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Lisa Grimaldi
Lisa Grimaldi
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Lisa Grimaldi
As the World Turns character
Eileen Fulton as Lisa Grimaldi
Portrayed by
Duration1960–2010
First appearanceMay 16, 1960 (1960-05-16)
Last appearanceSeptember 17, 2010 (2010-09-17)
ClassificationFinal, regular
Created byIrna Phillips
Introduced byTed Corday
Spin-off
appearances
Our Private World
In-universe information
OccupationFormer Partner in Java Underground
Owner of Mona Lisa Restaurant
Co-owner of the Lakeview Hotel
Former owner of Argus newspaper
Formerly wrote a gossip column under the pseudonym "Dolly Valentine"
Former Co-Owner of Fashions Limited
Partner in Get Real Fashions
Former Manager of Wade Book Shop
FatherHenry Miller
MotherAlma Miller
Husband
  • Bob Hughes (1960–1964)
  • John Eldridge (1965–1967)
  • Michael Shea (1969–1970)
  • Grant Coleman (1975–1979)
  • Whit McColl (1982–1984)
  • Earl Mitchell (1986–1987)
  • Eduardo Grimaldi (1994–1995)
  • Martin Chedwyn (1996)
Sons
Stepchildren
  • Brian McColl
  • Diana McColl
  • Kirk McColl

Lisa Grimaldi is a fictional character from the CBS soap opera, As the World Turns. The character was portrayed by Eileen Fulton for 50 years from May 1960, until the last episode aired in September 2010, with Fulton becoming one of the longest-serving soap opera actors in the United States. Lisa is considered to be the first soap "vixen" and was one half of the first ever super couple, Bob and Lisa Hughes.

Casting

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As the World Turns creator and longtime head writer Irna Phillips created Lisa in the late 1950s as a short-term character. In a 2007 interview with the Archive of American Television, Fulton explained that ATWT's casting director contacted her agent, wanting to audition another of his clients, Lois Smith, for the role, but because Smith was unavailable, he recommended they audition Fulton instead. Lisa was kept on the As the World Turns canvas due to Fulton's day-to-day acting improvement. A Procter & Gamble executive said to Fulton six months into her run as Lisa, "I want to tell you what a wonderful job you are doing, because when you first came on the show we thought, 'We can't keep her. She's not very good.'"[1]

Fulton's eagerness to play Lisa as a villainess contributed to the character's popularity and therefore its longevity. In the Archive of American Television interview, Fulton explained that the character was originally written to be a "nice girl", which she did not find compelling as an actress, and that, while she read Phillips' lines exactly as they appeared on the script, she said them with a "scheming tone" in her voice. When Phillips saw Fulton's performance she said "I can write for that little rascal. She can play a bitch!"[1] In The Soap Opera Encyclopedia, Christopher Schermering writes, "Although Lisa was guilty of many lapses, nothing made her more hated by her audience of housewives than a simple sequence in which she hired a maid to clean house and went gallivanting about town. When mother-in-law Nancy complimented Lisa on what a nice home she had made for Bob, audiences were furious."[2]

A scheming "vixen" in her early years, TIME magazine once referred to Lisa as a "superbitch" and the "most hated woman on TV."[3] Since those days, Lisa has gone on to become a well-respected presence in Oakdale (the fictional town in which As the World Turns is set), often offering advice and support to the town's younger residents.

When the character of Lisa was introduced in 1960, the name "Lisa," which had only seen a popular resurgence in the previous ten years, was the sixth most popular baby name in the United States.[4] Fulton's Lisa was credited with speeding up the popularity of the name for baby girls; "Lisa" became the most popular name for girls between the years of 1962 and 1969.[4]

Lisa back in a 1960s episode

The character departed on May 3, 1965, and briefly crossed over into her own primetime spinoff series, Our Private World, for a few months in 1965, during which Lisa left Oakdale and moved to Chicago. She returned to Oakdale on January 16, 1967, where she remained until the final episode in 2010.

Recasts for Lisa were Pamela King filling in as Lisa during 1964 and Betsy von Furstenberg playing the role from late 1983 to early 1984 during a contract dispute between Ms. Fulton and Procter & Gamble. On multiple occasions from 1991 to 1994, former movie actress Jane Powell and soap opera veterans Maeve McGuire replaced Ms. Fulton during that same the time period as did soap opera veteran Jennifer Bassey. Australian actress Carmen Duncan, best known to American audiences for her role as Iris #3 on Another World, filled in for Fulton for three episodes in late 2004 while she was on emergency medical leave.

