Members Paul Raven Posted November 6, 2020 Members Share Posted November 6, 2020 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. 0 Quote Link to comment Share on other sites More sharing options...
Members Titus Andronicus Posted November 6, 2020 Members Share Posted November 6, 2020 (edited) 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 0 Quote Link to comment Share on other sites More sharing options...
Members Titus Andronicus Posted November 6, 2020 Members Share Posted November 6, 2020 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. 0 Quote Link to comment Share on other sites More sharing options...
Members JAS0N47 Posted November 6, 2020 Members Share Posted November 6, 2020 "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 0 Quote Link to comment Share on other sites More sharing options...
Members Paul Raven Posted November 6, 2020 Members Share Posted November 6, 2020 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) 0 Quote Link to comment Share on other sites More sharing options...
Members Titus Andronicus Posted November 6, 2020 Members Share Posted November 6, 2020 Could it possibly be that Laemmle was intending to bring in Flippen as a staff writer, but her health made that very short-lived? 0 Quote Link to comment Share on other sites More sharing options...
Members Paul Raven Posted November 6, 2020 Members Share Posted November 6, 2020 (edited) 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 0 Quote Link to comment Share on other sites More sharing options...
Members te. Posted November 6, 2020 Members Share Posted November 6, 2020 (edited) 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. 0 Quote Link to comment Share on other sites More sharing options...
Members titan1978 Posted November 6, 2020 Members Share Posted November 6, 2020 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. 0 Quote Link to comment Share on other sites More sharing options...
Members te. Posted November 6, 2020 Members Share Posted November 6, 2020 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. 0 Quote Link to comment Share on other sites More sharing options...
Members JAS0N47 Posted November 6, 2020 Members Share Posted November 6, 2020 "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). 0 Quote Link to comment Share on other sites More sharing options...
victoria foxton Posted November 6, 2020 Share Posted November 6, 2020 0 Quote Link to comment Share on other sites More sharing options...
Members DynamiteKiddo Posted November 7, 2020 Members Share Posted November 7, 2020 Oh I love the pic! 0 Quote Link to comment Share on other sites More sharing options...
Members beebs Posted November 7, 2020 Members Share Posted November 7, 2020 (edited) 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 0 Quote Link to comment Share on other sites More sharing options...
Members prefab1 Posted November 7, 2020 Members Share Posted November 7, 2020 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. 0 Quote Link to comment Share on other sites More sharing options...
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