News Roundup: Gossip Girl, The O.C., 90210 and More

1 03 2010
  • Ausiello has Gossip Girl spoilers.
  • EW.com has semi-spoilish info on Billy Baldwin (William, Gossip Girl) filming with Blake Lively (Serena, Gossip Girl).
  • TVGuide.com has a photo gallery called Gossip Girl: The Show’s Sexiest Looks.
  • Taylor Momsen (Jenny, Gossip Girl) and her band Pretty Reckless will be on the Warped Tour this summer.
  • Adam Brody (Seth, The O.C.) is reportedly “in talks” to star alongside Leighton Meester (Blair, Gossip Girl) in Oranges.
  • Alabama Live has an interview with Benjamin McKenzie (Ryan, The O.C.).
  • New episodes of Southland, starring McKenzie and Michael Cudlitz (Tony, Beverly Hills 90210) begin on TNT tomorrow. This review spoke highly of them both.
  • Shannen Doherty (Brenda, Beverly Hills 90210) will compete on Dancing With The Stars when the new season begins March 22. The Wrap actually revealed it hours before the official announcement. Jennie Garth (Kelly, Beverly Hills 90210) and Ian Ziering (Steve, Beverly Hills 90210) have been past contestants. Doherty’s ex-husband, Ashley Hamilton, was a contestant last season.
  • Garth signed a book deal to write childrens’ books.
  • Examiner.com has an interview with Amanda Schull (Sara/Katie, One Tree Hill).
  • Bryan Greenberg (Jake, One  Tree Hill) will be on The Bonnie Hunt Show tomorrow.
  • In an interview with MTV, James Van Der Beek (Dawson, Dawson’s Creek) spoke highly of his role on One Tree Hill last season.
  • Star News and Alloy have interviews with Kerr Smith (Jack, Dawson’s Creek).




Exclusive: James Eckhouse Looks Back on Beverly Hills 90210

7 02 2010

There may be five other teen drama dads–Harry Wilson, Rufus Humphrey, Dan Scott, Sandy Cohen and Mitch Leery–but it’s likely none would exist if it weren’t for one Jim Walsh.

Jim, the very first teen drama dad, was played by James Eckhouse. We saw him deal with the stress of raising teenagers (twin teenagers, at that!), keep the romance alive in his marriage and get so many promotions that his job sent him to head the company in Hong Kong!

In our exclusive interview, Eckhouse recalls his audition, discusses how the show impacted his life and reveals whether he’d participate in a reunion.

TeenDramaWhore: You grew up in the Midwest and then came East for college. What made you then decide to head West for acting?

James: Eckhouse: Well, it wasn’t quite as simple as that. I went to MIT, ostensibly studying physics and biology or whatever but I was always doing theater, oddly enough. There was a great little theater company with a lot of people who were Boston-area actors. There weren’t that many of us dweeby MIT types who were interested in drama. I was doing a lot of plays. After a couple of years, I realized my heart was more into theater. There was a teacher there whose name was–he’s a pretty well-known American playwright–A.R. “Pete” Gurney. He wrote The Dining Room, Love Letters. Pete was kind of instrumental in saying “You know, I don’t think this is what you want to be doing”–being a scientist, which I loved but it wasn’t what I knew my heart’s long-term passion was about. So I did drop out and I moved to Chicago and got involved in a lot of theater in Chicago. It was a great time. It was just the blossoming of Chicago theater. I decided to get some training and I wanted to get to New York so I was very fortunate to get into Julliard. So then I went to Julliard for four years in the theater department. After I graduated, I did just tons of regional theater all over the States. Lot of off-Broadway, a little Broadway. That’s how it all started.

TDW: Do you remember what your audition for 90210 was like? They had a originally cast another actor in the role and had done some filming.

Eckhouse: That is true. They had actually started the process and the guy was a wonderful actor. I guess it just didn’t quite match the rest of the family. Nothing to do with the talent of the actor. He’s a very talented actor. What happened, actually, is I got a call and I was on my way to do another audition that I thought was more important and far more likely for me to get and I told my agents I wouldn’t audition for this thing. I wasn’t that interested. And they said, “No, no, no. You have to go.” And I did and I got called back.

I finally got into the final call backs and there I was–there were three actors, 2 of whom I knew well, who were very, very WASP. Very patrician. And I went, “Oh, this is ridiculous. Why is this Jew from Chicago going to be doing this part?” And I went in and auditioned with Carol [Potter, Cindy], actually, since she was already cast and they had started to shoot the pilot or they had a shot a version of the pilot. This is a funny story. I met Aaron Spelling and sat in the room and read with Carol. We both knew we had great chemistry together. We hit it off right away. But be that as it may, I came out of the room going, “There’s no way they’re going to cast this dark-haired, balding Jew in this role.” And sure enough, when I left the room, Aaron turned to the people who were there–and Carol was there–and said, “You know, there’s something about that Eckhouse character!” and Carol said, “Well, yeah, ‘cause he’s Jewish!”

It’s a long process to get on these series. They have these network auditions that you do where you go in and now you do the audition in front of a large part of the television network. In this case, FOX. I remember coming home and thinking, “That was terrible!” I called my agent and said, “Well, I really blew it. I didn’t do very well.” And he said, “Well, I’ll call you back.” He called me back two hours later and said, “Well, you’re right. You really weren’t very good.” And I said, “Aw, okay. So I didn’t get it.” And then he said, “But they cast you anyway.” So I got the role and hopefully I proved them right in having me do it. So we actually had to go back into the pilot that had been shot and insert me into it, which was kind of interesting. A lot of that was hard because some of the sets from the pilot weren’t there. They had changed them already into the permanent sets. But it was great. It was fun. I got on the show and became “the dad.”

TDW: When did it hit you that the show was becoming huge?

Eckhouse: We had done a season and went into the summer season, which put the show ahead. We had episodes that were airing in the summer. Other networks weren’t doing it. It was a very clever move by FOX. Up until that time, Jason [Priestley, Brandon] and I would take bets on when they would pull the plug. We were convinced. Five more episodes at the most. FOX was a fledgling network. They were just barely making it. Aaron was known for the soap operas of the 80s and he was looking for a comeback, too. He was well-known and sort of an icon but I think people had sort of written him off.

My wife and I and my two sons, who at that point were very young, were driving up to go to a vacation place in our beat-up old white car. We stopped somewhere in a little, sleepy town. I said we had to “graze the kids,”–you know, let them run around and all that sort of stuff. I’m pushing my little son; he was like 9-months-old or something. And I’m pushing him on the swings and I notice this couple. This girl and this guy. Maybe 100 yards off. Really far off. But they’re kind of looking at me strangely. And I’m thinking, “Why are people looking at me in this little town?” So I keep pushing my son on the swing and like 10 minutes later my wife is striding over to me with this look in her eyes. She’s got my other son in tow and she grabs me and grabs my younger son and says, “Just start walking!” I said, “What?!” “Just start walking! Go to the car!” “What’s going on?” “Just! Start! Walking!” I grab my son and I think, “What, is there a tsunami in the middle of the desert?” and I start high-tailing it to the car. I look back and there’s literally like 45 teenagers just coming at me. I was like, “What the bleep is going on?!” I had no sort of concept at that point that I was–you know, you forget that you’re doing the show and you’re in people’s living rooms every week. I know that sounds naive but you’re so busy doing the work, you’re not really thinking about what the effect is. I had two young kids. I’m doing all this remodeling in my house, which I did myself. I was not in “TV star” mode at all.

I looked around and we get in the car and people are thrusting stuff at us. “Jim Walsh! Jim Walsh! Autograph!” Had I been a little more prepared, I would’ve stopped and said hello and organized it a bit and signed autographs. But it was just so terrifying. And my kids were wide-eyed and didn’t know what was going on. We threw them in the car and just drove off. That’s when I knew my life had changed.

TDW: You also directed three episodes [Episodes 4.06, Strangers in the Night; 4.29, Truth and Consequences; 5.19, Little Monsters]. Do you remember what that was like?

Eckhouse: That was the best. That was just fantastic. I direct now quite a bit. It opened the way to something that was sort of a passion that I knew was in there and I knew that was where my life probably lay or was the direction I wanted to go in. It was a struggle to get them to let me direct, I have to say. They were worried about the rest of the cast wanting to direct which, of course, finally did happen but not for a long time. I had to go back and take some directing classes–which I had already done before but that’s okay–and prove to them I was really interested, which I was absolutely passionate about. What happened, actually, is the very first shot of the first scene I was in the scene. It was really tricky, actually. It was an interesting initiation into it. One of the directors had dropped out and they needed somebody and they came to me in the makeup chair one morning and said, “How would you like to start directing three days from now?” I was like, “Ohhhh…Jesus. Okay, fine.” Usually you have seven days to prep and you shoot for eight days. So I had three days to prep, which was obviously truncated, to say the least. But I stepped into it and loved it and got tremendous support from the crew and, I would say, most of the cast. I went on to direct a couple of more and I enjoyed it quite a bit.

TDW: At what point did it become clear to you that Jim and Cindy weren’t really wanted anymore?

Eckhouse: That’s a loaded question! I was well aware that my shelf life on the show was limited because the show was about the kids; it wasn’t about me or us. Originally it was but, you know, people want to see young faces, not old faces, on television. So it wasn’t really any kind of surprise or anything like that. I was glad to be on it for as long as I was. But after five years you re-negotiate your contract. Your contract is for five years. So that means if a show’s successful, it starts to become very expensive to have that large of a cast as regulars. It’s really strictly a financial thing, which now that I direct and produce, I completely understand. They wanted me to sort of sign on for a certain number of episodes and I had felt I really had done wanted I wanted to do. I did some directing. I was running a theater company at the time in Los Angeles. I loved the income but knew I had to move beyond it. I just didn’t want to spend the rest of my life being associated with being “the dad from 90210”–not that that’s so bad; it’s a great thing, but I knew I needed to move on.

TDW: Carol came back in season 6 with you [Episode 6.16, Angels We Have Heard On High]. You came back in season 7 without her [Episode 7.24, Spring Breakdown]. And then you both came back in season 8 [Episode 8.32, The Wedding]. Did the first two have to do with your schedules not aligning or was it storyline dictated or…?

