Television - the ultimate mass-market medium. For the 7 seasons from 1992 to 1999, Heather Locklear was "special guest star" on 'Melrose Place' - TV's only special guest star for 7 years. The Aaron Spelling's drama produced for the Fox network had become a national guilty pleasure, especially among gen Xers.
Heather Locklear had previously been portraying such pop-culture icons as "ambitious, conniving trailer park orphan" Sammy Jo on 'Dynasty', "early-Boomer notion of the 'girl cop'" Officer Stacy Sheridan on 'T.J. Hooker' before playing "a miniskirted ad executive" Amanda Woodward on 'Melrose Place' followed by a "quick witted campaign manager" Caitlin Moore on 'Spin City'.
On 'Melrose Place', Heather Locklear was credited for making mini-skirts popular, "I used to watch 'Knots Landing' with Nicollette Sheridan. If you recall, she wore very short skirts - suits! And, please, I'm a little skinny, but she had the most amazing body. That's when I said, 'Make 'em shorter, make 'em shorter." Courtney Thorne-Smith remembered, "She deserves a lot of credit for our success. She brought an element we really needed - a villain. And she brought her energy."
Jeff Zucker contributed "the Heather Locklear effect" to the popularity of those characters. Heather also stated, "It was fun to wear the things she (Amanda) wore, but sometimes I thought her skirts were a bit short. When I sat down and could actually feel my cheeks on the chair - that was a tad short. I worried not only about the camera but also about the crew (catching a glimpse). I made sure to wear thick cotton underwear. Not that the crew cared."
The 'Los Angeles Times' observed, "In the eyes of many fans, the 7-year Monday-night soap actually ended somewhere during the 1996-97 season, when it suffered an avalanche of cast casualties." Darren Star begged to differ, "I always thought the show had limitless possibilities because anybody could move in and out of that building."
Commentator William Keck argued, "The slew of new tenants during the past three seasons (1996-99) all had that sexy 'Melrose' look, but, failing to ignite sparks with turned-off fans, each was soon issued an eviction notice." On reflection, Darren Star remarked, "I think the show always worked best when there was a core of relatability in the characters."
Heather had said, "The biggest misconception about me is that I'm like Amanda. I put on the clothes, and I read the lines. I think I've learned from Amanda. She does things I wouldn't do. (Amanda) came along at a time in my life when I needed to confront myself and other people, both personally and in business, and say things that I would normally be afraid to say. This character has helped me to be strong."
By then, the 'Los Angeles Times' described Heather Locklear as a premium brand who had enjoyed name recognition, "I told Rob Estes, who's doing a pilot now (the Warner Bros. network drama 'Sullivan Street'), that if he ever needed a special guest star, remember me." 'Entertainment Weekly' understood, Heather Locklear "can command as much as $220,000 per episode."
In the 1990s, more television stars began trickling into Broadway shows. Producers trying to boost ticket sales to tourists regularly casted TV stars as replacements in plays already up and running in order to fill all theater's seats. Emanuel Azenberg of 'Iceman' maintained, "TV stars are more transient. Their stardom has a finite life." Scott Zeiger of SFX Theatrical reasoned, "It is like a consumer product and you're trying to build market share. A star gives you that competitive edge." In the off-Broadway play, 'Wit', Grant Show told the press, "After years of trying to learn more and more new tools, I've been digging in my tool bag, and I realize: I know how to use them."
As Broadway turned to TV stars to draw crowds, models were said to be losing jobs to celebrities as cosmetics companies began turning to celebrities to endorse their products. Revlon hired Halle Berry, Salma Hayek, Shania Twain; Neutrogena hired Jennifer Love Hewitt, Josie Bissett; Cover Girls hired Faith Hill and Max Factor reportedly paid Madonna $6 million to appear in TV ads which would only go on air in Europe and Asia. Alek Keshishian directed the ads promoting the Max Factor Gold lipstick. Joseph Messina explained, "People identify with celebs. If that personality can follow through on your makeup line, it's an even stronger concept than just using a model." Liz Rosenberg added, "I guess she (Madonna) liked the product. And they paid her some nice money."
Before 'Melrose Place', Heather Locklear co-starred with Linda Gray in the TV movie, 'Highway Heartbreaker', "I think the hardest lesson I've had to learn is not to put all your eggs in one basket. Things change from one day to the next. I'm very lucky. The good that I've had so far outweighs the bad. I know that this go-round with my career, that it could go away tomorrow. So I appreciate it. But I keep in mind that if it all goes away tomorrow, I may have another chance." Grant Show insisted, "It ('Melrose Place') wasn't as big a part of my life as it may seem - just the most visible."
