SOS & LTAS’ 2014 Accomplishments

The way is gonna beHello, Soap Fans!

Phew! 2014 was quite a year at LTAS and for the SOS movement as a whole! We at LTAS don’t like to toot our own horn—but it’s time for a “TOOT! TOOT!”Here is a quick run-down of the blog posts that have been tipping the scales in our favor—aiding in bringing back our soaps in 2015! I am going to present them in a sort of us/them format. The networks said “x,” we proved them wrong with “y.

1. First I will simply point out the most basic and important (to ABC/Disney) fact. nielsen rattingABC/Disney said low ratings were the primary reason the soaps were canceled, and we all know ratings to be the bottom line for any network’s programming decisions, right? Well, “All My Children” (AMC) and “One Life to Live” (OLTL)were averaging a 2.4 Nielsen ratting (NOT including SOAPnet viewing, DVR recording and viewing, but only daytime views on ABC). The shows that replaced them, “The Chew” and “The Revolution” started at a 1.9 Nielsen Ratting, sinking to a 1.6 within a week. “The Revolution” was cancelled, but “The Chew” continues to founder at this lowest rating in the history of daytime at the time of this writing.

So, in 2014 LTAS covered these topics in our weekly blogs, topics vital to the arguments for getting our shows back

follow the money the network2. The networks said the sluggish economy was making it difficult for them to produce the soaps. But putting some faith and capital into a business enterprise, such as continuing to produce AMC and OLTL, would benefit the economy, which would then allow for continued production of those soaps (not to mention profit), and on and on in a feedback loop. Also, bringing the soaps back to NYC could allow for the (re)creation of forty-thousand jobs and up to four billion dollars in revenue for the city. We think Mayor DeBlasio would be very happy about this, don’t you? It’s not just actors, writers, director, producers and camera operators who come to work, its caterers, set designers, costumers and all the small businesses that open to service these people. We must tell the story of soaps to the city leaders. We must write them, email them, attend city meetings and ask them about bringing soap production back to the city. Do they know what they are missing and that there is a loyal fan base waiting for the soaps to return to NYC? Probably not! And bottom line, as we know that is the big concern for any business, the return of AMC and OLTL and other soaps to NYC will be a big boost to the NYC economy! Let’s tell TPTB!

  1. gh kids3. Another untrue claim by the networks that they used as a reason for canceling AMC and OLTL was that young people don’t watch soaps. THIS YEAR, we brought on board two weekly Cliffhanger Friday bloggers who are “young people.” And all of us soap viewers know soaps make sure to cater to all age groups—even pre-school-age kids! Witness Spencer, Emma, and Cameron on “General Hospital
  1. follow the money 24. The networks said there is no money left in soap production. Our interviewee, Dr. Donald Boudreau proved that a total lie! He’s an expert on business and daytime dramas rightly pointed out that the daytime dramas have and were at the time of their cancellations big cash cows—with swollen udders and barely the ability to move!—for the ABC/Disney (not to mention other networks before them). In particular, Boudreau pointed out that daytime drama revenue helped fund their huge nighttime show franchises.
  1. reality tv5.The networks love to say reality TV is cheaper to produce and as appealing to fans. We disagree. Reality TV doesn’t have lasting power. It comes and goes, because viewers ultimately see it for the fast food of TV fare it is—cheap, sure, but ultimately unfit for consumption and doesn’t fulfill their basic human needs—in the case of fast food, quality nutrition, and in the case of reality TV, quality storytelling.
  2. There is no international market for soaps, the networks say. Not true. The networks make millions and millions in royalties from the soaps airing overseas. Please see our wonderful guest blogger, Lidia’s, piece on the subject of U.S. soap popularity in Spain.

hatie6.  Ha! Look at that $20 million investment disaster known as “Katie”! Gone, because of low ratings. 20 millions train wreck. That failed because daytime viewers want the masterful storytelling of soaps, no more reality TV and Talk shows.


  1. 7.Disney axed SOAPnet saying a dedicated soap channel wasn’t making them money. We know this is wrong, right, soap fans? A place we can go to watch our soaps in re-run, or for the first time if we missed the original airing was a genius idea by whoever came up with it. I had SOAPnet on all the time in my home! And I know lots of other soap fans did tosoap neto! And then, of course, any products advertised on a dedicated soap channel would see rises in consumption, benefitting advertisers and networks, and of course, they control programming decisions. Here’s another link to Dr. Boudreau’s interview post, part of which covers this topic:


  1. prospect park pic8.ABC/Disney says they can’t reboot AMC and OLTL because of the ongoing lawsuit between them and Prospect Park. We interviewed a legal expert, Troy Veenstra, who looked at the case and told us otherwise. You can read the post via this link. Just know this one basic fact: ABC currently owns the rights to AMC and OTLT, and despite the lawsuit, which involved only a few characters and whose expenses to ABC are like a teardrop of a legal bill in their ocean of revenue, they can reboot them at any time!

rp_Bryan-Frons-246x300.jpg9.The networks have said, or shown rather, by their actions, that soaps and soap stars are expendable, easily replaced by other fare. If this were true, would the cancelling of AMC and OLTL see a fan backlash like no other in television history? The networks said, and advertisers went along with, the insulting belief that we viewers can be trained, like simpleminded fools who will just take what they give and like it. Wrong! The Disney execs who tried to “train” us and follow their silly programming decision as the poor children followed the Pied Piper in that old fable, why are Frons, Sweeney, and soon Iger gone, while SOS groups, boycotts of all things ABC/Disney, and continuing actions by soap fans to save AMC, OLTL, Dallas, other soaps, and the soap genre going strong. We are not dogs waiting for our masters to teach us tricks! See our blog on this topic: 

The networks want to make money. We understand. They have a bottom line, like any business. Our advice, BRING BACK OUR SOAPS, AS MANY AS POSSIBLE, IN 2015. We will not let them down, profit-wise, right readers? We are loyal, dedicated fans! Here is a challenge to the networks: first of all, get soap fans like us back on your side, and you won’t regret it—you’ll be rolling around naked in money on your beds! (Hmm—where was I going with that one!? But you and they know what I mean! J). CBS/Warner Brothers: bring back “Dallas” before ABC/Disney brings back “Dynasty” in 2015, which they are going to do. You don’t want to be behind them! Networks, when you see how soap fans make your primetime soaps a huge success (after giving them a chance, unlike was done with “Dallas 2.0,” cancelled before it could be nurtured and shown by fans to be hugely in demand, as the “Save Dallas” movement evidences, you (ABC don’t you want to be the vanguard here) will want to bring back your daytime soaps, and we fans won’t let you down! 

Please comment, readers? What do you think about all these topics? What did the events of this past year show you about soaps and their imminent comeback,? What do you want to say to the networks about it? Comment, and subscribe in the upper-right corner of this page!

And, as always, Stay Soapy!

Your Editor-In-Chief,

Akbi Khan

American Soaps Overseas: Popular Much?

????????????????????????????????????Hey, soap fans! Have you ever wondered whether American soap operas were and/or are popular overseas? Well, wonder no more. Here is one example, written by a LTAS contributor “Lidia”. She is a young Spanish woman and has a fascinating story to tell about the popularity of American soaps overseas. Read on, fans!

I was born at the beginning of the 90s.

TV series are something I’ve grown up with. Personally, I am a huge fan of Xena the Warrior Princess and Buffy the Vampire Slayer, but I’ve also consumed an endless list of series and I’ve enjoyed them greatly.

I’ve always lived surrounded of a TV culture that, daily or weekly, allowed me to visit for a while someone else’s life, and usually that someone else was American. And these series that surrounded me were of all kinds and genres, Family, Comedy, Action, Science Fiction, Horror… and also of course Soap Operas.

