Doctors' Private Lives (1978)

Network: CBS
Original Airdate:March 20th, 1978

During promotion for the soapy telefilm Doctors' Private Lives, the film’s star, John Gavin said, “Barbara [Anderson] plays my wife, and Donna [Mills] plays a widow with whom I become involved. But only physically and emotionally. It doesn’t go any deeper than that.”

If I could insert the sound of a car braking right here I would. As is stands, I just have to giggle at Gavin’s comedic response to starring in one of the most overwrought melodramas I’ve seen in some time. In his defense, Gavin does not play it tongue in cheek during the film, and it’s all the more entertaining for the straight-faced, and genuine performances from an amiable cast of wonderfully familiar faces.

And anyway, Gavin had me at Donna Mills.

Gavin is Dr. Jeffrey Latimer, a gorgeous and successful professional married to the equally sublime Frances (Barbara Anderson looking ridiculously divine), who is just as ambitious with saving the world as he is with saving lives. The one hiccup in an otherwise perfect relationship is that they have no children. This obstacle doesn’t seem like that much of an issue, until Jeffrey embarks on an extramarital affair with Dr. Beth Demery (the perfectly perfect Donna Mills), a widow who can’t fight her attraction to Jeffrey (I don’t blame her). Strangely, and maybe sadly, Jeffrey loves his wife, but has an affair just because he can. The scoundrel (and he's our hero)!

While all of this is going down (insert dirty joke here), Dr. Mike Wise (Ed Nelson, dusting off his Peyton Place dialog delivery) is dealing with a divorce and the generation gap, which is driving his son Kenny (Leigh McCloskey) away from medical school. Kenny has an adorable girlfriend named Sheila (Robin Mattson), who quickly throws him over for his dear old dad, creating even more tension in the house. And in-between all of this, people die, there’s blackmail and an airplane full of Korean orphans (!) crashes! If that’s not an overflow of awesome, I am not sure I know what is.

Yessir, from the ski slopes to the operating room to the bedroom, Doctors' Private Lives is one of those glamorous 1970s telefilms that I live for. It’s got philandering, conniving, and well to do professionals who wear the best clothes, drink the best wine and sometimes deliver the best lines. Although, admittedly, I was surprised to see it was released in 1978, only about one month before Dallas premiered, setting the bar for high drama. Dallas is far more nuanced and complex, but Doctors makes the best of what is has, and what is has is pretty good. Along your journey through soapland, you’ll catch John Randolph as Mike’s gregarious uncle, Elinor Donahue as Mike’s grumpy ex, and Anne-Marie Martin as a sexy nurse secretly romancing her friend’s man. And for the record, Randy Powell, who went on to Dallas, plays one of the worst extortionists ever. That's how you do it!

And I’m apparently not the only one who feels this way. Doctors' Private Lives was successful enough that a 4-part followup mini-series aired the following year, featuring much of the same cast, and the addition of another familiar Dallas face, William Smithers, who played the contemptible Jeremy Windell. It makes the whole affair feel full circle (emphasis on affair).

And remember, in an era of car chases and gun fights, Gavin points out, “[There’s] no violence in this show, except in the bedroom.”

‘Nuff said.

Sandcastles (1972)

Network: CBS 
Airdate: October 17th, 1972 

I’m a sucker for romance. And the soapier the better, I say. I was surprised to find out earlier this week that I actually do have soapy limits, and Sandcastles comes pretty darn close to pushing the boundary that separates sentimental melodrama from overwrought hysteria. But by the end of it all, I was a gooey mess of snot and tears, so, you know, job well done!

