Nelson Branco's SOAP OPERA UNCENSORED: Issue 56 Page 4

PART.

  TVG: You were the first producer to extend soaps from a half-hour to one hour. And then one hour to 90 minutes! You almost killed Harding!

  PR: Well, yeah. The hour was my idea. In 1974, the Alice/Steve/Rachel love affair was so popular that they occupied much of our airtime. So when it was announced that Steve and Alice would wed, I went to P&G and suggested the wedding show should be an hour because we were taking America by storm. Bob Short agreed. When the show aired in June, we doubled the rating and share in the succeeding time period, which was HOW TO SURVIVE A MARRIAGE. So, after that, we asked the network to permanently make AW an hour. Of course, as you can imagine, it scared the hell out of all of us because no one had ever done it before. In January of ‘75, we went to an hour and everyone followed us.

  TVG: Do you think B&B should expand to an hour?

  PR: I have no opinion about that. I don’t know the show that well. I mean I like the characters, but I don’t watch B&B every day. But half hour shows do better internationally. An hour show is more than double of the work of a half-hour show. Basically, for an extra fifteen minutes, you need a large writing staff and crew. It’s enormous.

  TVG: Do you think soaps should return to the half-hour format? There is talk that ABC may merge ALL MY CHILDREN and ONE LIFE into two half-hour shows within the same timeslot.

  PR: I don’t know. I’ve never heard that. You know what? It’s not the length of a soap opera that matters, it’s the story. I’ve never had a problem filling one hour on ANOTHER WORLD, ONE LIFE and particularly on Y&R.

  TVG: Do you work with Maria in the writing room?

  PR: No. She writes and I produce.

  TVG: On certain shows you used to oversee, producers write the story. ONE LIFE’s Frank Valentini allows his head writer Ron Carlivati to write his show, which is practically unheard of today.

  PR: I love what Frank and Ron are doing on ONE LIFE. Frank’s a wonderful producer. I hired him out of college. I love him — he’s my guy. ONE LIFE has a special place in my heart — it has good bones. I had such a great head writer, a young man named S. Michael Schnessel, who unfortunately died. He was replete with fresh ideas all the time. I would visit his house in Princeton, and we’d talk all weekend about story ideas for our show. I think ONE LIFE was very innovative in the 1980s. Look at our Old West story and production: It still stands up to today’s standards. I think if you can’t do it right don’t, because prime time will always do it better. We had our own Old West town in Old Tucson, Arizona to film in with hundred of extras, and longhorn cattle.

  TVG: Of course, Ron and Frank have to contend with network interference, but they manage to still air an entertaining show. Does CBS interfere with Y&R?

  PR: You know what — they leave us alone for the most part. CBS has been wonderful to work with this time around. I think Maria is doing a fantastic job at Y&R — and CBS sees that. You were the first journalist to pick up on that.

  TVG: Well, it’s easy if you listen to the intent and spirit behind the writing. I can tell within five minutes of a movie if the film will be good because of the intention and spirit behind the writing.

  PR: That’s very true. It’s not hard to figure out if a writer loves their show and their job.

  TVG: Conversely, people who don’t love their job or care about the show end up being cancelled. What did you think of GL being cancelled? For me, it died a long time ago so I wasn’t heartbroken.

  PR: I was sorry it was cancelled. But I agree with you, the show died creatively a long time ago. But, of course, I feel for the cast and crew losing their jobs. The night before the Emmys, I went to Krista Tesreau’s GL party, so it was good to see everyone. And Grant Aleksander visited the Y&R set and we hung out for a couple of hours. We’re very good friends. And he’s a fine actor.

  TVG: CBS wanted to buy the P&G soaps back in the day, but the ad empire declined. Do you think that was a wise decision on P&G’s part because it’s obvious they don’t want to be in the soap business anymore.

  PR: P&G started soaps. At one point they had six soaps on the air and now they are down to one. P&G was king and the master of the soap business. There was a great deal of hubris when it came to the shows. They were proud to own their soaps, which some how transcended the years. I’m not exactly sure why a bottom-line company wouldn’t have sold to CBS unless they were making a lot of money off of them.

  TVG: Do you think CBS would offer to buy a soap today?

  PR: No.

  TVG: Do you think P&G is purposely killing their shows artistically so they can get out of the soap business?

  PR I don’t know. I stopped watching GL years ago. GL offered me nothing of interest as a viewer to keep watching.

  TVG: Do you think WORLD TURNS will survive the axe this year?