In 1982, Linda Gray asked Jose Eber to cut her hair. In an interview in 2012, Linda Gray recalled, "I didn't know back then that I had to ask permission! I was like, 'Oh dear, I guess I should have asked somebody.' They were not happy with me." At the time, Linda told the press, "I did my own personal survey. I thought all the leading ladies on TV were alike. I just wanted to look different. I had it with long hair. I don't like to be a carbon copy of everyone else.
"Also, I knew that short hair was coming back in style. I didn't want to be a follower of that trend; I wanted to be one of the leaders. Frankly the producers weren't too happy about it. The new season (1982-83) opens just an hour in time after where we left off at the end of last season (1981-82). I'm in the same clothes I had for that show, crying over Cliff in his hospital bed. But there I am with this whole new look. It's hysterical, but it was something I needed to do."
Tracey Callandar played country girl Kathleen Dawson in the 1985 Australian drama, 'Possession' made the observation about her character, "In the beginning Kathleen has her life all mapped out. She's getting married and she's going to be comfortably looked after all her life. Suddenly it all explodes, and she realizes that, maybe, it's not what she wanted. I'm very sympathetic to Kathleen. She's typical of a lot of women brought up with conservative values in a fast altering world. It's a shock for them to discover that when you get married you don't necessarily live happily ever after."
In the final season of 'Melrose Place', Heather Locklear was also made co-producer. Director Stephen Gyllenhaal revealed in the 1996 TV movie 'Shattered Mind', "We found that the beginning of it just didn't work but the network wouldn't give us any more money to reshoot it." It was reported Heather Locklear invited the crew over to her house to film it again with her home video camera, "and the network never knew it."
In 2002, Heather Locklear guest starred on 'Scrubs'. John C. McGinley spoke to the press, "If they (guest stars) fill a capacity someone in the ensemble doesn't, that's why (creator Bill Lawrence) brings them in. It's not very often - it's almost like the Lakers, where you have a pretty tight team. And when a guest star does come in, someone in the ensemble gets elbowed out a little bit, because that guest star is going to have a pretty substantial plate appearance. I think these two (episodes) are the best we've done. When you get the opportunity to explore a subject for two episodes in a row instead of trying to cram an A, B and C story into 21 minutes, you're able to open up a little and see what's underneath it. That's a bit of a luxury."
As a L'Oréal spokeswoman at the time, Heather Locklear told fans in her makeup bag, "I have Visiora PC 001 pressed powder, MAC powder blush in Prism, Aveda lip liner in Savanna, a Trish McEvoy blush brush, L'Oréal Hydra Soft lipstick in Bermuda Beige, L'Oréal Voluminous Volume Building black mascara, and L'Oréal Quick Stick blush in Iced Plum. For everyday, I don't wear much makeup. I put on mascara, because of my light eyes, and maybe some blush, and that's it.
"At night, I add a lip liner, Putty by Valerie Beverly Hills - it's a great brown - then an old Chanel black liquid eyeliner. For lipstick, I use L'Oréal Rouge Pulp in Blushing, and, if I want to use a gloss, Highlights 18 by Trish McEvoy. I have about three drawers of beige lipsticks, but it doesn't really matter if I'm wearing any, because it just looks like my lips anyway.
"I wash my face with Sisley Botanical Cleansing Milk with Hawthorne for dry or sensitive skin, then I put on moisturizer by Sisley or La Mer, as well as sunblock, SPF 45. At night, I use L'Oréal Turning Point cream. I leave it on my face, and it exfoliates. The next morning, I get in the shower and just wash it off. In the '80s, people wore more makeup, and then the style went more natural. Now I think it's going back to more makeup; I'll probably be back into that black eyeliner real soon."
Growing up in the San Fernando Valley, Heather Locklear told 'In Style' magazine in 2002, "I'm not that fashion-conscious. I guess I've always considered myself a jeans-T-shirt-and-thongs person - your basic California girl. I still have all my clothes from 'Melrose Place' and 'Spin City' - every season I come home with a rack of clothes. I have beautiful purses, beautiful shoes, great skirts. But now I'm at a point where I'm just throwing things in the closet. It's just in piles and piles. I have a black Gucci suit that I love. I usually don't wear a whole lot under it. And I love high heels."
