Khan

I've read the book. Basically, KZ says BE (or her "co-star") had a habit of falling in love w/ her love interests off-screen as well as on, ending both her marriages in the process. Depending on how you read into things, she and Rob Bogue (Mallet #2) were supposed to leave their respective spouses for each other, except Bogue got cold feet and stayed w/ his wife (that is, until he fell for Mandy Bruno, who was the last actor to portray Marina). That created a sort of dark cloud which hovered over the entire production until BE's eventual departure. What really got me, though, was KZ's mention of the female co-star who was found one morning duct-taped to the door of one of the production offices. ;-)

I thought so, too. Doug Marland was my all-time favorite writer, precisely because he was extremely meticulous whenever it came to history and character. Yes, I could have done without some of the Lily-worshipping (LOL!), but I feel confident in saying he never had any character behaving inappropriately w/o providing a reasonable and accurate motivation first.

Let me get this straight: Al Bundy and some chick whom I've never seen before kidnapped Jamie Frame, who they think is Sandy Alexander, for "a mere $100,000." That's small potatoes even in 1981 dollars! On the bright side, Paul Rauch produced ANOTHER WORLD so lavishly back then, it's unfathomable to me how his style came to be so overblown on subsequent shows. Either he didn't have the same level of talent supporting him on OLTL, GUIDING LIGHT, etc., or he was overcompensating for poor writing.

Aside from Liza's son, I think, the Tourneur/Sentell family had disappeared by the end of the show's run. It's easy to say (and probably true) that refocusing on Jo and Stu would've saved SEARCH. But, OTOH, it wasn't as if Jo and Stu were going to live forever. Bringing back Patti was a step in the right direction, though; it would have kept Jo active and "alive" on the canvas, while simultaneously grooming Patti to be the "Jo" for the next generation. Frankly, all one needed to do was 1) phase out the McClearys and Kendalls; 2) recast Suzi w/ a stronger actress and bring back Wendy; 3) bring back Tom, Janet, and maybe Gary (was he the one who died, or was it Dan?) to shore up the remaining Bergmans; and SEARCH would've been in almost good shape.

Thom Racina married? To a woman? I don't think so. ;-P

I think Eunice should've risen from the grave and slapped Suzi for being such a whiny twit.

Judging from the quality of his performances, those plans fell through.

I've always loved the photo of Meta, Bert, and Meta's "little white wings," as she called them, lol.

Feel free to disagree, but I think Ann Williams' husband, Dan Welch, was a hunk, lol.

First of all, let me just say that if not for the chance to see Lisa Brown (Nola), Maeve Kinkead (Vanessa) and certainly MG again, GUIDING LIGHT's last few days would've been a farce and a complete waste of time. Right up to the very end, Ellen Wheeler and her team had no clue at all how to run any show, let alone one like GL. Second, it's a testimony to MG's power and skill as an actor that Holly came out as "whole" and "sound" as she did at the end. Let's face it, this show treated Holly (and MG) shabbily for a very long time; and had another, lesser actor been asked to perform that same material, I've no doubt Holly would've ended up a total loon. And I think I did. (Holly ended up w/ Ed, right?) I mean, given the circumstances - Roger was gone (and it would've been scandalous to have them back together anyway); Ross was, too (and no way would fans have accepted that knowing that he "belonged" with Blake) - having Ed and Holly back together was a nice, fitting touch. It showed how the two had come full circle after all the years and drama, but with the knowledge that they were wiser, saner people than before. Here's the difference, I think, between Roger/Holly and GH's Luke/Laura: although the idea of a rape victim reconciling with her attacker is never cool (witness OLTL's "rapemance" between Marty and Todd, er, "Todd"), I, for one, would never have balked right away at the suggestion of Roger and Holly reconciling, b/c the road to that reconciliation was far rockier, far more character-driven, and included more realistic twists than running from the mob and saving the world from a supervillain and his "weather machine." Sad words, but probably true. I don't want to disparage the efforts of those trying to keep the genre alive on the web and elsewhere, but unless and until someone figures out how to make this not just profitable again but effective, character-driven entertainment, part of me wonders whether soaps aren't better off going the way of westerns and live anthology shows of the '50's. Words like "nadir" and "degradation" don't begin to describe that particular story. Sebastian/Holly made the "Nursery Rhyme Stalker" story look downright plausible.

It didn't help to have dull Yvonne Perry and Judson Mills as Rosanna and Hutch either.

Ms. Channel's article might've been a hair too long, but it's probably hard, if not impossible, to refute her opinions about why the show ultimately failed. (I say "probably," b/c I've never seen an episode of SOMERSET, so I can't say whether or not she was astute about it.) From everything I've read about the show, however, it does appear that its biggest problem was a general lack of consistency in its storytelling, as well as an inability to set itself apart from its "mother" show, ANOTHER WORLD. Even when Henry Slesar took over as HW, and stories became more focused on crime and mystery, it seemed like it was playing second fiddle to EDGE OF NIGHT.

