<div class="entry__content">Lone van Roosendaal is facing a wave of criticism regarding her long-running soap opera, *Goede Tijden Slechte Tijden* (GTST), which has been struggling with viewership lately. In her response, she expresses disappointment, stating, “It does no justice to how a soap is made.” This reaction underscores the challenges faced by daytime television in a shifting media landscape.
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<img fetchpriority="high" decoding="async" width="1280" height="720" src="https://www.mediacourant.nl/wp-content/uploads/2026/07/0713-Lone-van-Roosendaal.jpg" class="attachment-post-thumbnail size-post-thumbnail wp-post-image" alt="Lone van Roosendaal" /> <span class="entry__thumb-description">© RTL</span> </div>With major networks like NPO 1 showcasing established news programs and SBS 6 thriving with new formats, GTST remains a cornerstone for RTL 4. However, the show’s steadily dropping ratings raise concerns, prompting discussions about its future on air.
Understanding the Production Pressure
One of the criticisms aimed at GTST is the perceived “amateur acting” from cast members. Van Roosendaal finds this labeling offensive, suggesting that it undermines the rigorous production realities faced by a daily soap. She articulates, “The criticism does not do justice to how a daily soap is actually made.” In her interview, she emphasizes that each episode is recorded daily, leaving only a short time window for rehearsals and takes.
While a drama series might take hours to perfect a single scene, GTST often has only around thirty minutes to shoot portions of its episodes. This inevitably affects the depth and polish expected from traditional drama productions, where episodes come out less frequently.
Achieving Excellence Under Constraints
Despite the pressured timelines, Van Roosendaal believes that the output is impressive. She advocates that, given the constraints, the cast produces something “really remarkable.” This sentiment reflects her pride in being part of a project that has resonated with Dutch audiences for many years.
Moreover, Van Roosendaal points out that decreased viewership cannot solely be attributed to declining quality. She argues that comparing current ratings with those from two decades ago overlooks significant changes in viewer habits, especially with the advent of streaming platforms offering diverse content options.
The Current Viewership Landscape
Interestingly, despite everything, the show still commands an audience of approximately 700,000 viewers, which Van Roosendaal considers an impressive feat in today’s competitive media environment. She states, “It’s quite remarkable that GTST can hold this audience amidst many alternatives.” This speaks to its enduring appeal, even as viewer preferences evolve.
In conclusion, Lone van Roosendaal stands firm in her belief that GTST deserves respect and recognition for its longevity in the Dutch television landscape. She cherishes her role in a show that continues to carve its niche in the history of Dutch soap operas. As audiences engage with an ever-expanding array of choices, the challenge will be for GTST to adapt while maintaining the essence that has made it beloved over the years.
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