Paul Raven

The late 60's era of TGL is a bit confusing in terms of story and writers. A lot of stuff printed is simply not true, Wikipedia has storylines out of sequence and events which seem suspect. Even things like Schemering's book have misinformation. We know Agnes wrote the show through early 67 and that the Ferro's wrote in 67 but there is confusion as to whether there were other headwriters in that period. Other names are listed but they may have been associate/subwriters. Irna returns late 67. So it apppears she did not kill off Robin although this is commonly stated. Not sure who took over from Irna. Seems to be a gap before the Soderbergs. It is stated that Don Stewart took over in late 68. Do we have any confirmation of that? As for Ed/Leslie I think the writing lent towards Leslie being unhappy that her father was mentoring Ed and like him, put medicine above everything else including family. This had been a bugbear of Leslie under Nixon that her dad, whilst loving in his own way was not particularly warm and affectionate and had high standards for himself and everyone around him. I am sure there were various events over the year that lead to pressures in the Bauer marriage and made her susceptible to Mike. The two brothers involved with the same woman was a bit of a trend with Bill/Mickey on Days and Paul/Dan on ATWT. Interestingly 1968 was the first time the two adult brothers had shared screentime. When Mike had all the Robin and the Julie drama, Ed(then Billy) was offscreen. Once Mike left town Billy was back wanting to be known as Ed.

Thanks @DRW50 love reading anything of this sort. I dip into PP every so often. Now up to the Rachel Welles story.Pleased that Dorothy Malone is getting more airtime but really they had too much story to fit into 2 30 min eps a week.

Lee Paterson was popular on OLTL but his AW/Texas character Kevin Cooke was blah. Janice Lynde-popular as Leslie on Y&R but no love for Tracey AW or Laurel OLTL Lynne Herring -Lisanne on Days

The Guiding Light Tuesday, January 10, 1950 Music: under Announcer: This evening in the living room of a little house with a white picket fence on Elm Street in Selby Flats, the fireplace is ablaze with flame, but somehow it seems cold and cheerless to you, doesn't it Ray Brandon? You sit with your tightly clenched hands pressed against your forehead—your thoughts are of Charlotte in a hospital where she has been confined because of her attempt to find forgetfulness, escape, in the twilight world of barbiturates, sleeping pills . . . It's unbelievable, isn't it, Ray, what's happened to Charlotte . . . and what's happened to you. You're forced at this moment to recall the words of Dr. Mary Leland. . . . Music: up and under Mary: (overfilter) Now of all times, Ray, you must give Charlotte all the understanding she needs and deserves. Ray, you've got to straighten out your own thinking a little before you can even begin to help Charlotte find her way back. Music: up and under Ray: Apparently Mary feels that my thinking needs not just a little but a great deal of straightening out. She wouldn't even permit me to see Charlotte today. Somehow I got the idea that Charlotte must have made it very clear that she didn't want to see me. Mary: (filter) She's going thru mental and physical torment, Ray. Ray: And so am I, so am I. But I've got to stop thinking of myself now. I've got to think as straight and as clearly as I ever have in my life. Music: up and out Announcer: But will you be capable, Ray, of seeing the past thru anything but a haze of bitterness? Will you be capable even now? We'll learn more about this shortly. Music: out Music: up and under Char: (echo) Sure, I know we've lost our way—we're kind of feeling our way thru the darkness. I'm trying so hard to see a light, just a faint glimmer of—well, a guiding light. But there's something you haven't said for a long time—the only thing that can put us on the right road again. You know what I'm talking about, don't you, Ray? Ray: (echo) No, Charlotte—I don't. Char: (echo) Love. You haven't said "I—I still love you." Music: up and under Announcer: You didn't say it even then, Ray. No, you and Charlotte kept living under the same roof, a man and wife—but strangers to each other. No wonder Dr. Mary Leland spoke to you as she did. Mary: (overfilter) What have you done to that girl—crucified her. You've done a very cruel thing, Ray. And now you wonder why she's shut you out of her life. Music: sting it Char: (filter) You can't take love, a woman's feelings, Ray, tear them apart like you would a piece of cloth and try to put the pieces together again. The pieces never fit quite the same. Music: up and under Announcer: Yes, it's no wonder, Ray Brandon, that your wife rejected your half-hearted protestations of love when they finally did come. Actions speak louder than words, Ray, and the tenderness was missing, wasn't it? And then, when Charlotte's nervous system had given way, when you remained blind to the fact that she was finding escape in self-medication, how else did you think she'd react to your magnanimous suggestions that you return to this house? Music: sting it Char: (filter) (violently) I said forget it, Ray. I don't care what you do with the house in Selby Flats. I don't want any part of it, not any part of it! Music: up and under Announcer: And now she's lying in a hospital after you forced her to return to this house, this wife who stood by you thru that difficult period in your life when you fought to clear yourself of a crime you didn't commit, a prison sentence you didn't deserve, a battle to build a legal career for yourself, a wife who believed in you, gave you encouragement, loved you with every fibre of her being, a wife who was ready to forgive you anything, everything, as long as you loved her. Do you wonder, Ray, why the words of Dr. Mary Leland and the words of Sid Harper, a man who really understands Charlotte, keep pounding in your brain? Music: building under—rapid tempo Sid: (filter) When there was no longer a child in your home Charlotte needed you more than during your whole married life together. And what did you do—you turned your back on her. Mary: (filter) You've crucified that girl, Ray. Sid: (filter) You're a stupid fool, Brandon. Mary: (filter) You've rejected her as a woman. Sid: (filter) Stupid fool. Mary: (filter) She's lost complete confidence. Sid: (filter) Fool. . . . Mary: (filter) You've been cruel . . . Sid: (filter) You fool, you stupid fool. Music: up in payoff Ray: (on mike) (brokenly) I have been to blame—it has been my fault. A chance—yes . . .I've got to have another chance to make everything right again. Music: up into bridge Announcer: (tease) Meta Bauer learns of Charlotte's hospitalization in the next dramatic episode of The GuidingLight brought to you by the New Duz

