Paul Raven

No, I rechecked and it stated that Lloyd Bridges would be on Brighter Day. It made references to Sea Hunt so it was definitely LB. That pic was from 67,so Hank Latimer would have been older by then.Justin Sterling played him in 65,at what age I don't know but two years later he wouldn't have been so young.

No clue re Tommy. Some actors from 1965 to add to Love of Life Bernard Kates Maury Cooper Frieda Altman Alexander Bell Ralph Clark Buster Crabbe

Found some info on 1965 Love of Life April thru August Frank Provo and John Pickard were headwriters throughout that time, but for a week in April Margaret Lewerth was listed as headwriter and for a week in July Edward White was listed as headwriter. I assume Pickard/Provo were on gaycation at those times. Cast/characters appearing in that time frame Cast Bernard Kates ?? Ann Loring Tammy Forest Porter Andrea Martin Lynn Nelson Ron Tomme Bruce Sterling Audrey Peters Vanessa Sterling Lee Lawson Barbara Sterling Frederick Rolf Dr Kenneth Wannberg Sybil White Elizabeth Wannberg Paul Savior Rick Latimer Jack Stamberger Henry Carlson Frieda Altman ?? Dan Ferrone Alan Sterling Maury Cooper ?? Helene Dumas Vivian Carlson Bonnie Bedelia Culkin Sandy Porter Gene Pellegrini Link Porter Jordan Charney Tony Vento Alexander Clark ?? Russell Gold ?? later played Ed Bridgeman Ralph Bell ?? Buster Crabbe ?? Agnes Young Mrs Vento Justin Sterling Hank Latimer Have never seen mention of the Wannbergs or Lynn Nelson in synopses but there were on fairly regularly during those months. Bonnie Bedelia was listed as BB Culkin. I didn't know she was aunt to Macauley of Home Alone fame. Buster Crabbe was an an Olympic swimmer turned actor. He was on LOL 4/5 times over a few weeks.

Re Never Too Young David Watson played the owner of a discotheque.

Gillian Spencer replaced Ellen Weston as Robin in August 1964.

Apparently AW went on location to Long Island in July 72. Does anyone what the scenes were about?

Ken Kercheval took over from Burr DeBenning as Nick Hunter in Aug 66. Louise Shaffer replaced Pamela Murphy as Emily in Sept 67.

Micki Grant Dana Delaney Gerald Gordon Ellen Wheeler David Ackroyd Maureen Mooney Lenore Kasdorf

Edge of Night August 67 Frank Campanella temped for Mandel Kramer as Bill Marceau when Mandel was in rehearsal for a Broadway show.

August 67 Frank Campanella temped for Mandel Kramer as Bill Marceau when Mandel was in rehearsal for a Broadway show.

Swoozie Kurtz's character of Ellie Bradley was described as a 'dowdy introvert'. That was in Feb 71, so she was not an Irna character. I believe she was Tom's landlady? Does anyone know more about her character?

Thanks for the correction DC. Not sure if the info I read was wrong or I just mixed up the two... Re For Better or Worse April 1960 Barbara Bates Benson appears.

Re Clear Horizon In addition to his son Beau, Lloyd Bridges apparently made a one shot appearance in April 1962 .Not sure if he played himself, but it was in support of mental health issues.

Great clip! That's Michael Fox (Saul B&B)in that scene.