Eckhouse: I’m sure it was just storyline. Carol and I are very close. We were very lucky to have each other on the show. Our chemistry was great. We loved each other’s families. It was really fun working with her.

TDW: When you look back now, do you think the show gave a realistic depiction of parent-child issues? ‘Cause many teen TV dads are compared to Jim Walsh and they’re held up to this Jim Walsh caliber.

Eckhouse: Hm. That’s interesting. I should ask you that. How do you think they’re held up? It’s an interesting question. I’m sure in some ways it looks pretty naïve today. But people still come up to me and say they really appreciate the show. It wasn’t so much “Oh, I’m a good dad” or “a bad dad.” It wasn’t about that. I think what it did is it opened the way for families to have discussions that they might not otherwise have had. It was a show that some families could sit down and watch with their teenage kids. Maybe not teenage–that’s probably stretching it. Maybe their seventh or eighth grade kids, before the proverbial “S” hit the fan, you know? It was a vehicle for a family to sit down together and actually watch something that would bring up issues. It’s not necessarily that we tackled them in the most realistic of ways. I will say that my first season and second season were far more insightful and more compelling and more daring than the last three, which became, to me, more of a soap opera.

I think in the beginning [Charles Rosin, executive producer], god love him, really was trying hard to make every show about an issue. He and I both had kids the same ages, were very much involved in education and obviously knew what it was like to grow up as a teenager and so forth. That was his passion, to bring up teenage drinking and suicide and drug use and pregnancy and all that sort of stuff. I think the first two years we did go to places where other shows hadn’t gone to. How it holds up now, I have no idea. I think probably now shows are allowed to be a lot more hard-hitting because of the influence of cable and the web and all that. The network shows have to be more daring. They have to go more towards [shows like] Sopranos and Oz and Hung, that go where the network show can’t go. So I think that it’s challenged them. I’m sure they’re probably a lot more racy and daring than we ever were.

TDW: Do you have a favorite episode or storyline?

Eckhouse: My favorite episodes were when I was the coach, when I was the baseball coach [Episode 1.20, Spring Training] and when I was the hockey coach [Episode 2.19, Fire and Ice]. I spent three days down on a field in Beverly Hills with the UCLA team as ringers playing my heart out. Sweating, driving the makeup people crazy because I just wanted to keep playing baseball when I wasn’t on camera and I couldn’t care less. I was just having a ball. And then when we were doing the hockey episode, I hadn’t played hockey in a long time but I got to play hockey with the UCLA hockey team. So those were my favorite episodes.

TDW: Do you have any thoughts on the new 90210? They mentioned your character last year in a really terrible dream sequence.

Eckhouse: Oh, really? I didn’t even know that. I haven’t seen it. I have no interest.

TDW: You’ve been doing some stuff with Charles and showbizzle, right?

Eckhouse: I did. I did an episode of showbizzle with his daughter and him, which was just a hoot.

TDW: What exactly did you do? And for those that don’t know, what is showbizzle?

Eckhouse: Showbizzle is kind of this combination of reality and fiction, where they do a series of interviews with young people, mostly, who are moving to Los Angeles–actors, would-be directors, producers–dealing with the show business, dealing with “the biz” and their escapades. So they’ve created these characters that people can actually write to–they’re fictional characters played by actors and the actors write back as if they’re the characters. And every week they’re putting up new episodes and it kind of combines reality because some of the people actually tell their own stories, some of the guest people. I came on and did this wonderful monologue about being a sound guy so completely not who I am but it was fun. It was scripted but I got to play around with it and Chuck’s daughter, Lindsey, is fantastic. She’s so talented and, of course, I’ve seen her from the time she was a little girl. So to see her grow up and now be a writer and a director in her own right is really exciting.

TDW: Are you in touch with anyone else from the cast or crew?

Eckhouse: I see a few occasionally. I saw Ian [Ziering, Steve] up at Sundance a couple of years ago and that was fantastic. I go over to Jason’s house and play with his little kids some times. Luke [Perry, Dylan] came to see a play I was in. Gabby’s [Carteris, Andrea] kids go to the same school that my kids went to so I got to see a lot of her. Tiffani [Amber Thiessen, Valerie] and I were part of the same theater company so we got to see a lot of each other. So it’s great.

TDW: That is great. This fall it will be 20 years since the show debuted.

Eckhouse: Wow. That’s scary.

TDW: Would you be willing to participate in some reunion event, like a panel?

Eckhouse: It depends upon the circumstances. Probably not. I understand in fans’ minds it’s nice to have that continuity but for an actor, you need to reinvent yourself and I’ve kind of moved on to other areas like directing and so forth. So it depends on the circumstances. I’d have to see what it was. But I don’t think they’re going to be asking me, to be honest. The show was carried by the kids, as it should be.

Come back next week for another exclusive interview!

TDW Interview Index





News Roundup: 90210, Gossip Girl, One Tree Hill and More

3 02 2010




Exclusive: Beverly Hills 90210 Producer Talks College Years, Slams New 90210

17 01 2010

When I first contacted Beverly Hills 90210 writer-producer Larry Mollin, he immediately told me had nothing to do with the new 90210, saying in part, “it is diluting the legacy” of the original and pointing out “they are making decisions with characters that they hardly understand.” As loyal TDW readers might expect, that was music to my ears.

And, thankfully, Mollin was happy to chat about his tenure with the original show, which included a whopping 128 episodes from 1993 to 1997, also known as seasons 4 through 7–”the college years.”

If my interview with Charles Rosin, where we discussed “the early years,” was chapter one, consider this the next installment in the iconic show’s storied history.

TeenDramaWhore: How did you first get involved with the show? Were you familiar with it previously?

Larry Mollin: I had one teenage son and one moving on, so I knew they watched it. The season before that I had done the first season of Renegade and then I moved off. I was looking for a job and I had written a spec screenplay called Borderline Normal, which got made into a movie. A small movie, but it was quite good. It played on Lifetime. It was about children of divorce, about young people in crisis. I guess my agent must’ve got the script to Charles Rosin [Ed. Note: henceforth to be called Chuck] and all of a sudden I had an interview at 90210. Before that, I had done mostly drama, action drama. I had also done comedy, too. My background was theater. I had been a playwright and a theater director for years in Canada. I came here in ‘78. But I had mostly done CHiPs, Knight Rider–mostly action stuff–and did lots of pilots. I was a studio writer for years for different pilots. So then Chuck met me and really liked the script. He was looking for something different, because the show was going to college. It was going to start the year after the high school graduation. We hit it off and I had a deal there. And really quickly I became the main writer for the next 128 episodes. I was kind of the go-to guy. I wound up executive producing the show [my] last year and producing it when Chuck left after season 5. I pretty much ran it even though I didn’t have the title.

Darren [Star] created it but he really wasn’t there to make it the hit. He left pretty quickly. Chuck Rosin was the guy who really gave his heart and soul to it the first couple of years and really, you know, put it on the map and it really reflected Chuck’s sensibility. And then the Wassermans, Steve and Jessica Wasserman [Ed. Note: also known as Jessica Klein] were his key. And then they had their own internal problems. They were a divorcing writing couple, which is not very productive, as you can imagine. So that was a disaster and then I came in in the midst of that so I became the go-to guy in season 4 and wrote with Chuck and wrote with the other influencer there, even though he didn’t have a big position, Chip Johannessen, who is now the executive on Dexter. Kind of  a quirky guy. Chip and I wrote a lot of stuff together. So between Chip, Chuck and I, in season 4 and 5, we pretty much wrote everything. The Wassermans certainly brought a lot of heart to it and when they were together they had a wonderful sensibility but, unfortunately, I guess it’s hard to sit in a room when you hate each other. So that didn’t quite work out. They stayed on for a couple of years but you had to work around them. It wasn’t a good situation. Steve’s gone now, but Jessica’s around. She’s a good lady and tried to make it work but it didn’t quite happen.

So that’s how I got on the show and on the show then we were basically trying to take this teen show and make it more, make it a bigger demographic. In those years, we turned it into the bigger hit that it was. Bigger demographic, more sophisticated. I come from a rock and roll background so I brought a lot more of a hipper thing, which kind of meshed with Chip. So we were able to put more of an edge than what had been happening. It became a hipper show, I think. Then we added The Peach Pit After Dark a little bit after that, maybe it was season 5. I can’t remember when we brought that in but it was different. But I created that whole college stuff. I created the KEG House. I remember that was a great day. Thinking, “Kappa Epsilon Gamma. KEG. Oh my god!” I was so thrilled to find something in an acronym that meant something that wasn’t a real fraternity. I couldn’t obviously use any Greek letters that were actual fraternities so that was a total miracle. I was so thrilled about that. We just had a ball. We always felt the show needed to have a certain level of immaturity to it and hijinks. Steve Sanders [Ian Ziering]–we all were Steve Sanderses a bit growing up and could bring in that level of it. And then we believed in romance. We believed in telling stories slowly, not rushing. Kisses were important. The storytelling of what we did worked. Plus, we knew the audience was watching so we were very, very careful not to break our own stories. Occasionally we screwed up. But for the most part, we really cared about the show. And this was, for the most part, before the Internet had really taken off. There were just hints of it. It was a dial-up world then. You had a sense of what the people were thinking but it wasn’t like today where you could really know. But we were really aware of our audience and cared. We were all in. We were doing 32 hours a year. No one ever did that again. After I produced the 32 at the end of college [season 7], no one ever did it again. It gave Chuck a heart attack after he left [after season 5]. It was hard, but it was great.

TDW: For someone in your position, when you’re coming into a show in its 4th season, how did you familiarize yourself with the characters and the past storylines?

