Broderick

7 hours ago, DramatistDreamer said:

 my original contention was that, even the destruction of master reels would cost P&G a good sum of money and is not as straight forward as some would contend. 

And normally a publicly traded company on the NYSE (such as P&G) feels a great enough obligation to its shareholders not to destroy a marketable product (and those recordings are, after all, "marketable products"), simply to humor a "petty executive with a small dick" so that he will "feel better about himself", without first performing a thorough evaluation of the cost/benefit of storing the product versus the potential realizable revenue of marketing the product.  I'm sure there are exceptions to the rule of shareholder fiduciary; this doesn't seem to be one, though.  

42 minutes ago, janea4old said:

I had started a thread for this in the spoiler section, not really a spoiler but it could become a spoiler if she's totally gone.  Maybe she's just recurring.
The spoiler thread for Mishael is here:
https://boards.soapoperanetwork.com/topic/61603-yr-actress-change-in-status

 

Sorry, I didn't catch the spoiler thread.   

And *maybe* she's just temporarily off-contract.   I believe she started (as Amanda) in the late summer or early autumn of 2019, so she's definitely at the end of a third-year contract cycle.

Hopefully, she'll re-sign.  (But if she wants a raise in pay, she's probably barking up the wrong tree.)  

Based on yesterday's closing credits, Amanda Sinclair has flown the coop.  

4 hours ago, AMCOLTLLover said:

Im stuck in the beginning of 1795/#392-ish and I loved the pre Barnabas episodes.

Especially David. He started off sinister and evil and became the most complex character development out of them all.

The Phoenix Story with Laura was amazingly done too. 

The only thing "wrong" with the beginning of the 1795 storyline is there's so much repetition, it sometimes makes it difficult to binge-watch.  It was designed of course for people who were watching an episode a day, rather than 5 or 6, the way we watch it now.  

(It's hard to watch Victoria walk up to everyone in the cast and "accuse" them of being Joe Haskell or Elizabeth Stoddard or Burke Devlin or Mrs. Johnson, or whoever, and then get reprimanded for it.  You'd think after her first "identity faux pas", she'd have learned her lesson, lol.)  

20 hours ago, Neil Johnson said:

 I agree. "Wiping" tapes is synonymous with erasing tapes. P&G had tens of thousands of tapes. There is no way they would have gone to the expense of erasing all those episodes. So if P&G disposed of the tapes, they most certainly just threw them away.  But truthfully, I do not believe they disposed of them.  The archivists at P&G are obsessive (in a good way) about preserving the company's history.  So they would fight hard to preserve the episodes, even if they had to do the work themselves in Cincinnati.   I feel certain Coleen was misinformed.  There was a rumor a few years ago, that all the tapes had been destroyed in a massive fire at a warehouse in NYC.  That was completely untrue.    My understanding is that P&G Productions still exists, but now they produce video material mostly for P&G's in-house needs.   I believe Televest has ceased operations completely. 

We know they routinely "wiped" tapes pre-1979 and reused the tapes in order to save money.  And that's unfortunate, but understandable.   We're lucky that a few episodes and clips are still floating around that weren't wiped for some reason, or were located at the studio of an affiliate, or were in the hands of a performer.  

But I can't imagine they went to the trouble of "wiping" all the existing post-1979 stuff, when they weren't even planning to reuse the tapes.  Perhaps they SAID they did.  No telling how many stupid phones calls they get a year --  "Hi, I played Paramedic #3 in a March 1981 episode of Guiding Light, or maybe it was March 1982, and I need to get a copy of that episode!" "Hi, I played the Jury Foreman in a trial on Edge of Night, and I said, 'Yes, your honor, we find Draper Scott guilty of murder'.  Can I get someone to make a copy of that for me?"

I'd tell them I didn't have access to those tapes anymore, if I worked there and had to deal with that on a routine basis.  And honestly, there's no telling how many calls and letters they get about stuff like that. 

I expect they're just *saying* they don't have it anymore to people who mistakenly believe they don't have anything better to do than search for old episodes and make copies of them.  That message -- "we don't have them anymore" -- likely got back to Colleen Zenk and others.  

I almost said DAWN, which as we all know takes grease out of your way, because I just walked in from the store with a bottle of it in my hand.  

5 hours ago, Vee said:

I'll just say I have a hard time believing P&G went out of their way to wipe everything.  This isn't the '60s or the '70s, and the needs and time expenditure are different. 

