Tag: daytime dramas

Tune in Tomorrow

Ah, the wonderful world of daytime soaps. It’s so weird to me that there are only four (The Young and the Restless, The Bold and the Beautiful, Days of Our Lives, and General Hospital) left on the air. At the height of my soap addiction, I watched more than four of them. I mean, you literally could spend the entire day from about eleven till three thirty watching them back then–four and a half hours solid of soaps. Usually there would be some kind of Good Morning America show on, followed by game shows, and then came the dramas. A lot of those game shows came and went, but ones like The Price is Right never seemed to go out of favor with audiences while the others waxed and waned.

Dark Shadows was the one I really loved when I was a kid, and to this day I still remember it fondly.

When we moved to Kansas in the mid 1970s, the town where we lived was only able to pick up one television station, a CBS affiliate out of Kansas City–less than half a year after we moved there we were able to get cable–but that first summer we lived there and I didn’t know anyone? All I did was read and watch television…and with only one channel, there really wasn’t much choice during the day so Mom and I started watching the CBS shows, and I am sure I am going to forget one here: Love of Life, The Young and the Restless, Search for Tomorrow, As the World Turns, Guiding Light and Edge of Night. (The latter was always one of my favorites, because there was a shit ton of crime. It was really a law-and-order soap, originally created to compete with Perry Mason on radio and had all the markings of a soap, with the usual love triangles, adultery and questionable parentage like all the others–but there was also always a very tangled and complicated murder mystery story running, usually connected to organized crime and sometimes not–but the main characters of the show were inevitably district attorneys and lawyers. Everyone on this show was eventually either murdered or went on trial for murder, which I thought was interesting.)

But the next summer, when I was at home all day, Mom still watched Y&R, but she’d moved on to shows I used to watch with my baby sitter in Chicago (General Hospital and One Life to Live) and a newer one I used to watch with my sister, All My Children, before switching back to CBS for Edge of Night. This was, of course, the beginnings of the General Hospital phenomenon of the late 1970s/early 1980s, primarily focused on Laura (and later, Luke and Laura) and while I did enjoy those stories…my favorites quickly became the Quartermaines, and Jane Elliott as Tracy, in particular. I became obsessed with the shows, watching them whenever I could, and then one day I found this book at a second hand store when I was about seventeen:

It was already out of date; at the time it was published the most popular show airing was NBC’s Another World (General Hospital was breaking all ratings records in the present day), so a lot of the book, when talking about modern times, focused on Another World, and its primary ratings driver, the love triangle between Steve, Alice and Rachel (George Reinholt, Jacqueline Courtney, first Robin Strasser and then Victoria Wyndham as Rachel; Reinholt and Courtney made the book’s cover). By the time I got to the book, Another World‘s ratings were already in free fall and ABC was in firm control of daytime’s ratings. It was also more of a puff piece rather than any in-depth reporting and digging. It was all about how talented and hard-working every one involved in daytime was, and conflicts and other off-camera issues were completely ignored. (It was updated several times, and the last edition I had a copy of, Soap World, was much better and not so “aren’t they all AMAZING?”)

But what was interesting to me about the book the most–and Soap Opera Digest–was that they both had summations/summaries of the soap’s plots from the beginning (not everything, obviously, but the main through plots and popular stories); that was how I actually learned how to write a synopsis. Interested in soaps and fascinated by these summaries, I started doing my own–inventing soap operas, coming up with the family relationships and marriages and so forth, and then would start writing the summaries. I also used to always have a bit of fun writing soap spoofs, generally casting my friends as “characters” and coming up with story lines and writing those summaries, even mini-episodes. I did several of these over the years, but the best was the one I wrote around my fraternity friends, The Young and the Pointless–and I have to say, I learned a lot writing that one. The others I’d done earlier didn’t last long and I’d get bored with it and stop; Y&P (as I called it) ended up being three “seasons” of twenty or so “episodes”, and I soon began understanding the struggles of soap writers–how do you top yourself with a story line? The need to constantly bring in new characters and subplots and balancing everything, until it became a bloated mess and I “canceled” it myself after the third season.

The first book I ever wrote, which I’ve mentioned before, was a sprawling soap opera about a small city in Kansas. Again, it was a learning experience and a difficult one at that; writing this book taught me about overwriting and filler; how bad dialogue can be if you don’t speak it aloud as you write it; and again, balancing characters and plots and subplots and story and keeping track of it all was insane. I’ve borrowed things from it over the years–plots, subplots, characters, locations, etc.–but always knew there was no point in trying to trim it down and use it as is. Murder in the Garden District’s case, in fact, was lifted fully from that manuscript; it was the main story. And I’ve used names from that manuscript repeatedly; they pop into my head unbidden and it isn’t until later that I realize where they came from and I change them.

I watched many soaps over the years; I’d often watch other soaps with friends who watched those shows and would get into them for a bit before going back to my solid three: All My Children, One Life to Live, and General Hospital. I wrote a paper in college for a graduate level course on American culture in the 20th century; the paper was called “How Storylines on Daytime Television Drama Series Reflected Changes in the Mainstream Culture.”1 It was over a hundred pages long, and traced how the soaps went from being primarily marriage and divorce drama to mining social issues for story. I got an A on the paper, of course (I always got A’s on anything I had to write), and I’ve always had some of that information left in my head; and of course as the 1980’s began, they began casting beautiful young men with exceptional bodies to play heroes and villains on the shows–John Wesley Shipp is one I’ve never forgotten, and he’s still a handsome older man today, and so I was also able to occasionally see beautiful men shirtless or in speedos. I approved of this trend 100%.

John Wesley Shipp also did these kinds of photo shoots. My God, that body.

