"Prime time TV is like a relay race," David Bianculli reminded. "The main thing to remember in television's case is a block of viewers (audience share), not a baton (lead-in audience), that is being handed over. When a show holds the audience of the show preceding it or increases it, the show is doing its job. If not, it deserves either a new time slot or cancellation. 

"If 100 households with TV sets turned on at a particular time and 30% of the total TV sets in use are tuned to 'Dallas', that's a 30 rating. Of those 30 TVs, 15 watched 'Dallas' at that time, that gives 'Dallas' a 50% share of the audience. Since fewer TV sets are usually in use on Thursdays than Wednesdays, it's possible for a greater share of total viewers to watch a show on Thursday than a show on Wednesday, even though the show on Wednesday has a higher rating." 

Bob Hayden added, "The country's most popular programs from the national ratings aren't necessarily the shows viewers watching locally. A program like 'Dukes of Hazzard', for example, might attract more viewers in rural areas of the country than it does in big cities. As a result, the shows most watched in the highly urban Philadelphia market might be different from those most watched in Idaho. 

"Local viewers have a stronger preference than their national counterparts for comedies and detective-adventure shows, about the same interest in televised movies, slightly less interest in prime-time serials, and a great deal less interest in public affairs shows. Using the ratings figures, it is possible to determine what we were most likely to be watching on television at a given time any evening. 

"As far as the networks and ratings services are concerned, prime time runs from 8 to 11 each night except Sundays, when it starts at 7. For years, the networks worked under the assumption that once a viewer turns on a set at night, he is more likely than not to stay tuned to that same channel until the set is turned off. That's no longer true." 

In the 1986-1987 season, 'ALF' (Alien Life Force), made its television debut. Watched by over 40 million viewers each week, the TV sitcom centered around the 3-foot-tall, 225-year-old, furry, pointy-earred alien with an anteater nose. It was reported Paul Fusco first created Alf in 1982 but had trouble getting a deal off the ground. As a refugee from the planet Melmac who moved in with an average American human family, Tom Patchett said of 'ALF', "Alf is an alien, and he's as real to us as he seems on television." 

Max Wright played Willie Tanner observed, "Although Alf's character is extremely sophisticated and complex, I like to think of the show as basically being for kids. It's fairly sophisticated, for a simple idea, so that a parent can watch with his children and be satisfied. Alf is a mature character with a wonderful kind of everyday appeal. He has that kind of proletariat earnestness and good humor and ribaldry."

Clifford Terry remarked, "There's a kind of idealistic innocence to Willie Tanner that balances against Alf's earthbound cynicism. They're a kind of a team in a way, although certainly not Abbott and Costello." 'ALF' could be seen in over 60 countries when the show first went on air. Max Wright  told the 'Chicago Tribune', "It seemed to me the perfect time - you know, the Me Generation taken to an extreme.

"Anyway, I travel a lot, and people always speak very highly of the series. Unfortunately, the cult wasn't big enough. We couldn't have had a better spot - after 'Cheers' and before 'Hill Street Blues' - but people switched off when we came on. We worked on the same MTM lot with the other shows, and there was a feeling that we brought down the tone of Thursday evenings - like some unpleasant relative who's spoiling your dinner party."

'ALF' finished the 1986-1987 season averaging 16.5% households ratings. The show attracted 24% audience share. In the 1987-1988 season, 'ALF' averaged 18.8% households ratings. In the 1988-1989 season, 'ALF' averaged 17.7% households ratings. And in the 1989-1990 season, 'ALF' averaged 21.9% households ratings and 13.7% audience share.

In December 1987, Nancy Reagan invited Alf to the White House to entertain at a children's Christmas party. Tom Patchett told the 'Los Angeles Times', "If Alf ran for President - and he's a lot like Mario Cuomo at this point (in 1987), I'll bet he would get over 3 million votes." On reflection, "I think more adults are giving themselves permission to like the show. At first there was a resistance on the part of adults to watch something that they perceived to be either a children's show or a show with a puppet, and maybe a great number of them rejected it out of hand. Now (in 1987) parents are spreading the word that this is funny and hip - that you can watch 'ALF' and enjoy it."