Mollin: Well, you gotta do your research. You need to go back. You need to watch everything and you need to read everything and you gotta pay attention to what everyone’s saying. But the characters were well-drawn. I was a little bit older than everyone else so I kind of knew my way around TV writing. I had been doing it for 15-20 years by that point. But you had to go back and go over it, familiarize yourself with everything. There weren’t that many episodes–only maybe about 60 or 70 episodes at that point–so I could go through them kind of quickly in a couple of weeks, just to make sure I understood everything and wasn’t going to repeat stuff. And I could ask questions. I always had researchers then. But I loved the characters. And, like I said, I had teenagers then so I kind of knew what worked for them and what I thought was strong. It just suited me. It just suited what I was doing. It kind of combined a lot of the comedy and the drama. I was able to bring in some action stuff, like I did the whole action thing with Dylan [Luke Perry] in Mexico [Episode 5.18, Hazardous To Your Health]. We got a chance to do some things that were different for 90210, had a bigger scope. Chip and I did the two-hour in Palm Springs, P.S. I Love You [Episodes 5.31-32], with the whole action plot with Dylan on the tram. That was phenomenal what we pulled off. We had big production. And all the time we were doing that stuff, we were doing two shows at once.

Another big show we did, we did the Rolling Stones at the Rose Bowl [Episode 5.12, Rock of Ages]. I’m in that show; I played the roadie, ‘cause I was a roadie so it was kind of funny. I just wanted to go back to my roots a bit. I was a roadie for Blood, Sweat and Tears. So we did that episode and the same day that we were filming it, we were doing the fire episode [Episode 5.13, Up in Flames] with the lesbian and Kelly [Jennie Garth] in the bathroom. That’s how ballsy we were, production-wise. We were so good at what we were doing, we were working so hard, we could do two shows at once. Those were really big episodes, good episodes, I think. I think the first two years of college were really sensational. We really stepped it out and expanded our thing. It was too bad that Shannen [Doherty, Brenda] left. It was unfortunate. But we found Tiffani [Amber Thiessen, Valerie], which worked well.

TDW: That was actually my next question. You were there for some big casting changes. You had Shannen leave in season 4, Tiffani join in season 5, Gabrielle [Carteris, Andrea] leave later in season 5 and you had Luke leave in season 6. What do you remember about those times and having to adapt the show?

Mollin: Oh, it was sad. The Shannen one, we wanted her to work. I mean, the writers loved Shannen. She’s a child of this business. You give her a script and she’ll just read it exactly like you wrote it. Never change a word, never ask a question. She had a photographic memory. She could be doing anything she wanted the night before and just come in and nail it–and the other kids hated that. She’s tough on the set. She’s just a child of the industry. It’s not really who she is. She’s just whoever she plays, in a lot of ways. She’s just a kind of unusual, very talented professional but hard to get along with. She just kind of pissed everyone off eventually and she pissed off the most important person, which was, you know, Tori [Spelling, Donna]. And not only that, she introduced Tori to a man who beat her. So that pretty much put the death card on her. So that was pretty much that. I think they were willing to go with her but, basically, what happened was, in the middle of a show, she cut her hair and totally screwed us up for continuity so everyone was pissed off at her. Like I said, not the writers so much, but the producer people. And the other kids were out to get her head, because she had pissed everybody off, and they basically went to the old man [Aaron Spelling] and said she had to go. He was happy to let her go because, like I said, she had introduced Tori to the guy who beat her. I’m not going to mention his name. So that was just the way business was done there. The old man was never the bad guy. He would let everyone else be the bad guy and then he’d get rid of her and then bring her back again [in Charmed]. But it was unfortunate she left, because we had all intention of keeping her there. And I always feel bad, because it was my idea to send her to England to get acting lessons [Episode 5.31-2, Mr. Walsh Goes To Washington], which kind of became a bad joke because she was a good actress. I never thought she was a bad actress. That whole storyline came out of something that I really loved. I loved Tennessee Williams and we went to the estate and got the whole Cat on a Hot Tin Roof thing [Episodes 4.27-30]. We had the Laura Kingman suicide [Episode 4.29, Truth and Consequences]. It was kind of out there but it was good, it was fun. It was well-done and Shannen was good in it. But it was a way to get rid of her. But we, obviously, always kept her alive in season 5, 6 [by mentioning her]. We always meant to keep her and, of course, that’s the big relationship. Our largest triangle–her, Dylan and Kelly–that’s the crown jewels, as far as we were concerned. We would never do anything to harm that so we always just kept it going. And that’s what’s so harmful to me. All these careful things we did, these new people [on the new 90210] are just indiscriminate. Whatever they can get the jolt with, they do. There’s no thinking.

TDW: We’ll get to that later on, for sure.

Mollin: So she left and Tiffani came in. We obviously had an exhaustive search to replace her. We looked at many people. We liked Tiffani and we thought, “Oh, this is cute. I think she’s Brian’s girlfriend. He’ll love this!” When we cast her, Brian [Austin Green, David] was so upset! Oh my god, he felt betrayed! We were totally shocked and had no idea. But, then, of course, we realized why: because other people would be kissing and feeling up his girlfriend! That’s what the guys do. That’s their free shot. Luke’s a wonderful man and Jason [Priestley, Brandon] is a wonderful man. But they are young guy actors on a show, which basically means they get to feel anybody up they want. And that’s just the way they are. I’ve got tons of outtakes of this stuff. That was just the fun of it. That’s just the way it was before sexual harassment became really a watch word in the industry. Young actresses just had to put up with that sh*t. I had seen that for years and years on shows. It was the way it went. Obviously if a girl didn’t like it, she could complain but most of them just put up with it and just expected it. The guys were just like that. But Tiffani came in and we just had fun with her character. Chuck and I created her character. I remember creating that one-hand pot-smoking/rolling thing [in Episode 5.01, What I Did On My Summer Vacation And Other Stories] and her character just took off. She was a total two-faced character and we really hadn’t had anyone like that on the show. We brought in the character and it totally helped lift the show up a bit for a while. Who was next?

TDW: Gabrielle. She left later that season.

Mollin: Well, Gabrielle, we asked her politely–she was the oldest–if she could just hold back. We didn’t want to do a baby. Did not want to. We certainly didn’t do the Hunter Tylo thing where [Melrose Place] asked her to get an abortion but, you know, we didn’t want to go down that road. But she got pregnant and was having the baby and there was nothing we could do. I actually used my whole personal story for it. Her premature baby and all that came out of my life. We gave it a good shot. I have to admit I was not in the room when Mark Damon Espinoza [Jesse] was cast. I was totally appalled that they cast this guy. He had ears as big as Botswana as far as I was concerned. I just could not believe it. I have no idea what happened in that room that day when they cast him. I just thought they totally blew it. To have a guy with a receding hairline– just everything I thought was wrong. And he was a nice man but it just was never going to happen. And rather than getting like an Esai Morales, someone who was really sexy and good–I just had no idea what he was thinking, the old man. He was always difficult with minority casting. He would always go ways we would never understand but we never wanted to get into it. So they cast him and they just didn’t really click. It didn’t really add to us. It took away a lot of the fun, to have to be in this grown-up stuff. We eventually just didn’t think it was going to work, and I don’t know who made the decision; I guess it was the old man. She was done. She was gone. We sent her off to Yale, as I remember [Episode 5.30, Hello Life, Goodbye Beverly Hills]. But she came back. She came back for Steve’s birthday party on the Queen Mary [Episode 6.31-2, You Say It’s Your Birthday]. I think we brought her back for that. I did that one with Steve Wasserman. That was a big show, too. That was a fun show.

TDW: Yes. We also saw her again in seasons 8 and 10.

Mollin: I never watched after season 7. What they did there was so appalling to me. Our thesis was always that we basically tried to write them as ordinary kids living extraordinary lives. But after I left, they were ordinary kids living ordinary lives! Like they couldn’t get jobs. What do you mean, they couldn’t get jobs? They went the wrong way. Brandon was supposed to have a great job! What the hell? They made them struggling. It was just wrong. Every choice they made was all wrong. They didn’t understand how to tell stories. Michael Braverman [the new writer-producer] was a disaster and Jason was supposed to take over and he didn’t take over. It lived on and it did its thing but it just became more of a Melrosian soap opera. They didn’t follow the thing that we had set up. These kids were supposed to be having great lives and that would’ve made the show fantastic.

TDW: Well, let’s now go to Luke, because he left in season 6.

Mollin: Luke, he was tired of it. All the kids hated the show by season 5, other than Tori. They all just hated it. Every day they would come in was just torture for them. We were making them do things, making them play these characters. Luke is a wonderful man and a good professional but he just wanted to go. We tried to really stack it up, and thank god we cast Rebecca Gayheart [Toni], who was just such a dear and so wonderful in that part.

TDW: I have a question about that storyline. Chuck told me they had purposefully filmed Jack’s death in season 3 [Episode 3.21, Dead End] in such a way that it could turn out he was really alive. In season 10 we saw that happen [Episodes 10.18-20] but I’ve heard that it was supposed to happen in season 6 until Luke revealed he was leaving. So instead in season 6 we find out that there’s this guy Tony Marchette [Stanley Kamel] behind Jack’s death and Dylan sets off seeking vengeance.

Mollin: I don’t remember the exact sequence of it. Josh Taylor [Jack] never came back when I was there but there was talk of that. Chuck had that FBI agent [Christine Pettit, played by Valerie Wildman] who he always liked. She was a friend of his and he liked to try and throw her work. So we always teased with that. We talked about that but we didn’t really know where to go with it at that point and Chuck was gone at that point. So once Luke was leaving, we wanted to have a big story and there’s nothing bigger than avenging the death of your father and we kind of went that way. That was a very good storyline in the sense that it was a good way to get to Dylan to leave [Episode 6.10, One Wedding And A Funeral]. It was really powerful. It was huge ratings for us. It might’ve been the biggest rating for a non-season finale show. It was big and we did it right. Everything went pretty well with that one.

TDW: It was a phenomenal storyline and it still stands out today to fans as one of the saddest ones.

Mollin: Yeah, it was great. The leading up to it was good. I was able to bring in a lot of my cop show background. We had a lot of tense stuff, stuff we had never done before so that was fun. And we had good actors. That gentleman who played Tony just died recently.

TDW: Yes. He died in 2008.

