FLASHBACK: Pushing for Change 2004

Daytime's other drama: despite its popularity with black audiences, daytime television discounts black talent in front of, and behind, the camera. These industry insiders are pushing for change

By Carolyn M. Brown
Black Enterprise
December 1, 2004

Tune in to television anytime during the day and you're bound to see a number of African American faces on screen. Take for instance the personalities hosting syndicated talk shows and court shows such as THE VIEW's Star Jones or DIVORCE COURT's Mablean Ephriam.

It cannot be denied that African Americans are daytime television's predominant audience, accounting for 12.6% of the U.S. population, but almost 20% of the 40.3 million daytime's viewers.

African Americans have had a presence in daytime serials for more than 40 years, although it may have been playing nonessential roles such as maids. During the 1990s, however, the networks did a better job of introducing prominent black characters with intriguing story lines, giving way to rising stars such as Shemar Moore and Nia Long. Still, despite black actors' improved presence and popularity today, their ability to command long-term contracts is dismal compared to their white co-stars.

The NAACP's 2003 TV Diversity Report shows that the four major networks have made incremental increases in hiring African Americans for prime-time on-screen roles. Behind the camera, however, such progress has not been made. There are practically no black writers, producers, and directors in the so-called "top echelon of production, which is the nucleus of the industry," according to NAACP President Kwesi Mfume.

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The diva of daytime is billionaire Oprah Winfrey, who hosts and produces the No. 1 syndicated talk show, now in its 19th season. Winfrey, who is watched by about 30 million U.S. viewers each week, represents the few top industry players who have staked their claim in daytime television.

The number of African American writers, producers, and technical crew (including unionized hairstylists and makeup artists) don't fare well in network television. Until October 2004, there was only one black executive in daytime programming at ABC, Jennifer Turner, 30, who now serves as director of current programming in prime time. Industry insiders such as Turner continue to push for greater inclusion of people of color.

Studies by the NAACP and other groups that act as watchdogs focus primarily on prime-time dramas. Daytime dramas, however, churn out 240 to 260 episodes per year. Turner says the sheer volume is 100 times that of prime time drama, which amount to an average of 22 shows per season. Daytime dramas maintain audience interest every week because they don't stop production in the summers to show reruns. NBC, CBS, and ABC run about 50 hours of daytime serials each week.

Soap operas (named for the generic household products once advertised during these serials) have ruled daytime for more than 50 years but were traditionally targeted toward white suburban housewives. Of the nine network soaps currently running, seven have been on the air for more than 30 years. The longest running is CBS' GUIDING LIGHT, which first aired in 1952.

Historically, soap storylines built around families, matriarchs, and patriarchs have not been diverse. "This is something that has hampered introducing new characters that are persons of color," says Turner. ABC's daytime lineup includes GENERAL HOSITAL, ALL MY CHILDREN, ONE LIFE TO LIVE, and THE VIEW (produced by ABC Daytime and Barbara Walters' production company). "We have made strides in adding diverse contract roles," says Turner, "but we could do better."

GENERAL HOSITAL has only one black performer under contract, ALL MY CHILDREN has three, and ONE LIFE TO LIVE has two. Of NBC's dramas, DAYS OF OUR LIVES has four black contract roles out of a total 31, while PASSIONS has six out of 26. A contract actor generally signs on for three years and is a major part of the core storylines. An actor with a recurring role, on the other hand, portrays a principal character intermittently. Then there are extras and actors who have fewer than five lines.

"Across the board, the networks have done a better job," says Ray Bradford, national director of equal employment opportunities at the American Federation of Television and Radio Artists (AFTRA). He says two factors affect overall employment: One, "Soaps are losing audience share and are making production cuts. Many are trying to find new outlets such as SOAPnet (the ABC-owned cable channel)." Two, he explains, "Most black actors have been relegated to secondary characters such as a judge or villain, making it tougher to break into long-term core family roles."

Given the popularity of soaps among African American and Latino viewers, integrating people of color into a show's core of families should be a no-brainer. But Bradford notes that there is a disconnect between the networks and their audiences. For the first time in 10 years, AFTRA bestowed its American Scene Award to a daytime program. CBS' THE YOUNG AND THE RESTLESS was recognized for its commitment to on-air diversity storylines sensitive to minority issues. Bradford says that THE YOUNG AND THE RESTLESS has the best integration of characters in terms of race, class, and age.

