extra notoriety because he was initially played by Chris Engen...but Engen vacated the role when Adam took this dark turn. Indeed, Michael Muhney began playing Adam just one episode before Adam "came on" to Rafe. So the "gay sex" Adam is uniquely associated with Muhney.

2009, Phillip Chancellor III

A legacy character, P3 was the son of Jill Foster and Phillip Chancellor II, the husband of Jill's early employer, Katherine Chancellor. Much of the 1970s was spent around P3...Kay appalled at the pregnancy, Kay killing P2 in a drunk driving accident, Kay trying to buy the baby, Kay arranging to disinherit P3 and strip him of the Chancellor name. Thus fueled a Jill-Kay rivalry that has continued on the show ever since. In the early 1980s, after Jill married John Abbott, P3 "disappeared" and was sent to boarding school. At Christmas, when Jill wanted him home for the holidays, little P3 would say he preferred not to come home. When a teenaged P3 finally returned home in the late 80s, he was an awkward boy. He had a crush on Cricket (but needed to drink to summon courage to be with her), and he was trapped into drunken sex with the wily Nina Webster--who promptly became pregnant and trapped him into marriage. In one of Y&R's greatest tragedies, alcoholic P3 got drunk after work one night and crashed his car; we saw what appeared to be his tragic deathbed goodbye to his whole family. P3's death fueled two more decades of Jill-Kay-Nina dysfunction.

In storyline twists too bizarre to recount, a series of con-jobs and DNA errors in the 2000s led Jill-Kay to believe they were mother-daughter, and then Kay to remember that she had stolen P3 at birth and switched him with another child (vindictively, just so Jill would not raise P2's son). The "real" P3 appeared (Cane Ashby), and was incorporated into the family. Eventually, in 2009, Jill-Kay were revealed to be unrelated, and then it was revealed that Cane (an Australian) had met P3 in his homeland. P3, it turned out, had faked his death because of depression, anxiety, and an unwillingness to admit that he was gay. Feeling remorse, he had eventually sent Cane to Genoa City in his stead, to give Jill/Kay the "son/grandson" they had lost. P3 finally came home and confessed all when he realized that Nina (who had just returned to Genoa City after a long absence) was beginning to piece together the fact that Cane was not really P3. In a private conversation on 7/7/09, P3 admitted to Nina that one of his motives for leaving all those years ago was his sexuality.



Days of Our Lives

1977, Sharon Duval
See David Wyatt's entry here: "In 1977 the unhappily married Sharon Duval (Sally Stark) admitted to her dear friend Julie Williams that she was bisexual and was in love with her. The story line was quickly wrapped up when problems broke out backstage between head writer Pat Falken Smith and the NBC top brass."

Of this era, Usenet's DonnaB says:

You also missed the very long ago storyline on DOOL where there was some woman who seemed to be coming on to Julie but it was quickly rewritten into a swinger couple. Michael/Rthrquiet of Usenet adds this: "The female lesbian-turned-swinger-turned-lesbian (Sharon was her name, I think) on Days actually made a pass at a shocked Julie ("I'm in love with you, Julie!"), but Julie's reaction was so decidedly negative that the woman tried to commit suicide. (Nice, huh?)"

DonnaB mentions another "near gay" story on Days. Also on DOOL Eric raped Susan (later rewritten to be consensual sex that she dreamt was rape.) When we first me Eric, he had a male roommate & we could see that there was only one bed. They had intended to make him gay, but changed their minds ...


All My Children

1982, Lynn Carson
See David Wyatt's entry here: "Dr. Lynn Carson 1983 (Donna Pescow). After Devon McFadden (Tricia Pursley Hawkins, 1977-1981 and 1983-1984) discovered Lynn was a lesbian, she convinced herself that a relationship with a woman was the answer to her problems. Lynn wisely told her that you don't just choose to become a lesbian because your affairs with men don't work out. After about 2 or 3 months, Lynn decided to get on with her life and moved away from Pine Valley."

In 1982, All My Children introduced the first ever significant gay character on a daytime soap opera, Dr. Lynn Carson played by Donna Pescow (Saturday Night Fever). Unfortunately (and typical of the stereotype of lesbians as asexual), the Carson character never had a love interest and lasted only a year.

For the next era at AMC, David Wyatt's entry is much more extensive. He lists:
* Michael Delaney 1995-1997 [occasional 1997-1998] (Chris Bruno) highschool history teacher
* Rudy 1995-1997? (Lance Baldwin) TV station stage manager
* Kevin Sheffield 1995-1998 (Ben Jorgensen, briefly billed as Ben Monk) highschool/college student and waiter
* Dr. Bradford `Brad' Phillips 1996-1997 (Daniel McDonald) orthopedic specialist
* Rick 1997 (Kohl Sudduth) waiter
* Bianca Montgomery 1988-2007 (Eden Riegel 2000-2005, occasional 2005-2006, 2006-2007)
* Rain Wilkins 2000?-2001 (Kelly Overton)
* Sarah Livingston 2000-2001 (Elizabeth Harnois)
* Lena Kundera 2003-2004 (Olga Sosnovska)
* Mary Margaret "Maggie" Stone 2002-2005 (Elizabeth Hendrickson)

