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mikelyons

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Posts posted by mikelyons

  1. 1 hour ago, ranger1rg said:

    I forgot about Lily careening into Neil, too — and also about Kevin and Mac being interested in each other romantically. GMAFB.

    🤣🤣🤣

     

    I know 2005 is generally considered as the end of the second golden age (or the VERY end of it), I loved this period. Ashley B. as Mac is always a treat. As an actress, she was one of the few younger actors who could go head to head with Jeanne Cooper, Jess Walton, and the established Y&R crew. 

  2. 36 minutes ago, will81 said:

    I know. I think they must have known each other quite well at least through Irna

     

    I also want to know why there are Days scripts post 75 up to 78. I know he was a story consultant, but he claimed that was in name only and once he left he was gone and had no further interaction with the show. There was a letter published in some Days history book from 1976 or 1977 with Bell telling Pat Falken Smith how Julie should be after her marriage to Doug. Though Bell said he had nothing to do with Pat's tenure on the show. There are many questions

     

    I really want to know if he stopped writing Y&R Oct 24, 1997 - the archive just may not have his remaining scripts, but it seems odd as they have everything it seems

    With regard to his archive, I think the Bells donated the archive prior to Bill's last Y&R episode which may account for the gap.

    From what I can recall about Bill at DAYS, he did last until (at least) 1977 because that was the end of his DAYS contract with Screen Gems. He would supply Pat Falken Smith with the long term story which she would breakdown into monthly, weekly, and daily story. Maybe, by this time, she was listed as head writer and he as story consultant. People on this site have noted that around 77-78, the quality of DAYS fell a bit which may also coincide with Pat Falken Smith going over to GH and working on Luke & Laura. I'm not a student of DAYS, so pardon any gaps!  

  3. 2 hours ago, will81 said:

    I found this recently. It is a list of scripts Bell donated to the Online Archive of California. 

     

    http://pdf.oac.cdlib.org/pdf/ucla/pasc/wjbell.pdf

     

    Does not say if they have a complete collection or if Bell wrote all scripts they have, but it does have episode numbers and dates. 

     

    Most interesting is the scripts for Y&R stop on Oct 24, 1997 (Did Kay take over and Bell was there in name only and as a Exec Prod???)

     

    I will post this in the B&B/AW/ATWT threads too. Also interesting that he had ideas for All My Children as well and lists other shows he had ideas/notes for

     

    From this I have gathered the following episode numbers for the first 10 years

     

    1973 - #1 - #186 (15 pre-emptions)

    May 17, 18, 22, 23, 24 - Watergate Hearings (I can only confirm May 17)

    Jun 6, 13, 27 - Watergate Hearings (Dates unconfirmed)

    Jul 12, 17, 20, 25, 30 - Watergate Hearings (Dates unconfirmed)

    Sep 25 - Watergate Hearings (Date Unconformed)

    Nov 22 - NFL Football (Washington - Detroit) / College Football (Air Force - Notre Dame)

     

    1974 - #186 - #439 (8 pre-emptions) 

    Jan 1 - Cotton Bowl Festival Parade / Cotton Bowl (Texas - Nebraska)

    Mar 15 - Nixon State of the Union Addresss (Unconfirmed)

    Jul 4, 5, 9, 10, 15 - Watergate Hearings (Unconfirmed)

    Nov 28 - CBS SPECIAL: CBS Festival of Lively Arts for Young People / NFL Football: Washington - Dallas

     

    1975 - #440 - #696 (4 pre-emptions) 

    Jan 1 - Cotton Bowl Festival Parade / Cotton Bowl (Penn State - Baylor)

    Jul 17 - US/USSR Space Flight Mission (Unconfirmed)

    Nov 27 - NFL (RAMS - LIONS)

    Dec 26 - Sun Bowl (Pittsburgh - Kansas)

     

    1976 - #697 - #954 (4 pre-emptions) 

    Jan 1 - 87th Tournament of Roses Parade / Cotton Bowl (Arkansas - Georgia)

    Aug 16 - Republican National Convention

    Nov 25 - Famous Classic Tales (Mysterious Island) / Pro Basketball (Bullets - Suns)

    Not sure of 4th pre-emption, I am guessing Democratic Convention in July

     

    1977 - #955 - #1211 ( 3 pre-emptions) 

    Jan 20  - Jimmy Carter Presidential Inauguration

    Sep 5 - US Open

    Nov 24 - NFL Pre-Game Show / NFL Pro Football (Bears - Lions)