Paul Fusco noted, "He (Alf) says what we all are thinking in the back of our minds but are always afraid to say out loud. And it's a novel idea. People always say, 'Where are the new shows?' Well, last year (1986) we gave them an original series that's not a cop show or a basic sitcom, and the large audience is our reward for doing that. So many people want to believe he's real. Alf is in fact very real to me. He has his own dressing room. He speaks for himself. I prefer to preserve that. When you know how it's done, it's just not as fascinating anymore."



It took two weeks to film an episode of the TV series 'The Colbys'. The American Broadcasting Company then televised the one-hour episode each week to an audience of around 15 million viewers. Charlton Heston recognized, "More people have seen one episode of 'The Colbys' than saw Ben Hur in theaters. And when I played Macbeth on TV, the second time I ever did the part, someone figured out, more people saw that 'Macbeth' than had seen the whole play in 4 centuries."

However if a soap was shown in a time slot constantly being pre-empted by special events such as the baseball playoffs or Election Night Coverage, "if people stop watching for a couple of weeks and lose track of the story, they can become disinterested," The 'Los Angeles Times' noted. "Once you lose the loyalty in a soap opera, it can drop pretty quickly."

To get viewers interested, Bianca Jagger was hired to play the exotic Maya Kumara in two episodes of 'The Colbys'. Of the 49 episodes produced, the wedding of Jeff and Fallon Colby was to be 'The Colbys's' highest-rated episode attracting 19.8% households ratings and 30% audience share. 'The Colbys' was developed for ABC in the network's attempt "to become dominant in the key 18-49 demographic again." 'Dynasty' was ABC's Wednesday night best performer. Thursday was its worse night.

Strategically, 'The Colbys' was intended "to spread some 'Dynasty' dust from Wednesday to Thursday." Lewis Erlicht of ABC pointed out at the time, "As the whole planet knows, it (Thursday) has been a tough, tough night." From the outset, critics claimed 'The Colbys' was a 'Dynasty' clone "right down to the credits." Bob Igiel of NW Ayer ad agency remarked, "You can't forget 'Knots Landing' was a spin-off of 'Dallas' and worked, but it poses the question: how much is too much of 'Dynasty'? I don't know."

As Jason Colby, Charlton Heston said it was his longest running job since serving in the U.S. Air Force during World War II (1944-1946). Prior to playing Jason Colby, Charlton Heston stressed, "I have made it clear I have no intention of running for the Senate or anywhere else." Of acting, Charlton  Heston believed, "Audiences here (in the U.S.) are perhaps a little more flexible-minded. The English tend to be genuinely interested in plays; American audiences tend to be interested in hits."

Charlton Heston also made the comment, "The great parts are done again and again. I have a face that is plausible as a cowboy. I have been accepted by audiences as Romans and Tudors and medieval Spanish and Norman knights and Italian painters and French cardinals. It (my image) is least plausible of all, perhaps, in a suit and tie." In the 1987-1988 season of 'Dynasty', the series examined Fallon's close encounter of the third kind.

In March 1987, 'The Colbys' ended its TV run with the episode aptly titled "Crossroads". In the episode, Fallon Colby found herself lost in the desert after her car had broken down somewhere between the U.S. and Mexico border. As Fallon tried to call for help, Fallon saw a spaceship coming out of the sky. An alien then emerged beckoning Fallon to come forward.

Fallon later told Jeff once inside the spaceship, "I felt somehow elated. And as we left the Earth I was never more at peace." However while in space, "I was examined with needles. I had a feeling of paralysis. It terrified me." The writers chose Fallon to leave Earth with the alien because she was "the moral center" on 'The Colbys'. At the time, Charlton Heston acknowledged, "I think they handled it rather well. Of course, I lose my (on-screen) daughter-in-law."

The UFO cliffhanger was not the most watched program in its time slot that night, attracting 13.6% households ratings and 21% audience share. However, the second last episode "The Dead End" shown after 'Dynasty' on Wednesday night attracted its highest audience share of the 1986-1987 season, 28% and 16% households ratings. It was the most watched program in its time period that night.

In September 1987, Ronald Reagan addressed the United Nations (42nd) General Assembly. He stated, "In our obsession with antagonisms of the moment, we often forget how much unites all the members of humanity. Perhaps we need some outside, universal threat to make us recognize this common bond. I occasionally think how quickly our differences worldwide would vanish if we were facing an alien threat from outside this world."

