Paul Raven

Frank Lovejoy Helpmate Ed Sommers

Ed Herlihy Pepper Young's Family announcer 1941 Angeline Orr Kitty Keene Norma Vernack Nat Polen Romance of Helen Trent 1950 Front Page Farrell 1950 Backstage Wife 1952 Road of Life

I know these lists are designed to create controversy but I'll wade in. No Beverly Hillbillies or Green Acres?

Bryan must be thanking his lucky stars that the decision was made to not only bring Lucas back but give him more airtime. Remember a few years back when he was told that was pretty much it for Lucas?

Really?

Soap Operas Find They've Got Problems By JOHN CROSBY Miami Herald March 13 1961 ABOUT two weeks ago the heroine of a long living soap opera "The Edge of Night" decided that she wanted to quit the show for career reasons In the dear old days of radio soap opera that sort of thing wasn't hard You simply found some other voice to take over. On television though it's not so easy. The actress was Teal Ames who played Sara Karr in the soap opera. John Larkin the actor who played her husband on the soap said: "They decided they would kill the character rather than replace Teal.They didn't believe the audience would accept a replacement But how to kill her? They didn't want her to sicken and die feeling that would be too great a shock for the viewers" Why? he was asked "Well if you're a soap opera addict you'd know leading ladies often lie at death's door. But they never go through the door. If the heroine gets sick the audience is trained to expect her to get better 'The second idea was to send her away off somewhere with a strange malady and then get word back she'd died - That's known in the trade as a two-step death They're not very plausible "So they decided to kill her violently and they brooded about how. Maybe someone from my past could kill her.But through some weird soap opera reasoning that I don't pretend to understand the writer and producer decided that if that happened I'd be in some way culpable that the audience would resent me. "Then the writer thought about a violent death by accident. He shelved that idea too. Finally it was decided she should make the supreme sacrifice.Mother love overcoming everything — that sort of thing/They introduced a strange malady that caused her child to go wandering blindly out into the street where it was in danger of getting run over by a car, The mother to save her got hit instead. "However Sara didn't die right away.They decided she should have a death scene with me and she would end up lingering on for three days. This defeated their purpose. Only star-crossed lovers or bad people die in daytime television. Good people never die. And as I said when people linger at death's door the rule is that they always get well. All except poor Sara - she broke all the rules. Because she lingered all our fans got the idea she was going to get well. Her death came as a terrible shock to the viewers. She died early in that particular episode and before we got off the air we had 250 protest phone calls. Instead of killing her off quickly and cleanly they made a sloppy job of it. A quick calm death would have been more acceptable to the viewers. Of course there would have been just as many protests but I believe we'd have had a sounder defense for knocking her off, I kind of feel the viewers were right about protesting poor Sara's demise after leading them on that way - not done you know, not done at all" In order to enlarge your understanding of the mysterious world of soap opera you should know that the child who wandered out into the street was suffering from "Paranucleosis". "Paranucleosis" was invented for the occasion for the authors who felt that the trouble with real diseases is that real people suffer from them and they'd be offended.The chief characteristic of "paranucleosis" is that it causes small children to wander out in the street where they get struck by automobiles. Very rare disease even in soap operas In fact this is the only case Mr Larkin was asked if the reaction of fans didn't bother him. "Intellectually it frightens me" he admitted, "It frightens me when I think of the total involvement some of these people have in the program.It imposes responsibilities on us. The knowledge of the viewers' total involvement complicates all our problems.The agony- suffered by our heroine was no worse than the agony we suffered in trying to find a way to get rid of her"

