Unexpected casting crisis

VELEZ. Will her character get a “dramatically logical” exit? FILE PHOTO

THE LATEST TV “star war” to hit the fan (and fans) involves “Langis at Tubig” leads Cristine Reyes and Vivian Velez, with Vivian walking out of the drama series due to what she describes as intolerable verbal assaults on Cristine’s part. We expect the controversy to be settled soon one way or another—but, if Vivian doesn’t revoke her “irrevocable” resignation, the production will have to quickly figure a “dramatically logical” or even just passably reasonable exit for her character (she plays Cristine’s uppity “momster”-in-law).

Thankfully, the teleserye trade has had a lot of experience handling such unexpected casting crises! A character can suddenly be sent on a trip abroad for any length of time. If the unhappy or disgusted actor doesn’t come back to the show, the “trip” can be extended—until viewers forget about the character!

A variant is to belatedly report that the long-absent character has fallen fatally ill, or perished in an accident, etc. That may sound cold and heartless, but expediency is the name of the TV game!

But, what if, after a really long absence, the disgruntled performer changes his or her mind, forgives all foes and wants to return to the show? Well, the production can curtly and coldbloodedly nix the comebacking actor, so that would be that.

But, if the production agrees to the character’s return, that’s no problem either, because some or even many reportedly dead characters have “suddenly” been made to reappear, very much alive and kicking!

Some drama series abroad have even been so creative that they have succesfully replaced a character’s original player with another actor, if the character needs to be given a second lease on life and the original actor refuses to cooperate!

Where’s the “logic” in having two actors playing the same role in the same series? Nowhere, that’s where—but, if viewers agree to the odd accomodation, no problem! It’s all about acceptance, and viewers of TV melodramas have been so “well trained” that they can accept
—practically anything!