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  1. That might be the funniest wedding photo I've ever seen. WTF 🤣🤣🤣 I feel it says something about Patty Weaver's charisma that she was able to be so popular in two roles despite the writing for her being so unforgiving (especially at DAYS, though I disliked what a perpetual victim she was at Y&R too). August time! So, the direction they're going with Maggie/Mickey/Janice/Joanne is starting to become clear. Basically, Mickey, Maggie, and Joanne all agree to not let Janice know that Joanne is her natural mother. Except Hope overheard someone talk about it, so Hope opens her big mouth to Janice, who is now treating Maggie like sh*t. She starts taking a few drinks because, between Janice rejecting her, and Mickey working so much, she feels isolated. Of course, the drinking makes it worse, so when Mickey asks her to do things, Maggie has a "migraine". Janice and Melissa are becoming fast friends, and with Maggie drinking so much and Janice being so snipey toward her, Maggie doesn't mind. Except... Linda has her big party for Steve, and Maggie decides not to go, because of her "migraines". Mickey gets there and sees Joanne working the party, and is even more pissed off when Linda tells him that Joanne is her permanent maid. Mickey's suddenly glad Maggie had that "migraine". He confronts Joanne about it, but insists that Mickey let her keep the job, as it's the only stability she has and it isn't even really in Salem (since it's out at Bob's lakehouse). Mickey isn't entirely convinced but goes along with it. He does end up breaking the news to her. Melissa invites Janice to a party at her house. Maggie doesn't want Janice to go, Mickey says that that would be the worst thing for her relationship with Janice. So, now Janice is going to Melissa's regularly, and now is spending all kinds of time with Joanne, while Maggie stands back in silent horror at, and, instead of stepping in to do something about it, drinks about it. Janice eventually asks Joanne if she's her real mom, but Joanne tells her that if they wish to stay friends, Janice must never ask that question again. Mickey and Maggie, meanwhile, are somehow convinced Janice doesn't know she's adopted. That somehow Janice is just...rebelling? And do nothing except wring their hands. Another story that required everyone to lose a few IQ points to make work, it seems. Laura, who, incidentally, thinks Maggie is overreacting in her fears that Joanne wants to take Janice away, finally convinces Bill to come with her to check on Maggie. They find the house on fire, and Maggie taking a nap after getting sloshed because Janice is at a sleepover at Melissa's. The next morning, Maggie picks Janice up at the Andersons' and rips Joanne a new one, telling her to get out of town or she'll press kidnapping charges after her little fairy godmother stunt in Florida. THE TEENS OF '78 DESCEND UPON SALEM Ann Marcus certainly loves inventing family members for characters on this show. Within a week of each other, we get Neil's cousin Pete Curtis (played by Meegan King) and Chris' sister Amy Kositchek show up. Pete instantly falls for Donna, who is uninterested in him because she's got a creepy infatuation with Don! So THAT's why she's been such a pain in Marlena's backside all this time. Pete is apparently of age, so Neil wans him to back off since Donna is 15. He doesn't listen, and Don encourages Donna to go because she has no friends her own age (Salem apparently was going through a baby rut in the Mid 60s if this is Don's solution). Donna intentionally withholds an apology message from Don to Marlena after one of their endless arguments. An interesting note, Marlena's ex Dr. Paul Whitman comes back to town for a second time (this man was Marlena's great love before she came to Salem, which made JER's inventing Alex North all the more silly). He came before after Marlena got out of Bayview in '77. He comes for a short visit, and once again tries to insinuate himself in Marlena's life while she on the outs with Don. But Marlena insists she will marry Don. Donna uses this to make Don angry and jealous again. When Don confronts Marlena about it, she blames Donna, and Don storms out. Fool. Amy, meanwhile, comes to town looking for a job for college tuition. She initially wants a loan, and Mary's willing to give one to her, but because Chris is a typical man of the 70s and doesn't want to be outshone by his ladyfriend, he refuses. Chris and Mary want to officially move in together, but Chris will only do so if they adhere to HIS lifestyle. Which, because he quit the executive position at Anderson, is pretty sh*tty. He feels guilty, and moves out. David finally tracks Jeri down while Trish is in Italy, takes "Timmy", moves back to Salem, hires Amy as his nanny, and renames him Scott. Then finds out from Danny that Valerie moved back to Washington and, I guess because she realized his life is with Scotty and she's not gonna raise this twit's baby for her, cuts David off permanently (for now). I think they're trying to hint at something more than a employer/employee relationship with Amy, though I know that won't go far. Doug and Julie continues to be a nonsense story. Theresa isn't interested in Doug romantically, but is flirting with him anyway because she wants to get him involved more seriously in the record business. This irritates Julie, who takes off with Steve to Europe to buy more antiques for her new project, an antiques store. When she returns, she gets snarly with Theresa, insisting she stay the hell away from Doug. Doug finds Julie's jealousy adorable. Theresa can't handle the suspicions and hostility, and threatens to quit and leave town after nearly falling off the wagon (God knows why this woman with a drinking problem is working at a bar, but I digress). Doug convinces her to stay. Greg is offered a position at a hospital in Chicago. Amanda doesn't want him to take the position, as she's already feeling neglected by him in Salem. Margo turns to Alice for comfort about the fact she's dying. Alice proselytizes at her until she's in a good mood again. Is it just me or is Ann Marcus dropping a LOT of stories midway here? Like...an unusual number of stories and story threads get picked up, only to disappear from view and memory within weeks, sometimes before they even begin. Is Linda even trying to gather dirt on the Andersons anymore? She rebuffs Bob's insinuation that they start a family, but otherwise has been pretty quiet this month. She's done NOTHING with the information on Neil and Mary's affair, and there's been no mention of her trying to find information on Brooke at all. I can't tell if that's an Ann Marcus failing or bad summary writing on SOD's part. I really don't like how quickly Maggie turns to drinking. It was a rather instantaneous addiction that came out of left field a bit. I could see depression, maybe, but the turn to the bottle was abrupt. Laura/Bill/Kate stays on the backburner, though it seems like Elaine Princi stays on the show into 1979, so maybe they're coming back to it. They definitely were ramping it up before, only to drop it before it even really happened. All to focus on Donna's daddy issues. Yikes!