In 1995 producers introduced a full-time (as opposed to short-term) gay character. Michael's sexual orientation was revealed several months after his addition to the cast. In the ensuing controversy about a gay teacher in the classroom, `Mr. D.' developed a platonic friendship with an employee of the local TV station. Kevin, one of Mike's students and the leading homophobe's younger brother, came out. By September 1996 Mike and Brad had started dating, and moved in together in January 1997. Actor Chris Bruno was contracted for only occasional appearances (a few times per year) after April 1997. During the summer of 1997 Kevin endured "reparative therapy" by a conversion therapist sponsored by his homophobic parents.

In the fall of 2000 Bianca, the daughter of no less a central character than Erica Kane (Susan Lucci), began to cautiously admit to close friends that she knew she was gay. The storyline involved lesbian occasional characters Rain, Bianca's homeless friend and guide, and Sarah, Bianca's anorexic former first love. Bianca eventually developed a mutual romantic relationship with Lena, an employee of her mother's company. After a sequence of soap opera plots, Bianca moved to Paris.

1995, Michael Delaney
Soon after, All My Children made another attempt to introduce a gay character, this time in the form of noble gay teacher Michael Delaney (1995-1997, played by Chris Bruno). The Delaney storyline was of particular note because it was partially based on a true story about Rodney Wilson, a gay teacher in Missouri who had come out to his students.

1996, Kevin Sheffield

A second gay character grew out of All My Children's Michael Delaney storyline. Kevin Sheffield (played by Ben Jorgensen, 1996-1998) was a gay teenager who sought counsel from high school teacher Delaney. He came out to his parents, only to be disowned and turned out of their house. Kevin's older brother Jason blamed Delaney for Kevin's gayness and tried to kill him. In a soap-operatic twist of fate, Jason accidentally shot and killed Delaney's sister. Kevin's homophobic parents went on to blame Kevin for Jason's subsequent imprisonment and insisted that Kevin seek reparative therapy to “cure” his homosexuality. Naturally, the treatment failed, but Kevin's mother came to accept him. But his father did not and Kevin's character was moved to the background of AMC. SoapCentral.com reports that Kevin was last seen working at Holidays, a restaurant that was blown up on the show in 1998. AMC executives insist that the character of Kevin was not killed in the blast, but his character has not been seen since.
2000, Bianca Montgomery
While reparative therapy and (possible) death by explosion are hard to top, an even more dramatic gay teen storyline was introduced on All My Children in 2000. Bianca, the sixteen year old daughter of wildly popular AMC diva Erica Kane, came out as the first openly lesbian teenager on daytime television and was quickly met with a serious of disasters. After falling in love with and being rejected by her straight friend Maggie, Bianca was pursued by bisexual Lena (the first recurring bisexual character on daytime television), which led up to the first lesbian kiss on daytime television, shared by Bianca and Lena in 2003.

While such a momentous occasion could have easily led to the development of the first actual lesbian relationship on daytime television, instead Bianca was raped (and subsequently became pregnant) by Lena 's spurned boyfriend. Then Lena tried to kill herself and her relationship with Bianca fell apart. Later, Bianca resumed her cat and mouse game with her straight friend Maggie, who cancelled her wedding to an abusive boyfriend to skip town with Bianca in February 2005. Bianca eventually made a brief return and announced that she and Maggie were indeed a couple. But this revelation came conveniently after the Bianca-Maggie storyline had run its course and no longer required onscreen development.

AMC creator Agnes Nixon told The Advocate in 2000 that out lesbian Chastity Bono's memoir was the inspiration for the Bianca storyline, and she hoped that outing an already-established character as gay would make for a more integrated storyline. Choosing Bianca, a familiar character who audiences had watched grow up, for the lesbian plot line was a bold move. Unfortunately it was undercut by the rape/pregnancy plot development, and Bianca's eventual departure from the show marked yet another missed opportunity to develop a recurring, three-dimensional gay character on daytime television.
2005, Val
Played by Michael Malone, this is Erica Kane's personal assistant.

2006, Zoe/Zarf
See David Wyatt's entry here: "Freddie "Zarf" Luper, becoming Zoe 2006-2007 (Jeffrey Carlson). Erica Kane's lesbian daughter Bianca Montgomery (Eden Riegel) returned full time to the program from fall 2006 to April 2007 (without girlfriend Maggie). (See All My Children 1995-2005). In what was perhaps one of the most convoluted attempts to avoid portraying a same-sex romance, AMC introduced Zarf, a male-to-female transsexual (played by a male actor) to provide Bianca a love interest. "
Zoe is introduced in August 2006 as a male international rock star, who is known as Zarf at the time. A strained relationship with his father results in "Freddie" leaving home at age sixteen and establishing a successful music career. At age nineteen, "Zarf" is a famous rock star and has become a millionaire. Babe Carey Chandler and Josh Madden approach Zarf in 2006 about using some of his music in an ad campaign for Fusion Cosmetics and are successful in persuading him to sign an agreement.

