Contessa Donatella

Yes, Anne began July 6, 1987 & I always thought that was why someone, from P&G or from SOAPnet, chose to begin their shows at that time. No idea if that is borne out by any facts. @JAS0N47 I just want to say what a joy it is to watch you as both the data & the reaction to the data causes you to adjust & so are making your product that much better as you go along.

Just saw. Morgan Fairchild tweeted it. Sad.

Brown, M. (n.d.). FALCON CREST’s Morgan Fairchild: TV’s Most Typecast Actress Breaks Through the Blonde Bitch Mold. Soap Opera Digest, 11(8). Morgan Fairchild Cuts The Fluff! TV's Most Typecast Actress Breaks Through The Blonde Bitch Mold. Finally. (Jordan Roberts, FALCON CREST) By Meredith Brown I suppose the most surprising thing about her is how bright Morgan Fairchild is. I don't mean bright in that condescending, "You mean a blonde actress has something intelligent to say?" kind of way. I mean bright because she is aware, insightful, articulate & not afraid to express an opinion here & there. Fairchild knows her strengths, her weaknesses & how to win the game in Hollywood. When you realize how often she has been burned in the press for being a fluff with hair, makeup & no talent, you also realize just how tough she is. A further look at her body of work will indicate that Morgan Fairchild is very much an actress with breadth & talent. Fairchild created some unforgettable characters on television, among them Jennifer Pace Phillips on SEARCH FOR TOMORROW; one of the first primetime soap bitches, Constance Carlyle on FLAMINGO ROAD; Racine, the delightfully ruthless modeling agency owner on PAPER DOLLS; and now in her newest & most complex role, the sexually abused multiple personality Jordan Roberts on FALCON CREST. Fairchild was born & raised in Dallas, Texas & began acting when she was still a child. By the time she was 12 years old, she was performing in dinner theatres & stock productions. She moved to New York in the early 70s, worked on SEARCH, then moved to Hollywood where television roles were plentiful. In fact Morgan originated the role of Jenna Wade on DALLAS. Offscreen she took a weighty part in the critically acclaimed off Broadway hit GENIUSES. Morgan Fairchild lives alone in Los Angeles with her 3 cats. Single, she can often be found in the company of her sister, with whom she is very close. We met at a Holiday Inn in California's Napa Valley where the FALCON CREST cast stays while on location. I think my favorite thing about Morgan Fairchild is that she is not afraid to talk about much of anything. Including her age. She is happy to admit that she just turned 36. Not the sort of admission you'd expect from a blonde ball of fluff.--M.B. "You're Plastic-Looking & You'll Never Work" I've spent a lot of years getting kicked in the face. I spent 13 years in the theatre before I ever started in television. I have all the stories about standing in the snow in New York for 6 hours waiting to get interviewed for 30 seconds as an extra in a movie. I had 6 years in New York where I couldn't even get an agent because people told me I was plastic-looking & would never work. I was working on SEARCH FOR TOMORROW & I had no agent! Everyone told me I would never work. They told me I'd never work when I was in my 20s & they continued to tell me I'd never do anything. Well, I don't hear very well. The Most Tenacious Bitch You'll Ever Meet I was a very shy kid & hypersensitive. How to mask that sensitivity & deal with things better has been a problem for me. But the one thing my friends never counted on when I first moved to New York is that I'm the most tenacious bitch you'll ever meet. I will keep taking the kicks in the head if I believe something is right no matter how many jobs I lose, no matter how many times I am told I am wrong for this part or that part. I was always wrong for everything & never the right type. But I knew that some way, somehow I would do something. I had a real sense of destiny. Being on a nightime soap was not what I had in mind. ST. JOAN was more what I had in mind. When I was a kid, I was a finalist in the Miss Teenage Dallas, 1964, contest. All the other little girls were doing a song from MY FAIR LADY. I did a scene from ST. JOAN. I was the 14-year-old idiot who when the judges asked, "Who in America would you most like to meet?" (and every other smart finalist in the 1964 Miss Dallas contest said, "I would love to meet our illustrious president of the United States from our home state of Texas, Mr. Lyndon Baines Johnson,") said, "Rudolph Nureyev." They didn't know who he was. So I had a hard time growing up in Texas. I did not want to be a cheerleader & they did not understand that. "Honey, Let Me Explain The Facts Of Life To You ... A Good Bitch Is Hard To Find ..." On my 1st job out here I played a blind ex-Peace Corps worker. I thought , 'Hey, they're gonna let me