Mollin: He was excellent in that. But, yeah, that was fun. Luke left and we knew we were certainly going to miss him. We were floundering for guys after that a little bit and went through a bunch of different ones but I guess he came back [in Episode 9.08, You Say Goodbye, I Say Hello] and needed the money or whatever. He would’ve been too embarrassed to come back when I was there or any of the regular [writer-producers] from his time because we knew him so well and we’d know why he was coming back. He was just too proud a guy to come back when Chuck or me or the Wassermans were there. He wouldn’t have done it.

TDW: What would you say were the biggest challenges you faced while doing the show?

Mollin: The workload. Like I said, we were doing 32 hours a year when I was there so the biggest challenge is just trying to meet the audience’s expectations and beyond. To be true to the characters and just have each show have the template be satisfied. For us the template was–we used to kid about it. Let me see if I can remember it. It was emotion, passion, bonding, fun. If it had that, we felt pretty good about an episode. And then Chip and I added another 4, which was kind of the reverse. I have try to remember this now. Commotion, fashion, blonde-ing, sun. That was the reverse. It was a chance to really reflect on what was going on for us but be true to these characters. And we got a long game in them. We knew what our big rooting interests were, we knew who our big couples were and we were going to take our time to get to them. We obviously knew David and Donna were really, really important no matter who they were with at the time. It was always going to be when they would get back, because that’s what the audience wanted. The same thing with Dylan and Brenda or Dylan and Kelly or Brandon and Kelly. You had all that stuff there. We put people in between them and made you suffer and wait for them but we knew where our money was buttered on that stuff. It was just trying to get there and not jump the shark, not go for the cheap jolt. Don’t do anything indiscriminately because you have to deal with everything. There’s ramifications. You have to deal with the reality. We tried to keep emotional reality. That was really important to us. Whereas other shows like Melrose didn’t have emotional reality. We tried to keep that–and also keep time real. We stayed in the seasons. If you were watching the show in February, the show was about February. We were doing 32 but we tried to make that reality seem real and just have fun with it.

TDW: Do you have favorite episodes or storylines that still stand out to you?

Mollin: I have ones that didn’t work that I remember!

TDW: That was going to be my next question!

Mollin: I think Dylan losing his money [in season 4/5] was kind of a fun of storyline, Dylan getting fleeced. He had the half-sister [Erica, played then by Noley Thorton], and that whole thing, which ended up in Mexico, was pretty good. That storyline I really, really enjoyed that a lot. I enjoyed all the storylines that led to the Palm Springs thing, too [in the season 5 finale]. We had Kelly and the lesbian, Dylan and the stupid movie after rehab. And that episode ended with Brandon and Valerie [hooking up], which we knew was going to be a great season-ender. I think they were watching the Smurfs birthday party they had had as kids and I remember we had to get the rights to that. But that was a very cool episode. Chip left after that.

TDW: So what do you look back on with regrets or what do you think you could’ve done better?

Mollin: Interesting. Regrets would be Jamie [Ray] and having to fire him.

TDW: That was going to be another question!

Mollin: That was such a sad time. That came out of the season 5 finale, too [where Ray pushes Donna down the stairs.] We had this whole plan. He was going to go to rehab because he was an abused child. We were going to redeem him because we liked him. He was a wonderful kid. Jamie was a dear guy. We liked him. He was a great worker. But that episode happened and there was a lot of mail to the old man–“How can Donna be so stupid and be with this guy?”–so we came in to start the new season, which was right after since we only had like a week or two off because we were doing 32, and he goes “You have to get rid of him.” And we go, “What are you talking about?”  He said, “You have to get rid of him. Everyone thinks Tori’s stupid.” There was no arguing with him. That was all he cared about. So we had to fire him. It was just devastating that I had to tell him that. We had just signed him for a million dollars, but he got to walk away with his money. But it was still devastating for him. We left him as being a beater, which stayed with him, unfortunately. People thought he was a beater. It was just terrible. I just always felt really bad about that. It just didn’t work out well. [Ed. Note: Walters was written out in 6.13 but had brief returns in 6.30 and 7.10]

TDW: Do any other regrets stand out?

Mollin: D’Shawn Hardell, who was played by Cress Williams. We loved having him there. We wrote an episode called Blind Spot [Episode 4.26] and the secondary plot has Tori in a little relationship with Cress Williams. I think they might even kiss.

TDW: Donna was trying to make David jealous.

Mollin: Yeah. Well, that was it for him. The old man brought us upstairs and said, “No, we have to get rid of him.” [Ed. Note: Williams does appear in 4 more episodes, 3 of which were in season 5.]

Here’s another story about the old man: We had to create a new guy for Kelly and we hired a guy, paid him a bunch of money. His name was Dalton James. He played a character called Mark. He ran the TV station.

TDW: Yep. It was season 7.

Mollin: So we’re doing 32 episodes so we’re writing away and we have half the season written but we’ve only shot through episode 5. We get called in to the old man’s office. “We have a big problem.” I go, “What’s the problem?” Well, we knew that Jennie didn’t like him. So it’s me and Steve Wasserman, and he goes “I just found out that Dalton James is anti-Semitic.” We go, “What?! That f*cking–” And he goes, “Well, we have to get rid of him.“ And we go, “Well, we’ve written another 10 episodes for him! We have this whole story!” And he goes, “Well, he’s anti-Semitic. I can’t have him here.” And we go, “You’re right!” and we get all pissed off and then we walk out to the elevator and Steve goes, “He’s a f*cking liar.” He knew we were going to complain if it was just that Jennie wanted to get rid of him, so he made up a story that the guy was anti-Semitic so we’d be pissed off and write him out. And that’s the kind of guy he was.

[Jennie] didn’t [complain regularly] and was a tireless and loyal cast member from the get-go to the end. So whatever she told him that set up him calling us upstairs into his office to kill off “Mark,” I have no idea. We were basically told no chemistry and he was an anti-Semite. The old man knew with the character suddenly gone we had a heap of rewriting to do in a very short time and figured we’d resist mightily. He took preemptive action, jacked us up so we swore we’d sent the sucker off to hell in a blink of an episode. I think in the elevator going down from the office we laughed, speculated that we’d been played but appreciated the old man’s artistry at it. With him, the ends justified the means and screw the actor’s or anyone else’s reputation. He played at the game hard. We had no evidence that Dalton James was anti-Semetic. Most likely wasn’t.

TDW: The way Mark was written out–he and Brandon competed for the Dreyer fellowship and Kelly didn’t like his behavior and she said sayonara [Episode 7.14, Jobbed].

Mollin: “Next time your phone rings, bet someone it’s not me. You’ll be right every time.”

TDW: Exactly. But really, you would’ve kept him?

Mollin: Oh, yeah! We were going to keep him. Once that happened, we changed everything. But he was going to be one of our regular characters. We had hired him for 13 more but we got rid of him in the middle of the season. We planned to have him the whole year. We had written scripts for it so we had to go back and re-do everything to get rid of him.

TDW: Well, getting rid of him paved the way for Brandon and Kelly’s reunion.

Mollin: There was always that but we were going to have him in the middle of it and really save it for a little later. I just remember us going down there and being pissed off and going “We don’t care how long it takes to rewrite!” and then we realized he totally just lied about it. He was willing to throw the guy under the bus because he knew we’d resist. So that’s typical Spelling. He just manipulated us with something we’d want to hear. He knew the only way to get that reaction from us was to tell us the guy was anti-Semitic.  It probably hung with the guy. I don’t know if he ever worked again.

TDW: Another actor-character I’m curious about is Jason Wiles who played Colin in season 6.

Mollin: That was fun. He did a good job for us, I thought. He was never going to be a long-term character for us so we kind of set him off on a stupid path a bit. At the end we maybe went off a little. We had a car chase [in Episode 6.32, You Say It’s Your Birthday]. It was not terribly out of place. It was fun having Kelly on cocaine for a while. I thought that was kind of good. It challenged all her relationships with her friends, thanks to the new guy in town. Brandon worried that she was becoming a cokewhore. And that was pretty good. We felt we had earned that. We built it up pretty good. That was another thing we believed in. We believed you had to earn emotion. You had to set your scenes up to earn the emotion. You can’t just all of a sudden indicate and tell it and then try to explain it. You have to set yourself up. We were really tough on ourselves on that. We wanted to make sure we earned our emotions.

TDW: I am curious to know your personal preferences: Kelly and Dylan or Kelly and Brandon?

Mollin: If I’m Kelly, I’m thinking you’re better off with Brandon. As a father I guess, I’m saying Kelly and Brandon. Dylan’s an addict; he’s always going to be an addict. Dylan’s the bad boy. Dylan’s going to want Kelly and Kelly’s going to want Dylan but Kelly’s going to be better off with Brandon. But Kelly’s always going to be fantasizing about Dylan. I think that’s just how it is. It’s your typical “girls want bad boys,” even though they’re bad for them.

TDW: I wanted to ask about one of the famous lines from that triangle, “I choose me.” [Episode 5.30, Hello Life, Goodbye Beverly Hills]

Mollin: Oh, god, yeah. That was Jessica, actually, who came up with that. That was a cop-out. That’s the “goodbye Andrea” episode, before the last of the season, and she had to choose between them. That was alright. That was kind of cute. That worked. I thought that worked well overall, because, again, we needed to sustain that. We didn’t want to kill the triangle. We wanted to keep making people wait for it. It’s an art.

TDW: And you had Brandon keep the ring he proposed with and it came out again in season 6 [Episode 6.02, Buffalo Girls] and season 7 [Episodes 7.19-20, 7.24, 7.26., etc].

Mollin: Yes, that’s right. In one of those season 7 episodes, Jason plays the jeweler [Episode 7.20, With This Ring]. Phil Savath wrote that episode. That was good. He’s gone now, too.

TDW: So you slowly put Brandon and Kelly back together and the ring was a big part of that.

Mollin: Yeah, that was good. It was a good use of stuff from the past. We tried to really remember what we did and always use things. We tried to have stuff in there that were rewards for people who were loyal viewers. Little, little things that they would get. We always threw that in there. And for ourselves, too. We’d pull in little things from the past and it worked out nicely.