July 1963 Irving Vendig is one of the most successful men in TV, but he lives in Sarasota, Florida, and rarely bothers to come to New York. Vendig and his associate, James Gentile. write the popular, long-running CBS soap opera "Edge of Night. Mr Vendig has been turning out well polished daytime misery for the past 25 years, and he is considered the best in his field. Playwright Marc Connelly calls "Edge of Night" one of the best written shows on TV. and fan mail has come in from the likes of Tallulah Bankhead and Shirley Booth. Many a top exec, bedded down with some minor ailment, has become so enthralled with the ti-nibles of "Edge of Night" that he has procrastinated and lengthened his illness hoping to see the end of a plot. But Mr. Vendig's show is one that never ends. I asked Irving whether he responds to audience criticism of the show. "I get quite a bit of mail," he replied, "and Jim and I go through all of it. We do not change the situation to please the fans, but years of experience have taught me how to interpret the letters. If we get a batch of threatening mail telling us that if we don't do some-thing the listeners are going to turn us off and never watch again . . . then we know we re right on the ball. In fact, such letters are a tipoff for us to slow the pace of the series. Conversely, complimentary letters mean we have to speed it up." Vendig. who used to write "Judy Jane," and "Perry Mason" on radio, always used an apprentice to assist him in the grind Thirteen years ago. he was shopping around for an assistant , when James Gentile was suggested to him by a mutual friend, a University of Florida professor. Jim was working in a Florida radio station and Irving refused to see him, but requested a copy of anything he had written. Gentile sent him an article on aitificial insemination and Vendig saw something in the style and quality, and offered the young man an apprenticeship at $50 a week. "During the first year I had him writing dialogue, but I don't think I used a sentence a week," continued Vendig. "Then, as he progressed, I gave him more and more responsibility--and money--and now he is a full partner. At the time. I was doing 'Search for Tomorrow.' a 15-minute show, and that's where Jim really started " Vendig and Gentile are now interchangeable writers. The training was so complete that they do not have to collaborate on individual scripts. ' We each write three-day sequences." explained Vendig "Then we edit each other. We work anywhere from 45 to 60 hours a week, so please don't picture us loafing on our lawns in Florida." They do not come to New York for conferences. Their sponsors go to them. The series is generally plotted as much as four years in advance, but there's always room for changes This time, they came to New York because they were requesting more money from the sponsor. They were very impressed by a young actress who portrayed a minor running role for about 15 shows "We liked her so much we want to write her in. Now this entails a budget increase because we will need more sets and production money to tell her story, so we thought we'd have a better chance appealing for it in person. Naturally, this means writing ahead, but all our vacations and side trips require that New York always has three to four weeks of completed scripts." continued the 59-year-old native of Holly Springs, Mississippi Vendig is a bug on plot structure and that accounts for his reputation as the best in the field He runs one main plot and one sub plot and develops them in such a way that when a main crisis is resolved the minor one is in a position to bloom "Characterization is also vital," he said, "because our audiences must believe that these people exist. We do not want stereotypes, but living, breathing people with real problems." Irving's daughter, a former actress who appeared on one of his shows, is married to a doctor and Irving quite frankly admits that her childhood problems often cropped up in the show Gentile has a wife and three youngsters who are also used as models In addition to "Edge of Night." Vendig is currently working on a play He is writing it alone, but he said that when it's finished partner Jim will come in for the rewrites. I noted that Irving winced when I advertently used the cliche ' soap opera," and he obviously prefers the more acceptable term "daytime drama." ' Performers on my show are more famous than the biggest night-time stars " he concluded "Wherever they go they are greeted not by stage name but by character name One of my actresses summed it up beautifully when she said that she's a celebrity in every restaurant but Sardi's."