act.' I never got to play that again. I played a bitch in THE INITIATION OF SARAH & that was it. I wanted to play another role in that movie--the sister who was torn both ways--but they wouldn't let me read for her. I had already read for the bitch & they said, "great, you got it." I said let me read for the other sister & they said, "they want a brunette." I said, "I'll come in with a wig. I'm easy. You need a singer. I sing. You need a dancer, I dance." But they would not let me read for it. "Why?" I asked. And one of the producers said, "Well, honey, you've been in town for 4 months, let me explain the facts of life to you. We can find an ingenue anywhere but a good bitch is hard to find." So I ended up doing that part from which I have worked ever since. It was one of the biggest rated TV movies of the year. I think I probably got offered FLAMINGO ROAD on the basis of that part. I would have liked to have played Lane Ballou, but again, they would not let me play the good girl. But Don't Naughty Girls Really Have More Fun? You learn that the bitches control the pace of the show & the pace of the scene. I think that's what Larry Hagman & Joan Collins & I all do is have a good time with it. There is a sense of humor that makes it fun to watch on television. And What Of PAPER DOLLS: The First Literate Soap Opera? No matter how well you take it, it hurts when they cancel your show. It hurt when they cancelled PAPER DOLLS, especially because I really liked that show. We were in a terrible time slot, which we knew, but we thought we'd be given a longer time to establish ourselves. It takes a year to establish a soap. And then we had everything going against us. We were pre-empted for the World Series & the presidential elections, but we kept assuming the network would give us more time. I think ABC panicked because they had such problems that season. I think they got very scared & they just lost confidence in their whole schedule. I was very disappointed because I loved that character & I love doing comedy--they were giving me great dialog. It was the only soap that came on & got good reviews. People were saying that we were the first really literate soap opera. No Grapes I was all ready to take a month off for Europe when my agent called & asked if I had any interest in doing FALCON CREST. I'd never gone into a show mid-stride, so to speak, & so I hadn't really considered FALCON or any other show. I had been offered some pilots but turned them down. But I had a meeting with Earl Hammer & we sort of kicked around ideas. They had an interesting story concept for the character; number one that she wouldn't have to be a bitch & number two she wouldn't have to grow grapes. For someone like me, who has been fighting an image problem for the past few years, I felt it was a good opportunity to explore something else. Another plus was that I would be working with David Selby, who is a friend & someone I worked with on FLAMINGO ROAD. We work very well together. I would also be working with Simon MacCorkindale, whom I met when we were auditioning for something years ago in NY. We had worked on a scene together & he seemed like a nice fellow. I liked the way he worked. There was also the plus of knowing that I had two solid, theatrically trained actors to work with & we might actually have the chance to create something. It was not one of those situations you see so often in TV where there are several pretty boys who don't really know how to do anything. Playing An Adult Who Was A Child Victim Of Sexual Abuse I think it is so rare when you find a story line that has not been done to death on TV. Doing this story is a wonderful opportunity to explore something that has come to the forefront in the news & incredible numbers of people are now telling of how traumatic it is for the child. They never really focus on the repercussions of carrying it into adult life--the residual anger & emotional pain that comes about. Hopefully, we'll deal with the self-flagellation, the difficulty of dealing with men, coming to terms with adult relationships--all of that. I've done a lot of research on the subject. I've been reading autobiographies, been in touch with victims & psychologists. And since starting this research 2 girlfriends have come forward & told me they were victims of the same syndrome. You have no idea how many people are affected by it. And Finally ... The Biggest Misconception About Morgan Fairchild People who are close to me know I have a sense of humor & some modicum of intelligence. But a lot of people expect me to either be a bitch or a piece of fluff. "God, you really have a mind?!" I get that a lot. Just because I like to wear nice clothes & have long blonde hair doesn't mean I'm an idiot or a bad guy. But Can You Act? Yes, I can act. I'd be pretty stupid to have stuck this out for 25 years if I didn't think I had something to offer.

