Thank you for a passionate and insightful column. I am absolutely stunned by the swift decline in quality of OLTL. For a while there it was firing on all cylinders and then suddenly began sputtering. While there are some segments which are riveting, there are also some which are so awful that they seem to overwhelm the experience of watching the show.

As usual, you have correctly identified the weaknesses we are presently subjected to. When the character of Sarah returned after having been presumed dead and Tina blurted out "Oh My God!", I yelled the same exact phrase but in a different spirit. My "Oh My God" meant "Oh My God - are you telling me that they had a chance to lose this character, or at least recast it, and they didn't take advantage of it?".

It's not as if any of the characters seemed too all-fire concerned about her apparent demise anyway. The whole Mendorra mess has been a disaster with no redeeming virtues. I was embarrassed to be watching the show when it was being played out. The same goes for the 1968 storyline - a terrible idea, horribly executed. I suspect it's supposed to be a bit camp, but it is really falling flat.

Once again, you have correctly seized upon the only bright spot - Melissa Archer as Maria could not be more unintentionally hilarious if she tried. The fact that this story is dragging on and on is like watching someone determined to finger-paint with dog poop - there can be no art from this excrement.

I sometimes wonder if anyone is directing this mess, as I watch individual performances become rudderless and idiosyncratic. The worst offenders are Farah Fath, Bree Williamson and Andrea Evans. Fath has developed the most annoying habit of acting with her face, pursing her lips and rolling her eyes, particularly in the final fadeout shot of a scene. Evans is doing the same thing, but mainly bulging out her eyeballs to denote God-knows-what. Williamson's portrayal of Tess is devoid of all subtlety, although I suspect that part of the problem here is the material. Lately, watching these actresses is like watching a cartoon, as their performances are not rooted in any reality that I recognize. 

One minor point on which we disagree is the performance of Lea DeLaria in her dual role. When portraying the character of Professor Fina she seems to be channeling Pat, the androgynous character from Saturday Night Live of years ago. Whether this is unconscious or an "homage", I find it irritating to the extreme. When it comes to my soaps, I hate "wacky" and her performances seem to be nothing but. Wackiness doe not equal comedy. The real comedy on OLTL is rooted in character and not behavior, as evidenced by actors like Robin Strasser and Tuc Watkins. They can be hilarious because their characters are multi-dimensional rather than contrived.

Like you, I am relishing the Todd and Marty scenes which brim with solid writing and superb acting. I am also enjoying the John and Blair scenes, as they are revealing subtle qualities of both of the characters, each of whom was in danger of becoming a cliché at one point. Every other storyline is simply treading water and losing any interest it may have had.

I just love reading letters like this. Whether you agree or disagree with any of the points I bring up from week to week, I love getting such well-written and passionate responses! I have to say that I agree about the three actresses Louis chastises here, although Andrea Evans will always be a legend in my mind and she did redeem herself this week with the Cord/Tina scenes. But the eye-bugging was really getting on my nerves as well. Both Fath and Williamson have been resorting to surface acting lately. Williamson has always been a surface actress, who somehow delivers an Emmy-worthy performance once or twice a year when the material is extreme.  The rest of the time, she seems to be merely posing for her own benefit while struggling to remember her lines in a timely fashion. Her current incarnation of Tess is one of the most annoying failures I have witnessed in eons. I loved Fath's subtle portrayal of Gigi for the first few months of her OLTL tenure (though I thought she was weak on DAYS), but she has been hamming it up these past few months with the most bizarre facial twitches and overdone expressions. I'd rather watch Melissa Archer's remedial portrayal of Maria any day. At least that's entertainment.

MAIL REPORT
"I haven't been able to put my finger on this current writing regime; the ratings are falling, but the storylines are supposedly character-driven. What I find unbearable about the reign of Ron Carlivati is how his audience remains split down the middle. He seems to be catering to half the audience at one time. I know the writers can't please all, but I don't see this kind of divide within the audience with any other soaps. I think RC could benefit from another writer working with him. He needs someone to keep him touch with the overall vision of the show, and not just his and half the audience's favorite parts. I don't think he's a horrible writer (even though he's had plenty of issues in the continuity and creative department), but I don't think he has a good grip or handle on the show."  - Mia

