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Former One Life to Live Co-Head Writer Sam Hall Sues ABC Over Royalties!

By Michael Fairman

Published

13 years ago

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Courtesy/TOLN

The former co-head writer of One Life to Live Sam Hall is suing ABC for what he claims are royalties owed when the iconic soap opera transitioned to the web via Hulu and iTunes, and was broadcast during the “Summer Fling With The Soaps” summer soap-block of the revival of the seriesĀ  on OWN via Prospect Park, who licensed the rights to both programs from Disney/ABC in 2011.

Hall served as a co-head writer of the soap opera in the mid-1980s, filed a lawsuit in New York state court.Ā  According to the complaint, ABC made a deal in 1984 with Wildercliff, Ltd. for Hall’s writing services. The agreement is said to have entitled Hall to a weekly royalty “as long as the One Life to Live series is broadcast.”

The Hollywood Reporter details,Ā  “A copy of the agreement was included as an exhibit in the lawsuit. The royalty payment was $1,000 per week, and it’s not spelled out whether “broadcast” is restricted to network television. Hall says he got those weekly royalties until Jan. 13, 2012, when the series ended on ABC.Ā  Now, Hall is stepping up to stake a claim that his old contract entitles him to royalties from that period.

“Each week during which such exhibitions by each authorized entity occurred Hall was entitled to be paid the weekly royalties,” says the complaint. “Despite due demand, Hall has not been paid any of the weekly royalties to which he is entitled for the exhibition of the series by Prospect Park Productions, iTunes, Hulu and OWN, which total in excess of $50,000.”Ā Ā Ā  ABC could not be reached for comment.

So what do you think of the latest legal problems involving One Life to Live?Ā  Let us know!

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Out of control!

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OWN is a network and networks broadcast. Sounds like ABC needs to pull out the checkbook and pay up. Happy to see someone light a little fire under them and stand up for themselves! Too bad ABC can’t be sued for bad decision-making, as in the decision to axe a couple of great soaps. They’d be bankrupt if that could be done…

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“Too bad ABC canā€™t be sued for bad decision-making….” I’ll drink to that.

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Me too!

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and so will I.

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There are potentially two areas were ABC could be liable for what they did to AMC/OLTL. Disney/ABC owns many stations which are licensed by the FCC and so they are supposed to operate “in the public interest.” A case could be made that they put profits ahead of the viewer’s interests. Disney is a publicly traded stockholder owned corporation and so are regulated by the SEC. A case might be made that they did not operate in the shareholders best interest by scrapping potentially profitable properties with AMC/OLTL. I am a bit surprised a fan group hasn’t tried this by now. Just a thought. šŸ˜‰ Let the suing commence.

(Working late and bored)

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Legally in the entertainment business, A Broadcast Network is a network that has affiliate all over the country like the ABC CBS and the newer diginets Like Me TV Antenna TV and Retro TV. Cable is a different thing. Just as ONLINE Viewing is a different thing, they all have their own rules.
The cost for a Cable channel like Familynet to air NEWHART is less then what a Broadcast Network like ME TV would have to pay. That is what ME TV said on their Facebook page.

When Prospect Park first started with the plan to go ONLINE they had to work with the Unions, to lower the cost. based on the fact that it will be airing online and downloaded.

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If this lawsuit prevails, it’s not a good thing as this will be an added expense to any hope whatsoever of these 2 shows EVER finding an online home. This would be the final nail in the coffin.

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I remember seeing the name Sam Hall in the closing credits. THIRTY FREAKING YEARS AGO!!!!! What is wrong with some people that they would rather sue than work for a living???

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Royalties are a standard part of contracts for creative services; in the case of soaps, they recognize that creative contributions have value well beyond the immediate need they fill. (I don’t know if it’s still the case, but I know that at least as recently as the early 2000s, headwriters on P&G soaps got royalties so long as any character they created while they were headwriter was still part of the show.) Soap creators get royalties so long as the soap they create is on the air; I don’t see anything wrong with headwriters negotiating similar provisions. (Whether $1,000 a week forever is reasonable is an open question and debatable, of course, but apparently somebody thought so at the time the contract was negotiated, or he wouldn’t have gotten it, and if that’s what the contract says, they should pay up.) Another thing to keep in mind: in the mid-1980s, soaps were still enormously profitable for the networks–they even supported nighttime television. $1,000 a week for life might not have been an unreasonable cut to expect, though of course it seems outrageous by today’s standards, with soaps so much less profitable.

