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EricMontreal22

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About EricMontreal22

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  • Birthday 03/14/1980

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  1. Right. I've also heard that Ruth Warrick insisted on cue cards even after AMC had officially dropped them and, of course, they obliged. I think with older actors like her and Jeanne Cooper, there was no shame in using them as they were in the industry when they were the norm. And that's a good point about radio soaps. I'm a fan of BBC radio's insanely long running The Archers and they still always read the scripts when recording (I'm always amazed we don't hear pages turning).
  2. Twin Peaks is included in a number of soap books I have from the early 90s (ones that cover prime time soaps...) and the original show WAS modeled after soaps, so I think it's... somewhat fair (they cover Dallas and Knots), though I suspect it is largely done to seem trendy and with it. I know DAYS was using a teleprompter into the 2000s (for all I know they still are--the direction and acting style on that show have always been so static, it would be easier to pull off) but I think for the most part they meant cuecards/teleprompters as the same thing. I know it was a big deal when AMC got rid of them in the mid 70s (the producer makes a big proud comment about it in the book All Her Children). I've also read it was considered a necessity when soaps were still live (understandable if someone completely blanks out you need someway to get them back into the scene). It'sprobably telling too that the shows that are listed as still using cue cards are ALL Hollywood based and not NY based shows. In theory East Coast shows would hire more actors with theatre background who were used to memorizing long scenes--west coast models, movie and primetime actors would not be as experienced with such lengthy and quick memorizations.
  3. The irony is I've read that ABC actually hired Rauch because they hoped OLTL wouldn't go the GH route and would be a sophisticated drawing room drama--like Rauch's AW was (I think the OLTL official trivia book says as much). But Rauch was uninterested in that and wanted to go all out, doing his attempt at Hollywood blockbusters, etc.
  4. Love reading your thoughts--as it also helps me remember the show at this time.
  5. LOL Showing "classic" episodes during the holidays has been a thing on ABC and CBS anyway since the 90s... LONG before FB.
  6. So was it number one in NYC or just for its time period?
  7. Yes LOL I dunno--I didn't find the characters on Cucumber to be remotely stereotypical considering how we usually see gay men depicted--I do get the unlikeable thing (something that never bothers me--the original QAF of course got that same criticism not sure which version you were commenting on) but I think with more episodes (especially the amazing one involving the death of a major character--one of the best hours of TV I've seen) they grew in depth. But YMMV.
  8. Was anyone else a bit let down by the finale (I noticed they advertised it as the finale--not season finale or series finale...) It just felt off in a way that earlier episodes hadn't to me--maybe they tried to shove too much into it.
  9. Having a character, the first male incest survivor no less, on a soap completely misremember who had been molesting him for *years* is not really a good precedent (I think a year or two later we had the Cooper sexual abuse story on Loving?) Yeah the use of Married actually sounds rather inspired--a perfect song for them and not an obvious choice (since the song wasn't even used in the movie version of Cabaret--well except as German background music)
  10. That's not quite right... As Vee said Malone's 90s work was always strongest with Griffith as co-HW (even Malone basically admits as much) even if love it or hate it things like Todd and his legacy were more Griffith than Malone. The final year of Malone's OLTL in the 90s was a bit of a mess (the endless Irish mob stuff, etc) and that was after Griffith left and Malone was solo (of course it was still better than much that came after). However you have your credits wrong for the 2003-2004 stuff. Griffith was hired first yes, but with Malone as his creative consultant and then after four months they became co-HWs again (and I think Malone was more involved than just as a consultant before then--he just wasn't sure if he wanted to take on a HW job again). However Griffith again left, due to difficulties with Frons, *before* Malone did and Malone did wrote from the end of March to the end of Nov 2004 solo without Griffith and the writing simply got worse again (though that whole run was a mess). So Higley was cleaning up Malone's mess not Griffith's. Though I thought Higley's OLTL was so wretched I would never say that... *Edit I just realized you prob mean Higley cleaned up Griffith's work on DAYS which I know little about Still my point stands. And I see I responded to Whitney too soon--as you said already what I posted. But it bears repeating
  11. Didn't they kinda chicken out at the last minute and reveal it was his uncle or someone else and not his father who molested him? Makes a lot of that article come off less impressive. I'm sure it's embarrassing but I always wished that full episode would surface. I can not picture Trisha and Trucker singing When the Children are Asleep from Carousel...
  12. The feeling, frankly, I got (and these are not her words) is that any blame that happened while she was involved after Bill's death, she'd get thrown under the bus for. The existing Bells sound like a family that really does not know what's in the best interest for their own soaps, as much I am not suggesting they sell the shows outright. But they seem extremely conservative and close minded about creative decisions that Bill would not have been about (mind you this is all I have gathered and assumed from a 20 minute conversation!) I agree. I didn't expressly ask about her role as a consultant during the Sussman era, so I'm not sure what went on there (though she did laugh when I asked if she could define the role of creative consultant on a soap--and she basically said it was someone who offers suggestions that are ignored).
  13. I was one of those people who thought the CowLip QAF was a pale shadow of the UK original (though I admit it could be ok as a trashy gay soap) but... Nothing about this seems like a good idea to me. Wasn't Davies also an exec producer (he later admitted "in name only" for the US series?) I mean writing wise I think the man can do little wrong, but (and I happened to love Cucumber/Banana which he mostly wrote and seemed like a natural QAF continuity)
  14. I have interviewed the person who said he ran it until 2001 (and he hates when I mention his name...) for its final year--but maybe they were just finishing it off with the students they already had? Either way--that's really too bad. I suspect you would have been a good fit (and when he described to me how the program worked it sounded like an amazing opportunity and--if you don't mind endless work deadlines--a lot of fun). Jean Passanante actually started her ABC career there as someone who would seek out talent among playwrights from universities and regional/off-Broadway theatres (another role she was reportedly actually very good at).
  15. OK I don't buy that for a second. But I also never thought he was ever in it for the long haul (would his roles at Y&R even have given him more money than his UK soap work?) Unfortunately (and I have this from, well the horse's mouth) the Bells have never stood behind Kay Alden or fought for anything she's wanted post Bill. There's no feud there--they are still friends, but when it comes to the shows, or creative decisions when she's been there, they have never backed her up. And that of course is the fault of the industry. They've cut any soap training programs, etc. i trust that a number of talented people outside of the soap bubble would still, even in this climate, take up the reigns of a soap. The execs just can't be bothered now to train people, or even take a risk--they'd rather go with a commodity that has proven not to work. Coincidence? It was the very early 2000 when ABC dropped their very successful daytime writer's program... (Even "don't stir the pot" Agnes Nixon commented on what a short sighted mistake it was) I spoke to Alden for my MA gay soap essay--of course things can change in a second, but she made it pretty clear she'd never return unless major changes behind the scenes were made. SHe still loves the genre. She's older though and I don't think relishes fighting against the owners of the show to get her vision seen when she could be doing something else with the last quarter of her life...
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