Paul Raven

Peaches? OK Again we've gone from Leslie all alone to having a woman turn up, reveal she's her mama, no her stepmother and she's dying all in one episode. Too much all at once. As for the $50,000 from Ted, Eva has brought that up and cracked that she spent it all on wigs, but still no explanation of where it actually went. If they wanted to keep Leslie broke and desperate then just have Ted give her less. Leslie could have had a throwaway line that she had debts to settle, but no, they left it up in the air. Is this another of MVJ's story threads that is going somewhere?

Michael needs to lose the helmet of hair and lay off the black hair dye. And the way characters refer to Danny as a rock star, you would think he was Springsteen or Ozzy Osbourne. Danny's music was pretty much basic pop. MG looks rough. If you didn't know you would think he was a contemporary of Danny and Phyllis, not their son. And I had to chuckle when Cane had to mention again that he has identical trains on each continent. Looking forward to seeing the African, Australian, South American etc versions. Josh's killing spree has resulted in zero drama or fallout. But it was nice to hear Cricket tell Lauren all about the funeral including Dominic's presence. Maybe the new tag should be 'The Young and the Restless- Let your imagination run wild'.

I was hoping that as a new soap with a clean slate, BTG wouldn't so readily resort to those contrived situations like Nicole being her son's therapist. I know posters who critique are accused of being nitpicky but when certain decisions are made you wonder why it wasn't picked up along the way. Alex A has had months to improve and I was willing to give him that grace as diving into a soap must be overwhelming but everyone else has managed. I have to wonder how he was cast in the first place. Surely there were other potentials in the mix? Having Uptown as the Salsa set? Even a small rehearsal room set would have sufficed. They need to have the room/budget/flexibility for one off and short term sets.

Vigard may have left of her own according but reports at the time indicate she was fired due to being late for taping and unprepared. There was acknowledgement that they had gone for a more conventional pretty actress. I think this was another clash b/w Marland and Potter.

The Egg and I episode on youtube is 12.57 min in length. So 2 minutes left to fill in. Maybe there was no national sponsor but local stations aired ads or some sort of fill in programming.

Agree about burning through story. They are not exploring the beats and building up interest. Jacob/Naomi find out about the kids and the next episode they've told Martin/Smitty, the kids find out and want to meet their mother. They should have got much more out of that. Naomi and Jacob thinking about the repercussions of telling Martin/Smitty. Then lead to that. Martin/Smitty getting the news and dealing with that. Then the kids finding out and them digesting that reveal. Maybe Samantha wants to meet June but Tyrell is against it and they have to work through that. A lot of beats to be played over several days/weeks. Now some might find that boring but if they are well written scenes, the audience invests in the characters and there is emotional impact.Otherwise it's just plot point to plot point. The Salsa scenes were cringy. The dance teacher was blechh.

According to AWHP Walter's last appearance was Feb 4 1972.Susan Sullivan began as Lenore May 21 1971.

I don't know if this has been mentioned but Mary Nell Santocroce is the mother of actress Judith Ivey. Ms Santocroce was a very respected Atlanta stage performer.

I guess it would be CBS promos and public service announcements aimed at housewifes eg 'Join in the fight against polio'etc. I think in those days the networks were required to air a certain amount of PSAs.

Nate looks good everyday. Didn't realize he is 46 years old. Meanwhile Victoria.. 2Save

The Bill/Hayley story feels like it's being made up as it goes along. She has a 'miscarriage', is home the same day and back at the hospital the next day all gung ho for the next baby. Huh? And previously Bill's stroke really lead to nothing. Just incidents to bring Dani back into their lives. At least we got a different hospital set. I was sure we'd be at the nurses station for those scenes.

@JAS0N47 More amazing work. Interesting to see that First Hundred Years was on over 50 stations. Pretty much the whole network. That newbie Search for Tomorrow soon gained more stations. Egg and I could not get any sponsorship. I wonder why not? So that meant CBS was covering the cost of the show and getting nothing back.

That about sums up Devon.

