I was reminded recently of an editorial I wrote several years ago, chastising a producer for firing a popular actor. When the editorial came across his/her desk, I'm told the producer flew into a rage upon reading my comments, snarling "Who does she think she is? She thinks she can tell me what to do!" or somethintgto that effect. So before I launch into this week's commentary, let me just say this about that. I never presume to tell anyone to alter their point of view because I differ with it, let alone act on my "suggestions." It has happened occasionally, and that is certainly gratifying, if a little scary, because of the responsibility it implies. But what you read in this space are only humble observations based on my particular perspecting as a professional observer of the soap genre and other aspects of the entertainment world and life in geneal. Having said that...
Let us at this moment compare the way two shows - the number 1 soap "The Young and the Restless" and the number 9 soap, "Another World" - treat their veteran, bedrock performers. Y&R, No. 1 for nearly a decade, honors those long-term cast members in whom its loyal audience is highly and emotionally invested. Even if they languish for months in back-burner limboand are only trotted out at family functions and to remind us they're still around, they aren't fired or put on recurring status or asked to take demeaning pay cuts. Eventually, when their storyline turns around, they are moved front and center. In addition to Bill Bell's (and his entire writing staff's) genius for weaving
intricate and engaging stories that keep viewers on the hook, sometimes for years, this understanding of the fans' need for continuity of character (and actor) -- of all ages -- is a very big part of the show's enduring success.
On the other end of the spectrum, AW has shown a shocking disregard for its viewers' feelings by its insidious and steady destruction of one of daytime's best casts beginning with the unnecessary killing of Alice Barrett's popular heroine, Frankie Frame Winthrop, in the summer of '96, continuing with the exits of, among others, David Forsyth, Anna Holbrook and Kale Browne, and culminating (so far) with the firing of Emmy-winning actor Charles Keating, who brought a Shakespearean grandeur to bay City, and whose Carl Hutchins was one of daytime's most complex and provocative characters. There has been no acceptable
rationale thus far to explain this phenomenon, and it is especially galling when the show as a whole is gaining storyline momentum and interest. Consider this fact: Last year around this time, Y&R's rating and share was a 7.0/27; the same week this year it was a 7.0/26. AW's ratings last year at this time was a 3.0/12; this year it has fallen to a 2.5/9.*
It appears that AW's viewers are expressing their dissatisfaction in the only way they feel they'll be heard: with their remote controls.
See you next WEEKLY, Mimi Torchin, Editor-in-Chief.