We tried to be smart, too. We did a storyline that was just fun. Me and Chip, we created the character of Lucinda Nicholson [in season 4] . We tried to really have some fun. Her class stuff was really fun. We tried to make her this bizarre professor. It was a cool character. Dina Meyers, she was excellent. Those were interesting storylines, those first couple of years. And we loved the KEG stuff, all that kind of crazy, stupid stuff.

TDW: I was in Los Angeles last January and I went to some of the locations, including the KEG house.

Mollin: Oh, you went to Occidental College in Glendale?

TDW: Yep. It was such a trip to be there.

Mollin: That was perfect. It was really smart. Chuck and I went looking and we looked at Pepperdine, which is in Malibu, and Chuck said, “If we do that it’s just going to look like Malibu High. Let’s put it in Glendale.” And he was right. We always imagined it was in West L.A. but it was in Glendale. It had a California look without being too beach-y.

TDW: It worked well. It was just interesting to see that the KEG House was actually somebody’s house a few blocks from the campus.

Mollin: Yeah. That was fun. That fraternity stuff was great. Because we all were Steve and we all felt very close to his character. He didn’t have the biggest storylines but he always had the most fun.

TDW: When you have the girls changing their hairstyles and the way they looked, how does that work? Did they need to come to you first?

Mollin: Well, hopefully, they would run it by us first. But what typically would happen is that one would do it and then the other one would want the same thing. Every time that would happen. “Oh, she’s got the good hair. Why can’t I have that?” So you have to, basically, move it around. But they’d have to clear it with us because so much of it has to do with continuity. When you’re doing two [episodes] at a time, you had to be careful. They would run it by us and we had very good hair people and wardrobe people. We had the best of that. It was always tough, though. That’s why when Shannen did that one thing with cutting her hair in the middle of the show without asking anybody, that really screwed everybody up and kind of created the atmosphere that, when the push came to get rid of her, no one resisted.

TDW: Tori seemed to have the most hair changes of anyone.

Mollin: Well, you know, she was a special case. When you’d go to meet Mr. Spelling–that’s what how we referred to him–to tell him what the episodes were going to be about, the first thing he’d ask was “So…what’s Tori doing in this episode?” So then we always started with, “Well Donna is…”–even if she had a small part, we’d start with her in the pitch. Donna first. But it was endearing. He obviously loved his daughter. It was a wonderful for thing for him to be able to create this character. But we would tailor the pitches to begin with Donna, no matter what they were, even if she had one scene in the thing. But eventually she became a very good actress and a lovely person. Whereas all the kids kind of got jaded about the show, she always came in “Where’s the new script? I can’t wait to read it.” Lovely, lovely gal. A trooper. We had some great times with her. Really well-liked by everybody. She was a trooper.

TDW: So at what point did you decide not to continue with the show?

Mollin: Well, I never had a chance to continue. They came into my office and threw me out.

TDW: I wasn’t sure what happened…

Mollin: It was terrible. I was the only one standing at that point. Chuck was gone. The Wassermans had totally blown up, couldn’t even be in a room together anymore. I was the only executive producer left, doing 32 episodes with a weaker staff. I brought one guy down from Canada, who I used to work with from years back, who helped tremendously. The ratings were fine–maybe they were a tick under but they were certainly really good ratings. But Jason wanted to take over the show. He had some bright ideas. Again, the kids hated the show. To make them sign their contracts every year, the company had to make assurances to them. They didn’t want the Wassermans back because they had really pissed everyone off and they kind of painted me with the same brush. Jason said, “I want to take over. I want to have a whole new show” and that was it. They decided to have a whole new show. They brought in some guy [Braverman] and then fired him six weeks later.

And in typical Spelling fashion, for all of us, Chuck, the Wassermans–not Chip, because he wasn’t running the show–but for anyone who ran a Spelling show, even Frank South at Melrose, never worked for FOX again. Spelling would always stop it. He was a motherf*cker. He was a loving man who could be a motherf*cker. He didn’t want you to have any success beyond him because that would mean he wasn’t successful. We all learned this but it was a shock to us. To come out and then never work for FOX again.

TDW: When you say it was a struggle to keep the actors to stay on, what were they upset about and what made them stay on? ‘Cause, by the time we got to the series finale, there were 4 originals [Garth, Ziering, Spelling and Green] still there.

Mollin: They stayed because something kicked in: the fact that they were getting paid pretty handsomely. They would never get that kind of money again, probably, most of them realized. Ian Ziering figured that out. Brian did. Brian was the youngest and he was a good kid. But they were all growing up and they hated it but they loved it. They understood it but at the same time it was hard for them. Like any actor on a long-running show, you love it and you hate it.

All the actors look fondly back on it now, I’m sure. They all knew what a good opportunity it was. And we created a very good environment for them there. They had it pretty damn good but they had to work their asses off, just like I said. For 4 years, we did 32 hours a year. People do 13 a year now and that’s a season. 32 hours! And they were big shows. They weren’t small shows.

TDW: Did you keep in touch with any of the cast?

Mollin: Jason I talk to occasionally now. He probably cost me millions of dollars but we’ve become friends again. He’s a good man. He just didn’t think that he was putting someone out of a job. He just wanted to take over executive producer and then six months later he didn’t. Like I said, he hired this guy Michael Braverman and they had no idea what to do. They totally floundered. They cut the order down. They were f*cked. They brought in this one guy that we had worked with, John Eisendrath, [and] with him they driveled it out til the end [of the series] and even repeated storylines, which was kind of annoying.

TDW: Jason continued to have his name as producer even after his character left in season 9 [Episode 9.06, Brandon Leaves].

Mollin: Yeah, that was just a deal. He wasn’t producing.

TDW: Talking about storyline repeats, in season 10 is when they did do the “Jack McKay is alive” storyline but they did it in such a way that it didn’t make sense with earlier things.

Mollin: They were untrue to the saga. You had to know the saga. That was so hard about writing the show. The show was only in our heads. You had to be on the inside. And not a lot of people wrote the show. We just kept it with a couple of people writing because we were the only ones who understood all the different details of it. It was always fluid, because people were dropping in and out because  it was hard to keep up. I remember the network was telling me I had to get more writers; I was writing too many episodes. I was like, “What? I’m just trying to get through this. We’re doing 32 hours. Give me a break here.” They didn’t understand. And, like I said, no one was able to do [32] after me. We were exhausted. Chuck had a heart attack. I took a year off. It was a lot of work but it was something we were proud of. And that’s why the new show diluting the legacy is so hurtful to us.

TDW: Sticking with the old show for another minute–so you never kept up with it after you left?

Mollin: I never watched after the start of the new season, the Hawaii episode [Episode 8.01-2, Aloha Beverly Hills]. I saw that and went, “Nope, that’s it for me. They don’t know what the f*ck they’re doing.”

TDW: That is just so interesting to me. Chuck told me the same thing, that he didn’t keep up with the show after he left.

Mollin: No, he didn’t. We’re all built with schadenfreude. You want it to do poorly after you leave. Everyone feels the same way. But I didn’t realize it was going to be that poor. I just got pissed off because they weren’t being respectful. I just stopped watching.

TDW: I’m sure you know about the series finale, though.

Mollin: I don’t know much.

TDW: Well you know David and Donna married. Did that seem right?

Mollin: Yes, that seems right. They should marry. That was always meant to be. That was the big relationship. The last episode I wrote had Donna losing her virginity in the college graduation episode [Episode 7.32, Graduation Day]. I always felt like one of those guys who built the pyramids and you bury yourself inside. You can’t survive after that. ‘Cause I finally did the thing you were never allowed to do: let Tori’s character have sex.

TDW: And that ended up being your last episode!

Mollin: You know, it’s funny. It was kind of endearing for many years. The old man, that’s how he controlled what he considered his daughter. Even though he couldn’t control her in real life because she’d be out there having sex with everybody, he was very concerned about keeping Donna a virgin. And we went with it because it was kind of good; we got lots of good stories out of it. We had lots of “almost”s and stuff. So, at the end, going into it, I went to him and said “Should she go to a priest? How should we play this thing?” and he said “No, just do it.” I always felt pretty good about that scene I wrote there. “How did I get so lucky?” “You waited.” It was kind of nice. It was sweet.

TDW: I also wanted to talk about the DVDs. I’m not really sure how the decisions are made but I’m going to guess that you guys aren’t involved.

Mollin: Chuck was involved–he did some commentary in the beginning. I haven’t seen any of them.

TDW: We haven’t gotten extras since season 4.

Mollin: Yeah, they didn’t want to put the money into it or they didn’t want to talk to us. They could’ve talked to me, certainly, but they never did.

TDW: The fans are not happy. They’re upset that there’s no extras, there’s odd photoshopped cover art, there’s scenes missing, there’s songs changed.

Mollin: Are songs changed after season 4?

TDW: Yes. Songs are either changed or scenes with certain songs in them are cut.

Mollin: Oh man. You see, what happened was this– and it hurt me with a lot of stuff I did before this. When we used to make music deals, we’d make them for 5 years because that was the life of the show. Then there was an afterlife when cable came in and things were running longer and longer. You had to start making your music deals in perpetuity. We didn’t start making our music deals in perpetuity until season 4 so all that stuff that Chuck had done from seasons 1-3, you had to redo. So whoever puts the DVD together has to go back to the music companies and make new deals. And they have you over a barrel, so a lot of people just strip out the music and redo it.

TDW: Well, I can tell you–thanks to a really dedicated fan I know–some of the things that are missing are what we talked about. In Luke’s last episode, Nobody Knows Me by Lyle Lovett.

Mollin: No! That’s out?!

TDW: That’s out.

Mollin: Oh my god!

TDW: Some of Jamie’s performances are out.

Mollin: No! Holy sh*t. Jamie’s performances are out?

TDW: Some of them, not all. It’s peculiar in that way.

Mollin: He must’ve had deals for some songs and then not others then.

TDW: So this one dedicated fan has the DVDs but is also DVRing them on SoapNet but neither editions are perfect versions and they’re each missing different things.

