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I liked the original 4 family set up. The families were all different from each other and were intertwined. They should have been given equal airtime. I felt that Lockridges were perfectly cast with the exception of Laken. She should have been quickly recast. I liked all 4 of the actors cast as the Andrades and wish they would have been given better writing. I really thought Ava Lazar (Santana) would have been one of the breakout stars if she had not been replaced. My only issue with the casting of the Perkins family was Robert Alan Browne as John and as much as I liked Mark Arnold he was the wrong actor to recast Joe Perkins. And of course it was ridiculous how badly they screwed up the casting of CC. The other Capwells were well cast. -
This late 1976 stuff doesn't sound as bad as it has in other versions I've read (weekly recaps from Jon-Michael Reed and SOD synopses). I am surprised that there is a variation of Ian - Meg - Arlene - Tom playing out this late in the game, but it doesn't sound half bad. Ian's involvement with Beaver Ridge and how it impacts Rick and Cal's future also intrigued me more than I expected. Even the Carrie - Betsy connection having Carrie watch Suzanne while Ben is visiting was a nice surprise. I feel like this all falls apart pretty quickly with the arrival of Mia Marriott, Michael Blake, and a slew of other half baked characters under Upton. -
By Vanguardian53 · Posted
Too bad she ended up on Y&R. Actress Valarie Pettiford might've been "Sharon" because she sings too and does it pretty well.Please register in order to view this content
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@NothinButAttitude thanks for sharing the rough draft. I had bought "Shadows on the Wall" from Kathryn Leigh Scott's website probably 20+ years ago. It's a fascinating read into a very different version of what the show could have been.
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@Efulton That's the quote I was refering to. In the bible, at almost the beginning, Rueben and C.C. were compared as being similar as two fathers wanting everything for their children, or something along those lines. I do think the Andrades were intended to have more of a role, but they never even garnered a family set (just Santana's apartment). In 1991, they added the Capwell kitchen which seemed to be a domestic space for Rosa, but clearly not solely Rosa's. I feel like I remember Rosa confronting Santana about her feelings for C.C. being an attempt to recreate her grand fantasy with Channing, Jr. in the kitchen, but more likely that was the bedroom Santana was redecorating (C.C.'s master suite) utilizing the designsshe had envisioned for herself and Channing, Jr.
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On the French Santa Barbara site Ismael Carlo did not hold back about how he felt about the Dobsons. http://santabarbara-online.com/index2.htm How did you start in Santa Barbara ? My recollection is that I auditioned for the role. After a couple of weeks of contract negotiations I was told that all was in order and that I would start work in a couple of weeks or so. But that's when the sh*t hit the fan. In her high petulant way she (Bridget Dobson) commenced to tell me how all her South American workers were beholding to her. How she treated them, "like children". I said to her, "I'm not a child". She got upset and started to cry. I told her that if she did not want me on the show, all she had to do was break the contract and pay me. It never happened. The Dobsons, who were the producers, where a pair of what you would call in your country aristocrats in their minds. I almost quit just before I started. But like any actor at the time I stuck it out all because of the work. I don't think I will ever sell my soul again. I was also able to perform with the lead actor and director in a production of his: Romeo & Juliet. I played Papa Capulet.
