Paul Raven

As stated the Bauers had a different trajectory compared to the Hughes/Stewarts. ATWT also had actors stay around for decades eg Don Hastings,Eileen Fulton whereas apart from Charita and Ellen Demming everyone else departed. I believe Peggy was made an 'honorary' Bauer because of this-did she live with Bert? I think so. So not to honor that and bring in her son Johnny in the 80's was a misstep. Would Fran Myers have agreed to a recurring/guest appearances at that time? Who else from the 60s and 70's should have been kept on/brought back?

Just thinking that instead of the dreary Connor OCD story, they should have made more of Johhny discovering Chelsea is his bio mom. He could have begun acting out and you have Chelsea v Victoria, Victoria v Billy and Adam in the mix. Of course Victor would want his say and it could also contribute to Connor's issues. A whole lot of drama to be mined there.

Just watching those opening scenes and intro.Only Ross and Vanessa would qualify as 'long term' characters. I'm sure TPTB were congratulating themselves at having modernized the show,but the problem was that without long term characters you might not get long term viewers and have to keep trying to attract the next batch of viewers which becomes more and more difficult. And that is exactly what happened.

There would have to be some links to the original to make it viable. But yes, only guest appearances to launch a few stories or intro new(er) characters. Going on the actors ages, Claudia Lonow is 61 Tonya Crowe is 53 Diana and Olivia could have children in their 20's and teens. Meg, Betsy and Bobby would be on their 30's. So plenty of characters to base a show around.

Isn't this a common occurrence when new writers take over? There was similar praise when PM's scripts started airing. Maybe not in this case but once the honeymoon period is over...

I get the kind of clubby atmosphere they are going with, so i don't mind the sofa too much, although I think it was originally a more suitable dark leather. It's the cheap looking cottagey print cushions that bug me. Also, the glass cabinets used to be filled with trophies and antiquey stuff but then got replaced with crappy glassware. I could go on for hours about the lack of sets and the cheap decor. I know budget and space is a problem but 2 walls and a table/chairs to suggest a corner of a restaurant or the same for a bedroom OR AN OFFICE etc. There doesn't seem to be any effort or imagination. And then from time to time they do just that. Puzzling...

At least they desided to return GCAC as a set over the garish Grand Pheonix. But those throw pillows on the sofa at GCAC bug me everytime...

Some pilots spun off from movies Bell, Book and Candle NBC 9/8/76. Writer: Richard DeRoy, from John Van Druten’s 1950 play and the 1958 feature film. Gillian Holroyd is a young witch who'd like to forget her supernatural abilities and just work in her art gallery with her bumbling Aunt Enid. Unfortunately, she is constantly hampered by her warlock brother Nicky and his get-rich-quick schemes—all of which depend for success on her superior ability at witchcraft. To make matters worse, Alex, a New York editor, moves into the apartment above the gallery—and falls in love with Gillian. Starring:Yvette Mimieux, Doris Roberts, John Pleshette,Michael Murphy, Captain Newman, M.D. NBC 8/19/72. 30 minutes. Jim Hutton stars as an unorthodox Air Force psychiatrist along with Joan Van Ark and Bill Fiore, in this pilot based on the movie, which starred Gregory Peck and Tony Curtis. Guess Who’s Coming to Dinner. ABC 7/4/75. 30 minutes. A situation comedy, inspired by the 1967 film that starred Katharine Hepburn, Spencer Tracy, and Sidney Poitier, revolving around what happens when a socially prominent white girl marries an upper class black man and the two families become one. Cast: Leslie Charleson (as Joanna Prentiss), Bill Overton (John Prentiss), Eleanor Parker (Christine Drayton), Richard Dysart (Matt Drayton), Lee Weaver (Ralph Prentiss), Madge Sinclair (Sarah Prentiss), Rosetta Le Noir (Tillie), Holly Golightly. ABC 1969. 30 minutes. Based on the 1961 Paramount film Breakfast at Tiffany’ s, adapted from Truman Capote’s book. In the pilot, Holly (Stefanie Powers) moves into a new apartment—and accidentally sparks an all-night party filled with dozens of strange people doing weird things. Also featured are George Furth, Jack Kruschen, and Jean-Pierre Aumont. The Owl and the Pussycat. NBC 12/29/75. 30 minutes. A sitcom adaptation of Bill Manhoff’s 1964 play and the 1970 motion picture starring George Segal and Barbra Streisand. Buck Henry and Bernadette Peters take over the roles of a frustrated writer and a frustrated actress who become friends. Cast: Buck Henry (Felix), Bernadette Peters (Doris), Liam Dunn (Mr. Crumley), Dorothy Neuman (Mrs. Crumley), Val Basiglio (The Man). What’s Up, Doc? ABC 5/27/78. 30 minutes. Warner Bros. Television. Based on the 1972 movie, which starred Ryan O’Neal as a stiff geology professor who, although engaged to an uptight woman (Madeline Kahn), falls in love with a wild, carefree, fun-loving incarnation of Bugs Bunny (Barbra Streisand) while on a trip to San Francisco. In the pilot version, Barry Van Dyke is the professor, Caroline McWilliams is his former fiancée, and Harriet Hall is his free-spirited new love. Cast: Barry Van Dyke (as Howard Bannister), Harriet Hall (Judy Maxwell), Caroline McWilliams (Claudia), Don Porter (Urban Wyatt), Neva Patterson (Amanda Wyatt), Jeffrey Kramer (Fabian Leck).