'The Colbys' sought to explore "America's most powerful family taking on the world." Barbara Holsople reported, "For the record, the Colbys have $1.2 billion in 'personal wealth' and another $42 billion in gross assets spread around such stuff as real estate, aerospace labs, petroleum, timber and 'more shipping tonnage than the Six Fleet.'"

By the end of its second season, Charlton Heston observed, "We were coming closer to what we had in mind originally for the show. We wanted to make it less baroque." Stephanie Beacham maintained 'The Colbys' would continue to climb in the ratings "because it veers a little more to the truth than its competitors." Critics argued 'The Colbys' was "a study in confusion." Charlton Heston insisted, "The difference between 'The Colbys' and 'Dynasty' was that the Carringtons don't sweat. The Colbys do." Stephanie Beacham conceded, "Television is just a very rushed process."



In 1984, Larry Hagman was on vacation in Russia to see the May Day parade. He spoke to Richard MacKenzie, "It was a beautiful, spring day and we had a lovely balcony on two different streets over Red Square. The parade started at 10 o'clock and I invited some embassy people to enjoy it with us (Swedish wife Maj). I had ordered some champagne, caviar and vodka and stuff like that.

"Just before 10, with all my guests there, the KGB came in and shut all the windows and said, 'This is for security.' I said, 'Whose? Yours or mine?' They said, 'It's for security.' I don't know if they thought that I'd become so enamoured by the parade that I'd jump off the (bleeping) balcony and kill myself. I thought later that Americans just don't know what's happening in Russia. They would never allow 'Dallas' to be on air, because people would see that there’s something else happening in the world."

At the time 'Dallas' was the "biggest, most successful television series show in the world. Nobody has ever asked me to make a movie for $10 million and you reach a lot more people with television than with movies." Larry Hagman contributed the success of 'Dallas' to "sex, greed and avarice. People have tried to make it too exotic. That's fine, but I never wanted us to be a 'Dynasty' clone. You see, our major source of audience is the Bible Belt."

Back in Russia, the hotel Larry stayed at was soon surrounded by security people. "After all, it (the hotel) does employ people. So when you have somebody listening in on your telephone conversation, that's one person employed. And somebody else watches you, so that's another couple of people employed. It's a kind of make-work program over there. Of course, there's so much paranoia that most of the people are not terribly happy."

In 1983, Larry Hagman's co-star Linda Gray and Ed Thrasher shocked "even cynical Hollywood" when they announced their marriage of some 20 years was coming to an end. Speaking to David Lewin, Linda Gray expressed, "I'm learning that unless I take care of myself I am no good to anybody. You have to be very strong in your marriage – and I was. Strong enough to know that two people were not going to grow at the same level all the time. One may grow faster than the other at one time and then the reverse." 

Richard Chamberlain observed, "It is also very difficult for an actor to marry an actress, because you have two careers to deal with – or a given-up career by the woman, which is worse. And it is difficult to marry somebody who is non-showbusiness because they do not have any idea of what is going on – of what the problems of the day are."

Linda Evans reasoned, "Out of any experience – even the bad ones – you can gain some benefit, some knowledge of yourself which you never realized before. I grew up trying to cope and I like Krystle in 'Dynasty' because she shows strength and she understands change. I understand in life that I don’t have to rush things even at my age (41 at the time). Things will come right for me. Perhaps later, but they’ll come right, just the same."

On reflection, Linda Gray added, "I don't mind being called one of the Bitch Queens of Television because of the part I play in 'Dallas'. It is a great title. Remember, my parents thought that becoming an actress was little better than becoming a hooker. I am strong but not tough. I am a survivor, a risk-taker and I can't think of a more exciting life. I have a grand curiosity about life – and no fear. Even being alone is sort of nice."

In 1989, 'Dallas' went on location in Moscow. Some 16 cast and crew members joined 3 Soviet actors and 50 extras for 3 days to film an episode of a 4-part series that begun in Salzburg and Vienna, Austria. Fiona Couldrey reported, "It is not the first time an American series has been filmed in Moscow but the 'Dallas' project has had the greatest Soviet technical involvement." 

It was in the final years of Mikhail Gorbachev's reforms of the Soviet Union with glasnost and perestroika. Len Katzman described the story on 'Dallas' as a "curious dichotomy" showing American capitalists in pursuit of a good deal "in the very heart of the Communist bloc." It was understood Lorimar hoped to bring 'Dallas' to Soviet TV screens. Len Katzman told the 'Chicago Tribune', "'Dallas', of all the American series, might be very interesting to the Russian public. We're willing to wheel and deal."