Zarf returns to the show on November 29, 2006 and causes a stir by meditating in the nude at Fusion to connect with the creative energies of the company. Zarf meets and falls instantly in love with Bianca Montgomery, who is a lesbian.

Strong romantic feelings for Bianca give Zarf the courage to come out as a transgender lesbian named Zoe on New Year's Eve.

Zoe is subsequently accused of murder and attempted murder of Danielle Frye, Simone Torres, and Erin Lavery. At the Chandler Mansion, where she is accused of being the Satin Slayer, she reveals to Pine Valley that she is transgender, but is not believed by anyone except Babe. Subsequently, other characters come to accept Zoe as a woman, but some characters remain skeptical of her and of the transgender experience. Zoe is later attacked by the Satin Slayer and survives. She is cleared of suspicion when the true killer is revealed to be Alexander Cambias, Sr.

Zoe begins the process of transitioning from male to female. As part of the transition process, she joins a transgender support group and meets with an endocrinologist. She discusses being transgender with her mother and rebuilds that relationship. She is still undecided on whether or not to under-go gender reassignment surgery.

On April 26, 2007, Zoe returns to her home in London to continue her transition and begin work on a new album as a female musician. Before leaving for London, she receives a letter from her father stating that he is hoping to some day be able to accept and love his daughter Zoe as he has loved his son Freddy.

Santa Barbara
1985, Channing Capwell, Jr.
1985, Lindsay Smith


This soap opera opened its first episode with the release from prison of the wrongly convicted murderer of Channing Capwell Jr. In the course of finding the real killer, it was discovered that Channing's past included affairs with his father's mistress and someone named Lindsay Smith. More investigation turned up that Lindsay was another man. Some of this story was played out in flashback wherein Channing and Lindsay appeared.

As the World Turns

1988, Hank Elliot
See David Wyatt's entry here: "Hank Elliot 1988-1989 (Brian Starcher). Hank was a dress designer, who had come to town to find occupation away from his HIV+ lover Charles (never seen). Various characters reacted differently to Hank's coming out to them."

It would be another five years before the first gay male character on a daytime soap was introduced. On As the World Turns , gay character Hank Eliot (played by Brian Starcher 1988-1989) was originally supposed to receive an AIDS diagnosis. But the AIDS plot was altered to instead be about his lover, Charles, a character rarely seen onscreen. After only a year the character of Hank was written out, but ATWT received a great deal of praise for the story and was honored with a GLAAD award in 1990.
Of this era, Usenet's Michael/Rthrquiet adds: "As the World Turns used to have an AIDS ball every year while Marland was writing it; it predated and was the precursor for the Nurses' Ball on GH/Port Charles"