No doubt Colleen Zenk believes the "wiping" to be true, but I suspect it's a miscommunication.  That's a LOT of hassle and expense.   

Seemingly the material is worthless to P&G right now; they've made that pretty clear.   But theoretically P&G has some savvy marketing personnel who are aware of the archives and know that they could profit from hiring an intern to upload the episodes to YouTube, throw in a few commercials for Pampers, Tide, Head & Shoulders, and Swiffer, and mop up some quick cash when the time is right.     

6 hours ago, ltm1997 said:

https://www.thelist.com/954050/the-gift-peacock-is-giving-days-of-our-lives-fans-when-the-soap-moves-to-streaming/?fbclid=IwAR3oMQOdgJBbNjtUKUpSa_9l7ti53ahCm8GBnf0Qlqmq1lyk8iSornqLNTw&fs=e&s=cl

 

Just was introduced to this article. I’m soooo hoping Y&R will follow suit!! Could you imagine being able to stream the ENTIRE series along with current stuff!?!? (I only care about 1973-84 tbh LOL). I’d like to know what you all think of this decision and if you think there’s possibility of Y&R following their lead in the near future. Mind you, their contract is up next year.

Let's don't overlook the most important line in this article:  "according to Fox News".

This article is merely a regurgitation of a Fox News article that completely contradicts the NBC press release.  NBC said subscribers to Peacock would get "the robust library" of previous Days episodes (which are episodes from the 18 months).  Someone from Fox News saw the expression "robust library", then read the Wikipedia article that mentions the show has 14,000 previous episodes, and jumped to a crazy and wrong conclusion.  No way anyone's about to digitalize 14,000 episodes for Peacock.  

47 minutes ago, DaytimeFan said:

The indefinite deal is the Sony deal that Corday inherited. The litigation between Corday and Sony discussed the contracts signed in 1965 regarding production and distribution of DAYS. That is the deal he inherited - it had nothing to do with him as he was a child at the time and he'd actually sought to terminate it in 2019 when Corday sued Sony claiming Sony had failed to distribute the show to the benefit of its wholly owned Y&R. That litigation did not proceed to trial.

And they've squabbled over that deal since the very beginning.  There's a case from the 1970s called First National Bank of Chicago vs. Screen Gems.  

1st Nat'l Bank was the executor of the Irna Phillips Estate.  Elizabeth "Betty" Corday was a co-plaintiff, representing Theodore "Ted" Corday.

On November 1, 1961, Irna Phillips, Theodore Corday, and Allan Chase entered into an ownership agreement.  On September 15, 1964, Theodore Corday alone entered into an agency agreement with Screen Gems.  The first agreement stated that each of the three parties (Phillips, Corday, and Chase) owned a one-third interest in a dramatic serial composition which they wished to have presented and disseminated to various media for public presentation.  Each of the three parties was to be entitled to one-third of fees in connection with the property resulting from any type of exploitation.  In the event of an outright sale of the property, each of the three parties was to be entitled to one-third of the proceeds, but there would be no sale of the property without unanimous written consent of the three parties.  Each of the three parties agreed not to sell or assign his/her interest without giving the remaining parties a right of first refusal to purchase such interest upon the terms proffered.  Phillips would serve as story editor of the dramatic serial, Corday as executive producer of the dramatic serial, Chase as script editor.

On September 15, 1964, Corday alone signed an agreement, prepared on the letterhead of Screen Gems.   Corday represented to Screen Gems that he, Irna Phillips, and Allan Chase were the co-owners of the dramatic, literary property in question, and Corday represented that he was authorized on behalf of Irna Phillips and Allan Chase to enter into an agency agreement with Screen Gems.  Under the agreement signed by Corday, Screen Gems could market the property for broadcast licensing.  If a licensing deal was secured, the owners would be paid $750 per week for the first year, and $1,000 per week for each subsequent year.  And, if Screen Gems successfully licensed the property to a national network, Screen Gems would retain its rights in the property in perpetuity.  

Screen Gems (now SONY) did indeed secure a "national broadcaster" (NBC) for the product, which earned SONY the perpetual  right to distribute the property.  When Irna Phillips and Ted Corday were still living, they sued Screen Gems for "exercising creative control" over the product.  Phillips and Corday wanted to make it clear that they (and Allan Chase) owned the intellectual property, and Screen Gems was merely the distributor, who lacked the ability to exert creative control over the show.  Once Phillips and Corday were deceased, Irna's estate and Betty Corday had to reestablish the same facts.  Ultimately, I suppose Chase and Phillips sold their interest to Corday, making Corday Productions the "sole owner of the intellectual property", but Screen Gems/Columbia Pictures/SONY will be the distributor of the property for as long as the property exists.  