By the 1970s, Fulton's Lisa was always credited at the end of each program, after the names of the rest of the cast appeared in the credits. The character had become so integral to the story on As the World Turns that by 1987, actress Fulton was credited with playing the role of "Lisa" at the end of each day's show, and not with a surname (which was Mitchell at that time; Lisa had many marriages through the years). Fulton would be credited simply as playing "Lisa" with no character surname until the show ended its run in 2010. In its final years, Fulton along with a number of other veteran actors were rarely seen on canvas. In a 2009 interview, Fulton was confused as to why the writers found it so difficult to write for older characters. "It could be an age thing, but one of my favorite soaps is the British series EastEnders. They have no problem with featuring older actors. And giving them romantic and dramatic storylines."[5]

Character history

[edit]

Bob and "Scheming Lisa"

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The character first appeared in May 1960, as the fiancée of medical student Bob Hughes (Don Hastings). They soon eloped when they discovered that Lisa was pregnant. Though Bob's and Lisa's parents were at first opposed to their marriage (they believed the pair to be too young), they accepted it when they learned of Lisa's pregnancy. The young couple moved in with Bob's parents, Chris (Don MacLaughlin) and Nancy Hughes (Helen Wagner), while Bob finished his residency at Oakdale Memorial Hospital. Lisa initially demonstrated her scheming ways by faking "difficulties" with her pregnancy to get out of helping her new mother-in-law with the household chores. However, Nancy and Lisa eventually became very close, forming a bond that would remain intact for decades (even after Lisa and Bob divorced). Lisa's new sister-in-law, however, Penny Hughes (Rosemary Prinz) (who also was still living with Chris and Nancy) and Lisa took an immediate dislike to one another. Penny, who had lost a baby, and recently learned she could no longer have children, resented Lisa's pregnancy. Lisa disliked Penny and her best friend Ellen Lowell (Patricia Bruder), who she felt thought they were better than herself, while Ellen and Penny found Lisa to be an idle gossip. The animosity between Penny and Lisa led to considerable tension in the Hughes home, with Lisa exploiting Penny's emotional estrangement from Chris and Nancy, attempting to further alienate Penny from her parents. (Though Lisa and Penny would eventually become a bit more friendly as they both matured, Lisa maintained an adversarial relationship with Ellen right up until Ellen left Oakdale in the late 1990s.)

A year into Bob and Lisa's marriage, after their son Tom was born, Lisa became tired of living as the wife of a young resident, resenting Bob's long hours in the hospital. She had an affair with flashy businessman Bruce Elliott, asking him to take her with him when she left town, but he told her the affair was just a diversion for him, and that he cared nothing for her. Meanwhile, Bob, whom she had already alienated, had found out about the relationship and divorced Lisa. Lisa responded by poisoning Tom's mind against his father, eventually fleeing to California with Tom, without Bob's knowledge. When Bob finally tracked them down, he found Lisa in a near-catatonic state, following a brutal rape. He brought her back to Oakdale, enlisting the help of Sylvia Hill, a nurse with whom Bob had been involved. Once Lisa recovered from the trauma, she attempted to guilt Sylvia into ending her relationship with Bob, falsely suggesting that she was the only thing preventing Bob and Lisa to reconcile. Nancy also cautioned Sylvia that Lisa was the only person she would ever accept as her daughter-in-law. Though Sylvia eventually decided to end her relationship with Bob, Bob informed Lisa that he was not interested in a reconciliation with her.

Our Private World

[edit]

Rejected, Lisa moved to Chicago in mid-1965 (with the character relocating to the primetime soap Our Private World), where she became involved with the Eldridge brothers. She married wealthy John Eldridge, but soon began a torrid affair with his brother Tom. When the affair was revealed, Lisa fled Chicago in disgrace. It was revealed in the early 1990s that Lisa was in fact pregnant when she left, and that the Eldridge family had paid Lisa a hefty divorce settlement, in exchange for her having nothing to do with her baby. The baby, Scott Eldridge, was presumably born during the several-month-long lapse between when Our Private World went off the air in the fall of 1965 and when Lisa returned to As the World Turns in the spring of 1966. Viewers were not made aware of Scott's existence until he tracked Lisa down as an adult in 1992.

Return to Oakdale

[edit]

Several months after leaving Chicago, Lisa resurfaced in Oakdale, and began having an affair with Dr. Michael Shea, a charming, manipulative sociopath. Though she asked Michael to leave his wife so they could be married, especially after Lisa discovered she was pregnant, Michael refused. After Lisa's baby, Charles "Chuckie" Shea was born, Lisa told Michael's wife about the affair and her son. Clare was drinking, something she did a lot of in those days. Claire told Michael she wanted him to marry Lisa and make his son legitimate. Claire then let it slip that there had been another illegitimate child in the family. Michael put things together and figured out that Ellen was the mother of that child and that her son was Dr. Dan Stewart, a bright young doctor that Shea resented. He made it his business to tell Dan the truth. When Claire learned this, she stabbed him with a letter opener. Michael, who had been let go from Memorial Hospital after the loss of a patient, agreed to keep quiet about what Claire had done if he could be reinstated. Claire divorced Michael.