  2. Okay, July 1978 is even more bonkers than June, somehow. I'm realizing that I'm going to have to take advantage of both the weekly Tune In Tomorrow updates and SOD because SOD is REALLY bad at fleshing out their stories. Entire beats of stories are missing from their recaps, and it's shockingly hard to follow the stories if you aren't able to watch. The nice part about DSN was that, if you weren't watching, you still got a real sense of exactly what was going on on the show, regardless. SOD, not so much. Struggling a bit to figure out where to begin with this. Suffice to say, the Anderson story remains the only story worth watching, but even THAT is starting to get chipped away at. I...am thoroughly unsurprised by the .9 ratings drop DAYS had during 1977-78. Though after reading TIT's recaps, even June made a lot more sense. So... Follow me here. Going back to June a bit, they fleshed out Samantha's story a bit more than what SOD talked about. Sam's guilt about what she did to Marlena really eats at her, so she left for Hollywood for a new film. I suppose Sam's guilt and resolve to clean herself up from her pill addiction really made it plain to Marlena that Sam really did love her, thus explaining her forgiveness, but I still feel like it was a bit easy for Marlena to forgive so quickly. In July, Marlena gets the memo about Don, and returns from Colorado in time for Bill to realize that if he doesn't inject Don with this EXPERIMENTAL DRUG, Don will DIE! (oh brother) Apparently this staph infection has caused internal bleeding, which necessitated surgery. Don gets the drug, he recovers...except HE'S DEAF (I literally hollered upon reading this, WTF!!) He's mopey and brooding in the typical Don fashion about this, and it pisses Marlena right off, until she makes it clear to him how he's hurting her, then he magically becomes tender and loving again...until he decides to move back into his own apartment instead of with Marlena. Apparently Donna is now trying to break Don and Marlena up?? Again, NO idea why she's suddenly become enamoured with Don at Marlena's expense, when she was super chummy with Marlena before, but Marlena is now very resentful of Donna's intrusion, even though she precipitated it. Donna moves into the Horton house, since, apparently she doesn't like Marlena anymore. Also, Greg thinks Marlena is not just rundown from her annus horribilis but actually physically ill (were they hinting at Chronic Fatigue Syndrome?) Apparently completely absent from the SOD recaps was that Linda was all set to move into a new house with Melissa and Bob, only to have it burn down just before she moved in, thus the houseswap with Neil. Neil is being so generous with Linda as a means to potentially get in her pants (the ol' horndog). Linda isn't interested, but will gladly take whatever he's offering (sucker). Chris' job with a rival company of Anderson's was a low level job to keep money coming in while Chris set up his own business with Mary. This does, however, lead to a new opportunity. The new employer utilizes Chris' connections to Anderson to head up an environmental group objecting to Anderson's new project. Anderson's new project takes them into the last remaining wildlife refuge in Salem city boundary (this is starting to sound like my fanfic! Yikes!) and Chris works to try to convince Anderson to build in a different location. Bob agrees, Linda decides to, instead, fight to destroy Chris and his new employer, Jim Bradley, in order to make sure Anderson's new project goes ahead in its initial (cheaper) location. While this goes on, Linda continues to manipulate, throwing Steve a huge welcome party to outdo the Hortons, and simultaneously starts fishing for info about Brooke's involvement with the Andersons, after listening in on Mary tips her off. Jeri MOVED from Salem to meet Trish and live with/take care of Timmy/Scotty. I still don't know why Whiny Trish is so insistent David not see TimmyScotty. A PI tracks down Jeri and Trish in California, where Trish is getting into films. David decides to go to California to bring TimmyScotty home, but the family warns him not to in case of a court battle. Because, even though Trish did exactly the same thing, if David does it, it constitutes kidnapping and will play against him in court. At the same time David plans this trip, Trish gets a role in a film to be shot in Italy (spaghetti western, I'm presuming). She's bringing Jeri and the kid with her. This will end well. Before David leaves, a plant manager at Anderson lets him know that Paul Grant died of a heart attack. He comforts Valerie, and they seem on the path to full reconciliation again.I honestly do not see how Ann Marcus' plan was not to have David and Valerie as endgame, given the way the story is moving here. Why go to the trouble of killing Paul off otherwise? Bland Margo decides to start dating other men after rejecting Mike's marriage proposal. Mike's jealous. A week later they reconcile, and then marry. Whoopie! Steve returns to Salem, and immediately becomes involved in a whole whack of stories. First, Doug hires a new singer to replace Whiny Trish (I confess I've always found Patty Weaver's singing akin to nails on a chalkboard). Her name? THERESA! Theresa, played by Elisabeth Brooks (Toronto, represent!), is immediately Steve's romantic fixation, and yet makes Julie jealous as well. Money starts disappearing from Doug's Place. Robert suspects Theresa. It is obviously actually Steve. Steve meets Mary, and is instantly attracted. Doug suspects Steve is only after Mary's money. Doug is a moron, and hires Steve at the club. Mickey tries to get Joanne out of town ASAP, but Bill and Tom insist that Joanne stay to recuperate, with Bill feeling responsible for his patient. Mickey reluctantly agrees. They'll regret this. Beebs' thoughts: There is too much going on now. Most of it is bad. I really wish someone would explain to me how Trish was a popular character for eight years, because I find her utterly insufferable. Bill and Kate is well and truly dropped, I think. I'm fairly certain that they tried to make Kate Roberts into Kate Winograd when the character was first introduced (Alice very definitely recalled Austin's eyes as being extremely familiar, and Julie warned Bill about selling the house to Jack and Jennifer because "you know what happened in that house", it was absolutely being set up). But JER played FAR too fast and loose with history here. And the fact that it was only 15 years in the past at that point, it seems ludicrous to be THAT liberal with history if you don't plan to be faithful to it. Though, it is telling that the story began under Sheri Anderson. I suspect if Sheri had remained, that the massive plot holes would have been filled in a lot better than they were, but even then, given the fact that their relationship never evolved past flirtation, I would have difficulty buying Lucas as their son. Onto August! Apologies if this is less than cogent. I'm a bottle of wine in as I type this, so, bear with me.
