Jump to content

Daytime's Master Headwriters: Their Strongest and Weakest Work


Recommended Posts

  • Members

On the other hand, when CBS did own soaps that had been sponsor-owned in the past, the results weren't great.  Just ask fans of SECRET STORM and LOVE OF LIFE who still remember that period.

Link to comment
Share on other sites

  • Replies 165
  • Created
  • Last Reply
  • Members

I was also surprised that Marland would make such harsh comments about Hulswit. he was usually so respectful in interviews. I thought the Dobsons' TGL was very strong, and I was not happy with everything that happened during Marland's reign, but I generally enjoyed his work there. He did use most of the characters, and did not sideline all of the vets, which so many incoming headwriters tend to do. I think his stints at GH and ATWT were stronger, however.

I was fortunate enough to enjoy Nixon's work on TGL, AW, OLTL, and AMC, and I would say that her style basically remain the same. She was very good at creating a sense of community among various characters from different socio-economic backgrounds. She excelled at three-dimensional characters, interpersonal-relationship drama, young romance, and family conflict. She could use comedy without it deteriorating into moronic camp. Her teen characters, like Johnny Fletcher and Peggy Scott on TGL and Tara Martin and Phil Brent on AMC, were not sappy and cloying, which is so often the case with teenagers on soaps. I would say that the only aspect of her writing that changed (or perhaps "evolved") over the years, was her ability to be forthright in presenting social issues. On the conservative P&G soaps, she had to be more careful about the material she dealt with, but once she went over to ABC, she had more freedom to present frank situations and dialogue. She is the epitome of a Master Writer. :)

Link to comment
Share on other sites

  • Members

Yes, many producers are good with the aesthetics, which certainly is a plus, but fail if they do not have strong headwriters to work with. I'd put John Conboy, Gloria Monty and Paul Rauch in this category along with Phelps.

Indeed, Peggy O'Shea and Henry Slesar were by far the show's best headwriters. The Karpfs, who created the series, were quite weak, and some of the original cast was dreadful. I thought Bill Beyers as Wally was adorable and talented, but others among the younger set of actors were painful to watch.

Link to comment
Share on other sites

  • Members

 

I actually did find Hulswit cute as a button, even though some folks complained about his supposed pudginess and thin hair. What TPTB don't understand is, the audience loves certain actors and characters regardless of their sex appeal. I've always found Tony Geary of GH to be homely, but he certainly captivated the interest of countless young women in the audience, even with his weak chin and dreadful hairdo. The audience loved Judith Light on OLTL, even though she was carrying extra weight during her time on that show, and her hair often looked fried and in need of a good conditioner. TPTB should not delude themselves into thinking that we are all so shallow that only perfect-looking mannequins will lure us in. I watched TGL for the likes of Papa Bauer, Bert Bauer, and Aunt Meta; shirtless muscles hunks would not have kept me tuned in for 40 years! Losing Mart Hulswit, and his familiar, comforting presence as Ed Bauer, really hurt the show.

Link to comment
Share on other sites

  • Members

Re: Capitol. I felt that it was a time-filler/placeholder until Bill Bell had a second show ready for CBS. I remember reading a Bill Bell interview where he mentioned CBS approached him as early as 1977 about creating a second show for the network's daytime lineup, but for whatever reason that didn't happen until a decade later.

 

 

Link to comment
Share on other sites

  • Members

Papa Bell probably didn't want anything to distract him from his "baby," Y&R.  However, creating and producing B&B allowed him (that is, his company) an opportunity to own 100% of a series as well as the chance to train his family in the family business.

Link to comment
Share on other sites

  • Members

Oh, God, Richard Van Vleet.  When GL decided they could replace Dr. Ed Bauer with Dr. Chuck Tyler without anyone being the wiser.  To think, though, his Ed was the one who fathered Michelle.

Link to comment
Share on other sites

  • Members

I never warmed up to Dolan in either role. I always found her somewhat aloof and distant. Ellen Parker was was a much better Maureen Bauer, IMHO, exuding a warmth, kindness, and compassion that had been lacking in the character until Parker took over the role.

 

As for ATWT, let's just say that Dolan was my...third favorite Margo Hughes; better suited for the role than the dreadful Glynnis O'Connor, but lacking the charm of Hillary Bailey Smith and Margaret Colin.

 

Oh, absolutely. Bell and Nixon were both masters of their craft, but had completely different writing styles.

Link to comment
Share on other sites

  • Members

Yes Ellen was 3rd in Margo favorites….no one will hold a candle to Hillary Bailey Smith in the role…she owned it!  Margaret Colin would be my 2nd favorite Margo. GO was just awful as Margo.

Link to comment
Share on other sites

  • Members

Agreed, also. Hulswit was comforting as Ed, but he also had a temper and would fight back if pushed. Some of those scenes between Roger and Ed from the mid-to late 1970's - when they came to fisticuffs - were great, especially because Hulswit's Ed was clearly outmatched by Roger. But, it didn't matter - Ed was (usually) defending his family and wouldn't back down. I could never imagine Simon's Ed having enough emotion to come to fisticuffs with Roger Thorpe.

Plus, I thought Hulswit and Don Stewart really acted like true brothers onscreen, even though they didn't look a thing alike :-)

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

  • Recently Browsing   0 members

    • No registered users viewing this page.