Bonnie Bedelia is Jenna, an overly romantic orchestral musician living in Los Angeles. She spends way too much time fantasizing about an angelic blonde man, who she believes is her destiny and one true love. Unfortunately, she’s concocted this guy in her head. But… On the other side of California, near San Francisco, lives a drifter named Michael (Jan-Michael Vincent), an angelic looking blonde man, who has no idea that he’s someone’s great love. He’s a drifter, living mostly wherever he can find a job that will put a roof over his head, but will also allow him the freedom to roam if he so chooses. Currently, he’s hooked up with a good-natured restaurateur named Alexis (Herschel Bernardi), aka Papa Bear, an eccentric and thoughtful man who has come to love Michael as the son he never had. But Michael’s wayward spirit gets the best of him and after Alexis raises some much needed money for his business, he gives $20,000 to Michael to deposit at the bank. For reasons even unknown to Michael, he hits the road with the money, but quickly has a change of heart and calls Alexis’ wife Sarah (Mariette Hartley) to let her know he’s coming home with the cash.

Unfortunately, the ride he hitches out of town just happens to be with a slimy opportunistic alcoholic named Frank (Gary Crosby). This leads to a horrible car accident that creates an intersection between everyone’s lives. Jenna, who happened to be on her way to Frisco is the woman who holds a dying Michael in her arms. But his ghost soon returns to the beach near Alexis’ restaurant, because this is where he’d spend his days building gorgeous sculptures in the sand, and he soon starts a relationship with Jenna. Drawn to her own fantasy world and the (now literally) angelic Michael, she refuses to recover the money that Frank still has in his car. She knows that if she helps Michael fulfill his responsibilities to Alexis, he’ll be able to make that last journey, leaving her forever.

Directed by Ted Post (Do Not Fold, Spindle or Mutilate, The Baby), Sandcastles is more famous for its filming technique than it is for the story. It was the first small screen film to employ the single camera videotape method. In an attempt to save money, the film was shot with a Norelco, in Malibu and at the CBS Studio Center. However, the equipment was too new and expensive, and the process too time consuming and faulty. Eventually the video was transferred to film, giving Sandcastles a bit of off-putting effect for some viewers, who commented that the aesthetics lent itself more towards episodic television than a movie. Nevertheless, the overall eeriness of the story and the beautiful locales make Sandcastles a truly wonderful time capsule.

Shot in twelve days, with much of the story unfolding amongst crashing beach waves, Post joked in an interview about the difficulty of getting the sea to “act” on command. He must have gotten the ocean to listen though because he caught some exquisite footage and produced a moving portrait of haunted people, ghostly love and learning to let go.

Still, Sandcastles doesn’t just tug at the heartstrings, it wants to yank those suckers right out of your chest, and there are a few overly syrupy and talky moments throughout the film, where everyone only speaks of love. But, dammit, it works. Maybe it’s because Michael is so emblematic of the times – a leftover from the hippie movement whose universal dream of peace and love dies when he does. At the same time Jenna continues to believe (and rightly so as it turns out) that love doesn’t have to end, coincidences can mean something greater, and moving on doesn’t mean leaving anything behind.

Bedelia is wonderful in the role as Jenna. Her fantasies and idealism keep her from venturing out into the real world, and the actress captures that sweet innocence of the romantic daydreamer, almost achingly so. It doesn’t hurt that Vincent is at his loveliest as well, with a thick blonde mane and a tummy you could bounce a quarter off of. **Swoon**

But this is really Bernardi’s film. Alexis is thoroughly tormented by Michael’s disappearance, but refuses to believe he’s stolen the money outright. Alexis can’t come to terms with this alleged betrayal of his “adopted” son, and, then his death, and he nearly comes to deadly blows with Frank (and definitely beats the crap out of him!). The loss and anger is palpable, and carries the film from outright melodrama to tragedy. Despite his roaming nature, Michael has a profound ripple effect, impacting everyone’s lives. I think I'm getting misty again...

Michael's sandcastles and sculptures are an overt metaphor. The ocean constantly destroys them, and he has to keep rebuilding them, much in the same way everyone has to rebuild their lives after Michael's death. The overall message about enjoying life and beauty in the moment because they could disappear in the blink of an eye is timeless, and Sandcastles tells this story well.

