DRW50

How bored is Joe Lando here. http://www.youtube.com/watch?v=CKR6xzRB3Kk&feature=player_embedded

I was about to put it in the GL thread too. The ATWT one is nice (I also had forgotten that cool spinning globe - much better than the theme at the time). The GL one had too many voiceovers and Joe Lando phoning it in.

Thanks. I'd never seen that. I end up feeling sorry for Natalie, as Jeremy seems so unpleasant.

Hadn't seen this promo before. http://www.youtube.com/watch?v=CKR6xzRB3Kk&feature=relmfu

Weird. http://www.youtube.com/watch?v=QRKT9eg0hBE

http://www.youtube.com/watch?v=kG-HBOHUtrE You can see a lot of old early 90's clips here if you want to see them. http://www.youtube.com/user/milenastefanova/videos

It looks like someone in Camp Romney is being very open and honest even when it may not be the greatest idea. They have essentially said (and then backtracked) that Marco Rubio, who is endlessly hyped by the media and the far right but who has a lot of skeletons, is not being briefed as a possible VP choice. They've also said that Sarah Palin ruined the chances of any woman being chosen as VP. It looks like one of their choices is the odious "T-Paw," Tim Pawlenty, a man who ran Minnesota into the ground, flip-flopped on everything, is hardcore anti-gay and anti-abortion, and who has even less charisma than Mitt Romney. The media spent years hyping him as well, and were bewildered when he dropped out so early on. If he's chosen, get ready for a lot of media swooning. They are also looking at Bobby Jindal (who tried and failed at being a GOP name), and boring Rob Portman, who may best be remembered for helping to run our economy off a cliff. Paul Ryan, Ayn Rand's devoted disciple who wants to destroy Medicare, is also a hot favorite. http://livewire.talk...ty-advisers-say

I sort of take the cover as tongue in cheek, although that may not have been intentional. I still wish they'd done more with Chase, as he's by far the cutest of the guys in that era. Michael works as a straight man to Brenda's Jill but he's so low-key (almost asleep at times) that I I can see where he faded away after this. His type of guy also faded from popularity in the late 80's. Was this Hubert ever around again or was this just one time? I can't imagine Victor as matchmaker. This seems like a slow time for the character (for once). At least they knew when to give him some breathing space back then. I keep forgetting the Clint story started this early.

I love this more than I can say. http://www.youtube.com/watch?v=sTU4FVUBX3Y

I don't think it helped that he reminded me of a guy I knew who was in a similar role and a big control freak insecure jerk. I'm sure he's not that bad. Jeana reminds me of Ann Wilson for some reason. I forgot to mention Kimberly. At first I thought she was out of place, as the show already had several Alana Hamilton-and-Kym-Douglas-with-beer-goggles women and they all blur together. But the melanoma story and the fun scenes with her daughter and her friends making crank calls were a nice change of pace. I guess she must have announced her exit on the reunion, as it wasn't mentioned on the show. Was the first reunion any good?

I watched the next OC season 1 DVD (is the reunion also on DVD?). I enjoyed this more than the first episodes, as it was less about ratface Vicky smothering her children. I have such mixed feelings about Lauri, because what I see onscreen is likeable and probably the most relateable of the group, but as the season goes along it's obvious that most of her life is not close to what is onscreen. She constantly references conflicts with her daughter which are only show in quick flashes. She talks about this friend, Steve, not a boyfriend, not at all, yet we find out that she was so blind to his drug use that she believed him over her own son. Then you have all the preparation for Hugh Hefner's party and you get the impression that she's just a whore. Not helped by that weird thing at the end which says she "dated" Slade for two weeks? I lost a lot of respect after seeing that. Speaking of Slade, I'm actually surprised to learn he has been a constant presence on the show. He isn't exactly a great camera presence, and his passive-aggressive lispiness wears you down. I guess he likes drama so that may be why he stays. The only thing I enjoy about Slade is his ass. I was wondering if all the stuff about his not paying child support came out during the first season or only in more recent seasons? The first season tried to make him look like a great father. Jo has a lot of camera presence but sticks out like a sore thumb on this show. Too bad Bravo didn't find better use for her. Did any of you watch that show she and Slade had? Was it any good? The only Vicki stuff I liked was when she went back home and when we saw her mother, which explained a lot about her. Vicky looked much better before all the surgeries and hair bleaching. I also can't stand watching her husband, who gives me the same bad vibe some other second husbands give. Somehow the one I feel most sorry for is her loser son, who at least just wants to have a good time. I didn't care for Jeana at first but did grow to like her more as the episodes went along. Shane is a jerk but all I kept thinking was that he was hot. Is he really dating Sarah Winchester or was that just some PR stunt? Seeing some of those "I love money" montages is fascinating when you realize the housing crash looming over their heads. Was Jeana the only one affected?

