DAYS: Behind the Scenes, Articles/Photos

[Paul Raven]

Ann Marcus had worked in daytime previously so that probably was a big factor.

 

I think they made a mistake in marrying off Mike and sticking him with a doomed Margo.

 

Wesley Eure was the closest thing they had to a teen idol and he should have been hot and heavy in a teen triangle rather than being married off to a sickly woman. They had spent years getting both Bill/Laura and Doug/Julie together and should have applied that formula to Mike.

 

Marie did return but Kate Woodville didn't seem to make much impression and she really wasn't written for.

 

Sandy Horton was waiting in the wings and they went with Marlena.

 

Bob/Phyllis/Mary and Brooke/Stephanie had provided a lot of drama through the 70's but maybe it was time to introduce a new secondary family to provide drama going forward.

[Titus Andronicus]

While looking into the connections of Days' headwriters of that time, I've been uncovering some new tidbits>

Part of an interview with Ann Marcus in the March 15, 1981 Boston Globe:

Comment from ex-EP Wes Kenney in the Dayton Daily News, January 18, 1980:

(Jason has Kenney as EP through January 18, 1980, late in Harrower's run. The article actually ran the last day Jason has him listed, which leads to a big question that's going to apply twice here.)

How far ahead was Days taping at this point?

While seeing how Kenney's departure was handled in the media, I found a few news items on Nina Laemmle.

Laemmle was mentioned as the next head writer in the Sacramento Bee on January 31, 1980, before the story was picked up by the Associated Press (a brief) and in syndicated TV/soap columns.

Harrower's last date is listed as February 27. Would she have been writing after being fired? Laemmle is specifically mentioned to be replacing Harrower, not Ruth Brooks Flippen.

Was there some of delay in bringing in Laemmle? I can't find mention of one. Actually, I can't find any references in 1980 to Ruth Brooks Flippen at all.

So, how does Flippen play into any of this?

 

Edited November 6, 2020 by Titus Andronicus

[Titus Andronicus]

Digging through the old Love of Life thread, yes indeed, Marcus got her Vietnam story in on Love of Life after taking over as headwriter in May 1979.

 

 

Love, of course, went off the air in February 1980.

[JAS0N47]

"DAYS" ANNIVERSARY WEEK...

 

 

24th Anniversary, 1989. Back Row: John de Lancie (Eugene), Charles Shaughnessy (Shane), Wally Kurth (Justin), Matthew Ashford (Jack), Drake Hogestyn (Roman), Tracy Kolis (Rebecca), Lisa Howard (April), Mindy Clarke (Faith), Wortham Krimmer (Cal), Patti Johns (JJ). 2nd Row: Wayne Heffley (Vern), Marty Davich (Marty), Peggy McCay (Caroline), Judi Evans (Adrienne), Joseph Gallison (Neil), Staci Greason (Isabella), Rick Hearst (Scott), Judith Chapman (Anjelica), Lori Hallier (Yvette), John Aniston (Victor). 3rd Row: Charlene Howell (Waitress), Billy Hufsey (Emilio), Charlotte Ross (Eve), George Jenesky (Nick), John Clarke (Mickey), Suzanne Rogers (Maggie), Patsy Pease (Kimberly), Don Frabotta (Dave), Mary Beth Evans (Kayla), Stephen Nichols (Steve). Front Row: Frances Reid (Alice), Macdonald Carey (Tom).

 

 

Christmas 1989. The cast poses for a photo in the Horton Living Room on the day of taping the Christmas episode. Back row: Peggy McCay (Caroline), Richard Biggs (Marcus), Shana Lane-Block (Sarah), Melissa Brennan (Jennifer), Billy Hufsey (Emilio), Lisa Howard (April), Michael T. Weiss (Mike), Staci Greason (Isabella), Mary Beth Evans (Kayla), Matthew Ashford (Jack), Drake Hogestyn (Roman), Christie Clark (Carrie), John Aniston (Victor). Middle row: Patsy Pease (Kimberly), Mindy Clarke (Faith), John Clarke (Mickey), Frances Reid (Alice), Macdonald Carey (Tom), Suzanne Rogers (Maggie), Stephen Nichols (Steve). Back row: Rick Hearst (Scott), Justin Page (Andrew), Ryan Brennan (Max), Ashleigh Sterling (Samantha), Bradley Hallock (Eric).

 

 

25th Anniversary, 1990. TOP ROW: Billy Warlock (Frankie), Avery Schrieber (Leopold), Drake Hogestyn (Roman), Michael Sabatino (Lawrence), Robert Mailhouse (Brian), John Aniston (Victor), Lisa Howard (April), Antony Alda (Johnny), Don Frabotta (Dave), Camilla Scott (Melissa), Charles Shaughnessy (Shane), Mary Beth Evans (Kayla), Arleen Sorkin (Calliope), Richard Biggs (Marcus) and a Gunnarson twin (Stephanie). 2ND ROW: Peter Reckell (Bo), Patsy Pease (Kimberly), Wayne Heffley (Vern), Joy Garrett (Jo), Staci Greason (Isabella), Crystal Chappell (Carly), Judi Evans (Adrienne), Wally Kurth (Justin), Melissa Brennan (Jennifer), Matthew Ashford (Jack), Charlotte Ross (Eve), Aimee Brooks (Sarah), Christie Clark (Carrie), and Frank Parker (Shawn). 3RD ROW: Joseph Gallison (Neil), Suzanne Rogers (Maggie), John Clarke (Mickey), Macdonald Carey (Tom), Frances Reid (Alice), Susan Seaforth Hayes (Julie) and Peggy McCay (Caroline). FRONT ROW: Scott Groff (Shawn-Douglas), Bradley Pierce (Andrew), Bradley Hallock (Eric) and Christina Wagoner (Samantha).