All these series have made me and people very different than me, people that may never set foot in the USA, become strangely familiarized with the American lifestyle, culture and even history. With the curious and strange (for us) American high school hierarchy, with American dollars, with American presidents, with Thanksgiving… through our TVs, American culture entered our homes, and it was very welcome!

But, even though I’ve always lived surrounded by all this, even in the 90s this was a pretty new situation in Spain.

It may be strange to read this for an American, because you’ve been enjoying a great variety of TV shows for decades (even from the 50s and 60s, I Love Lucy, Bewitched, The Brady Bunch… and I’m not even sure all of them were aired in Spain! Talk about how strong American culture is), but in Spain, when we look back with TV nostalgy… we don’t have to look back much, because it’s all pretty recent in comparison.

Because in Spain, back then, we only had two networks (although, ironically enough, in some aspects they were much more productive than nowadays). I was born at the same time as channel plurality in our TVs, in 1990.

I tell you all this because it’s important to keep it in mind to fully appreciate how big of a deal it is that Spanish audiences keep some things, certain soap operas, certain characters and moments, so close to their hearts.

All these was important because in the years that followed this birth of multiple TV channels, in these first decades of TV in Spain, what was aired was carefully chosen, and it was supposed to be a big hit for the audiences, it became part of our popular culture.

These decades gave us shows that had their golden age in our TVs and endure in people’s memories as fantastic products that made us love the small-screen. American cop shows, family sitcoms… and Soap Operas.

A huge and very beloved part of these TV revolution were those great series about wealthy families and colossal financial empires, with archetypical characters, fabulous openings… the 80s was a glorious moment for American Soap Operas. Those were dramas starred rich and powerful families, where its members hate each other for their wine or oil businesses, and they ruled TV audiences for years and won their hearts with those wicked villains, those love triangles—and even quadrilaterals–those mansions and those stories full of secrets and unexpected twists.
For the audiences, the characters, their lives full of luxury and intrigues, the whole package was just fascinating.

falcon crestA great example of all this was “Falcon Crest”, which apparently was more successful in Europe than in the United States. In Spain, people loved how very involved the wine culture was on a story level. Even just the opening theme is one of the most famous from TV shows history. An everyday conversation back then might probably include some references to certain character who became part of our TV culture… because Angela Channing was a celebrated villainess par excellence. “Falcon Crest” was one of the firsts Soap Operas to arrive on Spanish TV. Here, it truly became a social phenomenon. Each new chapter made thousands of homes stay paralyzed, everyone looking at the screens, tuned to the wine/love stories of those characters.

Alexis ColbiSpeaking of TV villainesses becoming popular icons… if “Dynasty” had an added bonus, it was Joan Collins, another great wicked villain: Alexis stole the scenes every time she appeared. And, even though the show was famous for the incoherence in its scripts and the apparitions/disparitions of characters, in a sense, it also laid the foundations of the genre in our screens, and “Dynasty” is still a synonym of glamour for us.

Dallas JRAnother great Soap Opera to arrive here was “Dallas”, of course, the show that made the breakthrough. It was the first luxury saga, set on a Texas ranch, that told parallel stories of several families whose members were by no means moral exemplars, to the point that “good” characters were a rarity. What the Spanish audiences enjoyed was its narrative structure: several entwined plots giving us a story about a Texan family, the Ewings, millionaires from the oil and cattle industries. And also, once again, people loved the unforgettable villain: J.R., another villain that would influence greatly our popular culture, even being named and referenced in a lot of programs and pictures by comedy actors such as Lina Morgan on Spanish TV.

Dallas also paved the way for other classic shows to try to make a comeback. In summer of 2012 it was on the news that TNT Spain would air the “Dallas” revival, to the joy of the online community of fans of the show… even though a couple of months ago we learned about its cancellation after three seasons. Fans wondered, is this the destiny for the Soap Opera genre?

Spanish network la Sexta announced in 2011 plans for having its second channel completely devoted to Soap Operas and telenovelas, making a profit from its association with Televisa.

This genre is so beloved in Spain that our studios have tried to replicate the success with some projects hugely inspired by the classic American productions. One example would be “Herederos”, in 2007, a production that followed the line of the great American Soap Operas and told the story of a wealthy family from the bullfighting scene, the Orozcos, living under the scrutiny of the press and fighting internal disputes, with intrigues, the fights between classes, double morals and plenty of betrayal. The main character was played by a very well-known Spanish actress, Concha Velasco, and it was impossible not to see references to shows such as Falcon Crest, Dynasty, or the recent Brothers & Sisters.

The problem for the Spanish audience of today, young people like myself that were born after the successful era of this genre, is that first of all we would have to learn to differentiate two different genres that are seen as one and the same nowadays: Soap Operas and telenovelas. This confusion is, in this case, damaging the Soap Opera genre because young audiences are not very keen of Latin American telenovelas (although this genre also has its own audience and tends to be successful in terms of numbers).

Meanwhile, we are living with a trend in which everything “retro” is fashionable, a trend driven by nostalgia that makes young people want to experience everything that made a hit decades ago (remember the “A-Team” movie, for example…). Just mentioning any of the great American Soap Operas evokes the idea of those popular TV shows that we’ve heard about so much, but in most cases never had the occasion to watch.

AMC OLTLI should say the confusion between Soap Operas and telenovelas in Spanish audiences’ minds is not damaging at all in the case of American audiences. Univisión is huge in the USA thanks to their telenovelas. We learned, much to our surprise, of the cancellation of classic Soap Operas such as “All My Children”, “One Life to Live”… while each new Televisa or Telemundo production is sold to an average of 20 countries.

Some people think Soap Operas today would be almost obsolete formulas for being “serialized dramas that require a hard loyalty that nowadays would be difficult to get”. But actually, that hard loyalty from audiences is today much easier and normal than it used to be before the Internet. Online communities of fans have had a huge impact on shows such as “Lost”, “Breaking Bad” or “Game of Thrones”. The only difference would be the genre, it might be that the audience’s taste has changed… but even that would be arguable.

daysofourlivesIf “Grey’s Anatomy” still works, it is thanks to its distinctly Soap-Opera-esque quality, very much in the tradition of shows like “General Hospital” or “Days of Our Lives”, that allows them to keep, through thick and thin, a large number of captive audiences that have endured ups and downs and some very bizarre moments.

General HospitalIt’s not so much that the tastes have changed—people still like a good Soap Opera. What may have changed, in fact, are expectations. We expect quality TV.

TV business has changed. We are living a new golden era for TV shows. In foreign countries like Spain we can enjoy an endless amount of American shows, for all kinds of tastes, being aired with less than a week of difference than in the USA. Now there are very different kinds of creators, genres, broadcasting…

Then, why would it have to be the end of ANY genre? Especially given how much television owes to THIS genre. Right now, there is an audience for pretty much any genre you can think of, and definitely there is an audience eagerly waiting for the great return of Soap Operas.

Then, what are networks waiting for?


As always, soap fans, stay soapy! And don’t forget to comment. And subscribe to our blog (upper-right-hand corner of the main page).

Your Editor-In-Chief

Akbi Khan

Soap Operas and Business, American & International Pt.2

Don book cover.jpgHey, Soap/LTAS Fans! Hope you’re all doing well and NEVER giving up on all soaps, near and far! As promised, here is the second part of our interview with business, advertising, author, and soap expert, Dr. Donald Boudreau.  Have you ever wondered how much money the networks make or could make from the international soap opera market.  Wonder no on.  :)

Dr. Donald G. Boudreau is an internationally recognized expert in the field of economic statecraft and is the author of several books, including American Business and Daytime Dramas (Smashwords, 2012).  He and his wife, Zoraida de (together with their two dogs and two parakeets) are happily building their new home in a small coastal fishing town that serves as a gateway to North Carolina’s Outer Banks.