What I'm Waching Now (and Why I'm Not Blogging as Much): Hart to Hart, As the Hart Turns

I’m not sure anyone keeps track of these things, but I haven’t been posting as much lately (although my facebook page is hopping, so remember to stop on by and like it!). This is because I am, yet again, in the throes of another interstate move. Since 2010, I have moved from California to Maryland to Pennsylvania, and now I’m heading to Texas. Austin, that is. And despite the fact that I’ve unloaded about half of what I used to own (I do miss you, VHS), I’m still packing like a madman, and I haven’t found much time to write or even to watch a full movie.

Calgon, take me away... and throw in Jonathan Hart!

Thankfully, there is so much episodic television that I need to visit and revisit, and those little 45 minute bursts of delight have been getting me though every box-building day I’ve had over the last two weeks or so. I have enjoyed many shows in this brief time, marathoning everything from Happy Days to Trapper John to General Hospital (there is nothing quite like binge watching a soap. My dreams are filled with melodrama). So, why not Hart to Hart? It was definitely one of my favorite shows when I was a kid, and, honestly, it remains so today.

Afternoon Delights!

And speaking of soaps, there is one Hart to Hart that always makes me squeal with delight. The episode is titled As the Hart Turns and originally aired in the fourth season on March 1st, 1983. I love this episode mostly because of the way it playfully handles the soap genre within the series own mystery format. And I always love how Jennifer manages to find herself in these random, but somewhat glamorous, pickles.

Mrs. Hart hard (hart?) at work

As the Hart Turns goes behind the scenes of a popular soap called Doctor’s Hospital, a show that almost everyone on the planet watches. Max (Lionel Stander) is one of the serial’s biggest fans and he lures Jennifer (Stefanie Powers) into its clutches. Before you know it Jonathan (Robert Wagner) can’t get a word in edgewise between 2:30 – 300 every weekday. It is certainly kismet when Jennifer wins a raffle to appear on the show. As you can guess, she’s a natural, but her journalistic knowhow is what gets her a job as a writer on Doctor's Hospital (as if it was this easy… I do love you 80s TV). She’s really there to help the head writer iron out the bumps in one of the stories, but before you know it, she’s working on the juicy murder mystery that will kill off one of the main characters. And that actor ain’t so happy about it. Mystery and intrigue hijinks ensue.

They must be serving plates of fabulous at this restaurant. Look at Jennifer's jacket!

This episode uses a few friendly daytime faces, including John McCook (The Bold and the Beautiful) and Leann Hunley (Days of Our Lives), but more importantly, it reveals how omnipresent the soap genre was in the mid-80s. Hart to Hart was often exclusively about the rich and powerful, as the gorgeous couple jet setted around the world, solving mysteries that were often tied to well-to-do evil doers. Their Jack-of-all-trades employee, Max was the everyman, but he was also a gambler, and lived a bit of the high life himself, as noted with his stubby cigars and penchant for the ladies. But in this particular episode, Jennifer and Max are bonded by their love of Doctor’s Hospital. Although Max was always close to the Harts, this was an interesting approach at breaking down their economic barriers. And Doctor’s Hospital pervades into every other walk of life too, from the exquisitely rich to the humble middle class, all linked by their desire to know who really killed Diana (which of course, we the real audience never find out, darnit). 

What is the lesson Mrs. Hart learned that day? Can soaps really bring the world together? Why yes, Jennifer, they can.

Freeway can't handle all the melodrama!

Last Bride of Salem (1974)

Network: ABC
Original Air Date: May 8th, 1974

This Toronto lensed shot on video thriller originally aired under the ABC Afternoon Playbreak moniker all the way back in 1974. The Playbreak series, which ran from October 31st, 1973 – February 13th, 1975, was a cycle of 90 minute stand alone episodes that would air once a month, preempting the daytime soap programming, and there were about 4 to 5 episodes per season. The afternoon movie format proved to be popular and many of the Playbreaks won Emmys, including The Last Bride of Salem which garnered an award for TV stalwart Bradford Dillman.

