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dc11786

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About dc11786

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  1. The Loving credit is also off. She was credited head writer from January 1992 until January 1993. Granted that was the on air credits. Millee Taggart was announced in November 1992. I think Riviera aired in 1991 though the material was probably written earlier. I imagine Walsh genuinely forgot or was trying to create the sense of consistent employment.
  2. Curtis seems to have potential during Christopher Marcantel’s first run. Like you said, spoiled heir who was threatened by his adopted cousin. I love some of the more sexual elements they explored with Curtis; he fell in love with LiIy’s alter, he was involved with the production of pornographic films, and he seduced Rita Mae while pretending to be Jack. think moving Curtis out of Jack’s orbit was a mistake. Pairing Curtis with Ava seems like an easy way to continue the Jack-Curtis rivalry especially since I don’t believe Johnny’s parentage had been revealed. It was Linden Ashby’s Curtis that married Ava and in the few scenes he appears in from around the time of his marriage to Ava he seems more than serviceable. With Burke Moses, we get a more romantic lead it seems. He falls for poor illiterate Lotty and has to deal with her con man husband Eban Japes. It might have been more appealing if Eban offered Curtis some seedy business opportunity and Lotty saw that other side. Or maybe just had Curtis pop in to Diane Winston’s bordello. Instead, the show pursues Rick Stewart as the bad Alden son. I think Rick and Lotty might have worked better with Gwynn meddling in that relationship. When Stan Albers arrives the character is shifted into a younger set of characters. None of the Curtis / Todd / Rocky nor the Curtis / Rio / Rocky material is overly compelling. Albers handles the comedy well, but his Curtis is more the brunt of the joke rather than a smart aleck. Albers is very good in Alden family scenes, but all the other romantic stuff seems super generic. i don’t mind Michael Lord. I do think the source of the madness seems to be rooted in Curtis’ feelings of inferiority to Clay. The Clay / Curtis dynamic should be more compelling. In his own way, Clay was repeating history, in his own way, by undermining Curtis’ confidence. Gwynn seems to push Curtis out of town to save him, which is compelling. I do wish the show had invested more in that (Gwynn/Clay). Also, Curtis and Cooper could have been compelling as well if it was fleshed out more. Cooper was the type of golden boy that Curtis hated. As Cooper and clay grew closer, this could have been pursued further. I do wish that the show had kept Elise Neal’s Janie Sinclair around. I think her manipulating Curtis into marriage could have been a way to really connect the fractured canvas.
  3. The headwriters credits for early NBC SFT: Ralph Ellis and Eugenia Hunt c. December 1981 - December 1982 C. David Colson December 1982 - May 1983 Gary Tonkin May 1983 - February/March 1984 Ellis and Hunt introduce the Carters and Keith McNeill in the summer of 1982. When they leave in December, Brian marries Kristen, who is claiming she is still pregnant even though she miscarried in December. The setup for the Brian / Suzy / Warren / Kristen quad is very good. Colson takes over in December and plays with the quad. Brian becomes a cop and he and Kristen struggle as young newlyweds. Warren marries Suzy and becomes involved with Rusty Sentell’s bank plans after already running guns for him. Suzy is pretty back burnered during Colson’s time. Colson lightens the mood in the Keith / Wendy story by allowing Stephanie to have temporary custody of Andre, Keith’s adopted sister. The story is a send up of “Little Orphan Annie” with Stephanie as Mommy Warbucks and the introduction of a mutt named Scratcher. This is when Andre is diagnosed with juvenile diabetes and is revealed to be Jenny’s daughter. Keith leaves in May, 1983, and Wendy is immediately thrown at Warren Carter. It’s a nice story that builds while Wendy emerges as a young vixen after previously being much more docile in nature. By August, Tomlin has Wendy get pregnant just as Ringo learns Suzy is behind the SMW trust which owns significant property that Warren wants to invest in. Rhonda Sue was introduced by Colson in May. I don’t know how soon Ringo and Rhonda Sue get together. Colson’s run is tonal different than Ellis / Hunt. Colson is what I expect from an 1980s NBC soap. Ellis / Hunt seems more P&G. It’s like watching 1980/1981 Another World abd then 1984/1985 Another World. Tomlin moves the story nicely and there is a lot of it. The canvas is very big and there are some duds (Angela / Danny’s Greek romance) but the good is very good (Suzy / Warren / Wendy, Jos kidnapping). It’s a nice mix of comedy and drama. I think Tomlin does a nice job with Liza and Travis. They have story but they don’t dominate the way they previously