Here's a complete script from Whispering Streets, 13/5/1958, the anthology series that aired on ABC and then CBS right up till 1960. Bette Davis had a stint as the narrator. Bette's star had fallen by that stage, as narrating a daily daytime radio show was hardly a prestige assignment. (FILTER AND ECHO) BETTE: (SOFT) Whispering - ANNCR: (SOFT) Whispering - BETTE: (HEAVIER) Whispering - ANNCR: (FULL VOICE) Whispering Streets - (FILTER AND ECHO OUT) MUSIC: THEME...IN AND UNDER...(HATCH SUMMER HOUR TR. 1) ANNCR: WHISPERING STREETS - a complete new story each day, Monday through Friday. MUSIC: MUSICAL FIGURE...IN AND UNDER.. ANNCR: And here is Bette Davis - BETTE: Hello. It was Friday the thirteenth - Veronica Halstead tore a leaf from the calendar and thought - It's a bad luck day. I won't stir out of doors - I'll skip my usual stroll in the park". . . She walked over to the mirror and stood staring at her wrinkled face - a face that still held the elements of beauty - despite the marks of almost four score years! She sighed and turned away from the mirror, and there beside it hung a picture of herself as Juliet, young, slim, innocent. Staring at it, Veronica's old eyes filled with quick tears. She dabbed at them, swiftly, when a knock sounded on the door - SOUND: KNOCK ON DOOR VERONICA: (CALLING) Come - SOUND: (DOOR OPENS) MRS. J: Good morning, Miss Veronica - VERONICA: Oh, Mrs. Jenkins -- good morning. MRS. J: It looks like rain, doesn't it? Here's your breakfast, Miss Veronica. VERONICA: You shouldn't bring me a tray every morning. I can just as well eat breakfast in the dining room with the others. MRS. J: You're the star boarder, Miss Veronica. I'm not forgetting the time when I was a wardrobe woman in the theatre, and you were so kind to me. . . I'm not forgetting how kind Mr. Fillimore was to William - (REMINISCENT) William and I weren't married then - William was Mr. Fillimore's dresser - VERONICA: It was Romeo and Juliet on the stage, and the air was sweet with romance, back-stage, too - (PAUSE) You married your man but I let mine slip through my fingers, Mrs. Jenkins. I thought a career was more important than marriage. You were right, I was wrong. MRS. J: Who's to say what's right and what's wrong, Miss Veronica? You had your career and it was a great one - VERONICA: While it lasted! (RUEFUL) You and Williams saved money, you bought a house and furnished it. Your boarders assure you an income. . .Eric Fillimore and I parted company and I'm living on the last of my money - having thrown most of it away, and Eric is heaven knows where - MRS. J: But he was a beautiful Romeo, Miss Veronica - those legs of his in tights! (DREAMY) I used to stare at them until William Jenkins took me by the arm and whirled me around and - (STOPS) You drink your coffee, Miss Veronica, and if you'd rather not come down for lunch I'll bring you another tray - MUSIC: PUNCTUATION. . . BETTE: "She's glad to have me," thought Veronica Halstead, as she sipped her coffee, and ate thin slivers of toast. "I lend prestige to her boarding house!" But just before noon when she stepped into the hall on her way to the dining room, Veronica heard a voice coming from the parlor. Mrs. Jenkins was talking over the telephone - and Veronica paused without meaning to eavesdrop - I've done the same thing myself! As she listened one parchment hand flew up to her heart as if to guard it from the words that were like sharp little needles - MRS. J: (INTO PHONE - OFF MIKE) No, I haven't any vacant room - I'm sorry. Yes, I'll admit that the price you're offering is a very good one - frankly, it would be the difference between profit and loss, prices are so high these days but - what's the use of talking! (PAUSE) No, I'm not expecting any vacancies, either - (LONGER PAUSE) Well, there's one old person - she's a retired actress. She's had her room for twenty years and she's paying the same board she paid when she moved in - the poor old thing - she doesn't realize that prices have gone up by leaps and bounds - (PAUSE) No, don't be hopeful - my old lady's in the best of health - (QUICK) thank heaven! MUSIC: STING BETTE: Veronica tiptoed back to her room. She seated herself in the brocaded slipper chair that had seen service in a boudoir set, behind footlights, twenty-five years ago. She sat there for a long while, staring into space. . . Mrs. Jenkins, once wardrobe woman, now landlady, had been good to her. Veronica hadn't realized until this moment how good! She hadn't realized that the price she paid was so low - if she could pay more - if she could be on a level with the other boarders - her conscience would be clear, but she was living on the last of her savings! She thought suddenly of an alternative, one that made her shudder, but she was a brave woman. When a knock sounded on the door she was able to smile - SOUND: (KNOCK ON DOOR) VERONICA: (CALLS) Come in - SOUND: (DOOR OPENS) MRS. J: I brought a luncheon tray - chicken salad and rolls and tea and a pastry for dessert - (PAUSE) You feeling all right, Miss Veronica? VERONICA: Why do you ask? MRS. J: I thought you were looking a bit pale. If you're under the weather, I'll call a doctor - VERONICA: You're bringing my decision into the open, Mrs. Jenkins! Yes, I am a bit under the weather - though not sick enough to need a doctor - so I've decided - (STOPS) MRS. J: Yes? What have you decided, Miss Veronica? VERONICA: I've decided that I should live in a place where I'll have expert care, nursing if necessary. . .Mrs. Jenkins, I'm afraid