Paul Raven

Guiding Light Peggy Scott was originally mentioned as Susan Steve Jackson was referred to as Warren.

Sharon is on the same trajectory as Paul. No siblings/parent, her children are either offscreen or barely seen and other relationships have been diminished. Is Sharon Case now recurring??

Mention of John Conboy makes me think of BTS people Doug Marland Jackie Babbin Frank Valentini Ron Carvilati Robert Calhoun

And what are the kids going to think 15 years from now!!

Y&R Paul/Nina Days Maggie/Don Maggie/Neil Marie/Howie

Mini Series Ratings 1978-79 Season 1. Roots Next Generation ABC 30.1/45 2. Pearl ABC 28.6/45 3. Roots (Repeat run ) ABC 25.4/42 4. Backstairs at the White House NBC 25.0/37 5. Ike ABC 24.7/40 6. Little Women NBC 22.6/34 7. The Word CBS 21.2/33 8. Jesus of Nazareth (Repeat) NBC 21.2/33 9. The Chisolms CBS 21.1/35 10. Blind Ambition ABC 20.5/34 11. The Best Place to Be NBC 20.2/34 12. A Woman Called Moses NBC 19.9/32 13. Centennial NBC 18.5/30 14. From Here to Eternity NBC 18.9/30 15. Mr Horn CBS 18.5/29 16. The Sacketts NBC 17.5/30 17. Greatest Heroes of the Bible NBC 17.4/28 18. The Critical List NBC 17.0/27 19. The Pirate CBS 15.4/25 20. Moses the Lawgiver (repeat) NBC 15.4/30 21. Women in White NBC 14.0/23 22. Studs Lonigan NBC 14.0/23 23. A Man Called Intrepid NBC 12.5/21 24. Hanging by a Thread NBC 12.4/21 25. Innocent and the Damned NBC (repeat) 12.4/23 26. Dark Secret of Harvest Home (repeat) 10.3/18 27. Wheels NBC (repeat) 10.0/18

The Desert Trail Twentynine Palms. California Dec 9. 1993 Big Doings in Brooklyn by Connie Passalacqua. The soap world is abuzz with the dismissal after five years of Another World executive producer Michael Laibson. With considerable grit and tenacity Laibson kept AW alive during a time when the low-rated soap was rocked by drastic changes that NBC made in its afternoon serial line-up- specifically the cancellations of Generations and Santa Barbara. The show survived its own cancellation scare last spring when NBC decided at the very last moment to renew the show for three years. Apparently part of that deal is rumored to have been the replacement of Laibson, a long-time Procter and Gamble employee (AW is owned by the soap company) with someone more closely affiliated with NBC. AW’s new producer is Terry Guarneri. Guarneri was once a producer of The Cosby Show which incidentally was taped at the same Brooklyn studio as AW. Most recently she was the vice president of daytime east coast at ABC. Laibson, who was said to be quite surprised by his dismissal accomplished a great deal at AW. To remain for five years at a faltering soap in an executive producer's position is a miracle in a network environment that encourages personnel changes at every turn. When Laibson arrived at the soap it was in a shambles. In the 6Os and 70s, AW was daytime’s classiest and most sophisticated show (and also in the 70s top-rated). Under the long reign of Paul Rauch and several subsequent producers the show had degenerated into a soap that was both boring and cliche. Under Laibson (and head writers Donna Swajeski and Peggy Sloane) the women characters on the show became particularly strong. The high level of acting on the show was maintained by relying both on the talents of long-term cast members Victoria Wyndham (Rachel) Linda Dano (Felicia) and Stephen Schnetzer (Cass) and by developing such dynamic young actors as Alicia Coppola (Lorna) and Alla Korot (Jenna). If not a ratings favorite then the show under Laibson certainly distinguished itself critically. What will happen to AW (founded 1964) one of the greatest of the old warhorses of daytime? Stay tuned. I think a 5 year run was a enough for Laibson. He didn't manage to jolt the ratings or create any real hype for the show.