I don’t think it has as much to do with laziness as with recognition that there was no job security and that soap writers got hired and fired, often on what amounted to whims. That was true in the 1980s and is equally true or more so today. I doubt anybody is getting the kind of contract clause any more that’s being discussed here, but I would not hold it against them if they did. To me, it’s not all that different from a pension, in a field with no job security and no retirement plan.

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$1,000 dollars a week for one person is $52,000 dollars a year for 1 person not even involved in the show anymore. Though ABC did agree to that contract so you get what you pay for, but it’s no wonder it costs over $50 Million a year to produce 1 soap

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gees… perhaps all of OLTL fans could sue ABC for breaking our hearts and cancelling our beloved show…

just as absurd !

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I hope everyone sues ABC. In fact maybe all the fans of AMC and OLTL could have a class action lawsuit based on our pain and suffering! Maybe we could all get disability. I know I have suffered and am not able to cope with life as well as I used to! As always, boo to all things ABCDISNEY!

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I dont think he’ll win…technically speaking Prospect Park was now responsible for airing the show on OWN not ABC regardless if ABC still owned the series, so Sam Hall it seems could only sue if ABC was airing the show which they are not so it seems the contract would no longer be valid unless it includes another co. airing the show on a network other than ABC…i know nothing about these things so my comments probably dont matter…Sam Hall used to write for another soap Dark Shadows and his late wife Grayson Hall appeared on it as Dr. Julia Hoffman who attempted to cure Barnabas Collins of his vampirisim and fell in love with him…she also played other characters on the show during various time travels storylines and also appeared on OLTL with Nancy Barret and the late Anthony George who also appeared with her on Dark Shadows!

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This royalty stuff is nonsense. You do a job, you get paid for it. Why should you continue to be paid for that work years later?

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Because it’s the law!! Actors still get paid residuals for film and TV work done years ago, and so do writers. In this case the deal Mr. Hall struck with ABC thirty years ago gave him residuals even after he left the show. Let’s say if you were a recording artist and had a hit record back in the 60s, and you discovered that you weren’t getting royalties in 2014 despite that recording being used in commercials, movie soundtracks and the like, you’d demand the back royalties owed you by the record company. You could file suit against the current owners of the record company and win in court. This happens ALL the time. Just ask performers like Martha Reeves, Ronnie Spector, and Tommy James- all of who sued and won back their overdue royalties. Thanks to unions like AFTRA/SAG and in Mr. Hall’s case, The Writer’s Guild of America, laws were created to protect artists so they could get their share of corporate profits. Jonboy, would YOU like to be ripped off by a major corporation when you know that under the law you have a right to earn money for your past work as it is still making money? That’s the case here. Mr. Hall is well within his rights.

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I understand what you’re saying within the entertainment business but I don’t “get” it logically. If I do a job for my company, lets say I create a new spreadsheet, should I get paid every time someone uses it? I’ve already been paid for doing the job by my company. ABC, or whoever, paid Hall when he wrote the show. Why should he, or anyone else, be paid again and again for doing something they were already paid for?

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Lawsuits are a bane to our existence,

Yet another frivolous reason to keep OLTL off the air.

30 years – come on….but are there other deals like this ?

maybe this is why ABC shut down their soaps, because of bad deals made in the eighties.

Bring back OLTL!

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You’d be surprised. When Audrey Meadows signed on to play Alice Kramden in “The Honeymooners”, she had a very smart manager who made sure that there was a clause that she would get residuals ‘in perpetuity’- that is, AS LONG AS SHE LIVED! Who knew back then that the show would be on the air nonstop over the decades? Ms. Meadows got residual checks from that show for decades! Before the laws were changed in the 80s, there were limits as to the years a performer could get residuals from old TV shows.

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$1,000 dollars a week. That is the reason why we don’t see Soaps repeated on the Subchannels like ME TV . The cost for the Royalities for music and writers, and actors etc which is much higher for a Broadcast Network then it is for Cable. Plus the fact that Drama’s especially serialized ones don’t repeat that well.