2005, Luke Snyder
See David Wyatt's entry here:
"Luke Snyder né Luciano Eduardo Grimaldi 1995-present (Van Hansis (2005-present))
Noah Mayer 2007-present (Jake Silbermann). Roger Newcomb adds:
Reg Addington, 2008-present (Mark Sullivan)
Tony, 2008-present (Tom Baran)
See also As the World Turns (1988-1989). Long-running classic American soap opera. A character since his birth, in the spring of 2006 teenager Luke came out, to varied reactions from his family and friends. Luke's first crush was his straight best friend Kevin Davis (Karl Girolamo). Noah's speedy connection with Maddie Coleman told Luke his heart was heading down the wrong path again. Soapy plots have included a Noah's crazed, homophobic father, Luke's tenure paralized in a wheelchair, and Noah's green-card-sham marriage to Ameera, a wayward Iraqi. Early story characterized by well-written plot developments separated by weeks or months of the character being sidelined by the writers. A vocal campaign by Luke & Noah fans seemed to break down story barriers inside the production company circa May 2008." Roger Newcomb adds: "In February 2008, the characters of Reg and Tony were introduced as fellow gay Oakdale U students."
Luke began hanging out with his friend, Kevin. Kevin was a party animal who continually encourage Luke to get drunk with him. Despite the fact that a damaged liver could kill him, Luke did it anyway. On more than one occasion his family found out and finally Holden forbade him from seeing Kevin. However, Luke's connection to Kevin was too strong and he defied his parents by sneaking out to hang out with him. Meanwhile, a young woman named Jade Taylor had entered the Snyders' lives claiming to be the daughter his Aunt Rose gave up for adoption. At the same time, Luke's relationship with Holden was becoming tense not only due to Holden's disapproval of Kevin, but also because Holden kept insisting that Luke was hiding something important, which Luke denied. Jade, meanwhile, gained Luke's favor by covering for Luke when he was at a concert with Kevin. Luke then revealed his secret to Jade, the secret he'd been hiding from Holden for months--he was in love with Kevin. Convinced that his parents would hate him, Luke pleaded with her to keep his secret. She agreed. Not long after, Jade revealed a secret of her own: she wasn't really his cousin. Apparently she'd been conning his family and was about to be discovered. But she wasn't ready to end her meal ticket and asked Luke to help her stay--or she'd reveal his secret. Luke complied and they set it up so his parents would find him in bed with Jade. Although Lily was set to throw the schemer out, Luke covered and insisted that he was in love with Jade. Later, Luke tried to reconnect with Kevin, who blew him off, leaving Luke in no mood to see Jade conning his dad out of money. Jade's response was to come on the Luke, who responded himself by pushing her away. The exchange was seen by Holden, but Luke pretended it was because they were not allowed to be making out in the house. As the weeks went by, Jade's presence put a certain amount of strain on Lily and Luke decided it wasn't worth it and finally told his parents that he was gay. Ironically, it was Lily, not Holden, who had the most trouble accepting this fact. Not long after he'd come out. Luke was shocked to see Damian talking to Lily. Luke accused Lily of calling out the big guns to "fix him" and told Damian that he wanted no part of him. Later, at Lily's request, Luke met with a Dr. Kreeger, who informed Luke that he would be going to a camp for young men. Realizing this was some kind of "reprogramming" camp, Luke rushed home to confront his mother. Luke angrily lashed out at Lily and rushed upstairs. Lily tried to convince Luke that she was ready to accept him, he didn't believe her and shoved her away from him. Unfortunately, Luke shoved too hard and Lily stumbled down the stairs and lapsed in a coma. At the hospital, Holden angrily confronted Luke about what could cause him to shove his mother down the stairs. Luke informed Holden that it was an accident and told him about the camp Lily wanted to send him to. Holden refused to believe that Lily would send Luke to a place like that and was initially cold toward Luke. At that point, a sympathetic Damian stepped in and offered Luke his unwavering support. He also offered him a place to stay. As the weeks went by, Damian helped Luke avoid Holden since Luke was convinced he hated him. However, when a still comatose gave birth to a son, Luke decided he had to patch things up with Holden. Not long after he informed Damian of his decision to move back home, Luke was surprised to see a bottle of pills fall out of Damian's pocket. Though Damian claimed it was just allergy medicine, Luke wasn't so sure and asked Lucy what exactly it was. Lucy informed him that it was last resort medication for terminal illness. Luke confronted Damian, who admitted that he was deathly ill. Not wanting to abandon his father, Luke agreed to go to Malta with him. When Luke told Holden, Holden tried to convince him that Damian was lying but Luke didn't believe it. Soon after, Damian informed Luke that they had to leave for Malta ASAP. At the airport, the pair was met by Holden, Jack, and the police. The situation got out of hand with Damian's business associate Sergio, taking Luke hostage but luckily Damian diffused the situation. At this point, Damian was forced to confess that the reason he came to Oakdale was to get Luke to turn over his inheritance to him so he could pay off some dangerous men. During the course of Damian's revelation, Luke figured out it was Damian, not Lily, who wanted to send to a reprogramming camp. Angry that Damian had been playing him for weeks, Luke bitterly disowned his father and although he was within rights to pursue kidnapping charges, he declined in order to spare his family, the Snyders.

The following year, Luke, along with Maddie Coleman, began interning at WOAK where they were teamed with a new intern named Noah Mayer. One of the first ideas that Noah came up with was a cell phone broadcast drama with Maddie as the focus written by Luke. As the summer went on, Noah's friendships with Maddie and Luke progressed. Then came the arrival of Noah's father which he clearly was not happy about. A military man, Col. Mayer informed Noah that he would no longer be paying for his schooling at Northwestern University and instead wanted him to enlist in the Army to toughen him up. At the same time, Luke was finding himself attracted to Noah. When he walked in on Noah and Maddie making love he immediately became flustered. When Noah suggested that it was because he was jealous, Luke confessed that wasn't it: he was gay. However, that didn't matter to Noah. He still considered Luke a friend. Later, Meanwhile, Luke was becoming increasingly distant toward Noah and finally confessed that it was because he feelings for him. Noah insisted that he was not gay but made it clear that he still considered Luke a friend. However, after a day of swimming, Luke suspected that there was something more. The suspicion grew stronger when Noah abruptly refused to spend the rest of the day with Luke and later asked Maddie to apply to Oakdale University instead of Wesleyan. At the same time, Luke was becoming increasingly suspicious that Noah was in denial about his orientation. The suspicion seemed born out when Noah shared a surprising kiss with Luke when he helped Noah with his tie. An unsettled Noah told Luke that he only kissed him to play with his head and quickly asked Maddie to move in with him. Several days later, Noah finally confessed to Luke that the kiss was genuine however insisted that he could not be gay because his father just would not understand. Noah pleaded with Luke to keep quiet about the kiss and went ahead with his plans to move in with Maddie. Luke tried to convince Noah that he would never be able to fully love Maddie but Noah refused to listen. The tension between the pair continued to build as did the Colonel's interest in Noah's relationship with Maddie. Thanks to her brother, Maddie started to wonder if something was going on between Luke and Noah and called him on it. Noah denied it and then accused Luke of telling Maddie. Not understanding how Noah could be attracted to Luke and her, she decided against moving in with Noah. Noah remained in denial for a short time though out of fear of coming out to his father. Finally, after a talk with Maddie, Noah decided that he could not deny his true self any longer and prepared to confess to his dad. As expected, the news did not go well. Noah's father accused him of lying and then angrily disowned. However, he quickly did a 180 and told Noah that he would not lose him. Weeks later, it became apparent that the Colonel was lying when he was caught aiming a rifle at Luke during a hunting expedition. Luke tried to wrestle the gun away from him. Noah came to the scene just in time to see his father violently shove Luke while Holden was able to wrestle the Colonel to the ground but the Colonel ran off. Afterwards Noah defended his father to the police insisting that something must be wrong with him. He then got a shock--Noah's mother was a madam named Charlene Wilson aka Cheri Love. Not only that, his father recently murdered her. Soon after, after failing to kill Luke at the hospital, Col. Mayer was apprehended to the police and defiantly insisted that his actions, including the murder of his mother were in Noah's best interests. In the meantime, Noah learned that injuries cause by his father led to Luke becoming paralyzed. Ashamed, Noah was reluctant to visit him at the hospital at first but relented thanks to come encouragement from Dusty Donovan. Soon after, Noah finally asked Luke if he'd like to be his boyfriend and Luke accepted.