Does RH set the record for having the most recasts of original characters in the shortest amount of time? B/W 75-80 there were 2 Delias 3 Franks 4 Marys 3 Pats 4 Faiths That's not counting the later multiple recasts of Siobhan.

LANE DAVIES THE YOUNG AND THE RESTLESS Julia Newman's Doctor 1981

I'm referring to those pairings that come about because there are 2 characters on the canvas w/o love interests so the writers decide to pair them to fill guarantees and give them some airtime and stories. Sometimes it's shortlived, others hang around on the backblocks and sometimes things work out and they become fully fledged couples. I saw that GH put Robert and Diane together and that pairing didn't seem to go down well. Y&R had Cane on contract and Lily was gone so we had a Cane/Traci story for a while. What other examples past and present can we discuss?

To think , at one point, the Horton house set was going to be dropped. As for a reunion, in terms of the core they could have Julie, Steve, Marie, Jennifer, Mike, Sandy, Hope, Jessica...

SEARCH FOR TOMORROW Alan Ron Leibman 1967 Alan Smith ????? June/July 1967 Kid porter; drug addict; creeped out Angie; stabbed Sam Reynolds with a screwdriver; robbed the hospital pharmacy, stole morphine; held Patti hostage @slick jones I believe they are same character. Dr. Brad Campbell George Kane 1962- May 65 engaged to Patti but she got involved with Everett Moore. After that he let Patti know he was still available but she turned her attention to Len. Laurie 'Millie'_____ Miller Freida Altman April 1965-66 Sam Reynolds long time housekeeper who relocated from NY to Henderson. Susan Carter Sharon Smyth May - ? 1965 6 yr old who Allison Metcalf met whilst volunteering at a day care center. Fred and Allison cared for her from time to time. Helen Carter ??? Susan's mother. Single mother who worked as Bob Rogers secretary. Dr. Nick Hunter Emily's husband Burr De Benning 1965-66 Dr. Nick Hunter Emily's husband Burr De Benning June 1965-66

Thanks. Of course, now I look so obvious. With a cloth roof that is so easy to tear to gain access. Hope Zach has learned a lesson.

Not sure if that is an Aston Martin or a Bentley? Here's a tip-don't leave thousands of $$$ of belongings in your car.

In the case of SB taking a year to solve the mystery is counter productive. I'm talking about something that is resolved or revealed in the first week and move on with the ramifications from there. As for Texas, it moved at a snail's pace so viewers were asleep by the time anything happened. Citing those shows, another tip for MVJ is not to crowd the canvas with too many stories and characters at first , try delaying the debut of some characters till a few weeks in. If they allow extra time to tape the first few weeks a smaller cast could cope with the extra workload.

How about opening with a major event- eg a shooting, a wedding where bride/groom says I don't, a reveal eg So and and so is an imposter! etc and then flashing back to 1 week before and we start the show from there so viewers are hooked from the start and know where the story is going and know by Friday what to expect.

GUIDING LIGHT Mark McEwen Mark McEwen reorter on CBS This Morning May 1994 Host of 'Soulmates' which Buzz and Nadine competed. Extra at San Rios Airport 1984

