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NATAS President and CEO, Adam Sharp, Shares Details On Digital Drama Daytime Emmys, Ceremonies During COVID-19, and Keeping Winners A Secret

Photo: NATAS

On Tuesday, The National Academy of Television Arts and Sciences announced the hosts for the upcoming final two, of three, Daytime Emmy virtual ceremonies.  First up on July 19th is the Digital Drama Daytime Emmys with Queer Eye for the Straight Guy’s Jai Rodriguez presiding over the night.  Then look for The Real’s Loni Love to take us through the Children’s, Animation and Educational Emmy Awards on July 26th.

Coming off a successful 47th Annual Daytime Emmy Awards back on broadcast TV for the first time in 11 years, and doing it during COVID-19 where everything had to be done remotely was no easy feat, and it was no easy task of ensuring the winners names would not leak before air in a pre-taped ceremony. But, NATAS President and CEO, Adam Sharp, and his team put together some safety measures that kept the drama alive of just who would win come Emmy night.

Now, heading into two more shows, Sharp chats with Michael Fairman TV and gives some Intel on what to watch for and look forward to on these upcoming ceremonies and just how the CBS broadcast of the Daytime Emmys came together and much more.  Here’s what Adam had to say.

Photo: CBS

So, let’s talk for a minute about the Digital Drama categories.  How many categories will you be doling out that night?  The Bay took home Outstanding Digital Drama Series already at the 47th Annual Daytime Emmys.

ADAM:  Seven: Two Leads, Two Supporting, Guest Performer, plus writing, and directing for a Digital Drama Series.

My understanding is that the Digital Drama Daytime Emmys will be live; as opposed to how the 47th annual Daytime Emmys were pre-taped?

ADAM:  Yes.  That’s the plan!

Phoo: CBS

How do you feel about that?  It certainly can add some unpredictability to the show.  I think people are a bit more forgiving in the imperfection of trying to deliver programming during COVID; because they’re now used to seeing their favorite performers on Zooms or whatever platform is being used.

ADAM:  I think with the telecast, from a production standpoint, we certainly played it somewhat safe, at least technically – in that everything was pre-taped and so on.  With our near decade away from being on a network and in primetime, I think there were a lot of advantages to that.  The program moved really quickly because you didn’t have to keep waiting for people to walk down the aisle.  I think it was great seeing the stars in their homes as well.  It felt really warm and intimate, which is important for Daytime because it is the most intimate part of television.  It isn’t something that you binge for 12 hours, and then wait a year to see what they offer next.  It a part of your daily life and you make a connection to these people.

How do you feel the response was to the 47th annual Daytime Emmy Awards on CBS?

ADAM:  The feedback we’ve been hearing has been really positive.  I think people liked the feel of the show, the earnestness and that intimacy, and I think people appreciated the steps we took to at least try to be at as close to tradition as possible; in that a lot of people sort of rolled their eyes initially when we said, “Everyone is going to record an acceptance speech,” but then, I think when the show actually aired, and people realized the nominees still didn’t know if they won, the presenters didn’t know who won, the hosts didn’t know who won.

Photo: CBS

Is it true that the presenters also recorded different, “The winner is” versions?

ADAM:  Yes.  The presenters each did five envelope opens, and we internally used a video-sharing application across the production team, and there was a sort of going from government parlance – the classified and the unclassified system – where most of the production team could not see anything that divulged a winner.  While there were eight editors working on the show, there was only one, and then in the last day, two, editors who actually could see who those winners were and fill in those holes throughout the show.  I think that the fact that you then had stars reacting on social media in real-time to their winning, it brought some of live excitement to Emmy night, because I think fans started to realize, “Oh, my God! She really didn’t know she won.”  For example, Kelly Clarkson, who did a very emotional tribute to her mother in the acceptance speech, shared her reaction to her win on social media where you experience the screaming, and jumping up and down on the chair moment.