did. Ellis / Hunt go the route of the back from the dead dad and the nerdy third wheel live interest. Had Hunt / Ellis stayed, I suspect Liza would have eventually hooked up with Dane Taylor. Colson gives Travis / Liza the surprise pregnancy, the mistaken fidelity (singer Tony Burton and Liza in New York), and the murder mystery. Tomlin builds the Kendall / Sentell rivalry and really sets up Travis to be a major player by having him take in TR. Rhonda Sue is dumped when Joanna Lee leaves in December 1983. Ellen Barrett says the plans were already in place to purge the cast (the Morenos, Ringo, Danny Walton, and Tom Bergman also left). Phillip Brown may have left too I don’t know. I think Andie leaves earlier when Michael Kendall and Jenny Deacon marry. Andie was a character and I loved her and Rose, Stephanie’s maid.
  4. I don't know what they wrote in the 1970s, but they returned as headwriters from December 1981 until December 1982. They were there when the show transitioned from CBS to NBC. They inherited and continued the Operation Sunburst story which involved Travis Sentell developing an alternative energy source through his work at Tourneur Instruments. There were evil people who wanted to take control of the project including his own father, Rusty Sentell, who returned from the dead to get a hold of the money that would come from selling the project. This is how Dane Taylor, the musical spy, was introduced. Dane was paired with Sunny Adamson. Ellis and Hunt were the ones to introduce several younger characters including Keith McNeill, Kristen Carter, and Warren Carter. They paired Keith and Wendy and created the Warren / Suzy / Brian / Kristen quad. In their final days, they had Kristen reveal she was pregnant with Brian's child leading to Brian and Kristen's wedding. They also wrote the plane crash that stranded Brian, Suzy, and Warren in the jungle in the weeks before Kristen told Brian about their child. They also introduced Jenny Deacon and had her search for her long lost daughter, Danielle. They seemed to be creating a triangle between Jenny, lawyer Tom Bergman, and Tom's father Stu. They also introduced the Riverboat, the establishment that Jo and Stu ran. They were there when a lot of the older characters were written out (Janet, Ted) or deemphasized (Jo, Stephanie, and Martin). Not sure how much of this was network interference.
  5. I don't like Larkin Malloy's Clay, but, to be fair, it has more to do with the writing than Malloy's ability to act. When Malloy arrives on the scene in January, 1992, Clay is a failed Hollywood producer looking to reconnect with his family and redefine himself. Walsh and Ryder come on with the plans of playing with Clay's paternity, which is a bizarre decision based on the character's history. Clay already felt like an outsider due to the acceptance of Alex Masters as faux Clay. I don't know why there was a need to make Clay Tim Sullivan's son especially since they ended up killing off Tim Sullivan after a couple of months. My biggest issue with Malloy's Clay was he was written as a romantic lead, which didn't make much sense given the character's previous position. Clay and Dinahlee were appealing; Jessica Collins had chemistry with both Malloy and Parlato. I think the bigger issue is that the show needed a strong villain now that a lot of the show's previous heavies were either written out or tamed. With that said, Walsh and crew swing to far in the other direction with Clay once Parlato steps in. Parlato plays Clay for the back of the house, initially. I don't blame him. Clay gaslighting Stacey into marriage was a truly awful storyline that, in modern times, the character would have been raked over the coals for, deservingly. Within the span of two to three weeks, Taggart and Guza end the storyline and move on. Instead, Clay stays in the darkness, but is more menacing than criminal. The outline for Clay under Taggart and Guza works better, Clay fighting his own son for Dinahlee's love and taking Cooper under his wing. The problem is the show never develops Curtis in any meaningful way to interact with Clay. Patrick Johnson's Curtis is a hero-type with only hints of a backstory sprinkled here and there. There's little depth given to his Curtis. Michael Lord fairs a little better once they decide that Curtis is more psychologically damaged by everything he has experienced. Curtis' descent under Michael Lord is more subtle than Richard Cox's Giff. This isn't a comment on Cox, who was super talented, but rather to how bad the writing was in 1992. Back to Parlato, I think this scene here shows how the character works at his best. Clay rejects love and acceptance because they are things he is completely unfamiliar with and, instead, he hurts the ones around him. These scenes are from the spring of 1994 during Ava's coma. If you watch the rest of the clip you will also see the returns of Carly and Sheri Rescott as well as Edie Falco as Ava's nurse. The Clay / Alex scene starts at the 43 minute mark.