@DRW50 always interesting to see backstage stuff. Farley Granger from his memoir 'Include Me Out' talks about getting into daytime on OLTL. I began accepting guest-starring roles on episodic TV again. There were a lot more opportunities, but if anything, the quality of the material and the lack of time for preparation had gotten worse. I was not happy. My agent knew how I felt and called to say that I had been offered a lot of money to do a soap opera in New York. He said that many respectable New York theater actors worked in soaps in order to make enough money to live decently in New York and to be available to work in the theater whenever the right part came along. I said that I needed time to think about it and accepted an offer from the Seattle Repertory Theatre to play one of the leads in Noél Coward’s Private Lives. The production was a smash hit with both the public and the critics, and I had the time of my life playing Elyot. When it closed, I returned to Hollywood and episodic television, which seemed even more banal after Noél Coward. When my agent said that the soap, One Life to Live, in New York was still interested in me and had upped the money, I returned to New York. Bob stayed in California. I thought I disliked episodic TV, but the soap was worse. Soap acting requires certain skills that I have never been able to develop: the ability to be a very fast study, the ability to concentrate in the middle of complete chaos, the ability to learn material that is the same but slightly different each day, and always, the need for instant acting with little or no rehearsal or preparation time. I have nothing but admiration for the many fine actors who have mastered these skills. For young actors it is an invaluable technique to acquire for a limited period of time. I couldn’t master any of these necessary abilities. It took me many painful years and two additional tries to realize this. At the time I thought, maybe my mind is going. Maybe my ability to memorize lines has deserted me. I was able to memorize three plays simultaneously for repertory and couldn’t remember three scenes for a soap. Maybe I had earlyonset Alzheimer’s. I went to doctors, to hypnotists, to acupuncturists, to people who supposedly knew how to teach acting technique for soaps. Nothing worked. I developed a spastic colon. My gut had always spoken for me when I was unhappy and felt unable to do anything about it. I had memories of it speaking out in meetings with Mr. Goldwyn, or at formal dinner parties in my young movie star days, but this was getting more serious. I was in danger of perforating my intestine. One day, in an effort to stop the mental and physical pain, I just walked off the set, went to my dressing room, got my things, and left the studio. I didn’t go back. I didn’t answer my phone for days. I just slept. When I started to feel a little better, I went to see Jay Julien. Jay handled everything. My colon stopped complaining, and I began to feel whole again.

From his memoir' Include Me Out', Farley Granger discusses his stint on ATWT Dating this time, Bob had progressed from director and line producer on two NBC daytime shows to executive producer at CBS on his fourth soap, As the World Turns. It took him nine grueling months, but he finally met the head writer with whom he could transform the eighth-ranked show into a winner. Within six months, he and Doug Marland had moved the show into first place, and it went on to win a Best Show Emmy Award for the first time in its thirtyfive- year history. Against Bob's instincts and, even though I was tempted to take on the challenge of mastering a technique which had up to this time eluded me, against mine, Doug persuaded him to persuade me into signing me for the show. Immediately after signing a three-year contract with mutual out clauses for As the World Turns, Eileen Fulton, whose singing still continues to charm supper club patrons in Manhattan, has played Lisa, the resident vixen on As the World Turns, since shortly after the show went on the air. She was chosen to be my love interest on the show. Eileen was helpful, caring, a consummate professional, and in general a delight to work with. Lisa also happened to own the one restaurant/club in Oakdale, the fictitious Midwestern city somewhere near Chicago in which the show took place. Doug Marland was a master at writing scenes at this restaurant/ club, the Mona Lisa, where a large number of the show's leading characters supped, drank, plotted, and crossed paths. In this way, he was able to spread information quickly, and dramatically illustrate tts effect on the various people involved. The technique worked wonderfully, but these scenes were the most difficult and time-consuming to stage, rehearse, and tape. Whenever the cast saw a heavy day scheduled in the Mona Lisa, we knew that we would be lucky to finish before midnight. On my first day of work, I had an early-morning call for some of the intimate scenes that introduced my character to Oakdale as well as an afternoon call to play a number of see-and-be-seen scenes at the Mona Lisa. The morning scenes were finished by around 11:00 a.m. I went back to my dressing room,where I sat until my next call at ten-thirty that evening. It was complete chaos in the studio, and everyone was tired. I could not remember one word. I tried, oh, Lord, I tried. I had a recliner put in my dressing room, kept to myself, and studied my ass off. By the time I was called to the set, I always knew my lines perfectly. The moment I hit the studio, even for the simplest of scenes, the normal noise and chaos of daytime television—sets being changed, last-minute lighting adjustments, the cameras and boom microphone platforms working out traffic problems—blew my concentration. I would tense up and the words would desert me. There were not enough hours in most days to allow the actors a quiet run through or two on the set. Whenever we were able to have one, I could remember lines and come up with a performance. But those opportunities were extremely rare. More often than not, the dress would be taped in hopes of getting something good enough. The producers, the directors, the technical staff, and almost all of the other actors could not have been more supportive and encouraging,but it wasn’t enough. I still couldn't master the technique of tuning out the surroundings. I knew it and everyone else did, too. I was miserable. By this time in my life, I knew I was a good actor, but that knowledge also made it possible for me know how bad I was in this particular situation, I kept trying for over a year, partially out of loyalty, partially out of stubbornness, but my health began to suffer. I tried new diets, meditation, acupuncture, hypnosis, and whatever else anyone recommended. Nothing helped. Things did not improve. After a few more months, old reliable, my colon, started to act up for the second time since my battle to get out of my contract with Sam Goldwyn. I was diagnosed with spastic colitis brought on by stress. I asked what I could do about it because it was obviously the soap and I had eighteen months left on my contract. My doctor's answer was, “You have no time left. A perforated colon is an extremely serious problem. It is also one you will be facing soon, if you do not stop what is causing your colitis.” I went to Bob the next day. He said that he knew how unhappy I had been, but had no idea that it was making me sick.. He called Doug immediately, and they discussed replacing me with another actor or writing me out of the show in a way that would be dramatic and serve the plot. Within two days, Doug Marland had figured out how to write me out of the show, but he needed a month. He agreed to keep my performance schedule as light as he could without damaging the story line. As soon as I heard that, |started to shed some of the tension that was making me ill. After several days, people at the studio started complimenting me on how well the scenes were going. Bob called me into his office and said, “Do you have any idea of how much better you've gotten since we agreed to release you from your contract?” I said that I hadn't, but I did acknowledge that the scenes seemed to be getting a little easier to do. At that point he said, “Maybe you won't have to leave the show.’ As I quickly turned to leave his office, he yelled after me, “Just kidding.” Anyone watching at the time- Did Farley fumble his lines? I think he came back for brief appearances after his departure?