 

 

25th Anniversary Cast Reunion Photo, 1990. Former and current cast members from 1965-1990 take part in a 25-year salute to Salem.

 

Never posted these before, but have them typed in a file! Here are the tape dates for all of the episodes aired in 1980:

 

DAY         AIRDATE                       EPISODE #                       TAPE DATE

Wed	1/2/1980		3582		12/17/1979
Thu	1/3/1980		3583		12/20/1979
Fri	1/4/1980		3584		12/18/1979
Mon	1/7/1980		3585		12/19/1979
Tue	1/8/1980		3586		12/21/1979
Wed	1/9/1980		3587		12/26/1979
Thu	1/10/1980		3588		12/27/1979
Fri	1/11/1980		3589		12/28/1979
Mon	1/14/1980		3590		12/31/1979
Tue	1/15/1980		3591		1/2/1980
Wed	1/16/1980		3592		1/3/1980
Thu	1/17/1980		3593		1/4/1980
Fri	1/18/1980		3594		1/7/1980
Mon	1/21/1980		3595		1/8/1980
Tue	1/22/1980		3596		1/9/1980
Thu	1/24/1980		3597		1/10/1980
Fri	1/25/1980		3598		1/11/1980
Mon	1/28/1980		3599		1/17/1980
Tue	1/29/1980		3600		1/15/1980
Wed	1/30/1980		3601		1/14/1980
Thu	1/31/1980		3602		1/16/1980
Fri	2/1/1980		3603		1/18/1980
Mon	2/4/1980		3604		1/21/1980
Tue	2/5/1980		3605		1/22/1980
Wed	2/6/1980		3606		1/23/1980
Thu	2/7/1980		3607		1/24/1980
Fri	2/8/1980		3608		1/25/1980
Mon	2/11/1980		3609		1/28/1980
Tue	2/12/1980		3610		1/29/1980
Wed	2/13/1980		3611		1/30/1980
Thu	2/14/1980		3612		1/31/1980
Fri	2/15/1980		3613		2/1/1980
Mon	2/18/1980		3614		2/4/1980
Tue	2/19/1980		3615		2/5/1980
Wed	2/20/1980		3616		2/6/1980
Thu	2/21/1980		3617		2/7/1980
Fri	2/22/1980		3618		2/8/1980
Mon	2/25/1980		3619		2/11/1980
Tue	2/26/1980		3620		2/12/1980
Wed	2/27/1980		3621		2/13/1980
Thu	2/28/1980		3622		2/14/1980
Fri	2/29/1980		3623		2/15/1980
Mon	3/3/1980		3624		2/18/1980
Tue	3/4/1980		3625		2/20/1980
Wed	3/5/1980		3626		2/19/1980
Thu	3/6/1980		3627		2/21/1980
Fri	3/7/1980		3628		2/22/1980
Mon	3/10/1980		3629		2/25/1980
Tue	3/11/1980		3630		2/26/1980
Wed	3/12/1980		3631		2/27/1980
Thu	3/13/1980		3632		2/28/1980
Fri	3/14/1980		3633		2/29/1980
Mon	3/17/1980		3634		3/3/1980
Tue	3/18/1980		3635		3/4/1980
Wed	3/19/1980		3636		3/5/1980
Thu	3/20/1980		3637		3/6/1980
Fri	3/21/1980		3638		3/7/1980
Mon	3/24/1980		3639		3/10/1980
Tue	3/25/1980		3640		3/11/1980
Wed	3/26/1980		3641		3/12/1980
Thu	3/27/1980		3642		3/13/1980
Fri	3/28/1980		3643		3/14/1980
Mon	3/31/1980		3644		3/17/1980
Tue	4/1/1980		3645		3/18/1980
Wed	4/2/1980		3646		3/19/1980
Thu	4/3/1980		3647		3/20/1980
Fri	4/4/1980		3648		3/21/1980
Mon	4/7/1980		3649		3/24/1980
Tue	4/8/1980		3650		3/25/1980
Wed	4/9/1980		3651		3/26/1980
Thu	4/10/1980		3652		3/27/1980
Fri	4/11/1980		3653		3/28/1980
Mon	4/14/1980		3654		3/31/1980
Tue	4/15/1980		3655		4/1/1980
Wed	4/16/1980		3656		4/3/1980
Thu	4/17/1980		3657		4/2/1980
Fri	4/18/1980		3658		4/4/1980
Mon	4/21/1980		3659		4/7/1980
Tue	4/22/1980		3660		4/8/1980
Wed	4/23/1980		3661		4/9/1980