Heather told fans her favorite fashion were, "Stretch capri pants, tank tops and flip-flop. I also have a lot of Levi's. Every time I get ready to go out, I try on different ones and go, 'This isn't right. This one's not right. Oooh, if I wear this, it's gonna rip right in the seat.' I've always lived in the Valley. Being near the beach has made me so laid-back. Everybody walks around in tank tops in L.A. It's about hanging out in the backyard and barbecuing, so I'm always outside. It's more of a natural look."
Heather Locklear lived in New York when she appeared on 'Spin City', "I'd walk out my door and I'm at Barneys, I'm at Prada, I'm at Gucci - all these amazing stores. I even went to my first and only fashion show - Michael Kors. I bought these things that are just spectacular, but where am I going to wear them? I live in Thousand Oaks! Who do I think I am, walking into Chili's, a family restaurant, wearing those outfits?"
In its analysis of 'Melrose Place', 'The New Yorker' made the comment, "The 1995-96 season of 'Melrose Place' - unquestionably the finest in the 7-year run of the prime-time soap. 'Melrose Place' was often, mistakenly, lumped with its sister show on Fox, 'Beverly Hills, 90210', which, like 'Melrose', was an Aaron Spelling production. At one point, Fox even ran the two shows back to back on Wednesday nights. But they were worlds apart.
"'90210' was the most conventional kind of television. It played to the universal desire of adolescents to be grownups, and it presented the world inside West Beverly High as one driven by the same social and ethical and political issues as the real world. '90210' was all about teens behaving like adults. 'Melrose' was the opposite. It started with a group of adults - doctors, advertising executives, fashion designers - and dared to have them behave as foolishly and as naively as adolescents.
"Most of them lived in the same apartment building, where they fought and drank and wore really tight outfits and slept together in every conceivable permutation. They were all dumb, and the higher they rose in the outside world the dumber they got when they came home to Melrose Place. In the mid-1990s, when a generation of Americans reached adulthood and suddenly realized that they didn't want to be there, the inverted world of Melrose was a wonderfully soothing place. Here, after all, was a show that ostensibly depicted sophisticated grownup society, and every viewer was smarter than the people on the screen."
Thomas Calabro told 'Soap Opera Digest' of the final episode, "It's kind of sad. But at the same time, I feel guilty because I feel I should be so grateful. We beat the odds a lot of times just to have been on for 7 years and to work with these people." Executive Producer Charles Pratt, Jr. made known the finale of 'Melrose Place' came in under budget, "From a story standpoint, we wrapped everything up. I didn't want to end it with the building imploding and being sucked down to hell like at the end of 'Poltergeist', which was one of the many scenarios we rejected, thank God. I wanted to go out on a positive and romantic note."
Jeff Zucker contributed "the Heather Locklear effect" to the popularity of those characters. Heather also stated, "It was fun to wear the things she (Amanda) wore, but sometimes I thought her skirts were a bit short. When I sat down and could actually feel my cheeks on the chair - that was a tad short. I worried not only about the camera but also about the crew (catching a glimpse). I made sure to wear thick cotton underwear. Not that the crew cared."
The 'Los Angeles Times' observed, "In the eyes of many fans, the 7-year Monday-night soap actually ended somewhere during the 1996-97 season, when it suffered an avalanche of cast casualties." Darren Star begged to differ, "I always thought the show had limitless possibilities because anybody could move in and out of that building."
Commentator William Keck argued, "The slew of new tenants during the past three seasons (1996-99) all had that sexy 'Melrose' look, but, failing to ignite sparks with turned-off fans, each was soon issued an eviction notice." On reflection, Darren Star remarked, "I think the show always worked best when there was a core of relatability in the characters."
Heather had said, "The biggest misconception about me is that I'm like Amanda. I put on the clothes, and I read the lines. I think I've learned from Amanda. She does things I wouldn't do. (Amanda) came along at a time in my life when I needed to confront myself and other people, both personally and in business, and say things that I would normally be afraid to say. This character has helped me to be strong."
By then, the 'Los Angeles Times' described Heather Locklear as a premium brand who had enjoyed name recognition, "I told Rob Estes, who's doing a pilot now (the Warner Bros. network drama 'Sullivan Street'), that if he ever needed a special guest star, remember me." 'Entertainment Weekly' understood, Heather Locklear "can command as much as $220,000 per episode."