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ABC obviously didn’t read the fine print in their own contacts with Mr. Hall and with Prospect Park! This could set a big precedent in regards to online materials and royalties from such programming. I read somewhere that some soap writers will get residuals for years to come as long as characters they created stay on the show. That’s one reason why when a soap changes writers, some writers are more than happy to get rid of some old characters and add some of their own. Considering that Mr. Hall was the head writer at OLTL in its most popular era (mid 70s- mid-80s), he was responsible for a great deal of long-running characters and stories on the show. He created the Buchanans, Tina, Renee, Cassie and others that stayed on for years. It seems like ABC gave him carte blanche with that 1984 contract, and the fact that he got money for years afterwards seems to be in his favor. ABC leased the show (along with characters created by Sam Hall like Clint and Bo Buchanan) to Prospect Park, and he may just have a case against ABC. It reminds me of when Walt Disney signed Peggy Lee to write and records songs for “Lady & the Tramp” in the 1950s. There was a clause in the contract guaranteeing Ms. Lee royalties for all future transcriptions. When the film made it to home video in the 1980s, she sued Disney for royalties, as she argued that the home videos were transcriptions under her 1954 deal. She wound up winning over $2 million in court from Disney! And now that Disney owns ABC, it’s deja vu all over again, only this time it’s a writer regarding one of their shows!

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When I think of royalties I think of someone getting paid for their past creative work. Usually residuals/royalties are for the rebroadcast of their show (syndication) – regardless of what network/channel carried it. So as a writer of a soap, when you stop working for that soap – it does not get rebroadcast again (usually) and there would be no royalties. IF it were for characters said writer created ‘as long as they were on the canvas’, then I understand it.
If that truly is the case, then it looks like abc/d may have to pay up.

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I’m sure someone will point out that when the contract was made in 1984 – that broadcast meant TV or radio. There was no video on the web, and OWN station isn’t ABC nor did ABC allow OWN to play these new web shows on the OWN station… that would be Prospect.

as far as what someone’s contract said about royalities, wouldn’t all other writers have had similar statements in their contracts as well?

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ABC-TV made the worst decision in television History when they cancelled the beloved ALL MY CHILDREN as well as OLTL ~ whatever bad Karma comes their way now is much deserved.
Although I wasn’t overly thrilled with the shows as “On-line” inceptions, I was grateful to see some of the characters and some familiar faces again. Now, who knows if these shows will ever see the light of day again ~ seems doubtful, but one never knows….if the Execs at ABC had half a brain they would combine both shows…

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The Hall deal was with ABC and any new deal would be with PP. Most royalty contracts are when the characters the head writer creates is still on the show. He Created Clint and Bo, so it makes since that he has the deal. OWN probly just paid flat licence fee to re-broadcast.

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The only way that he might get any more money is because Soapnet I think was carrying reruns of One Life to Live until that station went off the air.

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ABC pay MR.Hall his money

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News

‘The Bold and the Beautiful’s’ Heather Tom on Working with TV Son Crew Morrow: ‘I’ve Always Wanted to Play an Overprotective, Overbearing Mother’ (Exclusive)

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4 hours ago

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September 13, 2026

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Heather Tom, Crew Morrow

In an ironic twist of fate, and only in the soaps, The Bold and the Beautiful’s Heather Tom’s (Katie Logan) on-screen son is played by Crew Morrow (Will Spencer), the now 21-year-old son of her former TV brother on The Young and the Restless, Joshua Morrow (Nick Newman).

For those who have followed the six-time Daytime Emmy-winning actress’ career, Tom began on Y&R back in 1990 as Nikki (Melody Thomas Scott) and Victor’s (Eric Braeden) daughter Victoria Newman. She played the role until 2003. Four years later, she joined the cast of The Bold and the Beautiful and has been there ever since.

Next month, at the upcoming 53rd annual Daytime Emmy Awards, Heather might add two gold statuettes to her collection with nominations for Lead Actress in a Daytime Drama Series (which would be her record-breaking 7th for an actress), and one for being a part of B&B’s writing team.

Photo: JPI

WHICH MORROW IS IN THE ROOM?

In a new livestream conversation on You Tube’s Michael Fairman Channel, Heather recalled her reaction to seeing Crew Morrow on set when he started on B&B over two years ago, and pointed out the uncanny similarities between her TV son and her former TV brother.

“I just can’t even tell you how genetics is weird,” explained Tom. “Because it’s like they are the same person; the cadence and his voice and the way he laughs. When Crew was on the shows for the first couple of months, it would take me out of the scene. I would be like, ‘Oh, my God! It’s Joshua.’ It’s crazy. It’s so wonderful to have him. I love having him there. We’re so lucky to have Crew. I think he’s a wonderful addition to the Spencer family. I love that Bill (Don Diamont) and Katie’s son is on the canvas in a real way.”