  6. I don't know when Pat Crowley last appeared, but I'm pretty sure it was in November, 1989. I believe the character was last seen around the time of Monique and Jason's non-wedding. I'm pretty sure Rebecca was said to be out of town for Christmas 1989. Crowley and Andrew Massett were dropped around the same time. I think Massett's initial exit was in January, 1990, after Monique and Jason survived Aunt Mary's attempt to kill them with the poisoned English trifle ( @chrisml this was what your aunt was speaking about). Massett was brought back in March to bring closure to Trevor's character. It was revealed he was sleeping with a colleague leading to Laura and Trevor's divorce. The cast revamp was more around early 1990. Massett and Crowley were dumped in January. In March, the show dumped Pat Tallman, Sharon Brown, and George Shannon and brought on Stacey Nelkin, Debbi Morgan, and Robert Gentry in contract roles. To be fair, the show constantly seemed to be in flux. Dorothy Lyman was brought back for the Peter Whitmore storyline. Not only was Rebecca recast, the plans were to recast JD and feature Gail Ramsay's Laura a bit more. Around the same time, Anthony Addabo was dropped to recurring so I'm not sure what the longterm plans were for Monique and Jason. Maybe the plan was to pair Monique with Butch Hartman's Sean Masters. I like what I've seen of "Generations." It wasn't always perfect and was rarely consistent, but when it was good, it was very good. The Marshalls moving into the old Whitmore estate was a very unique story that blended social issues and character history. The Sam, Kyle, and Jordan triangle was very interesting. Adam and Doreen's affair was fun. There were a lot of really good couples (Adam / Maya, Sam / Kyle, Rob / Jessica, Doreen / Daniel) and some great character dynamics (Helen / Maya, Ruth / Doreen, Rob / Daniel, Sam / Adam / Monique). I think it could have worked if it had more time. Happy anniversary!
  7. I received another batch and have jumping around from October 1992 and June 1993 so I've just watched Trisha's exit storyline. When I've read about it, I wasn't impressed, but, after seeing the storyline play out, I have to admit there were some really nice moments to all of it. In what I've seen, Noelle Beck is given little to do in her final months after carrying the show for most of the past two years (except for the times she has been on maternity leave). Seeing her in less heavy material, Beck is quite charming and has a nice rapport with the cast. I can see why Trisha was loved. Taggart does have Trisha resume her art position at the university and plays a B-story where Arthur, Trucker's geeky assistant at the bike shop, has a crush on her, but it isn't anything big. Her last days are a nice tribute to the couple. Trisha and Trucker spend the morning in bed together, they hang out with Shana and learn she is pregnant, they plan a trip to the cabin, and, in general, just seem to be in love. Things only start to become complicated when Trisha finds a picture of Buck Huston, her mysterious houseguest, and her newly returned brother Curtis Alden. Trisha questions Buck indirectly about it, and, when he isn't honest, she makes plans to confront Curtis. She stops at a pay phone to talk to Curtis, who is at the Forest Inn with Dinahlee, only to carjacked. I wonder how people would react today to what happens in the aftermath of Trisha's death. After the car explodes, a rather big focal point is the picture of Buck and Curtis burning. It's an important point as the picture is only proof of Buck and Curtis' connection, but I'm not sure how people would feel as we are suppose to believe in that moment Trisha has perished. The funeral is nicely done. It's a true event. There is a big reveal (Dinahlee realizes she has been seeing Curtis Alden) and almost everyone is there (including rarely used players like Armando and Dr. Ron Turner). The choice of song, Amazing Grace, seems to work well for Trucker's trajectory, but it's odd that they don't announce who the singer is, I believe its Roberta Flack. Anyway, looking over the Alden clan its hard to commit to their grief as so many of them have been around for under a year. During the funeral, they finally reveal that Trisha is alive and she slips off to another town where she