Robert Cenedella died Saturday afternoon, September 28, 2002 at Tucson Heart Hospital. He was 90 years old. Born in Milford, MA on October 8, 1911, Mr. Cenedella taught high school English and became principal there in the 1930's. Before moving to Tucson 10 years ago, he had a long and successful career as a writer and actor in New York City. He published the critically acclaimed novel "A Little To The East" in 1963, as well as dozens of stories in magazines such as Playboy, Redbook, and Ellery Queen's Mystery Magazine. He wrote for radio, notably for Helen Hayes. As a member of the Board of the Radio Writers Guild in 1949 he founded the Radio Writers Guild committee against the blacklist - the first union to publicly acknowledge and actively oppose the McCarthy-era persecution of writers and others for their political beliefs or affiliations. He was the head writer of such daytime serials as "Another World" and "The Guiding Light," and he mentored several young writers who went on to successful careers themselves. Never the retiring type, Robert embarked on an acting career at age 65, and performed in theatre, film and TV roles until he was 89. In Tucson he was a member of the Old Pueblo Playwrights, as well as other writing groups, continuing throughout the last years of his life to write and refine, and to help younger writers learn their craft. He was working on a new novel when he died. He is survived by his beloved wife of 41 years, Betsy Boyd Cenedella, and by his children: educator and writer Joan Cenedella; artist and teacher Robert Cenedella, Jr.; teacher and writer Michael Cenedella; and musician and writer Peter Cenedella; by three grandchildren; his sister Carlotta Catusi; and his Tucson family, Andrew, Camilla and Maura Cenedella. In lieu of flowers, the family asks that donations be made in Robert's name to Habitat for Humanity or the Actor's Fund

So true. And the issue with nightime, even more than daytime is that viewers (and the actors) expected those characters to be front burner season after season. Which made it difficult to come up with viable stories. And with one hour a week there wasn't a lot of time to have other stories playing. Paige worked out OK, but Michael and Eric still came off as' the kids' rather than fully developed characters. Of course Stan Shaw dying was a tragedy. And Lucy wasn't a good fit for Knots. But I think had they been casting a younger set, those actors that had been there from the start would not necessarily been chosen.