I'll have to leave you - MUSIC: UP TO CLIMAX. . . ANNCR: In just a moment Bette Davis will be back again but first - No men have earned the right to call the world their own. Two who have come fairly close on the basis of travel and experience are Edward R. Murrow and Lowell Thomas. Wanderlust has never served a more fruitful purpose than theirs...for it's their eye-witness experience that lend so much authority to their broadcasts. Monday through Friday evening on most of these same stations, you're listening to more than mere second-hand reports when Edward R. Murrow and Lowell Thomas are on the job. Each man has the knack, born from personal experience, of translating a headline into its historical values...A news feature into its full depth of meaning. You can['t] buy experience like theirs. But thanks to them and to CBS Radio, you can have it every weekday evening. Make Edward R. Murrow and Lowell Thomas a habit. It's a sure way to be fully informed... And to be fully certain that the information you're getting is factual, coached in terms they understand and you understand, too...Edward R. Murrow and Lowell Thomas...on most of these same stations. MUSIC: UP AND UNDER . . . (ZIMMERMAN THEATRE HOUR TR. 6) ANNCR: And now back to our story, with Bette Davis. BETTE: Veronica was conscious of the expression, half surprise and half relief, that crossed her landlady's face. She averted her own face, ever so slightly, as Mrs. Jenkins spoke - MRS. J: (A TRIFLE STIFFLY) I've tried to look after you, Miss Veronica, to the best of my ability - VERONICA: I know you have, but I'm getting very old and you're a busy woman. If I needed care in the dead of night - (STOPS) There's a home in New Jersey for elderly actors and actresses - MRS. J: (SHOCKED) But, Miss Veronica - a home? VERONICA: (GOING ON STEADILY) For a long while I've toyed with the idea of entering that home. MRS. J: But you've lived here for - twenty years - VERONICA: Yes, twenty long years - twenty happy years. But all good things must come to an end, Mrs. Jenkins. MRS. J: I'm glad you feel that living with me has been - a good thing. If you've quite made up your mind, I won't say anything to - to change it. I know how you've always hated arguments. VERONICA: Yes. You know. MRS. J: Once you've made up your mind to stick to it - (WITH MASKED EAGERNESS) When would you be leaving, Miss Veronica? VERONICA: I'll phone the home this afternoon - (PAUSE) I'll ask for an application form - (PAUSE) If I'm accepted, and I'm sure I'll be accepted - I'll leave by the end of the week, at the latest. MRS. J: But that's so soon - VERONICA: I've always lived by the rule of - the sooner the better. I was never one to dilly-dally. I made the transition from Shakespearian to modern plays as quickly as I snap my fingers - (SHE SNAPS THEM) just like that. . .I decided between marriage and a career - (AGAIN SHE SNAPS HER FINGERS) just like that! MRS. J: I'll miss you - (SUDDENLY HUSKY) William will miss you. . .We'll all miss you! VERONICA: And I'll miss you, Mrs. Jenkins, but I'm sure you'll have no trouble filling my room. MRS. J: Well, rooms are at a premium. (QUICK) But I prefer you to anyone! VERONICA: You've been very kind, Mrs. Jenkins - very understanding and tolerant. Never, through the whole twenty years, have you failed to be - (PAUSE) Understanding and tolerant. (ABRUPT) I've a little brooch I'd like to give you - (PAUSE) If you'll keep it to remember me by - MRS. J: I recall the very day you bought the brooch. A jeweler carried in a tray of them! You asked my advice about which one to choose. I - I know what it cost, Miss Veronica, even then. You should hold onto it - (HESITATES) there might come a time when - VERONICA: (PROUDLY) There'll never come such a time, Mrs. Jenkins! They'll take care of me very generously in the home. MRS. J: Then I'll - (VOICE BREAKS) I'll treasure the pin always - (PAUSE) You eat your lunch, Miss Veronica - I wouldn't run off this way but I must make a phone call. MUSIC: PUNCTUATION. . . BETTE: The chicken salad was excellent, but Veronica could only pick at it. There was a plump chocolate eclair, for dessert, but she didn't touch it, even though she had a passion for eclairs. She could imagine her landlady making a phone call. Saying - "I can give you a room now - the old lady I spoke of is leaving." Veronica pushed aside the tray and went to the wall and started taking down pictures - pictures of herself in starring roles. When she lifted the young Juliet from its hook, her eyes once again filled with tears, and her tired lips murmured a prayer - VERONICA: (WHISPERING) Oh, Lord - not long...I can stand it for a little while - but only for a little while! MUSIC: PUNCTUATION. . . BETTE: Veronica packed furiously, rejecting her landlady's offer to help. She made her phone call - she was interviewed by one of the trustees of the home - she was accepted immediately. A week after she'd made her momentous decision, she rode out to the home in a taxi - her final extravagance. As it chugged across the bridge, she looked back at the city that had known her when she was a great star - that had long since forgotten her. She arrived at the home in the early afternoon and, as she went down a long corridor, she was conscious of old eyes peering out from behind portierres. The matron showed her to a pleasant room that looked out over a garden - and she was left alone to unpack - alone, but not for long! SOUND: (KNOCK ON DOOR) VERONICA: (TO HERSELF) Always before it was Mrs. Jenkins...How