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| Pretend your the producer.; What would you do to fix the show? | |
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| Tweet Topic Started: Dec 5 2008, 02:23 AM (960 Views) | |
| Drewdex | Dec 5 2008, 02:23 AM Post #1 |
Maura West & Van Hansis fan!
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I thought it would be interesting if we all shared ideas about what we would do if we were the producer of As the World Turns, and decided the direction the show would take. Here's what I would do: 1. Reunite Carly and Jack. Jack realizes that he will never be over Carly, the reason he is unhappy is because despite his best efforts to move on- he can't because trouble-maker or not, his heart will always belong to her. Janet realizes this, and breaks up with Jack, letting him return to Carly. It wouldn't be an instant reunion, but the two would agree to rebuild their relationship and move forward. 2.. Write off Aaron Snyder. I would leave the exit open-ended. Have him basically wish the best of luck to Alison, and maybe they can rebuild their friendship again someday. Wish her luck, and leave to Seattle to attend college and leave his bar-tending days behind. 3. Pair Janet with Craig. After trying to be a good girl and not being successful at that, she returns to her gold-digger ways and sinks her hooks into Craig. 4. Write off Brian. Have it be revealed he is basically out to rip off Lucinda, and Luke at the same time. 5. Bring on another gay man, to mix it up with Luke and Noah. Feature Noah with characters outside of Luke and Lily. 6. Write Meg off the show. 7. Write Dani off the show. 8. Continue to have Josie in the orbit of Dusty. He doesn't want to forgive her, but they move forward anyway. Josie helps Dusty get custody of Johnny. Craig threatens Lucy, and Lucy exits the show to go live with her mother and says a tearful goodbye to Dusty and Johnny. Dusty finally decides to forgive Josie, and begins to date her. 9. Reunite Paul and Emily. Because they bring out all the crazy in each other. I have fun with this couple. 10. Work on two triangles. Jade/Matt/Alison, and Alison/Casey/Maddie. Someone will be left out in the cold. 11. More Tom and Margo, Bonnie and Derek, kill Dallas off to give the four characters a storyline that helps them deal with the death. Bring Jessica back to the show. Reveal Jade is Derek's daughter. 12. Make Katie and Brad fun to watch again. That might involve sending Liberty away to boarding school. That's all I could come up with off the top of my head. What would you guys do if you were the producer? |
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| Freem06 | Dec 5 2008, 10:18 AM Post #2 |
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Newbie
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I agree. I vote you go write for the show ! |
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| flashdance | Dec 5 2008, 07:02 PM Post #3 |
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If I am PRODUCER the BIGGEST PROBLEM with the show is all ready taken care of.....GOUTMAN IS OUT. BOOT JP...but have her die on the screen in a very long slow death. Let JAMES STENBECK KILL JP....meaning JAMES is alive. Bring back the HUGHES....BRING BACK the SNYDERS....and make the storylines circulate around JOBS and FAMILY. I still LOVE to be able to watch some FARM LIFE....I would LOVE for WORLD WIDE corporate offices to kick back in as one of the premier sets. I love the CAST and I would be happy to have the writing staff to ALWAYS REMEMBER HISTORY and to re-create the characters with most of the existing CAST BUT hopefully more realistic. Hopefully allow MARRIED COUPLES have a LIFE after they tie the knot. NEVER ALLOW a DIVORCE to happen. EXPAND somehow the love story of LUKE. I like NOAH but just like any other soap couple....it takes more than TWO PEOPLE....and if the third person happens to be the STEP GRANDFATHER...then KILL HIM OFF and start back having a good LOVE story of young men with some new GAY older MENTORS added as background characters. I would love to have a FEMALE IMPERSONATOR come on and start portraying LISA as "his female persona". The MONA LISA would be the restaurant and cabaret stage. LYLA would return and attempt to real in some control over her kids. The formula....80% POSITIVE STORYLINEs....+ 20% SHOCK. |
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| withasmile | Dec 6 2008, 12:54 AM Post #4 |
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Newbie
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BRING BACK ROMANCE!! Oh and no more quickie weddings, a normal progression of friendship,-stumbling blocks ok, then dating, figuring out yes, this is love (and hasn't been said to anyone else the week before either), THEN and only then marriage. Everyone is so schizophrenic on this show lately I just can't buy it that anyone loves anyone. I want motivations, fallout that lasts, and yes as a previous poster stated, jobs are good too. And no more murders or dead babies, etc. I can watch CSI for that. It would also be nice for the some respect for the long time actors to be shown - I am sick to death of recasts. Even though I always welcome new actors, the way many have come onto the show has left a bitter taste, and I don't feel as if I can ever fully accept them. Even if I think they aren't bad. I think that for the most part, the writers don't like to be bound by history or actors and they enjoy the freedom it gives them to write whatever they want, but I feel less and less connection to this show. I find myself watching the Young and the Restless more and more, because those actors are familiar and understandable to me, even though it was never my first choice like ATWT. Sad really. |
