Grant: Well, this is very, very promising - except for the name. Tangier. I don’t like it. It's not right for a perfume. 

Wesley: My research team has tested it. Tangier is hot, sexy, exotic … 

Grant: …Wild, danger and dirty. I know. I've been to Tangier. That was in 1949. Certainly wouldn't pay $200 an ounce to be reminded of it. 

Wesley: Well what a shame. That's just the market we have targeted. 

The city of Tangier in Morocco, North Africa, could be found on a bay of the Strait of Gibraltar, south of Spain. After 5 centuries of Roman rule, Tangier was part of the Byzantine Empire in the 6th century. Thomas Hollowell reported, "Because of its geographic location, many European countries have vied for control. Once known as a safe haven for international spies and a meeting place for secret agents, Tangier is used as the location for many spy novels and movies. It also had quite a reputation as a smuggling center. Tangier attracted many artists such as Matisse and Tiffany. Authors like Choukri, native to the area, and Burroughs wrote about the city and surrounding area." 

In the 2013 'Interview' with Jenna Lyons, Lauren Hutton recounted, "You know, I had wanted to paint and I decided that I was never going to be able to be an artist like the artists I admired because I was working all the time so I just decided to take off and go to Africa. I had a little bit of money saved and I stopped school. There weren't hubs in those days, so the only way you could get to England was through Idlewild - you know, go through JFK so I went to New York."

In New York, Lauren made known, "I learned a lot of things at one time. I found out that in Tangier, I couldn't take a bus outside of town and see lions and tigers and bears, so that wasn't going to work. I learned that there was something called North Africa where there were Arab states, which I didn't really know about ... We didn't have access to a lot of information in those days." 

In one scene on 'Paper Dolls', Racine was on the phone at 6 o'clock in the morning talking to Evonne in France about booking Blair Fenton for a Paris Vogue layout. After the call ended, Racine remarked, "Two hundred years since they stormed the Bastille (July 14, 1789) and they're still revolting." 'The New York Times' explained, "The battle was a pivotal point in the establishment of the French Republic, a point that is celebrated in the United States by cooking French food and shopping at a French linen store."

The History channel noted, "The capture of the Bastille symbolized the end of the ancient regime." The U.K. 'Telegraph' added, "This seismic act demonstrated that ordinary people would no longer accept the absolute power of the king and signalled the start of the French Revolution which forced the creation of the modern French Republic."

Morgan Fairchild told the 'Philadelphia City Paper' in July 1997, "I really loved doing off-Broadway. I loved being in 'Paper Dolls'. The writing was good. A couple years ago I went to Bosnia and did a movie with Martin Sheen where I played a nun ... Paul Reubens is a friend and one day, several years ago when I was doing 'Falcon Crest', he called me up wanting a favor.

"He said, 'We're doing this movie. It has no budget and we really need some cameos. I was just wondering if you could come do it for us.' So I get on the set and they say, 'Here's your line: 'I know you are but what am I?' I said, what does that mean? I didn't have a script. He said, 'Just say it. It'll be funny in context.' So we did that and then they had this ninja fight they wanted me to do. I told him I had the whole day off from 'Falcon Crest' so I said let's do some more! We were on the Warner Brothers backlot and we totally improvised."

In another scene on 'Paper Dolls', after learning David Fenton was going to meet with Grant Harper, Wesley told Grant, "Well you better warm up your check-signing hand. Smells like Tempus (Sportswear) needs a bailout."

Grant: Oh, I don't know, Wesley. The bank's support on Tempus is not all that bad. And as a matter of fact, our Egyptian cotton mill could use a high volume customer like Tempus.

Wesley: Well I hear his new line uses mainly silk that he buys from India. At least he buys when he's able to pay for it.

"I never was a model but our scripts are realistic," Dack Rambo observed. Lloyd Bridges told 'The Washington Post' on a soap such as 'Paper Dolls' with an ensemble cast, no one star would be required to carry the show "but everyone gets a time at bat." Sunny Griffin believed, "Modeling is a two dimensional profession. I've done everything I can in the field. As an actress, there's no limit. There's always a new part to explore."

Lauren Hutton voiced, "(Films) use more of 'you' than modeling does. There's much more work involved in acting and you've got to do more thinking." On 'Paper Dolls', Lloyd Bridges had prior knowledge of the character he was playing. Lloyd spoke to 'The Washington Post', "There's a reason for that. It's the head writer and co-producer, Jennifer Miller, and the line producer, Michelle Rappaport, and of course Goldberg pulling the strings at the top.

"We had 6 episodes ready before we started shooting. The production staff listened to the actors. The plot line is still open, but I feel that I know what I would do and what I would not do. When actors finish one job, they worry about whether there will be a next one - you think, maybe they'll get wise to us." Of show business, Mimi Rogers maintained, "Acting by its nature is an unpredictable and ephemeral business. If you need to have the next 10 years mapped out, this is not the profession to be in."



Grant Harper: One thing about New York - their restaurants. They are the greatest. 

Colette Ferrier: I love everything about New York. One could conquer the world from this city. 

Grant: How's our weather been treating you? Too cold? 

Colette: Not at all. It's very much like Switzerland - crisp, clear, very healthy. 