is befriended by a kind woman, Margie, who takes her in. They build a nice little side story here with Margie believing Trisha is a battered wife and having a daughter who ran away. When Jeff Hartman arrives freshly released from Dunellyn, Margie tells him about Trucker beating Trisha and you can almost buy what they are doing. Trisha and Jeff dance to Bonnie Raitt's "I Can't Make You Love Me," a song "Loving" has used several times, and Trisha asks Jeff if he would need a secretary in Rome. It nicely sets up what should be Trisha's return, in love and happy with Jeff but then remembering Trucker and her son Christopher. I think the story requires a lot of leaps of logic, but if you accept them its kind of a nice exit. Overall, Millee Taggart and Robert Guza's run seems to be very strong after a year of chaos under Addie Walsh and Haidee Granger. Walsh, by the way, is credited as headwriter until January 1993. The Ava / Leo / Shana triangle is very strong. Under Guza and Taggart, Leo Burnell is more of egotistical, arrogant, and a bit of a chauvinist. Shana and Leo have a combative back and forth, while the push and pull between Shana and Leo brings out the worst in Ava, which is best for the audience. At times, there is too much humor in the storyline. Some of Shana's fantasies aren't my cup of tea and some of Ava's schemes seem like they were rejected by the writers of "I Love Lucy." Overall, it's a really nice story. Shana not wanting to love Leo, Leo torn between what both women offer him, and Ava not willing to let another man walk out of her life. While Ally's pregnancy may be nothing new, the way Guza and Taggart present the material seems different. In the transition period between Walsh and the new writers, all of the lying and deceit comes out. Ally tells Casey she is pregnant. Casey confronts Cooper, which leads to Hannah learning about the baby. Then Ally goes to visit Hannah only for Hannah to confront Ally. When Cooper arrives, Hannah calls off their engagement, while Casey turns around and says he's going to support Ally despite the hurt. Most of this is strong, but there doesn't seem to be much effort put into giving Hannah much of a perspective. Gayheart was certainly green, as are so many first time soap actors, but more effort needed to be point into Hannah's point of view. In contrast, the other characters have been strengthened. As much as I hate Giff's death, it is clearly an event that defines who Casey is and guides him in nearly everything he does. Hannah arrived in Corinth from a small town very naïve. This should be her defining event, and, in a way, it is. Hannah hangs around the younger set a bit while longer, but then Guza and Taggart isolate her and have her lusting after Jeremy Hunter. The Hannah / Jeremy story is one of the weakest ones. Laura Sisk Wright has completely settled into the role of Ally and she has sort of gone with the tough girl with softer edges who doesn't want to play games anymore. The character has gone through such an evolution in the past year, but Taggart, who I believe introduced the character, seems to have given her the strongest sense of self. Ally's impending motherhood seems to be directly impacted by her parents' divorce. Cooper also has changed. While Ally embraces motherhood, Cooper completely rejects the idea of being a father. He starts drinking a bit, landing himself in jail for a DUI, and then puts on quite a show at Burnell's in the Arabian Nights window display. It is only after Trisha dies and Cooper has a moment of reflection with Clay that Cooper becomes more interested in fatherhood. While it's not revolutionary, the Cooper / Ally / Casey triangle works because all of the characters have stakes and all of them seem to be operating based on their own individual experiences. Also, none of the trio are perfect. Cooper is easily manipulated by people like Clay and Stephanie Brewster and was pretty quick to abandon the baby before the change of heart. Ally is wishy washy at times about whether or not to accept Cooper's role in the baby's life, while Casey tends to be jealous of the connection that Ally and Cooper will always share because of the child. What's nice is the story is all about little moments like Coop showing up at the Lamaze class when Casey is already there as her