In the 1990s, more television stars began trickling into Broadway shows. Producers trying to boost ticket sales to tourists regularly casted TV stars as replacements in plays already up and running in order to fill all theater's seats. Emanuel Azenberg of 'Iceman' maintained, "TV stars are more transient. Their stardom has a finite life." Scott Zeiger of SFX Theatrical reasoned, "It is like a consumer product and you're trying to build market share. A star gives you that competitive edge." In the off-Broadway play, 'Wit', Grant Show told the press, "After years of trying to learn more and more new tools, I've been digging in my tool bag, and I realize: I know how to use them."
As Broadway turned to TV stars to draw crowds, models were said to be losing jobs to celebrities as cosmetics companies began turning to celebrities to endorse their products. Revlon hired Halle Berry, Salma Hayek, Shania Twain; Neutrogena hired Jennifer Love Hewitt, Josie Bissett; Cover Girls hired Faith Hill and Max Factor reportedly paid Madonna $6 million to appear in TV ads which would only go on air in Europe and Asia. Alek Keshishian directed the ads promoting the Max Factor Gold lipstick. Joseph Messina explained, "People identify with celebs. If that personality can follow through on your makeup line, it's an even stronger concept than just using a model." Liz Rosenberg added, "I guess she (Madonna) liked the product. And they paid her some nice money."
Before 'Melrose Place', Heather Locklear co-starred with Linda Gray in the TV movie, 'Highway Heartbreaker', "I think the hardest lesson I've had to learn is not to put all your eggs in one basket. Things change from one day to the next. I'm very lucky. The good that I've had so far outweighs the bad. I know that this go-round with my career, that it could go away tomorrow. So I appreciate it. But I keep in mind that if it all goes away tomorrow, I may have another chance." Grant Show insisted, "It ('Melrose Place') wasn't as big a part of my life as it may seem - just the most visible."
In 1982, Linda Gray asked Jose Eber to cut her hair. In an interview in 2012, Linda Gray recalled, "I didn't know back then that I had to ask permission! I was like, 'Oh dear, I guess I should have asked somebody.' They were not happy with me." At the time, Linda told the press, "I did my own personal survey. I thought all the leading ladies on TV were alike. I just wanted to look different. I had it with long hair. I don't like to be a carbon copy of everyone else.
"Also, I knew that short hair was coming back in style. I didn't want to be a follower of that trend; I wanted to be one of the leaders. Frankly the producers weren't too happy about it. The new season (1982-83) opens just an hour in time after where we left off at the end of last season (1981-82). I'm in the same clothes I had for that show, crying over Cliff in his hospital bed. But there I am with this whole new look. It's hysterical, but it was something I needed to do."
Tracey Callandar played country girl Kathleen Dawson in the 1985 Australian drama, 'Possession' made the observation about her character, "In the beginning Kathleen has her life all mapped out. She's getting married and she's going to be comfortably looked after all her life. Suddenly it all explodes, and she realizes that, maybe, it's not what she wanted. I'm very sympathetic to Kathleen. She's typical of a lot of women brought up with conservative values in a fast altering world. It's a shock for them to discover that when you get married you don't necessarily live happily ever after."
In the final season of 'Melrose Place', Heather Locklear was also made co-producer. Director Stephen Gyllenhaal revealed in the 1996 TV movie 'Shattered Mind', "We found that the beginning of it just didn't work but the network wouldn't give us any more money to reshoot it." It was reported Heather Locklear invited the crew over to her house to film it again with her home video camera, "and the network never knew it."
In 2002, Heather Locklear guest starred on 'Scrubs'. John C. McGinley spoke to the press, "If they (guest stars) fill a capacity someone in the ensemble doesn't, that's why (creator Bill Lawrence) brings them in. It's not very often - it's almost like the Lakers, where you have a pretty tight team. And when a guest star does come in, someone in the ensemble gets elbowed out a little bit, because that guest star is going to have a pretty substantial plate appearance. I think these two (episodes) are the best we've done. When you get the opportunity to explore a subject for two episodes in a row instead of trying to cram an A, B and C story into 21 minutes, you're able to open up a little and see what's underneath it. That's a bit of a luxury."