One Life To Life
1992, Billy Douglas
See David Wyatt's entry here:
"Billy Douglas 1992-1993 (Ryan Phillippe) highschool student
Jonathan Michaelson 1992, 1993 (Bruce McCarty)
Rick Mitchell 1992-1993 (Joe Fiske) waiter

Billy Douglas moved into Llanview in the summer of 1992, a 17 year old highschool senior. Billy's struggle to come out to himself and his homophobic parents, in the midst of a town bitterly divided over a rumour that the local minister might be gay, occupied a substantial share of OLTL air time over the summer of 1992. Jonathan, lover of the minister's late brother, showed up to ask for help making a quilt panel. Billy met Rick Mitchell carolling on Christmas eve 1992 and left for Yale the next summer."


One Life to Live also introduced a gay character in the early 1990's, teenager Billy Douglas (played by future movie star Ryan Phillipe, 1992-93) who struggled to come out to family and friends. A young female villain on the show falsely accused main character Reverend Andrew Carpenter of an affair with young Billy, and it was later revealed that Carpenter's brother had died from AIDS. The storyline included a ceremony for the AIDS quilt as it passed through the town. Once again, the association of a gay character and a plot with pedophilia, homophobia and (even if only tangentially) AIDS is typical of the limited scope of gay story lines in that period
1997, Wendi Mercury

I can find no detailed description, but Michael/Rthrquiet reminded me. She was a "mixologist", I think at Rodi's, and she was transgendered.

2004, Mark Solomon
Per the 2004 Advocate:

A YEAR AGO he was baring his chest to Broadway audiences as the very heterosexual Urban Cowboy. Now actor Matt Cavenaugh, 26, has traded in his mechanical bull for a different kind of thrill ride--playing gay on the ABC soap One Life to Live.

Cavenaugh's brand-new character, a college student named Mark, came out in the July 22 episode, and that's led to debate on some hot topics during August. "We talk about gay marriage," he says. "I love that we're tackling a social issue." And if Cavenaugh becomes a role model to GLBT youth? "I would love to be a champion of that cause," he affirms.

Straight and single, Cavenaugh isn't worried about what people might think. "I grew up a kid in Arkansas, and I got attacked as a theater fag in high school," he says. "So you know, most people think I am gay because I sing and dance. It doesn't bother me."

2005, Daniel Colson
Daniel was introduced as Llanview's district attorney, and Riley's father. A former alcoholic, his marriage broke down because of his drinking, and whispered hints of abuse. After a short-lived relationship with Lindsay, which ended once Daniel realized that Lindsay was again involved with the much younger Rex, Daniel began seeing Nora, and it wasn't long before the two of them were talking marriage, much to the dismay of Nora's young son, Matthew, who wanted his parents back together. As his marriage with Nora grew closer, Daniel found himself involved in the middle of two huge cases which turned out to be very much connected -- the murder of Paul Cramer, and the kidnapping of Ace Buchanan. Ace was eventually returned to his biological parents in Pine Valley, but Paul's murder was proving much harder to solve. The prime suspect was Jen Rappaport, the girlfriend of Daniel's daughter Riley, and Daniel's dogged pursuit of Jen caused trouble with not only his son, but also his soon-to-be step-son Matthew who considers Jen to be an older sister.