A short while later, Michael decided that he wanted to play a role in his son's life, and tried to get Lisa to marry him, but by this time, she wanted nothing to do with him. Around the same time, Lisa's son Tom had returned from Vietnam with a drug habit. One night, Michael caught Tom breaking into his office to steal drugs, and Michael used this information to blackmail Lisa into marrying him. By this time, Lisa hated Michael with a passion, and though she did marry him (to save Tom), she refused to have any kind of a sexual relationship with him. Michael responded by orchestrating a series of events designed to make Lisa appear as an unfit mother, so he could divorce her and sue for custody of Chuckie. However, in early 1970, Michael was murdered, and Lisa was nowhere to be found. Tom was the prime suspect, and, thinking his mother had committed the murder, he said little to demonstrate his innocence. When Lisa returned to town, she could not remember the events leading to Michael's murder, but eventually the murder was revealed to have been committed by the mother of a young woman with whom Michael had had an affair.

Lisa had a few more flings, including one with Bob's older brother, Don Hughes, attorney Dick Martin, minister Wally Matthews, and the rich Simon Gilby. Around this time, she believed herself to be pregnant, though her doctor revealed Lisa suffered from an ovarian cyst.

Lisa, Grant and Joyce

[edit]

In 1973, Tom and his young brother Chuckie were struck by another driver. Though Tom survived, Chuckie was killed in the accident. The grief was almost too much for Lisa to bear but she received a great deal of support and love from her former mother-in-law Nancy Hughes, as well as from a new man in her life, Grant Colman (James Douglas), an attorney who had recently joined Chris Hughes' law firm. Grant and Lisa fell in love and planned to be married, but on the day of the ceremony, Grant's ex-wife crashed their wedding to announce that during their marriage, she and Grant had had a son of whom Grant was unaware. Grant postponed the wedding to investigate, and determined that he and Joyce had indeed had a son who had since been adopted. He decided not to interfere in the boy's life, and let him remain with his adoptive parents. Grant and Lisa were finally married, but Joyce continued to scheme and interfere in their lives, and for a while they also had to contend with the equally scheming Valerie Conway was also attempting to seduce both Bob and Grant at the same time. Lisa eventually pointed Valerie in Bob's direction, so she would stay away from Grant.

Though Grant and Lisa were very happy together, Lisa's ongoing jealousy of Joyce and later Valerie continue to be a problem, and at one point, Grant asked Lisa for a divorce. Lisa pretended to be ill, and staged an elaborate scheme designed to demonstrate Valerie's true calculating ways. Though she succeeded in this, Grant and Lisa's lives continued to be complicated, this time by a new woman, Tina Cornell, who had a played a role in the previous manipulations involving Valerie, and was injured as a result. Lisa invited Tina to recuperate with her and Grant. Tina told Lisa that she had developed agoraphobia, but she in fact was becoming obsessed with Grant. When Lisa discovered this, she ordered Tina to leave, but Grant saw this as just another case of Lisa's jealousy. He and Lisa separated, but when Tina attempted to seduce him, he realized that Lisa had been right all along.

Though he claimed to be through with scheming women, Joyce now reentered Grant's life, pretending to be terminally ill. Though Lisa disputed Joyce's claims of illness, Grant believed her and the two became engaged. He learned that Lisa was correct, but Lisa was hurt by Grant's refusal to believe her, and refused to give her relationship with Grant another try. Grant left town in late 1981, though he and Lisa would get over their bitterness and would become friends again.

Whit and Earl

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In 1982, Lisa eloped with wealthy businessman Whit McColl. Their lives were soon complicated by the arrival of Lucinda Walsh, who claimed Whit was responsible for the suicide of her husband, Whit's former business partner. Lisa became very close to Whit's two sons, Brian and Kirk McColl, and when Whit was murdered in 1984, Lisa continued to serve as a mother figure to her stepsons.

Though deeply saddened by Whit's death, Lisa embarked on two new business ventures during this period that would help her through the sorrow. In 1985, Lisa joined her friends, Kim Sullivan Hughes and Barbara Ryan, to launch Fashions, a high-end boutique showcasing top designs. Kim and Barbara eventually both sold their shares in the business to Lisa; she remains the sole owner through the show's conclusion in 2010. In 1986, Lisa and Craig Montgomery purchased a restaurant formerly known as Caroline's, and reopened it as The Mona Lisa. Lisa became the sole owner when Craig left Oakdale in the late 1980s, and presumably still operates the restaurant today although it was neither seen nor referred to on camera after 2005. In addition to these two businesses, Lisa also co-owns the Lakeview Hotel with Lily Snyder.