As a L'Oréal spokeswoman at the time, Heather Locklear told fans in her makeup bag, "I have Visiora PC 001 pressed powder, MAC powder blush in Prism, Aveda lip liner in Savanna, a Trish McEvoy blush brush, L'Oréal Hydra Soft lipstick in Bermuda Beige, L'Oréal Voluminous Volume Building black mascara, and L'Oréal Quick Stick blush in Iced Plum. For everyday, I don't wear much makeup. I put on mascara, because of my light eyes, and maybe some blush, and that's it.
"At night, I add a lip liner, Putty by Valerie Beverly Hills - it's a great brown - then an old Chanel black liquid eyeliner. For lipstick, I use L'Oréal Rouge Pulp in Blushing, and, if I want to use a gloss, Highlights 18 by Trish McEvoy. I have about three drawers of beige lipsticks, but it doesn't really matter if I'm wearing any, because it just looks like my lips anyway.
"I wash my face with Sisley Botanical Cleansing Milk with Hawthorne for dry or sensitive skin, then I put on moisturizer by Sisley or La Mer, as well as sunblock, SPF 45. At night, I use L'Oréal Turning Point cream. I leave it on my face, and it exfoliates. The next morning, I get in the shower and just wash it off. In the '80s, people wore more makeup, and then the style went more natural. Now I think it's going back to more makeup; I'll probably be back into that black eyeliner real soon."
Growing up in the San Fernando Valley, Heather Locklear told 'In Style' magazine in 2002, "I'm not that fashion-conscious. I guess I've always considered myself a jeans-T-shirt-and-thongs person - your basic California girl. I still have all my clothes from 'Melrose Place' and 'Spin City' - every season I come home with a rack of clothes. I have beautiful purses, beautiful shoes, great skirts. But now I'm at a point where I'm just throwing things in the closet. It's just in piles and piles. I have a black Gucci suit that I love. I usually don't wear a whole lot under it. And I love high heels."
Heather told fans her favorite fashion were, "Stretch capri pants, tank tops and flip-flop. I also have a lot of Levi's. Every time I get ready to go out, I try on different ones and go, 'This isn't right. This one's not right. Oooh, if I wear this, it's gonna rip right in the seat.' I've always lived in the Valley. Being near the beach has made me so laid-back. Everybody walks around in tank tops in L.A. It's about hanging out in the backyard and barbecuing, so I'm always outside. It's more of a natural look."
Heather Locklear lived in New York when she appeared on 'Spin City', "I'd walk out my door and I'm at Barneys, I'm at Prada, I'm at Gucci - all these amazing stores. I even went to my first and only fashion show - Michael Kors. I bought these things that are just spectacular, but where am I going to wear them? I live in Thousand Oaks! Who do I think I am, walking into Chili's, a family restaurant, wearing those outfits?"
In its analysis of 'Melrose Place', 'The New Yorker' made the comment, "The 1995-96 season of 'Melrose Place' - unquestionably the finest in the 7-year run of the prime-time soap. 'Melrose Place' was often, mistakenly, lumped with its sister show on Fox, 'Beverly Hills, 90210', which, like 'Melrose', was an Aaron Spelling production. At one point, Fox even ran the two shows back to back on Wednesday nights. But they were worlds apart.
"'90210' was the most conventional kind of television. It played to the universal desire of adolescents to be grownups, and it presented the world inside West Beverly High as one driven by the same social and ethical and political issues as the real world. '90210' was all about teens behaving like adults. 'Melrose' was the opposite. It started with a group of adults - doctors, advertising executives, fashion designers - and dared to have them behave as foolishly and as naively as adolescents.
"Most of them lived in the same apartment building, where they fought and drank and wore really tight outfits and slept together in every conceivable permutation. They were all dumb, and the higher they rose in the outside world the dumber they got when they came home to Melrose Place. In the mid-1990s, when a generation of Americans reached adulthood and suddenly realized that they didn't want to be there, the inverted world of Melrose was a wonderfully soothing place. Here, after all, was a show that ostensibly depicted sophisticated grownup society, and every viewer was smarter than the people on the screen."
Thomas Calabro told 'Soap Opera Digest' of the final episode, "It's kind of sad. But at the same time, I feel guilty because I feel I should be so grateful. We beat the odds a lot of times just to have been on for 7 years and to work with these people." Executive Producer Charles Pratt, Jr. made known the finale of 'Melrose Place' came in under budget, "From a story standpoint, we wrapped everything up. I didn't want to end it with the building imploding and being sucked down to hell like at the end of 'Poltergeist', which was one of the many scenarios we rejected, thank God. I wanted to go out on a positive and romantic note."