Yes, that and others provided some very real moments.  When I chatted with some of the winners via Zoom (immediately following the broadcast) those also were so were so raw, and emotional.  I was thrilled that I was able to do that and sort of emulate what the “Winner’s Walk” backstage looked like in a virtual setting.

ADAM:  I think there is a certain aspect that when you are in the auditorium with all of the lights, with everyone there, you’re walking up on the stage to someone, you are so aware that this is a performance, you are so aware of the glare of the lights, and the cameras, and so on, that sometimes it can feel like you don’t have permission to emote. I think in many cases, when people can be at home, I actually thought most of the acceptance speeches seemed a lot more relaxed.  I thought they seemed a lot more natural.  I felt like you were seeing much more of the person as opposed to the performance.  So, that’s something we are going to try to capture on the 19th with the Digital Drama Awards. The envelopes are being sent sealed from the accountants to the presenters.  The control room is not going to know ahead of time who the winners are.  That is going to be at show time to the control room, so they’ll be taking in these close to 50 live shots from around the country throughout the presentation of the seven-category show.  The intent is to do the as much the same on the 26th.  Every day is a learning experience right now.   We have 10 ceremonies to produce this year in the COVID context, and that’s not even looking at 2021 yet.  That gives us a lot of opportunity to experiment, and we are going to get a lot wrong, and we are going to get a lot right.

Photo: CBS

When people watch the Digital Drama Daytime Emmys on July 19th, is it going to be a quick seven categories?  Are there going to be other packages in the show?

ADAM:  So, because it is only seven categories, we are giving the show a little more room to breathe.  Even though we have already awarded the overall top digital drama the night of the 47th annual Daytime Emmys, , we are going to do a little bit of a retrospective of the season of all of the shows, a little bit more than we had time for in the telecast.  There be some conversation before the reveal of the winner. We are experimenting with a few things there that you can’t do in the stage show version, and you can’t do in the pre-tape, but where the live nature of it, and the Zooming nature of it allows it.

Then on the July 26th Daytime Emmys for Children’s, Lifestyle and Animation programming, how many categories will be featured there?

ADAM:  About 20-ish categories, and then another bunch will be presented on social media afterwards the same way we did the night of the telecast.  This is absolutely a bigger show because Daytime is comprised of a hundred categories, and we are not even halfway through giving them out yet.

Photo: CBS

For clarification for the fans who read this, what kind of categories will they see presented in terms of “Family Viewing” or “Lifestyle”, etc?

ADAM:  That is going to include several categories that were not on the telecast.  So, for example, we had Entertainment Talk Show Host, but not Informational Talk Show Host during the telecast.  We had Culinary Show, but not Culinary Host, a lot of the craft categories for those shows, so the Lifestyle block is very much Talk, Travel, Culinary.  Then, we have the Children’s categories: Children’s Animation and Educational Programming, we have the Family Viewing categories, and you’ll recall this year we added a Young Adult track to the competition, so that will be in that show as well and wound up being extremely competitive in its first year.  That was a category that sort of spun out because of the growth of the competition where you had these programs that were still designed for a younger audience.  They were clearly designed for a teen audience, so you wouldn’t put them in a category next to a soap, for example. But they were dealing with more mature themes, and the closest thing in our history was when we still honored “After School Specials” back in the day, but then that category went away as that type of programming went away.  Now, as it started to make a digital comeback, it felt strange to have a nomination that was dealing with teen suicide, pregnancy, opioid addiction … and then the next nominee is… Big Bird!  So, as this genre really grew and it didn’t really have a place in Drama, it didn’t really have a place in Children’s, and now, it’s actually become a diverse enough category to be very competitive on its own, so we are really excited to see that.

Photo: ABC

When you watched the Daytime Emmys, Black Lives Matter was certainly present in a lot of the speeches and moments.  You also included the clip when Al Freeman (Ex-Ed Hall) One Life to Live, won Lead Actor, being the first African-American performer to do so.