Plot line purposes brought Lauren Hutton on the set of 'Paper Dolls' as Nancy Olson's character departed due to lack of storyline. "Ferrier (Cosmetics) in America is my father's (Emil) great dream and now it's mine and I want to do it the American way," Colette told Grant in one scene. In another, Grant indicated he would like to buy Ferrier Cosmetics arguing, "Why should we spent millions expanding into Europe? If we buy Ferrier, the job has already been done for us." 

It was mentioned Harper Cosmetics which earned $29 million a year had spent $17 million launching the Expectation perfume in Europe but revenue showing the product was still earning more than half less than Ferrier Cosmetics. Colette indicated she would sell Ferrier Cosmetics to Harper World Wide but insisted on retaining full creative control and "I want my products manufactured in America not in Europe." 

Grant told Wesley in one scene he would not consider importing Ferrier because "that was the problem Ferrier has 5 years ago (in 1979). There's too much government red tape if we import." At a staff meeting, Grant announced he would allocate $3 million for budget to launch Harper Cosmetics new Tangier perfume line domestically. 'Paper Dolls' gained momentum during the 1984 Olympic Games in Los Angeles. 

Leonard Goldberg recounted, "When we started shooting in New York this summer, the promos started appearing on ABC, and in a few days we had thousands of spectators on our locations. Our producer, Michele Rappaport, asked one woman why she was there, and the woman answered, 'I love this show.' Michele said, 'I don't think it's on the air yet.' The woman was very adamant and replied, 'Yes, it is, I saw it during the Olympics.' 

"Now all we have to do is make 22 twelve-second spots, and we'll have a hit. The only problem is that the network gets this feedback and starts to believe it. They're convinced the show is going to be a smash. Our first several weeks will be bumpy. I just hope the network stays with the show, because if they do, I think we have a chance. TV has never done a show built around the world of fashion, and I think that arena will be attractive to people."

Then 70, Lauren Hutton described of meeting Diana Vreeland the first time to 'Vogue' magazine in 2014, "'You have quite a presence,' Vreeland told me. I did not know what presence meant. I figured it was good. I said, 'Yes ma'am, so do you.' She said, 'You stay after.' I opened my book and she said, 'I think I'll call Dick (Avedon).' I went around and told all the photographers I wanted a beauty contract. Dick (Avedon) said to make it an exclusive contract, and next thing you know, I was making a million bucks in 3 years. I only worked 20 days a year."

In the 'Interview' magazine in 2013, Lauren also pointed out, "We worked by the hour—we made $60 an hour—and we rushed from one job to the next and we had half an hour in between to get someplace. If you got a whole-day job once every two weeks, then that was a great thing, but mostly we worked by the hour. Sometimes we did 'Vogue' covers in two hours, and for a 'Vogue' cover, you'd do your own makeup, but you'd have a hair person there. But there was a turning point where I was finally taken on by an agency. There were only about 5 agencies back then and maybe 300 working models in New York, and we all pretty much knew each other. Now (in 2013) there are probably 35 agencies and who knows how many thousands of working models."



"Last year (the 1983-84 TV season), almost nothing worked," Brandon Tartikoff told 'The Washington Post' ("Democracy Dies in Darkness"). "Now (in October 1984), almost everything works." Almost - except 'Paper Dolls' which finished the 1984-85 TV season attracting 11.7% household ratings of the nation's 84.9 million TV homes at the time. 

"The form may have seen its day," Jeff Benson of Lorimar told 'The New York Times'. From the outset, Brandon Tartikoff acknowledged, "I'm a little bit nervous about ABC's 'Paper Dolls'. It's like the killer in 'Halloween'. You keep stabbing it in the head, and it keeps rising up above the couch. We (NBC) and CBS are doing our best to make sure the thing doesn't become another 'Dynasty'. We've been doing our job, but I'm afraid the body's not cold yet." 

'Dynasty' finished the 1984-85 TV season ranked the highest-rated program, attracting 25.0% household ratings. Harvey Shephard of CBS maintained, "The serials that do work all have a strong family unit at the center. In 'Paper Dolls' and 'Berrenger's' there was more emphasis on business than on family." In one scene on 'Paper Dolls':

Grant Harper: Why confine yourself to just one area? Can't you design a menswear line at the same time (as the women's sport line)? You can't go on ignoring 50% of the human race you know?

David Fenton: The menswear line is a great idea. I can even get a male model to represent it. But I do not have time to design and develop an entirely new line before the December (1984) show.

Grant: Why can't you? 

David: Because I am a designer and not a machine. I can't just call downstairs to the creative department and order up a menswear line on a moment notice. It isn't done like that. I've got to have a concept, theme, idea. 

Aaron Spelling argued, "Just because two shows failed (in the 1984-85 TV season) does not mean the serial is bad. They keep working in daytime. I don't feel the market is saturated. Maybe serials will have to take a new form, and that's why we've given 'Dark Mansions' a supernatural angle." Then 20-year-old Terry Farrell played 18-year-old cover girl, Laurie Caswell, who earned $2,500 a day modeling.  Terry told 'People' magazine, "The show rings true. It is a Hollywood version. All of the dramas are just condensed. What do they call that? Heightened reality?" 'Paper Dolls' was rerecorded at Metro-Goldwyn-Mayer Studios.