It’s a little sad and strange that Playbreak hasn’t been documented better, it wasn’t until I attempted to research this film that I discovered the series. Luckily, Bride has a bit of cult following and after watching it I can certainly see why. It’s eerie, claustrophobic and well paced. I should also add the score would make any giallo fan's mouth water. There are some decent Goblin-like grooves to be found lurking inside this story of modern witchery!

Bradford Dillman is Matt Clifton, an up and coming artist and doting family man who is offered a chance to stay at a worn-down but large and serene farmhouse so he can create… ahrt! Matt packs up his wife, Jennifer (Lois Nettleton) and daughter Kelly (Joni Bick) and they head out to the serene countryside; only things aren’t quite as tranquil as they had hoped. Jennifer is sure something nefarious is happening to her husband and child, but could it really be an aged old curse taking over their bodies, and preparing Jennifer to become a child bride to Satan? Yikes!

  
Bride harkens back to the exceptional SOV British series Thriller, which also featured stand alone horror tales. Like Bride, Thriller relied heavily on the less is more tactic of terror. Fairly traditional to the medium during this era, the SOV style really work as far as I’m concerned. Maybe it’s because I’ve been heavily influenced by the look and approach of soaps, but there’s something creepy and effective about straight faced video horror (at least from that period). It works here, because of that particular video polish and because of the strong acting, and just because it’s an eerie story played out just right. In fact, director Tom Donovan and writer Rita Lakin were no strangers to serial world – he directed such shows as Ryan’s Hope and General Hospital and she wrote for the nighttime shows Flamingo Road and Dynasty! Lakin also adapted Death Takes a Holiday into the made for television format and it still remains one of the most haunting and beautiful romance films of that medium. So often this format is considered subpar and certainly the use of video doesn’t help it earn any respect, and that’s a miserable fate for a subgenre so needlessly pushed aside.

And, here’s an oddball piece of trivia: You will spot John Candy as a background character. He appears in a couple of scenes, but the one I remember him in is the ritual scene. I jokingly said, “Hey, it’s John Candy,” and it was!

Black History Month: Generations (1989 - 1991)

When soap operas were a hot commodity in the 1970s and 80s, many high-profile issues came to the forefront of their storytelling. One of the most compelling stories on One Life to Live involved an African American woman who attempted to pass herself off as white as a way to enter into the higher classes. The casting of black actress Ellen Holly in a central role in daytime was marked as a first, and it prompted two other ABC soaps, General Hospital, and later All My Children to feature black actors in prominent roles. (Note: Holly’s story is not one of triumph though, and you can read about her allegations against the show regarding the mistreatment of her and her character here)

They might not always get direct credit, but soaps have often tackled weighty issues while they pursue love in the afternoon. However, they were still a bit behind when it came to building an entire series around a largely black cast. The NBC sudser Generations, which debuted on NBC on March 27th, 1989, may have been a short-lived attempt to bring more diversity to daytime, but they also left behind a nice legacy.

Former Young and the Restless writer Sally Sussman created Generations. Sussman was interested in a stronger depiction of blacks on daytime television and said in an interview, “[W]e're starting from scratch with a core family who happens to be black. That enables us to give them a credibility and importance, a history, that most blacks on daytime don't have.” However, Sussman hoped that her show not only gave black audiences proper representation, but that other audience members also related to stories. In an interview with Soap Opera Weekly, Sussman clarified, ''We're in the business of drama here, not social reformation. I'm not out to change the world. I want to entertain people and captivate them with our characters. What makes people tune in to a soap? Compelling characters, romance and good stories with strong emotional payoffs. Black or white, that's what the daytime audience wants to see - and that's what we're going to give them. In the end, it's all a crapshoot.''