     

    1978 - #1212 - #1467 (4 Pre-emptions)

    Jan 2 - 89th Tournament of Roses Parade / Cotton Bowl (Notre Dame - Texas)

    Sep 4  - US Open

    Nov 23  - Famous Classic Tales (Journey to the Centre of the Earth) / CBS Sports Spectacular

    Dec 25  - Peach Bowl (West Coast only) so may be another date for East Coast

     

    1979 - #1468 - #1725 ( 3 Pre-emptions)

    Jan 1 - 90th Tournament of Roses Parade / Cotton Bowl (Houston - Notre Dame)

    Nov 22 - NFL Today / NFL Football (Bears - Lions)

    Dec 25 - LOCAL PROGRAM / Pro Basketball (76er's - Bullets)

     

    1980 - #1725 - #1982 (5 Pre-emptions)

    Jan 1 - 91st Tournament of Roses Parade / Cotton Bowl (Nebraska - Houston)

    There was another prior to Mar 4

    Sep 1st  - US Open

    Nov 27 - NFL Today / NFL Football (Bears - Lions)

    Dec 25 - LOCAL PROGRAM / Pro Basketball (Celtics - Nicks)

     

    1981 - #1983 - #2235 (8 Pre-Emptions)

    Jan 1 - 92nd Tournament of Roses Parade / Cotton Bowl (Baylor - Alabama)

    Jan 20  - Reagan Presidential Inauguration

    Another prior to Mar 3 but not sure

    Apr 14  - Columbia Space Shuttle Landing (Unconfirmed)

    Sep 7  - US Open 

    Oct 6 - Anwar Sadat Assasination (Unconfirmed)

    Nov 26 - LOCAL PROGRAM (Varied on each coast)

    Dec 25 - LOCAL PROGRAM / College Football (Blue - Grey)

     

    1982 - #2236 - #2491 (5 Pre-Emptions)

    Jan 1 - 93rd Tournament of Roses Parade / Cotton Bowl (Alabama - Texas)

    Sep 6 - US Open

    Sep 10 - US Open

    Nov 25 - NFL Today / NFL Football (Giants - Lions)

    Nov 26 - LOCAL PROGRAM

    I've always found Bill Bell & Agnes Nixon's relationship interesting. He claimed in his Academy interview that he barely knew her, but from my research, it appears he wrote under Agnes in the late-50s while Agnes head wrote THE GUIDING LIGHT. Additionally, if he barely knew Agnes, why is her AMC bible in his archive? SO. MANY. QUESTIONS!

  4. Soaps get a lot of crap, but one of the things they've always excelled in is portraying great friendships on their canvases. What're some of your favorite soap opera friendships?

     

    AMC: Erica & Opal; Mona & Myrtle; Ruth & Mona

     

    ATWT: Nancy & Katie (please don't shoot me)


    OLTL: Karen & Viki

     

    PASSIONS: Tabitha & Timmy

     

    Y&R: Dru & Sharon; Nina & Cricket; Ashley & Olivia (I'll ignore the Brad affair); Nikki & Katherine; Neil & Ryan; Colleen & Lily

  5. I began watching in utero. Seriously. My mother watched DARK SHADOWS growing up and watched AMC, OLTL, and Y&R from their first episodes. She stopped watching Y&R when AMC moved to an hour and they overlapped in the NYC market, thus making her give up Jill, Mrs. Chancellor, and Phillip. My grandmother was hooked on ATWT from 1956 through the expansions on ABC which lead to her becoming a ABC soap opera gal. My mother told me that when she was growing in the late 50s-60s, she kept hearing her mother & aunts talking about what Lisa did, Nancy, Bob, and whatnot and she thought they were real people for a very, very long time.

    One of my earliest memories is a love scene on OLTL in the late-80s. 

    I began watching AMC on my own in 1990 (I was seven. We were very progressive. I remember how nutty Emily Ann was & when she was shipped off to the loony bin.) I distinctly remember my "first episode" being the 1990 Thanksgiving episode where Hayley comes to town & crashes Thanksgiving at the Chandler mansion. From then on, I was hooked. OLTL, GH, and LOVING soon followed. My best friend watched Y&R, so I was always interested in that show. I also think the title THE YOUNG AND THE RESTLESS was so evocative mixed with "Nadia's Theme" that I couldn't not want to watch it.