  3. Yeah, Laura...I don't even think was MENTIONED in SOD for the month. It's really weird.I think they had relegated her back to being the catch-all psychiatrist and nothing more for the moment while they figured out what to do with her and Bill.I think the only mention she got at all might have been in giving Donna psychotherapy after she tried to kill herself.
  4. So it looks like May 1978 was the last Daytime Serial Newsletter, and that's a shame, because I'm not entirely enamoured with (I'm guessing) SOD's writeups. They're more detailed, technically, but somehow a touch more shallow, and because they jump between storylines, it's harder to follow what happens. I'm finding myself with a number of questions as to character motivations that I didn't get with DSN. Anyway, a lot happened in June 1978, so I'll just go into that one. So Donna so screws up her young life that she threatens to jump off a ledge. Marlena and Don talk her down, but while helping her in, Don falls off and ends up in the hospital. He's fine for awhile, but develops a staph infection and is at death's door by month's end. Marlena at first is bitter with Donna (she can't help but be hostile to Donna, but Sam tortures and nearly kills her but it's okay because...drugs???), but Donna ends up in the UH psych ward and breaks out to visit Don, and tells him she's sorry she's hurting the people she loves (meaning Don and Marlena, d'awww *gag*) and signs his cast, saying "you're the greatest". Apparently all is forgiven, but Marlena is still so stressed that Bill and Don sent her to her parents' in Colorado, and she's off camping with her dad, so Marlena doesn't realize Don's now a step from death. Oops! Doug and Julie, fresh off Julie's exoneration for Larry Atwood's murder, go to Paris on holiday. There they try to track down Julie's brother Steve (Stephen Schnetzer). I guess he blew through his inheritance, because he's now scammed a loan out of both Doug AND Julie without the other one knowing. Joanne Barnes has kidnapped Janice, promising she's a fairy godmother who'll take Janice to Disney World for a week and no one will notice she's gone because time will actually stay still in Salem. Of course, Mickey and Maggie notice, and get an anonymous note on their doorstep saying Janice is fine and she'll be brought back "when I'm done with her". When this doesn't inspire confidence, they report Janice missing. The last day Janice and Joanne are in Florida, Joanne has a heart attack and ends up in hospital. Her doctor in Florida traces a pill bottle he found in her things to Tom Horton. After a week of Joanne's name coming up repeatedly, the Hortons put two and two together and realize Joanne is actually Janice's bio mom and Mickey and Maggie fly down to reunite with Janice, who's happy to see them, but is now, of course, enamoured with Joanne. Maggie's sympathetic, but Mickey wants to go home and forget Joanne ever existed (probably where the smart money is, tbh). Maggie hears Joanne talk about how she's a welfare patient and her surgery is basically at the back of the line behind the paying patients. If she doesn't have her heart surgery for her angina soon, she'll die. Mickey gets sucked in and arranges for Bill to do Joanne's surgery in Salem. I would say this is compassionate and kind hearted of them, but I know where this story is going, so I think they're all putzes for going along with this right now. ANYWAY, Margo decides not to marry Mike because of her leukemia and dumps him, and now Mike's mopey again and transfers out of town with Anderson. Byeeeee. Jeri hears from whiny Trish, who wants Jeri to come visit her at a secret location, and to not tell David, because...reasons. I should point out right now an error I made earlier in these posts. Sybil--er--Trish did NOT kill her father. Jack Clayton was her STEPfather. Her bio dad is remarried and Timmy/Scotty is living with him, for reasons that have never been made particularly clear to me. Jeri takes about ten minutes to call bullsh!t on Trish's demand and calls David and says to come to her place and they'd head out to meet Trish and "Timmy" together...then leaves early without David when she changes her mind, leaving a note saying she's sorry for the past [???] but is loyal to her [stupid] daughter, not David and the Hortons. So Jeri goes to meet Trish, tells her to let David see his son, and Trish says no, and apparently continues to not give a good reason for it. (My loathing for this character never ceases to grow exponentially with every passing month I read). David, meanwhile, is miserable, until he goes to a party at Mary and Chris' and finds Valerie there! They start dating again. I feel like Ann Marcus really did see David and Valerie as a strong pairing, but with Tina Andrews gone, and I suspect the brass at either Columbia, NBC, or within Corday being reticent to revisit the interracial romance, she couldn't do more than dip her toes in periodically. It's a shame, because I've enjoyed David and Valerie together. She is a calm, steadying hand in David's life, while the other women in David's life are so transient and wildly unpredictable. It's a real shame Ann Marcus' attempts to feature the Grants more heavily were stifled, because you can clearly tell there was an interest there. The strongest story on the show continues to be the Anderson family drama. Chris quits as an Anderson exec after repeated run-ins with Linda, who's continuing to manipulate the company and Bob to her advantage. Chris attempts to start his own construction firm, and convinces Mary to join him. Bob returns from a business trip to discover both Mary and Chris have quit, and Linda won't give any indication as to why. Bob doesn't press. Chris then lands a job with a rival firm to Anderson, so...so much for going it alone, I guess. SOD really cocks up the timeline here, but from what I'm figuring out, Neil offered to homeswap with Linda and Bob, giving Bob and Linda the keys to Neil and Phyllis' house (since Phyllis is out of the country pretending she isn't married to a philandering twunt), and Neil moves into Linda's apartment. Chris and Mary find this out by having an intimate moment interrupted by Melissa, as Mary's house is on Neil and Phyllis' property. So Mary goes down to Neil's to ask him if he offered the houseswap or Phyllis (curiously THIS beat was earlier in the SOD article than the explanation of the houseswap, so I got a little confused for a minute). Neil confirms that he did, and then quickly changes the subject before Mary can tear him in half for it to their affair. Mary goes to leave, but it's too late, Linda's in the doorway and overheard the whole thing. Now she has ammunition she can lord over Mary's head at will. I feel like they were really setting up to make Linda the queen bee of Salem. Manipulator, business powerhouse. A similar role to what Kate Roberts would take on in more recent history. It's a shame they took her too far later on. I really enjoy her, and Margaret Mason is made for that kind of role. I would just LOVE to see her in action. These stories are, otherwise, so clunky, and melodramatic for no reason, it's hard to engage in them. I see Bill and Kate's affair storyline has been sidelined. Possibly to be picked up later, but it seems it never extended further than flirtation and angst. Onto July! *braces himself* ETA: I am really glad you guys are enjoying this. It's a lot of fun to read and share with you all. And until Sony stops being the dragon sitting on their mountain of gold and lets us actually view the archive, I guess this is as close as we'll get to being able to actually SEE the episodes.