  PR: I hope so. I think Christopher Goutman is a good producer.

  TVG: What would Irna Phillips think of soaps today?

  PR: She’d be very critical — of everything. And she’d demand to be back in the trenches to fix all of the problems. I don’t think Irna ever felt like she had any competition. At one point in the 1960, we had a 55 share! Even when AW was 90 minutes, we were earning a 9.2. Of course, it’s hard to keep viewers tuned in for 90 minutes, but we at least had an audience at home. Today, we don’t.

  Getting back to the intent behind writing, it would be very sad to see Irna’s legacy completely forgotten.

  TVG: Her daughter, Kathy, just died, too.

  PR: Yes, I knew Kathy and her brother, Tom, very well.

  TVG: Everyone seems to be dying off these days. I’d love to see what kind of Irna Phillips’ memorabilia is out there. One of my dreams is to create a Soap Opera Museum.

  PR: You should definitely do that.

  TVG: Do you think daytime should have developed new writing talent? I mean, where would prime time and film be today if they didn’t mine young, fresh talent?

  PR: I helped develop new talent throughout my career. When I was doing GL, I brought in a popular romance novelist, who was very successful, but the end of the process, she didn’t want to do it anymore. It’s a lot of work. The great thing about Maria is that, while she is a product of classic soap opera storytelling and is a Bell by marriage, she is still a new talent with fresh ideas. She’s a hybrid of the two worlds. I am so happy that the Bell family is still involved with Y&R.

  TVG: I never understood why the Bells handed over control of Y&R to Lynn Marie Latham and CBS. It was like a bad corporate storyline on WORLD TURNS!

  PR: What do you think we need to do for soaps to survive?

  TVG: Well, what you are doing at Y&R is a start.

  PR: Telling stories about character, for instance.

  TVG: Yes. Also, I think it’s vital for soaps to represent a diverse social canvas with realistic and hip dialogue. Look at how popular gay storylines are on soaps? Are you surprised?

  PR: Definitely not.

  TVG: Would Irna be surprised?

  PR: Yes, because she didn’t like anything taboo. There were things you just didn’t do back then. But I think you should write what’s happening in the real world; always.

  TVG: Do you think that the last two soaps standing will be Y&R and B&B?

  PR: I hate to think about it. If there is only enough oxygen for you to breathe for another year, so you better get it all in now… that scares me.

  TVG: I think if worse came to worse, CBS should makeover Y&R into a prime-time series. Do you think it would work?

  PR: I think it would. Obviously it would have to be crafted to become a prime-time soap, but I think we have the story and characters to make it work — absolutely.

  TVG: It’s pretty much good to go.

  PR: I think so, too.

  TVG: There’s been a lot of discussion regarding an actor’s right to influence storyline. You’re infamous for effectively dealing with difficult actors. Heck, you fired daytime’s most popular super couple at the time, George Reinholt and Jackie Courtney, because they were unbe
arable to work with. Do you think actors should just shut up and act?

  PR: For a long time, George was mocking the material. For a long time, George had not only been changing his dialogue but also the dialogue of other characters! And there was a violent side to George. The straw that broke the camel’s back was when he went after one of our directors during dry rehearsal in the morning. So I fired him on the spot. And Jackie followed him right after. It wasn’t an easy decision because they were daytime’s first super couple. But a super couple can’t run or define your show. The show comes first.

  TVG: And ironically, George and Jackie were absorbed by the show you would soon make iconic, ONE LIFE! So, for the most part, actors should just shut-up and just act...

  PR: When you have the acting chops of actors like Eric Braeden and Melody Thomas Scott, and you have a question about a storyline or scene, then you have every right to ask to talk to the head writer or producer. For the most part, actors do treat the material with respect — especially on Y&R. Listen, every actor at one point in his or her career will express doubt over the material, but it’s more on a moment-to-moment basis. If they are serious actors, and you respect them, and I do, you listen because sometimes they are right or can offer you an insight you never saw before. The Y&R acting company is very serious about their job. They always come in prepared. It’s one of the best casts I’ve ever worked with, to be honest.

  TVG: You’ve made many an actor a star. Andrea Evans, for starters…

  PR: Wasn’t Andrea sensational? I just had lunch with her recently. It was too bad that infamous stalker ended her run on ONE LIFE. Tina was Andrea’s signature role, but he was relentless. I think he damaged her career. Yes, she’s done a few other roles on other shows, but she’ll never play another character like Tina.

  TVG: You’ve always enjoyed a great marriage with the divas on your soaps. Kim Zimmer is another one.