it'll be a stranger - (CALLS) Come in - SOUND: (DOOR OPENS BRISKLY. CLOSES WITH A LITTLE CLICK) MILLY: (QUICK FADE) I saw you going by - and I said - "I'd recognize Veronica Halstead anywhere." VERONICA: I think you have - the advantage of me. MILLY: I saw you on the stage - fifty years ago - but I guess you never saw me. I was in burlesque. VERONICA: Really? MILLY: Looking at me now, you'd never think I was the best strip-teaser of my generation. VERONICA: (COLD) That's a great distinction - MILLY: Milly Rawden's my name - (CHUCKLES) Rawden in the Raw, they used to call me! Can I help you unpack? VERONICA: No, thanks - I'm quite capable of unpacking my own things. I'm not feeble as yet. MILLY: When you went by, I said to the others - "She's spry, for her age. Real spry.". . . Look - I didn't only come to ask if I could help you unpack - (PAUSE) It's this way - me and some of the others are getting up a show for Saturday night. VERONICA: How - how interesting. MILLY: And we were wondering if we could count on you - being as you were so famous - for a stunt. VERONICA: A - stunt? MILLY: We're all doing our little acts - acts we were noted for. Naturally, I'm not doing a strip-tease - not here - (CHUCKLES AGAIN) and now! But there was a song I used to sing about stage-door Johnnies - VERONICA: It's nice of you to - include me, but - MILLY: Nice nothing. We're all one big family - burlesque, vaudeville - VERONICA: And - (FAINTLY SARCASTIC) Shakespeare? MILLY: Well, not much of that! (PAUSE) We thought if you'd do a speech from some play - sort of a monologue - VERONICA: I'm sorry - MILLY: Sorry? VERONICA: I'm afraid any speech of mine would be - out of its element, sandwiched in between songs about stage-door Johnnies, and - MILLY: Out of place - I see! (SLOWLY) If you don't want to be friendly - VERONICA: I'm very tired....Mixing with so many people would make me even more tired - MILLY: If you think you're better than we are - VERONICA: Please - MILLY: (MUTTERING) Please, she says, like she was having tea at Buckingham palace! (STARTS OFF MIKE, SLOWLY) Sorry I brought it up - about the Saturday show...If you want to be alone, you can be alone. I'll tip off the others - VERONICA: I'd appreciate that. . . Thank you very much. MILLY: Don't mention it - (FADES) And I thought you were so sweet, fifty years ago, when I saw you from the second balcony - MUSIC: UP TO CLIMAX. . . ANNCR: In just a moment Bette Davis will be back -- In the old days, a day at home was a day alone. But now, thanks to CBS Radio, you can enjoy the brightest new tunes on programs like our HOWARD MILLER SHOW, or meet interesting, fun-loving people from every corner of the country as they visit Art Linkletter's HOUSEPARTY. Five days a week on CBS Radio, Howard Miller and Art Linkletter come your way on most of these same stations. And every time they open up new avenues of entertainment - entertainment you can enjoy whether you're working at household chores, or stopping for a well earned rest. Don't let your daily routine get you down. Get in on the fun and music with Howard Miller - be Art Linkletter's guest of honor on HOUSEPARTY - with no more effort than it takes to turn on the nearest radio. MUSIC: UP AND UNDER (ZIMMERMAN THEATRE HOUR TR. 6) ANNCR: And now back to our story, with Bette Davis - BETTE: Veronica Halstead finished her unpacking with set lips - doing a stunt, sandwiched in between a vaudeville act and a burlesque act - it was too much to expect of her. When she left her room, toward the end of the afternoon, and walked down the long corridor, she was still conscious of old eyes watching her from behind long portierres, but nobody ventured out to speak. At a turn in the corridor she came upon Milly Rawden, but Milly's nose went up and she turned abruptly in the other direction. As she passed through the door, she encountered the matron - a quiet woman, with a gentle smile, named Winifred Sheldon - MATRON: We hope you'll be happy here, Miss Halstead. VERONICA: Thank you, Miss Sheldon. MATRON: We're like one big family - everybody pulls together - VERONICA: Yes, so I've heard - MATRON: They've been buzzing about you, ever since they learned that you were coming. They're excited - and thrilled - and proud. . . I'll introduce you to the group at supper - VERONICA: I think I'll be too tired to eat supper - with a crowd, Mrs. Sheldon. . . I'll go back to my room as soon as I've had a breath of fresh air. MATRON: That's a pity. They've all been looking forward to your first night - that sounds very theatrical, doesn't it? (WAITS FOR AN ANSWER THAT DOESN'T COME) But of course, if you're too tired, I won't urge you - MUSIC: PUNCTUATION. . . BETTE: Veronica left the matron standing in the doorway, and went along the porch. It was empty at this hour. The old actors and actresses were getting ready for supper. She sank into a chair, and closed her eyes and if her eyelids felt hot from unshed tears, and if she were thinking of her pleasant picture-hung room back in Mrs. Jenkins' boarding house, both her tears and her thoughts were secret. And if she were dreaming of the old days - (STOPS) She thought she was dreaming when she heard a voice speaking from below the porch - ERIC: (BELOW MIKE) "What light from yonder window breaks? It is the East - and Juliet is the sun -?" VERONICA: "What light from yonder window - " (STOPS) I'm losing my mind - it's cracked under too much p-pressure, but I'd swear - ERIC: (BREAKING IN) Don't swear. . . Hello, Veronica...And for goodness