Thu	4/24/1980		3662		4/10/1980
Fri	4/25/1980		3663		4/11/1980
Mon	4/28/1980		3664		4/14/1980
Tue	4/29/1980		3665		4/15/1980
Wed	4/30/1980		3666		4/16/1980
Thu	5/1/1980		3667		4/17/1980
Fri	5/2/1980		3668		4/18/1980
Mon	5/5/1980		3669		4/21/1980
Tue	5/6/1980		3670		4/22/1980
Wed	5/7/1980		3671		4/23/1980
Thu	5/8/1980		3672		4/24/1980
Fri	5/9/1980		3673		4/25/1980
Mon	5/12/1980		3674		4/28/1980
Tue	5/13/1980		3675		5/1/1980
Wed	5/14/1980		3676		5/2/1980
Thu	5/15/1980		3677		4/29/1980
Fri	5/16/1980		3678		4/30/1980
Mon	5/19/1980		3679		5/5/1980
Tue	5/20/1980		3680		5/6/1980
Wed	5/21/1980		3681		5/7/1980
Thu	5/22/1980		3682		5/8/1980
Fri	5/23/1980		3683		5/9/1980
Mon	5/26/1980		3684		5/12/1980
Tue	5/27/1980		3685		5/13/1980
Wed	5/28/1980		3686		5/16/1980
Thu	5/29/1980		3687		5/15/1980
Fri	5/30/1980		3688		5/14/1980
Mon	6/2/1980		3689		5/19/1980
Tue	6/3/1980		3690		5/20/1980
Wed	6/4/1980		3691		5/21/1980
Thu	6/5/1980		3692		5/22/1980
Fri	6/6/1980		3693		5/23/1980
Mon	6/9/1980		3694		5/26/1980
Tue	6/10/1980		3695		5/27/1980
Wed	6/11/1980		3696		5/28/1980
Thu	6/12/1980		3697		5/29/1980
Fri	6/13/1980		3698		5/30/1980
Mon	6/16/1980		3699		6/2/1980
Tue	6/17/1980		3700		6/3/1980
Wed	6/18/1980		3701		6/4/1980
Thu	6/19/1980		3702		6/5/1980
Fri	6/20/1980		3703		6/6/1980
Mon	6/23/1980		3704		6/9/1980
Tue	6/24/1980		3705		6/11/1980
Wed	6/25/1980		3706		6/10/1980
Thu	6/26/1980		3707		6/12/1980
Fri	6/27/1980		3708		6/13/1980
Mon	6/30/1980		3709		6/16/1980
Tue	7/1/1980		3710		6/17/1980
Wed	7/2/1980		3711		6/18/1980
Thu	7/3/1980		3712		6/19/1980
Fri	7/4/1980		3713		6/20/1980
Mon	7/7/1980		3714		6/23/1980
Tue	7/8/1980		3715		6/24/1980
Wed	7/9/1980		3716		6/25/1980
Thu	7/10/1980		3717		6/26/1980
Fri`	7/11/1980		3718		6/27/1980
Mon	7/14/1980		3719		6/30/1980
Tue	7/15/1980		3720		7/1/1980
Wed	7/16/1980		3721		7/2/1980
Thu	7/17/1980		3722		7/3/1980
Fri	7/18/1980		3723		7/4/1980
Mon	7/21/1980		3724		7/7/1980
Tue	7/22/1980		3725		7/8/1980
Wed	7/23/1980		3726		7/9/1980
Thu	7/24/1980		3727		7/10/1980
Fri	7/25/1980		3728		7/11/1980
Mon	7/28/1980		3729		7/14/1980
Tue	7/29/1980		3730		7/15/1980
Wed	7/30/1980		3731		7/16/1980
Thu	7/31/1980		3732		7/17/1980
Fri	8/1/1980		3733		7/18/1980
Mon	8/4/1980		3734		7/21/1980
Tue	8/5/1980		3735		7/22/1980
Wed	8/6/1980		3736		7/23/1980
Thu	8/7/1980		3737		7/24/1980
Fri	8/8/1980		3738		7/25/1980
Mon	8/11/1980		3739		7/26/1980
Tue	8/12/1980		3740		7/29/1980
Wed	8/13/1980		3741		7/31/1980
Thu	8/14/1980		3742		7/30/1980
Fri	8/15/1980		3743		8/1/1980
Mon	8/18/1980		3744		8/4/1980
Tue	8/19/1980		3745		8/5/1980
Wed	8/20/1980		3746		8/6/1980
Thu	8/21/1980		3747		8/7/1980
Fri	8/22/1980		3748		8/8/1980
Mon	8/25/1980		3749		8/11/1980
Tue	8/26/1980		3750		8/12/1980
Wed	8/27/1980		3751		8/13/1980
Thu	8/28/1980		3752		8/14/1980
Fri	8/29/1980		3753		8/15/1980
