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# 193 <8.10> There Goes the Bride
(revised 06/17/2024)

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Angela does not like gardenias; but she loves the fragrance of stephanotis.
In # 192, the old Agretti warehouse on Bly Street was supposed to house the Channing Community Center temporarily. But this episode it is upgraded — so it will be used permanently for the Center.
Inside joke: Angela speaks with Miss Leeds, the wedding consultant (an unseen character), on the phone. The name is "borrowed" from CBS program executive SHIRLEY LEEDS, LORIMAR's network liaison for the series.
The piano piece Daniel plays in his house is the beginning of FRÉDÉRIC CHOPIN's (1810 – 1849) prélude Op. 28 No. 7.
Product placement: The grand piano in R.D. Young's house is made by piano manufacturer Schafer & Sons.
The scene with Daniel and Harriet in his house was not filmed during the regular shooting period of this episode, but already during the shooting week of # 192 — along with other scenes filmed at the private residence in Monrovia, CA to avoid traveling to the location repeatedly.
Deleted scene: The director's cut of act 1 contained a scene with Nick and Pilar in his car on the road near the Ortega House. They talk about that they are two adults with no place to go and be alone, considering that César is at the Ortega House and Ben at the Agretti Residence. They kiss, and Nick finally walks her to the door of the Ortega House. This scene was filmed, but removed in post-production.
A new filming location is used for a night establishing shot of the Agretti Residence. That location is the same as the one used for # 103 (see there) and will also be used in the next few episodes. Contrary to season 5, exterior shots will be taken only this season; all interior scenes are filmed on the sound stage at the studios.
The three filming locations portraying the Agretti property over the various seasons — see # 014 and 098 for the other two estates — are apparently supposed to be three different wings of the Agretti Residence: the main wing, east wing and guest wing. This hypothesis proves true considering there were also three different addresses for the Agretti property featured in # 154, 172 and 188. An overview is available in the wineries section of the location galleries.
BRANDON DOUGLAS speaks impeccable Italian when he calls the Italian operator.
But it is very strange he does not look at his note paper when he later dials the very long phone number of the Cellini estate in Italy.
Gianni Cellini, Ben's grandfather, was named Arturo in the season 8 bible.
Rebuilding the Falcon Crest Victorian Mansion has been completed. Only old clips of the exteriors are reused because the show stopped filming in the Napa Valley after # 167.
The interiors (first floor) are pretty much the same as in seasons 6 and 7, but with new furniture, wallpapers and carpets. All the wooden elements are dark brown — darker than in seasons 4 and 5, almost as dark as at the beginning of the series (compare the screen capture from the season 7 finale).
In the redressing of the set, MICHAEL FILERMAN had some of the walls, particularly in Angela's study, repainted lavender without consulting with JANE WYMAN first. According to a crew member, who wants to remain unnamed, JANE was boiling with anger when she first discovered the newly refurbished interiors and — successfully — demanded they be redone blue immediately.
The most striking differences in the first floor's new layout are new hallways behind the living room's western wall — visible best in # 195 and 197 (screen grab 1) as well as 205 (screen capture 2). The French doors on either side of the fireplace (previously leading to a back terrace as seen in screen grab 3 from # 130) grant access to these hallways now.
Inconsistency: As in # 102 and 103 when a whole new wing was added to the back of the Mansion just to set fire to it, the set designers now crazily expand the house although the exteriors are still the same because old stock footage of the real Villa Miravalle is reused — compare the western view of the Mansion.
The hallways behind the living room are actually the sets for the upstairs hallways and the multi-purpose bedroom. The upstairs sets had been built separately in the previous years, but the art department decided otherwise this time.