"The only constant thing in life is change," Joan Collins remarked. "My goals have changed each year. My goals today (in 1985) are probably different from what my goals will be in 1986 or 1987. I live totally for the moment. I live in the present. I enjoy the quality of life and that’s important. I came to Hollywood in the really lean days (back in 1955) when television was just starting to take over."

Thirty years later Joan Collins would become a television household name playing Alexis on 'Dynasty'. As Alexis, "I'd like the audience to think I'm slightly sending up the whole thing when I'm acting." In one scene at a hospital, Alexis demanded a nurse and her assistant to step aside as she approached Cecil, who was in critical condition after suffering a massive heart attack, and insisted he allowed for their wedding to proceed immediately.

"I'll be your tender comrade. I'll give you my strength. We'll travel to Portofino (Italy), Kowloon (Hong Kong) and Tahiti. Then come back to Denver and we do what we have to do together," Alexis  purred. Joan Collins continued, "When I was offered the part I couldn't wait to do it. I like the thought of playing a character people will love to hate. And I know I play those roles well. I've done them since I was 16, when I made my first movie. I played a wayward girl in 'I Believe In You' (1952). The trouble is, if people find out that I'm not really like that, then it confuses them."

In the years of 'Dynasty', "We live in Beverly Hills and such fantastic opulence that it is almost sickening." Of playing a strong woman, "It's difficult to talk about women's condition in a few sentences. I was not brought up to be, nor have I brought up my daughters to be, a second sex. There's been a tremendous change because of the women's movement for the good of women but there are still far too many women who are still downtrodden, particularly in Third World countries. Women are going through a sort of crisis point in the history of womankind and it's a difficult situation for many women."

Swedish journalist Daniel Atterbom told 'Soap Opera Digest' in 1986, "There are countries in the Western world that have lived without 'Days of our Lives' or 'General Hospital' for decades. Case in point: Sweden. Even though this country is very Americanized – with McDonalds, U.S. cars, Bruce Springsteen's songs and Steven Spielberg's films – no soaps were shown on the government-owned, non-profit two channel network until 1981. And the network broadcasts roughly 50% of its shows in English (primarily imported from the U.S.A and Great Britain).

"Swedes have played a major part in the development of nighttime soaps. The idea for 'Dallas' was conceived by David Jacobs after watching Ingmar Bergman's film, 'Scenes from a Marriage'. Jacobs took Bergman's concept – using characters you feel you know, but don't necessarily like – to CBS-TV, where Richard Burger liked it. However, he changed the setting from a middle-class family in California to a wealthy family in Texas.

"'Dallas' was born and with it came a whole new concept for soap operas. When Sweden started broadcasting 'Dallas' in January 1981, it became the 58th country in the world to do so. The show was an instant success. At times, over 50% of the population was watching J.R.'s evil scheming. By now, 'Dallas' was a cult and soaps had come to stay.

"Teachers at the cinema department at the University of Stockholm started serious studies of the soap. When Swedish TV tried to substitute 'Dynasty' for 'Dallas' in 1984, the result was outrage. 'Dynasty's' ratings slumped and 'Dallas' was brought back by popular demand. 'Falcon Crest' did better, but neither 'Dynasty' nor 'Falcon Crest' have ever been as popular here as 'Dallas'.

"Both the Danish and the (then) West German Parliaments began debating whether 'Dallas' was hazardous to viewers' health. The Danish member of Parliament, Erhard Jacobsen from the Center-Democratic party, stated that 'Dallas' 'is communist propaganda and evil agitation against the American family life.' Hans Willow, a Social Democrat, stood up in the German Bundestag and dismissed 'Dallas' as 'plastic people from another world.' 'Dallas' and 'Dynasty' have even reached behind the Iron Curtain. In 1982, the (then) East German government realized that most of their citizens watched 'Dallas' on West German TV so they started to transmit the same episodes.

"(The former) Yugoslavian TV bought 15 episodes of 'Dynasty' but came to believe that 'Blake Carrington is a capitalist who manipulates people and money.' On the other hand, hard-line communist Bulgaria has shown 'Dynasty' for years. It is obviously difficult to define the status of soap operas in Europe. Soaps will probably be around for some time in Sweden, but they will never have the same impact as in the U.S.A. and we will never have daytime soaps. For us, 'Dallas', 'Dynasty' and 'Falcon Crest' are quite enough."