  PR: Kim is great. What a terrific actress. From the beginning, right until the end of GL, she has always been authentic in her performance. I respect her skill, talent, and her professional process. Kim has a keen sense to find the drama in the material she’s handed.

  TVG: Will you watch GL’s last episode on Sept. 18?

  PR: Yes. I don’t know how I will feel seeing it literally fade out. I haven’t watched in a long time, but at the same time, I worked on GL in the 1960s, so the show has been in my life for a very long time. I have a lot of history with that show. I was also involved in GL’s extension from 15 minutes to a half hour. I’m just sorry to see it go. Though, I would have preferred if GL had gone off the air in glory -- and not defeat. Don’t you think?

  TVG: I agree. This fallacy that there are no new viewers to be had is killing the genre. Just write a good show, and if you’re cancelled, then you’re cancelled. I’d rather say, “at least we aired a kick-ass show and were taken off the air.” and not, “we were cancelled because our show was shit.” I think it’s possible to attract lapsed viewers back, which is why you guys hit a 4.1 last November. And you did that by writing good soap. I don’t understand why the other networks and shows aren’t copying Y&R.

  PR: I know! Carolyn Hinsey said that in her recent SOAP OPERA DIGEST editorial. I don’t know why no one is copying us.

  TVG: The industry prefers to copy bad shows like DAYS and GH. Or bad prime-time TV shows.

  PR: There should be a network mandate to look at why Y&R is number one. But I don’t think any producer or writer wants to copy another show because, in the end, you just end up being a copy. I have a feeling that we’ll be back in the 4.0 range this winter. We have a lot of excellent story coming up around the corner.

  TVG: Finally, do you have any regrets?

  PR: No.

  TVG: Why did I know you’d say that! What do you know for sure?

  PR. Story is everything. Yes, execution is important, but good storyline is everything. End of story. Period. Because story is life.

  TVGuide.ca/Feature

  FOR RICHER, FOR POORER (2011)

  He may not be Y&R’s co-executive producer anymore, but Paul Rauch still has a lot to say about the dying soap world he helped build and create.

  By Nelson Branco

  Caption: Don’t cry for soap legend Paul Rauch: he’s enjoying life in the Hamptons and Manhattan without the sudsy drama.

  He’s one of the original and indelible architects of the soap world. Emmy winner Paul Rauch may have left THE YOUNG AND THE RESTLESS last month as its successful co-executive producer, but luckily for us, he also left his trademark footprint on the number-one soap opera.

  Thanks to his unrivaled expertise, Y&R’s production and set design have been modernized and revitalized; actors are inspired thanks to his unconditional love yet unforgiving honest mentoring; and the show is now a lean, mean efficient machine.

  The man earned his paycheque – and then some.

  As soap fans, we were all lucky and blessed to have one of the most creative, talented, and prolific producers ever to grace this genre give us another whirl with the one and only Paul-Rauch experience.

  Daytime is better for it. And I pray it’s not his last stint.

  But just as the living legend left the Genoa City building, his beloved soap opera, ONE LIFE TO LIVE --one of the myriad shows that made Rauch a superstar, but probably his best creative and long-lasting contribution to the soap medium, in my opinion -- was cancelled by ABC, along with ALL MY CHILDREN, last month.

  Has Rauch heard from his ONE LIFE pals since the cancellation? “They were in terrible shock,” he relays. “Frank [Valentini] thought they’d continue ONE LIFE.”

  True that. According to ONE LIFE leading lady, Robin Strasser, two weeks before ONE LIFE was cancelled Valentini assured his cast and crew that the show wasn’t expiring and they shouldn’t believe the press reports to the contrary. This, despite the fact that ABC had publicly lied to its team and the press that they were not moving ALL MY CHILDREN to L.A. a little over a year ago.

  Fool me once, shame on you; fool me twice, shame on me.

  Rauch spoke with his former protégé the day the news broke that ONE LIFE would eventually die in January 2012.

  “He was devastated,” Rauch reports. “I think he particularly believed ABC would keep the show on the air because ONE LIFE was doing such a good job [creatively and staying under budget]. He thought business as usual would continue. He was knocked out by the news.”

  Though it wasn’t a shock to those in the know, it was still a blow to all of us who love and will forever love Llanview.

  And no one loves Llanview more than Rauch. Well, except for me.

  “I have to say, Nelson, you do know this show as well as I do,” Rauch says, stroking my ego. “You really love this show, as do I.”