partner and Ally worrying about how she is going to be able to pay her medical bills. In the long run, Stephanie replaces Hannah, but, initially, she seems to replace Mia, an Alden University student who Cooper is fooling around with for a bit. Mia is first seen Jeremy Hunter's art class before she ends up hooking up with Cooper and is last seen breaking up the fight between Coop and Casey when Casey learns that Coop is the father of Ally's child. Mia has similarly dark features like Stephanie, but Stephanie certainly has more personality. From the moment she's introduced, Stephanie is a troublemaker; Casey catches her stealing a scarf at Burnell's. She is established as a long time Corinth resident, Isabelle has known her family for years, and she has been attending classes at AU with the rest of the younger set. She's a fun addition. Louie's prostate cancer story is probably the last nice thing done in the final days credited to Walsh. Probably my favorite scene from 1992 is Dinahlee talking to Louie at Pins the night before his surgery. She's worried about him, but he says guys aren't suppose to talk about these things with pretty young ladies. Louie is trying to reassure Dinahlee, but it's Dinahlee who has the best little moment. Dinahlee goes off on a little monologue about how she's never known her father who abandoned her when she was four years old. She talks about how she always imagined what he was like, and, now, she hopes that he would be like Louie. Under Guza and Taggart, Louie's impotence continues and there are some really nice moments between Louie and Kate. Louie avoids Kate when it's time to go to bed, first staying late at the bowling alley and then coming home to do a crossword puzzle. It's such a real conflict that you'd never see play out today with a couple at that age. When Kate is talking to Ava, Kate makes it clear that she and Louie have had an active sex life, which shocks Ava. I can see why it was well liked, and I wish it was featured a bit more. On the down side, nothing seems to really work about Curtis Alden. Patrick Johnson is given very little direction and struggles to find any depth in Curtis. The writing isn't helping. The show pushes Curtis / Dinahlee hard with the silly "Ronnie / Betty" story, which is mostly ridiculous but does lead to some nice tension for Clay and Ava individually as they realize that Curtis and Dinahlee are in love with the other before they do. The reveal of Dinahlee and Curtis' true identities after Trisha's funeral is a nice climax to the story and the possibility of a Clay / Curtis / Dinahlee triangle is intriguing, but no one has a sense of who Curtis is. It doesn't help that they've also saddled Curtis with some mysterious backstory involving Buck and their time in Kuwait. The show needed to really figure out who Curtis was. I feel like Taggart had similar issues with Curtis during her first stint. The other issue is the father/son dynamic between Clay / Curtis doesn't generate the interest that the Clay / Cooper relationship offers. After Cooper gets in trouble with Steffie for nearly having sex in a window display at Burnells', Clay offers to mentor Cooper in the art of being a calculated, vindictive Alden. Some of it is over the top as anything, but it's an intriguing proposition. I've only seen a little bit of Tess, and she works as a con artist/grifter type, but I cannot see how she could work long term.
  8. 1992. He treated Trucker in the aftermath of being shot by Giff Bowman and falling from the belfry. Reynolds was later the doctor who diagnosed Louie with prostate cancer. Peg Murray's "Loving" role, Mary Lou, was from 1992. She was Tim Sullivan's neighbor in Atlanta who let Trucker and Stacey into Tim's home during their investigation.
  9. This seems to be from very early in the Brittons return. From the dialogue, it sounds like this is Susan and Amy's first meeting since Amy's return to Woodbridge and the house hunting would suggest that the couple hasn't been home long. BTW, it doesn't sound like Stephen Bolster's Jerry has been in town for very long either. Bolster isn't listed in the press release among those arriving / returning in April, 1968, but it seems like he did. The Brittons returned in April 18, 1968. My guess would be this episode would be from late April.
