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Everything posted by EricMontreal22

  1. When I discovered radio episodes of GL on the 90s (I got sent a disc with about a hundred) they were all from this story, starting with the death of Chukie (who was forced by his father to be more masculine leading to his death)--really great stuff. Interesting that the Guiding Light spin-off (and apparently extremely popular) The Right to Happiness was no longer on the same radio network (I believe it was on NBC which is where Guiding Light was until the mid or late 40s).
  2. Annie was dull as a good girl/damsel in distress. The whole reveal with Richie and her turning out to be the nutcase was, I almost hate to admit, a very smart move as was Pratt's writing for her in general (again I hate to admit). As for Cecily. I was introduced to her in her second run so NEVER got the appeal. It didn't help that they paired her with Lawford's Charlie, ick (I just hated his character--I wish no disrespect on the actor, RIP)
  3. Yes, Malone mentioned that in one interview (was it the video that student made?)
  4. I always wonder if they did such a lousy anniversary episode (this was after AMC had already done a classic one for their 20th and then would go all out later for their 25th) because Malone and Gottlieb had already done the great week of flashbacks for Megan's death just a year or two before...
  5. I have no idea if this link will work, but an Italian member of the Loving FB page posted an episode from June 1983--*yes* the very first week of Loving! Unfortunately... it's in Italian. But still fascinating to watch. https://www.facebook.com/christiangilles.collet/videos/1338972776141981/ Thank you! Nice to be back!! The City was actually my intro to JE--and it was love at first sight (I actually had seen the classic episode of her witholding her father's heart medication on GH before, but that was all). I think for some reason she really tied the show together--maybe it's because, as odd as this sounds, she did have a slightly more maternal element (or matriarchal anyway) that Sydney lacked. Early The City was a bit of a mess (understandable really given that they were trying something new--one of the last times ABC seemed reallywilling to invest and experiment in their soaps). The filming style was *too* hectic. The stories were all somewhat short term. The issue storylines didn't work (the racism story, the transgender story which was a first but had the trans character and her boyfriend written out right after the reveal) and the Masquerade mystery, while it had fun elements, was simply a bad idea... It was the Loving Murders but with *zero* stakes since we never cared about any of the victims or even all that much about most of the potential victims. But those final 6-8 months especially once Tracy came on were mostly gold I felt. My ABC had started airing the soap at 11:35 PM I believe by then, and it played particularly well as a late night soap for me--something to watch while I was getting ready for bed (hey, I was 16-17). Which does make me wonder once again about the Gottlieb/Malone/Griffith supernatural soap 13 Bourbon Street which Fox around the same time had wanted as a late night 30 minute soap and Logan couldn't shut up about how wonderful the pilot was (surely that should leak--c'mon) *but I digress*
  6. From my years of being obsessed/fascinated with Loving and talking a bit to various people involved etc, Nixon was actually much more involved early on than many seem to credit her as being--I'm pretty certain of this. The basic set up was done by Nixon and Wakefield -- Marland only really tweaking things, it seems. Nixon was keen on focusing from the start on three social issues--incest, Vietnam PTSD and AIDS. Those were her ideas (or she sure took credit for them, anyway). Patrick Mulcahey, who co-scripted with Marland the pilot to Nixon's story, has also said that that first year at Loving was frustrating. In one interview he says he likes to be able to craft his scripts with little interference, and that Nixon would daily give ENDLESS notes on every script he was responsible for and for that reason he wasn't sorry to move on (not sure exactly when that happened). I get the feeling Marland also felt Nixon should have left him alone more. (Although Marland--as several have said--was very annoyed about the incest story being cut short by ABC, so obviously that story, even if instigated by Nixon, meant a lot to him). Nixon doesn't seem to be credited as HW on any episodes until her mostly wonderful 1993-94 run (her last run on any soap as credited HW--she was co-HW, mostly involved in the Bianca story, on AMC of course from 1999-2001). However, it seems that when Marland left she was the de facto headwriter on Loving for the next couple of years (and pulled back from AMC which suffered a bit)--noticeably those episodes never list a headwriter in their credits for the writing team. (I want to say that Nixon introduced Ava right after Marland left but I think I may have the dates wrong). Thanks for the shout out Vee! I dunno why I haven't wasted, err, spent any of my quarantine days on this forum, but here I am, back (and have just spent hours catching up on this great thread). I loved the reunion--much better than the other ones I have seen, and I'm glad there's talk of doing more. I did repeatedly try to get the host's attention to ask about Agnes/Doug (since they were comfortable gossiying about other behind the scenes figures) and the host WAS about to ask when something interrupted her. Maybe next time? As for Linda Gottlieb, I had heard that she stuck around ABC for a bit as a consultant (maybe she was still on contract after leaving OLTL?) Nice to see confirmation of that. The stories of Joe Stuart were awful but not remotely surprising after all we've heard about his time at OLTL. Of course he was given a stake in Loving (which does make me question Agnes Nixon a bit--and did she think actually asking a young actress to get a nose job for the sake of a story was a good idea? This isn't the same as an actress who already was planning to have a facelift--ie Margo Flax on AMC).
  7. I've said it before but will say it again--the final six months of The City were *great*. It had really come into its own and was the soap I looked forward to the most. I think the writing was already on the wall by then (ABC still didn't own the show and it was apparently very expensive to shoot) but the ratings were actually going up IIRC--unlike the other ABC soaps at the time which were all starting to have issues. VERY slowly, but they were. ABC was into Aussie hunks at the time. Was it around the time Ingo joined GH? AMC also had around 1997 Tanner Jordan, played by another ex Heartbreak High actor Vince Poletto on as Tanner Jordan, Matteo's friend who tries to rape Hayley (a rather disastrous storyline--perhaps the worst in the mostly strong Broderick era).
  8. I realize this is an old post, but I haven't seen a reply. ABC did not own Loving (or The City) strangely. It was owned by the company Agnes set up with her husband Dramatic Creations (always given the copyright credit at the end--and not to be confused with the first company Agnes and her husband set up for AMC and OLTL before ABC bought them--Creative Horizons).
  9. 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).
  10. 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.
  11. 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.
  12. Love reading your thoughts--as it also helps me remember the show at this time.
  13. LOL Showing "classic" episodes during the holidays has been a thing on ABC and CBS anyway since the 90s... LONG before FB.
  14. So was it number one in NYC or just for its time period?
  15. 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.
  16. 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.
  17. 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)
  18. 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
  19. 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...
  20. 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).
  21. 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)
  22. 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).
  23. 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...
  24. He's proven to be (often) an excellent co-HW or associate HW under Malone. But that's... really it. (and I firmly believe some people are *great* at one position and not at another--everyone in the bizz seems to think Passanante was the best breakdown writer there was when she was in that position at OLTL, and we all know what has happened when she's been promoted. I'm a casual Y&r viewer but I actually thought Mal's Y&R, while far far far far far far far from great, was finally starting to kinda gel. Oh well.
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