  Would Rauch come back in any capacity for Llanview’s final days? Personally, I think it would befitting if the greatest producer in soap history at least directed or weighed in on the final episode of ONE LIFE.

  “Yes,” he answers. “Absolutely. Frank came to me out of college. We go back a long way.”

  However, regardless of his final input, Rauch is confident that “Frank will do a terrific job from now until the end of the show. No doubt about it. And my guess? I think their numbers will improve.”

  And they have, which makes the cancellation sting all the more.

  Does Rauch think that the ONE LIFE and AMC audience will traverse over to the four remaining soaps?

  “I don’t know,” he sighs. “People are so engrained in their own habits, so I don’t see that necessarily. I like sports, but if I don’t have football or baseball on, I’m not going to turn to hockey and basketball because I don’t like hockey and basketball. I’m not sure if that’s the benchmark or not, but I don’t know if viewers will turn to another story. I think fans might be angry – and not watch any soaps [because why invest]?”

  As for the future of scripted daytime television and ABC’s decision to replace AMC and ONE LIFE with two lifestyle sh
ows, THE CHEW and THE REVOLUTION, all Rauch will say is, “Don’t you think something inevitable is happening in the industry with four soaps being cancelled in two years?”

  Most importantly, Rauch is sad for the people losing their jobs. When you consider roughly each show carries about 150 employees, and you multiply that by four, that’s a lot talented artists out of business.

  Hey, why wouldn’t he, since Rauch was at the creative helm of ONE LIFE’s golden era.

  How would he produce ONE LIFE’s swan song?

  “Get the core characters back in line,” he suggests. “I’d make them all happy and satisfy the audience. I’d give them what they’re rooting for.”

  In the past, ONE LIFE was all about “adventure,” Rauch fondly remembers. “We gave the audience a lot to look at and to think about. ONE LIFE was fun. From the Old West to the heaven story, ONE LIFE was unique.”

  One of those core characters is Tina Lord Roberts as played by legendary vamp, Andrea Evans.

  “That was the signature role of her lifetime,” he states. “The fact that she felt she had to leave the show was a disaster both for her and the show. I haven’t seen her for years… and the irony is that we work in the same building at [B&B and Y&R]. I remember the stories with Tina, Cord, Kate and Jamie. Oh, and the Argentina location shoot we did, that was a dynamite story. It was just classic soap. I’m very proud of the show.”

  What does the icon think of what’s happening with the genre he helped build and create?

  He feels sad, but knows the end days were inevitable for a variety of reasons.

  Does he blame the inaccuracy of The Nielsen Ratings, which only measures 25, 000 households in a country populated by over 300 million people?

  “I think it’s a waste of time blaming the Nielsen Ratings for the cancellation of soaps,” he asserts. “That’s what they are. I’ve been dealing for Nielsen’s for a long time. It is what it is.”

  He goes on to say there was a time when Nielsen’s changed their sampling system around the late 80s. “And the ratings for all the soaps fell off the cliff,” he recalls. “And they never came back from that. We complained and screamed – including the networks – but nothing seemed to do any good. Unfortunately, this is the standard measurement system. I think one part of the problem is that it’s the only ratings service out there – and we have to live and die by it. There’s nothing you can do about it. No one’s managed to come up with something better.”

  The world can put a man on the moon, but measuring who watches TV seems impossible.

  Despite the bleak news of the death of the medium he loves so much, Rauch does have a theory as to why soaps are on life support.

  “In the early 90s, all the shows became convinced that they had to introduce a lot of young characters because that demo had become important. Before that, executives were quoting the household numbers. There was no discussion of demos before. When demos took the stage, and when demos became the bar of which judgments were made, all the shows sacrificed iconic characters the audience loved to make room for these new people. What happened was that all shows told the same stories with the same characters. There was no identity. And I think that was one of the definitive factors that lead to the demise of this genre.”

  Did one of the witnesses of the birth of television soap opera to its end days ever think this day would come?

  “Definitely not,” he says. “When I was CBS’s Daytime President, we had eight soaps on the air every day. Every day. It was an industry. ABC was just getting started with their soaps. I worked with Agnes Nixon briefly. We developed ONE LIFE TO LIVE, actually. There used to be 16 shows on the air at that point.”

  What would the creator of suds, the late, great, Irna Phillips, think?

  Since Rauch worked with her so closely, no one is better equipped to answer that question.

