by Andrew Buckner

Rating: ****½ out of *****.

Former Days of Our Lives (1965-present) star Steve Blackwood has crafted a marvelously well-acted, uproarious, and rapid-fire twelve-minute short comedy that brilliantly satirizes the behind-the-scenes workings of soap stars with “Sweeps Week” (2025). Smartly penned and directed by co-star Blackwood, the project opens with its best scene: A two-minute parody filled with all the melodramatic plot points, exaggerated performances, and overblown dialogue that may come to one’s mind when pondering the negative stereotypes of daytime dramas. From herein, the creation employs a quick, concise yet enjoyable and stylishly low-tech commencing credits sequence. It is one that is much in line with the semi-mockumentary feel of the endeavor. 

This is followed up by the centerpiece of the affair. It’s an engaging and lively bit, based on Blackwood’s own experience, where the overly optimistic producer of the show, Steve Hyman (in a wonderful, scene-stealing portrayal from Blackwood), informs one of the long-standing actors in the program, Brock (in an excellent, appropriately grounded depiction from Brian J. McDonald), of all the ways the writers of the serial which he is featured in have been thinking of killing off his character. Despite Hyman’s attempts to put an upbeat spin on this explosive grenade of recent news that has just been casually handed to him, Brock knows this means that he will soon be without a job. The bulk of this extended segment revolves around Brock’s exploits to mentally deal with this unexpected loss of employment. This is without letting his disappointment and confusion about this sudden circumstance become broadcast too heavily upon his countenance. 

Punctuated by a concluding credits scene that is as focused, tonally consistent, and visually appealing as everything that has come beforehand, “Sweeps Week” ultimately offers just enough of a glimpse into Brock’s personal life to make him a sufficiently-rounded individual. The rest of the central figures of the fabrication are deliberately shadowy in this arena, which is true of many of the people we align with in a professional environment. Nonetheless, Blackwood’s leads endure as lively, memorable, and singular entities. This is as much a credit to the top-notch casting of the exercise, with Halle Curley providing a standout in this department with her remarkable representation of both Marla and her onscreen persona, Kellie, as it is the fine line of believability and lampoonery the undertaking delicately balances itself upon throughout the entirety of the runtime. 

Aside from the string of successfully executed gags in the enterprise, Blackwood’s latest venture is smoothly paced and efficiently edited by Christopher Bowden. It also often incorporates Blackwood and Bowden’s music in a fashion that cleverly calls to mind the classic soap opera format. The effort is also complimented by Jeffrey Buchbinder’s intimate yet eye-popping cinematography at every turn. Blackwood’s script is also skillfully constructed. It implements savagely funny yet knowing, credible situations and speech. The makeup, sound, production, and costume design are equally superb.

Though the themes explored in the arrangement are never more than what is expected of the material, “Sweeps Week” is a simple yet relatable story that is sharply observed and told. It utilizes its sparse cast and minimalistic sets in a manner that greatly enhances the private nature of the number. Human, compelling, and, as is the case with all the best humorous entertainments, never so preposterous that one cannot find their own footsteps in the unfolding narrative, Blackwood has erected another stalwart entry in his impressive filmography. It should prove cathartic to both actors and audiences alike.