In September 1984, the song 'Missing You' by John Waite topped the Billboard Hot 100 chart. It was reported frequent radio play in addition to John Waite making guest appearances on the TV series, 'Paper Dolls' contributed to the single becoming a hit. In an interview, John Waite remembered, "You can tell how shy I was at the time. I'm trying to sing this song and sort of look at the camera and then not look at the camera. I'm embarrassed, you know. 

"I mean, it's okay being on stage, because you're in some sort of persona. But being filmed was a new experience for me on that level. I suppose it was kind of charming. But there was a million places I would rather be than being filmed at that point in my life. I sang the whole first verse, bridge, and chorus without stopping. Then I had to stop, I was so overwhelmed. I stood back from the mic and I couldn't speak. Then I just rolled the tape again and got on with it. 

"I had no idea I was going to sing, 'Missing you, since you've been gone away, I ain't missing you no matter what my friends say.' I had no idea I was going to sing that, and when it came out, it floored me. I stood back from the mic, and I thought, 'F--k it. Number 1.' I just knew. I just knew in my heart that it was that good. I took the tape down to the guys in the studio who were mixing, thinking the record was finished. I knew it wasn't, since we didn't have 'Missing You.' I played it in the control room and everybody stopped talking. It had that effect on people from the word go. It was one of those songs that defined a decade, really. It was one of the biggest. I think it's been played about 9, 10 million times on American radio - it's a huge thing." 

Of the 12 regular episodes of 'Paper Dolls', Donald Paul Roos wrote 3 episodes; Stephen Black and Henry Stern wrote 3; with the other 6 episodes each written by Jennifer Miller, Jeff Stuart, Michael L. Grace, Carol Saraceno and Jill Gordon. The pilot movie which was shown on Sunday was the 7th highest-rated program that week attracting 18.4% household ratings and 29% audience share. In the Tuesday time slot, 'Paper Dolls' household ratings varied between 9% and 14%.

After the first episode ratings, Leonard Goldberg reportedly told Lewis Erlicht of ABC to "put us on in December or put us on after 'Dynasty' for a few weeks. He said he wouldn’t even look at the early ratings." Of 'Dynasty', Esther Shapiro observed, "Older actors have back stories. They're older, they've lived, so they can have an exciting past that we can explore. When you're a writer you're writing your fantasies. You've got your little doll house. But we became producers because we wanted (artistic) control."

On 'Paper Dolls', Dack Rambo described his role, "I've always been Mr. Nice Guy. This is a refreshing change. J.R. and Alexis have no excuses for being evil. There's a reason for my character being ugly and nasty. I'm a victim of my father's neglect. I hate my father, I don’t care for my stepmother (Marjorie), I despise my brother-in-law (David Fenton who ran Tempus Sportswear), but I truly love Blair, my (half) sister." Wesley Harper was the vice president of Harper World Wide since 1973 as well as the president of its division, Harper Cosmetics. In 1969, Wesley met Colette Ferrier.

Lloyd Bridges elaborated, "I have love for my family though I do have trouble with one son. I was married before, and his mother (Virginia) – we were celebrating my coming into my own - and I had a few drinks and was driving and she was killed in a car accident (in 1951). He's held it against me ever since. He's jealous of my daughter (Blair), who worships me. And I'm in love with a well-off Philadelphia woman (Marjorie)…but not as much as I loved my first wife. I worked my way up from poor beginnings. My son runs one of my divisions – not too well, I think. When we talk about things it always gets emotional." Grant married Marjorie in 1952.

Question: Are there people like the Carringtons and the Colbys in the U.S.? Have you met them?

Joan Collins: Yes, very much so. I've also met them in France and in Rio and Italy and other places. The richest, the most successful, the most high-flying people in the world are quite like the Carringtons. I don't consider 'Dynasty' other than a gothic fairy story for the masses and I find it infinitely better for the masses than the amount of gratuitous and horrific violence, muggings, attacks, rapes, gun-fighting we have on our television screens.