In 1986, though Brian McColl's girlfriend Shannon O'Hara (who herself had become very close to Lisa), she met Shannon's uncle, the mysterious, charming Earl Mitchell. The two began dating, and though Earl had a mysterious side, disappearing without explanation for days on end, Lisa agreed to marry him. A few months into their marriage, Earl disappeared, and Lisa soon received a message that Earl had been kidnapped. Her ex-husband Grant returned to Oakdale to show his support. Lisa received a call from someone who claimed to know of Earl's whereabouts, but when she drove to meet him, her brakes failed. She was not injured, but started to see images of Earl and hear his voice, causing her family to worry and question her sanity. The truth about Earl was finally revealed: he was an Interpol agent who'd been killed while attempting to investigate James Stenbeck.

Later years

[edit]

In 1992, Lisa stood up to her friends, Jessica Griffin (a Black woman) and Duncan McKechnie (a white man), when she voiced her objections to their plans to wed. At first Duncan and Jessica believed Lisa's objections stemmed from residual feelings for Duncan's previous wife, Shannon O'Hara, with whom Lisa bonded, serving as a mother-figure of sorts for Shannon. Lisa later told the couple her reasoning was that she was afraid of the racism they would face, even going as far as to assert that interracial marriages were "morally wrong". Through compassion and education on the parts of Duncan and Jessica toward Lisa, Lisa realized the negative impact of her public stance. She apologized to the couple, and they forgave her. Lisa warmed to Jessica and Duncan's union and was even asked to become godmother to their child, Bonnie, which she accepted.

In late 1994, Lisa married Eduardo Grimaldi, a Maltese gangster. Lisa's happiness lasted only a few weeks, because Eduardo was shot by an associate, and was rushed to Oakdale Memorial. His cousin Orlena Grimaldi sneaked into his room and killed him, resulting in Lisa believing Eduardo's death was due to medical incompetence on the part of John Dixon, who was on duty in the ER when he was brought in. Lisa sued John for malpractice, threatening to end his career, before the truth of Eduardo's death came out. John took revenge on Lisa by wooing her and proposing to her, only to publicly dump her at their engagement party. She and John remained estranged for some time, until he and their mutual friend Barbara Ryan rescued Lisa from Martin Chedwyn, a criminal who had forced Lisa to marry him as part of a scheme to smuggle assets out of Hong-Kong before the changeover in government in 1999. Lisa forgave John for the public spectacle at their engagement party, and the two remained on good terms thereafter.

In the early 2000s (decade), Lisa befriended Oakdale newcomer Isaac Jenkins, introducing Isaac to her goddaughter Bonnie McKechnie (whom he would later marry), and partnering with Isaac and Bonnie in their new club Java. She would remain involved with Java until Isaac and Bonnie left town, at that time, selling her shares in the club. She was featured in a tribute episode in May 2000, honoring Fulton's and costar Don Hastings' 40th anniversaries on the show, in which a mean spirited tabloid story causes Lisa and Bob to reminisce about key events in their lives (via flashbacks).

In more recent years, Lisa has retreated from the spotlight, interfering in the lives of her son and daughter-in-law, and mentoring Oakdale's younger residents.

In June and July 2008, Lisa became involved in the dramas between Barbara, Paul, Meg, and Sofie. This ended when Paul Ryan found Sofie dead in her hotel room. It was revealed that Cole had killed Sofie.

Lisa played a key role in organizing Tom and Margo's twenty-fifth anniversary party.

Eileen Fulton as Lisa Grimaldi in a screencap from the April 22, 2009 episode.

Lisa reappeared in April 2009 to be involved in the mystery of Luke and Noah's kidnapping.

Final years and ATWT cancellation

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During the final years of ATWT, Lisa's portrayer Eileen Fulton criticized producers over the lack of airtime for her character, as well as other longtime characters, whose screentime had dramatically diminished in favor of younger cast members. In 2008, she appeared three - four times per month, but played a large role in the April 2010 episode depicting Bob and Kim's second wedding.

A special two-part tribute episode aired on May 17–18, 2010, commemorating Fulton's fiftieth anniversary on the show, and she was also prominently featured in the August 2010 episode memorializing longtime castmate Helen Wagner.

She appeared in the final episode in September 2010. In her last scenes, Lisa made peace with former fiance John Dixon and rival Lucinda Walsh.