sake open your eyes. You look deader'n a door nail with them shut! VERONICA: (OPENING HER EYES) I - I - Eric, it's you! Eric Fillimore. ERIC: Yes - it's me. VERONICA: What are you doing here? ERIC: Same thing you are, Veronica - VERONICA: You mean - (GULPS) that you live here? ERIC: Sure I do. VERONICA: But why? ERIC: Bad investments - lack of incentive. If you'd married me, Veronica - I'd have had the incentive. VERONICA: Incentive indeed! That's just like a man - dreaming up a fummy-diddle alibi! (SNORTS) Don't blame me, Eric, for your lack of financial acumen... Come up on the porch - ERIC: I was just waiting for the invitation - (CHUCKLES) I'll be with you in a minute - (FADES) Keep a chair warm for me. VERONICA: (TO HERSELF) Eric! Eric alive - (PAUSE) Eric Fillimore - it's too incredible! ERIC: (FADING IN) Well, here I am...It's been a long while, Veronica - (PAUSE) But you still have slim, lovely fingers - VERONICA: It's been a very long while since those fingers have been kissed, by you or anyone else, Eric - ERIC: If you hadn't been so ornery - so set in your ways, Veronica, we'd have been sitting beside each other on our own porch, maybe. Well, we'll sit across from each other at the supper table - I've arranged that! VERONICA: (WEAKLY) I was going to my room, early. ERIC: Oh no you're not going to your room early - you're sitting opposite me at the supper table - and it's what you should have been doing for years. And after supper, we're going to meet with the show committee...It just so happens I'm the chairman - MUSIC: PUNCTUATION. . . BETTE: It was Saturday night. Veronica was dressing for her act. As she fitted the little cap of pearls on her grey hair, as she straightened the puffed sleeves of her gown, she was softly flushed, and her eyes were gleaming. She glanced at the picture that hung beside her mirror. The picture of a young girl, slim, innocently beautiful. She gave a final pull to her full skirt - she was ready when a knock sounded on the door - SOUND: (A KNOCK ON DOOR) VERONICA: (CALLING) Wherefore art thou, Romeo? ERIC: (OFF MIKE) You know darn well where I am - right here, waiting for you! As usual - SOUND: (DOOR OPENS, AFTER A MOMENT IT CLOSES SOFTLY) ERIC: You're a knockout, Veronica! (RELAPSES INTO SHAKESPEARE) "See how she leans her cheek upon her hand. Oh, that I were a glove upon that hand - that I might touch that cheek." VERONICA: (FONDLY) You idiot! ERIC: Sure I'm an idiot - I don't deny it. I was an idiot and a weakling to let you get away from me. . . Yes, you look like a million dollars, Veronica. And don't glance down at my legs - I know they're thinner than they used to be. VERONICA: But your voice isn't - (SLIGHTLY HUSKY) And neither is your heart - ERIC: You can say that again, Toots! VERONICA: Toots. . . You've been fraternizing with Milly. . . We've kept our costumes for a long while, Eric - ERIC: As souvenirs of something beautiful. Souvenirs of the past - VERONICA: Not only as souvenirs of the past, my dear - we've been holding them in trust for this night, although neither of us knew it - ERIC: In trust - for this night - (LONG PAUSE) They've given us the star spot on the bill, Veronica - VERONICA: (CRISPLY) And so they should! . . Come on, Eric - let's join - our friends. MUSIC: CURTAIN (HATCH SUMMER HOUR TR. 4)...UP AND OUT SEGUE MUSIC: THEME (B.G.) HATCH SUMMER HOUR TR. 5 BETTE: So two old people were reunited and I can't help smelling the fragrance of faded orange blossoms - sometimes they're sweeter than the ones that have just opened - (PAUSE) Speaking of sweetness, do you remember the matron, Winifred Sheldon - the quiet woman with the sweet smile - who told Veronica Halstead that the people in the home were one big happy family? Although Winifred was in her young forties, she lived a cloistered life with a group of very old people, and though she loved them all - she sometimes longed for a taste of adventure - for a change of pace - and one day she decided that she'd go in search of both - ANNCR: In just a moment Bette Davis will be back to tell you more about Winifred Sheldon, but first - The tense, withdrawn businessman who can't tear himself from the office is a vanishing species, thanks to Walter Cronkite's business news broadcasts. A man with real business. Few men can find time for leisure today, once he knows when to listen for Walter Cronkite's timely tips on the news of business and finance. Every day and evening, Sunday through Friday, hear Walter Cronkite with today's business news. Saturdays Bill Downs reports, over most of these same stations. MUSIC: THEME UP AND FADE TO B.G. ANNCR: And now here's Bette Davis who'll tell you more about Winifred Sheldon - BETTE: Yes, here I am to tell you more about Winifred Sheldon's strange pilgrimage. . . She fared forth from the Home - hoping to find something new and different - (LAUGHS) Well, she found something new but it wasn't exactly different! I'll bring you her story tomorrow. . . Until then, this is Bette Davis saying goodbye. . . from the WHISPERING STREETS. MUSIC: THEME (HATCH SUMMER HOUR TR. 5) UP AND FADE TO B.G. ANNCR: WHISPERING STREETS brings you a complete story every day, Monday through Friday. Today's program was written by Margaret E. Sangster. Featured in the cast were Lurene Tuttle, Victor Rodman, Ruth Perrott and Cathy Lewis. WHISPERING STREETS was directed by Gordon T. Hughes and produced by Ted Lloyd . . . Your announcer is Dan Cubberly. Join us tomorrow for another complete story from ... the WHISPERING STREETS.