Mollin: So on SoapNet, you’re seeing it with the original music?

TDW: For the most part, I think so. But some scenes are cut out. For instance, in the season 7 finale, Clare’s long goodbye scene with Steve on the beach?

Mollin: Yeah, I wrote that.

TDW: That’s not on SoapNet.

Mollin: That sucks!

TDW: So you guys are not consulted on cover art, asked to do extras, nothing.

Mollin: No, nothing. But don’t forget, there’s nobody there anymore. Spelling Entertainment doesn’t exist. The old man died [in 2006] and all Paramount has is a piece of software to market. There’s residuals. They have to pay us our money when they run stuff or if they create something off our characters, they have to pay us character payments. But they couldn’t care less.

The music stuff we had a lot of fun with, too, with the Peach Pit After Dark. I come from a rock and roll background so I was always bringing in stuff. We had The Flaming Lips [Episode 5.23, Love Hurts] and The Cramps [Episode 6.08, Gypsies, Cramps And Fleas]. Just stuff I really liked. Kind of odd stuff. And we got the Goo Goo Dolls [Episode 6.32, You say It's Your Birthday]. Here’s something you can put in and Jason will have to live with it. Toward the end of “getting rid of Larry,” for the 2-hour final [in season 7] I was writing with Phil Savath. We had to have a group for the after-graduation party and I worked it around–this was like 1997–and I got the Spice Girls. I had the Spice Girls. And I go to Jason who is directing and I go, “I’ve worked this out. They’re fans of the show. We’re going to have the Spice Girls!” And he went, “I’m not doing the show.” So they wound up getting The Cardigans. Like did anyone know who The Cardigans are? Terrible misstep. It was going to be huge. Then he threw this [Roaring] 20s thing on me, which I never understood. I never understood what that meant. A 20s theme? I have no idea. At that point I realized I was dead. I liked the episode; I was happy with it but, again, J was trying to take over and insert his own style and stuff. So we didn’t use the Spice Girls, which would’ve just been goofy and campy and fun and made the show that much bigger. But instead we had something that was smaller and hipper at the moment but didn’t really last. I mean, does anyone know who The Cardigans are today? LoveFool? They were alright. It was one of the weaker groups we had. And, again, J was directing that and he wanted to insert his stuff and that 20s theme. I’ve never understood it.

TDW: Well, another interesting episode he directed is The Time Has Come Today [Episode 4.25].

Mollin: Oh, yeah. I did a lot with Chuck on that one, too. That one was just so much fun. I did the story with that with Chuck. That was fantastic. I mean, it was goofy and indulgent in a certain way but we had fun with that. It reminds me of another odd one that we did, we went down the stupid road of reincarnation [Episodes 5.26-29]

TDW: Yes! Well, I have to say, as a Kelly-Dylan fan, it’s fabulous to know that, in another life, they were together and that they were soulmates.

Mollin: Well, that’s what we felt! We were writing it for you. What can be more meaningful than learning someone is your soulmate? We bought into it. Again, it was a little indulgent and we did the whole Western aspect [Episode 5.29, The Real McCoy] but it was pretty fun. You’re doing so many episodes, you kind have to push yourself to keep yourself interested. But The Time Has Come Today was fun and interesting. That actually came right after Brenda’s animal rights stuff [Episodes 4.22-24].

TDW: Yes. It did a wonderful job of both hitting the 1960s–the generation, what was going on then and the major events–and paralleling what was going on in Brenda’s life to a tee. The character relationships were just mirrored so well, especially the triangle.

Mollin: Yeah. She had just been activist and it had blown up in her face. We were very happy with it. And, again, if the Internet had been around then, this show would’ve been so enormous. I don’t know if you remember, in the Rolling Stones episode–FOX had bought an Internet company. It was called Delphi. And I actually have Clare [Kathleen Robertson] and David online, doing flaming in a chat room. We had early Internet sh*t on that.

TDW: Yes, you did. And then in the fire episode, that’s how all the lesbians ended up at the party. David and Clare posted the message in the wrong message board.

Mollin: Exactly. So if the Internet had been full-blown when we were there, this show just would’ve been enormous. It might’ve been bad for the actors. It probably would’ve screwed them up even more and made them even bigger celebrities. But it was just so prime for that and it would’ve been enormous. We were just starting to get a bit of that. We tried to keep on the edge of stuff that was going on pretty good.  It was a fun time. I guess I never had an experience that was quite like that, that intense for that a long of a time.

TDW: What do you think is the show’s legacy?

Mollin: It basically put FOX on the map in the drama world. Obviously The Simpsons put FOX on the map really but certainly we were the first long-running drama they had. But the legacy, it made teen drama important. It made teen drama something that everyone could watch. Parents could watch it with their kids, ‘cause the kids were real. Now they just try to make a jolt every two seconds. Nothing adds up. There’s no emotional reality. It just jumps the shark every two seconds.

TDW: So did you watch any of the teen dramas that came after that? Dawson’s Creek, The O.C., One Tree Hill…

Mollin: Dawson’s Creek I didn’t watch. It seemed to be alright. They told a story. They didn’t kill the storytelling by rushing it. O.C.–for us, we were always very defensive. All these shows would come out and they would say “Oh, we don’t want to be like 90210. We want to be good.” In fact, when I went for jobs after and they’d ask what I’ve done, I’d say “Well, I just did 128 episodes of this FOX hit show, 90210” and they’d go, “Oh. It’s too bad you didn’t do a good show.” Well, what was a good show? A show that was canceled after a year? That was the thing. You got painted with this terrible brush. I had a couple of shots after that in primetime but I basically moved to syndication and international stuff because I didn’t want the insecurity of getting canceled after four episodes anymore. But the other shows–O.C., I never really watched, to tell you the truth. They kind of made it just like 90210. They had a Peach Pit thing [with a diner]. It was fine. I didn’t really care that much. It didn’t affect me. They weren’t going to hire me. I tried at one point to get a job but they weren’t interested in hiring me.

TDW: Let’s go to 2008 when you first heard they were going to do a new version of 90210. What was your reaction?

Mollin: Well, I just figured it would suck because they weren’t bringing anybody in with any mandate, who would understand the characters they had to write. It was all just about the title Paramount had sold. The old man would’ve never had done that. For all his failings, he certainly was protective of the material. He never would’ve let somebody just jump over without having taken care of it. They just sold the title, basically, and didn’t care what people did with it. To Paramount, it was just a piece of software. I was concerned. I liked the idea of Rob Thomas at first, because I thought he was a good writer. I liked some of the earlier stuff he had did. But then he was off and, just reading what they were doing, I was like “Wait a second. Do they not have any idea what they’re doing?” I realized right away and I just went, “Oh my god.” Once they had that Rob Estes [Harry] was going to be the principal of the school, I was “Oh, this is f*cked.” That should be the least important part. We would never be in school. That’s the worst thing to do. It’s the biggest mistake to set it even more in school. It was really stupid. And, you know, to have him involved in that, to have adults involved in that, that was really kind of lame. So I didn’t think it would be good but I did watch the first one. They didn’t know how to build or have anticipation. They didn’t know how to make a kiss important. At least Dawson’s Creek understood that. You don’t rush over these moments. You don’t just throw them out. ‘Cause then there’s nowhere to go. These are teenagers. It was just ridiculous, I thought. Jennie, she had her part and would do what they said. It’s not her fault. She was just playing the character but it had nothing to do with the character that we had set up. Then once they started making a decision about a child [Sammy] and who was the father, I just had to stop paying attention. It just irked me because they had no mandate to do these things. They had no equity. They were making decisions on this legacy, which, now, if we were ever going to pick it up again, we have to deal with.

TDW: I want to make sure I have this right. Paramount essentially sold the title, the rights to the name, to The CW and their production company.

Mollin: Yes. They had to make a little deal with Darren to pay for his characters, I guess. Every time you use one of the characters we created–like, if Valerie ends up on the show–you have to be paid. But otherwise, they just did what they wanted.

TDW: And you know for a fact that no one from the original was asked to help.

Mollin: Nope. In fact, Chuck tried to get a job there and they shot him down. They asked to see his daughter. They interviewed his daughter for a job and not him. She didn’t get it either and he was upset with that. But, no, there was nothing. They weren’t interested in what we had to say. They weren’t interested in anything.

TDW: In a conversation we had before this interview, you said the new show was guilty of a “brand abuse” and “revisionist history.” Can you elaborate on that?

Mollin: It is brand abuse. They basically took a brand and watered it down–by making it worse and not being true to it. They made the brand worse. Rather than people remembering our show–well, I don’t know if people are even paying that much attention to this show. It’s still on but it gets only a 2 rating or something. Like I said, we hope that if they use characters of ours that we get paid. That’s all we can do. It’s just embarrassing. Just when I hear what they’re doing–like that Jackie Taylor [Ann Gillespie] died–it just irks me. And it’s not that she couldn’t die, it’s just that these people have no right to make these decisions. Darren, I’m  sure, just had to turn his back to it because I’m sure it’s hurtful for him.

TDW: So you think if Aaron was alive, this wouldn’t be happing?

Mollin: It would’ve been handled in a different way. He would’ve been on it and he would’ve been protective of it. Absolutely. I mean, he’s a good showman. He has his idiosyncrasies and he could be mean and powerful and cruel–and loving–but he cared about his material. He’s a great showman and we learned a tremendous amount from him about what it takes. I really value the time that I worked there. It was great working with these people. You really learn the business from old-time showmen, not corporate people, not people that went to college for whatever. People that understand that we’re entertainers. He would be very protective of that.

TDW: Well, this year marks 10 years since the original ended and 20 years since it started. Has there been any talk of doing anything?

Mollin: No, not that I know of. Because, again, there’s no Spelling Entertainment anymore. There’s no one to kind of harness that, that would care enough about it.

TDW: Hypothetically, then, would you be interested in something, if the opportunity was presented?

Mollin: Would I be? Sure. We had a wonderful time there. There was nothing better than being on a hit show. When it was a hit show, it was great.

TDW: So you’d be up for a panel or something?