ADAM:  There was a lot of need to acknowledge the moment.  So, from the coronavirus standpoint, the whole format of the show was an acknowledgement of the moment, and then certainly in the close, Marie Osmond reminding people to stay safe and stay healthy and so on.  I think that there wasn’t as much of a need to lean in too far on COVID, that was certainly understood.  On Black Lives Matter, I think it was very much raw. It was something that had to be addressed and had to be addressed tastefully.  I think that we were successful in that.  I think the Al Freeman moment was also important there because it did recognize without being too heavy handed that Daytime has always been very much at the forefront on social issues, not just race issues like that, but certainly the first gay marriage on television, the first gay kiss, the first abortion on television.  Now, you look at the show coming up on the 19th for the Digital Drama, where we have the first two trans performers nominated for performance roles, the first drag performer nominated for a performance role, and so in every way, Daytime has been at the forefront.  If you look at the nominees, the winners, the presenters, the Daytime Awards have consistently been the most inclusive, diverse, equitable of the awards ceremonies, and we continue to do that.

Did you have a favorite moment from the Daytime Emmys on CBS?

ADAM: I think for me, Cookie Monster presenting Culinary Show, as he stammers on nominees, and it becomes, “and the nom-nom-nom-nom-nom,” and he eats the envelope, that was something that in the high-stress moments of getting the show together, I could always go back to that cut and get a laugh and break the tension of the room.

Photo: CBS

Over 3 million viewers tuned-in to the 47th annual Daytime Emmys.  Do you think they will be back next year on network TV and on CBS? 

ADAM:  I hope so.  We certainly beat the average for the timeslot since they’ve gone into reruns.  While it was less total viewers than the last time we were on CBS, that was nearly a decade ago where viewing habits were very different.  But I think over 3 million was a very good sign.  I think it was notable that when you watched the show, almost all of the advertisers were traditional daytime advertisers that followed us into primetime.  CBS sold out the show.  There were advertisers who were actually clamoring to buy that time, and they bought every minute of it that was available.  I think we were really firing on all cylinders there.  I think we reengaged with the community.  I was deeply touched that Patrika Darbo accepted her invitation to present because while it was more of a quiet nod to those on the inside of the community than perhaps the audience, I think it was very important closure to some of the past struggles of the show that both of us have recognized those errors of the past, but the community moves forward together.

Photo: HutchnsPhoto.com

You gave Patrika Darbo the duties of introducing the emotional In-Memoriam tribute.  Was your intent to give her that piece?

ADAM:  Yes.  It really was that we, as an academy made a lot of mistakes in the past, and she, through no intention or fault of her own, was the victim of a lot of that.  You know, she didn’t prepare the reel.  She didn’t realize that she wasn’t eligible in the category, and so she, by virtue of that, sort of was the one who then had to bear the headlines of the Emmy being taken away and so on.  So, it is impossible to completely make that up to her, but at least to recognize her and her standing in our community was something that was very important to do.

Photo: JPI

How nervous were you that the winners would somehow be leaked before the 47th annual Daytime Emmys aired?

ADAM:  I was afraid, but I also knew that we were taking every step we could to ensure that security, and in many cases to the point of absurdity.  The logistics of chasing down all of those acceptance speeches, the hours that our lawyer spend on the phone negotiating the leases for video that was never going to be used, basically giving ourselves, for most of the show, five times the amount of work that we needed to just for maintain that security.  Then, even when people did know, keeping that segmented so that nobody would know the whole picture at once.  It definitely brought back memories of my government service.  The most terrifying was probably the hours between delivery to CBS and airing, because that’s when you know it’s getting closed captioned, it’s getting put up on a satellite etc, but CBS are old hands at this.  They do it with every Survivor finale and so on and so forth.  They were great at keeping the secret for us.

So, looking for to the Digital Drama Daytime Emmys that will be live? What did you think about the information shared by Adam on the making of the 47th Annual Daytime Emmy Awards? Comment blow.