Mon	9/1/1980		3754		8/18/1980
Tue	9/2/1980		3755		8/19/1980
Wed	9/3/1980		3756		8/20/1980
Thu	9/4/1980		3757		8/21/1980
Fri	9/5/1980		3758		8/22/1980
Mon	9/8/1980		3759		8/25/1980
Tue	9/9/1980		3760		8/26/1980
Wed	9/10/1980		3761		8/27/1980
Thu	9/11/1980		3762		8/28/1980
Fri	9/12/1980		3763		8/29/1980
Mon	9/15/1980		3764		9/1/1980
Tue	9/16/1980		3765		9/2/1980
Wed	9/17/1980		3766		9/3/1980
Thu	9/18/1980		3767		9/4/1980
Fri	9/19/1980		3768		9/5/1980
Mon	9/22/1980		3769		9/8/1980
Tue	9/23/1980		3770		9/9/1980
Wed	9/24/1980		3771		9/10/1980
Thu	9/25/1980		3772		9/11/1980
Fri	9/26/1980		3773		9/12/1980
Mon	9/29/1980		3774		9/16/1980
Tue	9/30/1980		3775		9/15/1980
Wed	10/1/1980		3776		9/17/1980
Thu	10/2/1980		3777		9/18/1980
Fri	10/3/1980		3778		9/19/1980
Mon	10/6/1980		3779		9/22/1980
Tue	10/7/1980		3780		9/23/1980
Wed	10/8/1980		3781		9/24/1980
Thu	10/9/1980		3782		9/25/1980
Fri	10/10/1980		3783		9/26/1980
Mon	10/13/1980		3784		9/27/1980
Tue	10/14/1980		3785		9/29/1980
Wed	10/15/1980		3786		9/30/1980
Thu	10/16/1980		3787		10/1/1980
Fri	10/17/1980		3788		10/2/1980
Mon	10/20/1980		3789		10/3/1980
Tue	10/21/1980		3790		10/6/1980
Wed	10/22/1980		3791		10/7/1980
Thu	10/23/1980		3792		10/8/1980
Fri	10/24/1980		3793		10/9/1980
Mon	10/27/1980		3794		10/10/1980
Tue	10/28/1980		3795		10/11/1980
Wed	10/29/1980		3796		10/13/1980
Thu	10/30/1980		3797		10/14/1980
Fri	10/31/1980		3798		10/15/1980
Mon	11/3/1980		3799		10/16/1980
Tue	11/4/1980		3800		10/17/1980
Wed	11/5/1980		3801		10/20/1980
Thu	11/6/1980		3802		10/21/1980
Fri	11/7/1980		3803		10/22/1980
Mon	11/10/1980		3804		10/23/1980
Tue	11/11/1980		3805		10/24/1980
Wed	11/12/1980		3806		10/27/1980
Thu	11/13/1980		3807		10/28/1980
Fri	11/14/1980		3808		10/29/1980
Mon	11/17/1980		3809		10/30/1980
Tue	11/18/1980		3810		10/31/1980
Wed	11/19/1980		3811		11/3/1980
Thu	11/20/1980		3812		11/4/1980
Fri	11/21/1980		3813		11/5/1980
Mon	11/24/1980		3814		11/6/1980
Tue	11/25/1980		3815		11/7/1980
Wed	11/26/1980		3816		11/10/1980
Thu	11/27/1980		3817		11/11/1980
Fri	11/28/1980		3818		11/12/1980
Mon	12/1/1980		3819		11/13/1980
Tue	12/2/1980		3820		11/14/1980
Wed	12/3/1980		3821		11/17/1980
Thu	12/4/1980		3822		11/18/1980
Fri	12/5/1980		3823		11/19/1980
Mon	12/8/1980		3824		11/20/1980
Tue	12/9/1980		3825		11/21/1980
Wed	12/10/1980		3826		11/24/1980
Thu	12/11/1980		3827		11/25/1980
Fri	12/12/1980		3828		11/28/1980
Mon	12/15/1980		3829		11/26/1980
Tue	12/16/1980		3830		12/1/1980
Wed	12/17/1980		3831		12/2/1980
Thu	12/18/1980		3832		12/3/1980
Fri	12/19/1980		3833		12/4/1980
Mon	12/22/1980		3834		12/5/1980
Tue	12/23/1980		3835		12/8/1980
Wed	12/24/1980		3836		12/9/1980
Thu	12/25/1980		3837		12/10/1980
Fri	12/26/1980		3838		12/11/1980
Mon	12/29/1980		3839		12/13/1980
Tue	12/30/1980		3840		12/12/1980
Wed	12/31/1980		3841		12/15/1980