And then they were exiled to Sat night for their final seasons. Probably should have ended the season before instead.

In 70/71 Marcus Welby was #1 but ABC was #3 for the season. MW had the advantage of a strong lead in -Movie of the Week and no competition-CBS Newshour and the 2nd hour of the NBC Movie/once a month news specials. Using the Dynasty lead in to boost a new show was a strategy but ABC were probably loathe to tamper with their only winning night. Glitter or Paper Dolls could have fitted into that 10pm slot.

During the mini series heyday the networks announced various projects that never made it to air NBC 79 Park Avenue Book 2 follow up to the original. Fred Silverman dropped it when he arrived at NBC in 78. Deemed it too trashy for the higher tone he was looking at for the network. The Glory and the Lightening 6 hrs based on a Taylor Caldwell novel

Pretty much ABC all the way. Project UFO on NBC #15 I think that might have been the first episode. Anyway it played Sunday @8 and finished #19 for the season, a desperately needed hit for NBC. So they move it to Thurs@8 up against Mork & Mindy where it is pulverized. Odd choice. King was a disaster for NBC. In the wake of Roots I guess there was a feeling of awakened interest in Black history. But it showed that hyped 'quality' programming wasn't a guarantee to success.

He moves into the communal GCAC room?

Dexter Brau ... David Starwalt March 77-?77

They seem reasonable assumptions. Also, to do a trial properly over several episodes you would need the jury, two attorneys, judge, spectators (cast members and extras)etc. Too much expense involved. Y&R did an awful court episode a few years ago with Amanda in the witness box. She was in the witness box but that was all that was shown. It looked terrible and of course, cheap as hell.

Jo's sister in law Louise lasted a few years and then vanished. She might have been a useful character to be used later on. Surely Louise would want some contact with her niece Patti. What happened to Irene Barron? Did she die or just disappear? I know that every character can't remain on canvas, but a reference to Irene from time to time or news of her death would keep the connection with viewers.

https://www.chicagotribune.com/1993/07/25/secret-series-the-first-episodes-of-the/ Secret series: The first episodes of the “maxi-series” “Judith Krantz’s Secrets” made its North American television debut Thursday, but don’t be surprised if you missed it. The series was carried by GEMS, an international Spanish-language cable television network targeted to women that is available only to subscribers of U.S. Cable of Lake County (Ill.), says Grace Santana, director of marketing services for GEMS. Originally Published: July 25, 1993

ABC was really struggling that season, They didn't seem to have much faith in 3's a Crowd and buried Who's The Boss on Thurs initially. Paper Dolls Tues @9 where Bare Essence had flopped the year before. Launching a new soap @9 was foolish. Matt Houston, TJ Hooker, Love Boat, Hardcastle & McCormack and Benson were all fading and Glitter, Jessie, Finder of Lost Loves and Hawaiian Heat were all rejected by the audience.

@DRW50 Such interesting comments. Thanks for taking the time. Junior is Stu Bergman who got renamed Tom when the charater was aged up. Janet left in 65 I think after helping Marge with the pregnancy. Jimmy the son/nephew left in 62 never to be mentioned again. I vaguely recall that Burr De Benning got a Broadway show. He might only have been recurring.

I may be misremembering, but I recall a scene when Ellie was contemplating the mastectomy and she was looking through her closet and lamenting she would never be able to wear certain types of clothing again. And the audience must have been thinking- You've only ever worn those sack dresses, so what's the difference? Your boobs haven't been on show for years.