  “Irna would think that everybody on the creative side made mistakes,” he responds. “Irna would say, ‘All these shows became too big. They didn’t concentrate on their core characters. The hopes and dreams of those characters were diffused by the proliferation of characters that we didn’t care about – and we lost sight of the foundation of the characters of the show. That’s what I believe she would say. There are too many stories.”

  And Rauch slightly knows he’s responsible.

  “I pioneered the hour soap,” he reminds us. “ANOTHER WORLD was so overstuffed, so we convinced the network to expand the show to an hour during Steve and Alice’s wedding in 1974. It was a huge success. We had a 9 or 10 rating with 34 share. When I went to P&G a few months later, I said, ‘Look, this was a big success, let’s expand ANOTHER WORLD to an hour.’ We felt we had the story to occupy an hour and pay homage to the three stories we were telling, but today we’re telling too many stories due to the proliferation of characters.”

  But hope is not all lost.

  “Soaps are everywhere from cable to prime time,” he stresses. “Soaps aren’t going anywhere.”

  Rauch is impressed with Hoover’s decision to pull advertising from the ABC lineup. “I think it was a fitting thing to do,” he says. “I’m glad viewers are showing their outrage that their stories, their shows are being taken away. I think it’s an appropriate response. They’re totally aggravated about it and reacting in kind. I think it’s great. I don’t know if it’ll change anything, but I think it’s great they’re showing support for the shows in a hopes that ABC will change its mind.”

  Rauch isn’t hopeful only because he’s rarely seen a network do a 180 after canceling a soap.

  He says, “I created a NBC show a long time ago called FOR RICHER, FOR POORER, and they took it off the air. There was a protest about the cancellation, and NBC did bring it back for a short time before canceling it again. I’ve never seen a cancellation be reversed again with the exception of prime-time TV.”

  Rauch has some choice words for the queen of daytime, however. He wasn’t pleased with Oprah Winfrey’s reaction to the pleas from soap fans to save their stories on her titular network, OWN.

  “She took the air as the decider when she said. ‘we’ll never do it,’” he says. “Unfortunately, she didn’t say, ‘My network can’t support an expensive model like soap operas.’ Essentially, she said, ‘soaps are done.’ I think it was a gratuitous point of view. The question posed by fans was: would your network be interested in [absorbing] AMC and ONE LIFE? What she should have said was: ‘We’re a branded network and we can’t afford a quarter to a million dollars a week to produce a show, but we can produce other shows for much less.’ That’s what her statement should’ve been instead of, ‘soaps are dead.’”

  Having executive produced daytime’s number-one show, a series that has better numbers than prime-time shows like MAD MEN or GOSSIP GIRL, Rauch is convinced that client-owned soaps are in a better position than corporate-owned shows.

  Which is ironic because many critics felt that the ABC soap franchise was safe because there was no middleman.

  “I also thought the network-owned soaps were safer theoretically,” concurs an incredulous Rauch. “Now it’s just a matter of raw numbers – and whether or not, they’re making money. It doesn’t matter that ABC owns GH. Look -- ONE LIFE has beaten them in the ratings this past month and it’s cancelled.”

  Some pundits think that ABC could traverse GH to prime time thanks to its brand, but Rauch doubts that.

  “I don’t think whether or not these shows are cancelled or kept on air has anything to do with iconic value,” he states. “It’s purely a matter of being efficient for a network and if the numbers are reasonably acceptable.”

  As for the lone soap on NBC, DAYS OF OUR LIVES, he’s impressed, saying, “I’m surprised it has done as well as it has considering it doesn’t have a lead-in or a lead-out that’s a peer. It’s good that DAYS is holding its own, and I think GH and Y&R will do the same.”

  As for Rauch’s future, he’s not retiring.

  “I’m working on a few movie script
s,” he shares. “And Sony has a few projects we’re talking about. But right now, I’m taking it easy. I’m going to spend time with my kids and grandkids. I’ve been working non-stop for the past three years.”

  As for what he’s most proud of during those three years at Y&R, Rauch doesn’t blink an eye, saying, “Streamlining the show. The production mythology. Bringing the show on budget. And forging strong relationships with the actors and giving them a strong sense of leadership and focus. I’m very fond of the actors on that show. I felt I worked very easily with all them. They appreciated that I was in the control room watching over them. I feel that many of them feel that they came farther than they did before. I’m very proud of what the actors have done on the show. And the show looks damn good. But the show is in good hands now.”

  Every show should be so lucky.

  Shhh!

  SOAP OPERA MYSTERY HOUR

  This week’s hottest blind items!

  • Which former soap star is so desperate for cash that he’s linking sponsored tweets?