Scriptwriter Cries While She Pens Soap Opera Plots Bv KARI GRANVILLE Register Staff Writer Sheri Anderson spends her workdays in a make-believe world. But it's no fairyland. To say the least, most of the people who dwell in that fantasy world are beleagured with problems. Take Doug, for example. He's asked Julie to become his third wife. Doug's second wife happened to be Julie's late mother. To make matters worse. Doug has learned that his divorce from his first wife was never declared final. Mickey also has a problem. He's in a sanitarium suffering from the emotional shock of learning that the teenager he thought was his son was actually fathered by his brother some umpteen years ago. And Rebecca isn't much better off. She's pregnant through artificial insemination. After discovering the true origins of the soon to-be born baby, Johnny left her standing alone at the altar amidst 20 wedding guests. So life goes in the mythical Midwestern town of Salem. If it isn't one dilemma, it s another. That's because Doug. Julie. Mickey. Rebecca and Johnny are characters in the continuing daytime television drama “Days of Our Lives." And somehow, Sheri Anderson has found her talents immersed in the problems besetting these and more characters who come to life each weekday between 12:30 and 1:30 p.m. on NBC. She first met the troubled soap opera characters as a viewer when she was a student at Fullerton High School. Today, the 28 year-old blonde is one of six script writers who manipulate the residents of Salem. U.S.A.. through their tangled trials and tribulations. It's a team of writers that has been lauded for its work. For instance. Sheri, who has been writing for the soap since last October, now has an Emmy statue to display. She and her fellow writers captured the award in May for best writing on a daytime dramatic series. “Time" magazine gave “Days of Our Lives" its highest rating of four teardrops for overall quality. Although the soap shared the rating with one other serial, the cover story went on to say that “Days of Our Lives ' displayed the best writing and acting of the 14 daytime dramas. Sheri's working hours are usually spent at a typewriter, pounding out hour long episodes in her comfortable, one bedroom apartment that overlooks the channel at Marina del Ray. “When ! write. I cry.” she says. And Sheri claims the same of her fellow writers who faithfully watch the likes of Julie and Doug endure the perils of life in Salem: “We figure if we can’t cry, nobody else can." Sheri makes no bones about it. Soap operas are designed to appeal to the viewers' emotional senses. But she quickly adds that they must be topical as well as entertaining. For example, Maggie has set out to become a single parent through adoption on “Days of Our Lives." Gambling fever got into the act when Neil cured his compulsive habit through Gamblers Anonymous. Once, the soap did a bit on the abortion issue by presenting a dramatized version of both sides of the question. Sheri doesn't claim full responsibility for dreaming up the sometimes confusing and always heart-rendering predicaments that the good citizens of Salem find themselves in. A story editor in Chicago maps out the show a year in advance. His sketchy outline, known as the “bible" in the trade, is turned over to the show's head writer. Patricia Falken Smith, who in turn fills in much of the detail of the various plot lines. For each episode Sheri writes, she is handed a script outline. And in her hands, the simple outline becomes a drama packed 30 page script. According to Sheri, the desired emotional pitch of the episode is actually achieved through what she doesn't write. “It's all in what you don’t say. she explains. “You let the actors act, rather than giving them a lot of dialogue." Apparently, the trick works. It is estimated that 20 million Americans follow soap operas. Traditionally, that audience has been comprised of housewives and the retired. However, it now appears that students and just about anybody who has free time during the day might lie included in the ranks of those who shed an occasional tear. It is even reported that men such as Supreme Court Justice Thurgood Marshall. former Texas Governor John Connally and artist Andy Warhol can be included among the faithful followers. Sheri believes soap operas are gaining in popularity largely because of the topical issues they deal with in an enter­taining fashion, attracting the younger audience. But the main reason she gives is: “I think people are beginning to recognize soap opera for the art it really is. The acting is so superior, and the writing has to be good because it can't be changed." Whatever the reason may be. the networks are enjoying the boon in the soaps’ popularity. The stories of frustrated love and endless conflicts that appear each weekday have created a profitable advertising market for the networks. In fact, daytime soap operas often support the prime time television shows with high ad revenues and low production costs. A nighttime show like “Kojak" costs $250,000 to produce and brings in about $200,000. In comparison, it costs about $170,000 to produce a week of “Days of Our Lives." which in turn brings in about $120,000 a day in ad revenues. Taking advantage of this profitable market, the networks have expanded three of the soap operas to hour long formats. “Days of Our Lives," one of three soap operas produced on the West Coast, was the second show to be lengthened. Nothing in Sheri's background foretells of her career in this burgeoning world of daytime television. “It was really just a fluke how I got into the writing thing." she recalls. After graduating from Fullerton High School in 1970. Sheri became a well- traveled college student attending classes “everyplace under the sun," as she says. She majored in home economics and dabbled in art studies because her goal was to work in the art department of “Better Homes and Gardens." She never made it to the magazine, but instead found herself as a receptionist in a Austin advertising firm, where she eventually became director of public relations. After leaving the agency, she still did some free-lance public relations work arranging receptions for model home openings. One day, the caterer she used regularly for the receptions called to tell her that she catered a party for Ms. Falken- Smith and that the head writer was looking for someone to help her as an assistant on "Days of Our Lives.” “That was the one soap opera I had watched since I was in high school." Sheri says. So, she called Ms Falken Smith and arranged a meeting over lunch. A year ago last February, she landed the job of assistant and became an apprentice writer in October. FAMILY TIES Sheri's family is a close one as she describes it. and she still tries to get together with her parents. Cliff and Esther Anderson of Fullerton, her aunt and uncle, Marv and Elaine Anderson of Anaheim, and other relatives at least once a week. Sheri is glad she made the move to the soap opera writing business. It’s not without its problems, however. In her writing. Sheri must contend with at least 40 characters who appear regularly on the show. “You can't make them all sound the same,“ she says, adding that each character has his or her own speech pattern and mannerisms as well as the extra touches the actors and actresses bring to their roles. But in her thus far short career. Sheri has found a solution. “It's like in real life." she explains. “You learn to know a character like you'd learn to know a friend." In defense of her profession, which to some may seem to lie an illegitimate offspring of serious writing. Sheri says. "It’s 52 weeks a year and it's no reruns. “It's steady work and in this field that's hard to find."