Reception

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In 2024, Charlie Mason from Soaps She Knows placed Lisa 16th eighth on his ranked list of Soaps' 40 Most Iconic Characters of All Time, writing, "Eileen Fulton's wicked witch of Oakdale may have been the ultimate love-to-hate character; early on in her 50-year run, she was even chosen to headline a primetime offshoot."[6]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Lisa Grimaldi is a fictional character from the As the World Turns, portrayed by actress from May 1960 until the series concluded in 2010. Introduced initially as Lisa Miller, the daughter of attorney , she became a fixture in the fictional community of Oakdale through her ambitious, often scheming personality that blended glamour with opportunism, earning her a reputation as one of daytime television's pioneering "bad girls." Over the course of nearly 1,800 episodes, Grimaldi's storylines encompassed eight marriages—including to , Grant Colman, and others—numerous romantic entanglements, business ventures like owning , and personal tragedies such as the deaths of two children, which solidified her as a complex audiences loved to hate. Fulton's nuanced portrayal transformed the character from a minor troublemaker into a enduring icon of drama, influencing the genre's depiction of strong-willed female figures amid evolving social narratives.

Creation and Casting

Origins and Initial Concept

Lisa Grimaldi, initially introduced as Lisa Miller, was created by soap opera pioneer for the CBS daytime drama . The character debuted on May 18, 1960, portrayed by , who originated the role. Phillips, the show's creator since its 1956 premiere, envisioned Lisa as a wholesome college student and romantic interest for , a young medical student character. The initial concept positioned Lisa as a straightforward supporting figure in the Hughes family-centric narrative, reflecting Phillips' emphasis on everyday domestic realism over overt in early episodes. Fulton's casting came via audition, with the role originally slated as short-term to facilitate her marriage to Bob and brief integration into Oakdale's social fabric. However, audience response to Fulton's performance prompted Phillips to expand the character's arc, transforming her from a peripheral innocent into a more dynamic presence. This evolution marked an early pivot in ' storytelling, blending Phillips' grounded approach with emerging soap tropes of personal ambition and relational intrigue.

Eileen Fulton's Role and Longevity

Eileen Fulton originated the role of Lisa Miller—later known as Lisa Grimaldi—on , debuting on May 18, 1960, as a scheming manicurist in the fictional town of Oakdale. Her portrayal transformed the character into one of daytime television's most enduring figures, evolving from a gold-digging to a multifaceted matriarch involved in business ventures, multiple marriages, and family dramas spanning generations. Fulton's commitment to the part was evident in her near-continuous presence, which producers leveraged to maintain narrative continuity amid frequent cast changes in the . Fulton's tenure lasted nearly 50 years, from her 1960 debut until the series' conclusion on September 17, 2010, making her the sole actress to play Lisa across the character's full arc. She appeared in 1,799 episodes, a figure that underscores her integral role in the show's record-breaking run of over 13,000 episodes. Brief absences occurred, including a 1964–1966 period when the character starred in the short-lived prime-time spin-off Our Private World (which aired 38 episodes from May to September 1965) and a 1983–1984 contract dispute, but Fulton consistently returned, negotiating terms that preserved her as the character's definitive interpreter. The actress's longevity was bolstered by her contractual "granny clause," which ensured Lisa aged realistically with Fulton, avoiding the youth-preserving recasts common in soaps and allowing the character to reflect mature storylines like widowhood and entrepreneurial success. This approach contributed to Fulton's 2004 Emmy Lifetime Achievement Award, recognizing her as a daytime whose portrayal influenced the genre's emphasis on long-term character development over transient casting. Her dedication extended beyond scripted appearances; Fulton advocated for Lisa's prominence in writers' decisions, ensuring the role's centrality even as network shifts threatened veteran actors.

Early Years in Oakdale (1960s)

Introduction as Lisa Miller and Marriage to Bob Hughes

Lisa Miller, portrayed by , debuted on on May 18, 1960, entering the storyline of the fictional town of Oakdale as the fiancée of medical student , played by . The character was initially scripted for a limited run as a vixenish counterpart to the earnest Bob, reflecting the show's early emphasis on family dynamics and moral contrasts within the Hughes household. Upon her arrival from , Lisa quickly integrated into Oakdale society through her relationship with Bob, whom she met and pursued amid his medical training. The pair eloped in 1960, bypassing formal approvals, which prompted strong opposition from Bob's parents, and Nancy Hughes, who viewed the young and ambitious Lisa as an unsuitable match for their son. This union marked Lisa's entry into the Hughes family, highlighting tensions between her worldly aspirations and the traditional values upheld by Bob's upbringing. The marriage produced a son, Tom Hughes, born shortly after the wedding, but lasted only until , ending in due to Lisa's growing frustration with the demands of Bob's residency and her desire for greater independence. Despite the dissolution, Lisa and Bob maintained a close friendship in subsequent years, with Lisa evolving into a recurring figure in Oakdale while co-parenting their child. This early phase established Lisa as a catalyst for conflict within the Hughes family, setting the stage for her character's long-term development.