At some point earlier Marty let Nina know that someone was nosing around trying to get access to his phone records, or logs? Something like that. He was concerned & wanted her to know but he thought he could keep them from gaining access. Clearly at that time they were planting the seed that she might not stay anonymous, that there was some danger of that. But, if they had been able to get his records they'd know what clients he talked to, when, and deduce who the actual whistleblower was. And, if they couldn't do it legally, there's still the imagined threat that they would do it illegally & know who even if there'd be no way to use it in court. Because the knowledge would give them leverage. At that time I thought Marty should simply destroy them & do so immediately. He wouldn't need them after billing had been done. Why would he hold onto them? In case of an audit? Paper records probably vanish fairly often. I think it's more about the dangers of Nina being "found out" by Sonny & Willow & not about getting Drewfus released. Presumably Sonny would not like her being a rat, talking to the cops at all, etc. because of his code. Presumably Willow would hate her doing that to Carly. And, of course, Nina doesn't want either Sonny or Willow mad at her.

Lawyer, reporter, editor, restauranteur. But Stephanie, Chad, Nicole, Wendy & Xander have all been middle management.

Oh, Jason, thank you so much!!

Jason, Thanks for posting these script pages. It helps so much. Can I just ask about going over some pertinent dates to see if I have them right? Thanks. Laura & Bill were meant to be together but they were not for many years. Dec 29, 1967 Mickey & Laura wed. Feb. 7, 1968 Bill raped Laura. Feb. 8, 1968 Bill said he didn't know what he was doing. Laura said she could turn him in to the hospital & ruin his career. (But, she did not.) Nov. ? 1968 Mike was born. 8 years passes in real time. At the time of the Mike paternity reveal Wesley Eure was playing Mike & we are unsure of his age but he was SORAS'd so it may have been over 8 years in Salem time. During this time the audience knew that Mickey was sterile & Tom knew & Laura knew & Tommy's wife Kitty found out & then she blackmailed Bill so he knew. Mar. 19, 1976 Mickey learns his brother, Bill, had raped Laura some years back. Mickey goes immediately & gets a gun & shoots Bill. He also has a kind of a nervous breakdown & gets amnesia & wanders off. Because his belt buckle says "MH" he calls himself Marty Hanson. He happens upon Maggie Douglas's farm. She's on crutches. She hires him as a farm hand. Date unknown, Mickey returns to Salem & he is Dr. Marlena Evans 1st patient.

So, is this going to be a topic for discussing MOONLIGHTING? If so, I have a question about S1E1. At the elevator, after David tosses out, "Nothing showed what a cold bitch you'd turn out to be." In the original did she slap him? After she leaves he appears to be rubbing his face as if he'd been slapped. Did they cut a slap?

Yes, you have it! We are now in that soap hell where things do not make sense to such a high degree that it will go down in the annals of SOAP HOW COULD THEY?!!!

Frank does keep pulling things out of his magic hat! I found all of the revisitation of NF insufferable. But. I love Nina's dress & I adore Donna Corinthos being excited that she too, like Avery, will now get to have 2 Mommys! Lord, with Sonny & with her being very young, she may get to have 4 or 5 Mommys!!! I don't think I will ever see "Sona" as a great love ship but this staging & these production values are super.