Edmonton Journal July 12 1991 SCOOP Rauch talks about his departure from ABC CONNIE PASSALACQUA United Media Hollywood TWO months ago, when executive producer Paul Rauch suddenly left One Life to Live, we wrote that it was a profound loss to daytime. Two weeks later, Rauch, the medium's most innovative producer, landed a job with Santa Barbara. Recently, Rauch finally caught up with us to expound a few points. Of his departure from newly costcutting ABC, he says, "It was a mutual decision, because I felt I could not run the show based on ABC's new financial policies.' Toward the end of his reign with One Life to Live. he says, he had brought his show in $1 million under budget. But he still feels his creativity was being stifled by the new thinking at ABC Daytime. "It seems that it's de rigeur now to play slice-of-life (stories) there," he says. "No one wants to take risks on daytime anymore," Rauch adds. "But in this medium, you have to take risks or you die."* Rauch, never a gusher, seems clearly thrilled to be working with Santa Barbara head writers Bridget and Jerry Dobson. "They're great writers," he says. "They are not afraid to take chances. They're not afraid to have something not work. They have what no one else has in this business right now a sense of originality."* Rauch takes a final swipe at ABC when we ask if he thinks the network will achieve anything by hiring actors and producers at lower salaries. One example is Dirty Dancing producer Linda Gottlieb. "They do want to hire people with no background in daytime," he says."They do want to hire since Jack Wagner (formerly people with no background Frisco Jones on General in daytime," he says."I'm not sure how financial criteria equates with success in a medium that requires specialty. All I know is I've been doing this 35 years." As Rauch says, producers always have to take risks. And that includes clearing the way for new story lines.It seems that the majority of the Lockridge family (the characters said to be the most like head writers Bridget and Jerry Dobson) are being phased out. Nicolas Coster (Lionel) left a few months ago, and Paul now Louise Sorel, who created the role of Augusta, has been written out too. Also going is Shell Danielson. who played daughter Laken Lockridge.All this is mucho strange, since Jack Wagner (formerly Frisco Jones on General Hospital )has just made his debut as brother Warren Lockridge. In light of Linda Gottlieb's success at OLTL, Rauch comes off as a bit arrogant. Especially when he never achieved success at any of his subsequent gigs. He jumped on the bandwagon of shock/awe stuff that grabbed viewers short term and cost $$$. In terms of originality going back to 'slice of life' was actually a bolder move than underground cities, time travel etc.

Did we? It always followed Dynasty and when it finally moved to Saturdays (sabotage) it bombed. 82-83 season. Wk 1 Monday ABC That's Incredible #34 16.0/24 Outlaw Josey Wales #32 16.1/26 CBS Square Pegs #20 18.7/29 Benjamin #23 18.1/27 Drop Out Father #2 23.8/37 NBC Little House #15 19.2/29 On The Road Again 13.4/21 Square Pegs, another CBS sitcom that started fairly strong but didn't follow through. Tuesday ABC Happy 19.7/31 Laverne 21.4/33 3's Company #1 24.2/36 9 to 5 #6 22.4/34 Hart 19.2/32 CBS Bring Em Back #49 12.9/20 Shadow Riders #17 19.1/30 NBC Father Murphy #46 13.4/21 Seems Like Old times #50 12.9/20 Another CBS 8pm flop. Father Murphy unable to build on middling success of S1. Wednesday ABC Tales of Gold Monkey #31 16.4/26 Money on the Side #10 21.0/33 CBS 7 Brides for 7 Brothers #40 14.4 /23 Life of the Party Beatrice #35 15.7/25 NBC Real People #24 18.0/29 Facts of Life #19 19.0/29 Family Ties#26 17.2/26 Quincy#39 14.5/23 Facts of Life hanging in there! Thursday ABC Joanie Loves Chachi #45 13.5/23 Star of Family #43 15.7/22 Too Close #8 21.5/33 20/20#25 17.7/30 CBS Magnum 2 hr #3 23.1/37 Knots Landing #33 16.1/27 NBC Fame #51 12.8/21 Cheers 9.6/15 #60 Taxi #56 10.1/16 Hill St Blues #21 18.2/31 ABC immediately in trouble @8pm. NBC's much publicized Emmy award winning night bombs. Friday ABC Greatest Escape Artist #61 9.5/17 Battle of Network Stars #58 10.8/19 CBS Dukes#27 16.7/30 Dallas #5 22.5/36 Falcon Crest #14 19.3/34 NBC Matthew Star #55 11.7/21 Knight Rider #38 15.4/26 Remington Steele #52 12.5/22 Dukes off to a poor start. Sign of things to come. Knight Rider doing way better against Dallas than anything else for years. Saturday ABC TJ Hooker #44 13.6/26 Love Boat 2hr #7 21.7/39 CBS Apple Dumpling Gang #54 11.9/22 Not Just Another Affair #48 12.9/23 NBC Diffrent Strokes #41 14.1/27 Spoons #42 13.7/25 Gimme 12.2 /21 #53 Love Sydney #59 10.6/19 Devlin #62 8.3/15 NBC chancing on a Saturday comedy block, not happening. Sunday ABC Ripleys #57 10.8/20 Matt Houston #17 19.1/30 Smokey 2 #12 20.1/31 CBS 60 Minutes #4 22.7/42 Bunker 16.4/26 Gloria #36 16.7/25 Jeffersons #29 16.7/25 One day #22 18.2/27 Trapper #37 15.5/25 NBC Voyagers #63 7.5/14 Bob Hope #28 16.7/26 Carson Anniversary #11 20.9/32 Promising for Matt Houston. First signs of weakness for CBS Sunday comedy block. Poor start for NBC as their movies, new shows and even returning shows not firing.