In recent weeks, fans of The Bold and the Beautiful have seen a different side of Katie in regards to her son, Will. She simply does not approve, and does not trust Melissa Dylan (Sydney Bullock) as far as she can throw her. That puts a wrinkle in the mother/son relationship.

Photo: JPI

HEATHER TOM IS THRILLED THE CHARACTER OF WILL SPENCER IS ALL GROWN-UP

“Honestly, I’ve been waiting for this story since Will was born,” exclaimed HeatherĀ  “To be like the overprotective, overbearing mother, momma bear, I love it!”

As for Katie’s attitude. which many feel may need an “attitude adjustment,” Tom has it all figured out on just how she is tackling her scenes! “I have all kinds of justifications for it,” reveals the multi-talented star.

Photo: JPI

KATIE SEES ALL SORTS OF RED FLAGS WITH DYLAN

“So. it’s not just Katie being the b-word,” proclaims Tom. “It’s that Will, her son, whom she loves and supports so much, has been constantly saying about Electra (Laneya Grace), ‘This is the love of my life. She’s broken my heart. I love her. All I want to do is get her back.'”

“So I think Katie could be like, ‘Okay, well, Electra’s a little flighty, but my son loves her, so I’m going to try to support that relationship,” explains Heather. “In addition, Will has never told his mother, ‘I love Dylan,’ at all. I think Katie is thinking of telling Will, ‘You should run, not walk, from this girl who seems somewhat obsessed!’ I don’t know where they’re going with the Electra/Will/Dylan triangle, but I think Katie’s very focused on Dylan for a multitude of reasons.”

So, do you like seeing Heather Tom as Katie going into overprotective momma bear-mode, now that the series has a major young triangle between Electra/Will/Dylan? What do you think about the fact that Heather has been a long-running scene partner with father/son across two different soaps in Joshua Morrow and Crew Morrow? Let us know in the comment section, and in case you missed it, check out our full conversation with Heather below.

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General Hospital

‘General Hospital’s’ Finola Hughes Delivers the ‘Power Performance of the Week’

Published

7 hours ago

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September 13, 2026

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Finola Hughes

There was never any doubt that in watching the riveting and emotional scenes on General HospitalĀ which featured Finola Hughes as a PTSD-driven and mentally tortured Anna Devane, that when the climatic moments in Anna’s story aired, that we would not be singing the praises of Hughes. Once again, Finola showcased why she is one of the soap opera genres greatest assets and actresses.

In the key scenes, Anna has had a complete breakdown as she has lured and cornered Britt (Kelly Thiebaud) on Mount Emerson, and even thought through how she would kill her and cover it up, all thanks to hearing the voice and seeing a dead man, Peter August (Wes Ramsey). It’s visions of Peter that keeps egging Anna on to pull the trigger on Britt while in her delusional state.

Before Britt realizes that Anna trapped her in meeting her in Mount Emerson, she is very confused as to why she was all the way out in the boondocks to talk about what happened to her brother, Cassius Faison. However, Britt soon learned that what Anna was about to do is personal, and not professional, as she pulls the gun on her.

Courtesy/ABC

ANNA FIRES HER GUN IN GAME-CHANGING MOMENT

When Jason (Steve Burton) shows up to save the say, he tries to talk Anna off the ledge, begging her to not shoot Britt and make one of the greatest mistakes of his life. When Jason figured out Anna felt she needed to kill anyone related to Cesar Faison, he made her think twice, because that would mean, she also would need to end the lives of two of Maxie’s children, James and Bailey Lu.

Anna can’t stop seeing hallucinations of Peter pushing her to shoot Britt. Suddenly and completely overcome, Anna fires bullets straight in the direction of where she sees Peter as she declares this all must end tonight.

After the shots are fired, Anna realized what she had done and just sobbed and shook. It was a devastating and heartbreaking moment for longtime General Hospital fans to see the beloved Anna Devane, super spy, so lost. Anna explained to Jason, after he was able to disarm her, how she was being pushed to kill Britt by her visions of Peter.

EMMY-WORTHY SCENES FOR 2027

In another hankie-inducing moment, Anna just grabs Jason and breaks down in his arms. If these weren’t Emmy-worthy scenes, we don’t know what is, and it must be remembered by Hughes, General Hospital, and hopefully the voting body of the National Academy of Television Arts and Sciences (NATAS) when Emmy submissions and voting get underway in 2027 for the 54th annual Daytime Emmys.

From everything we noted above, to the sheer brilliance of her work, Michael Fairman TV names Finola Hughes, this week’s Power Performance of the Week.