  5. I may be wrong, but that's Stephanie Braxton in that clip. I'm PRETTY sure that would be AMC, if my timelines are correct for what show she was on at the time.
  6. EPISODE 186 Written by A. Washington-Beeby Story Consultant: C. Nathaniel Richardson & Nick Monarco Kim stands in her living room, held in Andrew's arms tightly, her tears over Roman subsiding through her son's comfort. ANDREW: It's okay, Mom. It's okay. As Andrew cradles his mother, Kim reaches around, holding her son. She feels the soothing comfort of someone to lean on. KIM: (laughs) I know. I...Andrew, I missed you so much. ANDREW: Shhh...I'm here now. KIM: I know. Just...with mom, and Kayla, and Roman. I just...I feel so alone. ANDREW: I know. But I'm here now. And whether you believe it or not, Marlena is too. Kim breaks away from Andrew's embrace upon hearing Marlena's name. Wiping away her tears, and turns away. KIM: (sigh) Yeah. ANDREW: Somehow I don't feel like you agree. Kim throws up her hands, before sitting down on the couch. KIM: Oh Andrew, I do. I...(sigh) Marlena's family to me. You know that. I just...she's been so caught up in trying to unlock this mystery of Roman's illness that I feel like she's forgotten there's a man underneath. It's almost like he's a...case she needs to solve. ANDREW: Oh come on, Mom. You know that's not true. She cares about Uncle Roman. He's the father of her children, for crying out loud! KIM: I know that! I just...maybe I'm just angry at the situation and lashing out, but...I think she figures these test results tomorrow are going to unlock some kind of...hidden DiMera conspiracy, and I...I don't think it will. And I don't think Roman has the time left for us to be playing detective. It's just not worth it. Andrew puts a hand to Kim's back, rubbing his mom's back gently, comforting her. --- In the basement dungeon of Stefano's compound in Italy, the candelight flickers, dimly illuminating the dank room. Eventually, as we pan the room, we find two bodies laying unconscious on the ground, locked in a cell. The flickering light reveals it's Steve and Bo. The light hits Steve's eye, as Steve begins to wake up, slowly stirring on the ground. After a moment of silently laying there, blinking to try to focus on his surroundings, Steve manages to focus. At the very end of his outstretched arm, his eye spots something up against the wall. Curious, he reaches out for it as far as he can. Finally reaching it, and taking it into his hand, he slowly, painfully pulls it toward him, analyzing it closely. It's hard. Metallic. Yet delicate. It seems familiar to him. A locket. --- Anita stands between Tyler and Brady in the kitchen of her cabin, a pleading look in her eye as Tyler holds her back away from Brady. ANITA: Please, Brady. I'm telling you the truth. If there was any way I could have been there...gotten to know you all these years, don't you think I would? Brady steps in closer to Anita, an almost-maniacal look in his eyes, as he very quietly answers her question. BRADY: I don't believe a single word that comes out of your lying mouth. Tyler steps in once again, trying to cool the situation down before Brady's anger builds any further. TYLER: Brady, please. She's telling the truth. Brady's eyes dart toward Tyler, the same quiet, simmering rage in his voice as he turns his attentions to Tyler. BRADY: And you know all about the truth, huh? Doing all of Victor's dirty work all these years, and we had to pretend we didn't know who you were? TYLER: Brady... BRADY: You put on a hell of show, Tyler. Upright businessman, philanthropist. Brady chuckles as he steps over toward Tyler, the same unhinged look in his eye. BRADY: When all along you were Victor Kiriakis' lackey. Nothing more. Bravo. Brady applauds loudly, mockingly, as Tyler and Anita stand in frustration, helpless in the face of Brady's anger. TYLER: Brady, please. BRADY: Oh what. You gonna try to...to spin her story another way for me? You always could convince people of pretty much anything. So why not a dumb sap like me, huh? Easy mark! TYLER: Brady, Ernesto was dangerous. It was the only way to keep your grandmother safe. No one was trying to pull the wool over your eyes. Brady laughs, in complete disbelief over what he's hearing. He shakes his head. BRADY: Well, you sure fooled me. Just like everyone else in my life. I just keep getting lied to. For "my own protection". Right? Well, I'm sick of it. You don't have to worry about protecting me anymore. I'm done. Brady turns to walk out of the cabin, as Anita tries to run after him. Tyler stops her just before Brady races out the cabin door. ANITA: Brady! Anita winces as the door slams behind Brady. Tyler holds Anita's arm, as Anita tries to fight herself free for a moment, before quickly giving in, sobbing on Tyler's shoulder, as he pulls her in close to him, comforting her as she cries. --- --- At the Kiriakis mansion, Alex Kiriakis opens the door to his bedroom. His wife, Noelle Kiriakis, turns around from her seat her in front of her vanity, as she finishes putting on a layer of skin cream on her face. She smiles as her husband enters the room. NOELLE: Alex! Alex responds, though with far less enthusiasm as his wife, given his far more emotionally intense day. ALEX: Hey. I'm home. NOELLE: So I see. Noelle gets up from her vanity and wraps her arms around Alex's neck, gently kissing him on the lips as a welcome