Paul Raven

Dorothy Malone was captivating, hair and all. So beautifully dresses in those chic suits. And in movement, she didn't as much walk as glide. Yes, early PP was shaky. They soon realized and admitted that bringing in new characters not connected to the town was a mistake eg the Schusters. There really was too much story for 2 half hours. So sometimes characters like Connie were not seen enough.

For the record Street Hawk never aired Mon @8. ABC decided to launch Call to Glory instead following the Olympics. It launched to big numbers after a lot of promotion but soon fizzled once the regular season got underway. ABC was on shaky ground as witnessed by the timeslot changes that soon went into affect. The Thursday 8-10 lineup was dropped after a few weeks for movies. Jessie was dropped. Glitter moved to Tues @9, Paper Dolls to 10pm and so on. Luckily for them Who's the Boss was rescued. A possible schedule Mon Hawaiian Heat/Football * HH compatible with football and good counterprogramming to Scarecrow/Mrs King and TV Bloopers Tues 8-9 Foul Ups/People Do Craziest things *Foul Ups had done OK against A Team and People Do was complimentary 9-10 Hotel * Time to give Hotel a shot as a 9pm show. Good familiar alternative to Riptide and CBS Movie. And season 2 opened with Elizabeth Taylor as guest star so plenty of publicity there 10pm Jessie * Best option for that slot. Wed 8pm Fall Guy 9pm Dynasty 10pm Paper Dolls * Use that timeslot to establish a new soap. Thurs 8pm Street Hawk *Good counterprogramming to Cosby and Magnum in a killer timeslot 9pm Call to Glory * Tough timeslot opposite Cheers and Simon & Simon. An alternative with 'quality' overtones 10pm 20/20 Fri 8pm Webster/Who's The Boss *Webster was ready for 8pm as had already begun to outrate Benson. Boss given good timeslot. 9pm Benson/Three's A Crowd *Go with comedy opposite Dallas. 10pm Matt Houston Sat 8pm TJ Hooker 9pm Glitter *Time to freshen Saturday as Love Boat was failing. A similar type of show and easy viewing on Sat night. 10pm Love Boat What do you guys think? What do you like/dislike? Any alternatives?

I agree. If any of the other primetime soaps proposed around that time went ahead, Lola Albright would have been great casting.

Re Allison's return on Peyton Place. A recast Allison just would not have happened in the original show. Recasts were used twice and only as temps due to illness. In RTPP a recast was acceptable because the cast was pretty much all new and recasts were part of the daytime genre.

Well the Devon/Y&R crossover was as exciting as wet toast, so I can't imagine this being any different.

Will Jacob's brother hang around the police station, Orphey's and Uptown? Or chat to his brother in the bedroom? Hopefully, this will lead to a living room set for the Hawthornes.

Well to be honest it doesn't even sound good/interesting on paper. This Sharon/Nick thing is touted as LA Noir- we know it will be awful. Zero faith in anything Josh Griffith can write. I think the detective role will be short term, for the LA Noah mystery.

The closer set of stairs have been seen in BTS shots-it's merely a short railing and a few steps. I don't understand that chair sitting at the base of the stairs-looks awkward and hazardous. With Bill and Danni bonding over the kidnap,this would have been the time for Hayley to announce her pregnancy and the fake it-more motivation than before.

Well worth watching for the cinematography alone.

That was such a smart move by PP to have Alison just disappear. It drove story for years after. Surprisingly, daytime never used that twist when a popular actor decided to leave-they either recast, killed them off or gave them a lame excuse to depart.

Odd take on the show. She mentions Nixon/Marland revamping Loving after 6 months. The thing is that revamp did nothing to improve the show or the ratings and set the stage for constant reboots over the life of the show. Sure BTG needs a few tweaks but recasting/cast culls and change of direction is not needed.

Things were in such turmoil at that time that Larry was now considered a veteran character. There was room for him and Clarice as sort of tentpole characters-him being a cop suited the stories of the time and Clarice was a good talk to, running a restaurant/coffee shop. And they had Cory waiting in the wings to be SORASED. But TPTB had other ideas and I guess longer running characters are more expensive and Clarice and Larry weren't really vital to the structure so...

Could she be referring to Larry Auerbach, the LOL director who was there for years? Or maybe it was someone he alternated with?