Rise of "Scheming Lisa" and Audience Backlash

Following her debut on on May 18, 1960, as Lisa Miller, the fiancée of medical student , the character quickly evolved from an intended wholesome love interest into a scheming due to Fulton's nuanced delivery of dialogue, which emphasized manipulative undertones. Writers amplified these traits, portraying Lisa as ambitious and conniving, particularly in her pursuit of social ascent through marriage, earning her the moniker "Scheming Lisa" among viewers and critics. Time magazine dubbed her a "superbitch," cementing her as daytime television's archetype of the glamorous antagonist. The character's machinations peaked with her marriage to , which provoked significant audience backlash, including telegrams to the studio protesting the union and threatening boycotts. One such message read: "If that bitch Lisa marries Bob I'll never watch again," a reaction that producers cited as pivotal in solidifying Lisa's villainous trajectory rather than softening it. Fans inundated Fulton with , labeling her the "most hated woman on TV," and some confronted her in public, with one incident involving physical assault mistaken for the character herself. This polarized response underscored the era's conservative viewer expectations for moral purity in protagonists, contrasting Lisa's unapologetic ambition and deceit, which disrupted traditional norms. Further controversy arose in 1963 when Fulton briefly departed the role for Broadway pursuits; her replacement elicited backlash from fans attached to the original portrayal, prompting her swift return and highlighting the character's entrenched notoriety. By mid-decade, Lisa's scheming persona had driven ratings through controversy, leading to a 1965 primetime spin-off, Our Private World, though it lasted only six months before her reintegration into the main series. The backlash, while initially threatening viewership, ultimately boosted engagement by making Lisa a must-watch figure of moral ambiguity in an otherwise didactic genre.

Expansion and Spin-off Era (Mid-1960s)

Our Private World and Character Independence

Our Private World premiered on CBS on May 5, 1965, as the first primetime spin-off from the daytime soap As the World Turns, starring Eileen Fulton as Lisa Miller Hughes in a storyline that transported the character from Oakdale to Chicago. The half-hour serial aired twice weekly on Wednesdays and Fridays at 9:00 p.m. ET, focusing on Lisa's personal entanglements after she abandoned her marriage to Bob Hughes and boarded a train for the city, where she quickly wed the affluent John Eldridge, played by Nicolas Coster. This setup allowed Lisa to pursue ambitions of wealth and romance amid urban intrigue, free from the provincial constraints of Oakdale society. The spin-off emphasized Lisa's character independence by centering her as the unequivocal lead in narratives of , betrayal, and social climbing, portraying her as a cunning, self-sufficient woman leveraging her allure for advancement rather than domestic stability. Unlike her arcs tied to family loyalties and small-town scandals, Our Private World depicted Lisa operating autonomously in high-society circles, marrying into fortune and manipulating relationships to secure her position—traits that solidified her archetype as a glamorous opportunist. Despite ambitions to rival ABC's Peyton Place, the series struggled with ratings and concluded after 38 episodes on September 15, 1965, marking a brief but pivotal experiment in extending daytime characters into primetime autonomy. Fulton's performance in this independent vehicle highlighted Lisa's enduring appeal as a multifaceted villainess, influencing her reintegration into upon the spin-off's cancellation, where elements of her exploits occasionally resurfaced. This period underscored the soap's willingness to test character-driven expansions, though commercial failure limited further pursuits of such narrative liberty.

Return and Complex Relationships (1970s-1980s)

Reintegration into Oakdale Society

Following the conclusion of the short-lived spin-off Our Private World in 1965, Lisa returned to Oakdale in early 1967, resuming her residence and activities in the fictional Illinois town without explicit on-screen explanation for the interim period. This reintegration marked a shift from her earlier portrayal as a disruptive outsider to a more embedded community member, leveraging her charisma and ambition to forge economic ties. By the , Lisa had established herself as an entrepreneur, managing the Wade Book Shop and restaurants including Diana's and The , which served as hubs for social gatherings among Oakdale's residents. These establishments not only generated income but also positioned her at the center of local commerce, enabling interactions with key families and mitigating lingering perceptions from her scandals. Her business acumen reflected a pragmatic adaptation to Oakdale's social structure, where economic influence often translated to acceptance. In the late and into the , Lisa expanded her commercial footprint by co-operating the boutique Fashions alongside , further intertwining her personal network with the town's fashion-conscious elite. This partnership underscored her evolving role from perennial to a matriarchal connector in Oakdale society, hosting events and dispensing advice that bridged generational divides. Despite occasional absences—such as a brief recasting of the role in 1977–1978—her consistent presence reinforced her status as a fixture, with successes providing a buffer against personal intrigues.