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| Lunatacker | Dec 12 2008, 02:41 AM Post #5 |
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(1). I would start with cast meetings, twice a day, once before the morning taping and one before the afternoon taping. The purpose of the meetings, each lasting 15 minutes, would be to review industry news, show news to include changes, and to discuss anything else which seems relevant. My goal would be to generate a sense of "connectedness" between cast members, which, I feel, would probably spill over to the show. (2). I would give priority to character motivations and to relationships (to include friendships) based on purpose. Noah's connection to Dusty makes sense. Holden grew up poor and hungry for wealth, and Lily was a spoiled heiress. His attraction made sense, as did the development of their relationship. When he married Emily, she was looking for a father for her baby so Oakdale wouldn't know she was carrying James Stenbeck's seed, and Holden was looking for money to fund his revenge against Lucinda for tanking his relationship with Lily. Emily had a trust fund and a body to distract Holden from Lily. Their union made sense. And then there's Angel Lange, whose father's promises of wealth made Angel seem more appealing to Holden. The patterns of those relationships make sense to me. What patterns exist for current characters, and how can defining those patterns lead to a better understanding of the characters by the writers? This would be a question we would answer during weekly staff meetings, focusing on a character at a time. (3). I would set a mandate that any main character onscreen must have scenes with at least two characters from different storylines during each episode the main character is in. If Noah appears in an episode with Luke, Noah must also have a scene (whether brief or long) with Dusty. Or maybe I'd throw a character out there, like Paul, and challenge the writer to find some way for he and Noah to share a scene (even if Noah simply witnesses a crime or he became friends with Josie). I would challenge the writers to be creative, while ensuring storylines continued to move forward. (4). I wouldn't fire anyone, at least not right away. Perhaps following Steps 2 and 3 would lead to interesting discoveries about the character, or perhaps those steps might help writers see the characters in a different light. Instead, I'd challenge each writer to find something they have in common with the character. Can they identify with a certain character's insecurities, or another character's desperation to be loved? Is there anything about the character they can identify with? If so, write from that perspective. (5). I would give everyone something to do. Even if it's the only thing she did all week, Kim could show up at the hospital to meet Bob for lunch at the cafeteria. (Remember when characters did that?) Of course, following Step 3, Kim would have to have a brief encounter with another character, perhaps on her way to the elevator. While Susan would seem the logical choice, I'd vote for someone like Craig. Would they say a warm "hello"? (6). Lastly, I would insist that Lucinda's inevitable heartache over Brian's betrayal be the catalyst for her sharpening her edge. Remember the Lucinda of old who trusted no one? The same Lucinda who was known for her attraction to younger men? Emma paid homage to this not long ago when she stated Brian seemed "too old" for Lucinda. But without a young executive for her to be attracted to, an executive more likely to date Emily, to Lucinda's dismay, this aspect of her character has gotten lost somewhere. And think of the run-ins she could have with other characters (a la Step #3). I miss the traded one-liners with Emily or Barbara or Susan or Lisa as she intruded on their storylines on her way to someplace else. She doesn't have to be a replica of her former self (people do grow), but I wouldn't mind seeing glimpses of that person someplace. (7). Okay, lastly lastly, no arrests, pregnancies, or talk of pregnancy for at least twelve calendar months. |
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| flashdance | Dec 12 2008, 11:36 AM Post #6 |
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Welcome back to the postings, LUNATACKER. That sounds like a better formula than what I tried to suggest. |
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| Lunatacker | Dec 12 2008, 10:47 PM Post #7 |
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Thanks, Flashy! And I liked your suggestions, as well. I miss the farm life, especially in the summertime. I absolute love the idea of a female impersonator adding Lisa to his act, and what a way to pay homage to Lisa's history and give her someone new to talk to. I miss the Mona Lisa. I'd love to see Lisa giving the impersonator tips, or the impersonator getting fiesty with Lucinda on one occasion...or calling Tom "Tommy" the way Lisa used to. And then there are the husbands... I really enjoy the idea of Lyla returning, too. I wouldn't mind hearing how Lyla feels about the daughter of her best friend seducing nearly all the men in Margo's family. I miss Lyla's friendship with Susan. I miss Lyla and Susan, period. And I wouldn't mind Katie learning a little more about her father. |
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| Drewdex | Dec 13 2008, 11:34 AM Post #8 |
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Maura West & Van Hansis fan!