Fen and Noah both interested in the men? It was already a rewrite for Fen out of the blue, but Noah also??

TV Guide April 22 1995 ATWT's Vaughn: Love and Dloom What prompted Robert Vaughn—Oscar nominee and prime-time giant—to join As the World Turns? “The schedule, the money, and Claire Bloom," reports the former Man from U.N.C.L.E. “The show agreed to shoot around my other projects [like ABC's remake of "Escape to Witch Mountain" on April 29]. The pay just about covers my children's private-school education. And they plan a romance for me and Claire—and I love Claire." The pair played Mr. and Mrs. Woodrow Wilson in the 1979 miniseries Backstairs at the White House, but their suds characters aren't quite so lofty: Vaughn plays an egomaniacal lawyer, and Bloom a Lady Macbeth like murderess. We can’t wait for this wicked pairing to kick in, but Vaughn has no immediate plans to watch. “Frankly,” he says, “I haven't seen [ATWT] yet and probably won't anytime soon—it's on at the same time as O.J.

We've seen Jacob and Andre shirtless. No Ted, Bill, Martin, Smitty etc

TV Guide March 9-15 1985 There Could Have Been Plastic Surgery forJ.R.—and a Coffin for Bobby On Dallas and other prime-time soaps, writers keep many plots ready for emergency use By Jason Bonderoff Was Jock Ewing supposed to return to Dallas almost three years after his death—just as Miss Ellie and Clayton Farlow were saying “I do’? Or how about plastic surgery for J.R.? Or Dynasty's Alexis Carrington with an Italian accent? Or Chase Gioberti’s champagne going down the drain on Falcon Crést? Those tantalizing tidbits are just some of the story ideas that were dreamed up for prime-time serials but never made it from the conference table to the typewriter. Other plot lines that made it all the way to the TV screen have been quietly laid to rest—and new characters have faded into the woodwork—after a brief, unsuccessful episode or two. Established characters sentenced to death by the scriptwriters sometimes get a stay of execution—for reasons having nothing to do with the plot. Take Saturday, Sept. 23, 1978. On that night, Dallas became a weekly series and Bobby Ewing was scheduled to become a corpse. In the five-part miniseries that preceded it, Pamela Barnes, a girl from the wrong side of the tracks, had married Bobby Ewing, the only salvageable sibling in a family of greedy vipers. Now, in episode’ six, the handsome prince was supposed to die, while his young widow stayed on at Southfork to fight for her rightful share of the power and profits. What saved Bobby from premature extinction? According to executive producer Philip Capice, “Once we saw the chemistry between Victoria Principal [Pam] and Patrick Duffy [Bobby], we realized that it would be a terrible waste to abort that relationship. So instead of killing Bobby off, we slowly began to adjust his character. In the beginning, when Pam married him, Bobby was really the company Lothario. Over the years, he evolved into a caring husband and a sharp businessman, a formidable opponent for J.R.” Bobby's brother Gary (who now resides on Knots Landing) got off to an even iffier start on Dallas. At first, the writers couldn't decide what to call him. In one early script, Pam referred to him as “Greg”; later Miss Ellie called her son “Carl” and finally everyone settled on “Gary.” Miss Ellie once praised Gary’s artistic talent while bemoaning his weakness for cards and alcohol. Today, Gary's sketches are probably stashed in a bedroom closet at Southfork; but his battle with the bottle persists. However, the Knots Landing writers have forgotten all about his self-destructive, habitual gambling. Ted Shackelford, who plays the role, recalls, “A few seasons ago, we did a show where Laura Avery's father was visiting and we all sat down to a friendly game of poker at Karen's house. When I saw the script, I said, ‘Listen, guys, Gary’s a compulsive gambler—that's the same as being a recovering alcoholic. He just wouldn't sit down to a friendly game of poker with Laura's dad or anybody.’ But they said, ‘Forget about it,’ and I was overruled.” All the prime-time soaps suffer from selective amnesia. There's little loyalty to a storyline that's run out of steam or a character who's left town. On Falcon Crest, Chase and Maggie's daughter, Vickie, fled the Tuscany Valley after her honeymoon because she found her husband in bed with his ex-wife. Vickie divorced him and is now in New York pursuing a dance career, but apparently unable to afford an apartment with a telephone. She didn't even bother to call—let alone send a get-well card—when her mother underwent brain surgery last season. Some shows try harder than others for storyline vérité. According to.Mark Harmon, who plays Dr. Bobby Caldwell on St, Elsewhere, ‘At least on our show, when they want to get rid of someone, they build towards it over a few episodes. They don't just send you off a cliff in an exploding car.” When the powers that be at St Elsewhere decided to drop Dr. Wendy Armstrong (Kim Miyori) from the cast, her character came front and center for several episodes of the show. Wendy, the perfectionist, was revealed as a secret bulimia sufferer whose emotional balance was, at best, precarious. When her hasty misdiagnosis led to a patient's baby being stillborn, Wendy went home and quietly committed suicide. Miyori remains philosophical about her departure. “If I had to leave, at least Iwent out with a big bang.” Some characters go out not with