I actually think this is a great idea. But as a writer, I can admit that very few of us would want to be co-head writers on a project with anyone else. It's very limiting.  The end result could very well be a superior product - but only if the two writers working together are a unified team balancing each other out and allowing for one another's unique vision and taste (highly unlikely to happen). For instance, if I were writing a show I would probably come up with some extreme storyline ideas (such as killing off half of the cast in one fell swoop) which could then be put in check by a more practical (if perhaps less imaginative and daring) writer. Jim Reilly perhaps could have used a practical co-head writer on Passions...but then Passions would not have been Passions. Blurring a writer's vision, however misguided, can easily lead to a foggy, directionless show that's stuck catering to two groups of people instead of just one. Then we get stories that flip-flop more than presidential candidates, because there is no singular vision taking the show in a specific direction. In essence, a writer loses his balls when he has to share.  He or she has enough limitations to put up with from the big brass (Brian Frons, for instance) as it is, without another writer coming in and wanting to put their own stamp on the canvas. I think the best answer to Carlivati's (or any writer's) problems would be a sort of appropriate checks-and-balances system that the Executive Producer should be available and able to fulfill. It seems to me that when a co-head writer is brought on board, it's only a matter of time before that new co-head writer stands alone. At this moment in time, my feeling about Carlivati's tenure is that he's gotten too wrapped up in the show's past. Now that is a very strange problem to have because most writers ignore the show's history - and that is a far worse crime. But...most of Carlivati's storytelling so far has been a direct copy of previous stories; sometimes as homage (Viki going to heaven, time travel), and sometimes not (Natalie and Jared's "incest"). I feel like there is no NEW vision for the show, only a rehashing of the past. And in many cases - most notably Mendorra - the rehashed stories are just awful. I have a sinking feeling that the latest rehashed plot, Tess and the secret room, isn't going to fare much better than Mendorra.  THAT, in my opinion, is what's wrong with Ron Carlivati's writing: There is no originality to speak of. 

"What if Talia was in on the whole plan with "daddy" Carlo and went to Llanview just to set up the Vega brothers? I doubt that could be written coherently, but would be kind of interesting and fun."  - Patricia

Would it be well-written and believable? Probably not. But...if it were written properly, this scenario could be JUST what the doctor ordered.

"Jeremy, while I mostly agree with your assessment of the Layla/Vincent debacle (story wise), I must tell you that I am furious with your comment about Vincent’s “other Ho. It’s so disrespectful to the character of Layla, and all black women in general. Does this mean that you regard Layla as a Ho also?"  -  Saundra

I would like to apologize for that comment. When the column came out and I read it, I cringed at myself. Not because I think of black women as "ho's" (far from it), but because I did not have time to properly edit my column. I did not explain the sarcastic intent of that comment, so that it wound up reading like I was actually calling Vincent's little secret a "ho" The "ho" reference was meant sarcastically from TPTB's point of view...that that's how THEY see the character and subsequently how they wrote her - as a generic, stereotyped pawn, in another attempt to turn Layla into something other than wallpaper. But I should have either clarified that or not used it at all. I felt that the Vincent/Layla subplot was yet another example of racist storytelling from OLTL. In the context of my anger over this, I called the other girl a "ho" because that, I feel, is how TPTB intended her to be seen. She was a "ho" to them, and Vince was suddenly a "playuh" They became generic, two-dimensional characters in order to "free" Layla up as a way for TPTB to claim they have at least one black character on the show who ISN'T a manservant to one of the rich, white characters. In essence, Layla distanced herself from the other black characters by lashing out at the suddenly soulless Vince and dismissing his mistress as a piece of meat not worthy of having feelings or a story of her own. I found it telling that in this latest attempt to make us care about her, TPTB had Layla rage out against two other black characters who were barely more than ethnic stereotypes.