I hope that makes sense.  Ken Corday can't enter an agreement (without SONY) to air the property anywhere, at any time, ever.  It's up to SONY to license and distribute the property forever.  And whomever SONY licenses it to gets to air it.  

49 minutes ago, Soaplovers said:

I figured the BS week long specials plus the Christmas movie was a test..and it did quite well.  Just not a lot of warning 

I'm not sure if it was a "test", or if it was merely an "incentive".  

It appears to me that SONY Pictures and Corday Productions have known for the past year that "Days" would spend its final season (#58) on Peacock, so they shaved a little off the budget all along and funneled the savings into the Xmas movie and "Beyond Salem" to let the audience know, "Hey, we're capable of doing BETTER work on Peacock.  Join as a subscriber!"

(But what they'll probably present on Peacock is more of what they've been producing on daytime -- for at least the next six months.  Afterwards, as someone else pointed out, you may get a few bare bottoms, but you won't be able to see them very well due to the Peapack Production Values that will likely define the final six months.  And in September 2023 -- the end.)    

While we'd all like to see it succeed, it doesn't really make much sense to think a show that barely attracts 1.5 million daily viewers when it's completely free is somehow going to exponentially increase "paid subscriptions" to a streaming platform.   If people ain't watching for free, they're not apt to pay for the privilege.   

(Y&R's "library" is merely the current season.  You can view the past five episodes free on the CBS site, but if you'd like to watch anything else from September 2021 till now, you have to subscribe.)  

I agree that it's a "soft cancellation", and it was more-or-less announced publicly back in 2021, when the show received a 2-year licensing agreement, rather than the 1-year licensing agreement that had been in effect since 2014.  

Ken Corday, based on his comments in 2021, knew exactly what was in store.  

"Network television reaches a certain audience but not necessarily the same audience that streaming platforms reach," said Corday in 2021, "and I think Peacock is doing quite well.  It's flourishing at a time when network television may not be flourishing.  The show is doing very well on Peacock, and I see the future of Days of our Lives in the decades that will come will be more of a streaming appointment than a network appointment.  However, it's important that people watch network television.  It's less expensive to subscribe to, and advertisers need network viewers."

Reading between the lines, NBC basically told Corday in 2021, "We're going to license the show for two years this time.  But here's the deal -- if your ratings are still in the toilet by the summer of 2022, we plan to cut our losses by taking the six months worth of garbage that you've already taped for Season 58 and dump the mess onto Peacock, where not a blooming soul will ever see it.  And for your remaining six months beyond that, you better get your Guiding Light/Peapack shaky-cam ready, because we're slicing your budget down to about 30 cents per episode, and after THAT six months, you're finished, buddy.  Nice doing business with you." 

Corday likely said, "Please don't embarrass me publicly", to which NBC responded, "Don't worry, we'll have Mark Lazarus give a meaningless word-salad statement such as 'moving Days to Peacock is reflective of our broader strategy to utilize our portfolio to maximize reach and strengthen engagement with viewers'.  Which is a nice way of saying that you're cancelled."  

To which Corday likely responded, "But that statement doesn't MEAN anything", and NBC said, "What it MEANS is that we're dumping the sht you've already taped to Peacock, but we'll dress it up by having Mark Lazarus say, 'this move enables us to build the show's loyal fanbase on streaming while simultaneously bolstering the network daytime offering with an urgent, live programming opportunity for partners and consumers', which means we're planning to replace you with some lame news show, or maybe something stupid like, 'The Chew'."    

I like the very beginning of the series, too.  It's slow as Christmas, and some of the scenes can drag on forever.  But it's also VERY atmospheric, with doors blowing open and dead leaves scattering across the floor, windows suddenly flying open and curtains whipping around in the wind, lots of thunder and lightning, lots of exterior shots of Collinwood, the cliffs, the sea, and the Old House.   Once the ghoulies begin to arrive, it's certainly more bizarre, but also it becomes sort of frustrating, as they burn through their stories too quickly and too slipshod sometimes.  

9 minutes ago, Paul Raven said:

Brenda definitely didn't have the sarcastic and hard edge that Eileen supplied.