    I remember going to the library and reading SOAP OPERA HISTORY so many times it's not even funny. No one could check it out because it was in the Reference section. Mind you, all of the soap scrapbooks began coming out in 1995 (thanks, AMC) that I was in soap kid heaven. However, little did I know 1990-95 would be my golden period of soap viewership because with Disney acquisition of ABC, nothing was ever the same again. 

  6. Joshua S. McCaffrey was a former Y&R intern who became a script writer for Y&R in 1997. He left the show in 2007 (LML fired him) and went to B&B. However, Brad became fixated on him and fired him for no good reason. I don't think Joshua has written for daytime since being sacked from B&B.

     

    Natalie Minardi Slater was a former Y&R intern as well and she became a script writer and breakdown writer (1998-Present). Before Jack Smith was elevated to head writer, many suspected Minardi Slater was being groomed by Alden to eventually become Y&R's head writer. 

     

    With the additions of Minardi Slater and McCaffrey in 1997-8, it seems Alden was building out a younger subset of the writing team to coincide with the transition from Bell's era to hers. 

    3 hours ago, soapfan770 said:

    Thanks for starting this @mikelyons! Hopefully we can get some information. In the meantime I looked up that guy Mark Waxman’s biography and this is what it said:

    “After graduating UCLA with a BA and MFA in Cinema (and being captain of the varsity fencing team), I  joined CBS, becoming the youngest network programming executive in the history of broadcasting. After several years of developing prime time comedy and drama series for CBS, I rose to the rank of Vice President of Children’s Programming. During that time, I also wrote scripts for the daytime drama, The Young and the Restless.“

     

    No dates are included, however it seems Mr. Waxman enjoyed children’s programming more than soaps and went on to create Beakman’s World. I do believe his tenure may have been more accurately in the early 80’s actually looking at the below:

     

     

    63A769A0-B38E-45E6-BD38-2B26580F7A1A.jpeg

    It's amazing how many soap people from the 70s came out of children's television. I wonder why that was a thing...

  7. 8 minutes ago, EricMontreal22 said:

    Sure.  Wilkie Collins basically invented the genre with The Woman in White (which was a phenomenon--they had so much merchandise, including perfumes, fans, etc, connected to it)--but basically he just took what his friend Dickens had been doing and updated the Gothic serials and combined them (as a rule sensation fiction will flirt with supernatural elements but unlike the Gothic they are based in reality--Henry James famously said that sensation serials were the first to take advantage of modern, even often middle class, settings, new technology like the railroad, etc).  And it's still agreat read--there have been numerous film and TV adaptations that really mess with the story, though the recent BBC series is pretty good and faithful.  Wilkie Collins wrote a lot, but his most famous four sensation serials are White, No Name, The Moonstone and, one of my all time fave novels, Armadale which is wonderful and *crazy* (and surprising in how it deals with things like a sympathetic villainous, racial prejudice, etc). 

    Incidentally after Woman in White was serialized in Dickens' magazine, All the Year Round and caused circulation to spike, the followup serial by someone else caused circulation to plummet.  Dickens immediately took the serial he was about to launch himself, and re-edited what he had written to make it much more in the "sensation" model--upping the twists and revelations and use of cliffhangers and reformatting it for weekly installments--that became Great Expectations.

    The other really most famous sensation works are by two women.  One is Mary Elizabeth Braddon whose most famous work, Lady Audley's Secret is pretty amazing, and one of the first examples of having a female anti-hero (and Agnes Nixon surely got the Natalie in the well story from a famous part of this).  The follow up Aurora Floyd is also notable.  The other author is Ellen Wood, due mostly to one novel, East Lynne which would have still been a title the general public would recognize well into the 1930s.  The central theme of this, involving a character who returns to her previous family in disguise to be close to her child, is one soaps have long borrowed from...

