"The City" picks up where "Loving" left off. After a rash of serial killings, several of Corinth, Pennsylvania's residents move to an apartment building in SoHo. These people have come to ... See full summary »
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1997   1996   1995  
2 wins & 12 nominations. See more awards »

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Cast

Series cast summary:
Joni Allen Joni Allen ...  Zoey / ... 361 episodes, 1995-1997
Philip Brown ...  Buck Huston 354 episodes, 1995-1997
Roscoe Born Roscoe Born ...  Nick Rivers 353 episodes, 1995-1997
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Storyline

"The City" picks up where "Loving" left off. After a rash of serial killings, several of Corinth, Pennsylvania's residents move to an apartment building in SoHo. These people have come to start a brand new life. While doing so, they encounter several difficult situations, including another psychopath killer, bombings, and organized crime. Written by KR <rivadenei@uhavax.hartford.edu>

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Genres:

Drama | Romance

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Details

Country:

USA

Language:

English

Release Date:

13 November 1995 (USA) See more »

Also Known As:

LOV-NYC See more »

Filming Locations:

New York City, New York, USA

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Technical Specs

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Color:

Color
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Trivia

This was a revamp of the ABC soap "Loving" which was a spin-off of "All My Children". However, after Morgan Fairchild (Sidney Chase) left the show, Jane Elliot (Tracy Quartermaine from "General Hospital") joined the cast, reprising her GH character as the head diva. The show's direction also changed, and featured characters from "Loving," "All My Children" AND "General Hospital" causing many fans to state that the Jane Elliot years of "The City" was the first soap to be a spin-off of a spin-off of a spin-off. See more »

Connections

Spun-off from Loving (1983) See more »

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User Reviews

 
BLOG 6 THE CITY
11 April 2019 | by shallotpeel-877-14891See all my reviews

BLOG 4 PAINTED DREAMS & HAWKINS FALLS

THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART & HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc. The Soap Opera on Television Despite the success of the serial in magazine publishing, at the movies, and on radio, there was still resistance by television execs to use the form. One of the visionaries of early television, NBC president Sylvester "Pat" Weaver, felt the radio technique woudn't work in a visual medium because there was higher absorption and greater tension demands on television. Although prime-time entertainment was successful in 1948 with Milton Berle vaudeville on television; it took three more years for the soap opera to make a successful jump.

The DuMont producer David P. Lewis, searched for daytime drama that would allow the housewife "to turn away and go on peeling potatoes or knitting." Even Irna Phillips failed in her initial attempt, a reworking of her first radio serial PAINTED DREAMS, because she made no concessions to the visual medium. One piece from Chicago, known for its realism, HAWKINS FALLS, ran three months in prime time and four years in the afternoon. Cocreator was Roy Winsor. Daytime Versus Early Prime Time Whatever the ultimate root of the critical prejudice against the television soap opera, it is interesting to note that it existed from the beginning, even when daytime and prime-time dramas were much closer in tone and style. During the fifties, daytime serial and live drama shared many of the same aesthetic values: both emphasized psychology of character and the power of the revelatory close-up; both employed actors who had training in the theater and writers working in the realistic tradition of the Broadway problem play; both were performed live


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