Jump to content

Old/Classic B&B discussion&articles


Recommended Posts

  • Replies 4.7k
  • Created
  • Last Reply

Top Posters In This Topic

  • Members
18 hours ago, LuckyBold said:

 I wish there had been more scenes between Felicia and Kristen. Their relations have never been truly delved into, like with Ridge & Thorne. They had few scenes in 1992 and after both characters were recast, but other than that they seemed not to share the screen at the same time when returning. If Kristen had stayed,  they would have probably endend up fighting over Clarke as he and Felicia shared a kiss one time I think.

For whatever reason, Bill Bell didn't expand on the Forrester daughters' relationship. For all we know, they could've ended up like Leslie/Lorie, Ashley/Traci, Donna/Katie and fight over a guy or two.

Edited by kalbir
Link to comment
Share on other sites

  • Members
6 minutes ago, charholden5 said:

That would make sense then. Kristen is leaving in a few more episodes.

Terri Ann Linn left in 1990 on her own wishes, I think. Bill Bell brought her back for the longer guest stin in 1992. After that she was only seen for the BRIDGE wedding in 1994, if I recall correctly.


Brad Bell subbed for his dead as headwriter in 1992 for 3 months and officially took over the reigns in 1993 - so no connection at all.

1 hour ago, charholden5 said:

Thanks so much. I know this must be a long shot, but does anyone have Season 3 episodes because Amy Silence tracking is awful. There must be something wrong with the computer.

You have to ignore the season numbering; just go by the acual episode numbers... I think all of the previously uploaded episodes are in the Vault!?

Link to comment
Share on other sites

  • Members
13 hours ago, LuckyBold said:

If anyone's interested, I uploaded 1992 and 1995 episodes in very high quality to the Vault as well as Barbados and Italy episodes, so those in poorer quality can be now deleted. I'm gonna upload more soon.

Please register in order to view this content

what is the vault?


where can i watch this?