a bang, but with hardly a whimper. Last season, a mystery man named Calvin Kleeger appeared on Falcon Crest. According to Richard Herd, who played the role, Calvin—a wine distributor of dubious distinction—was slated to “share a dark past with Angela Channing” and become her partner in crime in preventing her nephew Chase from bottling his brand-new line of champagne. But that plot was barely uncorked when it started fizzing out. Kleeger made a hasty exit and a new storyline was devised in which Angela married her attorney, Phillip Erikson. With 10 to 15 regulars on every primetime soap, peripheral characters like Kleeger are usually doomed from the start. “Much as we like them, it's even difficult involving Ray and Donna, who are Ewings, in mainstream stories," says Dallas's Phil Capice. “Most of our key characters—J.R., Sue Ellen, Bobby, Miss Ellie—all live under the same roof. Ray and Donna live in their own little house, a car drive away. They're not privy to all the intrigue and goings-on at Southfork.” Dallas has another tried-and-tested rule for ratings success: never keep J.R. an underdog for too long. “On one occasion,” says Capice, “when Miss Ellie removed J.R. as head of Ewing Oil, our mail increased fivefold. The bottom line from viewers was: ‘Why are you giving J.R. such a hard time? Put him back in control where he belongs'—and we did." Dallas faced an especially critical juncture in the summer of 1980. The previous season had ended with a phenomenal cliffhanger: the shooting of J.R. Right after that, Larry Hagman decided to renegotiate his contract; and when filming resumed, Larry and the show still hadn't come to terms. “We could have opened the new season by pronouncing J.R. dead," says Capice, “but that didn't make sense because the character was too pivotal." To buy the writers time, a double was hired to play the critically wounded J.R. “He was only shown being taken from his office on a stretcher and whisked away in an ambulance. Viewers had no inkling that it wasn't Larry Hagman under all those tubes and bandages.” What if Hagman hadn't re-signed? “We would have gone with a somewhat different scenario," says Capice. “J.R.'s ambulance, traveling at breakneck speed, would have been hit by another vehicle en route to the hospital. As a result of the accident, J.R. would have needed plastic surgery. We could have kept his face in bandages for several more shows, then unveiled a new actor in the role when the time was right. Would it have worked? Fortunately, we never had to find out.” Dynasty faced a similar problem with the casting of Alexis Carrington. Several actresses, including Sophia Loren, were under consideration, but no one had been hired. So, in her first appearance, Alexis was seen on screen for only a few seconds, simply as a mystery woman hidden under a black veil. An anonymous extra played the part. Later, the veil was lifted and—voila—Joan Collins. Other real-life events can dictate some pretty sharp turns, too. When Dallas star Jim Davis died in 1981, Jock's off-screen demise had to be postponed for several, months because the show was in the middle of dealing with another tragedy— Kristin Shepard's corpse had just turned up in the Ewing swimming pool. “How could we sensibly compound the murder of a woman with the death of the head of the family within moments of each other?" explains Capice. “So we sent Jock off to South America, but kept him alive with phone calls until we found an appropriate time in the story to give Jock's passing the dignity it deserved.” For a time, the writers and producers seriously considered recasting Jock (remember, his body was never found after his helicopter collided with that plane). But ultimately, says Capice, “We felt it would be wrong to do so out of respect for Jim, whom we all loved very much. Moreover, we still had Miss Ellie, the mother figure, to hold the clan together.” That's why Miss Ellie didn't bite the dust when Barbara Bel Geddes retired at the end of last season. Instead, Donna Reed was immediately hired to replace her. “With Jock gone, we couldn't afford to lose Miss Ellie, too,” explains Capice. “We need someone to represent parental authority at Southfork.” It's easier, of course, to write out secondary roles. But Dallas's Fern Fitzgerald found an ingenious way to keep her character, Marilee Stone, from fading into the shadows. In fact, all it took was a gradual lightening—of her hair, that is. When Fitzgerald started on the show in 1979, Marilee was a total nonentity—just one of Sue Ellen’s gossipy pals on the Daughters of the Alamo luncheon circuit. Today, she’s a bona fide oil tycoon and a bikini-clad sexpot who's wheeled, dealed and bedded both Cliff and J.R. What made the writers jump up and take notice? “I owe it all to my manicurist,” says Fitzgerald. "She's a devout Dallas fan and one day she pointed out that Linda Gray and I are both the same height and, at that time, were brunettes with matching hairdos. ‘Fern,’ she said, ‘you'd better change your look or nobody's going to notice you when Linda Gray's on screen.’ So, a shade at a time, I went from brunette to blonde and it worked. The next thing I knew, when J.R. was shot, I was a prime suspect and there I was, little Marilee Stone, running my own oil company, suing the Ewings and trying to seduce Bobby!” It's a good thing Fern Fitzgerald doesn't bite her nails, or Marilee might be somewhere in New York with Vickie Gioberti in an apartment with no phone!