Wait a minute, wait just a doggone minute. Clyde? They are about to write him back into story to such a degree that months ago he was free & he somehow got Susan the night of the wreck/cliff & took Susan to ENGLAND?!!! & gave her to Edmund Crumb?!! How outrageous is that? People are saying that what we are seeing now is some of the stuff that AA made all the decisions on. If that is true, I hate him all over again & possibly even more & I can't wait to get past this.

@slick jones Likely you have all of this information. But, I wanted to refer it to you just in case.

I thought Nicole looked more pregnant today but also like she's carrying lower. This is the first DAY of DAYS 2023 clip I've seen.

As Told To Douglas, J. (1982). Jane & Jerry: Their Lives & Loves. Soap Opera Digest, 7(16), 18–25. You Asked For It -- You Got It! A Thought-Provoking Conversation with JANE ELLIOT & JERRY VerDORN (Carrie & Ross, "Guiding Light") If our mail at Soap Opera Digest is any indication, teaming up Jane Elliot & Jerry VerDorn was a real stroke of genius on the part of "Guiding Light's" head writer, Doug Marland. In the year since Carri & Ross fell in love, their tear-jerking romance has captivated the hearts of millions of viewers & they've become one of daytime's most popular couples. Since we're received countless letters from our readers clamoring for a feature on Jane & Jerry, we caught the "dynamic duo" on a recent day off for this exclusive interview. Enjoy! JD: You have become one of GL's most popular couples -- are you pleased with your storyline? Jane: I think what is so extraordinary is that we haven't said the same thing twice in a year. Our characters have covered more territory in a year than most characters do in 2 or 3 years. There's always a new challenge in our scripts. It's been wonderful & Jerry's a blessing to work with. Jerry: My storyline has been a challenge. As the storyline progressed, I suddenly became a reactor & Jane became the more active one, which is quite difficult to act. It has been tough but I think the storyline has been successful in terms of credibility. Jane: One of the joys of working closely with someone you respect & trust & depend on is that you get to create together ... you dream up things together. When I first joined the show I was asked why our scenes always look so different from other people's & it's because we work at it. When you're putting that kind of effort into your work, you see a "layering" & a "coloring" to our relationship that other couples don't get because they are too busy thinking about their personal lives & not their acting. Acting is the break from your real life. Why would you want to sit & think about your bills when you could be pretending to be somebody else? Jerry: In terms of work, I haven't acted with someone who's had as much enthusiasm as I've had. Jane works as hard as I do. When the camera rolls, she hears what I say & I hear what she says. We listen to each other. We're able to play off each other without taking away the main thrust of the scene. JD: If you could write your own storylines, what would you do with your characters? Jane: I don't think I could come up with anything better than Doug Marland has given me. I have such confidence in him as a writer & as a friend that I don't think about what I'd like to see happen to Carrie. I spend my time thinking about what is happening to her. Jerry: Awhile ago, Ross was supposed to go into politics & I sorta regret that didn't happen. I thought that would have been an interesting storyline. I don't think much about what they're going to do with Ross but I would like to see him intelligently resolve his Howdy-Doody syndrome. Carrie is everything he wants in a woman, so, he's at a point now where he's doing everything he can to support, help & make the marriage work. I'd like to see Ross come out of this & not look like a sucker. JD: Are you happy with the overall direction "Guiding Light" is heading in? There have been so many changes ... Jane: It's very exciting to be on "Guiding Light" now & be part of something that's on the way up. Everything everybody says to us about this show is wonderful! I feel I've gotten my comepuppance for everybody who was snide to me about leaving "General Hospital" (on which she played devious Tracy Quartermaine) when it was at the top & coming to a 4th rated show. I believed in this show& felt strongly it was a very smart move for me to come to "Guiding Light." It was not a stupid move, as so many people tried to tell me. All the changes in "Guiding Light" have paid off. Jerry: I'm very pleased with the way the show is going & I'm from the old group, you know. I think there's a thread that runs through our show. I don't know where it comes from. Jane: I'll tell you where it comes from -- Charita Bauer (Bert). The Bauer family has always been the focal point of this show. Charita is the