  10. John Young still was writing for the series.
  11. I don't know the extent Irna Phillips stayed involved. She turned over the writing duties to John Young in 1942. Young guided the show through its evolution as it morphed into the political crime drama in the early 1950s (the years Miles Nelson was governor) and then back into a class warfare drama with working girl Grace Driscoll trying to marry with upper class Skip Kramer. Young ended up writing for television, but his original series, "Golden Windows," was quickly cancelled. Also, when he took over "From These Roots," there are several fan comments in the newspapers speaking of the displeasure with the sudden focus on political and criminal elements. Claudia Morgan is an attractive woman, but I don't know how much work she did in television. I think she easily could have carried the show for another 20 years.
  12. I'll look for them and type them up. I know there are a lot of brief episode listings for the early episodes available in markets that the show aired in primetime. If I come across any of those that I've saved I'll try to post them as well.
  13. Yeah, I tried rewatching the last week of "The Gift" and I felt it was incredibly hollow. I know they were not aware that things were ending, but I think the overall feel of the show was so lifeless. It felt like a mercy killing. I didn't mind some of the arcs. I liked "Miracles Happen" and "Secrets." I was watching daily between those two arcs and continued through "Superstition," but grew tired of the show very quickly. My problem with a lot of the later books were they were typically vampire tales that didn't really embrace the telenovela feel, in my opinion. I don't watch "General Hospital," but I know of Ron's MO. As a "Ryan's Hope" fan, I didn't like the Delia connection. I believe I said on the "Ryan's Hope" thread, it's a shame that even in death these cancelled soaps couldn't find any peace. In the same manner, wouldn't your suggestion about having a crossover throughout ABC daytime infilitrate the supernatural element into the other series? How would that be different than the undoing of PC on GH? The reviews for "Tainted Love" didn't overly impress me. I was initially really intrigued by the Father Michael angle, Eve's pregnancy, and Chris and Eve planning on raising the child together. Even the Caleb / Michael angle was intriguing. I know Donna Swajeski joined the writing team in a significant role during "Tainted Love" and many attribute the success of that arc to her. The entertainment press have never liked typical soaps so anything that was different (Port Charles and Passions) has received positive press. I don't think ABC wanted PC to fail, but I don't think the show was kept on because the reviews were good. I just don't think the show was solid enough to last long term.
  14. I don't know how successful (or even practical given the production model) to have a story that went between all the show. I believe there was suppose to be a story during the arc after "Tainted Love" (was it "Surrender?") where GH and PC crossed over but it was scrapped. I kind of like the idea of Parallel. Was Serena still appearing during the arcs? I've seen a lot of Serena and Neal during the Karen Harris era, but I barely remember either one of them during the arcs. Kiko Ellsworth planned on leaving the show had it continued so I'm curious if the show would have recast or simply dropped Jamal. I tried to watch "The Gift" to participate more in the discussion, but it just felt so empty. Neither the stories nor the characterization were compelling. The actors didn't appear to have much energy either at this point. I had similar problems when ABC announced it was cancelled. I tried watching to see how it ended, but I just didn't feel it. I've always wanted to see a Rosemary's Baby type story where Allison realized her baby was Satanic and she realized that if she raised the child it would ruin the world.
  15. I'm pretty sure they were published in the Soap Opera Encyclopedia from 1987. I want to say it was around 1.7 to 2.0. I'm sure most of this was a disaster, but I really wish material would show up from the last six months of the show. I would love to see the show once it shifted from the college stories to a lot more of the business dealings with Carter and C.J. I actually picked up a press kit for when the show premiered that included several pages of a character biographies for the show, but they don't appear to be from either version of the show that we know about (the unaired pilot or the series). These bios seem to be from a Rituals 1.5 for lack of a better term. The Priscilla Lawson character is called "Laura" in the character sketches and there is a biography for a character who clearly becomes Patrick Chapin. In this version, there are also hints that there may have been another untraditional matriarch figure, a female college president who would be dating the "Patrick Chapin" type. If anyone is interested, I'll post some more about it.
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