July 1963 Irving Vendig is one of the most successful men in TV, but he lives in Sarasota, Florida, and rarely bothers to come to New York. Vendig and his associate, James Gentile. write the popular, long-running CBS soap opera "Edge of Night. Mr Vendig has been turning out well polished daytime misery for the past 25 years, and he is considered the best in his field. Playwright Marc Connelly calls "Edge of Night" one of the best written shows on TV. and fan mail has come in from the likes of Tallulah Bankhead and Shirley Booth. Many a top exec, bedded down with some minor ailment, has become so enthralled with the ti-nibles of "Edge of Night" that he has procrastinated and lengthened his illness hoping to see the end of a plot. But Mr. Vendig's show is one that never ends. I asked Irving whether he responds to audience criticism of the show. "I get quite a bit of mail," he replied, "and Jim and I go through all of it. We do not change the situation to please the fans, but years of experience have taught me how to interpret the letters. If we get a batch of threatening mail telling us that if we don't do some-thing the listeners are going to turn us off and never watch again . . . then we know we re right on the ball. In fact, such letters are a tipoff for us to slow the pace of the series. Conversely, complimentary letters mean we have to speed it up." Vendig. who used to write "Judy Jane," and "Perry Mason" on radio, always used an apprentice to assist him in the grind Thirteen years ago. he was shopping around for an assistant , when James Gentile was suggested to him by a mutual friend, a University of Florida professor. Jim was working in a Florida radio station and Irving refused to see him, but requested a copy of anything he had written. Gentile sent him an article on aitificial insemination and Vendig saw something in the style and quality, and offered the young man an apprenticeship at $50 a week. "During the first year I had him writing dialogue, but I don't think I used a sentence a week," continued Vendig. "Then, as he progressed, I gave him more and more responsibility--and money--and now he is a full partner. At the time. I was doing 'Search for Tomorrow.' a 15-minute show, and that's where Jim really started " Vendig and Gentile are now interchangeable writers. The training was so complete that they do not have to collaborate on individual scripts. ' We each write three-day sequences." explained Vendig "Then we edit each other. We work anywhere from 45 to 60 hours a week, so please don't picture us loafing on our lawns in Florida." They do not come to New York for conferences. Their sponsors go to them. The series is generally plotted as much as four years in advance, but there's always room for changes This time, they came to New York because they were requesting more money from the sponsor. They were very impressed by a young actress who portrayed a minor running role for about 15 shows "We liked her so much we want to write her in. Now this entails a budget increase because we will need more sets and production money to tell her story, so we thought we'd have a better chance appealing for it in person. Naturally, this means writing ahead, but all our vacations and side trips require that New York always has three to four weeks of completed scripts." continued the 59-year-old native of Holly Springs, Mississippi Vendig is a bug on plot structure and that accounts for his reputation as the best in the field He runs one main plot and one sub plot and develops them in such a way that when a main crisis is resolved the minor one is in a position to bloom "Characterization is also vital," he said, "because our audiences must believe that these people exist. We do not want stereotypes, but living, breathing people with real problems." Irving's daughter, a former actress who appeared on one of his shows, is married to a doctor and Irving quite frankly admits that her childhood problems often cropped up in the show Gentile has a wife and three youngsters who are also used as models In addition to "Edge of Night." Vendig is currently working on a play He is writing it alone, but he said that when it's finished partner Jim will come in for the rewrites. I noted that Irving winced when I advertently used the cliche ' soap opera," and he obviously prefers the more acceptable term "daytime drama." ' Performers on my show are more famous than the biggest night-time stars " he concluded "Wherever they go they are greeted not by stage name but by character name One of my actresses summed it up beautifully when she said that she's a celebrity in every restaurant but Sardi's."

Goutman seemed to have very strong beliefs on what was needed for the show to survive. And fair enough that he had a vision...but it seemed to be based on attitudes that prevailed even though ratings continued to fall. Emphasis on younger, newer characters not neccessarily connected to core, neglect of characters who could and should be part of the canvas,focus on fast moving stories that don't deal with character motivations and reactions and often have little long lasting impact, quickie romances, marriages and divorces and lots of character comings and goings. I recall an interview with Goutman who flicked through all the channels available and said for a viewer to stop and stay on ATWT there had to be an attention grabbing event within the first few minutes so they might stay tuned.

I guess that was more a reflection of other actors' demands. Some fought for billing status in contract negotiations and others were not so interested. Wasn't Susan Lucci always part of the standard credit crawl? I would have expected to see and Susan Lucci as Erica..

Helen was off for a short time in her first year,but I believe Nancy was used heavily throughout the 60's and 70's. Rosemary Prinz would have been featured heavily in her 13 years on the show. Penny had 3 marriages in that time and plenty of angst.

The first Diana (Valerie Starrett was 10 years older than Brooke Bundy) and a better match to Peter.

Re Bright Promise Actor Joseph Disante lists BP on his resume.

More requests Lane Davies Nick Benedict Joe Lambie Hunt Block Patrick Tovatt Stella Stevens Woody Brown Andrew Massett Kevin Dobson Gil Rogers Martha Scott

Or Maggie's sister Nora returns...

Re the Carolee situation. How much advance warning would they have had that CC planned to leave? Her taking off seemed out of character. Should Carolee have been killed off? Carolee Campbell was adamant about not returning so why not move on? That would have opened up story for Steve as a grieving, vulnerable widower . Ann could have manipulated him into marriage. Then later he meets another woman and has to disentangle himself from Ann.