Marriages to Grant Colman and Interactions with Joyce

Lisa married Grant Colman, a wealthy Oakdale businessman and ex-husband of Joyce Colman, in 1975. The union marked one of Lisa's more turbulent relationships, characterized by her manipulative tendencies amid competition from Joyce, who sought to reconcile with Grant during their marriage. In 1977, to thwart Joyce's efforts and retain Grant's affections, Lisa feigned a , a scheme that exemplified her "scheming" persona and temporarily positioned her as a villainous figure in storylines involving the Colmans. The rivalry intensified tensions, with Lisa's actions alienating Grant and highlighting her prioritization of over genuine emotional bonds, consistent with her character's of strategic alliances. Despite initial stability, the marriage dissolved in by 1979, amid revelations of Lisa's deceptions and Grant's wavering loyalties influenced by Joyce's persistent involvement. Post-divorce, Grant occasionally aided Lisa in later plots, suggesting lingering ties, though their interactions underscored the fragility of her matrimonial pursuits. Joyce's presumed death in 1981 effectively ended direct confrontations, but the episode reinforced Lisa's reputation for cunning interference in romantic entanglements.

Later Romances and Business Empire (1980s-2000s)

Relationships with Whit McCollister and Earl Hughes

In the early 1980s, following her divorce from Grant Colman, Lisa eloped with Whit McColl, a wealthy businessman whose aggressive financial tactics strained relations with other Oakdale residents, including Lucinda Walsh. The marriage highlighted Lisa's pattern of seeking security through high-profile unions, though it ended with McColl's death, leaving her widowed once more. Subsequently, in late 1986, Lisa married Earl Mitchell—her sixth husband—on , a union that introduced elements of international intrigue and into her storylines, as the couple became entangled in covert activities. Portrayed by , Mitchell's character brought a sophisticated, mysterious dynamic to Lisa's life, but the relationship proved brief and ended violently with his murder in 1989. This tragedy underscored the recurring peril in Lisa's romantic entanglements, reinforcing her evolution from opportunistic schemer to resilient survivor amid personal losses.

Evolution into Matriarchal Figure and Family Tragedies

Over the course of the 1980s and 1990s, Lisa Grimaldi transitioned from her earlier reputation as a scheming to a respected matriarchal figure in Oakdale, leveraging her business acumen in ventures such as nightclub and later the to establish herself as a pillar of the community. This evolution reflected her character's maturation, marked by greater emotional depth and resilience amid personal losses, positioning her as a guiding force for younger family members and associates. By the 2000s, Lisa embodied the enduring grande dame, offering counsel drawn from decades of experience while maintaining her flair for and entrepreneurship. Central to this phase were profound family tragedies that tested her fortitude, including the deaths of two children, which compounded the narrative of her perseverance. Additionally, four of her eight marriages concluded with the deaths of her husbands, contributing to a storyline arc of repeated widowhood that underscored her ability to rebuild amid grief—three other unions ended in divorce, and one was annulled. These losses, woven into her later romances and familial dynamics, transformed Lisa from a figure of romantic intrigue into a symbol of stoic matriarchal strength, as she navigated widowhood while fostering connections with grandchildren and extended kin.

Final Storylines and Series Conclusion (2000s-2010)

Diminished Role and Production Conflicts

In the 2000s, as shifted focus toward younger characters and contemporary plots amid declining ratings, Lisa Grimaldi's role significantly diminished, with actress receiving reduced airtime and her character relegated to peripheral appearances. Lisa, once a central scheming matriarch, was often limited to brief advisory roles for younger Oakdale residents or occasional cameos in specials, rather than driving major storylines. Fulton publicly voiced frustration over this treatment, stating in a 2009 that producers had "taken my character and made her a bystander," highlighting a broader neglect of veteran figures like Lisa in favor of new ensembles. These production decisions fueled tensions between Fulton and the show's creative team, who were accused by and others of sidelining established icons to revitalize viewership, though such changes failed to reverse the series' ratings slide. Fulton, a fixture since 1960, criticized the emphasis on "neglecting the show's veteran characters," arguing it eroded the soap's historical depth without successfully engaging audiences. Despite the reduced prominence, Lisa appeared in on September 17, 2010, marking Fulton's nearly 50-year tenure, but the character's diminished status underscored the production's struggles in balancing legacy with innovation.