Sussman's hopes for a successful series may come across as modest, but she had lofty ambitions for Generations, and brought in Dr. Troy Duster, a prominent sociologist working as a professor at the University of California at Berkeley, to consult. She also made sure the writers worked in an area separated from the actors. Sussman believed that the separation alleviated pressures and allowed the show to maintain some secrecy with their storylines.

And, Generations did tackle many pertinent issues of the late 80s. The story was centered on two families living in the Chicago suburbs, one black and one white. The matriarch of the black family had once worked as a housekeeper for the white family, but through a successful chain of ice cream stores owned by her family, both families now existed on the same economic level. The connections between the families ran deep, and issues arose from these circumstances. Consultant Duster remarked, “In the first generation, there is a maid in the big house… Second generation, the ice-cream parlor owner begins to achieve some kind of entrepreneurial successes. Therefore, the connection between whites and blacks transforms dramatically in two generations… One could even say there’s a metaphor here for race relations in the last three decades.”

The impetus behind Generations came about for a couple of different reasons. One was that, according to the New York Times, Nielsen ratings for soap viewing in black households were quite large. In 1988, black audiences were increasing while other audiences were declining. The incentive to cater to the African American audience was indeed a business decision. However, Sussman and crew strove to give their show a real sense of relevance and identity.

Generations caught the attention of the NAACP who embraced the series and pushed for its success. Benjamin L. Hooks, executive director of the NAACP said in an interview, “While it is agreed that African Americans have made some strides in breaking through what was an iron curtain that prevented them from exercising any real power in these industries, it is obvious that a great deal still needs to be done. We are, therefore, in total support in any and all efforts that will accomplish these goals.”

The series brought in a number of well-respected African American actors, including Richard Roundtree (Shaft), Joan Pringle (The White Shadow), Taurean Blacque (Hill Street Blues), Debbie Morgan (All My Children), Kristoff St. John (Young and the Restless) and a then-relatively unknown Vivica A. Fox (Kill Bill). Yet, despite such a high profile cast and a lot of publicity, Generations struggled to find an audience. Critics found the premise and desire to bring a black family to the forefront of daytime admirable, but they also felt many of the stories were the stuff of contrived storytelling, even by soap standards. About a year into its run, the Nielsen’s placed the show last among the 12 soaps that were currently airing. Bringing in 2.3 million viewers is not necessarily horrible numbers in today’s soap opera world, but in 1990 it was nothing compared to the nearly 8 million viewers that its direct competition, The Young and the Restless was pulling in (Y&R remains the top rated soap on television, with an average of 5 million viewers showing up every day). Black audiences made up approximately 20% of the audience, which was roughly equal to the percentages that the other soaps were attracting.


Hooks continued to push for black viewers to tune into Generations, urging the 1700 chapters of the NAACP to lobby for the troubled series. In November of 1990, the show hired Dorothy Lyman, most recognized on daytime TV as Opal on All My Children, to inject new life into the series. She signed a contract only to see Generations cancelled just a few weeks later. There was some protest put out by the NAACP and the show considered whether or not it would have a life in syndicated markets. Unfortunately, this never came to be, although the soap did enjoy a spell of re-runs on BET. Upon cancellation, Generations producer Jorn Winther sadly commented, “I don’t think I’m going to see an integrated show again.”

Flash forward some 20 years or so, where only four soaps remain on daytime network television. I only recently started watching The Young and the Restless, and noticed that the show entertained a diversity in ethnicities, although I don’t know the history well enough to speak to how integrated the characters are. Tyler Perry also has a primetime soap on OWN called The Have and Have Nots, which enjoys a multi-racial cast, and wonderful ratings. Generations may not have been able to achieve the kind of awesome legacies that other long running series have enjoyed, but, like the character Carla Gray on One Life to Live, Generations laid the groundwork for the integration and diversity that would inspire, aptly enough, an entire new generation.