TV Guide May 3 1970 Exciting as an unbaked taco That was Pamela Toll before group therapy by Robert Higgins The actress—weighing about as much as a box of breakfast cereal—bounced upon a couch and ticked off a description of Liz Wilson, the part she played for three years on NBC's medicinal soap opera, The Doctors: “Liz was an ostrich; she didn’t want to know what was happening. She wanted desperately to be liked. Which wasn’t hard. Everybody liked Liz. But no one ever loved her. Or hated her. Liz was always trying to say, 'Look at me!' But she was really afraid of the attention. She wanted to be semi-invisible.”’ The girl doing the talking was Pamela Toll, 21. Settling enormous blue eyes on a listener, she said: "Liz wasn't there. Which is a state of being that I understand. Up until six months ago, I wasn't there either.” Pam's word for her old self: “Phony.” Which, as self assessments go, takes you aback a bit But Miss Toll is the first to tell she doesn't fret about image: "If I say things or feel things I shouldn't, don’t worry. It’s not necessarily what I'll be feeling or saying 20 minutes from now." True enough—professionally, anyway. Pam dumped The Doctors on March 26, to take a lead on NBC's Another World —Somerset. In it she's Pammy Davis, a 20-year-old sexpot from the other side of the tracks, determined to have her way (and a trip to the altar) with a boy from the right side. Not exactly the old listless Liz. A talk with Miss Toll is, first off, a series of opinions delivered with conviction—e.g., Vietnam, the merits of musical drama vs. straight drama, marijuana ("I used to thínk it was a great way to relax. I don't now. You're wallowing in something, so you roll a joint. It’s just avoiding problems"). Problems, psychological ones, are very much on Pam's mind. They're hers, and she tells you about them: For years she ''felt she had to be loved by everybody" . . . "had no opinions" . . . was "intimidated by friends and relatives” . . . and on and on. Pam thanks her involvement in group therapy, 12 months of it so far, for making her knowledgeable in the ways she was "prefabricating" herself. "I was very much like Liz Wilson. I stifled 90 per cent of what I felt." Her friends confirm this. One, Rochelle Parker, found the old Pam as exciting as an unbaked taco: ‘She was pretty, sweet, nice, pleasant, smiling Pam. She had no opinions about anything, including herself. She was just pleasant—so damn pleasant.” Pamela began worrying when her Mary Poppins act seemed to be affecting her career: "I was a competent actress," she says, "but nobody ever said, 'Wow! Look at that!’ l was nice, cute and harmless.” Still, she worked. Since age 7, in fact, when her mother, an ex-model, began shuttling Pam from her native Paterson, N.J., to Manhattan to make TV commercials. Miss Toll's bio lists work on Broadway ("Venus ls”), in movies (two Disney pictures, “Brimstone the Amish Horse," ‘‘Rascal’’) and on TV (she harks back as far as Queen for a Day, where she modeled). Viewer mail on Doctors was “very heavy for Pam," according to Doctors producer Allen Potter. ''Call it charisma," he said, "but Pam's got that extra something that makes people want to tune in tomorrow." Viewers tuning in now are catching Pam as Pammy, suddenly loaded with frisky corpuscles.

