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Like I said I wasn’t talking about characterization. It makes sense that Dani is in denial. However literally no one in the real world would accuse someone of faking a pregnancy. Why? Because it’s just not feasible. What is Dani supposed to expect from Hayley—that she’ll be hiding a pillow under her shirt 24/7? Come on. The accusation has no legs, and that’s exactly why nobody would ever go there. A far more plausible accusation—one that actually has been made for centuries—is that someone might lie about who the father is. Dani only vaguely hinted at that, but at least that angle would make some narrative sense. I’d go for a coworking space that would be home to these small businesses like Kat and Chelsea’s bag startup (the whole police station trope feels like copaganda to me) -
I guess RTPP looked worse because it followed Another World, but it's a shame they didn't give it more time especially considering how the shows that were put on following it fared. -
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Durkin was awful. The writing did her no favors, but she was all wrong for the part, lacking the mix of mystery, steeliness, sorrow and hesitancy that defined Victoria. I still have the awful memory of Adam lugging her around like a rag doll. She looked much more like one of the Blue Whale dancing extras than Victoria. And her voice... Maybe I am too harsh. With that said, Curtis didn't seem as bothered. I see from a fan review mentioning Barnabas & Company that Durkin was asked to return for Victoria's final episodes and declined as she had a Christmas trip to Europe with her husband planned and wasn't interested in just a few appearances. I refuse to believe Victoria actually died during the Leviathan storyline. If Barnabas and Angelique could come back 8 times, she could come back a few. -
It's a shame she only appeared in three episodes for the purpose of being written out - I thought she was quite good in the little we saw. I liked her vibe better than Durkin that never seemed to quite capture Victoria as a character.
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He did a lot of romance novel covers, so that might've just been enough for them to get their panties in a twist.
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Pre-TGIF, ABC most successful 1980s Friday 8 pm comedy I'd say was Webster. Full House wasn't a hit its first two seasons but it started showing growth in its third season which overlapped with the launch of TGIF. Funny thing is, Full House became a Top 10 show with the 1991/92 move to Tuesday. -
By Paul Raven · Posted
Oakland Tribune, 14 July 1985 AW is another show with Schenkel at helm By Connie Passalacqua For the most part, dictators of South American banana republics enjoy better reputations than executive producers of daytime soap operas. Total authority is vested in these producers, who can kill off a character (thus firing an actor) with a stroke of a pen, or completely change life in his or her soap opera dominion (both in its fictional locale and backstage at the studio) on any kind of whim. Most rule despotically, inspiring fear in their actors and writers. Which inevitably surfaces on the screen and subtracts from a show's quality. Then there's Stephen Schenkel who became executive producer of Another World last fall. He's been described by one of his actresses as "a teddy bear." He has noticeably improved the show, mostly because his natural warmth encourages backstage cohesiveness, and he believes in personally nurturing his staff and cast. 'I like to be supportive', he said.' I like to generate a certain amount of enthusiasm. I love actors and writers and technical people. And I like to laugh.. ' Schenkel said that most of the factors that have led to the shows improved ratings existed before he took over. There were well defined characters, outstanding writers and excellent production values, he explains. 'These things were in place but needed to be stimulated. There wasn't a lot of excitement. What really was missing was an adequate story. We added Gillian Spencer as a writer. (she also plays Daisy on All My Children), who's wonderful, and it just coalesced. The writers energy and commitment to the show began to give it an emotional intensity and some real passion within the characters." Schenkel, a former ABC programming executive who helped develop Ryan's Hope, is a strong believer in stressing romantic and comedy elements in soap operas. AW is also one of the only soaps with an established group of comic characters, including Wallingford (Brent Collins) and Lily Mason (Jackee , Harry). Schenkel raves about the talents of all his actors, and even has something good to say about the Brooklyn location of the shows studio, which most of his Manhattan-oriented staff loathe. I like the people here. I like to walk down the street and feel their energies, he said. He also violateda soap opera no-no, ' inviting actors and writers to the same party. "Everyone got to know one another, he said. And I didn't get any complaints about actors ' begging for story lines, he said. -
Since it's pride month.
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By Paul Raven · Posted
National City Star-News, 5 May 1977 TV topics by Peter Blazi Lear’s ‘All that Glitters’—doesn’t The best thing that can be said about Norman Lear’s newest soap opera“All That Glitters” is that it comes on so late at night most people will miss it. Role reversal is supposed to be the big draw, with women the breadwinners, mainly executives of a huge conglomerate. The men either fuss with the housework or fidget at the office as secretaries to their bawdy bosses. A female fantasyland? I doubt it. While the role reversal idea has some possibilities, the show pushes too hard for laughs and winds up with raucous females and effete males. A confident, independent woman is indeed a sight to behold and attract, but femininity need not be sacrificed. Unlike Lear’s “Mary Hartman, Mary Hartman,” "Glitters” doesn’t, but you’ve got to give him credit for trying. Today’s experimental comedy is what tomorrow’s hits are made of. Better luck next time, Norman. (“All That Glitters” can be seen weekday evenings at 11 p.m. on Channel 6.) .
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