Love the Donna/Nicole scene. I'm glad you included this and her wondering why Donna couldn't help her. I wish Peter were involved too.

Great chapter. Is Dolores another Jack/Carly child or is his mother back?

I didn't realize that. I had stopped watching ATWT by the time he died and I was so shocked and hurt - I'm not sure any soap actor's death has ever affected me so much. I couldn't watch the memorial. I finally did a few years later, on Youtube. It was OK, I guess, although someone seemed so fixated on Hal having a bunch of kids (yet didn't bother to have several of them on the show).

of this woman. And the music is always there, a constant challenge and a constant pleasure in her personal life. In fact, Helen's husband, theatrical producer Robert Willey, has bought the best-selling Joy Chute novel "Greenwillow," and is planning it for a Broadway musical! Speaking of Nancy Hughes, Helen says: "This is a wonderfully kind and loving woman who has a terrible fear of any changes in her life. She clings to family, I approve of that. But Nancy makes the mistake of tying them all together in one tight little package. No one is an individual - not her husband, not her children, not even herself. My own family background would not have given me an understanding of a woman of this type, but New York I met women like her. Very human, very warm, but finding it difficult to free those they love." As a little girl, growing up in Lubbock, Helen's world was a comfortable and happy one, bounded by music. To such a degree that, after her senior music recital in high school - a recital that was a quadruple-threat performance as vocalist, pianist, organist and violinist - she vowed that she had had all the music she could take for a while. She also firmly announced that she had her own ideas about college. Her parents had gone to Monmouth, in Illinois; her sister was there. Monmouth had been her mother's home town. Helen said she wanted something different. And, very definitely, she had no intention of majoring in music, on in speech. No one pressured her. It just happened that she ended up with a degree in music and in speech - and from Monmouth. "There is usually one person who comes into your life at a crucial time," Helen explains, "someone outside the family circle who opens your eyes to the things the family has been trying to instill, to things your former teachers have tried to tell you. In my case, the person was my piano teacher at Monmouth, Edna Browning Riggs. She built further on what Margaret Huff, my first music teacher, had already given me in the way of knowledge and appreciation. She opened the world of art in all its forms to me. Monmouth meant a great deal to me in many ways, but particularly because of Miss Riggs." In New York, Helen studied, was a church soloist, finally broke into show business in a deceptively easy way. She was just past twenty, a pretty and graceful five-foot-five, with light brown hair and blue eyes. Though friends of her sister Ruth's husband, Malcolm Laing, she auditioned for a job with the St. Louis Municipal Opera Company. "I sang in the chorus and had some minor roles," she recalls. "I was thrilled. It was a beginning. The difficult times came later, when I had to make rounds, to open doors and ask to see the people who had jobs to give." Gradually, after persistence and struggle, jobs began to come, alternating between singing and straight acting parts. She was chosen for a role in the Hammerstein-Romberg musical, "Sunny River." Twice she played in "Oklahoma!" on Broadway, leaving it between times to go on tour with a Theater Guild company doing Shakespeare. She sang in Gilbert and Sullivan operettas. She did some of the Greek tragedies. She played off-Broadway, as well as on. It was on one of her job-hunting tours that Helen first met Bob, a good-looking six-footer, blond, with brown eyes. He had been an actor from the time he was a Pasadena Playhouse scholarship in his middle teens. But, after World War II service, he had come back determined to get into production. He was then connected with a theatrical office as an assistant producer, on his way up to a management job and ap lace as full producer. "I went to Bob's office about a part," says Helen, "but then another one came along and I turned his down. Now I'm sorry, because it was the only chance I would have had to work in a play with him. Nothing he has been associated with since has had a part for me. "I met him frequently after that and sometimes had coffee with him. He asked for dates, but I always turned him down. Once i was very angry, because I had an appointment to see the producer, Guthrie McClintock, about a job - and Bob breezed into Mr. McClintock's waiting room to see him, without an appointment and got in first. I couldn't wait and had to go back another day." Some time later, she found herself in Bob's office, about another job, and once more he asked her for a date. "You might just as well start going out with me," he said. "Because I am going to marry you some day." She didn't take this very seriously. Just as she had told herself she wouldn't go to Monmouth and she wouldn't be a music or speech major, now she told herself that never would she marry this man. But she did. "Suddenly, my