Analyst Philip Burrell considered the 1984-85 TV season "the tightest 3-network ratings race in years. It's certainly true that networks have become more aware of demographics. And that, in a sense, is giving the advertiser what he wants. The advertiser has various (age) targets - 18 to 34s, 18 to 49s, teens, whatever. The networks are very much aware that when they are up against a hit like 'Dallas' or 'Magnum P.I.' on another channel, they can't win, so they must counterprogram - to at least get the females, for instance, to make their own program attractive to sponsors.

''The one major trend (that season) is the return to the accent on police action-adventure drama. Many NBC shows are the best examples of that. But the other networks are also returning to that form. It's NBC's way of arriving at a format, familiar to viewers, which has worked in the past. They went through their upscale, 'improving television' phase a few years ago and learned rather hard lessons. Then they went through an innovative phase last year with shows like 'Manimal' and 'Mr. Smith.'

"Now (in the 1984-85 season) they are returning to a familiar format that's been around as long as television - the police drama. I see a 100% increase in that form this season. The ratings are not artistic ratings, just chances for success. Shows will be priced accordingly. You can't buy all 'Dallas's' and 'Magnums,' because you'd be getting audiences well beyond your need. So the networks put together a package based on the demographics you want to reach. They'll throw in one top-rated show, for instance, and at least one lower-rated show to amortize the expense. Sometimes a bad show may be very efficient for your demographics - something that reaches a large teen audience and nothing else, for instance.''



On 'Dallas' it was Southfork Ranch. On 'Falcon Crest' - Falcon Crest. On 'Knots Landing' it was Seaview Circle. And on 'Paper Dolls' it was called Foxtown. On 'Paper Dolls', viewers learnt Grant Harper traveled to work on a chopper because it was still the best way to beat the traffic on the Long Island Expressway. In one scene viewers learnt it could take up to 4 or 5 hours to get from New York to Foxtown if there was traffic jam on the Expressway. 

Mark Snow and for at least 2 episodes Ron Ramin composed music to enhance scenes on 'Paper Dolls'. Donald Paul Roos of 'The Colbys' was story editor and Stephen Black and Henry Stern of 'Falcon Crest' were the executive script consultants. Executive Producer Leonard Goldberg told Marilyn Beck in 1984, "I think the actor should get as much as he can command. Most successful TV shows made the star; the stars didn't make the shows. 

"I'll pay someone to tell me who the 5 stars of that picture ('Police Academy') are. If you don't have a good piece of material, it doesn't matter who you put in it; no one is going to go see it. If you have a good idea that's well executed, it also doesn't matter who's in it. People will tear down the doors." On 'Paper Dolls' instead of "huge, action adventures and stunts, that's (clothes) where the money really goes. 

"Hopefully, the public will be entertained by it, but hopefully they will also come to some understanding of what the modeling business is like for young people. They go to high school one day and are concerned with math homework and someone to go to the basketball game with, and the next day they're posing for some exotic perfume (Expectations) that promises all kinds of erotic sexual adventures to those who wear it. If you're a kid, how do you handle all that?" 

"I was taking anthropology in night school at UCLA when I was doing 'Flamingo Road'," Morgan Fairchild told the 'Chicago Tribune' in May 1985. "When the show was canceled, I ended up having to leave town because the jobs I got were on location. So that sort of precluded my being able to go to class. When it looked like I was going to be in Los Angeles this spring (to co-star on 'Falcon Crest'), I went ahead and enrolled at UCLA again and then discovered it was the same course I had taken a couple of years ago. They had changed the title."

In the North American summer of 1984, Morgan Fairchild reportedly pleaded with the producers of 'Paper Dolls' to film one of her scenes on the streets of New York so Morgan could visit the American Museum of Natural History to view the human and prehuman fossils exhibit, 'Ancestors'. "I was boning up on everything," Morgan recounted. 

"I wanted to see 'Lucy' and 'The First Family' (castings of 3 1/2-million-year-old bones discovered in Africa) and the Taung Baby (a 2-million-year-old hominid skull). Then a week before the show was to go on location in New York, the producers called me up and said, 'Oh, you don't have to go. Your character's a power monger. You just sit in your office.' I said, 'You've got to let me get out and walk the streets of New York. I've geared my whole summer to see this exhibit.' They thought I was mad. Finally, Leonard Goldberg, the producer, had them write a scene where I walk out of my New York apartment, look up and down the street and say, 'Where's the limo?'"



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."

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