LTAS: So far we’ve talked about soaps in the context of their domestic audience only? We know that American soap operas have had big international audiences for a long time, and thus the networks have/had big money to make there. If you were a network’s head of daytime programming, how would you handle the international audience?
DB: In my book American Business and Daytime Dramas, an entire essay is devoted to the international appeal of soap opera. In this regard, it is noteworthy that a show such as “The Bold and The Beautiful” in recent years has been deemed the most popular soap opera currently for its success domestically and internationally. This is a show that can be seen in more than 110 countries and garnered more than 24.5 million viewers worldwide in 2008, making it more watched than any telenovela or soap opera on television, according to the Guinness. It is also noteworthy that in France, “One Life to Live” did in fact have a brief stint during 1987‐1988,airingunder the name” On ne vit qu’une fois” which means “You Only Live Once.” Reportedly as well, “Loving” was big in Italy along with “Guiding Light,””Days of our Lives” in Australia, “Santa Barbara” in Armenia. “As the World Turns” is very popular in The Netherlands. And no wonder it is much to its credit, Proctor & Gamble is working hard in creating new soaps for Turkey and other Arab nations that are sweeping the Middle East with a view to marketing their suite of products throughout such, thanks to its worthwhile product placement and product integration techniques, if only major television networks take to wisely emulating the same. All of which raises the questions of what international syndication, international product placement, and international product integration opportunities the major United States television networks have heretofore to the present day yet failed to exploit through its valuable soap opera franchises? Why not be using platforms such as popular American soap operas like” One Life to Live” and “All My Children” in a similar manner per the aforementioned proven successful business model for “The Bold and the Beautiful.”? For the many ABC Disney shareholders’ interests, one wonders just how much in profits has been sacrificed, and over how many years, by senior ABC Disney executives not taking full international business advantage wisely of these valuable soap opera franchises thanks to abysmal management decisions taken including among others, cancelling them (One Life and All My Children)domestically, failing to exploit them successfully internationally, “replacing them” for a litany of in some cases, pricey, soon failed talk shows a la Katie, all failing to recapture the significant loyal market share soap opera audience followings lost, via the rank ill-conceived cancellations? Powerfully witness, too, that CBS has long taken advantage of airing soaps in French in Canada ala Days, unlike the ABC soaps. And, there you have it. There is so much work to be done now by ABC and the other networks, and lucrative new growth markets to be had for the taking.

LTAS: As of this writing, fans are working busily every day to get “Dallas” back on TV after it was resurrected and then cancelled again (on TNT). “Dynasty” is said to be making a 2015 comeback. How do you explain the fact that these nighttime soaps haven’t lost their audiences in 20 years?
DB: The cancelling of Dallas by TNT has unleashed an international uproar by fans on Twitter and other social media that is nothing short of impressive. Just earlier in November 2014, there was a Super Tweetathon that began in New Zealand and was held for 6 hours worldwide. Much has been written regarding Warner Brothers Pictures efforts being made with a view to Saving Dallas and The Globe Magazine has stepped up also with its campaign supporting fans efforts in this regard. Moreover, there was the Save Dallas European Tweetathon with its separate respective starting times for the European Union, United Kingdom, and United States that drew much attention and support to the cause. Andyes, Dynasty is reportedly being slated for a possible comeback. To what are we to attribute this phenomenon of strong staying power of fans supporting so‐called nighttime, primetime soap operas? Storytelling is a primordial basic human needs engrained in our very core of existence. it is what distinguishes us as people, we have stories to tell. All of these fans are sending messages to the networks and to all of the corporate advertisers who are listening. Deliver to the fans the entertainment what they are clamoring for, and their buying patronage and loyalty will reciprocally flow riches into the hands of your companies shareholders and corporate advertisers. That is the very proposition now set forth that waits for appropriate action to be taken by the networks and production companies forthwith. Networks and production companies need to pay heed in addressing these powerful consumer demands being made by vocal viewing audiences for good scripted, storytelling, classical American soap operas. These are the many millions of viewers who have been overly saturated with the lowest common denominator reality food and weight reduction show offerings entertainment. Quality storytelling is timeless, and will always win out in the end, as people continue demanding their stories presence in their living rooms. The pendulum is now swinging back into that rightful direction bring with it new business opportunities for growth aplenty, both domestically and in international markets.

LTAS: From an economic point-of-view, what would it mean for New York City to have AMC and OLTL return to production there?
DB: Regarding New York City, it is noteworthy that during the course of a podcast on Tuesday, May26, 2011. the widely respected actor Jerry ver Dorn, in recent years known for his work in playing the role of Clint Buchanan in “One Life to Live” observed that in 1978 when he first arrived on the scene in Manhattan, there were 3 networks producing 15 soap operas! Today, there are none, thank you ABC/Disney et al. Having One Life to Live and All My Children return to production in New York City would bring many jobs and economic benefits to ABC Disney shareholders, to New York City and New York state, and to the many ancillary businesses operating in the New York metropolitan region that would be positively affected by their presence. In my book American Business and Daytime Dramas, an entire essay is devoted to the manner in which the presence of soap opera in New York City long historically and successfully served as a training ground, a feeder system if you will, for the many talented actors and actresses who have go onto become blockbuster talents in today’s Hollywood movies and on the Broadway stage. This was no accident, and it was no small treasure, and yes it can be replicated no win force, and by orders of magnitude with new investment bringing good steady returns for the ABC Disney Company and its shareholders. There are many avenues open for more efficiently, economically producing these soap operas than heretofore had existed in past years, and ABC Disney is well positioned to take advantage of such opportunities given its rather impressive preexisting resource and infrastructure and skills bases, its significant footprint in New York City and let us not forget its production facilities in the surrounding boroughs as well.

LTAS: LTAS and the Save Our Soaps (SOS) movement as a whole are in the process of re-directing a coupon campaign to persuade the already-receptive DirecTV to create an exclusively soap opera-based channel. What that be a good move, business-wise, for DirecTV? Why or why not?
DB: Actually, I think it would be a good business move for DirecTV or for other takers with the necessary resources. In recent years, we have seen a proliferation of networks specializing their offerings based on viewing audience preferences. Here in the Washington, DC metropolitan area, for example, Me TV offers a wide range of nostalgic television show offerings that have a large and significant following. There are all types of network and cable shows today catering to more specialized viewing audiences than at any time in the past based on consumer preferences (e.g., crime related and law enforcement, foods, hobbies, sports, dress and fashion, homes and real estate, travel and leisure activities, etc.) and there is no end in sight it seems to me. The network or networks that are successfully able to create a forum whereby legions of fans of these many soap shows can take advantage of viewing these substantial catalogs, on a day‐to‐day basis, stand to realize significant revenues by monetizing these longstanding consumer loyalties to these shows. Millions upon millions of soap opera fans will buy the product lines advertising on, and thus underwriting, these shows continuing successes as such. Too many of these shows catalogs are now tragically lying dormant, gathering dust on company shelves, and this situation needs to be reversed, and sooner rather than later one hopes to be the case.

LTAS From a business point of view, do you think networks can simply air reality-based programing in time slots once occupied by daytime serials and hope for the profits and fan loyalty that latter once brought them?