There are also changes in the dining room:
Compared to the previous interior set (screen grab 1 from # 180), the dining room window to the north has become bigger and is different in shape. The new window may be a better design work than the old strange three-part window, but also fails to resemble the real two French doors on either side of the fireplace in Villa Miravalle. The fireplace, by the way, is still missing in the set (compare screen capture 3 and the interior photo of the real location). The new big dining room window covers approximately the width of the area where there is one French door and the fireplace in the real Villa Miravalle.
To either side of the big dining room window, there are French doors now, which actually lead to the northern terrace just like in the real Villa. Interestingly enough, the set designers even created a glass-covered patio resembling the one of the real Villa in the process of altering the set after the Victorian Mansion's reconstruction. It remains a mystery why this new addition to the set was never seen on film (compare a deleted scene from # 208 though). Also, it is awkward that the left French door also leads to this glass-covered patio now — the previous door with a full wooden body instead of glass elements used to give access to the kitchen, which now obviously must be accessible through the hallway from the foyer only.
The color of the window frames is much darker than in the previous seasons, almost as dark as at the beginning of the series, and the wallpapers are of rather intense color; there is a lot of blue paint used on the walls that are not papered.
There is a slight difference in the sun room compared to the previous set: The windows are no longer arranged in a big quarter-circular shape between the western and the northern walls.
The only windows are now across the big pocket doors; they are in semi-circular shape, but smaller than before. Inconsistency: The whole sun room, especially these windows, are nowhere in the real Villa. Where the sun room is in the interior set, there is — first (yellow mark) — a hallway leading to the back door and a stairway to the basement and the upper floor and — secondly (red mark) — a part of the vast kitchen area in the real Villa Miravalle. In the real Villa, there is a wall between the study and that part of the house.
The carpet in the sun room is the one that used to be in the foyer in seasons 6 and 7, although that one burnt in the fire (compare # 185) — so it must be just the same carpet model. The same is the case with the carpet in the study which remained in the house when Melissa owned it; it would have been destroyed in the fire, too.
LORIMAR's original blueprints of this set and many others are available for DFCF members in the Show – Production Office – Filming Locations – Movie Studios – Interior Sets section.
The refurnishing of the Mansion led to two new guest chairs in the study. First, compare # 019 for the office chair and the two guest chairs between seasons 2 and 7. From now on, Angela will use one of the former guest chairs as her new office chair, re-upholstered — as pictured — in a more elaborate cream colored fabric with gold and blue stripes as well as yellow, pink and red ornaments.
The painting by CLAUDE MONET entitled "Femme à l'ombrelle" ("Woman with a Parasol (facing right)"), which was hanging above the fireplace in the Falcon Crest Victorian Mansion living room between # 130 and 140 and in another spot in the living room until # 171, is now on the wall between the study and kitchen hallway in the foyer of the rebuilt Mansion; it will remain there until the end of the season. For its new place in the Mansion during season 9, compare # 207.
For details about the picture itself, compare # 130.
Above the fireplace in the Falcon Crest Victorian Mansion living room hangs "La femme à l'ombrelle au jardin d'Argenteuil" ("Woman with a Parasol in the garden in Argenteuil") by CLAUDE MONET (1840 – 1926) now until the series finale (screen grab from # 197). For details about the painting, see # 172 — it previously hung in the living room on the wall adjacent to the foyer.
Season time frame:
The conclusions from # 194 and the tight time frame of the following episodes up to # 198 (see there) — each of the following episodes will continue exactly where the preciding one left off — lead to the result that the current episode closes on Saturday, 02/18/1989 (Emma's wedding day). On day 2 of the current episode, Emma says she will get married "next week", which means this scene must take place in the week of Feb 6 — 12, 1989; so a few days must remain unseen before the wedding is featured. Apparently, some more time (unseen days) must have gone by during # 192 — right before the newly rebuilt Falcon Crest Victorian Mansion was featured for the first time — and between # 192 and the current episode.
It is very strange how the Falcon Crest Victorian Mansion could be built in such a short time. Nick signed over the property to Angela not earlier than on 11/29/1988 (compare # 188).
Mistake: Lance's hand is in different positions in subsequent frames during the lunch scene in the Falcon Crest Victorian Mansion — first on the table, then holding a napkin. Again, this is the typical mistake caused by the particular close-up filming technique — check # 001 (Chase and Maggie at the Gioberti Family Cemetery) for details.
Irony: Angela about Emma: "I am convinced they switched babies on me in the hospital!" — Thinking of Richard, this is the perfect joke.
Despite LORIMAR's "new wardrobe for new season" policy, this episode, Angela wears the same outfit she already wore in season 7 (# 170).
During the wedding rehearsal, the famous "Canon in D major" by German Baroque composer JOHANN PACHELBEL (1653 – 1706) from Nuremberg is played.
The wedding rehearsal reveals that, during Emma's walk down the aisle, RICHARD WAGNER's (1813 – 1883) "Bridal Chorus" from "Lohengrin" shall be played.
Uncredited extra BARBARA SMITH appears in this episode again as the platinum blonde Tuscany Valley socialite — at Emma and Daniel's wedding at Falcon Crest. She is standing right next to her real-life husband PETER EASTMAN in this scene. He is hardly visible behind the other gray-haired lady; for better visibility, refer to the note below.
For details about the extra, compare # 066.
Compare # 221 for a list of appearances throughout the series.
Emma's Victorian wedding gown (almost all lace, with taffeta underneath) is from a store named Country Elegance in Toluca Lake, CA. Costume designer RACHEL MANDERINO discovered it there. The store was used as a filming location for # 192 (compare there for details).