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It's kismet – I was just thinking about Azure C the other day and revisited some of the press from that era. Reading it now, it’s undeniably cringeworthy how often the articles emphasized that the actress was a cisgender woman. It wasn’t framed as a critique of The City for not casting a trans actress—it felt more like a reassurance to viewers that, yes, the storyline involved transgender themes, but they weren’t actually going to show anything. ABC ran an ad in TV Guide that teased that Azure would confess her past – that she “was once a he” – to her love interest Bernardo (similar to the onscreen headline in their tabloid). Rather than focusing on thoughtful representation, the press framed the twist as a dramatic surprise for audiences, to capitalize on shock value. It was clearly not treated like other social issues had been on ABC Daytime. They were usually more respectful, and pedantic toward the audience, where this was just about revealing a secret. Of course, the irony is that the only actual protests came from GLAAD over ABC's ignorance, rather than anyone from the right, as they had feared. -
Having seen what Long did with Mason and Julia on SB, I can't see Long ever being able to write a fun/lightweight story for Nola and Quint. -
The Azure C. plot is during the early days of "The City" when it still is, quite frankly, not very good. And when it gets better, there is still such a hostile quality to material than even enjoyable material like the Gino/Tracey engagement party lacks the humanity it should. Something that I don't think is mentioned much, and I feel is noteable is that the sex scene between Azure and Bernardo is played as the climax to a long romantic build up complete with a musical montage to the Eagles' "Love Will Keep Us Alive." Bernardo's reaction is absolutely awful, but I think the reveal was meant as a stumbling block to their relationship. I'm not sure exactly where they would have gone with them, but I would have had Azure accused of being Jared Chase's murderer because he was involved in outing her (Malcolm may have as well). I would have used this to reunite Azure and Bernardo, who believed in her innocence. It may have played too closely to the trope that trans people are deviants so I would have made sure it was clearly that she was being falsely accused. For your research, Tony Cardello (an offscreen character) was the gay son of a mob boss, Vince Cardello, on the CBN serial "Another Life." He's referenced as gay in a couple episodes in early December 1981. The references are very negative. In the summer of 1982, Tony is said to be arriving soon with his mother Louise, but they never materialize as there is a change in writers.
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I've always considered that Paul Avila Mayer was hired by Ellen on her way out the door, but I also wondered if NBC was trying to keep Mayer in their writers' stable after he failed to work out on "Santa Barbara." Mayer and Braxton were fined for writing during the strike. I believe there is an article mentioning it somewhere in this thread. I don't hate Mayer and Braxton's run. I found Jeanne Glynn's run very dry in what I've seen until about her final month or so when she starts to focus on the reveal that T.R. is the lost Rebecca Kendall. Mayer and Braxton didn't always have amazing stories, but I found the characterization was deeper (if not always true to who the person had been). There were some scenes I really enjoyed. The misogyny comment is interesting and is something I hadn't considered. I found the tail end of Braxton and Mayer's run interesting when the all male board at Tourneur Instruments gave Liza grief for shacking up with Hogan, which seemed to be broaching the subject in a way that showed it was wrong. I will say, however, there is a scene much earlier in their run where Liza starts to think of herself as aging because of having a teenage daughter that now makes me lean to agree with you. I thought Liza and Hogan had nice chemistry and I loved the fact that Hogan was clearly more into Liza than Liza was into Hogan. Sunny's fate in that story was awful. Sunny rarely had good stories once Hogan left the first time. Bassett played Selina McCulla, a nurse who worked at the Riverfront Clinic. Her brother was Joseph Phillips' Cruiser McCulla, who was Ryder's pal. They were introduced in early 1985 by Jeanne Glynn and written out very quickly in Braxton and Mayer's run. Cruiser got a formal write out; he was sent off to study computers out of town. Selina appeared at the clinic in some situation after Cruiser left and then was never seen or mentioned again. I want to say they sent TR off to college, but a later post says she went to Switzerland. I think Krakowski was in some play at the time. Maybe it was Starlight Express. The chemistry is still there for me in October, 1985, when Hogan and Sunny are investigating the poisoned water storyline that dovetails back into Hogan / Liza / Lloyd. I am a Gary Tomlin apologist but his second run is frenetic, not always in a good way. Evie was probably going to be revealed to be someone's daughter. Stone was her stepfather, wasn't he? I don't think introducing a younger female from the lower class was a bad idea, but I don't know if I would have gone with Evie / Quinn. I was briefly intrigued by the chemistry test between Adair and Ryder. I don't mind Jeffrey Meek, but I find him very