They have added Andres studio/apartment. Which I find quite basic. The worst set still remains Bill/Hayley's house.

Don’t Go Away Mad, Just Go Away! Or The Dim Bulbs of Guiding Light Snark Weighs In column In the latest edition of Soap Opera Weekly, reporter Linda Susman interviews GL’s former head writers, Barbara Esensten and James Harmon Brown. Esensten and Brown, you’ll recall (try as you might to forget), were writing GL for three years, until they were released (READ: fired) recently in favor of Claire Labine and her writing team. Of course, E&B didn’t spring up overnight. In addition to being scriptwriters during GL’s acclaimed run of the early 90’s, they were also Headwriters during such daytime milestones as Dynasty’s final season, the last several months of Loving, and the entire 16 and 1/2 month run of The City. Don’t laugh. E&B don’t want you to laugh at them. They want you to understand that they too have thoughts and feelings. And that there’s more going on behind the scenes than you know. The following are excerpts of the E&B interview, accompanied of course, by my commentary. (It is MY column, after all.) In this portion, E&B are discussing the recent leukemia story which proved to be their last major story for the show. In it, Phillip Spaulding is stranded on an island with ex-wife, Beth. Both are trapped after being caught in a blizzard. (Yep. Ablizzard on an island.) Phillip and Beth, thinking they’re about to die, do what anyone would do--sleep together. Phillip is married to Harley; Beth is involved with Jim. Of course, Phillip and Beth are rescued. Of course, Beth becomes pregnant. Of course, their other daughter, Lizzie develops leukemia, necessitating the revelation that Beth and Phillip had a one night fling. Barbara Esensten: I think those in power are worried and tend to pull the switch more quickly than they did in the past. Jim and I and our writing staff knew the leukemia story was so good. James Harmon Brown: It's the best story we've done since we've been there. There's no denying the numbers were down, and however strong the fan mail was there would be some discussion on the Internet, the five or six people who would get up and slam you about it. But the bottom line was that as the story was playing in its early stages, the numbers were down. Is that because of the story or other factors related to the show or CBS in general or daytime in particular? We don't know. There are some real puzzlers in these comments, particularly from JHB. He mentions that fan mail was strong, and continues to trot out the same old tripe about 5 or 6 people slamming the story, but then admits that the numbers were down. Why were the numbers down, Jim? Could it be that the storyline, as well as other storylines going on at the time were not as good as you think. (Despite their attempts to prove otherwise, the leukemia story was not the only one on GL this year.) BE: The irony is that [P&G] didn't pick us up (as writers), and then the ratings went up. The ratings went up momentarily. This occurred during the two or so weeks when the plot reached it’s climax, and was actually featured center-stage. The ratings peaked at 3.7, which was less than the all-time high of 4.3 E&B achieved in 1997. Of course, it was better than the 3.2 GL had just hit a few weeks earlier. GLalso hit a 3.2 under E&B’s predecessor, Megan McTavish. Shortly after, McTavish was out of work, and E&B were hired. JHB: I think what happens is our solutions to things don't resonate anymore with the powers that be. They look for new ideas and new approaches and quick fixes because that's become the mentality not only of this daypart but of network television in general. It’s amazing how Brown combines new ideas, new approaches, and quick fixes in the same sentence. They are not the same thing at all. The first two are desperately needed in daytime; the last one is what daytime has been trying for a decade. Yet, Brown combines them all and speaks of them negatively. BE: Instead of following the problem as a team, we tend not to do that in our business right now. The network will meet and then the writers will meet and we don't get to meet with the directors. There are no intensive meetings to see what we can all do to make it better what do we think is going wrong. JHB: It becomes adversarial. When the good times are rolling, it's "Ain't we great," and when the bad times are rolling, each pocket tends to grow inward and draw a line in the sand. In the old days, before the Internet and cable and salacious daytime talk shows, there was more of an opportunity to ride the rollercoaster and know that if there's a dip in audience interest, you have time to correct it. There isn't that luxury anymore, and what happens is you end up changing the team and bringing in new people. Amazing. On one hand, E&B preach unity, and on the other, they’re blaming internet fans, their bosses, the lineup, and cable--mercifully Ms. Susman cut the part where they blame a