home. NOELLE: How was your day? Alex smiles weakly, before removing himself from his wife's arms and flopping down on the bed next to them, exhausted. ALEX: That answer your question? Noelle looks down at her husband, amused by his theatrics. NOELLE: Yeah, that says it all, really. Noelle kneels on the bed next to her husband, casually rubbing his chest as she tries to speak to him. NOELLE: So really, though, what'd you get up to? ALEX: Not a whole lot...less than I wanted to. We ah...we tried the new menu at the Penthouse Grille. Noelle perks up at the news. NOELLE: OO! Yes! I got the invite today! The gala tomorrow! ALEX: Yeah. NOELLE: You excited for the big event? ALEX: Yeah...yeah I am. Alex fades off, as he thinks over his interactions with Will while they were at dinner. His recollections are abruptly halted by Noelle's kiss on his cheek. NOELLE: Good. Cos I picked up a new dress. I think you're gonna love it. Alex sits up from the bed, half-interested in what Noelle's saying. ALEX: That's awesome. I can't wait. Noelle catches wind of Alex's less-than-enthusiastic response, and her face drops, as Alex begins to strip his work clothes off. Noelle looks on with a combination of arousal and frustration, as Alex pulls his shirt, then his pants off, in preparation to head to the ensuite bathroom before bed. NOELLE: Yeah, I can tell. ALEX: Look, I'm...I'm sorry, babe. I just...I'm so tired, I gotta get cleaned up for bed, kay? Alex leans in to kiss Noelle on the cheek, but she leans away, pointing to the facial cream on her face. NOELLE: The...cream... ALEX: Right. Alex down sheepishly, as he backs off his wife, and walks into the bathroom, shutting the door behind him. Noelle sighs, irritated by her husband's lack of interest in her. --- Kim sits on the sofa in her apartment, as Andrew stands behind her in the kitchenette, pouring them both a glass of red wine. They sit in silence for a moment, while Kim stares off into the abyss. Andrew watches over Kim carefully before finally speaking, snapping his mother out of her apparent trance. ANDREW: Mom? You alright? Kim looks back, shifting her body in her seat, smiling warmly at her son, but with a hint of sadness in her eyes. KIM: Yeah. Yeah, I'm okay. Just thinking about what's gonna happen tomorrow. ANDREW: At the hospital with Marlena? Kim nods, slipping back into thought about the tests. KIM: I'm still not sure this is the best thing to do...but I also know that it's important to know whether the gene that might've caused Roman's dementia...might be passed on to Sami and Eric. ANDREW: You're not convinced that's her reason for doing the tests, are you? Kim scoffs at Andrew's question. KIM: I KNOW it's not her reason. I mean.... Andrew hands Kim a glass of wine, looking down at her disapprovingly. Kim sees Andrew's face and relents immediately, as Andrew sits down on the sofa opposite Kim. KIM: I don't think it's the only reason. ANDREW: It probably isn't. But, knowing Marlena as long as we both have...when has she ever done anything for purely, single-mindedly selfish reasons? Kim sighs, realizing her son's right. KIM: Yeah. Kim looks up at Andrew, smiling with a sense of relief. KIM: Where have you been all these months while I've been...(sigh) flustered and stressed out! ANDREW: I was just a call away, you know. KIM: I know. But I am so grateful you're here now, Andrew. It's been so lonely without you...your Aunt Kayla...your sister. Kim begins to tear up, as Andrew puts a hand on Kim's back, gently rubbing her back, as Kim tries to hold her sadness in. ANDREW: I know. I'm here now, though. And Theresa will get better, Mom. You know that. Who knows? Maybe we'll hear some good news tomorrow. Kim looks curiously at Andrew. KIM: Andrew...are you...how are you feeling about seeing Theresa tomorrow? Andrew frowns slightly at Kim's question, unsure of the best response. ANDREW: I'll be fine. I think it's important that I see her. KIM: I do too. I think you being there will really help her with her recovery, Andrew. It's....it's very important. To her, and for me. Andrew smiles, with a pinch of sadness in his face. ANDREW: I agree. Andrew gets up from the couch, ready for bed. He drinks the rest of his wine as he gets up, and places his glass on the kitchen island. ANDREW: Look, I ah...I gotta get to the hotel, Mom. I have to get some work done on this story about the campaign for governor, and... KIM: Oh, no no, I...don't let me keep you. Kim gets up from the couch, and gives Andrew an incredibly warm hug. It lasts a few seconds, and it's clear that Kim is reticent to let him go. KIM: I am so grateful to have you home again. ANDREW: Thanks, Mom. Andrew lets go of his mom, before walking toward the door. He stops, as Kim turns to tearfully say goodnight. Andrew smiles back as he opens the door. ANDREW: Goodnight. KIM: Night! As Andrew closes the door to Kim's apartment, Kim stands, smiling as she brushes her tears away. --- At Anita's cabin, she pulls out of Tyler's embrace, despondent over Brady's walking out. She begins to head for the door. ANITA: Let go of me, Tyler! TYLER: Anita! Don't do it! Anita stops in her tracks, but looks out the window as Brady walks away. TYLER: Anita, he needs to be alone right now. Anita's lips purse together, angered by Tyler's words. She turns suddenly to face Tyler, hurt obvious in her voice. ANITA: You did this. TYLER: Anita, he needed to