Product placement: Emma pours Perrier-Jouët (Fleur de Champagne) to her friend Nina and also offers some to Claudia.

Emma's friend, Claudia (Richard's secretary), does not drink because she will have to drive. Drunk driving definitely is a topic this season.
Maggie hands Emma a new handkerchief with her new monogram embroidered: E.Y. Emma quotes: "Emma Young". This is rather strange because Young is Daniel's pseudonym only. As # 210 will reveal, Emma's name as Daniel's wife is Cabot because his real-life name is Daniel Cabot.

Uncredited extra ROBERTA STORM appears in this episode again as Mrs. Winslow — as a guest at Emma and Daniel's wedding.
Compare # 219 for biographical details about this minor rôle and a list of appearances throughout the series.
For details about the extra, compare # 035.

During Emma's wedding reception at Falcon Crest, there are several famous pieces of music played in the background:
One of them, which was already in use during the wedding rehearsal, is the "Canon in D major" by JOHANN PACHELBEL (1653 – 1706).
While Daniel is standing on the stairway, the German national anthem is played in the background.
Deleted scene: In the director's cut, the act 3 opener was a scene with Nick and Justin at Emma and Daniel's wedding in the foyer of the Falcon Crest Victorian Mansion. They talk about the Companía del Pueblo. While Nick thinks it is promising for the Hispanics to have a future in business, the mayor is skeptical. When Ben arrives with a tray, Nick introduces his son to Justin. This scene was filmed, but removed in post-production.

Product placement: Perrier-Jouët (Fleur de Champagne) is poured at Emma and Daniel's wedding reception at Falcon Crest.

Uncredited extra ROBERT HITCHCOCK appears in this episode again as Mr. Winslow. This time, he is a guest at Emma and Daniel's wedding.
As known from # 116, background actress ROBERTA STORM portrays his wife. Mr. Winslow is the patriarch of his family's wine estate (Winslow Wineries) in the Tuscany Valley, but he is an assistant district attorney in the valley in his day job.
It is ROBERT HITCHCOCK's last appearance in the series. He was featured in this part in previous episodes (compare # 078, 085, 087, 102, 116, 124 and 153). In # 176 only, he played a different character.
For details about the extra, compare # 032.

PETER PAUL EASTMAN (uncredited extra) plays the white-haired gentleman again; this time, he is a guest at Emma and Daniel's wedding at Falcon Crest.
Compare # 221 for a list of appearances throughout the series.
For details about the extra, compare # 021.

Uncredited extra PAUL VAN appears in his usual rôle as the mustached Tuscany Valley doctor again — this time as a guest at Emma and Daniel's wedding in the Falcon Crest Victorian Mansion. He is even sitting next to Angela.
Compare # 227 for biographical details about this minor rôle and a list of all his appearances throughout the series.
For details about the extra, compare # 014.
The season 8 bible suggested Emma and Daniel's wedding actually take place in the Falcon Crest Victorian Mansion in the end. Developing the script, the writers had them elope though.
Deleted scene: The director's cut included the scene of Anna's arrival in front of the Agretti Residence (for the filming location, compare # 194). Originally written as a daylight scene, it was revised as a night segment: A long, silver limousine pulls to a stop in front of the house. The chauffeur hops out and opens the door for the passenger. The audience sees only the back of an elegantly dressed woman (sable-clad in early script drafts), but even from this angle the bearing and confidence of the privileged can be sensed. This scene was filmed while shooting # 194 and edited into the current episode first, but finally removed in post-production.
According to earlier script drafts, the original last name for Anna Cellini was Mozerella. These plans, however, were changed.
Anna Cellini likes strong coffee, especially espresso, and yoghurt cake.

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