Now let us know, do you agree with our pick of Finola? Were you moved to tears during the gut-wrenching scenes? Should Finola include these scenes in an Emmy submission in 2027, should she decide to compete for Lead Actress gold? Weigh-in via the comment section below.

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General Hospital

RATINGS: ‘General Hospital’ Shows Most Gains in Total Viewers Week-Over-Week and Up in Key Demo

Published

9 hours ago

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September 13, 2026

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General Hospital

The ratings are out for the week of August 24-28 for your favorite broadcast television soaps, and it was ABC’s General Hospital which added the most total viewers and planted itself firmly in third place in its battle with Beyond the Gates in the key demos of women 18-49 and 25-54.

According to Soap Opera Network, all daytime dramas were up year-over-year, and General Hospital was joined by The Young and the Restless and The Bold and the Beautiful with gains in their total audience viewership, while Beyond the Gates was only slightly off pace for the ratings week.

Let’s take a look at what had viewers tuning-in, starting with General Hospital, who added +79,000 viewers. While still under the 2 million viewers mark (which they can hopefully return in the coming weeks) their overall tally was an average of 1, 935,000 tuning-in, while still up year-to-year +136,000.

GENERAL HOSPITAL

In addition, GH while actually down from the previous week in the 18-49 ratings share, they still out performed Beyond the Gates for third place. However, GH was firmly in third place for the 25-54 ratings share.

The stories that were featured for the week included: Anna’s (Finola Hughes) PTSD and struggle with painful memories tied to Cesar Faison, and her concocting a plan to get rid of Britt (Kelly Thiebaud), Willow (Katelyn MacMullen) recording Jack Brennan (Chris McKenna) threatening her, and later running into a severe threat from Alexis (Nancy Lee Grahn) regarding Kai (Jens Austin Astrup) and Drew’s (Cameron Mathison) shooting, and Drew enlisting Ava (Maura West) to gain leverage over Jack, which resulted in Ava drugging him, while Drew went snooping for the evidence Brennan had against him.

Photo: JPI

THE YOUNG AND THE RESTLESS

Y&R remained in the top spot amongst all the soaps once again with 3,062,000 tuning in, and up +35,000 for the week, while year-to-year still showing strong gains at +231,000 viewers. However, while Y&R remained #1 for the 25-54 ratings share, it fell to #2 in the 18-49 ratings share behind The Bold and the Beautiful.

In story for the week, Nick’s (Joshua Morrow) sobriety in rehab was a focus, as was Victoria (Amelia Heinle) and Kyle Abbott (Michael Mealor) hitting the Jabot office couch and having sex for the first time, and Lily (Christel Khalil) and Billy (Jason Thompson) battling over control and ownership of Chancellor Industries.

Photo: JPI

THE BOLD AND THE BEAUTIFUL

B&B is continuing to be inch closer to Y&R for the top spot, separated by a little more than 300,000 viewers. For the ratings week, the series posted a total audience of 2,719,000 adding +31,000 eyeballs overall, and like Y&R, is up year-to-year in its performance.

The CBS soap now , now in its 40th season is +217,000 from the same time last year. In the key demos, The Bold and the Beautiful was in the top spot for the women 18-49 ratings share and number two for women 25-54.

In story, the major threat to Steffy (Jacqueline MacInnes Wood) and Finn (Tanner Novlan) and Carter (Lawrence Saint-Victor) and Daphne’s (Murielle Hilaire) marriages continued as Steffy and Carter swore they would not tell their spouses that the two had a drunken hook-up. But as viewers know now, Steffy is pregnant!

Photo: CBS

BEYOND THE GATES

Beyond the Gates tallied an average of 1,611,000 total viewers for the week, up +72.000 year-over-year and down slightly in tune-in for the week losing just -36,000 viewers. The CBS soap came in fourth place in the key demos for the week behind General Hospital, with whom they are often trading places for the third spot.

In story, after Bill Hamilton (Timon Kyle Durrett) was released from the hospital, Hayley (Marquita Goings) stuck to her plan, doubling down on poisoning him and even getting caught in a major lie or meeting with Randy (Maurice P. Kerry), as Vernon (Clifton Davis) may be on to her machinations.

The ratings report is generated from Nielsen (Live+Same Day Big Data + Panel) for the week of August 24-28, 2026

So, what did you think of the performance of General Hospital for the ratings period? Which daytime drama has you most likely to tune-in each day? Which has you tuning-out? Let us know what’s working, or not working for you in story, via the comment section below.

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