know. ANITA: No, he didn't! Not now! Tyler, he's miserable. You don't understand. He drove off that embankment to commit suicide! He wanted nothing to do with his life in Salem. Tyler looks sheepishly, as Anita turns her attentions back out toward the dark night, hoping to see Brady re-emerge. Her tone softens as she continues to speak of her grandson. ANITA: He was trying to forget. To build a new life for himself here, a simpler life...and he found it. Anita tenses up, turning back around to face Tyler, her voice raising again as she spits her words at him. ANITA: Until you showed up, with your stupid phone call, and you ruined everything. TYLER: (sigh) Anita, I'm sorry. I didn't realize his mental state when I asked you to tell him who you are. ANITA: You never do. And you should've asked me, Tyler. It wasn't time yet. Damn it, Tyler. He wasn't ready to know yet. TYLER: Anita, when did you think would be the right time? Anita turns away from Tyler again, holding herself, rubbing her arms gently to comfort herself as she listens to Tyler speak. TYLER: You know as well as I do that the months would drag on, and Brady would stay tucked away here, hidden from reality, from his past. You here, pacifying him. Making believe you're just this benevolent stranger who just happened to take him in? Purely out of the goodness of her heart. Who loves him just because he's a special boy? Anita sighs, shaking her head at what Tyler's telling her. The uncomfortable truths she's hearing almost too much to hear. ANITA: Oh shut up... TYLER: And then what? After you've spent months lying to him. Tyler steps in closer to Anita, speaking softly to her, but firmly. TYLER: Anita, do you honestly think that the truth would've been any easier if it came out then? Anita turns to Tyler, speaking in as measured a tone as she can muster through her upset. ANITA: Maybe not. But I would have had time to help Brady recover emotionally, so that the truth wouldn't put salt in the wounds he already has. As it stands, he's still running, Tyler. And that's what I'm afraid of. Anita walks back toward her front door, looking helplessly out into the dark night. ANITA: I'm afraid he's not gonna stop. And we'll lose him for good. --- Outside Anita's cabin, Brady desperately attempts to open Anita's SUV, but can't find the key. Pulling frantically on the door handle, he smacks the door, in a fury. BRADY: Dammit! Looking around him, Brady contemplates running off into the night, but he sees only blackness, and thinks better of it. After a moment, he finally finds the right one and hops inside. Brady turns the key, but the enging makes a gurgling sound. BRADY: Come on....come on! He attempts once again, but the same result. When the ignition fails to engage, Brady slams on the steering wheel in frustration, giving up. BRADY: Damn! DAMN! (sigh) Brady leans back in the drivers' seat, sobbing in pain and confusion about the discovery that Anita is actually his long-presumed-dead grandmother. --- In the basement dungeon of Stefano's Italian island compound, Steve sits up slowly, holding his head in immense pain from his earlier blow to the head. STEVE: Ughhh, Stefano, these goons of yours don't mellow with age, man. He holds a piece of jewelery he found on the ground in the cell that he and Bo are currently locked in. A locket. He opens the locket, and sees a familiar picture inside. Steve inhales suddenly, shocked by what he's discovered inside. Suddenly forgetting about the immense, pounding pain his head is in, Steve immediately leans over to Bo's unconscious body, and desperately attempts to revive him. STEVE: Bo! Bo! Steve shakes Bo's shoulders, gently slapping his face hoping to wake Bo up. STEVE: Come on, partner! I got something to show you, man! It's big! Come oooon, dude! Bo begins to come around, grunting in pain, as he begins to return to consciousness. BO: Ughhh, come on, man, I'm hurtin' here. STEVE: Heh, yeah well, so am I but I got something that'll put a little pep back in your step. Bo slowly gets up, shaking his head and rubbing his eyes, before his eyes bug out as his head begins to throb. BO: Ohhhh MAN! STEVE: Yeah, I know, but come on, partner. Focus here. Steve holds up the opened locket for Bo, who takes it in his hand. He looks it over closely. BO: Okay, it's a locket. What about it? STEVE: Look at the picture. Bo inspects the picture inside the locket. His eyes begin to widen. BO: Steve, this...this is Jack's, isn't it? Steve nods, excitedly. STEVE: That's right, my man. And you know damn well it hasn't been here very long. These goons woulda found it ages ago and destroyed it, especially if they were gonna throw us in here. So that only means one thing. Bo looks up from the locket, a hint of a pained smile on his face. BO: Jack didn't die when the elevator collapsed. STEVE: You got it! He's probably alive, Bo! My baby brother's alive! Steve can't hide his excited smile, as he reaches across to hug Bo, who looks simply stunned by the turn of events. ---
  7. Yayyyyy retcons incoming 🙃🙃🙃
  8. Unless Ann Marcus did a 180 on this, it seems he isn't! Donna blew the whole scam by telling the lawyer who was representing Lorraine in the custody suit all about the scam because she stupidly thought he was in on it. Her actual father is apparently some GI who Lorraine slept with before moving in with Don. She was already pregnant when she lived with Don.