attractive so maybe I am biased in my appreciation of his work. I definitely felt the Kendall reset in October with Chase going to the paper and the mystery of San Marcos leading to Estelle and the return of Steve. I don't like Lloyd Bautista much as an actor, but he would have been better off playing Martin Tourneur by that point but not as a crime boss. When does John Whitsell takeover? Is it November? When I watched these episodes a few years back, October, November, and December seemed like almost three different shows. November was a glaring jump from the material Tomlin started to set up in October and by December it seemed like everything from October was gone. Stephanie / Wendy / Bela is a horrid story. I thought the initial concept of the story was smart (Wendy trying to prove that Bela was a cad by luring him into bed but I couldn't see Wendy actually falling for Bela). The only direction I would have accepted was a Stephanie / Wendy / Bela story that ended with both women murdering Bela and getting away with it. I didn't know they had already set up Liza's exit. Thanks for sharing a new detail. I struggle to watch the November-December 1986 episodes when they are online. It just seems like such a different show. I don't think the decision about T.R. was that noble. I think it was clear that Jane Krakowski wasn't staying and Robert Reed as Lloyd wasn't going to work out. I think the show wanted to go full steam ahead with Evie / Cagney and Suzi was considered expendable. Tomlin was writer for both Sarah's death and Patti's arrival. I don't know if the producer change had happened yet or which producer approved those decisions. I'm pretty sure Nicholson was out in November at some point. Sarah's death is the impetus for Patti's return; she comes back to Henderson to find her daughter's murderer. I think details get lost to history. For years, Tracey's existence was never mentioned on soap opera message boards when I first started. Interesting, Sarah Whiting was also rarely mentioned and I am not sure Michelle Joyner is listed in cast lists for most of the soap books that cover the final years of "Search for Tomorrow." I cannot remember if Tracey was mentioned from the beginning. I know she is mentioned by July, 1985, when Sarah is at the McCleary family dinner. I think Kate asks Sarah about her family and she mentions her sister and brother. I think Sarah's adoption was mentioned only under Tomlin, but I might be wrong on that. I feel like it was stated by Jo in explaining to Suzi (or maybe someone else) about why Sarah had a constant need for approval. Lundquist didn't work for me as Steve, but I was disappointed how quickly Steve was dumped a second time. I have never understood why the show dropped Phillip Brown as Steve or why there wasn't an immediate recast given the importance of the character to the narrative. Clearly, it was a Ellen Barrett issue because Tomlin brings Steve back less than two months into his 1985 return. I think the shift to the twins, Chase and Alec, was probably to skew the show younger and keep Lloyd involved as there was part two of the Kendall vs. Tourneur/Sentell story to play out with Travis and Liza raising a Kendall. Originally, from what I've pieces together, it looked like Adair was the mother of Elan and one of the Kendall boys was the father. I wonder what this meant was the plan for T.R. or if she and Elan were both intended to be Kendalls, which would have been overkill. I agree that the deconstruction of the Wendy / Quinn / Sarah story was a mistake. I think Tomlin leaned into one of his favorite tropes (turning the uninspired heroine into the bad girl) and used it with Sarah, though it seemed like Mayer and Braxton may have already been heading in that direction. I didn't love the music angle of the story all that much, but I loved that it pitted Quinn against Chase and I would have enjoyed that rivalry a bit more. When did Quinn become Stephanie's assistant? Was that under Tomlin? I thought that was a smart move. I think Stephanie/Wendy/Bela is one of the worst story choices. When Stephanie called Wendy a slut, I was like we've reached a point where I no longer recognize anyone involved. The Suzi / Wendy stuff falls apart very early in Mayer / Braxton as I think Jeanne Glynn was gearing up for a longer Wendy / Suzi custody suit over Jonah as Suzi's mental health continued to collapse. I felt Braxton and Mayer even hinted that they might go with Wendy pursuing Cagney for a moment, but instead we got Wendy / Quinn / Sarah, which I really liked. I felt Sarah being the Jo's granddaughter and a manipulator against Wendy's more mature and adult complicated heroine was an interesting choice that should have been allowed to play longer. I felt that Jeanne Glynn built a lot of potential, but never really lit the match and was able to use it in stories. That may be because she didn't have enough time. I felt her last month or so was very solid and was finally going somewhere after mostly not going anywhere. Justine's departure didn't bother me. They had played a lot of Justine / Chase as well and Wendy / Alec. There was a lot of building of foundation, but the story never got anywhere. The shifts in story are remarkable and depressing to consider. Lots of the potential was intriguing, it just rarely reached a productive stage because, as you have said, a writer or a producer was always coming in and making their mark.
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