[Paul Raven]

Yes it is a bit of a mystery as there was mucho publicity about Nina L and the changes she was bringing to Days but no mention of Flippen when she took over.

 

She only wrote Days for a month so it seems she was some sort of placeholder.

Interesting that it was Flippen who killed off Bob, and wrote off Bill, Samantha, Donna,Cathy and Robert -all moves that are associated with Laemmle. It seems that Flippen may have been preparing for Laemmles stint.

 

Reading back over Jasons daily summaries I see that Harrower actually wrote out Linda,killed off Stephanie and  introduced Tony Kingman,Julie's new beau (in her final week)

[Titus Andronicus]

Could it possibly be that Laemmle was intending to bring in Flippen as a staff writer, but her health made that very short-lived?

[Paul Raven]

Looking again at Jason's summary this is the tally for Bill once Laura institutionalized

6/25/79-6/29/79: Bill finally accepted it that Laura has to be institutionalized. 

Bill 4

7/2/79-7/6/79:

Bill  0

7/9/79-7/13/79:

Bill 1

7/16/79-7/20/79:

Bill 2

7/23/79-7/27/79

Bill 0

7/30/79-8/3/79

Bill 2

8/6/79-8/10/79

Bill 1

8/13/79-8/17/79

Bill 1

8/20/79-8/24/79

Bill 0

8/27/79-8/31/79

Bill 2

9/3/79-9/7/79:

Bill 1

9/10/79-9/14/79

Bill 1

9/17/79-9/21/79

Bill 1

9/24/79-9/28/79

Bill 2

10/1/79-10/5/79

Bill 3

10/8/79-10/12/79: 

Bill 0

10/15/79-10/19/79

Bill 1

10/22/79-10/26/79

Bill 1

10/29/79-11/2/79

Bill 1

11/5/79-11/9/79

Bill 0

11/12/79-11/16/79

Bill  1

11/19/79-11/23/79

Bill 0

11/26/79-11/30/79

Bill  1

12/3/79-12/7/79

Bill 2

12/10/79-12/14/79

Bill 1

12/17/79-12/21/79

Bill 1

12/24/79-12/28/79

Bill 3

 

So the writing was on the wall for Ed Mallory/Bill

 

Edited November 6, 2020 by Paul Raven

[te.]

 

It's funny because having recently watching Mary Hartman, Mary Hartman and currently watching Peyton Place I sort of recognize the pacing from those shows - of course, Mary Hartman was a satire so they didn't need to go too much into the ramifications of characters actions and Peyton Place aired 2-3 times a week in prime time so they needed to pace it up a bit. For a daytime soap, here tempo makes little sense though. Was she actually successful on shows like General Hospital, Search for Tomorrow and Love Is a Many Splendored Thing and this break-neck speed is something she picked up from doing Mary Hartman, Mary Hartman or was she always such an erratic fast-paced writer?

Edited November 6, 2020 by te.

[titan1978]

I liked her on GH.  She and Wes Kenney added some grit to the show that was usually not there during the late Monty period.  She created the Jerome family, and Cheryl Stansbury, and I believe was also the HW during one of my favorite stories, when Grant Putnam kidnapped Anna.

 

She also greatly improved Knots Landing during its final year, but it was too little, too late there.

 

But I haven’t really heard many fans loved her as a writer anywhere else.

[te.]

 

I liked her on both Peyton Place and Mary Hartman, Mary Hartman, but I was wondering more about her daytime stints since her time on DAYS seem mostly like a train wreck.

[JAS0N47]

 

"DAYS" ANNIVERSARY WEEK...

 

 

 

 

 

26th Anniversary, 1991. TOP ROW:

Matthew Ashford (Jack), Wayne Heffley (Vern), Ron Barker (Tarrington), Don

Frabotta (Dave), Michael Sabatino (Lawrence), Ray Stricklyn (Howard), Robert

Mailhouse (Brian), J. Eddie Peck (Hawk), Shannon Sturges (Molly), Michael Easton

(Tanner), James Luisi (Duke). 2ND ROW: Geno Silva (Domingo), Peter Reckell (Bo),

Peggy McCay (Caroline), Patsy Pease (Kimberly), Charles Shaughnessy (Shane),

Crystal Chappell (Carly), Wayne Northrop (Roman), Deidre Hall (Marlena), Roberta

Leighton (Ginger), Drake Hogestyn (John), Staci Greason (Isabella), Charlayne

Woodard (Desiree), Felecia Bell (Glynnis). FRONT ROW: Ron Leath (Henderson),

Gerry Gibson (Simmons), Frank Parker (Shawn), Brian Davila (Andrew), John

Aniston (Victor), Susan Seaforth Hayes (Julie), Frances Reid (Alice), John

Clarke (Mickey), Suzanne Rogers (Maggie), Christina Wagoner (Samantha), Scott

Groff (Shawn-Douglas), [2 unknowns].