    Wiki's rather basic page about sensation fiction is a pretty good summary.  https://en.wikipedia.org/wiki/Sensation_novel

     

    Thanks for the suggestions! Lady Audley, here I come 🙂 

  8. 49 minutes ago, dc11786 said:

    I like what Fran Sears did. I think she set out to deal with the identity issues by reestablishing the college as a center point for some of the story. I would also she really tries to make "Loving" visually distinct. Boyd Dumrose, the set designer, had been there from the beginning and had done a marvelous job on the sets, but something seems to pop more under Sears. Sears introduces the Tides, the Alden family hunting cabin where Trisha and Trucker live in the final years of their marriage. It seems very symbolic of them as a couple, rustic like Trucker but opulent like Trisha. In the story, Trisha and Trucker are sniping at one another over the differences that seem to have come out more and more as their marriage has progressed. Trisha wants to go out to a French restaurant, while Trucker would rather stay in with a beer and pizza. When Granger comes in, that set is pretty quickly redecorated into a more modern environment. I don't know if I've seen anything that looks like the original Tides on any other soap as a permanent set. I could be wrong. Also, Paul and Ava move into a house outfitted to suit Paul's paralysis. The kitchen set is particularly nice. Even Flynn's studio apartment, which the Bowmans eventually move into, has some neat features. Sears also introduces the bowling alley, Pins, which not only highlights the class difference but is also bright and colorful like so much of Sears run. I just watched the October 7 episode on youtube with Paul in his studio. That bright blue background is very appealing. I think the use of Checkers, the restaurant where the waitresses wear different outfits every ngiht, stands out. 

     

    I think the casting was pretty strong under Fran Sears. Jessica Collins started under her, but had previously had auditioned for Ally Rescott when Jackie Babbin was still there. Keith Pruitt and Richard Cox were both early hires in Sears' run. She also oversaw the casting the entire college crew (Hannah / Coop / Casey / Kent / Staige). Most of those actors went on to relatively successful in careers in and out of soaps. Casey may have been Haidee Granger. 

     

    Sears had two headwriters (she may have also been there briefly with Millee Taggert). I like Mary Ryan Munisteri's material. It is often more emotion than plotting, but I feel the stories are pretty complex and winding. Munisteri continues the Ava / Paul / Carly triangle but switches out Clay for Flynn. I really liked the dynamic between Paul and Flynn; Flynn was a physical therapist and helped Paul shortly after he was paralyzed. Paul and Flynn were friends, but Pauls' demons, his lack of self confidence after his paralysis and his linger feelings for Carly, complicated it. It would have been easy to make Flynn an adversary, but Flynn remained pretty aware of Paul's reasons and didn't really bat too much of an eyelash. Munisteri continued the complicated dynamic between Ava and Carly and eventually had Ava make the decision to agree to help Carly find Michael even though she knew it could destroy her future with Paul. I think the Michael story could have gone on at least another year with Michael's presence creating a strong push-pull dynamic between Ava and Paul and Carly. Michael idolized Paul do to his radio show and had the personality of a young Ava. What was going to happen when Michael was slowly pulled into Paul and Ava's world leaving Carly in the dust? And what would have happened to Paul and Ava when Paul learned he has sterile as a result of the accident? 

     

    Munisteri also pens the Trucker / Dinahlee affair, which I think was problematic. I mostly enjoy it, but it leaves too much of the tension in Trucker and Trisha's marriage strictly to subtext rather than actually calling out the rift that should have come from Trucker keeping secrets about Tommy's adoption. I think Trucker's draw to Dinahlee was practical and the end result is a decent story for Trucker, Trisha, Dinahlee, Jack, and Stacey. Trucker identified with Dinahlee; he was an outsider in the Alden clan. I think that identity worked given Trucker's history with the Aldens. I also think it was bold that Trucker and Dinahlee weren't a one night stand; he went back to Dinahlee a second time. I thought it was different not to alleviate Trucker's culpability by allowing the audience to right it off as an impulsive mistake. I really like how all of it played out even though I could see where the Trucker / Trisha crowd would be livid. I thought they were smart to weave in Giff and Gwyn, who took two very different stances on the affair. Gwyn salivated at the thought that she could finally removing Trucker from her daughter's life, while Giff took a more practical approach reminding Gwyn that people are complicated. There's a nice scene where Giff traps Gwyn in her office at AE overnight because he doesn't want her to squeal to Trisha. Of course, at some point, Gwyn tries to run Dinahlee out of town by offering her cash, which Dinahlee turns around and uses to by Pins. I think it set up Dinahlee nicely as the potential antagonist the Alden clan needed. 