eyes must have been opened to the kind of person he really is. I started to accept his invitations. Two years later, we were married." The year was 1954. The wedding was set for August. In June, Helen went out to visit her parents at their summer cottage in Cuchara, Colorado, a remote camping community. Bob telephoned one day to say he was coming out. She thought that was wonderful. "I mean, coming out to marry you, now," he went on. Her wedding dress was bought, but it was in her apartment in New York. With her at the camp were such items as blue jeans and shorts and blouses - not one dress-up costume. From the single telephone in the camp, she gave Bob long-distance details about what to bring along with him. The wedding outfit. Underwear, hosier. Dresses and hats for the honeymoon. Fortunately, her roommate did the actual sorting out and packing. The wedding date was June 21. The minister, an old friend, came up from New Mexico to perform the ceremony. Some of the relatives could come on short notice. Her sister Ruth wouldn't have missed the event. Colorado law demands that both blood tests be given by the same doctor at the same time, so Bob was hustled from the plane to a doctor's office. It was all very fast, but it all went smoothly. In New York, until the spring of 1957, the Willeys lived in an apartment. Now they have a house just outside the city, in an attractive village setting. An old three-bedroom stone house, with walls as thick as a fort. With wide window sills for many plants. With an elegant Georgian rose-brick fireplace in the living room. The fireplace, Helen's piano and the record player were the essentials around which the room is now being developed into just what they want it to be. "The house was furnished when we bought it," Helen explains. "It has a mixture now of the things that were in it, the things we brought from the apartment, the things we have been slowly adding. So far, the living room have a new divan and new curtains. We waited to add a lamp until we found the right one, using a bedroom lamp in the meantime." Bob's den has a built-in desk, much too big for any ordinary purpose, but great for a man who collects stamps and likes to spread them out, album after album. He got a pleasant surprise when he found that his next-door neighbor, Budd Simon, is as rabid a philatelist as he is. "Imagine finding you have moved next to the most charming people, Budd and Bunny Simon and their two children, and also finding that the husband has the same mad hobby as yours!" The wives "share-crop" together. The Simons had extra space for a vegetable garden. The Willeys didn't want to plow up any of their lawn. But Helen wanted to grow some of their own edibles. She started the garden, it rapidly became a cooperative affair with both families tending it and sharing in the produce. "Now nobody has to eat everything that comes up. My frugal soul wouldn't have let any of it be wasted. So there are two families to eat the tomatoes (best I ever tasted), the beans (not like any ever bought in a store), the asparagus. And two of us to put up what we can't eat." Helen is the cook, except on occasion, Bob thinks he had enough of cooking in his bachelor-apartment days. He is the handyman. "He won't call in an expert unless something gets really out of hand. Sometimes I wish he would," Helen comments. Since Helen went into television, she has worked less and less with music. There have been dramatic parts in the night-time shows - on Studio One, Suspense, and the Robert Montgomery dramas before they went off the air. She played Marge, daughter of Charles Ruggles and mother of Glenn Walken, in The World of Mr. Sweeney, until Mr. Ruggles decided to take the show to the West Coast. Helen, of course, wanted to stay in the East, where Bob's work is. It was just about then that As the World Turns was being planned. The director knew Helen's work. She auditioned, won the part of Nancy and went on the air when the show started on April 1, 1956. She's never missed a day, except when her father died last November and she went home briefly to Texas, where her mother still lives. Except on the days when she isn't in the script, Helen is on the set at 7:30 in the morning. Rehearsals continue until broadcast time, there's a lunch break, then more rehearsals for next day's show. Whoever gets to the parking lot where Bob and Helen leave the car waits for the other, to drive out of the country together. Helen loves her job as as Nancy Hughes. But, like every woman who is wife as well as actress, she thinks of Bob's work as the more important, "Greenwillow" is his first completely independent production and she is interested in every facet of it. She remembers that, during her first months in New York, she asked her father if he had ever questioned whether he would finally become a doctor. "There were times," he wrote back, "when it seemed a very long road. But I always knew that, like my father before me, I could be a good carpenter - and happy doing it - if I couldn't be a doctor." For Helen now, the music in her life is not the career. She's a dramatic actress. Happy doing it. Knowing that nothing she has ever done will be wasted. Certainly not, with all the bright years stretching on ahead.