THE YOUNG AND THE RESTLESS, the No. 1 rated soap opera, boasts a huge African American following (15 million viewers worldwide) and a significant black cast (seven contract and four recurring players). In addition to THE YOUNG AND THE RESTLESS, CBS' daytime lineup includes soap operas AS THE WORLD TURNS, THE BOLD AND THE BEAUTIFUL, GUIDING LIGHT, and game show THE PRICE IS RIGHT. All of these shows are among the top 10 rated shows among African American viewers, according to Nielsen.

Actress Victoria Rowell is celebrating her 14th year with THE YOUNG AND THE RESTLESS. In 1990, the classically trained ballet dancer landed the part of Drucilla Winters. Her entree into daytime was in a contract role. "Since I came from prime-time television and feature films ... I had some leverage." Rowell had graced the pages of Seventeen and Mademoiselle magazines before landing her first television role on The Cosby Show (she was later cast as Bill Cosby's daughter in the film Leonard Part VI). The 30-something, Daytime-Emmy-nominated actress has been involved in her character's development since the outset, "I have always been proactive, from what I wear to what I say."

Despite its popularity for its black actors, THE YOUNG AND THE RESTLESS has never employed a black writer. Rowell says there is a loyalty factor. "There are writers who have been affiliated with the show since the beginning ... which was 32 years ago." Rowell got the chance to write for the Viacom/CBS series DIAGNOSIS MURDER, on which she co-starred with Dick Van Dyke for eight seasons.

Recently, CBS and ABC received AFTRA's American Scene Crystal Award for their talent, writing, and director development programs. "While we won't know [how effective they were] until the final numbers come in at the end of the year, still, these programs are bringing more minorities into the business," says Bradford, noting that FOX and NBC have similar programs but not of the same scope as CBS and ABC.

SAME OLD NEWS

In gauging television employment, one has to look at more than just numbers. For instance, with respect to news programs, there are more African American broadcast journalists but most are still hired as field reporters, not anchors, editors, or producers.

According to the latest survey by the Radio-Television News Directors Association/Ball State University Annual Survey, African Americans constitute 10.3% of the workforce in television newsrooms, up from 8.4% in 2003. At the same time, there was a significant jump in African American news directors, to 3.2% from 0.9%. Overall, the proportion of minority general news managers doubled from 3.6% to 7.4%. Still, much of the growth can be attributed to independents and small stations.

"Sadly, when it comes to news, news specials, television news magazines, and Sunday talking heads shows, none of the networks or the cable news options are doing exceedingly well with diversity or equal opportunity either in front of or behind the camera," says NAACP's Mfume. "Show anchors, guests, reporters, and so-called 'experts on the subject' continue to be overwhelmingly white."

In the very white--and male-dominated American newsroom, staying on the sidelines is a surefire way for African Americans to stay invisible, says Adrienne M. Wheeler, INSIDE EDITION's first and only black managing editor. "I don't take crap from anybody. It is not a matter of sitting by the door and keeping quiet." Wheeler says she pushes regularly to include more "talking heads" or experts of color, and that other network producers even look to her for African American authorities.

INSIDE EDITION first aired in 1988. Along with HARD COPY and A CURRENT AFFAIR, it was one of the earlier alternative news shows to be carried nationwide. Wheeler joined the team in 2003, having previously worked as special producer on CBS' THE EARLY SHOW. She served as executive producer for Geraldo Rivera's talk show and as a producer for The Phil Donahue Show, where she was nominated four times by the Academy of Television Arts & Sciences.

Wheeler has hundreds of stories for the show that airs daily. "I've made my white counterparts and management people above me [become] more conscious of how they present people of color in the news," explains Wheeler. There are five reporters, 12 producers and associate producers, eight story coordinators, and several editors and crewmembers reporting to her. Of these, three are African American.

Wheeler stresses the need for black audiences to request greater representation through letters and calls to television networks. She says it is going to take executives of color to bring about changes to benefit the parity of newsroom diversity. Wheeler warns that African Americans seeking entry level positions have their work cut out for them. She landed her first gig (Today with Tom Brokaw) when she was in her early 20s and learned a valuable lesson. According to Wheeler, "Mentorship is severely lacking in the business. You have to make your own magic."