     

    The last big story that Fran Sears / Mary Ryan Munisteri tell is the Ally / Matt tale. Matt and Ally were introduced under Babbin / Taggert, but it was very late in the game. Matt runs the gambit of emotions in the course of the tail end of the accusation storyline. The drug angle is, at times, a little heavy handed as it is typically on most soaps. After hearing a caller on Paul's radio show comment how messed up his life will be, Matt does heroin and ends up overdosing. The Matt / Ally story was pretty well remembered by those who saw it. I would love to know the circumstances of Eric Goodall's departure in early 1992. I hope Sears fought for him. Of course, also weaved into the tale of Matt and Ally was Ceara Connors, who rented a room at Kate's and briefly worked at AU. Francis fit in well in Corinth. The tender motherly relationship that developed between Ceara and Matt was wonderful and progressed both Ceara and Matt's stories. I think Jeremy's interloping in the Trucker / Trisha story wasn't as exciting.

     

    The last thing to consider with Munisteri and Sears is that they were the ones to introduce Celeste Holms as Isabelle. I think the initial arrival is well done. The writing is strong enough to make this version of Isabelle captivating while heavy handed enough to let the audience know, "Yes, this is a very different version of Isabelle, but we think you'll like it." I know I've referenced this scene several times already, but I enjoy nothing more than watching Isabelle having Bethel Ford, Matt's mother who is applying to be Isabelle's secretary, call Shana so she can listen in while Shana talks crap about Isabelle. Delightful. 

     

    Mary Ryan Munisteri leaves in early January 1992 and things are less delightful. It all shifts pretty quickly. Addie Walsh wasn't as interested in the emotional complexity of the characters, in my opinion. She seemed very adept at moving the story forward, but it didn't explore the motivation and reaction as much as Munisteri did. A bulk of Walsh's story revolves around the return of Clay Alden, his attempts to repair his relationship with Trisha, and his relationship with Dinahlee. Walsh plans a pretty windy story about the mystery room at the Tides that turns out to Isabelle and Tim Sullivan's love nest all to get us to the revelation that Clay wasn't an Alden but rather the product of an affair between Isabelle and a stablehand. I don't think the ends justify the means. 

     

    A lot of the end of Sears and Walsh is really unmemorable excluding the arrival of all the young characters in the course of several days. The sorority / fraternity story ends pretty quickly under Granger so it's hard to see the full potential, but often it plays out like older people educating younger people about what life in college is like in the Greek system. 

     

    Others may have a different opinion of Walsh, but I found her work the hardest to get into during both runs. The 1994 / 1995 run at least has some really good Steffi / Cooper and Casey / Ally material, but everything else under Walsh and McCarthy's run is of little interest to me. 

     

    Thanks for this wonderful write-up!

    I was watching LOVING last night and I realized, the "L" in the original logo is an open heart on its side. Very clever! 

  9. 22 minutes ago, EricMontreal22 said:




    A couple of years back PBS had a series about TV history that had an episode devoted to soaps.  And it was ALL about the rise of primetime soaps post Dallas...

    I mean I agree with you, but I can't blame him for sticking around in his job at all.  Especially with so little alternatives to work in the industry--I hate to say it but I doubt I would behave any differently in his shoes.

    There's such meaty material that can be used here too.  I know when I was doing my MA thesis for English and connecting soaps to the infamous Victorian sensation serials (particularly from "the sensational [18]60s") the parallels were astounding.  Sensation serials were read particularly by women, and, increasingly, written by women, the basically perfected plot points like amnesia, people thrown down wells, doppelgangers, etc, while also craftily integrating taboo social issues into their storylines, they increased serialization from monthly to weekly which caused a lot of (snobby, often male and upper class) intellectuals to fear that they were addicting their readers like a drug and those readers could no longer tell what was real and what wasn't (exactly the fear that radio soaps caused), etc, etc.  I know a number of people who came to my various MA presentations with zero knowledge of soap operas told me how fascinating they found it all--there's definitely work to make a compelling doc series...

     

    Are there any sensation serials you'd recommend?

  10. 8 minutes ago, Faulkner said:

    Yes, definitely seemed like it was dancing on daytime’s grave. As if they were a thing of the past and there’s no need for them to exist anymore. 

    Yeah, there’s no way this would fly on a network, especially after those ratings. But who needs the networks anymore. That’s actually part of the story they *didn’t* want to tell: that the big broadcast networks and their precious primetime programming have become just as irrelevant as the daytime soaps they’ve relegated to the ancient past.

     

    But yeah we’ve been begging for a Ken Burns-style documentary series. Maybe even PBS would be good, but a streaming service would be ideal.

    Netflix would be ideal because Brad Bell is friends with Ted Sarandos is the Chief Content Officer at Netflix. Ted's wife is Nicole Avant. Brad created a whole family after Ted's wife, so I think Ted will take Brad's call. 

