The quantity of new Loving material is a pleasant surprise. The quality is definitely mixed.
I am not a huge fan of Taggart and King's 1988-1989 material, but I will say that the Jackie Babbin led stuff in May into June 1990 is very engaging to me. The 1989 material feels very on brand for what I have seen of ABC Daytime in general of that era so there seems to be a stronger sense of network identity and unity in the show. It's nice to see some of the Curtis / Rocky / Todd stuff in context of entire episodes. I don't know if the scene was uploaded by Albers, or I just missed it, but the scene where Curtis admits he fears that he will revert back to his old ways because of Lottie's death was very enlightening. It gave the choice of killing off Lottie much more depth. A lot of these 2 nicish guys, 1 girl scenarios are usually played with younger appearing males which typically dilutes the (presumably) unintended homoeroticism of the storyline (unless you are Search for Tomorrow 1984 staging a queer production of Flowers in the Attic with twins Chase and Alec Kendall). The Dirty Dancing sequence followed by the girls night with Trisha, Stacey, and Shana shows what Taggart, King, and Joseph Hardy are aiming for, but it never completely hits for me in the way it appears in these episodes.
I really like Juliette Crawford the more we see of her. Ron Nummi's Rick (Stewart) Alden remains a hidden treasure that was never truly maximized to his fullest potential. One of my favorite scenes in the 1989 set is when Rick and Curtis are having breakfast in the Alden dining room and Curtis speaks of using his trust fund to refurbish the train depot and Rick realizes how he remains and outsider having to fight for everything on his own. I didn't love the framing of Rick's point of view regarding Stacey's pregnancy.
I cannot completely blame King and Taggart for the worst of the Alex / Clay spy saga because so much of that was embedded into the backstory that you really cannot ignore it. I liked James Horan much more in seeing him in stretches of episodes (in 1989 and 1990) where the character has more layers than in someof the more consistent 1991 stuff I've seen. Parlato's version seems like a natural extension of Horan's version. Malloy's Clay just doesn't work for me. I think leaning into Clay's feelings of betrayal were smart and it gave Clay more of a point of view than I expected. The Clay / Ava tension was good. So was Ava side stepping the truth and telling Cabot that she didn't know Alex was pretending when she married him, while neglecting to mention she had known for a good amount of time by March, 1989. Alex is the fictional Latin American nation does little for me.
Though, I do see some similarities between the Alex / Clay story and the later Buck / Curtis / Tess material which was equally wonky, but all driven by Taggart and Guza, making me think that Taggart liked the concept enough to reuse it.
I've only watched a bit of the December (or maybe November), 1986 - January, 1987 episodes. It was odd seeing the trailend of Judd Beecham and this floundering period where Ava bounces between one forgettable one-shot love interest to another. The extensive flashback of Tony and Marie was something. I had forgotten that Marie and Tony were raised as siblings with Tony as the ward of Marie's gangster father. I get the point of it (to give insight into the danger that Trisha faces being involved with Nick), but its a lot of story space for characters that don't feel super important . Everyone fretting about Trisha seems tedious. I did like the idea that this was supposed to represent some sort of foolish rebellion on Trisha's part and howit ultimately is a case of Gwyn getting her just desserts for ruining Trisha and Steve's romance.
I don't know if he's being credited, but I would safely bet Ralph Ellis is guiding the show through late 1986. It is very much a retread of the work he did on Search for Tomorrow when it moved to NBC. Clay, the believed dead spy father, is a revision of the Rusty Sentell plot. The River Palace seems reminiscent of the River Boat restaurant. Nick Diantos is a Warren Carter type with the two Jennys (Loving's Jenny Baylor and Search for Tomorrow's Jenny Deacon). I don't think it happens in these episodes, and I know its a common soap trope, but the Cece / Steve story ends up playing out similarly to Kristen / Brian with Kristen/Cece miscarrying and lying that she's still pregnant to keep the man.
It was nice revisiting some of late stage Addie Walsh and early Taggart / Guza. As much as I find Walsh's 1992 run generic and listless, I did appreciate the small town, class conflict element embedded into the Aldens vs the Mayberry girls even if Hannah, like many of those country girl types the Nixon soaps tried in the 1990s, is a washout. I could care less about the breakup of Hannah and Cooper, but Dinahlee lamenting in the bowling alley that she feared that Cooper would ruin her reputation was a nice beat. I really enjoy Taggart and Guza. I thought they wrapped up the gaslighting plot well even though it isn't one of my favorite Loving stories. I also love Gwyneth putting all the pieces together with Clay, Isabelle, and Tim Sullivan. The music is very evocative and I know several pieces are shared with General Hospital. Maybe not specifically in these episodes, but I know there are one or two shared music cues.
I watched a couple of the clips from the Italian episodes from 1983. Most seem to be from August - November from what I can tell though they all aren't in order because we bounce back and forth between Peter Brown and John Shearin at some point. There is a very nice flashback to Mike returning from Vietnam and Doug and Merrill welcoming him on the eve of Founders' Day, which gives another layer of depth to Mike's Founders' Day speech crash out. There is a nice sequence where Doug is seduced by Lorna, who plies him with champagne after his break up with Merrill. Doug gently rejects her and the writing and acting is well done with Lorna maturely accepting the rejection (at least initially) and not making a scene of things.
I don't think I knew that the Trish personality Lily had seemingly got her name from her alias when she and Jack were on the run. Jennifer Ashe is intriguing in the dive bar with Dirk?, who oozes that sort of swarmy sexuality that reached its peak in the late 70s/early 80s. Lily's premonition of the future encounter between Jack and Garth felt James E. Reilly esque.
There was some nice stuff between Merrill and Clem Margolies, who I don't think I realized was Roger's good friend on top of being the Alden Amily attorney. I believe they briefly tease a Clem / Merrill pairing and Margolies hangs around past Marland for a bit if I recall correctly. Clem confirming that Roger was ambitious and basically would never back out of his marriage for that reason was a harsh truth for Merrill to face. Shannon Eubanks is just stunning and its a shame she was dropped quickly. Callan White works in a very different version of the character.
I really liked the 1990 episodes, but I am not done so I'll save that for another post.
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dc11786 ·
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