character Marlena Evans was possessed by the devil, and in 1998, Guiding Light featured a cloning storyline involving legacy character Reva Shayne. Traditional grammar of daytime serials Modern U.S. daytime soap operas largely stay true to the original soap opera format. The duration and format of storylines and the visual grammar employed by U.S. daytime serials set them apart from soap operas in other countries and from evening soap operas. Stylistically, UK and Australian soap operas, which are usually produced for early evening timeslots, fall somewhere in between U.S. daytime and evening soap operas. Similar to U.S. daytime soap operas, UK and Australian serials are shot on videotape, and the cast and storylines are rotated across the week's episodes so that each cast member will appear in some but not all episodes. UK and Australian soap operas move through storylines at a faster rate than daytime serials, making them closer to U.S. evening soap operas in this regard. American daytime soap operas feature stylistic elements that set them apart from other shows: A construct unique to U.S. daytime serials is the format where the action will cut between various conversations, returning to each at the precise moment it was left. This is the most significant distinction between U.S. daytime soap operas and other forms of U.S. television drama, which generally allow for narrative time to pass, off-screen, between the scenes depicted. On occasion, a character or characters involved a conversation earlier in that act may appear in a different setting later in the same act. In U.S. daytime soap operas, scenes often end with a pregnant pause and a close-up on the character. There will be no dialogue for several seconds, while the music builds before cutting to a commercial or a new scene. This kind of segue is referred to in the industry as a "tag". The traditional three-point lighting set-up routinely used in filmmaking and television production is also used on daytime soap operas, sometimes with accentuated back lighting to lift actors out of the background. This is useful in programs like soap operas, which are shot on videotape in small interior sets. The backlight is frequently more subtle on filmed productions shot on location and in larger sets. Domestic interiors are often furnished with stained wood wall panels and furniture, and items of brown leather furniture. This is to give a sumptuous and luxurious look suggesting the