Do we know what Bernie Barrow was nominated for? In cataloguing the late 1990 episodes, the story thread where Louie learns that Off Limits has been cooking the books leading to mob moll Stevie Lindstrum arranging a hit on Louie is quite powerful in the few sequences I saw connected to it. I would hope it was for that.
Stacey's hair starts to shift when Jacquie Babbin comes in. It's not the Katie Couric for another year, but there are subtler shifts and playing with volume. To me, it embodies the soccer mom of the 1990s that Stacey represented. In late 1991, when Taylor returns from maternity leave, its a bit more butch and she looks really good in her party dress when she and Jack host the welcome party for Jeremy Hunter at the Alden mansion.
When the scattered, but numerous, 1991 episodes popped up years ago, I was impressed. Now that we have gotten it in a more consistent run, 1991 really seems to be a pre-cursor to Taggart's 1993 run in terms of quality. In some recent spring 1991 episodes I watched, you have several very strong threads playing out that are interlocked. As per the will, Gwyn and Clay are suppose to remarry, which has led to a lot of jockeying among the corporate set. A nearly broke Dane is offering to negotiate the "terms" of Gwyn and Clay's marriage on Gwyn's behalf. Clay is trying to win over Gwyn by building a bridge with Trisha and an outgoing Curtis. Meanwhile, Gwyn is so close to getting what she has wanted (back into AE and, more specifically, Amourelle) but doesn't want to lose Dane. Shana seems to be hovering around the edges here, but I am not watching everything.
1991 was a year for Trisha. There is a growing sense that Trisha was going to emerge as a bit of bitch, which is something that had been only been briefly touched on in some of those 1985 episodes when Trisha feels scorned by Steve when he is with Cece. After losing the baby, Jessica Steen's Trisha has become obsessed over an abandoned baby and tells Gwyn, in front of Trucker, that she wants to use the family resources to secure that she is given access to this child. It's a level of elitism that Trisha has typically circumvented, but, in this moment, seems to embrace. I know later in the year (July) we have Trisha negotiating Clay's release in order to secure custody of Tommy for herself. By the end of the year, Trisha's devotion to art, a world that Trucker couldn't possibly appreciate, and artists like Giff Bowman and Jeremy Hunter are the catalysts for Trucker to seek solace in the arms of Dinahlee.
There was a very good set of scenes with Ava and Carly and their respective men (Paul and Clay) while both sisters tell the story of a high school football player who stood up Carly on a date for a night with Ava. When Ava tells her side of the story (intercut with Carly's) Ava reveals that Tommy Hylander (I think that was his name) only used Carly to get to Ava and he had threatened to (physiclly) abandon Carly and tell everyone they had hit the sheets so Ava only dated him to keep him from hurting Carly. It's a very well done sequence that also has the layer of Clay (who has had a backdated vasectomy), avoiding physical contact with Carly after she has just told this horrible story of feeling abandoned.
Clay and Carly work better than I expected as the outsiders in the respective families being drawn together. I had forgotten about Clay's vasectomy, which made him and Carly having children an issue on top of the fact that Carly was having the yearning about motherhood now that Paul was back in her life as a constant reminder of the child she abandoned. Quinn and Horan have decent enough chemistry and all the pieces fit together really well.
In addition, Stacey and Jack finally remarry as they try to sneak out only for their car to break down on the way to the justice of the peace. When they finally get there, covered in chicken feathers from riding with a farm family, the couple faces the reality that there family has known all along and has gathered there. It's a very light story that balances some of Trisha's neuroses and the heaviness of the animosity between Ava and Carly.
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