    2 minutes ago, DRW50 said:

     

    How do you go from that to working with a producer who consistently puts out anti-gay material? He was at OLTL at a time when they told viewers that gay men fake hate crimes to get attention and sympathy. What bullshit.

    You think Jussie Smollett saw those episodes?

    4 minutes ago, Aback said:


    Absolutely. My father was a truck driver. Obsessed with B&B. Same for my brother. 
     

    My Uncle was an accountant and he would not go to meetings or pay any attention to his daughters when Loving was on. 

    Your uncle and I would've gotten along just fine. 😉 

  11. I'm going to pour a big cocktail before watching this over the weekend.

    53 minutes ago, YRfan23 said:

    God bless Eric Braeden! :D  

     

     

     

    He's right! My dad - 6'2", owned a landscaping company, loved to fish, loved sports, a real man's man - LOVED Jesse and Angie, Adam Chandler, and Erica Kane. You'd never guess it, but that's what happens when network execs and lazy "journalists" assume. 

  12. 2 hours ago, EricMontreal22 said:

    As many on here know, I'm a Sondheim fanatic (shocking, I know--a highlight in my life was getting to interview him as a teenager).  But this is way too hard...  I'll have to think on it :P

    Fun fact.  Suzanne Rogers played one of the showgirl ghosts as a replacement cast member when the show, after closing (way too early) on Broadway moved with most of the original cast for a limited run in LA. 

    Also, I think people tend to think Follies should be cast older than it really is meant to be (this may be partly because modern actors, and people in general as life spans lengthen, often to age slower than they did when it premier in 1971.  Similarly why Blanche DuBois  in Streetcar is rarely now cast with a woman in her mid 30s as she originally was).  Ben, Phyllis, Buddy and Sally should all be cast around the ages of 45-50 (which to modern audiences of course does not really seem like someone past their prime).  Their characters performed right at the end of the Follies shows.  Some of the other characters can be cast significantly older...

    Also, I nearly spat out my coffee at Brenda Dickson playing Heidi, the *opera singer* (and oldest of the Follies girls) and singing One More Kiss lol

    I can see it! Give her a turban, a bit of French, a glass of champagne, and let Brenda as Heidi wax poetic about the Golden Years. 😉 (I love Brenda's Jill, so it's not a dig!)

    2 hours ago, Franko said:

    And Ron Raines was in the most recent Broadway revival.

     

    Good choices so far, everyone. I apologize if I made this too challenging an idea.

    This was incredibly hard & it made my little grey cells work hard!

    I love FOLLIES, especially the original Broadway cast. I was lucky enough to see the revival on Broadway with Bernadette Peters and Ron Raines. 

  13. From documents I've obtained, Bill had a contentious relationship with the WGA from the 60s with regard to the international royalties from DAYS. He chaffed at writing long term story and daily outlines for the show, but having to pay his dialogue writers 50% of his take-home pay. He resisted the same calculation with his international royalties for DAYS.

    If I remember correctly, Bill wasn't a remember of the WGA for many years because he didn't want to become a scab writer on Y&R. (I wish I'd made a note of that source!) This makes sense to me, especially in the first year of Y&R when he was largely writing the show alone with the help of a few dialogue writers from DAYS.

    Bill wrote ATWT with Irna until they created ANOTHER WORLD and then he was placed on DAYS.

    @Paul Raven The producer Sherman is referencing could be Fred "Freddie" Bartholomew. He produced AS THE WORLD TURNS for Benton and Bowles from 1971-73 and then 1980-81. Since Bartholomew had been the VP of Benton and Bowles and produced and/or directed EON, ATWT, and SFT, he may be our guy.

    Sherman was a bit of a fox!

    https://books.google.com/books?id=3t5zDrReoyQC&pg=PA275&lpg=PA275&dq=Sherman+Magidson+as+the+world+turns+1973&source=bl&ots=dA52NCwB9G&sig=ACfU3U2kQJcLQ5zG0rZe1QNJtYZ0fuTWXQ&hl=en&sa=X&ved=2ahUKEwj1yqy688HpAhVCqZ4KHYFoCyYQ6AEwCnoECAoQAQ#v=onepage&q=Sherman Magidson as the world turns 1973&f=false

  14. Follies with Soap Stars

     