DB: I am not here to demonize reality television as I have and do, on occasion, like many people enjoyed watching as how such as for example, Next Great Baker or another food, restaurant‐themed like show. But I believe that that pendulum has swung to an extreme level due to network group think. As some observers have noted, much of so called reality programming is, in fact, very much scripted and rehearsed programming, too. But the human condition cries out with certain basic, primordial needs which it craves and storytelling is one such critical need that soap opera programming, not just here in the United States but internationally, is the most dominant form of such that we find in the world today. Millions of American fans of American soap opera gravely miss All My Children and One Life to Live and they and their families and friends continue boycotting ABC and Disney, until such time that those shows are returned to the airwaves. One need look no further than social media protests that remain powerful forces in advertising their support for these shows clamoring for ABC Disney to take the necessary corrective actions with a view toward settling the protracted litigation with Prospect Park, and bringing these shows back to the their respective fan bases forthwith, and uniting those fan bases back to supporting ABC/Disney’s network and its ancillary businesses and its many corporate sponsors tied to supporting such shows programming. I find myself in near constant awe and feeling tremendous respect toward the All My Children and One Life to Live Save Our Soaps movement, its many leaders and its millions of supporting fans, nationwide. How can one not have been moved by the haunting image of one soaps activist Nathan Brookshire, standing on the side walk of a road in a town in America with traffic passing by, holding up a placard sign supporting these shows? How can one not be moved by the longstanding dedication and hard work evidenced by the team of unbeatable great ladies all, tied to producing Let’s Talk About Soaps (“LTAS”) out of Brooklyn, New York including among others, the show’s co‐hosts Cheneise Carey‐Beebe, Stella Winston, the noted songstress Alura Johnson, behind‐the‐scenes and always hard at work executive producer Tessa K. McKenzie, director Bernice Brook, and you, yours truly their phenom blogger, scribe Akbi Khan? How can one not be moved by the hours of heartfelt YouTube videos produced by LTAS’ Cheneise as she rightly and relentlessly hammers ABC Disney and its senior executives calling them out by name and deed, for their rank misguided, disastrous corporate decisions made by cancelling these two iconic American soap operas; shows, that had long been profitable ventures for the network for many decades, thus having provided the financing for so many of its historical prime time television successes? How can one not be moved by the heart wrenching YouTube videos produced by Tina Byrd Payne powerfully demonstrating how significant these shows are; the useful ongoing role that they play in fans and their families lives year‐after‐year? And too, do not forget her admirably selfless generosity in organizing the producing of actor Michael Easton calendars, again and again, selflessly supporting with so many other soap fans the good work of the American Cancer Society. Who has produced more astute, brilliant legal commentary regarding the ongoing, seemingly never ending ABC‐Prospect Park litigation than the wonderful Spin’s Vixenella, thanks to her talented presence on Twitter, in particular? Look at the leadership role in the soaps movement played by someone such as Shawn Brady of Soap Fans United, including among many others, how could one not be moved? Powerfully witness the work of so many of the soap journalists such as, among so many others, Nanci Hughes, of the New York Soap Opera Examiner, as a wonderful fan of these shows and a great supporter in the forefront of the Save Our Soaps (“SOS”) movement. Look at Canadian soap journalist, Nelson Branco, and his daring bravery and journalistic integrity in publicly and selflessly defending these shows in the face of their nasty cancellations. How can one not be moved? How cannot be moved by the acutely perceptive business observations, brought to bear by one John Larsen of New York City, he being no stranger to New York daytime television production, also known as Midnighter on Facebook and Twitter, as he powerfully lectures ABC Disney, in precise, hefty dollar figures, on its rank failed business economics case in cancelling these two shows and foolishly supporting talk shows (some pricey) that have in short order tanked in the ratings and been forced from the airways by relentless, boycotting soap fans nationwide refusing to watch them? How can one not come away impressed with the substantial body of work analytically crafted by the talented Michael Fairman of Michael Fairman Soaps in addressing the many thorny issues, tied to these two shows and their respective casts, since their infamous cancellations by ABC/Disney? How can one not be moved by the likes of Travis Stair creatively supporting, through his many Facebook postings, his unwavering conviction of One Life To Live as the greatest television show, ever? The problem with singling people out, with the naming of names of leaders and noted fans is, of course, that one will always fail to recognize many deserving contributors to the Save Our Soaps movement and its day‐to‐day work who too, are equally worthy of being duly recognized. To name but a few more, Marc Anthony Ouckama, Andrea Kollo, Denise Quinones, Heather Chajko, Mike Wahl, Tony R. Curtis, Mary Amos, Trevor Mcbain, Edna Jackson Barefoot, Toure T. Cannon, and Karim El Masri. How can one not be moved by the useful contributions made to these shows and this genre by the well respected Carolyn Hinsey of Soap Opera Digest fame and Mr. Dan J. Krol of Soaps Central Live? And, do not forget the indefatigable work of Richard M. Simms, the executive editor of Soaps In Depth magazine. They are, individually and collectively, a powerful, formidable force to be reckoned with along with the countless other Facebook pages, leaders and supporting fans there and on Twitter and related soap blogs and magazines and radio shows, too. Each and every one, mentioned here and not due to space and time limitations, have been core, critical to the success that is the contemporary soaps movement, aimed at rectifying this rank injustice and bringing the respect and honor due this genre by the entertainment industry writ large.

LTAS: It’s been a tough few years for soap fans. Do you believe, as we at LTAS do, that soaps, like Phoenix, will rise from the ashes triumphant? Could there be a second Dr. Donald Boudreau book about 2015 as the year American business AND daytime drama won?
DB: The legendary American baseball outfielder and pitcher, Babe Ruth, once observed that “You just can’t beat the person who never gives up.” And, somehow and someway ABC Disney and its daytime programming decision makers it seems to me must come to grips with this inexorable reality and get on with the business of countermanding and reversing these misguided program cancellations. The many millions of dedicated American soap opera fans of All My Children and One Life To Live are the very people that Babe Ruth was referring to as they do not give up. It needs to be understood by myopic television network programming decision makers, special note of each and every television network that soap opera and its audiences are anything but myopic or stove piped in their decision making and loyalties. These are the same and one consumers who will loyally buy the sponsors products when they visit their supermarkets and stores nationwide. These are the same and one customers who will plan their weddings and family celebrations and vacations on Disney cruises and at Disney’s entertainment venues. These are the same and one fans who will be coming to the soap fan weekends, patronizing all of the related businesses while there. It is they who will be bringing their children and their grandchildren to the company’s latest movie releases. The soap opera fans customer loyalty is not to be taken for granted, and accordingly, such will be richly reciprocated in turn. They are consumers, customers, and fans, all of these things and you marginalize ‐ or ignore them ‐‐or, but pay them lip service, at your career and the company’s peril. And yes, finally, if ABC Disney one day soon has a corporate epiphany, coming full circle, and doing the right thing for its loyal national television viewing audience, resurrecting these vintage shows to their rightful throne son Manhattan Island (and please, Luna Moody’s Soaps Goddess, may it be with none other than Cartini at the helm!), then yes, I can certainly envision writing another tome commending them for such, at long last. That actually would be my personal pleasure and a sequel worth penning. “Thank you” great ladies of Let’s Talk About Soaps for having me here with you once again, take care and be well and finally, keep on keeping on, in keeping the SOS faith alive. See you next time and happy holidays to all. Best wishes as ever, D)

Stay tuned, soap/LTAS fans! Now you’ve heard from Dr. Boudreau on the foreign soap market. Next week we will have a Spanish soap fan who will tell us all about American soap operas and their popularity in Spain!  And as ALWAYS, Stay Soapy! Subscribe (upper right corner) and comment away!