"Although I find my finger on the fast forward button more often than the play button lately, I always watch the Todd/Marty deal. It's my favorite storyline going on right now. But I feel a little bit dirty when I get excited about the prospect of the two of them being together. What do you think RC is trying to "say" with this whole bit? Are we supposed to hate Todd more or are we seeing a glimpse into his MIA soul? It doesn't help that Trevor and Susan have amazing chemistry together. I really hope that this isn't another twist on coming back to the Blair and Todd relationship. Blair finally admitted Todd abuses her and that should seriously be the end of it. I agree with you as well; we should explore why Blair let Todd treat her that way and maybe why she always uses the sexuality card as her go-to plan to get what she wants. I flinched big time when she confessed to John that she tried the nightgown on for Keyes."  - Rebecca

I find all of the Todd/Marty scenes to be absolutely electrifying and by FAR the best thing Trevor St. John has had to work with since Evangeline went into her ridiculous coma. Todd/Marty works for two reasons: The chemistry between Trevor and Susan, which is beyond my wildest expectations (though I knew they'd look great together, I really had no idea that they would spark like this), and the writing.  While the writing for most of the rest of the show is downright awful at the moment (if I hear the phrase, "We have to find the portal" one more time, I will be sick), the dialogue and situational writing for Todd and Marty is perfection. Through this story, newer viewers are getting a history lesson AND getting to realize what kind of person the REAL Marty is (caring, gentle, sensitive, intelligent, brave), and we're all getting to see the softer side of Todd Manning for the first time since Renee Goldsberry was let go. Now apparently, lots of people out there are hating Todd just as much as ever, and the reasoning behind that hatred is perfectly reasonable. But I am liking Todd for the first time in over a year. Yes, he's still a terrible person, but at LEAST HE'S HUMAN again! AND he's witty, AND he's intelligent. As of a few months ago, he was nothing but a brute. I must confess that I have been picking up little signs that a Todd/Blair reunion may be more likely than I'd like to imagine. I think putting them back together would be creatively devastating. I have been wondering whether TPTB may create a Todd/Blair alliance whereby they help each other to keep John and Marty apart, which would undoubtedly be juicy... but also undoubtedly lead to another Todd/Blair reunion since John and Marty are "too good" to put up with that level of manipulation and lies. That's my fear - that at the end of the day, Blair is going to lie to John. If she does, he will assuredly kick her ass to the curb. I don't really care that much about Blair and John as a couple - though I'm enjoying them together, John McBain can only go so far in a romance because he doesn't emote. However, as painful as it is for many people to consider, I do believe there is potential between Todd and Marty for a super couple in the making. At the very least, they could compel me together for a very long time.  Todd and Blair couldn't compel me as a couple for another second, unless they are fighting.

"I disagree with you on the Blair being the abused wife angle. Sorry - Blair asked for the shit she gets. Who told the whore to sleep around with Todd's enemies and then want him back? This character has every opportunity to stay out of a relationship with Todd. Hell, whenever it looks like he is moving on (i.e.Tangeline/Tea) she starts to stalk his ass. After he returned and recovered from his abduction she practically stalked him all over Llanview, forcing her help upon him to find his son. So her abuse is repeatedly self-inflicted. There have been times when she has forced her way back into his life even when he objected. So I don't buy this "Poor little me abused Blair" bullshit at all."  - Tina

Okay, here's how it is: Todd definitely abused Blair...AND, Blair both tolerated it and sought it out when it was not around. So the real issue here is Blair's horrible self-image, which is a golden storyline waiting to happen if treated right. Not that I want to watch hours of therapy with Blair (although if Marty was her therapist it might be worth it), but I WOULD love to at least find out WHY she is the way she is. What exactly happened to her in those foster homes? And why won't Addie discuss her conception or who her father really is? That is the storyline I've been waiting to see for years. If that storyline played out, THEN maybe she could end the cycle with Todd. MAYBE they could even become best friends or at least let their relationship evolve in some way beyond their vicious cycle of love/hate. The simplest way I can describe Todd and Blair's relationship is this: She doesn't love herself, so she chose to be with a man who doesn't know how to love anyone.  Even John, while honest and accepting, doesn't know how to love. Also, I think Addie's reawakening into sanity has been a HUGE missed opportunity to tell Blair's story. Instead, Addie is treated like another comic relief character in the vein of Roxy, Nigel, and David Vickers. I still don't see why TPTB took her out of St. Anne's since they haven't incorporated any Cramer history or given her a purpose beyond comic relief.

"Blair just traded one emotionless man for another. At least with Todd, she had a little variety of moods every so often."  - Sean

I would say John is in a permanent state of vague nostalgia or just plain vagueness. Todd has very intense emotions, but they usually only include rage, hatred, jealousy, anger, and mistrust. That's why I like him with Marty, and why I liked him with Evangeline - we get to see something ELSE about Todd, something we don't even see much between himself and his children.