    Ben Stone (Romantic Lead): Peter Bergman

    Sally Durant Plummer (Delusional Romantic Lead): Judith Light

    Phyllis Rodgers Stone (Bitter Comedic Lead): Eileen Davidson

    Buddy Plummer (Comedic Lead): Nick Pickard (Hollyoaks; UK, Channel 4)

    Carlotta Campion ("I'm Still Here"): Susan Lucci

    Emily Whitman ("Rain on the Roof"): Susan Seaforth Hayes

    Theodore Whitman ("Rain on the Roof"): Bill Hayes

    Hattie Walker ("Broadway Baby"): Eileen Fulton

    Heidi Schiller ("One More Kiss"): Brenda Dickson

    Stella Deems ("Who's That Woman?"): Victoria Wyndham 

    Solange La Fitte ("Ah, Paris!"): Deidre Hall

  15. 56 minutes ago, soapfan770 said:

     
    Thank you so much!!! I knew Harrower was involved yet but couldn’t find exact dates except knowing she left to be HW at  Days for a full year in 1979 and then promptly came back to write for Y&R at least through the mid-80’s. 

    According to one of the DAYS history books, it seems (and someone **please** correct me if I'm wrong), that Harrower left Y&R for DAYS.

  16. 3 minutes ago, Paul Raven said:

    Sherman Magidson was a Chicago lawyer who Bill Bell  used as alegal consultant and writer on Days in the 60's and later on Y&R and B&B.

    I remember seeing his name on Y&R credits in the 80's as legal consultant

    He died in 2014.

    Kay Alden wrote

    What will I miss most about Sherman? Everything. His great laugh, his wonderful sense of humor, his readiness to help our family at any time with no questions asked, his brilliant mind, and right now I wish I could be consulting with him on The Young and the Restless. After 40 years of great friendship, my heart is heavy with this loss. But Sherman will live on in my memory, and in the memories of Vern, Conci, John, and Noah forever. Godspeed, dear friend.

    Magidson was not a member of the WGA so no doubt was involved with writing the show during the strikes.

     

    CHICAGOAN SOAPS AWAY THE TRIALS OF HIS PAST

    CHICAGO TRIBUNE
     

    When Sherman Magidson helped gain a hung jury in last year`s retrial of Daniel McKay, the suburban Chicago veterinarian accused of killing his newborn child, it capped another stellar courtroom performance.

    But it was very much a cameo appearance by a criminal defense lawyer who has left grit for glitter in the latest episode of a decidedly full life.

    As the strike by film and TV writers dragged on, Magidson continued his labors as full-time legal consultant and writer for two premier soap operas that remained on the air despite the walkout, ''The Young and the Restless''and ''The Bold and the Beautiful.''

    Rather than aiding real-life rogues or the unjustly accused, he melds fact with fiction for an audience far greater than all the juries he has swayed.

    For example, he concocted a complex and legally credible scheme for ''The Young and the Restless,'' in which conniving Nikki Newman tries to rip off $40 million from her mogul husband, Arthur, only to be thwarted by an Arthur counterattack, replete with counterfeit stock certificates. It`s a scheme so subtle that it might impress investigators from the Securities and Exchange Commission.

     

    Magidson, 55, was one of Chicago`s prominent criminal defense lawyers when he chose to embrace his second love, the soaps; in particular the two shows created by the husband-wife team of Chicagoans Bill Bell and Lee Phillip.

    ''It was all so sudden,'' said Chicago lawyer Sam Adam. Here was an about-face by a man near the top of his competitive trade who had lived and breathed the combat of criminal litigation since a teenager.

    In a world of inflated reputations, egos and jealousies, he was widely respected as tough, aggressive and genial, notes Cook County Criminal Court Judge James Bailey. A street-smart, rumpled Yale University graduate, his clients had included the late Teamsters President Jimmy Hoffa, reputed mob ''hit-man'' Joseph Lombardo, TV weather forecaster Jim Tilmon and the late Metropolitan Sanitary District Commissioner Chester Majewski.

    ''This was just an opportunity to climb another mountain and get some sunshine,'' he said last week, content and at ease in short pants and sports shirt in the house that serves as his home and computer-filled office.

     

    Magidson may know the often byzantine, ethically clouded Chicago courts better than anyone. His mother was secretary to Charlie Bellows, a legendary Criminal Court defense lawyer of the 1940s and `50s, and Magidson was helping to write briefs by age 16.

    After completing Northwestern University Law School, he worked with Bellows and, later, with Harry Busch, another fabled defense attorney. To some, Magidson was exiting his mentors` vast shadows at the time he headed west.