TIME FOR A REWRITE

Growing up on the Southside of Chicago, Michele Val Jean never dreamed that she would be a Daytime-Emmy-Award winning writer on GENERAL HOSPITAL. After 41 years, it is the longest running dramatic serial on ABC, which owns and produces the show. Val Jean joined GENERAL HOSPITAL in 1993 as a scriptwriter and was named an associate writer in 1996. After two top writers resigned in 2000, she became the first black head writer of a soap opera.

Head writers chart the narrative course of the soap over a period of six to 12 months and, in doing so, determine the fate of each character. Outline writers segment the overall plot into weekly and then daily portions. The writing of the script is assigned to a team of scriptwriters. GENERAL HOSPITAL has one other African American scribe, Michelle Patrick.

Whereas nighttime shows are plot-driven, daytime shows are character-driven and can be told in real time. Val Jean appreciates this because with the character Elizabeth (1996 to 1997) she carefully guided a rape story. "I was raped when I was 12. It was a very powerful way to slay my own demons while educating other women."

Val Jean is a prodigal daughter of sorts. After a seven-month hiatus to pursue film projects, Val Jean recently returned to GENERAL HOSPITAL, opting to be a scriptwriter. Prior to that, Val Jean, 53, was a scriptwriter on NBC's SANTA BARBARA for two years before it was cancelled. She wrote her first scripts for the series JAKE AND THE FATMAN. Her big break into daytime was as a writer for GENERATIONS, which starred then newcomer Vivica A. Fox. Launched in 1989 on NBC, GENERATIONS was perceived as the first "black soap" although its cast was diverse. It was cancelled in 1991 due to low ratings.

"NBC put the show on at 11:30 a.m., up against THE YOUNG AND THE RESTLESS. No one was going to turn off the No.1 soap to watch an upstart," says Val Jean. "I will always be grateful and glad that GENERATIONSwas my first daytime experience."

A major challenge for writers is to transition from prime-time dramas--which give them six weeks to pen a script--to daytime dramas--which allot just one week. Val Jean says it's an even greater challenge to get one's foot in the door. "There have not been, on any consistent basis, writer-development programs."

ALL MY CHILDREN recently promoted its first African American producer, Karen T. Johnson, formerly an associate director. Johnson started out at ABC in 1985, filing expense reports and later working as an editing room assistant on Eyewitness News, the first of several production-related jobs. Her introduction to the daytime format came as a sound effects artist for RYAN'S HOPE, ONE LIFE TO LIVE, and LOVING. Johnson credits ALL MY CHILDREN's executive producer, Julie Hanan Carruthers, and ABC's president of daytime. Brian Frons, for realizing her potential and offering her a chance to produce.

In general, she says, "having black writers, producers, and directors can help authenticate how a character reacts to any given situation or bring about more understanding. Can [white writers] do all of these things? Of course, they have been for years. But it's about having a different perspective. It's about being included and represented," adds Johnson, who notes that daytime is predominately run by another minority group--women. In addition to Johnson's role as producer, the music supervisor, associate directors (two out of three), and editors (three out of five) on the show are black. "Those positions are all very important jobs that impact the final product," she says.

STRICTLY BUSINESS

A soap opera's destiny is subject to feedback from viewers in the form of fan letters, market research, and weekly Nielsen ratings. The network's profitability depends upon revenues from advertisers and from a show's sponsor (which, in the case of four soaps today, is still the show's owner, i.e. Procter & Gamble's GUIDING LIGHT and AS THE WORLD TURNS). A high-rated soap has the potential to attract $500.000 in ad revenues each week

Broadcasting and Cable reports that after six consecutive years of viewer attrition, daytime television again held its audiences in 2004. In 2002, the pool of ad money flowing to the daytime lineup of the networks fell to $841 million from $896 million in 2001. Last year, ad sells were up 6% to $890 million for NBC, CBS, and ABC.

According to industry insiders, soaps have remained a genre unique to the networks because cable and syndication are unwilling to deal with the startup costs--an estimated $50 million in program outlays alone, not including marketing and distribution.

In many markets, the strongest competition for soaps comes from the dozens of talk shows launched since 1990. FOX's daytime programming is supplied mainly from the acquisition of syndicated shows such as RICKI LAKE, JERRY SPRINGER, JUDGE HATCHETT, and DIVORCE COURT.