 

 

 

 

 

 

 

 

 

 

27th Anniversary, 1992. TOP ROW: Don Frabotta (Dave), Gerry

Gibson (Simmons), Ivan G'Vera (Ivan), James Reynolds (Abe), Wayne Northrop

(Roman), Ron Barker (Tarrington), Mark Drexler (Roger), Brian Heidik (Tom),

Patrick Muldoon (Austin), [unknown]. MIDDLE ROW: [unknown], J. Cynthia Brooks

(Taylor), Frank Parker (Shawn), Crystal Chappell (Carly), Michael Sabatino

(Lawrence), John Clarke (Mickey), Suzanne Rogers (Maggie), Melissa Reeves

(Jennifer), Matthew Ashford (Jack), John Aniston (Victor), Louise Sorel

(Vivian), Lisa Rinna (Billie). 3RD ROW: Patsy Pease (Kimberly), Edward Mallory

(Bill), Peggy McCay (Caroline), Macdonald Carey (Tom), Frances Reid (Alice),

Susan Seaforth Hayes (Julie), Drake Hogestyn (John), Tracy Middendorf (Carrie),

Gabriella Massari (Jeannie), Tony Rhodes (Jesse). FRONT ROW: Erik von Detten

(Nicholas), Brian Davila (Andrew), Scott Groff (Shawn Douglas).

 

 

 

 

 

 

 

 

Cast

Photo, 1993. TOP ROW: Wayne Heffley (Vern), Marilyn McIntyre (Jo), Dani Minnick

(Rebecca), Robert Kelker-Kelly (Bo), Ariana Chase (Kimberly), J. Cynthia Brooks

(Taylor), Thyme Lewis (Jonah), Don Frabotta (Dave), Renee Jones (Lexie), Lisa

Williams (Lisa), James Reynolds (Abe), 2ND ROW: Bryan Dattilo (Lucas), Michael

Sabatino (Lawrence), Deborah Adair (Kate), Lisa Rinna (Billie), Louise Sorel

(Vivian), John Aniston (Victor), Frank Parker (Shawn), Peggy McCay (Caroline),

Christie Clark (Carrie), Patrick Muldoon (Austin), Alison Sweeney (Sami). BOTTOM

ROW: Crystal Chappell (Carly), Matthew Ashford (Jack), Melissa Reeves

(Jennifer), John Clarke (Mickey), Erik Von Detten (Nicholas), Frances Reid

(Alice), Macdonald Carey (Tom), Suzanne Rogers (Maggie), Wayne Northrop (Roman),

Scott Groff (Shawn-Douglas), Deidre Hall (Marlena), Drake Hogestyn

(John).

 

 

 

 

 

 

29th

Anniversary, 1994. TOP ROW: Patrick Muldoon (Austin), Miriam Parrish (Jamie),

Ivan G'Vera (Ivan), Lisa Williams (Lisa), Paul Kersey (Alan), Tanya Boyd

(Celeste). 2ND ROW: Christie Clark (Carrie), Roark Critchlow (Mike), Jaime Lyn

Bauer (Laura), Bryan Dattilo (Lucas), Alison Sweeney (Sami), Thyme Lewis

(Jonah), Renee Jones (Lexie), James Reynolds (Abe). 3RD ROW: John Aniston

(Victor), Louise Sorel (Vivian), Joseph Mascolo (Stefano), Peggy McCay

(Caroline), Frank Parker (Shawn), Eileen Davidson (Kristen), Thaao Penghlis

(Tony). FRONT ROW: Kristian Alfonso (Hope), Mark Valley (Jack), Paige &

Ryanne Kettner (Abigail), Melissa Reeves (Jennifer), Jason Brooks (Peter),

Deidre Hall (Marlena), Drake Hogestyn (John), Frances Reid (Alice), John Clarke

(Mickey), Suzanne Rogers (Maggie), Robert Kelker-Kelly (Bo), Scott Groff

(Shawn-Douglas), Lisa Rinna (Billie).

 

 

 

 

 

 

Cast

Photo, 1996. TOP ROW: Tammy Townsend (Wendy), Thyme Lewis (Jonah), Miriam

Parrish (Jamie). 2ND ROW: Lauren Koslow (Kate), Bryan Dattilo (Lucas), Jaime Lyn

Bauer (Laura), Ivan G'Vera (Ivan), Tanya Boyd (Celeste), James Reynolds (Abe),

Renee Jones (Lexie). 3RD ROW: Christie Clark (Carrie), Austin Peck (Austin),

Alison Sweeney (Sami), Frank Parker (Shawn), Peggy McCay (Caroline), Mark Valley

(Jack), Stephanie Cameron (Jennifer), Jason Brooks (Peter). FRONT ROW: Louise

Sorel (Vivian), John Aniston (Victor), Paige & Ryanne Kettner (Abigail),

Eileen Davidson (Kristen), Joseph Mascolo (Stefano), Deidre Hall (Marlena),

Drake Hogestyn (John), Frances Reid (Alice), John Clarke (Mickey), Suzanne

Rogers (Maggie), Collin O'Donnell (Shawn-Douglas), Peter Reckell (Bo), Kristian

Alfonso (Hope).

[victoria foxton]

 

  

[DynamiteKiddo]

Oh I love the pic!

[beebs]

March 1979 incoming....

 

So, watching the 3-19-79 episode helps fill in some gaps here as well. But let's get started.

 

 

The government is prepared to award Anderson with a big contract. Everyone is thrilled, except Stephanie, because the government contract means BACKGROUND CHECKS. and FINGERPRINTING. If you've seen the 3-19-79 episode, you know where this is going.