Peter tried hard to bring a touch of Terry to Jack but eventually the character was softened.

Jess filled Brenda's shoes admirably.

The next standout actors for me were Tricia as Nina and Victoria as Drucilla. Ashley's Mac stood out.

One character I could never get into was Brittany-so much story for an unexciting actress and character.

I'll agree.  I wasn't a big fan of Ashley Bashioum (by any stretch of the imagination), but she had a unique quality about her for sure, as did Tricia Cast and Vicky Rowell, and probably to a lesser extent David Tom.  (In fact, I'd go so far as to say that Victoria Rowell's presence on the show helped tremendously to offset the void created by the absence of Eileen Davidson and Terry Lester.)  

Say what you want about Brenda Dickson, and we all have our opinions (lol), but she certainly turned in some "unique" performances that made her character unorthodox.  Eileen Davidson and Terry Lester were also presenting their own characters somewhat outside the mold of "traditional" soap opera fare -- without the bizarre antics associated with Miss Dickson. 

Losing Dickson, Davidson & Lester in 1987, 1988, and 1989 certainly deprived the show of three unconventional characters.

The recasts were more "normalized" and  (in my opinion) weakened the show to a certain extent.  Now obviously the general public responded positively to the changes, as the show went to #1 and stayed there for 30+ years. 

But I always found that period to be a bit rocky from a casting standpoint, and the overemphasis on Cricket didn't help matters at all.       

1 hour ago, Joseph said:

I don't think Jessica was nonsense considering they went into a very very touchy subject for the time 

Maybe not.  But it struck me as silly, because her storyline was so fantastically divorced from the realities of the disease she supposedly had.  While most people suffering from AIDS in the real world were concerned about their CD4 counts, viral loads, and opportunistic infections, Jessica just breezed around glamorously marrying one patriarch, and then having everyone step aside graciously so she could be reunited with the father of her Precious Little Child.  Once she'd completed all the items on her to-do list, she lay down and died without any signs of thrush-mouth, Kaposi sarcoma, or AIDS wasting.   It seemed to be nothing more than another "human interest" story for Cricket, without any of the agony we'd all seen associated with the real virus that had killed our friends.  

Well, it's actually Emily rather than Molly, and yes, she's a pretty innocent-acting girl.  But she's unhinged mentally, which makes it all kind of pathetic.  

31 minutes ago, kalbir said:

It's never been confirmed, but I wonder if Cricket eating the show was also the cause of Eileen Davidson leaving in 1988. From what I've seen of December 1988, ED didn't even get a proper exit story. I think her last scene as Ashley was at the hospital when Steven died and a week or so later Ashley was in her room at the Abbott house and it was Brenda Epperson.

I've often wondered that.  At the time, Miss Eileen claimed she was leaving to try her hand at primetime (which made sense, considering she'd been in a couple of movies), and she did land a primetime show ("Broken Badges")(?), which failed after a few episodes.  Then it was on to Santa Barbara and Days of Our Lives.  But yeah, I always wondered if hadn't been for all that Cricket/Jessica nonsense, if she could've been convinced to stay.   Everyone's role was diminished on Y&R during that period, and all the characters were obliged to pay constant homage to Cricket.    

When I re-watch these old shows from the mid-to-late 1980s, I find Cricket even more annoying than I did when the shows initially aired.  I believed at the time that her "reign of terror" would be short-lived, and it was just something we had to tolerate for a couple of years.  Now in hindsight, we know that it went on & on & on (even costing us Terry Lester eventually), and that makes it harder to suffer through in a repeat watching.    

9 hours ago, Paul Raven said:

Didn't Janice have to tape scenes that had already been completed with Mary?

 

Janice evidently had to re-tape Mary Grover's scenes.  This press release with "Mary Grover as Leslie" is floating around in the week prior to the show's on-air debut.  I did check fairly thoroughly to see if I could find anything about when Janice Lynde stepped in, but no success there. 

_________________

I found The Innocent Years bible scrap from Bill Bell's script archive (regarding the "Camden brothers") that was posted here on the board back in 2020.

The older brother was actually BROCK CAMDEN (not Russell Camden), age 25, an intern.  He would be "dating ALLISON, but has an eye for JAN".  His younger brother, BRAD CAMDEN, was a 16 year-old student. 