In the Fall 84 Preview issue, TV Guide editors picked their favorite new series On this page we tell you which of the new series we liked best—which is not the same as predicting which will succeed. If we could do that, we'd be home counting our money. The success of a TV series is one of life's great mysteries, depending on such factors as the night of the week, the time slot, the shows that precede and follow it, the competition, the way it's promoted and—who knows?— maybe even its quality. Our favorites, in no particular order: The Cosby Show (NBC). Easily the season's best new comedy. The women are stunning and the kids are adorable in this half-hour comedy, but it's Bill Cosby's talent and inimitable delivery that make it all work—that, and the kind of humor that grows out of the situation, rather than relying on the usual sitcom formula of zingers and one-liners. Paper Dolls (ABC). Glamour? Escapism? Soap opera? Beautiful people? Yes, this handsome, large-cast series has all these elements (that's what we like about it). But in addition to being pretty to look at, the story is well written and engrossing— like a good summer novel. Miami Vice (NBC) is an unusual crime drama that's sure to be controversial. Indeed, critics of TV violence are already taking aim—or is that the wrong metaphor? The show is wry and savvy and tough yet handsomely filmed, with entire sequences done in a combination of music and videos. The creator of Miami Vice is Anthony Yerkovich, who wrote frequently for Hill Street Blues. Who's the Boss? (ABC). Funny—Tony Danza doesnt /ook like a feminist. Actually, he's an engaging mix of macho man and liberated male in this half-hour comedy, and just right as a former ballplayer who takes a job as housekeeper for a beautiful executive (Judith Light). Finder of Lost Loves (ABC). We'll admit it we liked this series. The notion of rekindling old flames and finding longlost loved ones is a corny but charming premise, and Tony Franciosa and Deborah Adair are appealing performers . Hunter (NBC). There's a nice chemistry between Fred Dryer and Stepfanie Kramer as two cops who reluctantly team up to foil their captain. Their plan is to be there for roll call, then go their separate ways— but somehow we don't think that will happen. Jessie (ABC). If we must have cop shows this season, let some of the cops employ a psychiatrist—and please, Lord, let the psychiatrist be Lindsay Wagner. Amen. As always, a few pilots were not available for screening. But we have high hopes for one of them—CBS's Murder, She Wrote, with Angela Lansbury; it's been too long since the commercial networks offered a good old-fashioned mystery series. That's what we liked; now it's your turn. Read all about 'em—then sit back and enjoy the season.

Irving Vendig wrote from 52-56 I think, leaving to headwrite Edge of Night. Charles Gussman replaced him as headwriter Henry Slesar was headwriter for about 6 months in b/w Robert J Shaw and the Corringtons.

Outlaws was another one of those shows that started out strong but quickly faltered and was cancelled. The opening pilot/TV movie aired Sunday following MSW and ranked #3. It's first Saturday showing was a time slot winning #15 The Saturday movie was #28. Facts of Life, the NBC competition to beat at 8pm was #24 CBS was looking competitive on a night that had been historically weak for them Next week it dropped to #35 Facts of Life was #31 The movie was #44. Less impressive. The following week Outlaws #59 and the movie #64. Facts of Life #25. By that point I'm sure the cancellation was inevitable. Possibly a case of a pilot with strong writing and $$$ spent but the resulting series just not as good.

Julian Funt/David Lesan were headwriters. They took over from the Hursleys. Julian Funt had written for radio soaps. David Lesan later worked with Irna on ATWT. Interesting to see the introduction of Bill and Kitty Allen. They were presented as having returned to Henderson after 5 years and good friends of Jo and the Bergmans, although we'd never seen them before. They had children but nothing seems to happen with them. Puzzled as to why they were brought on at all. Stu was very close to Jo and the two would have scenes together. That was a unique take, especially for the time where you would expect Marge and Jo to be close and Stu, as a male, not to be too involved in 'women's business'

More for February 1966 Search for Tomorrow

I guess Erica faced the same trajectory as all long running soap characters- either they become supporting with no agency or point of view (That was never going to happen with Ms Kane) or TBTB try to keep the character static and repeat the tropes that made them popular in the first place, so there is little character growth. Re the Tylers. It was possible that Linc and Kelly could have left in 1980 pregnant so a younger Tyler could turn up as a teen in the 90's. They tried that with Kelsey, Tara's daughter, but that character was never long term.

Chris McKenna wasn't on the show when Alice was, so I wonder how they connected.

@Mona Kane Croft Yes, I think after Emily left Bob just became a talk to for Jo and others. There was always a bit of hospital drama and doctors in the cast eg Gary so Bob would be seen in that capacity. He seemed to be on contract throughout the 70's b/c it was announced in 79 I think that he went recurring. He continued to be seen occasionally. Not sure when he was last seen. Would have been nice if he was there in the final weeks.

@Vee thanks for the tag. I was hoping these episodes would be posted. I recall one from this era many years ago. Juliant Funt/David Lesan were headwriters. They introduced Sam/Len/Andrea. We also see Ken Kercheval take over from Burr De Benning as Nick. And Susan Seaforth in a Mr Clean commercial!