mainstay & always has been. Even though she's been playing her part for over 30 years, she never went to sleep. When you have an attitude like that at the top, there's a role model for everybody to follow. If Charita can keep her enthusiasm, commitment & vitality after 30 some-odd years, who the hell am I not to? Jerry: I think Charita's enthusiasm reflects in the ratings. "Guiding light" has always managed to hold its own. This show has never had change for change's sake. JD: What about the rumors that "Guiding Light" may move to California soon? Jane: It's more than just a rumor. It's a question of economics. It is much cheaper to produce television in California than it is in New York, there's more space; there are more facilities. The most vulnerable shows right now are Procter & Gamble's CBS shows. The thought of pulling this kind of creative outlet out of New York terrifies me, because this city has precious few places for an actor to work. Since I have a home in both Los Angeles & New York, it makes no difference to me if we move to California. I love working on both coasts. Jerry: I'll go for an enormous amount of money! (laughs) I'd go for awhile but I don't like the physical layout of Los Angeles; I don't like being tied to a car. If I had my druthers, we'd be doing all the soaps in Manitoba! JD: How is "Guiding Light" different from all the other soaps? Jane: Well, it has maintained the original reason why soap opera became so popular: it's an intimate melodrama. Your heart gets touched. There's a lot of romance on our show. The audience likes to watch people in love meet a problem & deal with it. Doug Marland is doing some new & innovative things that people have never seen before. The fantasies are wonderful & so is the live-action disco. The bottom line is a marriage of good material & good actors. That's magic & always has been. Jerry: Brilliant material & actors is an unbeatable combination & I feel we've got a high percentage of both. We should go a long way with what we've got. Since we're happy at the studio - our second home - there's a great deal of whimsy & humor on the set & in our scenes. I see a distinct lack of humor on the other shows. Human beings like to laugh & they do it all the time in all kinds of situations -- even really desperate ones. Compared to our show, I find the other soaps barren sometimes when it comes to humor. JD: Why do you think soaps became so popular? Jane: "General Hospital" brought in an audience that had never watched daytime before to the degree that they are today (the college students), then nightime TV latched onto serials. And once you start putting major stars on daytime, it gives the medium credibility. It's now socially acceptable to admit that you watch soap operas. Jerry: The fact that soap actors are on 5 days a week has a lot to do with it, because the audience has made an investment in the characters. They care so much more about you than they would about a fellow they see once a week at night. The audience gets attached. JD: How do you answer people who still put the soaps down? Jane: That hasn't happened to me. Soaps are changing. Usually somebody who doesn't want to deal with emotionality in his or her own life won't watch it on television. There are people who don't want to deal with intimate feelings -- they'd much rather see a car chase. Some people don't want to deal with the realities of love & hate, frustration & illness, joy & fulfillment & goals -- that's what soaps are about. I think soaps are realistic -- certainly closer to reality than the "Dukes of Hazzard." Jerry: I'd say that soaps are a realistic melodrama & ask what they find silly about them. When someone puts soaps down, it's usually someone who hasn't seen them recently. Every time I watch "Dukes of Hazzard" or "CHIPS," it makes me doubly proud to be on a soap. We look like Shaw compared to that. Some people may think the soap format is silly & that's their opinion. If you step back & look at soaps objectively, they are rather silly. But, I happen to think "Fantasy Island" is rather silly, too. A lot of tragedies & unreal things have to happen on a soap for the show to progress. That makes for good drama. If you think that's silly, there's no arguing with you. You want nothing to happen? That's silly, too. JD: Where are you hoping your careers will go after you leave "Guiding Light" someday? Jane: I want more of the same. I was not a salable commodity in my twenties & had a hard time getting work. The older I become, the more work there is for me & my kind of woman. I just love to act & I don't care where it is that I'm doing it or in what medium. There's always something to learn, always something to strive for & get a good grip on. Jerry: I'd like to do regional theatre again. Before I joined "Guiding Light," I'd done nothing but plays for about 15 years. I want to do the classics -- Shaw & Shakespeare. I miss performing before a live audience. I'd also like to do primetime for a while -- shows like "M*A*S*H" and "Taxi." JD: Have the things you've wanted in your lives come easily to you or have you had to struggle for them? Jane: I've struggled for everything I've ever gotten in my life & people never think that of me. They think I plopped into this earth at the age of 35, pleased with myself, with money in the bank, a husband who loves me, a wonderful acting role, 2 nice homes, etc. I don't remind everybody that I really deserve what I've got because I've suffered & paid my dues to get here. I spend my time enjoying what I have. You get out of life what you put into it. I've put a lot into it. Jerry: When I first came to New York, I had 9 months of unemployment & I worried how I was going to pay the rent with my wife's $100-a-week paycheck. Sometimes you wonder if it's going to go on like that forever. When you look back, though, it really wasn't that difficult. After I met my wife, Beth, my professional and personal lives became less of a struggle. She stabilizes me. JD: Do you have a particular philosophy that you live by? Jane: When all is said & done, I work to please myself in whatever it is that I'm doing. It is my belief that the only person you can really know & understand & trust & count on is yourself. The more you work to please yourself, the more clarity you give the world around you & the more people will know where they stand with you. When you try to please somebody else or second-guess what their needs are, you always run into trouble. Jerry: I was brought up on the work ethic. At home the attitude was we don't care what you do as long as you do it well & work as hard as you can. That really became ingrained in me, so I put a lot of faith in it. I think it's gotten me where I am. I've always worked my tail off. JD: Do you ever find it difficult combining a career with marriage? Are there any conflicts? Jane: Not yet. Jerry & I are both blessed with partners who, bottom line, really love us. My husband & Jerry's wife can watch Carrie & Ross freely loving each other & still stay confident in their own relationships & that's very special. We don't go home & pay for Carrie & Ross' love. Because we have extraordinary mates, we're more mentally healthy, I think. Since I have a relationship of my own that's as supportive & encouraging as the relationship I have with Ross, I have something to draw on. Jerry: There were conflicts when my time was at a premium a few years ago. I was doing one Broadway show & understudying another. I was constantly on edge. Jane: But that's not peculiar to acting. That happens in any business, I think. No matter what you're doing, there will be heavy stress points in your work & then there are times when the work is not that demanding. Beth & my husband, Luis (who is a video camera man on "All My Children"), have a strong understanding of the demands on us & a great deal of respect. Beth is proud of Jerry's career & it's the same with Luis. JD: What do you like most about being in show business? What least? Jane: I love working & I hate not working. Acting is a wonderful thing to do for a living. You are given license to completely forget about yourself & pretend to be someone else & this somebody else doesn't have any of your restrictions & rules. The show you're doing is the pleasure & the business is the hard part. You have to be an emotional chameleon. You have to be hard & tough to be able to deal with walking out on the stage. But when you walk into an office & somebody hands you a script, you're supposed to be an emotional, pliable thing. It's a paradox, a very difficult thing to come to grips with when you first get into this business. Jerry: What I like most is working. What I like least is that there are more actors than jobs. I enjoy going to work. People in this world who get up & want to go to their jobs are rare. I still love doing "Guiding Light" after 3 years with the show. JD: If you could have been born in another age, when would have have chosen to live? Jane: I've always hated history, so I don't really know enough about what it was like in any other period except the time I'm living in. I live very much in the moment. I don't like to deal with the past & I don't spend very much time thinking about the future. My present is so fulfilling & rewarding that I wouldn't want to change it. Jerry: I've always been fascinated by 17th-century England, because of the theatre at the time. JD: How would you describe yourselves? Jane: Marsha Clark (Hillary) described me & I think its the best description I have ever heard of myself: direct, forthright & loving -- with a hint of madness! Jerry: William Roerick (Henry) told me I'm congenitally charming! (laughs) It's in my genes. It's a curse & a blessing, but I've learned to live with it. --As Told To Joanne Douglas