I was thinking about Bill Bell's 25 yr reign as headwriter and this this acheivement was unmatched. Irna Phillips wrote ATWT for 14 years straight. How long was Agnes Nixon actually headwriting AMC? Looking back, I can sort of see 3 distinct 'eras' in that 25 yr stretch and it's interesting to look at decisions that were made over the years. 73-83 was obviously the original Brooks and Foster families with new characters brought in with the expansion to 60 mins. From the 1980 influx Bill still tried to keep the original characters involved. The Fosters and Brooks were still strongly represented. But slowly they were diminished... Peggy,Chris, Lorie and Leslie all departed as did Snapper and Greg. Liz and especially Stuart were reduced to occasional support. So by 83 Bill was writing practically a new show. The characters that survived that transition were refashioned and their history edited. Nikki was now the stripper rescued by Victor. Her past marriages to Greg and Kevin were never referenced nor any of her previous shenanigans- Rose Deville, the cult etc Paul was now the hero with the vixenish wife - no mention of his deadbeat past, marriage to April or fathering Heather. Once Patty departed he was treated as an only child. Victor was the ruthless businessman-imprisoning Michael Scott in the cellar was never referenced. When Julia returned there was no mention of the emotional abuse she suffered as Victor's first wife-they were on good terms. Jill and Kay -the biggest links to that era were defined by their conflict over Phillip, yet the years long battle over Derek was forgotten. Liz- her marriage to Stu ignored, Even Douglas' shady past was forgotten. 83-93 That was basically playing out what was set up and it worked well. But by end the stories were concluding Ashley/Victor/Nikki/Jack story was over. They'd all swapped partners and it hadn't worked out. Jill v Kay that resulted in her divorcing John,the battle over Phillip 111, the arrival of Rex and his subsequent marriage to Katherine. Traci's marriage and divorce from Brad. Paul's marriage to Lauren and romance with Cassandra. Cricket's romance and marriage to Danny. So by this time Bill Bell was facing a new challenge in that he had never written a show for that length of time. He had to make decisions that would carry the show forward...

Les Damon Thunder Over Paradise Michael Dreyfus 1939 Road of Life Frank Lewis 1939 Right to Happiness Al Niles 1959 Ann Thomas Career Girl Mr Stanton Wheatena Playhouse 'My Man Godfrey' Wheatena Playhouse 'Till We Meet Again' Portia Faces Life Big Sister Anouncer Against The Storm Wilson Reid Helpmate Steve Harper

Thank you so much for posting that! Wouldn't it be great if Suzanne could be found now to talk about those times? Please post any other old articles if you can.

But that is only because he is misunderstood and never had his father's love.