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.
  • On Soap Opera Network

  • Community Posts

    • This blast from the past showed up in my FB memories today & it seems just as salient now. One of WLS Top 25 Blunders 16. The Mismanagement of the Final Years of AS THE WORLD TURNS The first several years of the Chris Goutman era as executive producer of AS THE WORLD TURNS were award-winning and critically acclaimed, full of actors who couldn't praise their leader enough in the press. The final years were the complete opposite. The constant pats on the back were gone. In their place were a lot of confusing casting decisions, rumored turmoil, and the unbelievable mistreatment of the legendary Eileen Fulton. The show that had the most history that was still intact had a leader who could not have cared less. Letting the brilliant Larry Bryggman (John Dixon) walk away in 2004 was a huge blow to the show and a definite sign the tide was turning. Seeing his return for a few weeks at the very end of ATWT's run in September 2010 proved what an asset he was and what a hole he left. Similarly, allowing Martha Byrne (Lily Snyder) to leave, and acting so cavalier about it in the media, was infuriating and turned off many fans. Even when the classy Noelle Beck offered to step aside so Byrne could return to ATWT in the final months for a reunion of Lily and Holden, Goutman refused. Firing a returned Scott Bryce, who actually made the character of Craig human despite awful writing, was another head scratcher. We don't know if it was pride, personal grudges, or complete incompetence but this was not the man who turned this soap around in the early 2000s. What happened? And where was Procter & Gamble? They seemed to have lost interest in both their remaining soaps at the time. ATWT still showed moments of brilliance in its final years with Maura West (Carly), Michael Park (Jack) and Colleen Zenk (Barbara) leading a cast that gave their all, no matter what story was written. But there was no explaining the act of continuing to introduce new (and mostly unlikable) characters through the final months of the show. There was no justifying the rapid-pace style of editing that seemed to confuse and alienate viewers. And there was no reason to back burner daytime legends such as Don Hastings (Bob), Kathryn Hays (Kim), and Elizabeth Hubbard (Lucinda). As for Lisa and Ms. Fulton, what a horrible way to end this soap. All soap opera final episodes are not made alike. For every perfect ending (SEARCH FOR TOMORROW's Jo and Stu come to mind) there is a Paul Rauch stomping on a cigarette or CAPITOL having Sloane standing in front a firing squad. It's not always easy to wrap up a soap in a limited amount of time. But no soap opera had ever had as much time between their cancellation notice and leaving the airwaves as 54-year war horse AS THE WORLD TURNS. The logical ending would focus on Nancy Hughes, but unfortunately the legendary Helen Wagner passed away the month before the show wrapped production. So obviously, the next thought would be the characters of Bob and Lisa, played by Don Hastings and Eileen Fulton, who both joined the cast in 1960 (that's 50 years earlier!). The show got it (mostly) right with Bob and let him have the final words on the air. But Lisa, they couldn't have got it more wrong. Why didn't Lisa have some kind of storyline in the final months? Fans had been questioning her airtime for years. But surely, knowing the soap was going away forever, was't Lisa entitled to one last hurrah? The producers and writers instead gave her only two scenes in the final episode, as a supporting character in the Lucinda-John reunion and in quite insulting circumstances as well. The character of Lisa is credited as TV's first "bitch" and characters like Erica Kane or Alexis Colby may not have existed without her! That's huge. That's history. So what kind of historic tribute did ATWT pay to Lisa on the last show? They gave her four lines and a sarcastic talking-down-to from Lucinda and John. At the very least, would a phone call from an old flame like Grant Colman have hurt? Put them all together, and these decisions demonstrate a lack of respect for AS THE WORLD TURNS as a cultural icon, a lack of consideration of its millions of viewers around the world, and a general sense of contempt for the show on behalf of Goutman and P&G. The consistent and systematic dismantling of this beloved soap through poor management decisions remains a shameful blight in television history, and a tragic example of how ignorance and disdain can ruin an American institution. ____________________ This was the Executive Producer who openly wept at the end of ANOTHER WORLD, but who faced Jen Lenhart, ATWT Editor at Soap Opera Digest, in a 2008 Q&A and told her that he had no need to read fan mail, that HE knew what was right for the show -- not the fans.  
    • IIRC Ginger is a volunteering kindergarten teacher, at least in the early seasons. Not sure she's even getting paid.
    • Finally NLG's reel basis is out & about in the universe: On YT look for "GH Alexis 04 08 21". Haven't seen it yet myself but saw some people who had who are raving about it. Also she gave an interview to MFairman & its supposed to be of great interest. NLG talks to MFairman about her emmy reel
    • Interview with Michelle Lee. The marriage didn't last. Love James Farentino choosing a career woman because it would benefit him. Maybe Michele had a rethink on hubby's attitude? Interesting to note that none of the Knots ladies worked when the show premiered (did Ginger?), a reflection of the times that middle class women were expected to be 'housewives' and content with that. But things were changing... July 1980  Michele Lee calls 'Knots' ' a precedent-setting show By STACEY JENEL SMITH Chicago Tribune Service Michele Lee hates to admit it, but she nearly turned down her role in "Knots Landing." "My response was 'Oh, God playing the mother of a teenager! I'll be typecast as a matron and won't be able to get work. "The roles society puts on women ! It's as If once they're mothers, they're put out to pasture. "But the last few months have given me a whole new positive perspective on it, a whole new awareness,". she says. I know now I'm really lucky. And maybe it sounds funny to say this, but I really feel that this character is a contribution." Certainly the past decade has brought changes in television's treatment of divorcees and widows with the emergence of such shows as Bonnie' Franklin's "One Day at a Time." But as far as Michele is concerned, the "Knots Landing" character is still a precedent-setter. "You now have the opportunity for a viewing audience to see a positive, 'now,' 'together' wife and mother," she says. "She's liberated and she chooses not to work. I used to think I was liberated because I worked, but now I know that being liberated has to do with what's inside you. Karen doesn't consider herself 'just a housewife' and she isn't." Michele who like her  her character, Karen, is 37, sits in the sunny patio of a Los Angeles cafe, excitedly expounding upon all the plus points of her video alter ego. She describes scenes from the "Knots" series in which Karen has distinguished herself as honest, bright and capable sparing no detail. It soon becomes clear not only that the show's producers need not be concerned about her dedication to "Knots," but that effervescent, enthusiastic Michele could make quite a filibuster artist. She is equally enthusiastic when it comes to discussion of her 14-year-old union with actor James Farentino, a topic which, naturally, she includes during her talk about "now," liberated women and progressive marriage. "He conscientiously searched for a career woman to marry and that was before the new awareness, before the women's movement got started. He felt it would give him more freedom. ' That's how he saw it. He'd known men whose wives' days didn't begin until their husbands came home, husbands who were under real pressure to fulfill this other person. He saw it as a stifling influence. , "Sometimes things get uncomfortable when we're both working, when neither of us is at home," Michele says with a shrug, "but that comes with the territory." . She explains that under such circumstances, the Farentinos' longtime housekeeper is entrusted with the care of their 10-year-Old son, David Michael. Making the commitment to the long hours a TV series involves was a weighty decision for Michele. "One of my Own personal goals was to be on a television series," says the woman who grew up around show business as the daughter of a Hollywood studio makeup man before hitting Broadway for the first time at age 17, going on to the stage and screen versions of "How To Succeed in Business Without Really Trying," and becoming a steadily working theater, film and TV actress and singer. "I know the enormous responsibility of being a parent and I don't take it lightly. I know I'm responsible to David and I also know that I'm responsible to myself. When I'm working, I let him know how rewarding and fulfilling it is to me. I also make it a point to reserve a period of time every day just for him, really concentrating with direct, one-to-one contact."  If there's any doubt of her intensity when it comes to parenting, Michele goes on at length discussing the numerous child-rearing methods endorsed by the group PET (Parent Effectiveness Training), of which she is a member. And discussing child-rearing advice she has gleaned from books. And discussing how some of the tips she has picked up in her research (such as the importance of avoiding "labels" in describing people) have had a great impact on her life. "Sure it's tough to have a career that's important to you and to be a wife and mother at the same time. It does become a juggling match. But I think that any woman who wants it all can do it. Hopefully one day it'll be common for men to share more in the responsiblities of the home. A lot of working women today come home from their jobs jobs that are nine to five just like their husbands' and go bananas trying to prepare dinner while the men are relaxing with a martini. Because the woman's role is to cook." One would guess that's not the case at Michele's and Jim's house. "He cooks, he cooks," she assures with a laugh, "more often than I do. It's something that happened out of pleasure because Jim really likes to cook. He cooks when he wants to or, sometimes he might say, 'Hey, cook tonight, will you?' which is fine with me." Michele envisions a not-so-distant future in which both men's and women's job schedules may be planned around home responsibilities, when mothers and fathers will. trade off days of working and days of being home with their children. "After all the upheaval and all the shifting and all the pain of the changes we're going ' through now," she says, "we'll come out of it with ' a new flexibility for families. I don't buy the idea that the family is disappearing, though, because we need it too much. I am absolutely positive that the family will always last." She wants to get into such current sociological matters as the liberated-into-confusion woman and the threatened man on "Knots Landing," particularly since, she jokes, her character serves as such a wonderful mouthpiece. "Karen feels the same way about things as I do, 'cause I say so."   
    • Watching the end credits of the 1966 episode just caught my eye: Elizabeth Harrower had what I can only assume was a small role on the show as an actress two years before her daughter, and 13 before she'd take over as head writer.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Privacy Policy