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Paul Raven

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This must have been after Cindy Pickett left and they were looking for a recast. They work overtime to keep Jackie offcamera. 

 

You can tell the Marland trademarks, between campy Vanessa, the therapy language with Hope and Amanda, all the talk about Morgan (proto-Lily). And then like Lily, she was a bit of a nasty girl (as shown in Katie's dislike of her) before being made into a more mainstream heroine. 

 

Hope and Amanda seem less passive and downbeat here than they did a year or two later. 

 

That little bit where Barbara's whole mood is crushed when she sees Adam and Sara together really gets to me. 

 

I like the slight edge Maureen Garrett brings to the scene with Holly and Rita. 

 

Lenore Kasdorf made everything about Rita seem so believable, so normal, helped by the writing. Rita worrying about how Sara could never see her the same way again...the awkwardness with Ed. She really was so special. I guess she was of that era and wouldn't have been the same with Reva and company, but I wish we knew.

Edited by DRW50
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God I hated Rusty and his little pig tail in back. Anthony left the show complaining about lack of airtime, and that if he was on an ABC show, he would have gotten it, whatever that means. With all the storyline she had Reva did not need a brother and one as boring as Rusty to boot. Plus he was a cliche...."renegade cop, and I'm not going to do what the Captain tell me!" ...  Im just sorry they didn't kill Rusty off in a shoot out so we could have watched Anthony try to act out his death scenes....oh if only he had been around for Brent/Marion HE could have been the one to take her out on a date and get killed in the phone booth (all the while Rick and Abby hilariously walk by not noticing anything wrong...)

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  • While I always appreciated Channel's incisive and perceptive reviews, to me, TGL was still great and still riding high in the early 1970s, regardless of the similarity among the plots (i.e. marital conflict). Doesn't EVERY couple through through ups and downs in their relationships? The character development and interpersonal relationships were at the core of the drama, and the Bauers were center-stage, where they belonged. The writing really did weaken when Robert Soderberg and Edith Sommer left, to be replaced by the likes of James Gentile, Robert  Cenedella, and James Lipton (the stories became more plot-driven and the characters less nuanced), but TGL rebounded again and then enjoyed several years of good writing under the Dobsons, Douglas Marland, and even Pat Falken Smith during her blink-and-you-missed-it tenure on the show. Comparing the 1970s' TGL to its final years, when it was handled by the likes of Ellen Weston, David Kreizman, Lloyd Gold and their ilk, well...there IS no comparison.

 

 

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