partridge in a pear tree. The first law of E&B land, is that nothing is ever their fault. And while I would normally agree with Brown that soaps have a lot of turnover, the fact remains that he and Estensen were the head writers for three and a half years. It has NEVER been commonplace to allow writers that long to get things right, work out the bugs, etc. Under E&B, ratings peaked in late 1997. They’ve been on a downward spiral ever since. How much time is needed? Next, B&E admit their mistakes: BE: Jim and I have had an opportunity to step back and take a deep breath and a look at some of the mistakes we made. JHB: Like trying to badly what prime time and movies do well- mayhem and explosions- and getting away from what daytime traditionally has been about: family conflict, romance. And that's the core of what it should still be about. When every new set of headwriters comes in, including ourselves, everyone says,"We're going to do romance." BE: "Character-driven stories." JHB: "Back to the core family," yada, yada, yada. BE: And we all try. JHB: But again, because of the pressures of the numbers, we all tend to go for the figurative edge-of-the-cliff type of incident that isn't really what we do well. Basically, E&B admit that when they and other writers say that they’re going to get back to basics, they’re lying. Is this supposed to endear them to me? What if (God forbid) they get another writing gig? Am Isupposed to believe another word they say? They certainly can’t fall back on the old yada, yada, yada. But, I should feel sorry for E&B. After all, their bosses are demanding that they keep GL’s ratings above cancellation level on a consistent basis. Petty tyrants. Next, E&B discuss storyline blunders. JHB: Josh being zombified by aftershave lotion would be No. 1 with a bullet on my list. And the clone story. Because I've had some time to reflect on this, I think it was the wrong story for Guiding Light to do at the time. I thought we did it as well as it could be done, except for the growth serum. That was always sort of wonky. BE: The clone story was something the network actually had suggested, and we sort of joined hands and said kumbaya, we're in this together. They never backed off from that. Even when we got lots of criticism, we got a lot of support from Procter & Gamble. We were all trying to do something that would capture more daytime audience; it just wasn't the kind of story for our audience.... It was a valiant effort on all our parts, but it should have been more of a lesson to us that that kind of story really doesn't work. If Josh being zombified by shaving lotion was a bad story, why did they do it? Did CBS or P&G really say that Josh must be mind-controlled through shaving lotion? Or did Jim, Babs, and the writing staff just know that story was good too? Again, poor E&B were strong-armed by the network into going along with the cloning story. I have no doubt that it was CBS that pushed for this story in order to grab the DAYS audience. (Remember when DAYS was significantly higher rated than GL?) But, compare BE’s comments above with her comments in an April 21,1998 interview with SOW’s Mark McGarry, in a piece ironically entitled “Double Talk.” Mark McGarry: Have people overreacted? Barbara Esensten: This is a controversial issue...It’s certainly the first time a clone story has been done, but what we tell our viewers is that Jim and I love Guiding Light. We opted to come back because we love the show, and we would never do anything un-Guiding Light-like. MM: What more do you want to say to the viewers? BE: We may be making a mistake. We don’t think we are. It is a Guiding Light story. It really is. Finally, JHB finds one more source of blame, after he and Babs have made some favorable comments on Soapnet. JHB: We think these shows need to be promoted differently. There are kids out there who have grown into teen-agers, young females who are our audience of the future and who have grown up without knowing we exist. They didn't grow up with mom and grandma sitting by the tv watching our shows? How do you get to these people? We need to be as creative in promoting the shows and marketing them as we are in telling the stories. God forbid. The marketing people are far more creative in promoting the stories, than those creating them. This interview was titled State of the Art, but it would be better titled Portrait of Two Hacks. Here we have two (and I use the term loosely) writers who will pass the buck to anyone and everyone. They will say whatever is necessary to suit their goals, chief of which is staying employed. They are among a growing number of hacks who are willing to do whatever their bosses tell them to do, and smile while doing it. Do I think everything that’s gone wrong with GL over the past 3 and a half years is their fault? No. Do I have any sympathy for them? No. They’ve been around long enough to know the game. And given a chance, they’ll play it again. Don’t give them that chance.

