Part One: The Hour That Mattered
From 1:00 to 2:00 p.m., Monday through Friday, time stopped at my grandmotherโs house.
Phones werenโt answered. Appointments werenโt scheduled. If you needed her, you waited. That hour was reserved for finding out whether Viki Buchanan and Clint Buchanan were getting divorcedโฆ again. For witnessing the shock of Tina Lord marrying Cord Roberts. For watching Bo Brady and Nora Hanen navigate yet another impossible situation. And for bracing ourselves as Todd Manning and Blair Cramer proved, once again, that chaos could masquerade as romance.
I learned about dissociative identity disorder, amnesia, kidnapping, poison, courtroom drama โ and kissing. A lot of kissing.
An incredible amount happened in that hour. And yet, if weโre honest, not much happened at all. The stories moved slowly. Painfully slowly at times. But that was the magic. The show trusted patience. It trusted memory. It trusted the viewer.
If youโre wondering what Iโm talking about, Iโm talking about the greatest soap ever told: One Life to Live.
My grandma sat in her recliner. I laid on the couch. She had a Coke and a cookie. I probably did too, though I donโt really remember. What I do remember is that there was no talking. The volume was turned up high โ higher than it needed to be. Grandma would never admit it, but she couldnโt hear thunder.
That hour wasnโt casual viewing. It was intentional.
One Life to Live was my grandmotherโs favorite show. I called her nearly every day when I went off to college โ right up until a few days before she died โ but I never called between 1:00 and 2:00 p.m. That was forbidden.
And that was fine. Because by then, I was hooked too.
In fifth grade, I was diagnosed with migraines. I missed a lot of school. I spent a lot of time at home. And I spent a lot of that time with my grandma. Sleeping helped, but thereโs only so much sleep an eleven-year-old boy can take. Eventually, I started watching One Life to Live with her.
That became our thing.
I watched during summers. I watched during school breaks. I watched when I was home sick. I didnโt record it and watch it later โ that would have felt strange โ but I never really stopped watching. The funny thing is, I could disappear for weeks, even months, and when I came back, within twenty minutes I knew exactly what was going on.
They donโt write like that anymore.
Why did One Life to Live appeal to me? There are probably several reasons. One is obvious: it was something my grandmother and I shared. But thatโs not the whole story.
I love long stories โ as long as they respect my attention. Thatโs why I tend to read series instead of standalone books. I want characters with history. I want backstory. I want consequences that linger.
One Life to Live began telling its story in 1968 and kept building it until 2013. Characters aged alongside the actors. Events from ten, fifteen, even twenty-five years earlier still mattered. History wasnโt a reference โ it was a burden the characters carried.
That kind of storytelling matters more to me now than it did then, because back then I didnโt know any different.
Soaps told stories the way a crockpot works. The story cooked over time. Slowly. Patiently. And if you stayed with it, there was something rich to sit down to in the end.
Today, weโve trained ourselves on the microwave. Instant payoff. Immediate resolution. Very little patience.
That kind of storytelling is common now. And I miss the other kind.
There are only a handful of soaps left today, and that disappoints me. Most people assume that if I loved One Life to Live, I must have loved Days of Our Lives or General Hospital too.
I didnโt.
I might have watched an episode here or there โ just enough to keep my pop culture trivia skills sharp โ but they never felt the same. This is going to sound ridiculous, but those shows didnโt feel real to me. For whatever reason, One Life to Live did.
I know. Youโre judging me.
Thatโs fine.
And the more I think about it, the more I wonder if the problem wasnโt the stories โ but where we tried to tell them.