I eventually stopped watching them in the mid-1990’s, when I realized I could keep up with them or use that time to write; I chose to write instead. But even though I no longer watched, I kept up with them some on line and so forth. The twenty-first century purge was horrible to watch, as shows that had once been a popular mainstay of daytime television were mercilessly canceled between 2001 and 2012. It’s hard to believe there are only four left airing, and there haven’t been many in prime time for decades–although the continuing nature of the soaps is now the nature of almost every television series–that cliffhanger shit really does get people to tune back in.

But I always remember them fondly. There were so many wonderful stories over the years–including some completely insane ones–and characters, too. Luke and Laura on General Hospital, Greg and Jenny on All My Children, Viki’s dissociative identity disorder on One Life to Live, and all the wonderful murder mysteries and insane courtroom dramas are all remembered fondly by me–and then of course there was Erica Kane.

It just doesn’t seem like daytime anymore, without Susan Lucci chewing everything in sight as Erica Kane every afternoon, does it?

  1. I really wish I had a copy of it, but it disappeared over the years and many cross-country moves. ↩︎

New Fire from an Old Flame

I grew up watching soap operas, and yes, soaps also influenced my development as a writer–which means I have to be careful not to slip into melodrama.

I know my grandmother watched them, and so did the lady down the street who babysat us in Chicago: One Life to Live, General Hospital, and Dark Shadows. I’ve always recognized Dark Shadows as a major influence on me as an artist and author; that and the old black-and-white crime movies my grandmother loved to watch with me. It’s why I’ve always had a taste for the dark and Gothic, and Dark Shadows merged horror with mystery in an expert blend that I can vividly recall to this day–and often go there in my work sometimes.

One Life to Live was always interesting, and they did stuff other shows weren’t doing. Viki’s Dissociative Identity Disorder storylines–including when it came back when she was under heavy emotional stress, usually involving memories of her father–was riveting; so was the Carla storyline, in which a beautiful young light-skinned black woman was passing for white, and involved with a white doctor. (I was terribly disappointed to find out, years later, that actress Ellen Holly, the first Black female star of a soap, received death threats and was also victimized by bigotry within the cast and crew and network.) It was never a favorite through the late 1970s and 1980s, but I watched; Erika Slezak was terrific as Viki and Robin Strasser was INCREDIBLE as her arch-enemy and stepmother, Dorian Lord. Andrea Evans returned in the 1980s as Tina, Viki’s ward…only to find out that Tina was actually her half-sister because her mother, Viki’s best friend, had an affair with Viki’s father…which led to yet another return of Viki’s DID.

Like all soaps, it was complicated.

But it was in the 1990s that One Life to Live became must-watch television.

Novelist Michael Malone was hired, out of nowhere, to be the headwriter, and he reshaped the show completely to his vision of what good storytelling should be, and the issues the show should be bringing forward. He introduced some new characters, slowed down the pacing of the show, and dove into the interior lives of the long-term characters, as well as their history. There were any number of explosive storylines during this period that made the show must-watch television; I recorded it every day so I would never miss anything. (All My Children and General Hospital were also having glorious runs at the same time; ABC was firing on all daytime cylinders.)

And then they brought in a new character, a friend of Viki’s son Joey, Billy Douglas–which was also Ryan Philippe’s big break.

Seriously, how adorable was young Ryan Philippe?

Daytime had dipped their toe in the water of queer characters before, before quickly ending the storyline and writing the character out. But in the early 1990s, Malone was willing to push the envelope and confront homophobia in all of its ugliness. It began with the arrival in town of Reverend Andrew Carpenter, who was shortly followed by his father, Sloan, from whom he was estranged. The reason of the estrangement was the father’s rejection of his gay son, who subsequently died from HIV/AIDS. Andrew can’t get past how his father rejected his brother due to homophobia, and they didn’t reconcile before the brother’s death. Already something was building here, and then Joey Buchanan’s (Viki’s younger son) friend Billy–a popular athlete, just elected class president–comes out to him. Joey is surprised, but accepting, and is there for Billy as he agonizes over what to do. Eventually, he goes to Andrew for counseling–and young villainess Marty Saybrooke, whose romantic interest in Andrew has been rebuffed, overhears the counseling session and tells everyone that not only is Andrew gay, but he’s been grooming (the term wasn’t used there) Billy into becoming gay too! The town is then torn asunder over the sudden outbreak of homophobia; Billy comes out to his parents and is rejected by his father, everything comes to a head, and the truth comes out–and Marty would get “punished” for her crimes later, in the most horrific way possible (again, must-watch television)–and Andrew and his father reconcile; the AIDS quilt is brought to Llanview; and people become more accepting of Billy. They introduced a love interest for him, but viewer reaction to this was harsh, and so they wrote Billy out by sending him off to Yale, never to be seen again.

Since then, almost every show gradually had gay or lesbian or bisexual characters, but I have stopped watching soaps, finally giving up on them in the late 1990s because I couldn’t really spare the time to watch anymore. But Billy, acted brilliantly by young Ryan Philippe, and beautifully written, was one of the first and best portrayals of a gay teenager on television, and I’ve been a fan of Philippe ever since.

It’s a shame One Life to Live no longer airs, going down in the bloodbath of soaps after the turn of the century. The show’s run in the first half of the 1990s was extraordinary–including the brilliantly conceived and written gang-rape of Marty that happened at a fraternity party, and the aftermath was explosive and brilliant. One Life to Live at the time also had a fantastic cast, wracking up Emmy wins left and right…and it was shortly after the Billy storyline concluded that they cast Nathan Fillion as Joey–and another fandom was born for me.

I’ve often wondered how much impact that story and character had on the public perception of queer people as well–during the Clinton administration things began to look up a bit from the horror of the 1980s, and I think television definitely had something to do with it, with positive representation.