I love accents. With Rena, hearing Lois's accent was just this great feeling of being home. I love women screaming when they see each other for the first time after awhile apart! I attended a women's college & the whole first week back after break was the sound of 4,000 women taking turns screaming. On DAYS I even loved Johnny & Susan screaming & hugging to the max. I hope GH does well with Rena. Did y'all hear what Real had to say about working at GH?

Hmm, I thought it was more of a wand. It's not?

I don't see how rape erasure doesn't fit. Bill raped Laura & she became pregnant from the rape & gave birth to Mike. Maggie said that Laura had an affair, indicating that's where Mike's conception came from. Voila. Did away with the rape & made Laura an adulterer. Obviously her reason for telling the story was about Mickey & Mike still being father & son even once the lack of biology was known, stands. It is not affected. The more I think about it, the more I think Maggie just decided to clean up the story & not get into rape & not get distracted away from her point. But I still think it was a wrong choice for the show to make. So, what else is new, right? Next up, I thought Tate said $50,000 in damages. I don't like Stephanie's attitude toward Chad. I think Doug & Julie are too old to be playing at active grandparenting to Thomas & Charlotte. I saw a clip today of DVD at DisneyWorld with performers doing one of his songs for him. What was notable was that he was in a wheelchair. Probably because there's so much territory to cover. Deidre on her FB page had a pic with Greg Meng where she said she'd spent the day with her BFF.

Yes, I'm sure that was what she did. But, I'm confused. Where did 49% come from? And I think she should give Tracy the ELQ stock but for no less than 51%!!

Well, in a way they were star-crossed lovers long ago, before she married Mickey, weren't they? Didn't she love Bill first? (But, no, they weren't at the time the mag seems to indicate.) And she married Mickey & Bill was betrayed & abandoned & tortured but he still loved her so he became the image of the the emotionally tortured romantic lead, with all of its violent tendencies. Before Luke Spencer, he was Luke Spencer, except that he wasn't living with the thought that he would be dead in a few days & he was middle class & a doctor. If not I could be misremembering. Also in this instance we do not know if anyone from network dictated this rape. And, with Luke & Laura network did.

That was when Irna was still trying to write the show herself, wasn't it? And she was so set in her ways about characters. If Irna wasn't interested in that person, well, that was the kiss of death. I remember thinking that those two Matthewses were just SOL. Tough luck, too bad. I also thought that she just vanished without explanation.

WHOA! I mean, that would be so awful. This was a DavdK daily script & I tend to think of him as very historically accurate. One thing I do not like in the revisionist history is it makes Laura a wrong-doer. To the rest of the day I appreciate the setup with Tate & am not surprised at all that Brady & Teresa are not used to co-parenting in real time. I wonder how much property damage can be done just by having things get wet?

It would've been odd if Maggie hadn't learned the true details what with Mickey shooting Bill & then getting amnesia & coming to meet Maggie.

I'm guessing that they made a calculated decision that they didn't want to have to deal with a 1970s era rape.

Well, I am flabbergasted. In 2 lines of dialog from Maggie they just changed the canon on Mike Horton's paternity. Laura & Bill had an affair?!!! Not Bill raped Laura? Now, it's not that the story of Mickey being Mike's father in any way that counted doesn't relate to Justin & Alex right now. It does. Oh my. Geeze Louise.

And so, it is easy to see, even understand, how furious John Conboy was.