On Search for Tomorrow Margaret Draper was a temp for Mary Stuart in 1952

AA was a buddy of Ken's , so keeping his wife on the show might be a gesture from Ken to lessen the financial strain the couple may face, and show his support to a friend. As stated, we'll see over time if she stays around.

Jane had already done a soap in the 60's. And it took Jane 2 years to land a soap role ,so her agent was a little slow to follow Jane's request. In the meantime Jane landed a primetime series Rosetti and Ryan.

@j swiftThis from a Wes Eure interview WE: It was but I immediately got cast in TWO series. I got Land of the Lost and Days of Our Lives. TT: Simultaneously? WE: Pretty close. It happened very quickly. TT: That’s amazing for a young actor, isn’t it? WE: Yeah. I was real lucky. I got Days of Our Lives first and then David Merrick (the big Broadway producer) flew me to New York. They were doing Candide and he wanted me to go and star in that. They flew me in to see the production that they just opened and while I was there, the phone rang and I was offered the part of Will Marshall on Land of the Lost. They said I had to “play sixteen” and I was like nineteen or twenty. I turned them down at first and they kept calling and I finally said. “Okay, I’ll do it.” That’s how that happened. NBC let me shoot both series. TT: How did you manage that? WE: Days of Our Lives made sure that all my scenes were filmed in the morning for three years. And then I would race over to General Services Studio in Hollywood - and run from dinosaurs! In the morning, I was crying that my girlfriend was cheating on me…and in the afternoon, I was running from dinosaurs. It was a lot of fun. I had a great time. Deidre debuted on Days June 21 1976 and EW debuted Sept 76, so I would imagine that she might have been working on both shows simultaneously for a short time, although EW might have been filmed on a very quick basis due to budget and she may have wrapped the 16 eps before taking on Days. Electra Woman was announced late March 76 so may well have gone straight into production and been done filming by June. I'm sure other posters might have more info.

Lesley didn't learn about Laura till Sept 75 and I don't think we saw Laura until early 76.

I'd ditch Nina. I was reading over her Soap Central profile and her backstory is a convoluted mess. Ditching her would eradicate a lot of tangled history. She doesn't have any relatives on the canvas ,right? Looks like the role was created because they nabbed Stafford and she's long gone.