From 73 onwards, Price is Right, Match Game and Tattletales filled the 3pm hour at various times. Both Price and Match Game got moved to the mornings and All in the Family was brought in at 3 to tackle AW on NBC. Then GL expanded which pushed Family back to 3.30.When AITF went into syndication MASH was brought in. Finally GL took over from 3-4. So for about 5 years CBS offered alternative to soaps at 3pm.

Selena Royle We the Abbotts Emily Abbott (replacing Betty Garde) Second Husband 1941 Amanda 1943 Billy and Betty Mrs White Chaplain Jim USA Nurse

To be fair, the person assigned that task also had to sweep the studio floor, supervise the car park and write a weeks worth of scripts...

SOD ran a blind item around that time that a;luded to a show planning to bring back a popular character only to find that the actress was now considerably larger. It seemed to be referring to Lilibet Stern, but when this was mentioned here in the past, other posters claimed there has been other stories published around that time that she was working in nursing and had not gained weight.

So, we have the 'Patty just vanished and had mental health issues' plus 'Carl just vanished and has been missing for years' as well as 'Eve did not go crazy and try to murder Victor' Any other missteps from the past? The thing is, they were written for no reason. Carl had been offscreen for sometime but Mary's role had diminished also so as a viewer it was possible to accept that Carl and Mary's lives were continuing offscreen. Why not bring Carl back and show some friction in their marriage. It would be believable that Carl might have crossed paths with Ruth and become attracted to a woman less rigid and judgmental than Mary. Chris spots them in an out of town locale and the story takes off from there. Way more believable and relatable than the tired old amnesia story. Why not play the Patty story as happened onscreen? She simply left town for a fresh start. That would leave the story open to all possibilities. Patty could return with plans to get revenge on Jack, or still vulnerable to his advances. Make a fresh play for Danny etc

I think I read recently (in SOD?) that John McCook plans to stay at B&B for as long as they'll have him. So no retirement plan.

Why bother with Cricket not knowing about Patty? Surely it would be just as easy (and acceptable) for her to say that Paul never talks much about her. As much as Bill is praised, had those stories come about in the internet age, there would have been a lot of blowback. As a viewer at the time, I was annoyed by these retcons. We've talked about it before, but it seems odd that Bell would initiate this story without having the role of Patty cast.

Nan Martin Purex Special for Women 'The Lonely Woman' NBC 1/4/1962 Frank Campanella Purex Special for Women 'The Lonely Woman' NBC 1/4/1962

Search for Tomorrow Some more characters ,all from 1954. No actors attached, unfortunately. Marie Wenrick - ran the Motor Haven in Jo's absence Agnes Meade - Nathan Walsh's secretary Mrs Jones - gossipy neighbor of Marge Bella Gloria Judge Watson

Jack Klugman Purex Special for Women 'The Cold Woman' NBC daytime 10/14/60

From These Roots Robert Mandan started in 58 not 59.

Totally agree that a lot of vet characters have been victim to poor character development and are crowding the canvas but realistically we are not going to see Eric Braeden or Amelia Heinle disappearing anytime soon. Phyllis is one of several characters that have limited story possibilities with the show in its current state and when MS departed a few years back,I think they should have rested the character until her return. Gina Tognoni would have had the chance to portray a new character who could have invigorated some of the other vet characters. So Phyllis return would have had more impact. We all have our likes and dislikes re actors/characters/stories. That's why we can have interesting discussions...

Arnold Moss Manhattan Mother Lawrence Locke The O'Neills Valiant Lady Paul Morrison By Kathleen Norris 'The Love of Julie Borel' Dr Nick Barnes 1940 By Kathleen Norris 'The Black Fleming' David Fleming Road of Life Mr Tanner 1948 Wheatena Playhouse 'Wuthering Heights' Heathcliffe Young Dr Malone Dr Sloane 1948 Front Page Farrell 1943

At this point, Phyllis is PLAYED OUT, especially with the shoddy writing in the last few years. After over 25 years of airtime, there's really nothing left for her, especially as she is a scheming type of character. She's married and boinked every guy in town and only has her vapid daughter as family. Phyllis could easily have left town years ago. I admit I've never been a fan of the character or actress and she is not alone as being in the played out category, but I feel she is expendable.