Mollin: Yeah, sure. I think Chuck would be, too. We all want to protect our legacy in it. That’s why we do these things, so people get a little bit of our story right.

TDW: Well, I’d like to see that happen.

Mollin: I’d like to see it happen but, again, the brand abuse has hurt the show. It just makes it more ordinary. It was special the way it was. The show probably should’ve ended after college or, like I said, it should’ve gone to a different post-college life for them. Not this struggling, ordinary life that they wrote. They just totally missed the opportunity with where the show was supposed to go. But there was a decision to keep actors in place even though they were bored and they wanted something different. And they got something different. But it struggled for the next 3 years and the ratings went down and they finished the show off. I guess the last episode was alright. Were you satisfied with it?

TDW: I was completely satisfied with it. I thought there was a payoff for Donna and David. I am a Kelly-Dylan fan to the core, so it was very rewarding to see them together in the end. But then, again, you have this new show that changed it but I like to pretend it doesn’t exist.

Mollin: Oh, that was just ridiculous! For them to have done that–I just don’t know what they’re doing! He had a child he doesn’t care about?! That’s just so wrong. There’s nothing you can say. They’ve taken fictional characters and they’ve gone a different way with it. It’s not bad or good. It’s just unfortunate. They just never got the show. They just took it some other way. Plus there’s so much network interference, today, too. The writing is so difficult now for everyone that writes for network TV. There’s a billion notes. Every person in the world is a note-giver.

TDW: And the original writer/producers [Gabe Sachs and Jeff Judah], after Rob Thomas, aren’t even there anymore.

Mollin: Oh, no. Once they opened their mouths, I knew they had no idea. I remember reading their early interviews and going, “Oh my god. There’s not a chance they’re going to get this right.” Again, people wanted the old show. They didn’t invest in the characters. The only thing people wanted to watch was when Kelly or Donna was there or when Brenda came. So they were all living on our work, on what we had built up so that kind of pisses you off. But it is the way it is.

TDW: Well, you’ve provided a wonderful amount of information. It fascinates me, really.

Mollin: Well, good. It’s nice to be sort of remembered. It’s something we’re all proud of. And it’s gone on. I’m not surprised that it’s popularity has increased or that its mystique has not diminished. It meant a lot to a whole generation of people–and their parents. A lot of mothers certainly watched with their kids. I’ll still meet, like, 60-year-old professors who have seen every episode because they watched with their daughters.

TDW: And there really is a whole new legion of fans thanks to SoapNet. Well, thank you so much for your time!

Mollin: No problem, Shari. It’s always great to talk to fans.

Come back next week for another exclusive interview!

TDW Interview Index





News Roundup: Gossip Girl, One Tree Hill, 90210 and More

11 12 2009




Beverly Hills 90210 Season 8 DVD Available Today!

24 11 2009

I’ll be getting my copy sometime today.

Check back later for more details!

UPDATE

I was at Barnes and Noble when it opened its doors at 9am. The sales clerks in the DVD section had no idea what I was talking about but eventually located a copy with a retail price of $59.99.

Unlike the covers for the previous few seasons, this one doesn’t feature a cast shot but rather individual pictures of the characters. Staring out from the center is Hilary Swank (Carly). I’ve been complaining about this ever since the art was first released as Swank was only in 16 episodes. Sure, she was billed as a lead character (and hired to be in the whole season) but with limited cover space, that spot should’ve gone to Vincent Young (Noah), who was not only in every episode of the season but also seasons 9 and 10. I’ve been told the decision to put Swank front and center was a marketing decision designed to capitalized on the Oscar winner’s recognition factor. Apparently that applies to the individual disc covers as well as Swank is also featured prominently on one of those while this time the MIA actor is Brian Austin Green (David), who’s been with the series since Day 1.

The back cover also doesn’t feature Young but manages to include him and everyone else in the description (though in a different order than the opening credits): “The Real World: 90210…School is over and the friends of Beverly Hills 90210 are discovering that life after graduation is not as easy as they thought! Come along with Brandon (Jason Priestley), Kelly (Jennie Garth), Donna (Tori Spelling), David (Brian Austin Green), Steve (Ian Ziering), Val (Tiffani Amber Thiessen), Noah (Vincent Young), and Carly (Hilary Swank) as they explore love and life outside of college in all 30 titillating episodes of Season 8. Experience Kelly’s recovery from a drive-by shooting, Brandon and Kelly’s wedding plans, and Donna’s drug overdose. It doesn’t take long for the gang to discover that the real world can be just as unpredictable as college.”

The set contains 7 discs with descriptions on the back of the individual cases. It’s pretty much a given there’s going to be errors (or, at the very list, vague summaries that miss the key points) but there are some doozies here! (1) “Racial lyrics lead David’s band, After Dark, into problems.” First off, the band wasn’t David’s–he was pseudo-managing them. But more importantly, After Dark is the name of the club that’s been on the show since season 5, not the name of the band (which was actually called Cain Was Able). (2) Continuing with the band name errors, they say “a member of Jasper’s Legend tries to sue Noah after a car accident” but the band was called Jasper’s Law. (3) We’ve got a serious reversal of events when they say “Valerie accuses Noah of date rape when she wakes up without any memory of the night before…and Donna and David get into a car accident.”  Considering Donna and David’s interaction is partly the catalyst for Valerie and Noah even sleeping together, the order is crucial. (4) And the biggest error comes in the description for the two-part series finale: “Kelly takes an AIDS test after she comes into contact with the blood of an HIV patient. Trying to calm their new female news achor, Brandon ends up getting her drunk. Mel issues David an ultimatium. Valerie anxiously awaits her HIV test results. Brandon and Kelly have some very big news for their invited guests a few hours before the wedding.” The first half of that (from “Kelly…” to “…ultimatium” is from an episode in season 7! That’s right, folks. How a description for an episode that wasn’t even in this season–and wasn’t even a season finale, for that matter–ended up merged with the description for the actual season finale is beyond me. And, just to be totally accurate, Brandon and Kelly had their “surprise” *at* the wedding, not hours before.

Also worth mentioning is the pamphlet advertising other shows on DVD, including 90210: The First Season. The description reads: “New Drama. Same Zip. There’s a new generation in town, and they’re turning up the heat at West Beverly High. For hook-ups, break-ups, drug busts, and betrayals, 90210 is the place to go for the ultimate in guilty pleasures! Packed with Special Features.”

Unfortunately, this set isn’t “packed with special features.” Just as it was with season 7, my biggest complaint is the absence of special features altogether. I can only hope they are making some kick-ass ones for a complete series release. (And if there’s no complete series release, I’ll be hella pissed.)

Season 9 comes out in February.

Stay tuned!





News Roundup: One Tree Hill, 90210 and Gossip Girl

23 10 2009
  • I won’t be live-blogging One Tree Hill and Gossip Girl on Monday as I will be traveling.  I will do reaction posts later in the week.  90210 is a repeat this week.
  • One Tree Hill and 90210 are both down more than 20 percent in the 18-49 adult demographic since last year.
  • You can vote for Sophia Bush (Brooke, One Tree Hill) in a “Who Wore It Better?” poll.
  • Hilarie Burton (Peyton, One Tree Hill) has 2 new vlogs on the SoGoPro site.
  • Ian Ziering (Steve, Beverly Hills 90210) says he would consider appearing on the new 90210 if the storyline was appealing enough.
  • Tiffani Amber Thiessen (Valerie, Beverly Hills 90210) says she won’t appear on the new show and says Jason Priestley (Brandon, Beverly Hills 90210) is the only castmate she’s still in touch with.  A little surprising since she and Jennie Garth (Kelly, Beverly Hills 90210) used to be BFF.
  • PopMatters has a story on Jamie Walters (Ray, Beverly Hills 90210) being a one-hit wonder.
  • The kiss between Chuck and Josh on Gossip Girl this week made TVGuide.com’s list of Top Moments.
  • Reuters has an article on Leighton Meester (Blair, Gossip Girl).
  • Mercy, starring Michelle Trachtenberg (Georgina, Gossip Girl), has been picked up for the whole season.




Fun Fact

24 09 2009

Did you know many characters on our teen dramas have the same names?

Keep reading for tons of examples:

David: a main character on Beverly Hills 90210, and Jack’s boyfriend on Dawson’s Creek

Scott: a main character on Beverly Hills 90210 and a last name on One Tree Hill

Matt: a main character on Beverly Hills 90210, Joey’s mural-wrecker on Dawson’s Creek and Sandy’s partner on The O.C.

Zach: Carly’s son on Beverly Hills 90210 and Summer’s boyfriend on The O.C.

Nikki/Nicki: Brandon’s girlfriend on Beverly Hills 90210, Dawson’s classmate on Dawson’s Creek and Jake’s babymama on One Tree Hill

Samantha/Sam: Steve’s mom on Beverly Hills 90210 and Brooke’s “foster kid” on One Tree Hill

Abby: Valerie’s mom on Beverly Hills 90210, Jen’s friend on Dawson’s Creek and the witness to Keith’s murder on One Tree Hill

Emma: Brandon’s cheatee on Beverly Hills 90210 and Pacey & Jack’s roommate on Dawson’s Creek

Henry: Brandon’s boss on Beverly Hills 90210 and Jen’s boyfriend on Dawson’s Creek

Tracy: Brandon’s girlfriend on  Beverly Hills 90210 and Naomi’s mom on 90210

Cliff: Donna’s suitor on Beverly Hills 90210 and Dawson’s classmate on Dawson’s Creek

Sophie: David’s girlfriend on Beverly Hills 90210 and Sandy’s mom on The O.C.

Lauren: Matt’s wife on Beverly Hills 90210 and Jamie’s teacher on One Tree Hill

Allison/Alison: Kelly’s fellow fire victim on Beverly Hills 90210 and Dan/Jenny’s mom on Gossip Girl

Elle: the transvestite on Beverly Hills 90210 and Chuck’s mystery woman on Gossip Girl

Jen: a main character on Dawson’s Creek and Naomi’s sister on 90210

Jack: a main character on Dawson’s Creek, Dylan’s dad on Beverly Hills 90210 and Chuck’s uncle on Gossip Girl

Oliver: Dawson’s film partner on Dawson’s Creek and Marissa’s friend/suitor on The O.C.