 

Bob tries to contact Linda in Hartford about the background checks, but Linda has already left for NYC. Bob is, at first, troubled by how it will look for the head of the company to not be able to locate his own wife, but he decides it's probably better if she isn't around for the interviews anyway, under the circumstances.

 

Mickey receives a letter from an employment agency in New York, doing reference checks on Linda, who is trying to find work as a legal secretary there. He passes on the info to Bob, and lets him know she's back to using her maiden name, Patterson. 

 

While this is going on, Julie is on an antique hunt in NYC. She ends up running into Linda at her hotel, where Linda's working as a secretary. Linda is apparently getting more of her memories back, as she chooses to pretend she still has amnesia, and that she's in New York to "find herself". They agree to go to coffee later, but Linda quickly packs up and leaves once again as soon as Julie's out of sight.

 

Deciding running isn't worth the hassle, Linda returns home to Salem, and fakes still having amnesia, so that Bob won't kick her and Melissa out. Bob is still icy, but plays dutiful husband, regardless. Mary isn't quite so gracious, laying into Linda for taking off without warning, and leaving Melissa behind. She lets Linda know she doesn't have a job to return to, Stephanie having taken over her duties. Linda, however, is certain she'll be back at Anderson in due time.

 

 

 

Bob advises Chris to move out of Mary's, and David and Stephanie agree to cool things for the time being. Both for the background checks, and because of David's impending divorce from Trish. Stephanie isn't thrilled, but agrees, at least to David's face. But when left to her own devices, Stephanie is back in scheming mode. 

 

After making excuses for days as to why she can't get the fingerprinting done right away, she sneaks into Linda's office, tears up all her phony letters of recommendation, and lies to Bob about them, saying Linda has all her documents, and that Stephanie has no copies at home. Then, as we saw on the March 19 episode, Stephanie agrees to make dinner for David, only to fortuitously find they're out of butter to fry the steaks in. David rushes off to the store to grab some, and Stephanie, now alone, presses her fingertips onto the flaming hot pan in the hopes of burning off her fingerprints so that they won't match Brooke's. David finds her in the kitchen and rushes her to UH. He calls on Bill to care for her. Stephanie tells everyone she dropped the pan and picked it up again so that it wouldn't damage the floor. Most everyone buys it, though Bill is somewhat skeptical, especially since she burned BOTH hands so thoroughly. He doesn't press the issue, though.

 

All in all, Stephanie will be out of commission for about three weeks, and Bob is the putz once again, deciding to vouch for Stephanie to the government official overseeing the new project for Anderson, claiming Stephanie is "their most trusted employee", citing how she was the whistleblower for the blueprint-selling forgery scam. Too bad she was also the perpetrator, but, of course, Bob thinks Linda is to blame for that one...

 

So, in the end, Stephanie doesn't need to be fingerprinted AT ALL!

 

As a bonus, Stephanie realizes her burnt hands will prevent David from backing away from her, as they previously agreed. Since, despite his refusal to let her stay at his place, he does live in the same building as she does, and will be nursing her back to health. While she recovers, she has another run-in with Trish. This time, Trish may have the upper hand. Stephanie runs her mouth, insisting that she will not give up her career if (when?) she married David, and that Scotty will want for nothing, regardless. Two working parents and being raised by a nanny might not look so hot in a custody case.

 

 

 

 

Mary, on the other hand, decides to move into Bob's lakehouse for the time being, since Linda's out of town. Chris can stay at their studio. Chris is annoyed by this, and suggests marrying now to avoid the associated scandal (oh, the 70s, when this was actually a thing people cared about). Mary thinks it's a bad idea, since they're almost constantly disagreeing as it is. Chris resents Mary's pessimism, and the fight's on. Chris buys Mary a gift as a peace offering, and Mary, still annoyed about their previous argument, responds by returning it, and giving him the money for it back to him in an envelope on his desk. Mary thinks better of it the next day, but because of the chaos created by Stephanie's accident, it's too late. Chris found the envelope, and they have another argument.

 

Mary is also frustrated by the fact Bob won't let her take over Stephanie's work while she's away. Bob tries to reason that it's only a short time Stephanie will be out of commission (only a few days, I'd love to know how they expect her to work with those massive casts on both hands, but okay), but Mary takes the rejection personally. Chris later tries to do the same, but Mary won't hear it, and asks Chris to leave so she can go back to managing "her little PR department". Chris decides to make it clear that he isn't prepared to give up on her, and plans to buy her an engagement ring, condescendingly thinking Mary doesn't REALLY want a career, but a house and family (gag me).

 

When he gets the ring, he plans a romantic moment, having Mary close her eyes, as he slowly slips the diamond ring on her finger. When Mary opens her eyes, she's annoyed that Chris is pressuring her into marriage once again. Chris want a commitment, and gives her an ultimatum. Wear the ring or it's over. Mary, not one to be forced into a decision she isn't ready to make, takes the ring off, and Chris breaks up with her, acting wounded that he can't be with a woman who doesn't accept him for who he is (because that is TOTALLY what Chris is doing for Mary, you know).