July 1958 TV Radio Mirror

This article from a February 1989 Digest has a Valerie photo I'd never seen before.

February 7 1989 Digest

Februay 1989 Digest

Thanks. I'd never read that. That must have been fairly early on for SOU. You can definitely see how much influence Linda had on Felicia, and yet she shows here that she also tried to put up something of a wall if the writers made a lot of chances. I had a feeling she'd been able to swim. I'd forgotten about that clip. I really did love the Felicia/Lorna scene, cheesy "I can't swim/Neither can I!" bit aside. Felicia working so hard to get Lorna to love her is that strong Felicia which was not there at times later on, when she seemed a little passive. The slow, awkward way Lorna bonds with her - one step forward, two steps back - and how Felicia tries to connect with her over anything. There's such old school melodrama movie acting in those scenes when Felicia reacts to Lorna saying she doesn't care if Felicia dies tomorrow, and Lorna's own tears and not wanting to be hurt. I especially love the last scene, contrasting Felicia standing on the dock or whatever to a closeup of Felicia's determined/crestfallen face.

More Lorna/Felicia scenes. Get a look at that ridiculous toolbelt Felicia is wearing in the first clip. http://www.youtube.com/watch?v=uI5mvlZrmSs

Short 1992 clip. I'd forgotten Margo was still on by this time. This isn't too far after some complete episodes thomas uploaded (in low quality), as this is the story about the formula Spectra stole from Forrester. http://www.youtube.com/watch?v=A4ANQEvUFrM