Your Editor,

Akbi Khan

Soap Opera And Business (American & International), Pt 1

Don book cover.jpgHey, Soap/LTAS Fans! Hope you’re all doing well and NEVER giving up on all soaps, near and far! 🙂

Dr. Donald G. Boudreau is an internationally recognized expert in the field of economic statecraft and is the author of several books, including American Business and Daytime Dramas (Smashwords, 2012).  He and his wife, Zoraida de (together with their two dogs and two parakeets) are happily building their new home in a small coastal fishing town that serves as a gateway to North Carolina’s Outer Banks. We at LTAS have been big “Dr. Don” fans for a while now. And not just because of his wonderful book, but because he is an exemplary colleague in general, supporter of soaps, and friend to all of us here. He knows a great deal about why things happen the way they do in the soap-advertiser relationship, and we wanted him to share some of that knowledge with you. This is just part one of our interview with him! There’s more to come!

Dr. Boudreau, first of all I would like to thank you for taking the time to do this interview and for always being a friend to the soaps—and LTAS.

 LTAS: How did your book, “American Business and Daytime Dramas,” come about?

DB: For 20 years, my wife and I were avid watchers of “One Life To Live” (OLTL). It was a sacred entertainment ritual that became as much a beloved part of our daily lives as the ever-talented ensemble cast of “One Life” (and, all that incredible Cartini magic) were treasured guests in our family home. Of course when I say Cartini, I am referring to the noted team of executive producer Frank Valentini and head writer Ron Carlivati most currently affiliated with General Hospital. I wrote the book American Business And Daytime Dramas (Smashwords, 2012, available at Smashwords and largely out of anger and grave disappointment at the erroneous decision announced by ABC/Disney Television on Thursday, April 14,2011, regarding its cancelling of All My Children (AMC) and “One Life To Live,” two of noted writer Agnes Nixon’s longstanding soap opera masterpieces. My reasons for writing such were not altogether selfish in that, moreover, I believed that the cancellation decision was also a horrific business decision on business case economic and market share grounds and that, historically it would become upon serious reflection viewed as such by business schools worldwide, ultimately becoming akin to other historically notorious business decisions such as New Coke. I believed then and I believe now that ABC/Disney, and the faulty decision circle embraced there by the then senior management trio of Bob Iger, Anne Sweeney and Brian Frons would eventually come to long rue the day upon realizing they had seriously miscalculated in making such decision. Noted national and international business schools (not to mention the industry‐wide knowledge thereof) will long observe and study the many egregious business failings of these ABC/Disney executives and the conditions and factors that led them to so miscalculating to the detriment of the loyal ABC television viewing public, and moreover, to the many ABC/Disney share holders that have been damaged as a result. I would be remiss if I failed to note too the many dependent families affected, again adversely via the cancellations, including but not limited to, the casts and crews of AMC and OLTL and the millions of loyal fans of these two shows nationwide. And, let us not forget, the two shows many corporate sponsors who depended on the buying power patronage of those fan bases.

LTAS: In your book you mention that people at ABC were responsible for the cancellation of AMC and OLTL. Fans swore their heads would roll, and they either have or are slated to roll in the future. Can you explain, from your position as a soap fan and expert on big business/daytime drama explain the firings, or upcoming departures, of Brian Frons, Anne Sweeney, and Bob Iger?

DB: The great lady, Cheneise Carey‐Beebe, co‐host of Let’s Talk About Soaps fame, known too for her wonderful YouTube videos defending AMC and OLTL against ABC Disney, was prescient in her prediction that as a first imperative corrective measure, there needed to be a housecleaning writ large of the parties that brought about this train wreck decision of cancelling these shows. That the individuals responsible for substituting them with a chain of overwhelmingly failed reality and talk shows, so‐called replacement shows be called to task. It is these shows which, on the whole, have failed miserably in recapturing the lost fan bases that were devastated by losing AMC and OLTL. It is extremely difficult to reverse the effects of highly dysfunctional business decisions in large, complex organizations, powerfully witness the almost Zombie‐like fealty to continuing to produce low-rated talk shows, akin to cranking out mediocre, lowest common denominator entertainment happy meals fare, and surely not filet mignon, always seeking to find the next, ever elusive cash cow show a la the Oprah show. Powerfully witness the notoriously expensive, ABC/Disney’s Big Fail of a television talk show that was named Katie. Remember it? Frankly, we know who the responsible culprits are who created that daytime show fiasco, hint: ask Cheneise Carey‐Beebe, why she’ll tell you who in a nanosecond. The relentless follies of ABC Disney television’s daytime programming decisions are continuing unabated as ABC/Disney and Prospect Park remain mired in seemingly protracted litigation as the ever valuable franchises of AMC and OLTL continue languishing, gathering dust, shamelessly it is to be lamented. So much for the ABC/Disney Television network’s creative programming decisions and its loyalty to the millions of many decades long fans nationwide of AMC and OLTL, still waiting, once again, to be tapped into viewing their beloved shows if only they would return with a view to rebuilding integrity and respect. Imagine if only but for a moment, ABC/Disney saying publicly, “We heard you ‘All My Children’ and ‘One Life To Live’ fans and we’re sorry…we sincerely apologize, we blew it, yes, but ‐we’re coming back and bigger and better than ever,” in a nationwide televised and social media blitz campaign, aimed at successfully resurrecting these two shows and with new international marketing efforts acknowledging these two ABC Disney properties as the valuable (and profitable) franchises that the network and the public earnestly knows them to be. ABC/ Disney would, accordingly, take the reins…


LTAS: In recent column, a frequent LTAS contributor, my esteemed colleague Eternelendrea wrote a blog post “With a Hidden Dagger, Network Fakes a Smile.” He was especially referring to ABC/Disney’s leading of fans down a primrose path using Prospect Park. Can you talk a little about the painful rollercoaster ABC/Disney took viewers on with the aforementioned company and its versions of AMC and OLTL?

DB: Observers have remarked on the troubling relationship between Prospect Park and ABC Television and there are many theories regarding such. Some people believe that ABC intentionally conspired with Prospect Park to bring the shows back as a means of defusing fans ire at ABC/Disney over the cancellations. Some observers note that one of the two Prospect Park partners had formerly served as a senior Disney executive. Other observers note that the very name Prospect Park has meaning linked to ABC as further evidence of the existence of collusion, a conspiracy if you will, between the two companies. But many of these conspiracy theories fall apart it seems to me when you look at the current day reality. Both firms are now mired in expensive and protracted litigation with a view to resolving various claims and counterclaims that have been made by the parties. Meanwhile, it is the fans who continue suffering, once again. It is extremely difficult to believe that sufficient due diligence was made by ABC/Disney in protecting its shareholders property interests relative to these two soap opera daytime television franchises. Other more viable prospective agents for producing these shows may or may not have been given due consideration at the time by the powers that then prevailed in ABC/Disney Television. The obviously high risk business decision involved, in taking the shows from television to the Internet, was also so novel for this type of a business arrangement that ABC/Disney may one day if not sooner lament that it do not take on a larger equity role in developing this new medium of entertainment given that with each passing year, more viewers are moving onto other types of viewing platforms, mobile devices in real time, on demand applications and uses, regardless of geography, that which is becoming so omnipresent in our world today. But the Prospect Park experiment was by no means flawless, of course, and its shortcomings and pitfalls soon became evident. Longtime fans, too, are extremely loyal to the shows, their franchises, and to the integrity of their story lines and characters in a serious manner not to be cavalierly discounted or ignored by its producers, without grave consequences being brought to bear, as was the case with Prospect Park surely to a degree it seems to me (as any reasonable reviewing of the many soap journo stories, of that day appertaining, powerfully demonstrate). At the end of the day, the fans are the ultimate customers of these shows and it is they, the fans and their families and extended families and friends, who decide to reciprocate loyalty by either buying the corporate sponsors’ products, or otherwise choosing not to. One ignores such, arrogantly or ignorantly, at one’s peril it seems to me.