 

 

 

 

 

 

 

 

 

Laura's headaches come back. Tom suggests hiring another psychiatrist to help ease her pressure, but Laura is insulted, and snaps at Bill when he points her headaches out. She also gets a letter from the hospice her mother is living in, saying that she's finally out of her catatonic state and is beginning to speak again (sounds familiar). Laura is skeptical about her mother's progress, however, after so many years. She's also terrified of visiting her mother, and makes excuses not to go visit, and even having vivid nightmares of her mother. So vivid, in fact, that Bill decides to give her a sedative after one such dream to help calm her back down.

 

Laura's strange attitude extends to Marlena, who, now back from her honeymoon with Don, settles back into work, only to discover Laura has made tremendous progress with Marlena's caseload in her absence. Marlena's insecrurity only increases as Laura expresses that Marlena has been treating some patients unnecessarily. 

 

 

 

 

 

Julie has to go to NYC, so she asks Amanda to mind Chez Julie, and Hope, while she's away. Amanda is thrilled to help out, anything to get her mind off her boring life in Chicago, where she exists only to be ignored by Greg unless he has a charity function she needs to be arm candy for. Greg calls on Amanda to return to Chicago for just this purpose one night, and Amanda can't think of anything she'd like to do less, and tells Greg as much. She resents that Greg didn't call just to enjoy hearing her voice or tell her he loves her, just that he'd be embarrassed not having his wife there. 

 

Julie, meanwhile, is irritated by inflation, and doesn't want to pay what the people in New York are offering for their antiques. So she and Doug decide to plan a trip to Scotland instead.

 

 

 

 

Margo and Mike are back looking at houses again. This time Margo doesn't have a meltdown upon seeing the place, but can't afford the place they want now. Mickey and Maggie offer to buy the place for them as a belated wedding gift.  In the end, they put a down payment on the place, and Mike quits night school (he's taking writing, btw), and takes on a second job at a garage to cover mortgage payments. Exactly what Margo instructed him NOT to do. Margo, not having much of a spine, makes Mike promise to go back once they're more financially stable.

 

This may take awhile, as Mike almost immediately loses this new job. Thankfully, Doug offers him a valet job at Doug's Place. But Margo wrings her hands at the thought of the hours Mike will have to work to make ends meet. Fret fret fret!

 

 

Maggie is also a mess, worrying about whether she and Mickey will regain custody of Janice or not. Mickey believes they stand a fighting chance, but Maggie isn't even sure Janice would WANT to come back to them (at this point, who could blame her?)

 

 

 

Trish's little spy game is found out, after Trish is followed home by a patron from Doug's Place. He manages to get into the building and tries to force himself on Trish, but Mike and Margo are visiting David, and hear the commotion outside David's apartment. There they find Trish, the would-be rapist scared away. Trish makes up a story to cover her ass, but it won't be long before more people find out her game.

 

Alice hears about Trish's run-in and asks Jeri how Trish is handling her attack. Jeri knows nothing about it, as Trish moved out and isn't in regular contact with her. Not long after, while Donna's babysitting, Trish pays another secret visit. A few minutes later, Alice arrives to check in on how Donna's handling the babysitting gig, and catches Trish there. She scolds Donna for letting Trish in, feeling her trust in Donna has been shaken, and resenting being put in a position to keep secrets from David.

 

Feeling the walls are closing in on her, Trish confesses to David that she's moved in across the hall from him, but insists it wasn't to spy on him (that was just a nice little bonus, y'see). David is furious, and says he'll use this against Trish in court. Trish pleads with David, insisting she only took the apartment because she wanted to be close to "her Timmy". She asks David to grant her visitation. David says he'll consider it.

 

 

 

 

Seems like Harrower really was just continuing the ideas Ann Marcus started, but slowing them down back to a reasonable pace, and giving them a bit more depth. I agree that the story with Linda has become a little silly, but it is very much like Linda to fake amnesia to keep her foot in the door with the Andersons. Bob, for such an accomplished businessman, is incredibly dumb when it comes to people, it seems. No instincts whatsoever.

 

I love watching Stephanie plot, and I like that they're trying to give Trish a bit more of a sympathetic position this time, despite still making her the perpetual victim. 

 

Interesting to me that Phyllis sort of left in '77 on something of a whimper. Though I admit, her scheme to emasculate Neil was inspired, I really didn't expect that that would be, by and large, the end of her time on the show. I was just realizing that Phyllis hadn't come back from that world tour yet!

 

There are apparently some more hints that Steve is going to be looking into Baby Dougie's paternity as well, but it didn't come up in the SOD write-up, so I don't know the details there, or if he leaves the show before that comes to pass.

 

I'm still relatively impressed by Harrower so far, compared to Marcus. But it's still early on.

Edited November 7, 2020 by beebs

[prefab1]

Thanks so much for these detailed and hilarious recaps of the late 1970s plotlines, beebs! It's interesting reading these summaries, although my main response is "Who ARE all these people?" I'm fascinated by the way that current Days frequently references its 1980s supercouple era and its 1990s super-campy era, but almost never references the late 1970s, not even in conjunction with things that happened to Marlena or Maggie back then.