Poor Audra! Has she lost Vibrante for good?? Hope not-it was going to be a disruptor in the cosmetics field and super innovative-the first company to take on the established giants w/o staff, offices or products. So Victor summons Cane to work together to destroy...the Abbotts!!! Ooooh that was totally a shocking turn of events. Why? Uhm, because that's what Victor always threatens to do? The old geezer doesn't even know himself. Is it because his newly found grandaughter has the nerve to date an Abbott? Seeing how his wife, daughter and the man himself all married Abbotts, it seems a trifle lame. Oh, and his other daughter is also half Abbott...

Strictly speaking that list is correct, but if you exclude child actors and focus on older actors who actually had story... Jamie 5 Marianne 3 Michael 2 Alice 5 Rachel 3 Russ 3 Vicky 4 Nicole 3 Amanda 3 Sam 3 Matt 3 Sally 5 Peter 3 Jim 4 Susan 4 Vince 3 Julia 3

PATRICIA BARRY MATINEE THEATER 'The Sixty Fifth Floor'6/9/58

From Slick Jones GL cast list... Baron Leo Von Halkein India's father ex-husband of Alexandra George Guidall 1986

This Hayley faking pregnancy story might have worked down the line when issues had arisen in the marriage. Maybe one of he kids is in an accident and Bill/Dani draw closer. Dani gets involved with a man Bill doesn't trust and Hayley is jealous of her husband's obsession with this. Something in Hayley's past comes to light and Bill is disenchanted. Any/all of these could lead to Hayley faking a baby as she's scared Bil might leave her/ A year/18 months down the line. Not less than 6 months in. I am intrigued however by the Randy/Hayley connection at this point.

It wasn't like Dani and Hayley got into some huge fight. Dani could feel bad about her losing the baby w/o the OTT guilt trip. At this point the Hayley story is a miss. A pity b/c the potential was there w/o Hayley being so foolish. Bill had been totally supportive and Hayley got her man. We got very little about how she was adjusting to married life. Suddenly she's faking a pregnancy FOR NO REASON. Moving on... BTG made a big to do about having 27 regular sets- I can get to around 20. Does that mean there are another 7 or so waiting to be used? Or what? I think the show could benefit from extra sets.

Thanks @DRW50 Might spur me on to getting back into radio soaps.

Martina was the first adult Annie and the center of the next generation youth story. I don't believe there are any of her episodes around.

A bunch of pilots that played in the Summer of 78; Some interesting concepts and names. And some that looked DOA based on the synopsis alone. Snavely ABC Harvey Korman, Betty White .Inept owners of a resort hotel mistake two salesmen as hotel inspectors (Remake of Fawlty Towers) The Rag Business ABC Conchata Ferrell Dick O'Neill Garment workers sew up a new dress for a co-worker's luncheon date, then fabricate a comical coverup when she returns too late for their boss to show the design to an important buyer. Tom And Joann CBS Elizabeth Ashley Joel Fabiani .A divorced couple find that adjustment to a new relationship is not as easy as they had expected. The Rock Rainbow ABC Susan Bigelow Louisa Flaningham ,Ellen Greene Robert Alda .Three young backup singers form their own rock group. Based on UK series Rock Follies Ship Shape CBS Deborah Ryan An ambitious female ensign is assigned a group of misfits. Sparrow CBS Randy Herman Don Gordon Beverly Sanders Jeff Holland.A mailroom clerk yearns to play private eye. Down Home CBS Robert Hooks Madge Sinclair Beah Richards Lincoln Kilpatrick Edward Binns Andrew Duggan Anne Setmour .A black family moves from Detroit to a small town in the South in their search for a different lifestyle. Mother, Juggs & Speed ABC With Ray Vitte, Joanne Nail , Joe Penny Harvey Lembeck A team of paramedics learn that the ambulance company they work for is about to lose its operating license. Winner Take All CBS Michael Murphy Joanna Pettet David Huddleston Signe Hasso Clive Revill .A police lieutenant and an insurance investigator team up to find a fortune in stolen emeralds. Friends CBS Micheal Tucci Darrell Fetty.Rock singers forsake the road to become staff songwriters for a slick Hollywood record company. Wilder And Wilder CBS Greg Mullavey Meredith McCrae .A married TV writing team discovers the pitfalls that often accompany the merging of marriage and identical careers. The Plant Family CBS Joyce Van Patten Norman Alden .An ex-taxi dancer who marries one of her best ex-customers and settles in a rundown house in a borderline neighborhood of a Southern California suburb.