Involvement in Show's Cancellation Context

Eileen Fulton portrayed Lisa Grimaldi through the series' final episode, which aired on September 17, 2010, after announced the cancellation on December 8, 2009, citing low ratings amid the broader decline of the daytime genre. Fulton's tenure spanned 50 years, from her debut as Lisa Miller on May 9, 1960, making her one of the longest-serving actors in soap history, though the character's screen time had notably decreased in the 2000s. In a , 2009, NPR interview shortly after the announcement, Fulton voiced deep sadness over the end, emphasizing her concern for loyal viewers who treated the cast like , recounting personal fan interactions such as letters from those on their deathbeds citing Lisa's impact. She highlighted the emotional bonds formed over decades but offered no direct critique of production decisions or ratings factors driving the cancellation. To mark Fulton's milestone amid the winding down, broadcast a May 2010 tribute episode focused on her five decades as Lisa, featuring archival clips and reflections on the character's evolution from opportunistic ingenue to matriarchal schemer. This homage underscored Lisa's symbolic centrality to Oakdale's lore even as newer storylines dominated, with Fulton participating in farewell events like a Paley Center gathering on August 18, 2010. In the series finale, Lisa appeared in ensemble scenes evoking the town's interconnected histories, providing continuity without resolving a central plot arc, reflective of the show's abrupt network-mandated close rather than narrative culmination. Fulton's post-cancellation reflections, including a September 2010 segment, centered on gratitude for the role's longevity and Lisa's pioneering "" archetype, avoiding attribution of to specific creative shifts despite industry observers noting veteran underutilization as a contributor to viewer erosion in soaps' twilight era.

Reception and Cultural Impact

Critical Acclaim and Awards Recognition

Eileen Fulton's portrayal of Lisa Grimaldi on earned acclaim for its longevity and the character's transformation from a manipulative ingenue to a multifaceted antiheroine, spanning nearly 1,800 episodes from 1960 to 2010. Critics praised Fulton for embodying a "flashy vixen" who enthralled and provoked audiences through intricate schemes, multiple marriages, and personal tragedies, cementing Grimaldi's status as daytime television's archetypal diva. In recognition of her contributions, Fulton received the Editor's Award in 1991, honoring her sustained impact on the genre. She was inducted into the Hall of Fame in 1998 for her pioneering role in evolving soap villainy. Fulton later accepted a Daytime Emmy Lifetime Achievement Award in 2004, acknowledging her half-century influence on serial drama storytelling. These honors underscored the portrayal's cultural resonance, though Fulton received no competitive acting Emmys, reflecting the era's limited awards focus on soap longevity over episodic performance.

Fan Perspectives and Iconic Status

Fans have consistently praised Lisa Grimaldi's portrayal by as a cornerstone of , highlighting her evolution from a scheming to a resilient matriarch over 50 years, which cemented her as a symbol of daytime drama longevity. The character's blend of glamour, ambition, and occasional villainy—exemplified by her multiple marriages and business maneuvers—earned her a "love-to-hate" reputation that fans cherished for its unapologetic flair, with viewers often citing her signature hats and witty one-liners as memorable hallmarks. Grimaldi's iconic status is underscored by Fulton's recognition in industry rankings, such as Gold Derby's list of top daytime actresses, where her sustained performance in 1,798 episodes was lauded for embodying the soap genre's dramatic excess. Audience tributes following Fulton's death in July 2025 emphasized Grimaldi's role in fostering generational , with many recalling childhood fascination turning into lifelong appreciation for the character's unyielding independence amid family and romantic turmoil. This enduring appeal positioned Grimaldi as a trailblazer for female leads in soaps, influencing perceptions of strong-willed women in serialized storytelling.

Criticisms of Character Tropes and Storytelling

Lisa Grimaldi's character embodied the "" archetype in , depicted as a seductive, ambitious who frequently employed manipulation and romantic intrigue to advance her social and economic status, originating this trope on in 1960. This portrayal, involving eight marriages and numerous affairs over five decades, drew audience disdain, with noting in a 2010 interview that many viewers actively hated Lisa for her scheming nature, reflecting the trope's success in generating dramatic tension but also its polarizing reliance on moral ambiguity in female characters. Critics of conventions have identified Grimaldi's arc as exemplifying stereotypical representations of women as opportunistic climbers, transitioning from a humble to a through serial matrimony and cunning deals, such as her ownership of the Intrigue boutique and pawn shop, which some analyses link to broader genre stigmas of exaggerated gender dynamics. elements, including improbable resurrections of plots like family tragedies and romantic rivalries, contributed to perceptions of formulaic repetition, though Fulton resisted certain scripts, such as a proposed scene she viewed as endorsing spousal abuse, highlighting occasional pushback against trope-driven excess. These aspects underscore a tension between the character's entertainment value and critiques of causal implausibility in long-running serial narratives, where empirical realism yields to viewer retention through heightened .

References

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