Despite all the troubles, Daniel and Nora managed to make it down the aisle, but the revelation of Daniel's real first name combined with sudden mysterious phone calls to a woman exposed Daniel as the murderer of Paul Cramer. While still attempting to frame Jen with Paul Cramer's murder, Daniel was discovered by Jen planting evidence in her car. When she tried to flee, Daniel grabbed her and suffocated her, then attempted to have her officially declared as Paul's murderer posthumously. The night that he killed Jen, Daniel went to meet his lover in a hotel room, who turned out to be Riley's friend, Mark Solomon. Bo and Rex were finally catching on to Daniel, however, and Daniel was spotted with Mark in a New York gay bar. Just as Daniel was being sworn in as lieutenant governor, Bo showed up to arrest him, and in the ensuing brouhaha, Rex revealed Daniel was gay, Mark revealed himself as Daniel's lover, Riley jumped Mark, and Daniel was arrested for murdering Paul Cramer and Jen Rappaport

2009, Officer Oliver Fish and Kyle Lewis

Per TVGuide Canada, "Viewers will soon learn that Officer Oliver Fish (Scott Evans) and Kyle Lewis (Brett Claywell) shared a sexual past during college. Not sure how they’ll explain Fish sleeping with that lingerie model, Stacy Fiasco, and having a crush on Layla, but regardless, sources tell The Nelson Ratings the characters will be involved in a romantic storyline."


Guiding Light
1995, Wyatt Sanders
I didn't know about this one, but here are the details according to David Wyatt's entry:

Wyatt Sanders 1995-1997 (Keith Christopher) Wyatt, a recurring character, was an HIV counselor and appeared in several episodes between 1995 and 1997.

2009, Doris Wolfe, Olivia Spencer, and Natalia Rivera Aitoro

Wikipedia says this:

Olivia Spencer and Natalia Rivera Aitoro, often referred to by the portmanteau Otalia, are a fictional couple from the American daytime drama Guiding Light. Olivia is portrayed by Crystal Chappell, and Natalia is portrayed by Jessica Leccia.

Olivia and Natalia's relationship has developed since Olivia's heart transplant in April 2008. During this time, the couple were shown to go from enemies to potential same-sex lovers.
The Doris Wolfe part was a surprise. A long-time recurring character on GL, Doris has been involved with men (most notably, a marriage to Alan Spaulding). When Natalia's daughter wrote a school essay entitled "My Two Moms", mayor Doris publically castigated little Emma and Otalia. So, imagine Olivia's surprise when, tentatively venturing into a lesbian bar on 3/12/09, she ran into Doris. Doris started with denial, but eventually admitted that she was a lesbian.


The City
[Thanks to Michael/Rthrquiet for reminding me of this one]
1996, Azure C.
See David Wyatt's entry here: "Azure C. 1995?-1996 (Carlotta Chang) supermodel. Continuation of the 1983-1995 serial Loving, with the setting shifted to Manhattan. Supermodel Azure C. was revealed to be a male-to-female transsexual in 1996, much to the shock of her Latino fiance Bernardo."
One of the most daring storylines on this show was one involving a transsexual. Photographer Bernardo had a one night stand with model Azure C (Carlotta Chang). He went to the corner to get some orange juice when he saw a picture of Azure C. before the sex change operation. The modeling agency which they both worked had to do a lot of damage control. The storyline began to take off but was soon dropped, in part due to the subject matter and in part due to lackluster reaction to Chang's performance. Azure and Bernardo reconciled and left town.

General Hospital
1994, Lee Mathis
1997, Patrick Fabian

I leapt straight to GH's Lucas. DonnaB (see bottom of post) reminded me about Nurses Ball guests before then. David Wyatt also mentions a school teacher in the 1990s (which I remembered upon reading). Here is David Wyatt's entry about the pre-Lucas era:
John Hanley 1994-1995 (Lee Mathis)
Ted Murty 1997-1998? (Patrick Fabian) schoolteacher

Beginning in 1994 the character of John Hanley was a recurring character, each year co-chairing the annual AIDS Ball charity fundraiser. The character and the actor were both HIV-positive, and when actor Lee Mathis died in early 1996, John Hanley's [off screen] death was mourned on the show. Mr. Murty [occasional from 1997] was erroneously suspected in the sexual assault of a female student.
Of this era, Usenet's DonnaB says

For a very long time there was a yearly celebration in June of Daytime Day of Compassion where shows were encouraged to do AIDS/HIV storylines. Many shows had people in & out really quickly for that & some, but not all of them were gay. Also for awhile shows were celebrating World AIDS Day, which may be early December if I recall right, which is as unlikely as it might be possible. But, one's spring, June, and the other is definitely Fall or early Winter. That was also a time when shows often had people in & out who sometimes were gay, sometimes were not.

GH did the Nurses' Ball for years & it was nothing if not remarkable & wonderful, thank you, Wendy Riche & Claire Labine! They did the remarkable Robin/Stone love story HIV/AIDS storyline and there was a gay man who had AIDS who was also an actor who was on every year & sometimes during the year, until he died. After that another gay man who had been a friend of his, also an actor, also been on yearly, had a more prominent part & managed to help remind us of him & our loss of him.