 LTAS: Ultimately, we at LTAS feel, the soaps were meant for television, not the Internet. And now it seems that LTAS co-host Cheneise Carey’s theory that before the soaps come back, we need a clean house. And you have said that the soaps must come back with the same cast, writers, directors, crew, back in New York City, etc. General Hospital (GH) is now back in its 3:00 p.m. time slot, indicating this process has begun. Can you explain what it would entail from a business point of view for the completion of that process?

DB: As in our own household, we too like “Let’s Talk About Soaps,” are favorably inclined given our long, historically favorable experience, to viewing our show (OLTL) on television rather than on the Internet. Having said that, I have in the past stated my desire (like so many countless others) that the shows need to be returned intact, as much as possible, preserving their character and their integrity.Yes, I am a firm believer in Cartini magic, too, based on solid evidence and their phenom track record with “One Life” and now surely too, with GH. I fully believe the noted soap journalist, Daytime Confidential’s acutely perceptive blogger and podcaster, and ever ingeniously comedic Jamey Giddens, when he observes that OLTL, in the five years prior to it leaving the ABC airwaves, produced some of the finest soap opera writing ever witnessed in the genre, bar none. This is no small treasure—not that ABC Disney, in its blind spot, ever fully appreciated the value of such a jewel that Cartini’s prowess manifested with “One Life” on multiple fronts. But, I have never yet deluded myself into believing that such a resurrection process of the two shows, intact in New York City is currently underway, except perhaps in pleasurable dreams; fantasies, that I might on occasion allow myself the pleasure of having. ABC/Disney surely has all the requisite resources for successfully carrying out such a mission yet needs the corporate will necessary for embarking on such an ambitious venture. Some people suggest that the cancelled soaps, as such, will never return. But I think it would be folly for fans of AMC and OLTL to lose hope. America is a very nostalgic country and American entertainment is heavily prone toward following suit in repeatedly bringing such to the marketplace. One need look no further than the current list of Broadway shows as powerful, and exceedingly profitable evidence of such. ABC/Disney has a long and fruitful history of producing viable, profitable soap opera in New York City for many good reasons, including the high geographical concentration of talented cast and crews and other talented support staff that, for many past decades, have made it good commerce and fruitful enterprise for many; long having been in ABC/Disney’s shareholders best interests, too.

 LTAS: If you combine SOAPnet, soap star weekends, soap fan cruises, and other soap tie-ins, wasn’t ABC/Disney making millions of their daytime lineup?

DB: As the acutely perceptive soaps activist, John Larsen of New York City (also known as Midnighter on Facebook and Twitter) powerfully observes, ABC/Disney historically made substantial profits from its daytime soap opera lineup; funds that long supported substantial parts of the network’s other operations, including many of its historical blockbuster, prime time successes. The two valuable franchises, AMC and OLTL possessed, and still possess, multiple possible profit centers for ABC/Disney, including among other things, international syndication rights. Loyalty, important loyalty exists for a network in various forms of purchasing power; the patronage extended to goods and services advertised, by millions of fans too, to the network at large, and to Disney as a company, bringing multiple spillover economic benefits that are now, intentionally and unwittingly shortsightedly it can be argued, being foregone thanks to its myopic decision making to the detriment of the economic growth of both ABC and Disney corporate enterprises. But that surely does not have to remain the case and appropriate corrective measures can be taken. But that takes sound business leadership and creative thinking.

Stay tuned, Soap/LTAS Fans for the continuing story of Dr. Donald Boudreau on soaps! Remember when they used to say that on some of our soaps–the part about the continuing story? And as ALWAYS, Stay Soapy! Subscribe (upper right corner) and comment away!

Your Editor,

Akbi Khan


LTAS December promo

1. We will be posting an interview with Dr. Donald Boudreau, author of “American Business and Daytime Drama.” He is a soap fan, a brilliant business thinker, a wonderful writer, and one of the most gracious and kind people. You’ll see all this reflected in our interview, guaranteed.

2. We will also be posting an interview with an advertising industry insider who has some fascinating insights into soaps and their relationships to advertisers. We drew inspiration from Carolyn Hinsey’s recent column on the same topic.

3. Our Cliffhanger Friday columns for “The Bold and the Beautiful” and “The Young and the Restless,” penned by Casey Hutchinson and Sofia Bryan will be starting up.

4. And we have a surprise interview in the works. I wish I could tell you more—I’m itching to—but I you’ll see it soon enough.

And as always, soap fans, stay soapy!

–Your Editor-in-Chief, Akbi Khan

Photo on 5-2-14 at 3.42 PM #3

The Cliffhanger Friday

Casey picHey, LTAS fans! We have some exciting news. We are thrilled to be inviting a new member on to our staff. His name is Casey Hutchison, and he will be doing The Cliffhanger Friday weekly  of “The Young and the Restless (Y&R). In the comments following his recaps, we encourage Y&R fans, and fans of any other soaps, and soap fans in general, to communicate with each other, vent about issues related to Y&R, and most importantly show the networks YOUNG PEOPLE DO WATCH SOAPS! We at LTAS are so excited to have a talented and enthusiastic writer like Casey on board as part of our team. Welcome, Casey! And below find Casey’s introduction of himself.

LTAS: Can you provide a basic introduction of yourself and your favorite soaps?

CH: My name is Casey Steven Hutchison. I was born on October 28th, 1999 in Springfield, Illinois. As of June 20th, 2014, I currently live in Rosebush, Michigan. I watch two soap operas that are my favorite as well. They are “General Hospital,” and “The Young and the Restless.”

LTAS: What about your new column for us?

CH: I will be recapping “The Young and the Restless” for LTAS I will recap the whole week for you super fans!!!

LTAS: Networks claim young people don’t watch soaps. Do you agree?

CH: I think younger people would be missing something in their lives if soaps were gone. This genre is one that viewers can rely on to come on their screens every weekday. Not too many TV shows do that. Three words to advertisers who think the young demographic doesn’t watch soaps.…you are wrong. I have been watching soap operas since I was three. That is twelve years! I have let them come into my home and my life. So, advertisers… there is how you are COMPLETELY wrong.

LTAS: Do young people—like the so-called “older demographic” of people over 37—need soaps in their lives?

CH: People, including young people want a constant in their lives, and daytime serials can still provide that.

LTAS: Any final words to your future readers?

CH: I hope that you enjoy what I have to say about my favorite soap Y&R! I cannot wait until you see what I have to offer to the soap world. LOVE ALL THE SOAPS, NO MATTER WHAT!!!!!!!!!!!!!”

We also have a November 28th, 2014 launch date for our Cliffhanger Friday recaps.

Another wonderful soap fan and writer will be doing recaps for “The Bold and the Beautiful.”

We are looking for two volunteers to do Cliffhanger Friday recaps (e-mail me at for details) for “General Hospital” and “Days of Our Lives.”

And as always, soap fans, stay soapy!

–Your Editor-in-Chief, Akbi Khan

Those Who Will Not Be Silenced

Susan memoirKim's bookIt’s hard to overstate the affection which devoted fans of a soap opera feel toward the actors who play the characters they follow on TV every day. We’re talking about true, dyed in the wool fanatics here. These are the people, more than anyone, that the actors are talking about – and talking to – when they thank their fans for their support, because they are the people who provide encouragement and a human connection between the actor and their fans, and who most passionately inspire others to join the ranks of the fandom. We all know the type: They familiarize themselves with the actors’ career prior to appearing on the show, they write fan mail to the actors, they attend events where the actors are scheduled as guests. And they listen, very carefully, to everything the actors say.

 Which is why the irony is so overpowering that, many times, the actors really can’t say anything at all. It’s not their fault, it’s in their contracts. They’re working under a gag order.