  • Recent Posts

    • Search for Tomorrow CBS run and Ryan's Hope were time slot rivals December 27, 1976-June 5, 1981. From the 1970s Ratings and 1980s Ratings threads, these were the weeks from December 27, 1976-June 5, 1981 that Search for Tomorrow finished ahead of Ryan's Hope: December 27-31, 1976 January 3-7, 10-14, 17-21, 24-28, 31-February 4, 7-11, 14-18, 21-25, 28-March 4, 7-11, 14-18, 21-25, 28-April 1, 4-8, 11-15, 1977 April 18-22, 1977 ratings not found April 25-29, 1977 May 2-6, 9-13, 16-20, 23-27, 30-June 3, 6-10, 13-17, 1977 June 20-24, 1977 ratings not found June 27-July 1, 4-8, 11-15, 18-22, 1977 August 1-5, 8-12, 15-19, 1977 August 22-26, 1977 ratings not found August 29-September 2, 5-9, 12-16, 19-23, 26-30, 1977 October 3-7, 10-14, 17-21, 24-28, 31-November 4, 7-11, 1977 November 21-25, 28-December 2, 5-9, 12-16, 1977 December 19-23, 1977 ratings not found December 26-30, 1977 January 2-6, 1978 January 16-20, 1978 February 6-10, 13-17, 20-24, 1978 March 13-17, 1978 March 20-24, 1978 ratings not found March 27-31, 1978 April 3-7, 10-14, 17-21, 1978 April 24-28, 1978 ratings not found May 22-26, 1978 June 26-30, 1978 ratings not found July 17-21, 1978 August 7-11, 1978 August 28-September 1, 1978 ratings not found September 25-29, 1978 October 2-6, 1978 October 16-20, 1978 October 30-November 3, 1978 December 18-22, 1978 December 25-29, 1978 ratings not found January 1-5, 8-12, 15-19, 22-26, 29-February 2, 1979 February 12-16, 19-23, 26-March 2, 5-9, 12-16, 19-23, 26-30, 1979 April 2-6, 9-13, 16-20, 23-27, 30-May 4, 7-11, 14-18, 21-25, 28-June 1, 4-8, 11-15, 18-22, 25-29, 1979 July 2-6, 9-13, 16-20, 23-27, 30-August 3, 6-10, 13-17, 20-24, 27-31, 1979 September 3-7, 10-14, 17-21, 24-28, 1979 October 1-5, 8-12, 15-19, 1979 October 29-November 2, 5-9, 12-16, 19-23, 26-30, 1979 December 3-7, 10-14, 17-21, 24-28, 1979 December 31, 1979-January 4, 1980 January 7-11, 14-18, 21-25, 28-February 1, 4-8, 1980 February 18-22, 25-29, 1980 March 3-7, 1980 March 24-28, 1980 May 5-9, 1980 May 26-30, 1980 June 2-6, 9-13, 16-20, 1980 August 11-15, 1980 September 22-26, 1980 October 6-10, 1980 November 17-21, 1980 December 15-19, 1980 March 9-13, 1981 March 30-April 3, 6-10, 13-17, 1981
    • I watched some of Friday's show. It was sweet to see Julie celebrate her wedding anniversary to Doug (their second - kudos to the writing team for remembering). Those moments with Julie are always so moving to me because you can tell they are straight from Susan's heart.  I know Patsy Pease hasn't been on DAYS in 15 years, but I still miss Kim in weeks that are so important for the Bradys and their history on the show. Michael Dietz was always a very likeable presence onscreen, even if he was never the greatest actor. That hasn't changed.  I was impressed with how well put together the montage was of John's various identities/memories. A number of those stories were ludicrous, and several of them never should have existed, but the way this was all crafted you could see just what a unique character all those parts made John...and how much Drake played the material as best he could, no matter what. The mirror scene was a great inclusion as that really wrapped everything of John together - viewers never truly knew who he was, nor did the people in Salem, but it didn't matter, as everyone loved him anyway. 
    • Been a long time, but always worth the wait!  1973 will be coming soon!  Hooray!! 

      Please register in order to view this content

    • Thanks @Paul Raven  Amidst these terrible stories I see we get the arrival of Heather. I never knew Alice forged references for her. No wonder she later became a murderer. She was a criminal all along.  The Jeff/Monica/Rick story always seems so brazen and so depressing all at once - I can't imagine how people would have talked about it in the Internet/Twitter era.  I don't understand the choice to put Audrey and Steve through even more misery after they had been separated for almost a decade. The sudden inclusion of magazine stories is fascinating...and I'm not sure if it is ever a huge story narrative for GH after this point, even when characters on the show ran magazines. The end of the Leslie and Cam story did not need to be like this (and feels a little rushed). Had every woman on the canvas at this time been raped?   
    • I am bewildered and fascinated by the choice to have John Loprieno and Adam Storke play out all their dramatic sequences here in clown makeup. They really took that circus motif seriously.

      Please register in order to view this content

       
    • Happy belated birthday to Joan. Here's an interview with Jackie Collins at about 39 minutes.

      Please register in order to view this content

       
    • Does anyone have a favorite adult Russ Matthews?  Which actor did you like most?  Sam Groom, Robert Hover, or David Bailey??  And why?   And if Russ had returned late in AW's run, what actor would you have wanted to portray him?  One of the former actors, or someone new??  
    • I think the move to NBC dealt a huge blow to SFT that caused the show to slowly bleed out throughout their almost five year run on that network. SFT was a CBS show and it really showed when it first started airing on NBC so I understood P &G having to make adjustments to the soap in order to make it fit onto the NBC schedule vs the CBS schedule. The 1983 Tomlin/Lee era was probably the strongest while it was on NBC.  They managed to still focus on Stu/Stephanie/Jo while developing a strong youth focus with Wendy/Warren/Suzi/Kristen/ Brian with the comic element with Rhonda Sue and her partner.  This helped the show from staying the Liza/Travis show.. which it was in 1981/1982.
    • Hey, I'm wondering if anyone has cross-referenced Spauldingfield's undated episodes with the German playlists? An angel has been uploading to the Soap Vault and it would be great to be able to date all those episodes. I have access to rename them, if anyone has a list.
×
×
  • Create New...

Important Information

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