These two boys, Brock & Brad Camden, were later repurposed in the projections into JIM HENDERSON and RUSSELL HENDERSON.  However, Jim Henderson's name was changed to Mark Henderson by the time he hit the airwaves.  Russell Henderson was changed to a non-character, lol. 

From a practical standpoint, it appears that Brock Camden's character evolved into Snapper Foster, and Brad Camden was repurposed into Greg Foster, as neither Snapper nor Greg existed in the initial outline that featured Brock Camden and Brad Camden.   

By the time the show premiered, Snapper Foster was dating Sally McGuire, but had an eye for Chris Brooks.  

The character we came to know as Chris Brooks was described as "Jan -- age 23, more bland, less attractive than [her sister] Liz".  The "Liz" character had been in Europe for two years at school, and had a bunch of issues with her father, who had been dead for two years.  "Liz" seemed to develop into Lauralee Brooks (who'd been in Europe in college for several years and later discovered Stuart Brooks wasn't her biological father, which led to a bunch of daddy issues), and also into Jill Foster (who'd been abandoned by her father Bill Foster).  "Liz" was projected to "drink too much at times, a girl in search of a father image, little relationship between mother and daughter in the past two years, always in search of things out of reach".  "Liz" would become pregnant, but not know who the baby's father was.   Brock Camden would marry her, to give her baby a father.  (This story thread seems to have evolved into Snapper Foster impregnating Sally McGuire with Chuckie, but marrying Jan/Chris Brooks.  Pierre, of course, would marry the pregnant Sally McGuire, giving Snapper's child the name Charles Pierre Roulland.) 

There was to be a couple named "Phillip & Allison".  Allison was 41 and was a mother, and Bill Bell had written some notes about wishing "Bette Davis was available".  Phillip and Allison had been married for ten years, and Bell seemed to write one draft in which Phillip was still alive, and another draft in which Phillip had died and left a trust fund for Allison's daughters.  (The Allison character seemed to have traits that would later manifest in Jennifer Brooks, Regina Henderson, and Kay Chancellor.)  

The guy who posted the bible scraps here had also seen the scripts for the first 8 episodes.  He said the title page on Episodes #1 - #5 identified the show as The Young and Restless Years.  Sally McGuire's line of dialogue in Episode #1 just before the opening credits was typed as "How awful to be stuck in a place like Genoa City during our young and restless years."  Bill Bell had taken a red pen, marked through it, and revised it to "Kind of a drag, isn't it, being stuck in a place like Genoa City.  God, I feel so restless."  

He said Episodes #1 - #5 all occurred on the same day, with Episode #6 starting a new day.  Beginning with Episode #6, the title page was The Young and the Restless.  Jill first appeared in Episode #2 and Greg in Episode #7.  He said the Fosters were mysteriously identified as "the Larsons" in Episode #7.  Chris Brooks referred to Liz Foster as "Mrs. Larson", and the scenes were described as occurring in the "Larson living room".  By Episode #8, the Larsons had consistently become the Fosters.  

2 hours ago, soapfan770 said:

If I recall right Russell Camden eventually became Snapper Foster per a story Bible i believe mikeylyons posted a couple years back. 

Yep, I believe in the bible scraps that were posted here, "Russell Camden" was a prototype of the character that ultimately developed into Snapper Foster, and then the Russell name was attached to the younger son of Bruce & Regina Henderson.  

3 hours ago, Joseph said:

What Actually Caught My attention was this for a moment I Thought Did They Switch ROLES?????

That's just a typo in the news release.  The cast list that went out a week before the premiere had "Mary Grover as Leslie".  We know the part of Leslie was awarded to Janice Lynde, who appeared in the very first episode.   But it's evident that Mary Grover was signed at some point (earlier) for Leslie.

4 hours ago, soapfan770 said:

I wonder if it was because the Hendersons were too redundant once they were introduced? Regina sounded like a cross between Jennifer Brooks and Katherine to some extent while Bruce was immediately redundant once Bill Foster returned. Or Bell last minute decided they weren’t as interesting as the Foster class dynamic he had set up? 

Russell I believed was actually mentioned but as far as I know never appeared yet the name Russell appeared a lot in Bell’s story Bible as a Russell Camden. Apparently Lee Phillip was very close to her brother Russell Phillip so the name was obviously not lost on Bell himself but it never did get used in the end.

 

According to the bible scraps that were posted here, the "big storyline projection" for Regina Henderson involved her sleeping with a high school boy and then having a car accident which resulted in the boy's death.   I believe most of Regina's personality traits (and some of her storyline material) were transferred to Kay Chancellor, rendering Regina pretty much obsolete.   