What is a gag order? Put simply, it’s a clause in an actor’s contract (they’re also used for people in the Department of Defense who handle top secret classified government secrets) that requires them not to reveal sensitive information about their show or be outwardly critical of its producers. Basically they are obligated – under contract – to avoid saying anything that embarrasses the show, angers fans, or otherwise risks the profits of the suits behind the cameras. And these gag orders are serious business; if you violate one, losing your job on the show is the least of your worries. You could be looking at a hefty lawsuit.

This is why it’s so impressive when an actor is willing to risk such harsh consequences in the name of the truth. A prime example would be Kim Zimmer (Reva from Guiding Light CBS), who wrote a book entitled “I’m Just Saying” in which she was brutally and beautifully honest about her feelings towards the studio’s production methods on her show. In the book, she accuses the studio of abandoning their pride in a job well done, and concerning themselves only with churning out an hour of television (of whatever quality) as quickly as possible. She became disgusted with the caliber of her own soap, and she told everyone about it at hers bosses’ expense. It’s the kind of thing anyone under a gag order risks being severely disciplined for, but she loved Guiding Light too much to keep quiet.

 Another prime example Susan Lucci (Erica Kane, AMC) : Her rage is captured in excerpts published by the NY Post on Saturday.”An iconic show was losing out to greed … If Brian Frons could show his bosses that he could save the network 40 percent … he could keep his job even if the rest of us lost ours,” she writes, referencing the decision to go with a cheaper show — food talk show “The Chew — in the place of the classic soap. “I watched Brian Frons’ decisions destroy the production of our show and the lives of people on both sides of the country.”

Yet when this does happen, all too often there’s no appreciation for the courage of the outspoken actors, because there’s so little understanding of the risk they are taking. I’m hoping to put a stop to that, right here and now, at least for anyone who reads what I’m writing here. Let’s not be too hard on those actors who abide by their contracts and keep silent at all costs – they have good, personal reasons to do so – but please, let’s give credit where credit is due and acknowledge the downright heroism of those whom no order can gag!

By Eternalendrea,

Remember two things, soap fans, you have a voice, and an important one, at that. Use it! And two, as always, stay soapy!

“Dynasty” is Coming Back! And We Must Save “Dallas”!

DallasVsDynasty“Dynasty’s” first iteration aired on ABC from January 12, 1981 until May 11, 1989.  After 8 years, ABC/Disney cancelled it. But an inside source told us that “Dynasty 2015” is about to make a comeback on A&E , a cable channel owned by–you guessed it–ABC/Disney.


We at LTAS have to wonder why ABC/Disney doesn’t just air the new “Dynasty 2015” in primetime on ABC?

In a recent, related development, TNT has decided to pull the plug on their reboot of “Dallas,” which fans were loving. The incomparable Shawn Brady  whom we have interviewed here on LTAS,

( ),

one of the leaders of the influential and important group, Soap Fans United, is now working on convincing another network to pick up  “Dallas”.

Please sign these petitions, have your friends and family sign it and pass it on to Save Dallas. The first one is intended to convince TNT to rectify their mistake and keep on airing “Dallas”. The second one is to demonstrate to ABC, CBS, NBC, to pick it up. Here is a link to the first:

and here is a link to the second:

Now, back to “Dynasty,” We at LTAS have criticized ABC/Disney a lot, it’s true–always with good reason, we feel. Nevertheless, we are generous of spirit and believe in reinforcing good behavior, so: THANK YOU, ABC/DISNEY/A&E FOR MAKING SOAP FANS HAPPY AND DOING SOMETHING SO VERY RIGHT!

Hey, ABC/Disney–wanna know something else you can do that fans would love and that would also be so very right? LTAS will tell you: until you return “All My Children” (AMC) and “One Life to Live” (OLTL) to the 1:00 p.m. and 2:00 p.m. time slots, respectively, on ABC, you can show the last “x” amount of televised months of both AMC and OLTL in those 1:00 p.m. and 2:00 p.m. time slots on ABC! We know it will take a while to work out all the legal and financial kinks, get all the actors’ contracts in order, etc., so we are willing to be patient. Because, as we all know now, the rights to AMC and OLTL have reverted back to ABC from Prospect Park, and there is no reason you can’t restart both soaps.

We at LTAS think the rest of AMC’s and OLTL’s fans would join us in waiting patiently until we get to find out who JR ended up shooting and who Alison Perkins’ was reading the final draft of “One Life to Live” to!

Remember two things, soap fans, you have a voice, and an important one, at that. Use it! And two, as always, stay soapy!


Your Editor,

Akbi Khan

We Need Alexis Carrington Colby!

IDynasty’ve been watching the new “Dallas” on TNT, and I’ve seen how or favorite Southfork family has been brilliantly and successfully resurrected as a prime time soap. The new Dallas combines the best of the past with engaging new stories for the next generation of Ewing’s, Barnes’ and their associates. As I’ve watched how easy it was to become reengaged with the Ewing’s of Dallas one thought keeps coming into my mind: We need Alexis Carrington Colby back!

Yes, it is time for the powers that be to realize that Americans are eager to catch up with their favorite night time soap families from the 1980’s and it is time for them to bring Dynasty back! Dynasty was a unique soap because the writers were not afraid to tackle the most controversial issues of the day. At least they did at first, until circumstances of the day caused the producers and writers to pull back and be more cautious. With society at a much different place now, imagine the ground breaking and dramatic storylines a new generation of Carrington’s and Colby’s cold bring to life on the television screen.

Dynasty premiered in 1981, and it was far ahead of its time. Think back to that year. 1981 was the year that Ronald Reagan moved into the White House ushering in an age of business, riches, greed, opulence and entrepreneurship. It was the perfect time for a show like Dynasty. Americans loved to watch the Carrington’s live large and they came to represent the 1980’s in the most perfect way.

 Still, 1981 ushered in a conservative era when women still had subordinate roles in the workplace, for the most part, and 1981 was the year that AIDS burst onto the scene, setting back the gay rights movement for another two decades. Dynasty’s writers and creators pushed the envelope with topics like women in positions of corporate power and a gay character in a relationship with another man. Americans had not seen anything like it, even on the powerhouse Dallas, which had more traditional storylines. The Dynasty writers had to constantly calibrate just how far they could go to tell the stories the wanted to tell.

 Two characters were central to these ground breaking stories. There was Steven Carrington, the family son and heir to the empire. Steven was handsome and smart, and he was rebellious and independent. Steven was also gay, and in a relationship with another man. The very first season was crafted around the trial of Steven’s father and family patriarch Blake Carrington for killing Steven’s gay lover when he found them in a compromising position. Americans were riveted to their televisions when Steven testified in great detail about his relationship with another man and when Blake was cross examined and angrily revealed his feelings towards gay men. Topics like this simply were not discussed on American TV in 1981, not until Dynasty came along, that is. Sadly, when the AIDS epidemic burst onto the scene, the topic became taboo and the Dynasty writers had to scale back their provocative story, even making Steven straight and pairing him with Heather Locklear’s Sami Jo.

 The second character to break through with amazing stories was the one and only Alexis Carrington Colby, played to perfection by Joan Collins. I have to say that one of the television moments that I will never forget was the last few minutes of that first season when the prosecution in Blake’s trial called their surprise witness, his ex-wife Alexis! It immediately became television history. The producers had not yet cast Alexis, so they had to have the actress wear a hat with a black veil to cover her face. When the show returned in the fall of 1981, Joan Collins was under the veil, but in that episode in the spring, it was just a woman and a veil, and the audience immediately knew that this woman meant business!

 Alexis is what set Dynasty apart from its main rival Dallas. That show of course had its ruthless corporate villain, JR, but Americans were used to men playing the role of greedy vicious businessmen. 1981 was only one year after the movie “9 to 5” which shined the spotlight on the plight of American women in the work place. In 1981, most women who worked outside the home worked in the hospitality industry, were teacher or nurses or worked retail. Those who were in the corporate world were most likely part of the secretarial pool. No one had seen an ambitious woman charge the corporate board room and do whatever it took to reach the top. Not until Alexis did it!