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SZima
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SZima

I know a lot of people liked this version of the Emmy’s, but I IDN’T!! In fact, I could even say I hated it!

Everything was “CANNED,” obviously.
Everything was pre-recorded, and then edited to the nth degree!
There was no interacting between the hostesses.
There was no spontaneity!
The hostesses didn’t comment on,or congratulate the winners.
There was no suspense.
There was no applause.
There was no orchestra.
There was no red carpet.
There was NOTHING to make the show fun or interesting.
If they can’t do a normal awards show in the future, DON’T BOTHER!
I’ll settle for reading who won online.

Dan
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Dan

Michael,

I wish you would have asked Adam Sharp about why they merged the Younger Actor and Younger Actress category into one category this year, only for five women to be nominated at the exclusion of some very talented and worthy younger male actors like William Lipton and Garren Stitt, among many others. I would love to hear the reasoning for why they made that change. It honestly comes across like a change that they made for the sake of making a change, not because there was a huge issue that needed to be corrected.

Interviews

B&B’s Scott Clifton and Don Diamont Talk on the Plight of Liam & Bill and Their Cover-Up of Vinny’s Death

If you are watching current episodes of The Bold and the Beautiful then you know that Scott Clifton (Liam) and his on-screen father, Don Diamont (Bill Spencer) have been spending plenty of time together in scenes in very dramatic and intense fashion.

In story, Liam is guilt-ridden over running down Vinny Carter (Joe LoCicero) by accident when he was driving Bill’s car.  Since the moment that Vinny was killed, Bill leapt into action, destroying any evidence tying the two to the scene of the crime and continually demanding that Liam let this go and move on with his life, or the implications for the both of them could certainly be a long jail sentence, or worse.

Photo: JPI

Now as Liam is finally making headway in a reconciliation with Hope (remember his last secret – sleeping with Steffy – was quite the doozy), this new secret of what he has done, and hiding, could up the stakes even more and take him away from his family for good … or would Hope (Annika Noelle) after finding out what Liam did be the nail in his coffin that ends their relationship once and for all and kicks him to the curb?

Courtesy/CBS

Both, Scott Clifton and Don Diamont chatted virtually with Michael Fairman exclusively for You Tube’s Michael Fairman Channel to offer up for viewers and fans of The Bold and the Beautiful: an inside look at what goes on when they tape their scenes, how they see their characters motivations, and they serve up a preview of what may lie ahead in this tangled web that Bill and Liam have unfortunately weaved.

Photo: JPI

Check out the humorous, candid, and enlightening conversation with two of the leads and mainstays of this CBS Daytime drama series below.

Then let us know; how do you think Liam and Bill can get out of the mess they find themselves in? Will Liam crumble and spill the beans? Will everyone in town get on to them and figure out the secret they have been keeping? Share your thoughts and theories via the comment section after taking a look at the virtual conversation.

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Days Of Our Lives

Kevin Spirtas Talks ‘After Forever’s’ Digital Special ‘Riley’s Unforgettable School Project’, The Loss of Michael Slade, and a Chance to Reprise DAYS Craig Wesley

The coronavirus pandemic has put to the test many content creators on just how they would keep their projects moving forward in ways they never dreamed of. However, out of that situation has come some of the most compelling, unique series, specials, and features currently streaming for viewers. One of which is Riley’s Unforgettable School Project, brought to you by the team from the six-time Daytime Emmy Award-winning series, After Forever.

Former Days of our Lives star, Kevin Spirtas (Ex-Craig Wesley) has starred in and created the first two seasons of what has become the most honored Emmy-awarded LGBTQ-themed drama series on any platform.  Along with his ‘After Forever’ writing/producing partner, the late Michael Slade (DAYS, OLTL, Passions, Another World), the two also conceptualized and delivered this latest documentary-style offering now on Amazon Prime Video.