You know what I love and miss most about Marland's writing? Number one, he never insulted viewers' intelligence or their knowledge of history and character. Even when characters such as Lisa and John had long-lost children, he wrote it so that the scenario behind their conception(s) was plausible and that you didn't have to ignore what had occurred already to make it work. And number two, I really cannot think of a kind of story that Marland didn't excel at. He wrote good mysteries, but he also wrote good social-issue stories, good young love stories, good older love stories, good family stories and good stories about corporations, too. The guy was just boss, IMO.

IOW...? SOMERSET stank.

Mady Kaplan, who portrayed Marie Kovac, is Frances Heflin's (Mona, AMC) real-life daughter. Aside from Steven Weber's dreadful performance, which I think is typical of his level of skill (or lack thereof) as an actor, I've really no qualms with the Kevin/Frannie/Marie story. (Of course, since I believe Doug Marland never told a story that wasn't meticulously crafted beforehand, I'm biased, lol.) I look at it all as groundwork for the bigger tale, which was Frannie's relationship with Doug Cummings. Marland might have had other plans in mind for Kevin, at least, but I don't think so. Any more than I think Marie's primary function was to create a spoiler for Frannie and Kevin that brought up the reason why Frannie dumped him the first time and flunked out of Yale; and why she would hook up with Doug later on after giving Kevin a second chance and then regretting it. None of that would have made any sense with Jay Connors, who'd remained in Oakdale (and thus, on-screen) while Frannie was away at school. Meanwhile, I'm glad there are clips available of Julianne Moore's work as Frannie aside from the one w/ Kevin that's always used in "Before They Were Famous"/"They Started on Soaps" specials. She was incredible even on ATWT, and it's shameful more people don't know that. Yet, for some reason, I never minded as much when he wrote it, because I feel like he always rooted everything in character. And even though certain moments could have been OTT, at the same time, everything was played with dramatic import. There weren't any "nudge-nudge, wink-wink" touches that stink up today's OLTL, for example.

Perhaps you're thinking of... http://www.imdb.com/name/nm0781899/ ?

Yeah, more characters and stories would have prevented that, lol.

IMO, in order for the 90-minute format to have worked, they would have needed to increase the number of characters, stories, and scenes - which would have made for a fuller, richer canvas, for sure, but it also might be too much for the average viewer to follow. (As it was, it seems like ANOTHER WORLD had a cast of thousands back then.) Another alternative: break up the 90 minutes into three half-hour shows, all under the banner title ANOTHER WORLD. It would have been like the "Law & Order" franchises, w/ characters passing in and out of the three separate shows as stories dictate. With three separate shows, casts, writing and production staffs, etc., all supervised by one senior/supervising EP to ensure some continuity, no one show would have to bear the strain of producing 90 minutes of drama five days a week. OTOH, if one or two shows were "weaker" than the others, that might affect viewership if fans chose not to tune in for the entire 90 minutes.

I never got the opportunity to write something for Beverlee McKinsey or Michael Zaslow, but I really hope I will for Elizabeth Hubbard 'fore it's too late. She's among the last, remaining intelligent older actresses out there.

I think Beverly Penberthy's reaction was the most honest. Everyone else was chirping about how exciting it would be, but she was more realistic, essentially saying, "This could be really good, or really bad." Which it was, apparently, lol.

The way Laurence Lau prances around in that first clip, you'd think his Jamie would rather be w/ Jake. ;-)

You know, I would have loved to have seen what happens when Val's biological father re-enters the fray. Who is he? Where did he come from? What has he been up to? How does all that affect his relationships w/ Gary, Lilimae and Val, as well as their relationships with each other? In keeping with KNOTS' tradition of hiring trained stage actors, too, I might have cast someone like Jason Robards or E.G. Marshall to have played that part.

Let's put it this way: they could have, had more creative people been in charge. I loved the Lechowicks' work, but I also believe they are better at plot-driven material than character-driven material.

On the other hand, Carl, if Lilimae had remained a grifter, never repentant for any of her misdeeds, both past and present, I think the audience would've become tired of her much sooner. Of course, Julie Harris is like Beverlee McKinsey: she can play the hell out of anything and keep you glued to the set, no matter what. So who knows? Correct. Part of me wishes David Jacobs had been more open-minded about Joshua's place on the show. For one thing, I think Alec Baldwin would have stayed much longer with it (if only for the opportunity to continue working with Julie Harris, if nothing else) and become an even bigger asset to KNOTS overall. More importantly, even if the writers had played out his arc as planned, that would have set the stage for an electrifying "redemption arc," something the primetime soaps never seemed to want to do. Joshua never would have had to become a total saint, especially w/ the way Baldwin played him; but I feel like he could've been KNOTS' answer to GUIDING LIGHT's Roger Thorpe.

I didn't like those stories for Anne either, but I think they were written to compensate for the fact that Michelle Phillips just wasn't as strong as Donna Mills had been in corporate-centric stories.