     

    But he always had reflected eclectic passions and intellect. Sure, he was a lawyer, but he also was a military history buff, professional photographer, scuba diver and founder of the Lawyers Assistance Program, a successful drug and alcohol counseling service in Chicago.

    His double-life is traced to 1960, when he had met Chicagoan Irna Phillips, a cantankerous grand dame of the soaps who wrote many episodes of

    ''Days of Our Lives'' in the `50s and `60s.

    That acquaintance, and a friendship with Bill Bell, a young Phillips aide who took over the writing on ''Days of Our Lives'' in 1965, spurred a second career unknown to most.

    He`d be lawyer by day and soap writer at night, crafting stories of murders, custody fights and even a critically acclaimed rape trial for ''The Young and the Restless.'' It was an exhausting schedule but one derived from the mix of his diverse talents and longtime suffering from insomnia.

    Two years ago, Bell sold the idea for ''The Bold and the Beautiful''  to CBS and asked Magidson if he`d come aboard full time. He initially declined because he was nervous about leaving his hometown, mother and two of his four adult children. But he relented.

    Bell`s timing was fortuitous. Magidson was spending as much as 40 weeks a year in courts, getting worried about his health and chagrined over the ramifications of Operation Greylord, the federal investigation into Cook County court corruption.

    Greylord was at its height, and public respect for the profession Magidson loves was plummeting.

    ''When I was a kid, you said you were a lawyer and people looked up to you,'' he said. ''In the mid-1980s in Chicago, a lawyer became synonymous with `crook.` It was deeply painful to me.''

    In March, 1987, he came to Los Angeles in a move that took by surprise even those who knew his ties to the soaps.

    ''I admire him for having the guts to make a change,'' said Loop attorney George Cotsirilos, underlining that Magidson was blossoming into

    ''one of the real big guys in town.''

    Magidson, who is not a member of the writers guild, concedes tremendous difficulty in adapting to the ''social milieu'' in Los Angeles. He gets along well with Bell, Phillip and their colleagues, many of whom are Chicagoans, but gets queasy around most others.

    ''People in this world are different,'' he said. ''The criterion is often how much you make, not what you contribute. You`re gauged by the car you drive and the diamonds you wear.''

    He misses ''the action of being an attorney, though not the heartbreak. I miss being the big dog in the courtroom. Here, I`m a speck.''

    At times, he even finds himself playing drama coach, perhaps showing actors the small gestures and attitudes that can bring an air of reality to law-oriented, especially courtroom, scenes.

    But there also are realities he`s happy to leave behind.

    ''The money is better in that you don`t have clients who give you stiff checks and hollow promises, especially in criminal practice.''

    Anyway, you can always take a loan from the underhanded Nikki Anderson if she ever steals $40 million from Arthur.

    Thanks for sharing this article! I remember seeing Sherman's name as a consultant on Y&R scripts as late as 2004. 

    From what I've been told by credible sources, Kay Alden was very much running the writer's room on Y&R from the early-90s. Bell supplied the long term story, but Kay was responsible for executing the long term story, working with the breakdown writers, and editing the final scripts. By the time she took over in 1998, it was a formality. Also, when John F. Smith was promoted to head writer, he'd been serving as head writer, but wasn't credited as head writer. 

     

    Associate Head Writer

    Kay Alden (1980-1997)

     

    Head Writer

    Kay Alden (1998-2006)

  17. This thread/index is for discussion about the many writers (head, breakdown, and dialogue) who have written for THE YOUNG AND THE RESTLESS.

    Any names, dates, stories, etc. are welcome!

     

    Head Writer

    1973-1998

    William J. Bell

     

    Early Y&R Scriptwriter (Dialogue Writers)

    1973-75

    Kay Alden

    Kay Lenard*

    Elizabeth Harrower

    Bill Rega*

     

    *Worked with Bell on DAYS while writing Y&R

     

    For the first two years of Y&R, Bell used some of his dialogue writers from DAYS to script Y&R. Kay Lenard quit Y&R in 1975, but kept working on DAYS.  

  18. February 18, 1970 - Variety

     

    Raymond E. Goldstone, a staffer on LOVE IS A MANY SPLENDORED THING, is in negotiations with Warner Bros. TV to develop a soaper, tentatively tagged NEWS (has nothing to do with the news media). Goldstone, incidentally, nabbed his first assignment with the soaper.

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