 Alexis was ambitious and determined to get what she felt was rightfully hers. When she didn’t get it from her ex-husband Blake, she chose to get it by any means necessary. She would use her children, her knowledge of people’s past for blackmail purposes, and most of all she would use her sexuality. Who can ever forget how she went after Cecil Colby, convinced him to marry him and then watched as he had a heart attack during their passionate night of sex? For 1982 this was shocking, but Americans loved it! Unlike the storyline of a gay man dealing with his sexuality in a time of AIDS, America was ready for a strong woman to enter the corporate arena with a men and beat them at their own game, so the writers made Alexis bigger than life and were not even afraid to have her roll around in the mud fighting with her arch nemesis, and Blake’s wife Krystal.

 Dynasty ended in 1989, and like all series, sputtered to an end, suffering from storylines that were no longer fresh and cutting edge. There was a two part mini-series a few years later to wrap up loose ends and it seemed like the end of Dynasty for good. Today, however, we have seen the rebirth of Dallas, and it works! The new Dallas is riveting and most important it is fresh, focusing on modern and contemporary issues like alternative energies and the tension in Texas between the law enforcement authorities and the Mexican drug cartels. The characters are familiar, but they are modern. The older Ewings have one foot in the past and the other in the present and the younger generation is fully engaged in the issues that contemporary 20-somethings face every day. There was even a three-way sex scene!

 Imagine what Dynasty could be today if it was reborn. Its not 1981 anymore and there are no boundaries. Americans have come to accept the most controversial subjects and there would be no limit to what the writers could do. Steven could be out and would probably be married to his lover. Younger Carringtons could be involved in any number of situations and there would really be no limit.

 Best of all, Alexis could be unleased and watching Joan Collins reprieve her iconic role would be incredibly entertaining. With the children of the ‘80’s now the adult and parents of the new millennium, there is a craving for the icons of that incredible decade; Dallas has proved that.

So now, with one voice, the fans of Dynasty are proclaiming – BRING BACK DYNASTY AND BRING BACK ALEXIS CARRINGTON COLBY!

David Arwood

David Arwood

Written by David Arwood.





And thank you, soap fans, for reading. Remember to comment, subscribe (in the upper left-hand corner), and most of all,


A Legal Counsel Explains the ABC/PP Lawsuit in Detail

prospect park picHello, Soap Fans! Lets Talk About Soaps recently sought legal counsel from, Troy Veenstra. We asked him some questions about the ABC/Prospect Park lawsuit and its implications. Here are our questions and his answers. Veenstra is also the author of a book titled, “The Murder of Jeffrey Dryden: the Grim Truth Surrounding Male Domestic Abuse,” available on Amazon and Barnes and Noble.

LTAS: First of all, Troy, we at LTAS want to thank you very much for taking the time to do this interview and demystify a lot of the legal issues involved in the ABC/Prospect Park lawsuit and its implications for us.

LTAS (Lets Talk About Soaps): So, to placate the viewers and attempt an end to the boycotts of their products, did Disney said they had leased the rights to “All My Children” (AMC) and “One Life to Live (OLTL) to Prospect Park?

Troy Veenstra (TV): This statement is partially correct, whether or not it was to “placate” the viewers I cannot legally say one way or the other, but ABC did lease the rights to AMC and OLTL to Prospect Park Production. The original licensing agreement between ABC and Prospect Park first entered into in July 2011, after the network cancelled the two long-running soaps, gave Prospect Park twelve months to put together online versions of the shows. Prospect Park would then have the exclusive right to produce fifteen seasons of each show. In Jan 2012, the agreement was amended to also state that, “If Prospect Park Productions did not produce the shows for 18 straight months, the rights of AMC and OLTL would immediately revert back to ABC, which Disney does own.

LTAS: Is Prospect Park owned by Disney?

TV: According to the IRS, and Public Records of ownership, The Disney Corporation does not own Prospect Park Productions, nor does any of its subsidiaries. In fact the only property that Disney owns that even sounds close to Prospect Park Productions is Prospect Park Studios, which is not part of Prospect Park Productions. That said, several former employees of Disney own Prospect Park Productions, but there is no paper trail that shows otherwise.

LTAS: Now, Prospect Park is suing Disney, and then—what a coincidence—Prospect Park goes into bankruptcy. But, there is supposedly still an ongoing lawsuit for the rights of AMC and OLTL.

TV: Prospect Park Productions is suing ABC, not Disney (I know you think they are one of the same by ownership but legally speaking they are two different entities). As for Prospect filing for bankruptcy that is also true, and as far as the fact that the lawsuit is ongoing for the rights of AMC AND OLTL, this is also true as the lawsuit was started by Prospect Park Productions, and their bankruptcy is only a Chapter 11 bankruptcy (reorganization) instead of a Chapter 7 (full out bankruptcy).

LTAS: And I don’t understand how can there be a lawsuit with a company who has filed for bankruptcy, as Prospect Park has.

TV: First off, a chapter 11 bankruptcy, according to the United States Bankruptcy Code, states that a debtor usually proposes a plan of reorganization to keep its business alive and pay creditors over time. Thus this all for the company to stay afloat while also try to pay those business they may owe huge amounts to in partial payments rather than full payments. Secondly, though as you obviously know, The Bankruptcy Code halts pending litigation against companies who file for bankruptcy. Often companies will file for bankruptcy for this very reason, as litigation costs and liabilities pile up. However, if the lawsuit was initiated by the company that filed for bankruptcy, suing another company, the lawsuit can continue, as this helps maximize value for creditors, a main goal of bankruptcy, because creditors will also benefit if the company in bankruptcy is successful in the litigation. Thus, because Prospect Park Productions started the lawsuit against ABC before filing for Chapter 11 Bankruptcy, the lawsuit can continue forward as the other creditors that are owed funds by Prospect Park Productions have a better chance of getting their funds paid if Prospect Park wins their case.

LTAS: Do the details of the lawsuit demonstrate that it is just a smoke screen to keep soap fans off ABC’s back?

TV: Unfortunately, as this is an ongoing case, getting actual court records of the inner workings is impossible, as each party is only privy to that information until the case is resolved.

 Now with all this said I cannot legally tell you that there is some scam going on between ABC, Prospect Park Productions, and the Disney Corporation as the information just isn’t there to show it. However, as a professional author, who has written his own conspiracy theories in the past, I would say that it’s a bit suspicious that the owners of Prospect Park Productions are former employees (head employees I might add) of the Disney Corporation… that I find kind of odd… but again legally I’ve done all I can for you.

LTAS: In a law suit, can both parties keep the lawsuit going forever, or they can just decide to settle and close the law suit overnight. Is this correct?

TV: A lawsuit can go on for sometime, until either the judge handling the case gets tired and demands otherwise, or both parties can decide to come to some agreement and request the lawsuit be terminated. But it can be officially terminated only by the plaintiff (the one that brought the suit up in the first place)

LTAS I just have one final question. As the rights of AMC and OLTL were reverted back to ABC, is there any legal reason that the law suit could prevent ABC from producing the soaps or airing them? I mean, I remember a few years back they had a law suit with General Hospital, but that did not affect the shooting or the programming of General Hospital.

TV: If the rights were reverted back to ABC than no, there’s no reason they couldn’t restart the programs.

LTAS: Once again, thank you so much for consenting to do this interview and providing us with such valuable information. We really appreciate your time and expertise!


And thank you, soap fans, for reading. Remember to comment, subscribe (in the upper left-hand corner), and most of all,


Your Editor,


Akbi Khan