General Hospital
2005, Lucas Jones
See David Wyatt's entry here:
"Lucas Stansbury Jones 1989-2006 (Ben Hogestyn (2005-2006))
Guy Richardson 2006 (Nicholas DiNardo)

Long-running classic American soap opera. A character since his birth, during the winter of 2005/6 college student Lucas grew to realize he was harboring a secret sure to distress his family situation. Guy and Lucas began dating in May, 2006, and they both promptly disappeared from view."
Lucas came out to his friends and parents that he was gay. His friends supported him, and although Bobbie defended him to Tracy, her first instinct was to get him counseling. When he told his father, Tony, he was shocked by how easily his father accepted it.
Passions
1999, Simone Russell
I had forgotten about Simone, but here is David Wyatt's entry:
Simone Russell 1999-2007 (Cathy Jeneen Doe (2004-2007))
Chad Harris 2006?-2007 (Charles Divins)
Vincent Clarkson 2007 (Phillip Jeanmarie)

Somewhat unconventional American daytime drama, mixing complex, interrelated families with a 300-year-old supernatural meddler. Simone is daytime's first African-American lesbian. In early 2007 is was revealed that Chad was having an affair with another man. Chad's lover Vincent would go to any lengths to keep the affair secret. Chad's heterosexuality was eventually rescued when it was revealed that Vincent was a hermaphrodite and Chad was sleeping only with Vincent's female anatomy. Vincent turned out to be a serial killer and (using his male parts) a rapist. (Who writes this stuff?)

2006, Chad Harris-Crane
Chad (Charles Divins) watched an X-rated blackmail DVD sent to him by his secret gay lover.

When viewers saw the paramour's face at last, it was Vincent, the tabloid reporter played by Phillip Jeanmarie.

Since this is Passions, you can expect lots more cheesy near misses until Chad's wife, Whitney (Brook Kerr), finally discovers the male lover Chad's been cheating with for months.

Let's just hope that, as this spicy storyline progresses, Chad will eventually make peace with his sexuality and quit lying and spouting homophobic remarks to cover his tracks. (For those who know about life in the closet, Chad's shame, denial and self-hatred are hard to watch because it's so true to life.) Since Passions has been fairly sensitive — and daring — in its exploration of gay issues thus far, I'm staying cautiously optimistic.

2006, Vincent Clarkson-Crane

Vincent Clarkson, a tabloid reporter, was first seen on-camera at Chad and Whitney Harris-Crane's December 26, 2006 wedding, where he was searching for colleague J. T. Cornell (who had been murdered, his remains placed inside Chad and Whitney's wedding cake). Unbeknownst to all, Vincent was actually the long-lost son of Julian Crane and Eve Russell, who had been presumed to have died shortly after birth over thirty years previously, and had been masquerading in Harmony for two years as a Crane Industries employee named Valerie Davis. Vincent, who is very mentally unstable, was apparently approached at some time prior to the Harris-Cranes' wedding by his paternal grandfather, the presumed-deceased Alistair Crane, and convinced to do his bidding and terrorize Harmony's citizens, including his own family members, as the Blackmailer.

As the Blackmailer, Vincent is responsible for many of the crimes that occurred in Harmony from late 2006 through the middle of 2007. Vincent's first acts of terror were to rape his own paternal half-sister, Fancy Crane, while on a stakeout in December and while she slept in her "Princess Room" in January; during the second attack, he also accosted Fancy's boyfriend, Luis Lopez-Fitzgerald - Vincent drugged Luis, collected some of his semen, then dressed him in the Blackmailer's costume (the first costume, which featured all-black clothing and a ski mask) and locked him in a closet before raping Fancy once more and planting Luis's semen inside of her. As a result, Luis was arrested for Fancy's rape. When maternal half-sister Simone Russell's girlfriend, Rae Thomas, figured out that Vincent had raped Fancy, he murdered Rae and framed Luis, and when a bartender named Dylan Flood was revealed to have information from Rae about the Blackmailer, Vincent murdered Dylan and set fire to his apartment, again framing Luis.

Vincent also began to blackmail Luis's sister, Theresa, who was also Alistair's "widow". As the Blackmailer, Vincent harbored a crush on one of Theresa's love interests, Ethan Winthrop, and, in order to insure that he could have Ethan for himself, Vincent threatened to have Luis executed and reveal that Ethan had fathered Theresa's son, Little Ethan, if Theresa would not stay away from Ethan. When Theresa failed to do so multiple times, Vincent forced Theresa to marry Jared Casey, and then unsuccessfully attempted to force her to have a baby with Jared.

Theresa ultimately failed to stay away from Ethan, so Vincent blackmailed Judge JE Reilly into combining Luis's arson/double homicide/double rape trial with younger brother Miguel's attempted homicide trial. Reilly repeatedly denied the men due process, and a jury eventually sentenced Miguel to life in prison and Luis to death by lethal injection. Though Julian eventually made provisions so that Miguel would be exhonerated, Luis remained in jail.
Vincent is the half-man half-woman masked blackmailer
Vincent is the half-man half-woman masked blackmailer

By the time Luis had been sent to death row, much of Harmony had become aware of the Blackmailer's existence and was working diligently to see Luis set free. When Fancy came close to securing a DNA match identifying the Blackmailer as Vincent, Vincent attempted to strangle his sister, and eventually murdered a psychiatrist who had treated him earlier in life so as to keep his identity a secret. Vincent also continued to blackmail Judge Reilly and the state governor so that Luis's appeals would all fail. During this time, only Sheridan Crane discovered that Vincent and the Blackmailer were one and the same; however, she agreed to keep his identity a secret as long as he brought her niece, Pretty Crane, back to Harmony so that she could destroy sister Fancy's relationship with Luis, with whom Sheridan was still in love. Vincent also convinced Sheridan to kill Theresa using the prison electric chair, but she was inadvertently saved from death by Gwen.