Haunted by Her Past (aka Secret Passions, 1987)

Network: NBC
Original Air Date: October 5th, 1987

I’m not really sure what rock I was hiding under in 1987, but by all indications, I should have not only seen Haunted by Her Past but I also should have written about it eons ago, as it combines two of my favorite things – the TV movie and the soap actor. The film unites the incredible raven forces of Susan Lucci and Finola Hughes in a ghost story that is more melodramatic than scary but I can’t complain because I enjoyed the movie so much!

Lucci is prim and proper Karen Beckett. As a surprise, her gorgeous husband Eric (John James from Dynasty, and also my 1980s bedroom wall!) whisks her along with their two best friends Rita and Charles Kamen (Marcia Strassman and Robin Thomas) away to the quaint town of Unionville, a place that seems stuck in a time from long ago. They stumble upon a charming inn where people dress in period costumes (!), and Karen is drawn to the one room that has no electricity or any other modern means, which really sets the tone for the type of nerdy historic romance she is seeking. And boy, does it seem like she has romance on the brain, because this mousey young lady lets down her hair – and her inhibitions – at the inn of love. Unfortunately, the gothically designed mirror in their room is also the ghostly prison of a very angry young barmaid named Megan (Finola Hughes) who murdered her lover, only to be hung for her indiscretions, after she gives birth to the dead man's baby. All these years later, and she still hates men, and makes Eric her next target.

Haunted by Her Past generated a lot of buzz when it originally aired in 1987 (see ads below), mostly because of the hot soap opera cast.

In an interview to promote Haunted, Lucci indicated that the film was not simply a ghost story, and commented, “The movie’s been described as a ‘silky, sensuous, contemporary ghost story.’ I feel that’s an appropriate description. The story is really about a woman coming to terms with her own sexuality, and that ghost story is a metaphor. It’s about how it affects her life and her husband, whom she’s madly in love with.”

The supernatural triangle of man-hating ghost, mousey woman and hunky guy creates a lot of tension, and Megan is determined create a wedge between Karen and Eric. But to do this, she encourages Karen to confront her own unknown past, which Megan plays a big part in, and which maybe should have stayed a secret!

Originally, Lucci was supposed to play both Karen and Megan but she said the short shooting schedule didn’t permit her to take on more work. She felt it was for the best and said, “It was much better for me to be able to play against another actress.” I’m a big Finola Hughes fan anyway, but she is a delight in Haunted. Spunky and somewhat scary, she makes the most of her part as a jilted woman who sees her eternal role as a man-killer as wild and just. Lucci is great at working the sex factor but is also good playing up her nerdy side as well. The gorgeous and wonderful Marcia Strassman is wasted in a nothing role, but John James makes up for any of the film’s lack with pure bronze machismo! Yes, I have a crush on him. Oh yeah, and there's gratuitous Page Fletcher (The Hitchhiker) action as well!

This TVM could easily have been adapted from a Harlequin novel. It’s bodice ripping – TV movie style – and the utilization of some of the most popular actors from the 80s soap genre gave Haunted enough of a push to land it at #20 in the Nielsen’s for the week. I seriously wish I was one of the lucky 14.8 million who got to see this when it originally aired in 1987.

TV Spot Tuesday: All That Glitters (1977)

Perhaps it was somewhat meant to be when I ran across the above scan I took for the short-lived series All That Glitters. I remember scanning it because I thought it was for a mini-series. Seriously, does that not sound like a great title for a shoulder padded drama? Indeed. However, I saw that it was a comedy produced by Normal Lear that featured the incomparable Eileen Brennan, among many other great talents. Sadly, Miss Brennan passed away last week at the age of 80. How I adored her smoky voice and red locks. She was stunningly unique, and a great talent. So, although I've never seen All That Glitters, I thought it might be nice to spotlight it on TV Spot Tuesday.