I never knew Clifton Davis had drug issues. The Dallas Morning News Week of February 8, 1987 Davis makes a comeback from drugs by Gary Deeb Show business in the 1980's is crammed full of people who used to be dope addicts and now are pitifully desperate to gain publicity by telling anybody who'll listen about their conversion to clean health. There even are a number of entertainers who deliberately exaggerate the extent of their past drug woes in order to grab more space in the papers and magazines. But every so often, you encounter a Hollywood personality who has gone straight — and who has a genuinely inspirational story to tell. That’s the situation with Clifton Davis, the co-star of the NBC comedy series Amen (Saturdays, p.m., Channel 5) . His tale is worth telling. “Very few people knew how bad off | was,’’ Davis told me. ‘‘But a lot of people in this business would say, ‘Clifton Davis? It’s all gone to his nose, brother.’ And they were right. By the time I almost overdosed on Christmas of 1980, I had blown all of my money on cocaine. I mean, I'm talkin’ a lot of money.” Davis, now 41, became a coke freak just as his comedy series That’s My Mama was getting canceled by ABC. He spent the next four years shelling out prodigious amounts of cash for the drug, and his reputation in the industry became both stale and rotten. “The success I enjoyed on That’s My Mama was so stimulating, so exciting that I lost track of reality,’’ he said. “I totally forgot about what was important in life. I started grabbing hold of tangibles instead of intangibles. I was getting high all the time. I just thank God that He gave me another chance. “With the tremendous support of my mother and the rest of my family,I turned it around — after nearly dying.I dropped out of Hollywood and out of show business for about 5% years. I went back to college, did a bachelor of arts degree in theology, then went on to graduate school and did a master of divinity degree. “When that was completed, I got the call to become the assistant pastor at this church in Loma Linda, Calif, about 60 miles from Hollywood. And at that same time, I believe God decided that He had more work for me; NBC hired me to play a minister on Amen. I'm just blown away by the coincidence of it. I think there was a divine executive producer involved.” DAVIS BEGAN his assistant pastor's duties at the church almost simultaneously with his comeback on Amen. Nevertheless, few people in his congregation hold his showbiz existence against him. “Some of the people at the church looked at me funny at first, until they realized that I was sincere about my commitment to Christ and to the church,” he said. “And I backed up my commitment by waiving my salary as a minister; that’s about $21,000 a year. “Another interesting thing about my church is that it’s predominantly white. I’m the first black minister that they've had on staff in their history. Some people thought I might find that difficult. But this is one of the most cosmopolitan and loving congregations I've ever seen — black or white. They accept me and they know I’m sincere about my devotion to God.” A Tony Award-winner for his singing and acting talents in the early 1970s, Davis also is a best-selling songwriter. He wrote Here Comes the Sunshine for Diana Ross and the Supremes and the superhit Never Can Say Goodbye for Michael Jackson. “Yeah, I was tryin’ to break up with a young lady and | couldn’t figure out how to tell her,”’ Davis said. “So I wrote Never Can Say Goodbye and that enabled me to say goodbye to her. That song has been recorded by more than 100 different artists, but the version by Michael and the Jacksons is definitive. He was just 13 years old at the time — such a talented young boy. It was so great to work with him.” On Amen, Davis goes toe-to-toe with Sherman Hemsley, who portrays another of his trademark irascible characters. The two characters mix like oil and water, but Davis enjoys the contrast. “Sherman is so talented and such a professional,”’ he said. “I wasn’t that crazy about The Jeffersons — sorry, Sherman — but I always knew he was an outstanding actor. Now, however, having worked with him on Amen, I realize that his talent goes even deeper than | thought.” Millions of viewers this season are seeing Davis for the first time since That’s My Mama left the air in the mid-’70s, and most of them comment on either how skinny he used to be or how beefed-up he now appears to be. “Well, when I quit drugs, I also quit smoking,”’ he explained, “and food tastes so good now. Seriously, I’ve promised myself that I'll lose some weight for the next season of Amen. But if you knew how much I invested in really good restaurants to put this weight on, you'd understand why I’m gonna keep it for awhile longer.” ©News America Syndicate, 1987