Meanwhile, as himself, Vincent was revealed in February to have been engaged in an incestuous, homosexual, and eventually adulterous affair with Chad Harris-Crane (who was simultaneously Vincent's half-uncle, adoptive half-cousin, and half-brother-in-law) since a time prior to the latter's trip to Rome (circa April 2006). Though Chad eventually tried to end the affair, Vincent blackmailed Chad with secretly-taped videos of their encounters, threatening to send them to his wife, Whitney. Vincent was furious when he discovered that, despite their affair, Chad had continued to sleep with Whitney, resulting in Whitney's pregnancy with the couple's second child. Also furious with Whitney for telling his girlfriend, Valerie Davis, that he had been cheating on her, Vincent engineered a scenario so that Whitney would walk in on Vincent and Chad having sex in the back of a gay bar; Whitney immediately left Chad, and Chad ended things with Vincent.

Things began to fall apart for Vincent when he revealed both of his secret identities - as the Blackmailer and their son - to Julian and Eve. Eve told Whitney that Vincent was her half-brother, and a furious Whitney told Chad, who was horrified to learn that he'd slept with his half-nephew. Despite Julian's insistence that they protect their son (and the Crane name), Eve outed Vincent as the Blackmailer only moments before Luis was to be executed (though, in reality, he had already been executed - Endora Lenox had turned back time inside the execution chamber in order to revive Luis). Luis was set free, and Vincent was arrested and placed in psychiatric care.

Under the care of a Dr. Tonia Wilson, Vincent was revealed to have been doing Alistair's bidding. Alistair helped Vincent to escape and assigned him to work with Spike to complete a hit list, though Vincent quickly discovered that he was at the top of the list. Spike attempted to kill Vincent, but Sheridan quickly arrived and protected her nephew, fleeing with him by car. Sheridan and Vincent eventually crashed near a cliff, Spike in their pursuit, and when Vincent and Spike argued, they both tumbled over the side of a cliff. Sheridan tried to hold on to both men, but could not, and when Spike revealed that her son, Marty, was still alive, Sheridan let go of Vincent in order to pull Spike up, causing Vincent to plummet to his apparent death on August 30, 2007. A few episodes later, however, Vincent was seen emerging from the ocean; he immediately headed to Valerie's home, and begin to attack her off-screen for "telling". However, at the end of the final episode on NBC on September 7, 2007, Valerie removed a mask, revealing Vincent to be beneath and indicating that he has been Valerie all along, and perhaps has some sort of multiple personality disorder. On November 5, 2007, Vincent was experiencing what occurred to be symptoms of nausea and morning sickness. He ran a blood test on himself and found that he was pregnant (although in actuality hermaphrodites are unable to bear children). On November 22, 2007, Eve finally realizes that Valerie and Vincent are the same person after having done an examination on Vincent (dressed as Valerie) the previous day.

2008, Norma Bates
2008, Edna Wallace

2008 refers to their year of lesbian wedding. Per Roger Newcomb's blog, "From TV Guide magazine: PASSIONS ends its nine-year run in August, but it's not too late to break through another sexual barrier - or quietly make suds history. On July 22, AARP-age lesbians Norma (Marianne Muellerielle) and Edna (Kathleen Noone) will say "I do" in daytime's first legal gay wedding."



============

Other near-misses


The Doctors
1976, Tom Carroll

Michael/Rthrquiet of Usenet also adds this memory from The Doctors:
On The Doctors, 1976-77, the character of Tom Carroll (played by a breathtakingly beautiful young Jonathan Frakes) was supposed to be gay (storyline written by Douglas Marland), but again, the sponsor reversed its approval, and Tom became a child abuser instead.

Another World
1975, Michael Randolph
early 1980s, Sandy Cory

Harding Lemay wanted to make Michael Randolph (per Michael/Rthrquiet) gay...but P&G/NBC wouldn't let him. Rthrquiet actually says "On Another World, Harding Lemay wanted to make Michael Randolph gay, not Sandy Cory (who was introduced in the early 80s, between Lemay's two stints as HW), but Procter and Gamble reversed its initial approval of the storyline (this was late 1975). I don't know who the HW was at the time, but Sandy Cory *was* supposed to be gay as well, and that, too, got changed. (He was actually supposed to have been a male prostitute with male clients, and they ended up making him a male escort with a female clientele.)"

Bold and the Beautiful:
early 2000s, Sergei

Jm J. Bullock's appearance as Sergei (pronounced "Sir Gay"), the gay wedding planner on B&B who was practically rubbing all over Jack Wagner's leg. Does that count?