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Was rewatching Jonathan Groff on OLTL as Henry and how him dying in the car crash was a rewrite when they couldnt use the scenes where he held the school hostage with a gun.... Does anyone know how that story/scenes were supposed to play out?? Thanks

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What do we know about headwriter S. Michael Schnessel? I just watched a 1989 episode of his and enjoyed it. You can't tell much about an American soap opera by just one episode, but he was around for three years, which seems just about the average for a lot of the better known writers of the show. How was his run regarded? Was he responsible about some city in the sky or in hell or whatever that Eterna thing was? 

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The CW seems to be that the Rauch era was only truly good when Peggy O'Shea was headwriter, but it seemed like Schnessel kept it going, even if the show was increasingly OTT, and the bottom fell out after he left. He seemed to excel at complex female characters - Megan, Gabrielle, Tina. 

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Thanks. Interesting about the complex female characters because, in the episode, Tina and especially Gabrielle were front and center and very fascinating to watch (I was a little aware of Tina from other episodes but I believe this was my first time seeing Gabrielle in action). Gabrielle was superb in her scheming and manipulation. Megan had a much smaller part here but clearly there was a lot going on with her too. Definitely enough to make me want to see more.

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Gabrielle is riveting to watch. Fiona is a big reason why (far more than I was expecting as I'd heard all the character did was cry), but the writing for her - self-loathing, desperate, tough but pathetic, needy but defiant, obsessive but rational - was a big part of it. And Gabrielle/Max/Megan is one of the best soap triangles I can think of where no one in particular was trashed. You could feel for everyone involved. Usually triangles like this have restrained personalities, like Kathleen/Cass/Frankie or Sierra/Craig/Ellie, but even in the midst of this OTT hysteria with baby kidnappings and shootings and all the rest, it somehow worked. 

 

One thing about him is he managed to make cliches feel very watchable, and sometimes fresh. For instance, Viki realizing her long-lost daughter was someone she thought of as snobbish and spoilt and petty, rather than the pure-hearted, salt-of-the-earth daughter figures she'd been convinced had to be the candidate. On paper it's trite, but onscreen it really does connect. 

 

As trashy and weak as the material often is, you really do FEEL connected to most of it. The air only leaves the room, IMO, sometime in 1990. 

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