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I love your Lisa idea! Not everything needs to be dark and shocking all the time. There should be fun moments where you can just sit back and relax and enjoy the program. |
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| Lunatacker | Dec 15 2008, 02:26 AM Post #9 |
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Newbie
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I'd actually add two more items to my list: (8). I would use the old technique of fading to commercial without background music. If done right, this could add to the emotional weight of a scene and leave the audience anticipating all the possibilities of how a situation might play out. I mean, what if there was one scene where Barbara confronts Paul about hiring Josie to exploit Jennifer's memory. Let's say this leaves Barbara angry and hurt. She and Paul have a heated confrontation, where he justifies his actions, first by stating he was terrified of losing his wife and then, when Barbara says it's no excuse, by blaming his parents for the way he turned out. After all, how far has Babs gone to keep Paul from Emily and Rose? (Focus camera on Barbara's face, no background music, fade to black.) Back from commercial, Josie could bump into Dusty, who doesn't want to see her, and their conversation could eventually be interrupted by Emily. Meanwhile, Kim stops by Barbara's place to see how her niece is holding up. Barbara could be in defense mode, certain Kim blames her the way Paul does. But Kim has no intention of blaming Barbara. Yes, Barbara has made mistakes, but Paul's an adult. Perhaps Kim could relate her experience with Andy when he did everything in his power to come between Denise and Ben and hang on to Hope. The best thing Babs can do for her children, Kim might say, is be a good example. While the ladies bond, Josie could find herself at Jennifer's grave at dusk (no background music), apologizing for what she's done. It doesn't need to be a melodramatic apology, just something to signify where she is in all this. Perhaps Josie knows what it's like to miss a loved one and not be able to be with them. Perhaps she's done many things she's ashamed of and wants to make a fresh start. Maybe her experience in Oakdale leaves her wishing she'd known Jennifer, insisting she must be wonderful given the way Dusty feels about her. Josie could offer a few more words and then turn to leave, encountering Barbara. (Focus on Barbara's expression, then Josie's, then fade to black without background music.) For all I know, this has already occurred on the show, or some dynamic of the storyline makes these scenes inconsistent. After all, I've only recently started reading the recaps again, so I don't know who Josie interacted with or how she interacted with them prior to telling Meg the truth about Paul's role in her arrival in Oakdale. (9). This step is exemplified in the previous step: not all scenes need to be picked up where they left off. But for all I know, this is currently a practice on the show. Basically, an example would be Luke being out and about with his sisters (shopping?) and seeing Noah talking with another guy (let's say it's a guy Noah's gotten to know pretty well and who Noah feels comfortable with because the guy doesn't drink nor make every issue about being gay; so, Noah doesn't feel under pressure with him). (Yep, fade to black without background music.) But the next time we see Luke, he's back at the farm with the girls, and Faith (who didn't buy his excuse in the car for why they left) asks Luke why they took off without talking to Noah. This acknowledges their departure from the scene and also acknowledges the conversation between Luke and his sisters in the car without the writers filling airtime with that actual conversation. Before Luke can answer, someone could show up and interrupt this conversation, as well, moving everything along. |
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