  9. I just logged back in and realized how long that post was. I should never post at 3am with insomnia. I am SO sorry, Y'all. 😂😂😂
  10. Made to May 1978 now in the Daytime Serial Newsletters. Ann Marcus seems to have settled into the job as headwriter now a year in, and is starting to find her groove. It's still not anything like it had been in Bell or Pat Falken Smith, but her show is finding its footing. I think if I'm to look at Ann Marcus' run through cynical modern eyes, it's easier to find fault in it than it is in the context of where daytime soaps were in 1978. I'll agree with @Paul Raven that Julie being raped by Larry Atwood was unnecessary, but I think part of me looks at it that way because SO MANY women on DAYS have been raped now, it just seems excessive. But by 1978, only Laura had experienced this, and under vastly different circumstances, so I don't necessarily think the twist was ill-advised. Am I a fan of the Atwood underworld caper? No. But I've seen worse. Larry Atwood murder story is somewhat interesting, but I think years of GH centring so heavily on the mob has put me off any kind of underworld story on soaps. At least this organization seems a little slapdash, and not omnipotent like some of these organizations tend to be, but then that leads to me not taking them all that seriously either. I never get the sense that Larry Atwood or his associates are a real and pressing threat over Doug and Julie. Doug, indeed, is off singing on cruise ships all this time, and isn't exactly calling on anyone to watch over Julie while he's away. He just seems to sorta...leave her to her own devices. I also think revealing Arlo Roberts, bit player waiter from Doug's Place who was a plant by Larry to try to undermine Doug and Julie's business was a cop-out. I would've much rather seen someone like Jeri Clayton be revealed to be Larry's killer, especially considering her ties to Atwood, and her anger at what she perceived to be Larry's two-timing her with Julie. Have her kill him, and block out the memory of that, plus the revelation that Julie was raped, which would be what incites Jeri to kill him, and we've got a story. It's not like Jeri was a cornerstone of the show, but she mattered far more than Arlo the Waiter. Sam throwing Marlena in Bayview and taking over her life is another story that's been done so many times since, I can't help but roll my eyes at it, but it was a well-constructed story, at least. There's scripts posted from when Sam visits Marlena in Bayview, demanding she consent to shock therapy which I was fortunate enough to read (thanks Jason47!) that are very intense. Sam is cold, and menacing to Marlena, even threatening to kill her if she doesn't comply, before realizing that, DUH, SHE'S SAM! She can sign her OWN damn consent form! Of course, Marlena's saved, and Sam goes to rehab, but when Don and Marlena are to be married the next year, Marlena agrees to have Sam be her maid of honour??? Between Sam and now Ben, Marlena may be the most selectively forgiving person on the planet. One angle of Ann Marcus' show I'm really liking is how she's writing the Andersons. Phyllis and Linda, in particular, have flourished under her. I like how cunning Linda has become, playing Tommy and Bob against each other, all with the plan of not just marrying Bob, but becoming indispensable to his business, and, indeed, the REAL person with all the power at Anderson. It's been a fascinating transformation and I find myself rooting for her at every turn. Mary and Chris have been a decent match as well. I've also been really enjoying Phyllis finally growing a spine against all the sh!tty men in her life. The moment she finds out about her husband Neil carrying on an affair with her daughter, Mary, she begins to sabotage their relationship, calling Neil on dates with Mary that Mary doesn't show up to because Mary never made the date to begin with. Later, Phyllis cavorts about with her tennis instructor right in front of Neil while refusing to share Neil's bed. Mary won't speak to Neil either, so a sex-starved Neil tries to try it on with the nurse at his clinic, and she immediately quits in response! Brilliant! After years of Neil being a slimebucket and a horndog, he finally gets some comeuppance, and Phyllis regains some power. The best part for me was reading that she finally ended up leaving for a few months on a world tour after this because she "got bored" with emasculating Neil. An absolute delight. I notice the hotshot Dr. Griffin and his teenage daughter who was set to be paired with Mike got dropped with a quickness, as did Danny Grant and Toni's story. DAYS is now back to being lilly-white, I guess. Trish randomly decides she doesn't actually love David and runs off to Gary, Indiana (of all places) where Arlo the waiter has her singing at some random club, and just has her baby adopted out (Timothy but I know he eventually somehow becomes Scotty??). I'm guessing Patty Weaver left the show around this time because this seems like a real sharp left turn in the story, with Mike now hooking up with Chris' new secretary Margo, who immediately is diagnosed with leukemia and we're supposed to care a lot about her because she's mousy and blonde, I think. Mike goes running after her when she finds out, because she "doesn't want to be loved out of pity" (barf), but Mike flies cross-country to Margo's twatty mother's house and throws a bunch of platitudes at her and she falls for it and now they're getting married. Yawn. Cue what I know to be the slowest death from cancer in soap opera history. The Barton family saga ended in a nice neat little bow. Abused wife Jean tries to leave her husband, Fred. He trips over her suitcase while he's trying to get at her, falls down the stairs and has to go into surgery for a head injury. Because the hotshot Dr. Griffin was too busy looking for his daughter that night who was on a date with some dweeb he didn't like, Dr. Griffin couldn't be bothered to do the surgery. Bill and Kate found an intern to do it, but the guy was so nervous he ran off, so Bill had to, despite still having a sh!te hand after Mickey shot him while in his psychotic rage over Laura. Fred Barton wakes up and can't walk. Laura says it's psychosomatic. Fred sues University Hospital, so Kate and Bill are up for dismissal with the hospital board. The intern turns out to be a spineless rat who conveniently neglects to share his part in the debacle with the board and says Bill MADE him leave the OR, so Kate and Bill are fired. This is where Kate and Bill get to the point of emotional affair (it so far hasn't become sexual), as Laura feels Bill is threatened by the fact she's working and he isn't, and Bill and Kate were getting close as Bill became more involved in anesthesiology, which Kate is the head of for UH, or I guess, was, until she got sacked. Either way, they manage to convince the intern to stop being a baby and tell the truth, Kate and Bill are rehired, and Kate won't screw Bill because he's married. So...for now, that's it for that angle. Incidentally, the only discernible characteristic I've been able to uncover about Kate Winograd is that she REALLY REALLY REALLY doesn't want to be "the other