What makes Riley’s Unforgettable School Project so noteworthy is not just how they were able to execute the series based on fictional 11-year-old Riley’s virtual school project and utilize its cast, which includes: Spirtas, Cady Huffman, Jamison Stern, Lenny Wolpe, Erin Cherry, Anita Gillette, Christopher J. Hanke, and Finn Douglas, but that it was made while Slade was succumbing to his battle with cancer, and that this special marks the final script from this talented writer.

 

Michael Fairman TV spoke with Spirtas about making the special during Covid-19, how the death of Michael Slade has made a lasting impact on his life, what After Forever has personally meant to him, and how an official third season is still in the works, and … if he would consider a return to Salem and Days of our Lives, should they come a-calling.  Here’s what Kevin had to say about it all.

Photo: AfterForever

I think the entire story of this digital special has become even more meaningful with Michael Slade’s passing. What was the genesis of the concept? You wanted to continue the telling of the story of After Forever … but we are all in the middle of a pandemic?

KEVIN:  Yes and… when we filmed season 2, we had the scripts for season 3 already completed. It was our hope and desire to film them at the same time, back-to-back, so that we would have had all of our cast and crew together, and we could have gotten through it because we’ve always imagined this story being told in a trilogy so to speak – a beginning, middle, and end to Brian (Spirtas) and Jason, (Mitchell Anderson) and Brian’s healing or his steps towards healing through grief.  Schedules turned out that they couldn’t really work out for us to hold all the people and hold all of the sets for that amount of time.  So, we thought, “We’ve got the scripts for season 3 ready.  We’ll come back to it in the following year,” and that was always the intention, and then the pandemic hit.  So, it was shut down immediately that we weren’t going to do anything, but we wanted to stay current, and instead of going back in and telling the third installment of After Forever as a Covid-19 story as well, Michael and I sat down and looked at a way of staying relevant and current with a story within COVID, and there was born the idea to do this documentary style story/special about the characters of After Forever told through the lens of the character of Riley, the 11-year-old boy, who is now being homeschooled during the pandemic. He gets an assignment to do a project about the most unforgettable person he has ever met, and he, of course, chooses his best friend, the late Jason Adams, and he enlists all of Jason’s friends and family to join in.  Michael actually said, “What if we tell a story about Riley being homeschooled?” And, not only is Riley a technical genius at 11-years-old in the story, but Finn Douglas, who plays Riley, is a technical genius.

And didn’t Finn perform and write the song “Forever There” contained within the special?

KEVIN. Yes. He is this incredible musician.  Michael thought, “What would it be like if we asked to have the character of Finn sing a song for Jason?”  I said, “Well, what kind of song would we have him sing?”  Finn could play anything, I’m sure, because he’s self-taught, he plays by ear – guitar, piano, and drums.  Michael said, “What if we ask him to see if he could write a song?” and when we heard this song, we all called each other and we all got on Zoom and went, “Can you believe this song?  Can you believe this came out of this 11-year-old?”  It’s pretty incredible.  Michael did a gorgeous job of weaving the stories in and out and how they just sort of dove-tailed into each other, and then it was framed by Riley opening the project and ending the project.  During the Zoom reading we wanted to hear the song out loud.  We said to Finn, “Would you want to sing the song?”  We all just watched everybody on that Zoom call just fall apart.  It was just so beautiful. He’s an amazing talent.

Where is your character within this?

KEVIN:  I still stand in the center of the story of Jason because my character, Brian, was married to Jason, and it sort of connects us all, and through Riley’s understanding of how we all connect to Jason, is how we are all sort of spread out throughout the story.  Michael jokingly said, “You know, you’re not going to be the star of this special,” and I said, “I don’t think it’s about being the star.  It’s really about the storytelling.”  The beauty of Riley’s Unforgettable School Project is that we get to see moments of each person’s relationship with Jason, which Riley sets out to say, “Answer these three questions: What did you like most about Jason?  What did you like least about Jason? And what’s your favorite memory?”  Those three things, cut back and forth is where we all kind of fit in.  Nobody has more of a story than the next person, and it’s all telling honest portrayals of how they’re dealing with their loss of their good friend, or their child, or partner.

It’s a very inventive idea during Covid-19 to continue it in a way where you weren’t having to go shoot a full season of episodes.

KEVIN:  Well, we couldn’t. I have to say, Allison Vanore, who not only produced this special, but she also stepped up saying, “I’d love to direct this,” and I said, “Yes, please!”  She knows the characters.  She understands the story because she’s been a part of it for the last two seasons.  Allison also has this extraordinary amount of knowledge and expertise with the camera and what was needed for a remote shoot, and to also be able to organize filming 13 people in 2 different countries and 5 different cities… that’s just the technical side of it, but having that in our back pocket, knowing that it was a remote shoot, we had to send the camera, the computer, the ring light, and the microphone to each person’s house.  We had to location scout over Zoom.  We had to do wardrobe over Zoom.  It was all this big puzzle putting it together, and once you look at that board of storytelling and how we were going to do it, it kind of fell into place.  I feel blessed that a) we still had Michael with us, at that point, and b) Allison had the know-how to do this.  We all feel that at least this pandemic didn’t keep us from doing what we love.

Photo: AfterForever

In terms of the contribution of Michael Slade in this special, was it the construction of the story, and how was he able to work and write this during his illness?

KEVIN:  Michael’s contribution to the special was no less than the contribution to season 1 and season 2, and the future of season 3, because the scripts are written.  We did everything on Zoom, and we worked around his schedule of treatment.  We scheduled 2 people per day, and we spread them out over two weeks.  He was very present, and when there would be a day where he would say, “I’m going to be an hour late, let’s just push that call time,” I would ask, “Is this too much right now?  We can shelve it; we can stop it.” He’d then say, “Absolutely not, otherwise cancer will win.”  He was determined to stay focused and to stay active because it took his mind off of what was happening to him.

Photo: AfterForever

It would be lovely moment if you both were to win a Daytime Emmy for this project. 

KEVIN:  It’s our last collaboration together as a team, as I said, season 3 has been scripted, and it is on the calendar to get made.  We are just waiting for the COVID restrictions to lift a little bit and everyone to get vaccinated.  Michael was really hit hard with cancer – to stay healthy was so challenging for him.  Sadly, he didn’t make it to see the final edit of the special, and he died four days before we launched, but he had seen the cuts before that and was very approving of it, and had made some decisions, and offered some suggestions, and if God gives him an Emmy for this, it’s not because he died.  It’s because it’s great work.  It just happens to be that the work that was involved in this particular special was very tricky.  It brought up everything, like life itself to have to deal with.  Here we are dealing with the loss of a colleague, the loss of a friend, someone’s brother, someone’s son, this is life imitating art, imitating art imitating life. I can’t tell you the darkness that I went through just experiencing the need to stay focused on getting everything edited, and everything ready, and everything aligned for a release of this project that we had put into motion.  On top of it, our editor lost his mother just before Michael passed, and Allison’s mom was sick at the time, as well.  It took a lot of heavy deep breaths with Michael’s death, and the pandemic, and the loss has, for me, on a personal level, sent me back to really questioning my spiritual muscle and to help remind me that we have to come out of this better than we went into this.  I had many dark nights of the soul this last year, and December was probably the darkest.  I feel like I’m just kind of coming out of it now with the spring revealing itself.

Photo: AfterForever

It must have been extraordinarily difficult for you to also go to New York during a pandemic and also knowing Michael did not have much time left.

KEVIN:  I will say this: I am grateful that I was able to stay in touch with my heart and my instinct and go out to New York to let that be my remote location.  Yes, maybe there was some risk involved.  I wore my mask; I was Covid-19 negative, and I was determined to be fine.  Once I got to New York, I would visit him very protectively with our masks and our gloves, and I’d sit across the room, and then I’d go back to the house I was at.  It was a gift that I was able to see him at that time.  We had some good talks then about how he was feeling, and I think he was still being optimistic, and then once we got the project in the can there was maybe this psychic letting go. That’s when everything really started to reveal itself as this could be the end.  I did go back to see him when he was in hospice.  I think I was there the last two days that he really was able to really stay coherent.  He would close his eyes and be at peace and quiet for a minute, and he would finish a conversation and sort of close his eyes, not to sleep and not to go away, but I remember watching him going, “Look how peaceful he is,” and then he’d open his eyes and he’d remember that he is in this body that has been given a time limit of life, and he’s on his way out.  I’d watch the fear go back in his eyes.  At one point, he did say, “I’m so scared,” and I just held his hand, and I said, “I’m scared too.  Let’s be scared through this together.”  I don’t know how to navigate grief like that.  We are all going to be in a position at some point where we are going to be on the other side of the hand holding.  The wonderful thing is that we were able to have honest communication about our feelings.  I thanked him for everything that he has done for me and how he believed in my talent and creativity and our partnership.  I will always take that with me.  I waved my finger at him, and I said, “Listen.  Now, we wrote a series about a man talking to his deceased husband.  You’d better talk to me!”  So, we laughed about that.

Photo: AfterForever

You’ve done a lot of things in your career from Broadway to television, and of course, daytime fans know you best as Dr. Craig Wesley on DAYS.  How does the entire After Forever project stack up to you within all that you have done?

KEVIN:  Former DAYS casting director Fran Bascom, sought me out and offered me this 2-day role on Days of Our Lives, and those 2 days turned into 8 years, and unbeknownst to me at the time, the final 3 months of that contract of those 8 years, Michael Slade was brought in to write.  We didn’t cross paths at that point, but years later, when we did cross paths in New York, and then After Forever was born, that was that universal crossing point.  I am most proud of the fact that we were able create something fresh, and real, and personal to ourselves that we didn’t have to cater to any “powers that be” that had their vision and their tinkering, that they thought that it could be better in this way or that way.  Then for After Forever to gain such recognition, within the film festivals, and the Emmys, and then, just after Michael died, we won the GLAAD award for Special Recognition this year.  We don’t even fit into one of their categories!  They found a way to acknowledge this project.  If another Emmy happens again, that might be another one to put up on the shelf for After Forever that would be beautiful, and I couldn’t have done it without Michael.

For the Daytime Emmys this year, what category have you entered Riley’s Unforgettable School Project?

KEVIN:  We are not a series this year, we are a daytime fiction special, and the “Daytime Fiction Special” category is a special class.  It’s anything that’s digital in the construct of less than 40 minutes.  NATAS (National Academy of Television Arts and Sciences) is being bombarded with so much content, they’re trying to find ways to put categories together.

Photo: JPI

So, now, when we last saw Days of Lives’ Dr. Craig Wesley, where was he? (Laughs)

KEVIN: (Laughs) He was in a flash from the past or something in the DOOL app’s Last Blast Reunion series. I had a fun time working with Patrika Darbo (Nancy) and Nadia Bjorlin (Chloe), once again.

So, if they were to want Craig to come back to DAYS, would you be all for it?

KEVIN:  Hell yes!

Photo: JPI

Now, what story would you want to be told involving Craig? 

KEVIN:  When Craig was first on the canvas in Salem, there was a lot of mustache twirling and a lot of hand wringing.  He was always plotting; most of the time with Nancy.  It was kind of this high drama, evil villain storyline being told, but when the writers created an opportunity for us to be on after those first three months by bringing on Chloe without a father, there was something real about it.  It may have been told under the construct of soap opera storytelling, but there was a reality-based story about, “You have a daughter, and we are just now finding out about it?”  Then, finding a cure to her health was another realistic story, and finding out that Craig was her real father.  Anything that’s reality based is what I’m getting to.  I would welcome any job that brings me back and gives me an opportunity to dive into something real.

Photo: JPI

Would you welcome the opportunity to play a gay character on daytime; in a medium where there are very few represented in storylines?

KEVIN:  I’d have no problem with that.  Do you know anybody who is starting that?  Let’s do it!  (Laughs) First of all, there’s nothing to hide anymore.  There’s nothing to pretend you’re not anymore.  I would think that bringing in a storyline that deals with anything outside the norm that we are used to seeing would be interesting.  How many times can you retell a story?  How many times can you set the same story up with another couple?  So, why not be diverse and have a stylized story being told through the lens of a gay person.

Photo: AfterForever

In closing, so many go through life without acknowledging people who had an impact them.  We don’t give pats on the back, often enough, and especially in Hollywood, where people can be very self-involved.  You have already paid tribute to Michael Slade in our discussion, but what gift from him is your personal takeaway?

KEVIN:  The gift that Michael really gave to me is to remember to be kind to myself and to others, and to acknowledge and salute the person who is in front of us, because we don’t know when we will have, or if we will have, another moment to do that.

Now below, check out the trailer for Riley’s Unforgettable School Project.  Then let us know, what do you think of its concept? Kevin’s thoughts on the passing of his collaborator on the project, Michael Slade? And, do you hope DAYS brings back Dr. Craig Wesley? Share your thoughts via the comment section.

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General Hospital

GH’s Kin Shriner Talks on Franco’s Demise, Scott’s Budding Romance with Obrecht, and His Enduring On-Screen Partnership with Genie Francis

One of the most beloved actors in the history of General Hospital, Kin Shriner, currently finds his alter-ego, Scott Baldwin, in a new budding on-screen romance with none other than Liesl Obrecht (Kathleen Gati).

This comes on the heels of Scott learning the devastating news that his son, Franco Baldwin was shot and killed, thus writing-off the ABC daytime drama series, for now, popular actor, Roger Howarth.

Photo: JPI

Throughout his now almost 44-year-run on the ABC daytime drama series, Kin Shriner has brought his unique acting chops that helped mold the character of legal eagle Scott Baldwin into the humorous, at times cutthroat, endearing and many times heartbreaking character we have all come to love.’

 

In a brand new exclusive virtual sit-down interview with Michael Fairman on You Tube’s The Michael Fairman Channel, Shriner opens up about his history with GH and the times he stepped away to take on roles on Texas and As the World Turns, and then back again to the town of Port Charles and GH.

Photo: ABC

As well, Kin reveals his reaction to learning the news that Roger Howarth would be exiting the show as his TV son and how he shot the key emotional scene where Laura (Genie Francis) tells Scott that Franco had died.  Shriner shares that he does not see how when Howarth returns to the show in as a yet-to-be-revealed character, that it would be a stretch if the two were some how related, but that he will miss working with the talented Howarth as a scene-partner.

Photo: JPI

As to the women in Scott’s life, Kin addresses each of them from: Lucy (Lynn Herring), Bobbie (Jackie Zeman), Dominque (Shell Danielson), Laura (Francis), Ava (Maura West) – to which the character could never get that close to – and now Liesl (Gati), and working opposite all the powerhouse actresses who portray them.

Photo: ABC

For fans of General Hospital who have watched the series for decades, Kin also shares memories of working with his late TV parents, Peter Hansen (Lee), Susan Brown (Gail) and his friend and former GH castmate John Reilly (Sean), plus backstage stories with his longtime scene partner, Genie Francis.

Watch the entire conversation with Kin below.

Now let us know, are you all for the Scott and Liesl romance? Will you miss scenes between Scott and Franco?  Would you ever want to see Scott and Laura reunite romantically? Share your thoughts in the comment section.

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Y&R’s Joshua Morrow, Amelie Heinle, Mark Grossman, Hunter King and Melissa Ordway chat with Michael Fairman about being a part of and portraying the Newman Children as the show celebrates its 48th anniversary.Leave A Comment

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