GH had such an opportunity with introducing a new family for Laura and they blew it.

Y&R Victor kidnapping Jack, replacing him with a double, who slept with an unknowing Phyllis. Not only inappropriate but ridiculous and disgusting especially when Victor was forgiven and he and Jack remained civil (and at times friendly)

Bar Girls and Palace Guard aired on CBS. So was she lured to CBS with a contract? A la Genie Francis?

Would either of these shows been developed for Marcy Walker? I'd think that like hundreds of other actresses, she auditioned and was lucky enough to be cast. The fact that she was a popular soap actress may have been a negative in the minds of some or a non factor. How many interviews have we read of performers leaving their soap and talking about having to start all over again in primetime and that producers/casting directors don't have any awareness of daytime? Susan Lucci manage to score some TV movies and a guest role in the dying days of Dallas but stayed at AMC and had the highest profile of any daytime performer. But for everyone else, there was no favoritism.

Huh? And she was writing a soap? Maybe she meant she found it hard to come up with stories for a happily married couple, which is a common soap writers lament. Bill Bell said the same thing about Chris/Snapper on Y&R. That's why before they decide to marry off a couple they need to have the next story/complication in mind and lay the groundwork.

@dc11786 Great to find out extra info on these proposals. Thanks.

AW had been through the 90 min format where there were a lot of new characters and cast changes, then the back to 60 min and the introduction of the Holloways then Corinne Jacker and the Shea family among others, then the McKinnons and the Loves. All that in about 5 years. They really needed a focus which De Priest tried to do with McKinnons, Loves and Corys. But it was inconsistent-no Ben.Peter/Nicole written out.Poor recasts, It fell apart quickly. They needed to regroup the Matthews at that point.

@wonderwoman1951 thanks for the extra info.

It was 1966. Nancy was in hospital for the hysterectomy when she met Sara Fuller (Gloria De Haven) who was her room mate. They became friends and Nancy went to work at her dress shop. Nancy & Chris had major problems when Chris defended Amanda Holmes for the death of her friend Sara. There was a photo posted (can't locate it) of Nancy back home in a dressing gown surrounded by family and get well cards decorating the Hughes living room. Of course, this could be another story from history that is incorrect. Until actual scripts turn up we'll never be sure.

Mary Ellis Bunim was at search throughout the 70's starting in the production office before becoming EP around 75. Then in 81 she went to ATWT and stayed till Sept 84.

Nancy and Chris were the tentpole characters and heavily involved. Their own 'stories' pretty much came about through disagreements in how to handle various family crises. Nancy's attitude to Janice, her sister in law Edith, Chris' decision to search for and help his criminal brother John etc She did face a health crisis in the mid 60's and had a hysterectomy. Also going to work part time. This was something that was dropped on soaps in later years. Older characters were seldom seen and usually just talk to's. They didn't have the agency and point of view of the Hughes and other parents/grandparents.

They admitted at the time that they went for a pretty face over talent when recasting Morgan. Really Jennifer Cooke bore no resemblance to Kristen Vigard in any way. Morgan was not your generic blond ingenue but that's what they went for to chase the young demo.

I read the plan was for Carrie to have therapy and integrate her personalities, with the end result being she couldn't stay with Ross because too much had happened and she wasn't the woman he fell for. That might have resulted in some great scenes for Jane but perhaps Potter felt it might have not resonated with viewers as the ratings hadn't provided much evidence of interest in the Carrie story. Re Marland/Ed- was there anything in the writing for Hulswit towards the end of his run that showed that Marland didn't like the actor? Allen Potter was against replacing Ed so was it P&G /Marland that ganged up?