woman". So, A+ character development there. The Bartons, on the other hand...Fred gets on an elevator with Marlena, who tries to shrink him on the fly. He's not having it, but then the elevator gets stuck between floors and Marlena has time to work her magic, and he goes on about how his mom got beat by his drunk dad and he has a sad and that's why he's a prick to his wife when he's stressed. A week later, he shows up to court and walks. His case against UH is dropped, Fred suddenly decides therapy is A-OK, and suddenly, Mickey & Maggie might as well have an empty apartment above them, because we never hear from the Bartons again... ...or Kate Woodville's Marie, who apparently disintegrated into the counselling program she was volunteering at after Alice finally snapped at her for taking over her home and family. Interesting that, other than a few minute conversation on the subject, Tommy and Marie's bonkers history was all-but-ignored on this run. I wonder what Ann Marcus' plan was for Marie, cos it certainly went nowhere. Also, Janice's bio mom moves into Mickey & Maggie's neighbourhood and is apparently pretending to be Janice's fairy godmother. This will end well. Aaaaand finally, we get to Don's senatorial campaign, in which the big scandal was going to be Marlena and Don LIVING IN SIN, causing Don to temporarily move out. This becomes mitigated by Don proposing...until Lorraine shows up. Lorraine apparently lived with Don for a month in 1964 until he found out she was turning tricks, and he never heard from her again, but apparently now he has a daughter: Tracey E. Bregman's Donna. And despite being clumsily named after him, he turns out not to even be her father, and it was all a scam to get money out of Don. Except, when it all was exposed, Lorraine skips town and leaves Donna in Salem??? WTF! So now she's Marlena's ward-du-jour. *inhales* Again, I think my biggest complaint about Ann Marcus' writing of this show is that it moves SO FAST she has burned through all this story in just one year. It must have been INCREDIBLY jarring for the audience so accustomed to tightly-focused, slow-moving psychological character studies, and suddenly having so much big-stakes, largely plot-based story thrust at them like this. There really is little room for dramatic tension, and when I read some of these writeups, I am absolutely rolling my eyes at a lot more of the plot points than I ever did under PFS, who I spent more time considering the nuance of the characters' behaviours with. It feels like Ann Marcus' intention was to play with similar themes as before, but in a far shallower, perhaps more accessible way, but I think that sells the audience short, as DAYS was extremely successful for a very long time without dumbing down the story. I still really enjoy the more empowering way she writes many of the women of the show, but it really does feel a lot more stereotypically soap opera than what came before, and that's disappointing, because it comes off as lazy writing. Anyway, onto June we go. More ramblings to come.
  11. If I'm to believe Ellen Holly, he may have been such a tyrant to work for that nobody wanted to hire him anymore.
  12. Thanks for the links @victoria foxton, and yeah, I'm less than engaged in Ann Marcus' stories so far, tbh. I watched the March 1979 episode earlier, which is early in Elizabeth Harrower's run. It already seems to be shifting back into a more intense style of the Bell era. Stephanie frying her fingertips off to stop the folks at Anderson from finding out she's actually Brooke is still shocking viewing 40 years later. As silly as the whole "Brooke comes back with a new name and face" story was (another Ann Marcus plotty story twist), I really do wish her identity had come out more naturally, and Stephanie had stuck around post-1980. She was a fascinating character to me.
  13. I love it. And you're absolutely right. Play it so slowly we hardly notice it happening until it's right in our faces. It can so easily be done, especially since the real story is Maggie's insecurity, and longing for the simplicity of her previous country life. Eventually, that could've even led to Maggie resenting Mickey having come into her life, driving him back toward Linda, for example. Ann Marcus seems allergic to this kind of story so far, as everything I listed above, plus Brooke spying on Bob, getting caught, and trying to run out of town and crashing her car and "dying", all within her first five months. It's absolute whiplash compared to previous years.
  14. LOL thank you @AbcNbc247, I'm gonna keep reading the Daytime Serial Newsletters and maybe post a little more about what happens as I go along. Do we know when the last DSN was published? I really like the detail they put into their summaries. It honestly feels as though Ann Marcus put all the stories on fast-forward and simplified everyone's emotions in order to get a handle on the show. I can appreciate how, as a new writer coming into a show you're somewhat unfamiliar with, this particular show would be daunting and rather dense from a characterization point of view. But, having said this, I totally get why people say she dumbed the characters down. And yes, the stories are relatively melodramatic and less controversial than what PFS was writing. It suddenly feels like a stereotypical soap, which is especially unfortunate, given what Ann Marcus was handed when she arrived. The only thing I will give Ann Marcus credit for is that her DAYS seems to have the women more dominant in story, and gives them a lot more agency than PFS, who seemed to have rather aggressive men dominating the narrative. Phyllis exacting revenge on her gross, philandering sleaze husband Neil has been delightful, and a nice surprise considering how psychologically fragile she was previously. Either way, I'll keep reading and update everyone on my findings, haha. I'm curious to see the change between Ann Marcus and Elizabeth Harrower. I really love this angle. It seems a much more organic way to lead to alcoholism for Maggie, and takes the threads PFS laid out and runs with them, as opposed to dropping them like a sack of cement, which appears to be what happened. I honestly wonder if that wasn't Ann Marcus abandoning a story that had been accused of being too heavy and unpopular. I don't really fault her for that, given the state the show was in when she arrived, but it seems as though she overlooked the decade that that story had been front-and-centre on the show, and, in doing so, threw away the loyalty of the millions who had stuck with it through all that time. I feel like it would've been far better payoff to stick with PFS' plan to see Mickey through that recovery to finally struggle to earn the trust and respect of the community and his loved ones again. The newsletters suggest that while Mickey's time in Bayview was heavy, but it was handled carefully and thoughtfully, and was heading in an optimistic direction. Why not stick with it? Maybe follow it through to another big court case that Mickey successfully tries, signalling his return to prominence in the community. Perhaps tied to the baby Dougie custody case?
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