15 minutes ago, antmunoz said:

Mary Grover, (Not) Leslie!

lol ... not sure what happened there!   I know that Mary Grover was a star of some Broadway musicals, but she doesn't quite have the vulnerability we associate with Leslie.  

New CBS Serial Set for Spring Launch

November 1972

A new half-hour daytime drama series, titled The Innocent Years, is planned for presentation in the spring of 1973 on CBS.  The Innocent Years will be produced by Corday Productions, in association with Screen Gems. 

"The Innocent Years will be set in a mid-American city," said William J. Bell, who created the new serial, "and it will emphasize more the man-woman relationship than the life and death crisis situations used as the prime emotional force in many daytime dramas."  

________________________________________

New Name for Planned CBS Soap

January 1973

The Young and Restless Years is a new CBS soap soon to hit the airwaves.  Not much is being told about it yet, but here's a clue:  the original title was The Innocent Years.  We can guess that title was considered too tame for the projected goings-on.  

Four new shows are premiering on television this week:  The Bobby Darin Show, Here We Go Again, A Touch of Grace, and The Vin Scully Show.  Waiting in the wings are Barnaby Jones, Escape, The Tuesday Night Movie, and The Young and Restless Years.  

_______________________________________

New Soap Opera Starts Monday

March, 1973

Man-woman chemistry, young people, and music blend to form the dramatic elements of a new CBS daytime serial, The Young and the Restless, scheduled to premiere Monday.  

Genoa City, a mythical community with a population of 250,000 and located in upper mid-America, will be the home of the series.  The program's story will revolve around two of its resident families.

One family is headed by Stuart Brooks (publisher of the local newspaper) and his wife Jennifer.  They have four daughters -- Leslie, 25, an aspiring concert pianist; Lauralee, 21, presently away at school; Chris, 19; and Peggy, 16.  

The second family is made up of Bruce Henderson, a medical doctor, his wife Regina, and their two sons, Jim, 24, and Russell, 17.  An integral part of this family are Bruce's sister, Liz Foster, and her three children:  "Snapper", 24, a medical student; Greg, 20, a law student; and Jill, 18.  

Entering the lives of these two families in the premiere broadcast of the CBS serial will be Brad Eliot, a mysterious but self-confident and well-educated young man.  After leaving Chicago, Brad's car and all his personal belongings are stolen.  He hitches a ride on a truck which takes him to Genoa City and into the life of newspaperman Stuart Brooks, who hires him as a copy boy.  While alone at the newspaper office, Brad sees his own picture coming through in a wire photo story announcing that 'Dr. Brad Eliot burned beyond recognition in car accident and identified through a few personal belongings.'  He decides to remain "dead" and not to reveal his past to his new friends in Genoa City.  

The Young and the Restless will star (in alphabetical order):

Robert Clary as Pierre

Robert Colbert as Stuart 

Lee Crawford as Sally McGuire, a waitress at Pierre's

Brenda Dickson as Jill

William Gray Espy as Snapper

Dorothy Green as Jennifer

Mary Grover as Leslie

Tom Hallick as Brad

James Houghton as Greg

Julianna McCarthy as Liz

Pamela Peters as Peggy

Trish Stewart as Leslie

Additional regular cast members will be named as the program progresses.  

The series' producer is John Conboy, who most recently produced the CBS daytime serial Love Is a Many Splendored Thing.  William J. Bell created the show and also serves as head writer -- a capacity he fills for the serial Days of Our Lives.  Alternating as directors are Herbert Kenwith and William Glen.  

[I never realized they'd made it QUITE this far with the "rejected" titles of the show, publishing them as the official title.  I also never realized how "Mary Grover as Leslie" was hanging out there a week before the show hit the airwaves.  Funny that Bruce, Regina, Jim, and Russell are given priority over the Fosters, but none of them was cast at that point, one of them had a name change from Jim to Mark, and the other boy bit the dust before he hatched from the shell.]  

15 minutes ago, kalbir said:

was the casting of Dorothy McGuire as Cora Miller considered a big get for Y&R?

Oh yes, that was a big deal at the time.  It was kinda confusing to me, as I'd never heard of Dorothy McGuire before, but obviously I've seen plenty of her films now.   (If I remember right, it was always made clear that Dorothy McGuire had only signed on for a "limited engagement".)