  • Which soap hunk is randomly following his co-stars followers in a hopes to increase his own followers?

  • Which popular soap star secretly hates soaps?

  New And Improved!

  SOAP PORN: Next Week's Soapgasms

  Can’t watch all the soaps this week? No worries — here’s a cheat sheet!

  TOPS OF THE TOP:

  Top Soap: GENERAL HOSPITAL

  Top Soap Actor: Michael Muhney, Y&R

  Top Soap Actress: Finola Hughes, GH

  Top Storyline: The New Adventures of Old Anna, GH

  Top Soap Couple: Kristen and Brady, DAYS

  Top Tweeter: @CarlivatiRon

  THE BOLD AND THE BEAUTIFUL

  Top Actor: Don Diamont

  Top Actress: Katherine Kelly Lang

  Hot New Couple: Bill and Brooke

  Best Return: Stephanie’s Will Reading

  Best New Triangle: Brooke/Bill/Katie

  Episode To Watch: On Wednesday, Taylor overhears a well-kept secret that could bring down the House of Spencer. “Bill’s hung? I had no idea,” says Taylor.

  DAYS OF OUR LIVES

  Top Actor: Eric Martsolf

  Top Actress: Eileen Davidson

  Top Storyline: Anything Involving Kristen

  Best New Couple: Brady and Kristen

  Most Eagerily-Anticipated Return: Nadia Bjorlin

  Most Improved Character: Daniel

  Episode To Watch: On Friday, Rafe questions Will about Gabi’s near-abortion. “You’re bottom, righ? Shouldn’t you be pregnant,” asks an incredulous Rafe.

  GENERAL HOSPITAL

  Top Actor: Sean Kanan

  Top Actress: Finola Hughes

  Best Guest Stars: Lynn Herring

  tie — Meredith Vieira

  Best Psycho Ever: Anders Hove

  Top Storyline: Faison’s Obsession!

  Best New Character: Felix

  Most Controversial Prop: Lipstick

  Best Return: Lucy Coe

  Top Episode To Watch: On Friday, Robin appears to Patrick! “Dude, Sabrina’s in love with you! Did you lose all your brain cells when I ‘died?’”

  THE YOUNG AND THE RESTLESS

  Top Actor: Michael Muhney

  Top Actress: Sharon Case

  Top Storyline: Chelsea’s Betrayal

  Breakout Star: Max Elrich as Fen

  Top Episode To Watch: On Wednesday, Avery explains her past to Nick. “I used to live in Corinth with Victoria.”

  The Idiot Ratings

  NIELSEN MILK: Nov. 26-30

  Winners: All Soaps Up in Demos!

  Losers: DAYS/Y&R only soap under from last year!

  Numbers are based on Live+Same Day ratings

  (Compared to Last Week/Compared to Last Year)

  —Courtesy SOAP OPERA NETWORK

  Total Viewers

  1. Y&R 4,376,000 (-2,000/-47,000)

  2. B&B 3,280,000 (+74,000/+197,000)

  3. GH 2,751,000 (-8,000/+447,000)

  4. DAYS 2,337,000 (-10,000/-122,000)

  Households

  1. Y&R 3.3/11 (+.1/same)

  2. B&B 2.5/8 (+.1/+.1)

  3. GH 2.0/6 (same/+.2)

  4. DAYS 1.8/6 (same/-.1)

   

  Women 18-49 Viewers

  1. Y&R 762,000 (+24,000/-41,000)

  2. GH 641,000 (+23,000/-10,000)

  3. B&B 621,000 (+3,000/+81,000)

  4. DAYS 584,000 (+51,000/-3,000)

  Women 18-49 Rating

  1. Y&R 1.2/7 (same/-.1)

  2. B&B 1.0/6 (same/+.2)

  2. GH 1.0/6 (same/same)

  4. DAYS 0.9/6 (+.1/same)

  Women 18-34 Viewers

  1. GH 243,000 (+29,000/+69,000)

  2. DAYS 203,000 (+7,000/+10,000)

  3. Y&R 174,000 (-1,000/-6,000)

  4. B&B 131,000 (-17,000/+11,000)

  Women 18-34 Rating

  1. GH 0.7 (+.1/+.2)

  2. DAYS 0.6 (same/same)

  3. Y&R 0.5 (same/same)

  4. B&B 0.4 (same/same)

  Coming Up Soon: Larry Flick, Kirsten Storms, Entertainers of the Year, The Worthy and the Worthless — 2012, and more!