expectant mother to lose a baby also put her feet back on the ground. The twin boys, Darren Douglas and Brett Howard, had entered the world on schedule - September 1st. Five weeks later Shelby had resumed her television role, and now she was happily relating the whole "exciting" experience, elaborating on how much "fun" it's been since, and expressing her hopes for their future lives. And as she speaks, with enthusiasm, laughter and expectations, an aura of glowing motherhood seems to surround her. Here is a young lady living every moment of a wondrous experience to its fullest extent. "I can't understand what happened to the post-natal blues I've always heard everyone gets," she beams. "It's amazing, but I haven't had even one moment of depression. I was expecting it and was ready to accept it." A possible explanation is Shelby's tendency to be a people-person - always relating to people around her. First, at the hospital. There were always lots of visitors around her bed. And at home, the usually bustling household on which many friends were accustomed to dropping in remained just that way. She credits Marty with that. He has a genuine and sincere interest in people," she explains, "and we've always had lots of friends over. We don't feel it should change now. When I felt tired I said so and just went to bed. No one was insulted." And what about work? That had concerned Shelby most - how she would react to going back to work, and whether or not her concentration or motivation would be impaired. "It was great getting back to the show," she now claims. "As a matter of fact, I love it even more. I just feel rejuvenated, more atune to what's going on around me. I'm very stimulated by the whole thing." The glow brightens. Shelby admits she wouldn't want to work five days a week for any length of time now that she has a large family (which includes three dogs and three cats), but her General Hospital schedule is ideal. She's thankful that she was able to find a "perfect lady" to care for the babies while she's at the studio. "The first day back, I was tempted to call her and see how they were, but I disciplined myself not to," she says. "She knows where to reach me if necessary." The twins (they're fraternal, not identical) will be raised by their parents, though, despite the fact that Shelby plans to continue working. "I enjoy coming home to them so much," she says. "Being in a totally different world on the days I work makes me anxious to run in and see them again with fresh eyes." So the active life of Shelby Hiatt seemingly keeps running on all fours, even with the double dose of newness. "Now it's hard to imagine having just one child," she reflects. "I mean, he'd be lonely and need a friend." While her life-style has not been dramatically altered since motherhood, there have been some changes in the actress herself. Not the usual weighty ones, however. She doesn't feel crushed by a great deal of heavy responsibility, or more bound to the house. She was already a responsible person, and she and Marty are self-admitted "homebodies" anyway. "Once the realization of having twins began to set in, I suddenly got very chauvinistic about it," Shelby reveals. "Even in the hospital I was very proud, and I didn't hesitate to show it." She explains that she'd previously considered herself to be of a very timid nature. "I'd hate to do a lot of little things, which were silly. Like having to call a dentist and change my appointment." Not any more. "I feel more salty," she states. "Maybe it's the sudden realization that I'm a grownup. Now I find myself doing many everyday things that I wouldn't have done before. I really feel a great deal more self-confident." It becomes her, like everything else about her. Her new-found "salty" character certainly doesn't result in a pompous air. On the contrary, it's a pleasure to witness. It brings forth phrases like "they're just incredible," "they looked so cute I wanted to gobble them up" and "I was proud that they were big enough to grow out of an outfit." All said with that genuine smile and happy voice. Raising twins. Not always an easy thing to do correctly, according to many experts in the field. Problems such as retaining each one's individuality, one twin adopting an inferiority complex, obvious partiality displayed by parents, etc. Very real problems, all of which Shelby is aware and attempting to approach with practicality and reality. "I'm taking one day at a time," she says. "Right now, I just want to hold them and talk to them and give them a secure and loved feeling. As for rules, I'll play it by ear. I think you have to improvise and rely on your better judgment, because each situation is different. You can't set down rigid rules. Books aren't as helpful as the experience. Right now I mainly want to make sure I remain consistent and sensible in raising them." One area in which she is particularly emphatic is strictness. She was raised with it and feels that it's better for the children in the long run to realize that there are certain things you do and certain things that you don't do. "As long as you don't go overboard," she adds. "It starts with letting them cry themselves to sleep. I found I wanted to rush right in and pick them up, but I was able to stop myself when I realized how much better off they're going to be if I don't do things like that." As for showing partiality towards one, she's not too concerned. "Each will have his own special charms," she says. "I can see it already." She doesn't plan to get them identical toys and identical wardrobes. "They're really just brothers who are the same age, and I'll raise them like that. If one receives a train set, why should the other, necessarily, get one? I'd rather get him what he wants. I think children know when you're giving both the same thing just to make the other feel equal. And I"m sure they resent it." Shelby is the first to admit that numerous unanswered questions await her during the maturation of her children. What if one is a better student than the other? Do you send them to separate schools, or do you let the inferior student begin to realize he's not as scholastically sharp, and then start coping with that? Very real problems. "But we'll solve them," smiles Shelby. "Marty and I are a perfect balance" she states with reference to parenthood. "I'm more of a disciplinarian, even with myself. He's the opposite - very easy going. I hope the boys will get the best from both of us, because kids often learn more from what they see around them than from what you try to teach them." In thinking about any future additions to the family, Shelby realizes how overpopulation gets started, even by well-meaning people. "We begin thinking about how nice it might be someday to have a girl," she relates. "She'd have two big brothers to stand up for her. But the problem is, we could wind up still looking for that girl after five more brothers!" Her eventual solution may be adoption. Reminded of the recent decline in parentless children, Shelby is quick to point out that adoption centers are having a difficult time placing racially mixed children into homes. "Apparently, a lot of people don't want them," she frowns. "So maybe we'll look into that some day." For now, the future of her two sins is uppermost in her mind. She becomes serious while relating a recent thought she had while gazing down on them sleeping in their cribs. "I hope for Darren and Brett that they have full lives that will fulfill them," she says. "I hope they'll have the discipline to do the things they want to do, and that they'll do them with gusto. Let them live life with real gusto...and be happy." Gusto. Happiness. Shelby Hiatt. They all go together. - CHARLES SPRINGHEIM

Only now do I realize the respect Bell had for viewers, bringing back old actors if he could, and weaving them into the story believably. Eilbacher wasn't a big actress, but she was more than suited for this story. And it was not a whodunit, which is what it would be today. I think Leslie's return would have been interesting mostly because she wouldn't have been with Victor. I'd still like to bring Prentiss back, as long as showkiller Sheffer is gone.

Thanks!!! I hadn't seen that channel. danfling, dc answered your question in another thread.