Newspaper promo for All That Glitters

As previously mentioned, the series was created by Norman Lear and it aired in syndication. In some ways it was much like Lear's other satire, Mary Hartman, Mary Hartman in respects to the approach to humor and because it ran nightly. It garnered a lot of controversy when it was released because the premise regarded women in positions of power in the corporate world while men were the subservient party, working as secretaries, etc. The company was called Globotron Corporation and was run by L.W. Carruthers (Barbara Baxley), and apparently she was a bit of a man eater (if you know what I mean).

The ridiculously awesome Lois Nettleton!

Linda Gray took on the controversial role as a transsexual. In an interview she noted that playing that character was instrumental in securing her role as Sue Ellen on Dallas! Gary Sandy played the secretary with "the cutest little buns in the corporation" (thank you for that tidbit, Total Television)! All I could find about Brennan is that she played an important recurring character who was named Ma Packer.

The series, which lasted for 65 episodes between April and July of 1977, is probably best remembered for spawning the song You Don't Bring Me Flowers, which was originally intended to be the theme song for the series. The tune was written by Neil Diamond with Alan and Marilyn Bergman. When Lear decided the song wasn't right for the show, Diamond expanded it and you can listen to him sing it with Barbara Streisand below.

Holy cow, so much interesting history in a series that seems to have all but disappeared! I'm curious if any of you remember this groundbreaking comedy? And what can you tell my about Brennan and Gray's roles?

Here is a promo for All That Glitters

Here is a clip of Neil Diamond and Babs belting out You Don't Bring Me Flowers 

TV Spot Tuesday: SOAP!

When SOAP premiered on ABC on September 13th, 1977, I was not allowed to watch it. I remember it came on fairly late at night (9:30 on Tuesdays), and I must have been getting ready for bed at that time. Still, to this day I have no idea if I wasn't allowed to watch it because of its time slot or because of its content. A few years later, when SOAP went into syndication, our local channel showed it nightly at around 7 pm or so. I was older and wiser, being all of nine or ten at the time, so I guess my parents thought it might be alright to let this kid give this incredibly smart series a go.

I have no idea what Bert is talking about, but I bet it's funny!

As a kid, I loved it mostly because Burt Campbell (Richard Mulligan) was insane and adorable. From believing he could make himself invisible, to alien abductions to becoming sheriff (!) of Dunn's River, Connecticut, it was virtually impossible for me not to grin when he was on screen. However, while Burt may have been the original draw for my young-person-brain, I was also getting into some rather heady stuff. Alongside all the infidelity, prison breakouts and baby possession, SOAP worked mostly because it understood the connection melodrama has to raw human emotion. Jody Campbell's (Billy Crystal) struggle to become not just a father, but recognized, respected and accepted as a gay man who is a father, wasn't without its bumps in the road, but was told with a lot of heart and introduced issues that many of us had probably never considered. There was also Danny's (Ted Wass) awakening to racial intolerance when he dated Polly (Lynne Moody), and the ongoing hilarious, but also heartbreaking tale of Chester and Jessica's I-love-you-I-hate-you-saga. Oh, and then there's the episode where Benson leaves. Tissues please.

Jimmy Baio = adorbs

But nothing was as tragic and as haunting for me as the death of Elaine (Dinah Manoff). In her agonizingly shocking and sad final scene, she dies in Danny's arms not long after he realized that he really did love her. To this day, I still get choked up when I think about it.

More tissues, please

And that was the beauty of SOAP, which ran for four glorious seasons. They understood how to walk the fine line of outrageous stories told with simple but very real feelings. I know most people think of SOAP as a spoof of the daytime drama, but it was really an all out glorious tribute, all done with a big smile and bunch of hearty laughs. That's good television, indeed.

Did you know there is an upcoming book about SOAP? Visit Soap! The Sitcom That Broke all the Rules for the deets.

Here are some SOAP promos:

Peter's Murder (aka an good excuse to look at Robert Urich):

A look at Elaine and Danny: