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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.

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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:

Quote

As a writer, Marcus has had her share of battles over censorship and autonomy. For example, she was actually fired several years ago from "Days of Our Lives," after a "knockdown dragout fight" with Betty Corday, the co-executive producer and owner of the show. Marcus had wanted to do a story about Vietnamese boat people. The plot called for Chris Kositchek to have had a baby by a Vietnamese woman who, years later, shows up in Salem. Instead, Chris wound up getting involved with Mary Anderson, the daughter of a wealthy industrialist. Undaunted, Marcus simply moved herself and her storyline to "Love of Life."

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

Quote

Wes Kenney, the ex-Daytonian who has been executive producer of "Days of Our Lives" for the past couple of years, has bolted the show in a dispute over the writing staff.

"When they dropped Ann Marcus (the head writer), I quit," Kenney says. "It was a pretty sticky situation and I was very unhappy." Meanwhile, ratings for the NBC soap have dropped so low it's in danger of cancellation...

(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 by Titus Andronicus
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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.

 

Quote

Marcus continued the Bambi/Tony/Paul triangle that Jean Holloway had created. Marcus put her spin on it by introducing Kim Soo Ling, Tony's lover from Vietnam. Kim had been a nurse who tended to Tony during the war and had his baby. Kim arrived in Rosehill to convince Tony to help her locate their son, Tran. Tony even blew off his nuptials to Bambi in order to do so. Bambi and Tony's story continued to play out into the final week when Kim departed Rosehill.

 

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

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"DAYS" ANNIVERSARY WEEK...

 

124024617_1947264288749169_3096373107013
 
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).
 
123734447_1947265612082370_7003350206106
 
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).
 
124197121_1947266215415643_1307330215901
 
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).
 
123921085_1947267165415548_6447920182355
 

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

1 hour ago, Titus Andronicus said:

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?

 

 

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
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1 hour ago, Titus Andronicus said:

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?

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)

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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 by Paul Raven
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10 hours ago, Paul Raven said:

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

 

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 by te.
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3 hours ago, te. said:

 

 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?

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.

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1 minute ago, titan1978 said:

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

 

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.

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"DAYS" ANNIVERSARY WEEK...
 
 
123584180_1947985765343688_9187862896717
 
 
 
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].
 
 
 
 
 
123169366_1947978828677715_6690005146892
 
 
 
 
 
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).
 
 
 
124208555_1947980415344223_4680551979636
 
 
 
 
 
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).
 
 
 
123766340_1947982002010731_1120818084832
 
 
 
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).
 
 
 
123772391_1947988675343397_7255596422591
 
 
 
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).

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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 by beebs
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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. 

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