TV Guide July 5-11 1988 Poster Boy, _ Take Two The last time we checked in with CBS’s The Young and the Restless, Jack Abbott (played by Terry Lester, right) was on trial for the attempted murder of his father’s ex-wife Jill Whether he did it or not, there’s no doubt that the Emmy-nominated Lester remains one of daytime’s leading pinups. About a year ago, we reported that Lester was the subject of a waterproof, laminated poster that fans could hang in their showers. The poster in question—which showed the actor clad in nothing more than the briefest black bikini briefs—was such a hit that a second edition has been released. This time, the briefs are red—but not as brief. According to insiders, some retailers found the first poster a little too revealing

TV Guide July 5-11 1988 Tell 'Em Neil Sent You For the last 12 years on NBC’s Days of Our Lives, Joe Gallison has played Dr. Neil Curtis, a former compulsive gambler and heavy drinker who is, nevertheless, a nice guy to have for a friend. Neil has helped many a fellow character get on with his or her life. Off-camera, Gallison just finished working in a play in California. His latest venture, however, is one Dr. Curtis would probably approve of. Along with his wife, Melisa, Gallison has opened a bar in Studio City, Cal., a place where actors can go to unwind and complain about their directors. The name of the place, appropriately enough, is re$iduals.

TV Guide April 20 1985 With summer right around the comer, One Life to Live is heating up a summer like young-love storyline involving the fair Giulietta from Venice. Italian actress Fabiana Udenio. who plays Giulietta, so impressed the show's executives during their stint in Venice that they have now brought her to New York for a major role on the soap. Says series head writer Sam Hall, “Giulietta will show herself to be older than her years in a romantic storytine with Bo Buchanan,”played by Robert S. Woods.

TV Guide July 20 1985 One of the most insidious new wrinkles on the American drug scene— the development of the so-called "designer drugs'"—is being incorporated into the storyline of Another World these days. Already, good guy Larry Ewing (played by Rick Porter) has gone undercover at Bay City's newest hot spot, the Plains Motel nightclub, to ferret out the dealers of these dangerous substances. The latest wrinkle in the plot involves Nancy McGowan, who— in her grief and loneliness—is becoming increasingly dependent on a designer drug known, ironically, as Ecstasy.

TV Guide July 20 1985 Fringe Benefits Stage-and-screen veteran Angela Lansbury (above) admits that series TV "doesn't measure up to the movies or the stage. With a new cast every eight days, there's no time to develop relationships," she laments. So why is Lansbury so keen to return for a second season of CBS's Murder, She Wrote? "Half of it has to do with reaching that vast audience. | haven't made a movie in the U.S. since 1970. This chance to play to the great U.S. public is a chance you don't pass up." And the other half? "There's also a lot of money involved," she says. "Let's not kid ourselves!"

TV Guide July 20 1985. An aricle about actors' input into scripts and stories. ... And on Falcon Crest, actors are reminded: of company роlicy by a paragraph that has appeared at the front of each script for about a year: "The producers acknowledge the need for creative input," it reads. "However, no changes, additions or deletions will be permitted unless authorized by the writing staff." Explains Sarah Douglas, who plays the show's saucy Pamela Lynch, "It's all beautifully worded, of course, but what it means is, 'Don't mess with the dialogue'." Douglas has taken the message to heart. Normally not one to mince words, she thought better of causing a stir when her character behaved in a way she considered inconsistent. "Pamela would never have stayed with Richard Channing throughout the season," she grouses. "She would have left him as soon as he started messing around with the Italian woman. I was always bringing it up, but everything was so preset, I'm afraid I gave up the ghost. "I mean, you have to feel pretty strongly to hold things up—to go to the writer, who gets all the producers to come marching down to the set. . . . It's a big deal,Douglas says, "and despite my reputation for being a naughty girl, ! don't really like to cause that much trouble."