NBC Universal Television Distribution is the production and distribution arm of NBC and was created four years ago to handle domestic syndication. Regina Thomas, vice president of programming and development, is at a level where she can "influence whether a show is produced or not." Most recently, she insured the production of STARTING OVER, daytime television's first reality show about six women living in a house together. "[There] will be at least one African American of the six ... because we want to reflect our audience," says NBC Universal Television Distribution's only African American programming director.

ACCESS HOLLYWOOD and THE JANE PAULEY SHOW are among other programs that Thomas is involved with. Prior to NBC, she worked as an account executive with the Discovery Channel and program manager with CBS affiliate WUSA-TV in Washington, D.C. Thomas says blacks looking to break into the business should consider syndication. "If you have relevant experience ... worked at a local station or on a talk show ... syndication is a lucrative side of television, if not the most lucrative."

Talk show favorite Montel Williams recently entered his 14th season as executive producer and host of THE MONTEL WILLIAMS SHOW. The 48-year-old former U.S. Marine and counselor produces 175 to 195 shows per year (more than 2,500 telecasts over its lifespan). What sets Williams apart from other daytime hosts (besides Oprah Winfrey) is that he owns his syndicated show.

"One of the reasons why this show has been so successful is that I have written in my contract creative control, something that other hosts coining in as bit players or contract players don't get," says Williams. As he sees it, the dearth of African Americans at the top has to do with the limited pool of African Americans working in daytime talk. When a show gets cancelled, its employees also get canned and aren't guar anteed rehire elsewhere. "It is kind of hard to ascend the ranks if there are no rungs in the ladder," explains Williams, who has seen many talk shows come and go since his 1991 debut.

Of THE MONTEL WILLIAMS SHOW's 100-plus crew, about 20% are African American, including the only black female director in the history of daytime television, Heather Smith-Prout. "She started out as a booth production assistant," says Williams. "A lot of the people who started out with me 14 years ago are still with me. I have some of the top African American female producers on the show who were interns." Williams adds that in this business, "you don't often get the opportunity to learn from the bottom up."

Rene M. Butler was lucky to get that opportunity. At PBS, she learned all aspects of production and soon after worked as technical director of the network's Charlie Rose and Great Performances. Television technicians are unionized and are typically only allowed to do one particular job. But Butler says, "At PBS, if you wanted to learn audio, graphics, camera work, you could do so." Nonetheless, she adds that it is tough to get into this business. "Racism and sexism still exist."

Today, Butler is the Daytime-Emmy-Award-winning technical director of ABC's THE VIEW. She sits at the console of a 45-monitor video room, where she controls the shots for the live telecast and supervises the performance of 25 technicians, including camera, video, audio, and lighting crews. With the exception of soaps, daytime shows have one technical director.

THE VIEW is now in it's eighth season, and Butler has been with it since its inception. ABC hired the New York native shortly after her work with the 1996 Summer Olympic Games in Atlanta. She served as technical director on the network's signature news programs, 20/20, WORLD NEWS NOW, and PRIMETIME LIVE before being assigned to The View. Just five out of 25 technical engineers at THE VIEW are African American, however Butler believes she has come across more black cameramen, editors, and producers at ABC than throughout her 20-year career in television. Not to mention that THE VIEW's African American co-host, Star Jones, has been a powerful voice on the show since day one. "My job here has been the most rewarding as well as the most challenging," says Butler.

Union and guild jobs for people working in television are tough to come by, black or white. THE YOUNG AND THE RESTLESS' Rowell was instrumental in campaigning for an African American hairstylist (Nancy Morrison) to be hired on the show. Rowell notes the worker's union (International Alliance of Theatrical Stage Employees) is mired with age-old practices that leave little room for new talent.

Garnering industry respect is another bone of contention for Rowell. Soaps have two weekly fan bibles: Soap Opera Digest (1 million paid circulation) and Soap Opera Weekly (288,000 circulation). Both publications are owned by New York-based Primedia, and the ratio of blacks on the covers of major soap magazines was slightly less than 1%, according to Rowell, who says she conducted a three-year study.

"To suggest blacks do not sell covers or that our storylines are not comparable to our Euro-American thespians is nothing short of reckless and divisive," notes Rowell, who says she confronted Primedia execs. "To diminish our talent by this practice is to diminish our stature within the cast."