Alex: Pacey’s boss on Dawson’s Creek and Seth/Marissa’s girlfriend on The O.C.

Eddie: Joey’s boyfriend on Dawson’s Creek and Theresa’s boyfriend on The O.C.

Ty: Jen’s boyfriend on Dawson’s Creek and Adrianna’s babydaddy on 90210

Ryan: a main character on The O.C. and 90210, and Steve’s brother on Beverly Hills 90210

Taylor: a main character on The O.C. and Haley’s sister on One Tree Hill

Jimmy: a main character on The O.C. and Mouth/Lucas’ friend on One Tree Hill

Anna: Seth’s girlfriend on The O.C. and Lucas’ girlfriend on One Tree Hill

Carter: Kirsten’s business partner on The O.C. and everyone’s frenemy on Gossip Girl

Lindsay/Lindsey: Ryan’s girlfriend on The O.C. and Lucas’ girlfriend on The O.C.

Theresa: Ryan’s girlfriend on The O.C. and the gang’s classmate/friend on One Tree Hill

Lucas/Luke: a main chacter on One Tree Hill and Marissa’s boyfriend on The O.C.

Nathan/Nate: a main character on One Tree Hill and Gossip Girl

Haley/Hailey: a main character on One Tree Hill and Kirsten’s sister on The O.C.

Dan: a main character on One Tree Hill and Gossip Girl, and Andrea’s boyfriend on Beverly  Hills 90210

Keith: a main character on One Tree Hill and Steve’s fraternity brother on Beverly Hills 90210

Karen: a main character on One Tree Hill and Pacey’s co-worker on Dawson’s Creek

Deb/Debbie: a main character on One Tree Hill and 90210

Rachel: a main character on One Tree Hill, Sandy’s colleague on The O.C. and Serena/Blair’s teacher on Gossip Girl

Cooper: Nathan’s uncle on One Tree Hill and a last name on The O.C.

Chuck: a main character on Gossip Girl and Jamie’s classmate on One Tree Hill

Jenny: a main character on Gossip Girl and Jake’s daughter on One Tree Hill

Lily: a main character on Gossip Girl, Dawson’s sister on Dawson’s Creek and Lucas’ sister on One Tree Hill

Ethan: a main character on 90210 and Jack’s boyfriend on Dawson’s Creek

Dixon: a main character on 90210 and Lucas’ director on One Tree Hill





Exclusive: Randy Spelling on 90210′s Teen Drama Legacy

6 09 2009

Famous family aside, Randy Spelling made his own name for himself by playing not one but two (!) characters on Beverly Hills 90210.

In our exclusive interview, Randy reflects on growing up in the public eye and how acting remains in his heart, even after a career change.

TeenDramaWhore: On Beverly Hills 90210, you started off with a bit part in the season 3 summer episodes. You then transitioned to the character of Ryan, brother to Ian Ziering’s Steve. Who’s idea was it to change and expand role?

Randy Spelling: I started in 90210 playing Kenny, the assistant to Henry [James Pickens Jr.] at the Beverly Hills Beach Club.  My dad [Aaron Spelling] and sister [Tori Spelling] thought it would be fun for me to see if I liked acting or not.  Being 13 years old and in 8th grade, I got onto set and when I realized there was so much waiting around in between shots, I was so bored!!  I just wanted to be a kid and play, not wait around all day to say one line!  When I was actually serious about acting and had already been on another show for NBC called “Malibu Shores,” a part came up that was my age for Steve’s brother.  It was a natural fit and people weren’t too worried about anyone remembering me as Kenny, the geeky beach club assistant.

TDW: You appeared in less than 20 episodes but had some weighty storylines: dropping out of college, teen sex, family relationships.etc. One of the most memorable for me was the episode where your character got alcohol poisoning after drinking too much (Episode 6.26, Smashes). Do you have a favorite storyline or episode?

Spelling: I did have some weighty story lines in 90210.  That is what I loved about the show, because even though it was a soap-style primetime serial, 90210 really tried to address lots of issues that were and still are relevant to what kids go through.  I grew up watching 90120 and I learned some very important things from it.  I could never master the coolness of Dylan McKay [Luke Perry] though!   My favorite story line that I did was the one where I came home from school to visit Steve and Janet [Lindsay Price] and lied to them about how school was and what was really going on [ed. note: Episode 10.19, I Will Be Your Father Figure] .  I thought that in order to fit in and be accepted, I needed to do what was expected of me.  Ryan let the pressure get to him and he rebelled until, with Steve’s support, he went back to school [ed. note: Episode 10.20, Ever Hear The One About The Exploding Father?].  It was fun to transition from the little brother who always got told what to do into more of a man where I rebelled and made my own decisions.  It was also fun yelling at Ian!

TDW: You had very few scenes with your real-life sister, Tori.  Was this done purposefully?

Spelling: It wasn’t on purpose that my character didn’t have many scenes with my sister’s character, our story lines just didn’t cross that much.  It was really comfortable though when we were in scenes together.

TDW: You and Tori essentially grew up on the show, as it lasted for 10 years.  What is it like having that kind of record of your life?

Spelling: We did grow up for 10 years on the show, more for Tori than for me.  It is funny to have that record of your life on film.  But it is just like a song that you hear on the radio and it brings you back to a certain situation you were in.  When I think back to one of those episodes, it brings me back to where I was at the time.

TDW: Do you keep in touch with any of the cast?

Spelling: I do not keep in touch with any of the cast.  I was good friends with [Brian Austin Green, David].  We talk every once in a while; that is about it.

TDW: How do you think being on 90210 prepared you for your leading role on Sunset Beach?

Spelling: 90210 prepared me for my role on Sunset Beach only by watching the cast and their professionalism.  Working on a primetime series is so very different from daytime.  One is shot on film, one is shot on tape.  When I got used to doing daytime where we shot one episode, about 70 pages a day, it felt so slow to go back on 90210 where we did 7 pages a day!

TDW: Do you watch the new 90210?  What do you think your dad would say about it?

Spelling: I do not watch the new 90210.  I watched the first couple of episodes.  I liked it and I saw a lot of similarities to the old one, but much racier and current.  My dad would have liked it but I think he would be shocked at first about how much further they could take certain story lines and relationships then they did back in the first one.

TDW: What do you think is 90210′s legacy in the world of television and/or teen dramas?

Spelling: I think 90210 really paved the way for what a teen high school drama show is all about.  From high school, into college and then after, 90210 showed what it was like growing up and what a rite of passage was all about.  I was shocked when I heard they were remaking it.  I thought it was pretty remarkable considering BH 90210 just went of the air in 2000.  That is impressive and shows how popular it really was.

TDW: You made a massive career change.  How did that come about and why? Can you explain what exactly you do now?

Spelling: I now currently work as a life coach.  I grew up in an entertainment family and from early on, I figured that was all I could ever do.  I have always loved spirituality, psychology and the way that people work and function.  After my dad passed away, I looked around and realized that I wasn’t being fulfilled spiritually as much as I wanted to be.  Someone suggested life coaching.  I took a seminar to see if it was something I was interested in.  I figured, I will sign up for 2-year schooling, [and] even if I don’t become a life coach, the skills would be amazing to possess.  It is a rigorous self-exploration process as well.  In the midst of working with people, I realized how much I love working with other people, facilitating them to find happiness, peace and purpose as well as helping them shift certain things that were holding them back.  To be a part of someone else’s journey in this way and to reflect their light back unto them is what I am passionate about! I help empower people to find what it is that is in their heart.  If there are blocks or things holding them back, we identify them and move through them so they can be their full potential.  My coaching can help with relationships, career, life purpose, spirituality, feeling stuck, addiction, etc… You can find out more at  www.randyspelling.com.

TDW: Would you ever go back to acting?

Spelling: Acting is something that is in my heart and such a fun, creative outlet.  I will never close the door on acting because it is fun for me.  There is a possibility of seeing me on screen again, as long as it is something I am passionate about.  My philosophy is this:  If I feel passionate about something or if it sounds fun, then that is where I will gravitate towards.  These two things are my compass that guides me in life.

Come back this Tuesday at noon for a special exclusive, an interview with 90210′s newest cast member.

And don’t forget: 90210′s second season premieres Tuesday at 8pm eastern.  I’ll be live-blogging it!

Complete TDW Interview Index





News Roundup: Gossip Girl, One Tree Hill, 90210 and The O.C.

20 08 2009
  • This is reportedly the new Gossip Girl promo photo (or one of them).
  • Gossip Girl and One Tree Hill are both nominated for Most Heartbreaking Moment in the CW Sourcies.
  • The CW Source posted another round in the Gossip Girl  bracket tournament and another One Tree Hill podcast.
  • Wondering if the One Tree Hill promo pic that leaked yesterday is a fake.  Thoughts?
  • EW.com has a GREAT but spoiler-filled interview with Mark Schwahn (creator, One Tree Hill) about the new season.
  • The One Tree Hill Blog posted a picture of Brulian from a recent issue of TV Guide (date isn’t given).
  • Stars News released the results of their Essential One Tree Hill Episodes survey.
  • A Canadian publication slammed One Tree Hill in a recent review, but the article has a few errors and misconceptions.
  • Christy-Anne wrote a blog post on why many actors aren’t on Twitter.
  • AnnaLynne McCord (Naomi, 90210) is on the cover of Signature Magazine.  You can read the story here.
  • Showbizzle has an interview with Ian Ziering (Steve, Beverly Hills 90210) on finding an agent in Hollywood.
  • Charles Rosin (executive producer, Beverly Hills 90210) wrote a blog post for FilmBlogger.com, where he discusses both 90210 and Mischa Barton (Marissa, The O.C.)
  • Now the Melrose Place folk say they won’t “rule out” a 90210 crossover.
  • Olivia Wilde (Alex, The O.C.) appears in the new video ad for Escada.
  • Examiner.com has an article on Ashley Hartman (Holly, The O.C.)







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