David: Grant I don't want a handout, not even a loan. I'd like to make you a proposition.

Grant: Go ahead.

David: I need enough to pay off my debt ($275,000) and have some working capital. $500,000 and I will give you 50% of Tempus (Sportswear) for collateral. 10% over 3 years.

Grant: I have a better proposition. I want to buy Tempus, make it a part of Harper World Wide (HWW).

David: I can't sell my company. I started it.

Grant: You won't be letting it go. You will be going with it. And I'm willing to pay $3 million for the privilege.

David: Tempus stays mine.

Grant: $1 million for 51% of Tempus.

David: 50% and I retain complete creative control.

Grant: Look like Harper World Wide has just acquired a new division.  

At a staff meeting, Grant announced, "In additon to the purchase price, I am allocating an initial budget of $5 million to cover startup cost and that's just initially. Young fashion seems to be a growth industry. Harper should be in on it." Leonard Goldberg remarked, "A serial must have constant exposure, otherwise people can't remember the characters.

"'Paper Dolls' was pre-empted 3 times in the 8 eight weeks, and that's fatal. (As well) we had far too many characters. We had about 18 or 19 running characters, and we should have eliminated at least a third of those. Also, we needed stronger positive characters. The evil characters are, of course, a lot of fun on a serial, but they must have formidable opposition, and we didn't have that.'' One critic added, "You didn't care about anybody on the show."

Speaking to 'TV Guide', Leonard Goldberg continued, "It was a serial that needed time to build. ABC scheduled it in a time slot that was constantly being pre-empted. It was doomed from the beginning. At a screening of the pilot, a roomful of ABC executives cheered which colored their decisions. In the end I was the only one telling them we did not have a chance."

Excluding the pilot, the fashions for the 12 episodes of 'Paper Dolls' were provided by Valentino, Carole Little for Saint-Tropez West, Mary McFadden, Bill Tice for Swirl, Meshekow Brothers Furriers, Marc Bouwer, Ltd., Clifford Olson and Henry Grethel. Jewelry provided by Fred Joaillier and leather by M. Julian. The accommodations and filming facilities were provided by the St. Regis Sheraton Hotel.



'Dallas' dominated the TV landscape during the first 4 years of Ronald Reagan's presidency. Between 1980 and 1984, 'Dallas' was the No. 1 prime time show on American television. At its peak, 40 million viewers were watching 'Dallas' each week. "Who Shot J.R.?" became a worldwide pop culture event. "In television terms," Leonard Katzman observed, "it was the equivalent of Columbus discovering America. Except he didn't have to go out again the next year and find another country." 

'Dallas' bicentennial episode went on air in November 1985. As reported at the time, "What is it that makes 'Dallas' and 'Dynasty' a weekly habit for millions upon millions of viewers? 'Dallas' deals with a very wealthy family working to keep the family business prospering, as does 'Dynasty'. 'Dallas' continues to highlight J.R.'s machinations in the boardroom and the bedroom. 'Dynasty' has a corner on pre-menopausal romance. The Ewings and Carringtons of 'Dallas' and 'Dynasty' have been playing musical beds since they first went on the air. The infighting among the Ewings and Carringtons often reaches Greek tragedy proportions." 

Martha Howell, a professor of socioeconomic history, reiterated, "Some people imagine an ideal society is one in which there is no hierarchy of wealth. But a very good argument can be made that hierarchies of wealth are not in themselves bad. The question is, how much mobility is there in society, and how is wealth used?" Historian Felipe Fernandez-Armesto concurred, "You can't achieve a distribution of wealth unless you have wealth in the first place, which means that some people have to accumulate it."

Naomi Gurian had argued, "The trickle-down theory is very distressing to us because, by the time it does trickle down, there's often very little left." Esther Shapiro insisted, "A TV show has to reflect, even in a fantasy way, the times. And this was a show of the feel-good generation, the Reagan years." John Forsythe maintained, "The trick to doing 'Dynasty' was to present a realistic world with a fairy tale icing."

When the weekly series of 'Dallas' ended in 1991, producer Leonard Katzman conceded, "The thought of it ending, well, a TV show is like life. When you come into it, you know it won't last forever." Of future 'Dallas' series, Patrick Duffy added, "We all have such identifiable characters that have sort of been indelibly etched in the viewers' minds. You can't change a great deal within those parameters and satisfy an audience that hung with you for 13 years."

Leigh McCloskey made the comment, "You get one script at a time simply because they feel the characters are constantly changing. If you were playing, in a sense, the result – where you were going – it would not be as convincing. It's nice because you really don't know where you're heading, and you work on what's going to happen in the future. It's like life. You don't know what's going to happen, you don't know what you're going to say next, and you just continue on."

Priscilla Presley recalled, "We're not allowed to talk about future episodes." Larry Hagman told 'People' magazine, "Life is like a slide trombone—high notes and low notes." 'Dallas' "struck a rich vein of dramatic possibilities with one basic opposition: Old West vs the New West. The opposition is not a simple matter of Good vs Evil because one factor is dependent on the other."

In the U.S., 'Dynasty' appealed to women living in New York and Los Angeles. Around the world, 'Dallas' and 'Dynasty' were ranked the most watched American shows in countries such as France, England, Italy, Germany, Belgium, Denmark, Canada and to a lesser extent, Australia. Esther Shapiro remarked, "There was a lot of escapism in the beginning of the series and a lot of emphasis on glamorous costumes but in the last year or two with changes in the country's economy, there has been a need for changes in the show's direction. You must change."

In 1985, Patrick Duffy shocked viewers when after 7 seasons, his character Bobby Ewing expired in a Dallas hospital following an accident at Pam's house. "'Dallas' broke all the rules. It was a continuing show with no beginning, middle or end. It was the very first show in the U.S. to do that. I knew it was going to work from the very beginning, and I loved the character of Pam," Victoria Principal voiced.

Sigmund Freud had stated that there were no accidents and no coincidences. As reported, "Even 'random-seeming' feelings, ideas, impulses, wishes, events and actions carry important, often unconscious, meanings. Anyone who has ever made a 'Freudian Slip' that has left them embarrassed or baffled will attest to the importance of the unconscious meanings of the things we do and say.

"That time you 'accidentally' left your keys at your lover’s apartment may have been an accident; but more likely, at least unconsciously, you wanted to go back for more. From dreams, to Freudian slips, to free association — delving into one’s unconscious as a means of unlocking often hidden or denied fantasies, traumas or motivations is still crucial to gaining the whole truth about human behavior."

In the 1985 season finale episode of 'Dallas', the "death" of Bobby Ewing attracted 46% audience share and 27.5% household ratings. In 1986, Patrick Duffy again shocked viewers when his character was resurrected. The 'Dallas' 2-hour season premiere episode attracted a 44% audience share and 26.5% household ratings. "When I breathed my last," Patrick remembered, "Donna (Reed as Ms. Ellie) was still there. I didn't even hear about Barbara (Bel Geddes) coming back until 3 weeks later. I was driving up the coast and I heard it on the radio. I didn't get to see Barbara on the set."

In 2012, Patrick Duffy spoke to 'The Canadian Press', "It was the only way to get Bobby back. Dreams and being knocked on the head and it-didn't-really-happen have been a favorite get-out-of-jail-free card for literary works for almost all of history. About 4 other shows, right after we did the dream, did their own dream to end seasons. Quite literally any actor and any character, for that matter, who did not actually die ... the option of those people and characters coming back is out there. That option is always on the table because that's what 'Dallas' was, 'Dallas' was that kind of show." 

Speaking to Luaine Lee of 'Knight-Ridder Newspapers' in 1988, Patrick Duffy acknowledged the impact of being on 'Dallas', "It's like all those lottery winners who say, 'This won't change my life a bit.' You know damn well it will. I know my life has changed, but I don't think my values have changed. My emphasis was home and family first and then a career. It was home and family before I had a career and it still is now (in 1988). I live a better life than I did before in terms of material possessions, but not in terms of spiritual content."



In September 1991, 'Santa Barbara' became the first American daytime drama to tape in Moscow following the failed August coup against Soviet leader Mikhail Gorbachev after he "proposed signing a new treaty that would turn the Union of Soviet Socialist Republics (U.S.S.R) into a looser federation of autonomous states, most of which intended to turn their backs on socialism." Hungarian-born journalist Victor Sebestyen continued, "The treaty would mean the end of the U.S.S.R., and that could not be tolerated." 

BBC News recounted in 2011, "It was a moment when the future of the Soviet Union hung in the balance. That morning a group of communist hardliners had staged a coup against Mikhail Gorbachev's reforms. The Soviet leader was trapped in Crimea, and troops and tanks were on the streets of Moscow. It seemed like the era of glasnost and perestroika was at an end." The History Channel added, "Despite his success in avoiding removal from office, Gorbachev’s days in power were numbered. The Soviet Union would soon cease to exist as a nation and as a Cold War threat to the United States."

In October 1991, viewers eagerly watched the much publicized daytime soap opera, 'Santa Barbara'. Libby Slate reported, "The storyline calls for newspaper publisher Warren Lockridge, played by Jack Wagner, to journey to the Soviet Union to be at the forefront of that country's emerging democracy. His interviews will air on 'Santa Barbara's' fictional local television station. The idea for this blend of fact and fiction was conceived by Bridget Dobson."

Bridget Dobson's parents, Doris and Frank Hursley, created 'General Hospital' in 1963. 'General Hospital' consistently drew more viewers than 'Santa Barbara' in the national Neilsen ratings and normally ranked behind 'The Young and the Restless' as the most popular among all the soaps went on air. Bridget was the only writer on 'General Hospital' from 1965 to 1970, and she and Jerome Dobson were the head writers on 'General Hospital' when they left the series in 1972.

Libby Slate continued, "The shoot in Moscow celebrated the sale of 'Santa Barbara' to Soviet television. In December (1991), 'Santa Barbara' will become the first American soap to air in Russia. In August (1991) the Dobsons were in Leningrad to publicize the sale - departing a mere 3 hours before the coup. With the dramatic turn of events, Bridget Dobson said, 'it took me one day to come up with the idea (of doing interviews). I was so in admiration of the people who resisted the coup, I had to get over there.'"

In September 1991, actor Jack Wagner, producers Steven Kent and Eric Preven and Bridget Dobson returned to Moscow "operating on a shoestring $50,000 budget. They devoted one day to scouting locations, choosing, among others, the exterior of the Parliament building, Red Square, the sites of the fallen statues and the still-guarded encampments, and McDonald's." However Bridget Dobson stressed, "We didn't eat there, though. We ate at Pizza Hut."

Libby Slate continued, "Bridget Dobson then interviewed English-speaking Soviets who had been at the barricades, pre-screened by the Russian Television and Radio Network for the most compelling tales. The finalists found themselves on camera answering loosely scripted questions from Jack Wagner, taped by an all-Soviet crew." Bridget Dobson stated, "We got real stories, stories that I couldn't have fictionalized.

"They don't think of themselves as heroes. They said they couldn't let the gangs - that's what they called them - take over. The one story that stands out, that makes me cry, is when Jack asked a man, 'Were you afraid for your lives?' And he said, 'No. But my wife and I put in our pockets (a note with) our names and address (that said), 'Tell everything to my mother.'"

Libby Slate observed, "In the interviews, Jack Wagner had a great deal of latitude on the questions Bridget Dobson had charted." Bridget Dobson noted, "Things sometimes came out in his interviews that didn't come out in mine." Jack Wagner left 'General Hospital' to join the cast of 'Santa Barbara' in July 1991 remembered, "Everything was basically spontaneous. I really wanted them to feel I was asking questions unrehearsed.

"Once I got an answer, I could feed off of it and draw them out. I tried to make each interview its own. I asked one girl about her father and someone else about his family, which dated back to the czar (before 1917)." Bridget Dobson maintained, "The show ('Santa Barbara') is not going to be a documentary. I'm proud that we did this. It was important to me to celebrate these people, to celebrate their freedom. 'Entertainment Tonight' was there and said, 'Isn't it lucky for them to be on American television?' I feel just the opposite. We're the lucky ones."

In 1984, at the height of the Cold War, the Doomsday Clock reportedly ticked at 2 minutes to midnight. Ronald Reagan voiced during the Presidential debate, "No one knows whether those prophecies mean that Armageddon is a thousand years away or the day after tomorrow. So I have never seriously warned and said that we must plan according to Armageddon." After World War II, the wooden Doomsday Clock came into being on the cover of the 'Bulletin of the Atomic Scientists' magazine, first published in June 1947. Each minute approaching midnight was said, signaled the beginning of the nuclear holocaust and according to experts, the extinction of mankind.

On television in July 1984, 'Santa Barbara' made its debut. R.J Johnson reported, "NBC has invested $12 million into the biggest and newest videotape production facility in the U.S. designed specifically for a daytime drama. They have also invested in a complex audio system which will someday broadcast sound in stereo. But it takes more than just expensive sets and equipment to succeed on daytime television."

Jerome Dobson insisted, "'Santa Barbara' is another generation of soaps. There is a level of intensity, a look, a sense of humor and reality in emotion and stories that are not on 'General Hospital' or 'The Guiding Light.'" Joe Harnell composed the theme to open and close 'Santa Barbara' and as mentioned the series often used original music to enhance scenes "to bring the emotion within the scenes to a higher level."

Bridget Dobson told the press, "We have the largest and most exciting studio with sets that are unequaled. The network is totally behind us. The real city of Santa Barbara has a special aura. It is the best, most beautiful place in California. There are so many fantastic locations to use there. I hope in every episode there is some true feeling of this city."

Bridget and Jerome Dobson came up with the concept for 'Santa Barbara' around 1982 when they were working on 'As The World Turns'. Bridget Dobson explained, "All of the networks approached us after our contract expired. We had a concept of all of the families and characters defined, and we had a rough idea of the stories. They've been honed and changed a lot since then (by 1984).

"The show is made up of 4 core families. The Capwells, headed by C.C. Capwell, are the wealthiest and most aristocratic. The Lockridge family finds their immense fortune on the wane. Minx Lockridge is the feisty matriarch of this family. The Perkins family sees all of the great wealth around them, but as a blue-collar family, they cannot afford the luxuries so many other residents seem to enjoy.

"And the 4th family is the Andrades, a closely-knit Mexican-American family who believe in hard work and prayer, but they encounter many obstacles to success because of their position in society. 'Santa Barbara' is the first daytime drama to feature a Mexican-American family. You couldn't do a show set in Santa Barbara without a Mexican-American family. They are an integral part of all of the lives of people living there. I like it because the Mexican-American family has very strong moral values and strong family ties…girls are not supposed to wear short skirts and sex before marriage is a no-no."



'Santa Barbara' was New World Television's first series. The daytime soap opera ran between July 1984 and January 1993. Created and produced by Bridget and Jerome Dobson, 'Santa Barbara' could be seen in some 40 markets internationally. Robin Wright played Antiope in the 2017 motion picture, 'Wonder Woman', played the volunteer university laboratory research assistant, Kelly Capwell on 'Santa Barbara'. "It's not like I fixed an election Jeffrey or I finance the overthrow of a foreign country or something like that. I volunteer a non-paying job in this lab." In Russia, 'Santa Barbara' was shown from 1992 to 2002.

Centered around the upper-class Capwells and Lockridges, the blue-collar Perkinses, and the Hispanic Andrades, 'Santa Barbara' began with a 1979-flashback. In 1985, the soap opera 'Santa Barbara' paid homage to the real life 1925 Santa Barbara Earthquake which measured at 6.8 on the Richter scale. On the soap opera 'Santa Barbara', the earthquake would to change the lives of many.

At the time, 'Santa Barbara' attracted 3% household ratings and 10% audience share in daytime television competing against 'General Hospital' and 'Guiding Light' for the "highly prized audience of women aged 18 to 49". At stake: over $1 billion in the annual advertising revenues. 'The Washington Post' reported, "First tremors will wobble Santa Barbara, that is 'Santa Barbara', on today's (November 5 1984) program, at 3:00pm, and continue all week. The big bam boom itself hits next Monday and continues all next week. Then on November 19 (1984), the aftershocks begin, and they'll continue for a week, too."

The earthquake was introduced to depopulate "virtually the entire cast. For soap opera actors who always live on the edge of night, this looked like the end of their search for tomorrow." Jill Farren Phelps spoke to the press maintained, "Actually, we are not cleaning house. We are only going to have one fatality. We hope this will be very positive. It will bring out the good and the bad in all our characters. The idea was to bring everybody to a certain point in the story and hit them with a catastrophe."

Jeffrey Conrad (scientist assistant): You always manage to surprise me. I think I can predict you and (snapping his fingers) you go and do something off the wall.

Kelly: I wish I wasn't such a dunce when it came to science. See it bores me to death in school. That doesn't mean I’m too old to learn.

Jeffrey: Madame Curious. I'm sure science welcomes you with open arms.

In the world of soap operas, "letters are like thermometers" and could "often change the course of story lines." Fan mail endorsed as well as condemned what went on air and the Nielsen ratings usually dictated soap operas programming policy. Brian Frons of NBC made known, "They certainly have the ability to influence what happens on the stories. Fan mail on every show is read and tabulated, and the results are sent out to the writers, the producers and the network. We see who's getting fan mail and we get an idea of what the audience likes and doesn't like from their letters. And we use that to help decide how we're doing."

On Election Day, American voters voted for electors to represent their state in the U.S. Electoral College. The electors then casted their vote to decide who would be elected President. It was understood there was no constitutional or federal legal requirement for electors to vote according to the voters of their state. On television, viewers voted with the remote control.

"Television, unlike the movie business, is a lot like politics. Networks, in a sense, run for office - the public votes by watching and, if a show doesn't garner ratings, it is yanked in favor of another," Lynn Hirschberg of 'The New York Times' reminded. Paul Junger Witt added, "...There's a greater realization about a very simple fact: that television is the most democratic of art forms. If there is something we don't like, we can turn the set off or turn on something else. If enough people turn a show off, it fails and goes away - and that's a reflection of the public sentiment. If enough people watch, it succeeds - and that's an expression of the public sentiment too."

Douglas Marland remembered, "When I took over 'As The World Turns', the secret that Sierra was Lucinda's natural child, her daughter, had already been established and it played for several months. In planning my story and the way it was going to unfold, the audience got very bored and they said, 'It's dragging too long; Sierra should find out.' I knew that I was about to pop it. But, if I hadn't been, I would've said, 'Boy, I'd better plan to get this secret out in the open soon because the audience is getting restless.'"

David Jacobs recalled, "When we did the story about Val's babies being stolen, we got fan mail that, I felt, was very affecting. People were made sincerely uncomfortable by it, too. And, although we couldn't change it, we foreshortened it somewhat, and we also adjusted it to accommodate what we felt was a very sincere discomfort that we were imposing on the audience. When we see that the audience is angry about something, we know we're doing the right.

"When we first split up Val and Gary on 'Knots Landing' we had a lot of mail from people saying, 'How long are they going to be apart? When are they getting back together? They better be back together again. We want them back?' And we sort of liked that because we knew that we could dangle that hope for a long time." Shari Anderson remarked, "The audience doesn't want to accept a change in a character.

"Also financial realities sometimes restrict options. Though we like to create new stories for the established characters, we also like to add new characters. When the audience strongly identifies with a character, it is sometimes difficult to give them (other characters) a new story. Financial realities sometimes prohibit us from doing both."

Joanne Emmerich of ABC argued, "Also very often we will get mail from fans who are angry about something that is going to pay off a month later in something that will make them very happy, so you're talking about something that's dealing with a situation as of today. So, a lot of the mail that may appear to be negative at the time, turns out, in fact, to be very positive." Charles Pratt, Jr. reasoned, "No writer lives in a vacuum. We are all, ultimately, slaves to our viewers. Mostly, we're interested in their likes and dislikes. You have to take everything an audience says with a grain of salt because if they're involved in the story, their opinions will be very personal and strong and full of emotion."

A week of an afternoon soap opera comprised 5 hours with each hour a day, 12 minutes of commercial time allocated to allow for intermission. At one time, Douglas Marland received "the worst fan mail I think I can remember. But the kind of emotional response doesn't indicate that they really want her off the show. They're responding exactly the way we want them to. So, you have to know how to read fan mail, it takes time. Because what they're really saying is that they're fascinated and nothing in the world would make them turn off the show while she's doing what she's doing."

"Writing is like a compulsion, like nail biting or smoking. Once it's with you, it's hard to get rid of," Charles Pratt, Jr. observed. "You'd be surprised how many good stories can come out of a night of fitful sleep." On 'Santa Barbara', "Some of our stories are projected as far ahead as a year, but on average, we’re thinking 10 weeks to 6 months ahead.

"Our breakdowns, or outlines, for each individual show are about 6 weeks ahead. Scripts come in 4 to 3 weeks before they're taped. You try to stay as far ahead as possible, but not so far that you get trapped into a story that is not working. We call it a 'good bail-out position' – that being about 4 weeks ahead. A storyline must remain extremely flexible. If something isn’t working you have to be prepared to change it. That means considering the input of the viewers, the producers, the directors and the actors.

"In fact, most soap writers try to keep a projected story as loose as they can, leaving room for further twists and turns. When a story is working, you want to get as much juice out of it as you can. Most of our contact with production comes through scripts and breakdowns. They tell us what they can and cannot do. Production obviously relies heavily on the writing team and vice versa. It's sort of like a partnership, or better yet, a marriage. Each side has to give a little to make things work. And though, occasionally, divorce is discussed, both sides realize they'd be nothing without the other."



Nicole Sauguet: Here's to the future. 

Richard Channing: Oh, I found the past to be infinitely more educational. 

'Falcon Crest' ended its finest season in 1986-1987 with a vintage episode leaving viewers breathless when Chase disappeared under San Francisco Bay and Angela learnt Richard Channing was her son. Viewers were shown a clip of the movie 'The Blue Veil' (1951) for flashback. In the 7th season of 'Falcon Crest', Lance told Angela, "Oh, that's us Gioberti - seem to have nine lives, don't we?" 

Paul Roberts elaborated in 2008, "Because the ancient Egyptians worshipped cats and 9 is a mystical number. At Heliopolis, their gods were known as the Ennead, or Nine. Atum-Ra, the sun god, embodied all 9. He took the form of a single cat when he visited the underworld." Hence the phrase, "cat has 9 lives." The 1987-1988 season of 'Falcon Crest' opened with Emma Channing giving Richard the Gioberti heirloom - a silver spoon made by Paul Revere. Viewers also learnt Chase died. 

At the reading of his will, Chase left his son Cole $5 million, daughter Victoria $5 million but she would only get $500 a week with the money to remain in a trust fund for 5 years and also $5 million for grandson Joseph which would be held in trust until he turned 21. The remainder of Chase's wealth including his land, home and Gioberti Enterprises, Chase left to Maggie. It was highlighted the will didn't have the money for Maggie. 

The 1987-1988 season of 'Falcon Crest' was, as 'The Chicago Tribune' observed, "is subject to the rule of ever-expanding character lists." Leslie Caron played Nicole Sauguet of Sauguet Pharmaceuticals who knew Chase during the Vietnam War. She was living in Indo-China at the time. Nicole Sauguet came to Tuscany Valley in 1987 to collect $30 million she loaned to Chase 6 years earlier when Chase came to see Nicole in Paris about starting a new business in California. 

In 7 days, if the loan was not repaid, Nicole would demolish Chase's vineyard to build the Chase Gioberti Children's Hospital in remembrance of the man she once loved. "Well philanthropy is one thing, stupidity is another," Angela fumed. Angela told Nicole, "Revenge leaves a very bitter taste in one's mouth. Something like sour grapes. Why don't you leave it to the pro? I don’t want your money. I want you to take mine." Angela's bought Chase's debt. To keep Chase's share of Falcon Crest, Richard Channing decided to mortgage his newspaper, The New Globe, to come up with $30 million to repay Angela for Chase's debt. 

Angela: Why do I keep fighting the same battles and there’s no one to win them for? 

Father: What about your family? Falcon Crest is an important legacy. 

Angela: Which will be torn apart forever if I don't bring this family back together again. 

Father: What about Richard? 

Angela: No he's a past. I'm thinking about the future. And the future is his son, Michael. 

Father: Then love him. If you truly love him, he will come to you. Love is a magnet. You have the power of that love in your hand. Don't be afraid to use it. 

1987 marked the rise of Slobodan Milosevic in the Serbian Communist Party. On 'Falcon Crest', the subject of white slavery (prostitution) was explored. A Bulgarian named Dimitrov (played by Theodore Bikel) kidnapped Victoria Gioberti and leased her to the highest bidder after Victoria's husband Eric Stavros unable to repay his gambling debt. 

In Dubrovnik, the former Yugoslavia (present day Croatia), Ursula Andress played the head of a local communist party, Madame Malec who had "a passion for hard currency." Richard Channing paid Madame Malec $100,000 to help rescue Victoria. When she returned claiming Victoria could not be found, Richard Channing threatened to go to the Belgrade headquarters and informed the party bosses of her "lush lifestyle". Richard told the Madame, "You're such an easy woman to blackmail, you wouldn't last a week in the west. Now cheer up, we've got a lot of strategies to discuss." 

The daughter of Jayne Mansfield and Mickey Hargitay, Mariska (pronounced Marish-ka) Hargitay played the half sister of Angela's protege. Mariska was studying acting when her agent reportedly called her to audition for the role of Shannon. "I read for it and they called me back 2 days later," Mariska told Associated Press. "They said I did good, but Tahnee Welch, the daughter of Raquel, got the role. They called me back the next week and said they loved me so much they were writing me a part. I love that. Carly's a person who'll do or say anything. I'm not disrespectful; I just don't know better. I'm like a little Angela Channing." 

Angela: Chao-Li, will you show this lady out - by the back door. 

Carly: Oh, come on granny, the reason that I came by here is to tell you that I'm sorry. 

Angela: Melissa? What about her? 

Carly: Got all day? 

Angela: Well, for once there isn't a generation gap. 

Deborra Lee Furness played Kathleen, Cole's Australian wife of 9 months when the episode first went on air. 'Crocodile Dundee' was the No. 2 ranked motion picture at the box office in 1986. Buck Henry played Foster Glenn who used special effects to make Melissa thought she had gone insane. In one scene, Melissa told Lance, "It's all so strange to me. It was like I was at a distance watching myself - seen someone who wan't even me. She wasn't me!" In another scene, Foster told Angela, "You've made your own bed Mrs Channing. Sleep in it!" 

Lauren Hutton played a friend of Richard who had inherited her father's baseball team club. Mark Kuramitsu reported in April 1987, "Japanese professional baseball opens its 1987 season this week with 25 foreign players registered as 'helpers' on 12 teams in the rival Central and Pacific leagues." On 'Falcon Crest', Liz McDowell hallucinated she was been stalked by a ninja who wanted her to sell the club to Takahama. 

Eddie Albert played Carlton Brock, who was engaged to Angela in 1937 before he walked out on her. Eve Arden played a Justice's wife and the woman who turned him into Carlton Travis. "Good chemistry never goes away," Carlton Travis told Angela. Angela countered, "If you mix the wrong chemical you can get an explosion." Eddie Albert told 'The Washington Post' in 1988, "In a funny way, one of the most (dangerous) things that can happen to a series is success. They cut the budget. I don't think there's any show that really escapes it. It's very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget." 

By episode 13 of the 7th season, The Thirteen group was introduced on 'Falcon Crest', offering members wealth, influence and power. 'Soap Opera Digest' recounted, "The Thirteen, whose head was an amusingly evil man named Rosemont (played by Roscoe Lee Browne). The Thirteen pressed Richard for membership. Rosemont pressed him to join The Thirteen. They promised him anything he wanted.

"The Thirteen began to buy Richard presents. Newspapers. A movie studio. Vickie and Eric were caught trying to rob Richard's Swiss bank account and imprisoned. Richard wouldn't tell Maggie where Vickie was, but he had postcards forged from European cities to convince her that Vickie was on holiday. In jail, Eric and Vickie smuggled a letter to Emma, telling of their plight, and Emma delivered it to Maggie. Maggie left Richard and moved into Falcon Crest. Richard decided to spill his guts about The Thirteen to the FBI.

"The group was plotting to destroy the stock market and forced him to publish a story saying that 3 foreign-owned banks were shutting down, creating a panic among investors, who withdrew their money and sent stock prices plummeting. The Thirteen bought devalued stocks under the banner of one of the companies they bought for Richard, making it seem like the stock market plot was Richard's machination.

"The FBI knew of The Thirteen's existence, but they wanted Richard to prove it. But there was no record of them. Richard's files were gone, his videotapes erased, his secretary replaced. The Thirteen's headquarters were occupied by salespeople selling wind-up toys.  Rosemont wasted no time in getting revenge on Richard. After Richard testified against the Thirteen at a Senate hearing in Washington, Rosemont wanted Channing dead.

"The Thirteen tried to wipe out his family and Richard offered his life so that theirs would be spared. Rosemont agreed to the deal. The Thirteen pumped Eric Stavros with enough chemicals to turn him into a killing machine. He almost killed Angela, but Richard saved her, bringing about a long-overdue reconciliation. He awoke before dawn one day and went out to meet his killer, Eric, who shot him on the lawn."

John Remick: You know you should be in the army specialising in corps operation.

Angela Channing: I'm very good at secret intelligence too.

John Remick: How do you know that?

Angela Channing: Anything Maggie Gioberti knows, I know first. All the people you know and the thing you know about them. Why don't you come and work for me?

'Soap Opera Digest' continued, "Maggie was angry at the funeral, but Angela stood quietly looking at the grave. Richard's right-hand man, Garth, followed Mr. Rosemont to Bangkok and abducted him. In a dimly lit church, Angela lit thirteen candles and turned to a bearded man sitting in a pew. 'Haven't you waited long enough?' she asked him. 'When are you going to tell Maggie you're alive?'"

The Thirteen member: Our recruitment of Richard Channing has proven costly.

Rosemont: Indeed.

The Thirteen member: I'm afraid we'll have to give up on him.

Rosemont: Nonsense. It's always hard to fill the 13th chair. It isn't easy to find a man with the money, the ambition and the desire for power we all share.

The Thirteen member: You're actually looking forward to the challenge Rosemont?

Rosemont: Channing is my kind of soul - good at the center with just a taint of evil around the edges. He'll become one us. You'll see.  

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