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Sean Kanan, Tristan Rogers & Timothy Woodward Jr. Talk On The Making Of New Digital Drama ‘Studio City’ & Respect For Soaps

Photos: JPI and IMDB

Just as we closed out 2019, the world of digital dramas saw the debut of a riveting new show, Studio City.  The series initial season can be binged watched in its entirety on Amazon Prime, which follows the life of Hollywood actor Sam Stevens and the cast of “Hearts on Fire“, America’s number two daytime drama, as they navigate the chaotic world of soap operas and their own messy personal lives.

Studio City was co-created, executive produced, and stars longtime daytime favorite, Sean Kanan (Ex-AJ, General Hospital, Ex-Deacon, B&B).  In it, Kanan plays Sam, who plays a doctor on the soap-within-the show, and whose life off the set provides the back-drop for much of the drama and heart and soul of the series.

Kanan has surrounded himself with quite the acting company which includes: Carolyn Hennesy (Diane, GH), Sarah Brown (Ex-Carly and Claudia, GH, Julia, ATWT, Madison, DAYS and Agnes, B&B), Patrika Darbo (Ex-Nancy, DAYS and Ex-Shirley, B&B), Scott Turner Schofield (Ex-Nick, B&B) and the one and only, Tristan Rogers (Robert, GH, Colin, Y&R).   In addition, feature film director, Timothy Woodward Jr. (who turns out to be a soap fan and appreciates the genre), is the man behind the camera directing the story and the cast through the ups, downs, laughs and tears of the story in Studio City,

Michael Fairman TV chatted with Kanan, Tristan Rogers, and Woodward to find out: how Studio City all came together, what their hopes are for it in the future, and about the tears (those who have watched the series have shed in episode 6) and pivotal moments portrayed by Sean, Tristan, and Patrika Darbo that have helped create a buzz for the show.  Check out what these gents had to share below.

Photo: Studio City

Sean, in the stellar cast are many daytime notables including: Carolyn Hennesy, Sarah Brown, Patrika Darbo and Tristan. Did you reach out to them individually… and tell them what you had cooking with Studio City?

SEAN:  (Laughs) Did I reach out to them?  I had to beg them.  When you do a project like this, nobody is getting rich yet.  This really was a favor and a labor of love.  Patrika and I have really worked on more projects together than I can count.  Carolyn was on my radio show.  There was nobody else I wanted for their parts then Carolyn, Patrika, and Sarah. The idea of Tristan came a little bit later because I had written the character, but the character was actually very different.  He was actually a homeless guy.  He was a guy who had been a doctor and had been strung out on Vicodin, and had had a mishap in the operating room, and lost his license and then became homeless, but he was sort of this homeless sage poet who was giving Sam these bits of wisdom.  Ultimately, through meetings and compromises, it evolved into what it is now, and then, once that happened, I was like, “There’s no reason Tristan can’t play that,” and everyone signed on after a lot of coaxing, but they all did it for me.  I’m so grateful for that because it wouldn’t be what it is without those wonderful people in the series.

TRISTAN:  What happened was he said, “Will you do this part?”  I said, “Yeah.”  Sight unseen.  I figured Sean is an actor with relatively good taste (laughs) so he’s not going to give me a piece of s**t to do.  (Laughs)   Then, he sends me over some copy, and the copy is really good.   So, we set the week up, and that week turned out to be three weeks from hell for me because of my schedule!  I was doing General Hospital.  Then, I had Young and the Restless come in on top of that.  Then, I was doing The Bay, and somewhere in all of this I was doing Studio City.  So, I’m trying to figure out how I am going to do all of this.  In the meantime, Studio City said, “No, we’ve got to do it at a particular time because of the location.  We can’t get it at any other time, but these times…”  I said, “Okay,” and I’m thinking to myself, “God, how the hell am I going to make this work,” because I wanted to do everything, and I didn’t want to have to cancel anything.  I wanted to do it all because all of the projects were so good.  The Young and the Restless project was just an absolute joy to do working with Jess Walton (Jill).  We got Y&R all done in one day   So, I liked that.  After I finished that, was the day I started Studio City, and we were shooting  in a high rise where Sean and his wife Michele were living at the time.  They shot in a vacant apartment next door.  Right away, I was totally impressed with what was going on.  The level of production was really high.  I got the dialogue as I walked on set, and I had to sit down quietly because it was about a page and a half monologue, and I had to think, “Okay, what am I going to do with this guy?  How am I going to play him?”  Timothy Woodward is just fantastic.  He came along, we had a chat together, and he sort of said, “What are you going to do?” and I told him how I was going to play it, and he said, “Okay, go.”  We got it all in one take.  Bang.  I love that.

Photo: Studio City

SEAN:  There was a lot to do obviously, but we shot Studio City over five days.  We literally shot this at almost a soap opera pace.   I don’t think too many other actors; except for daytime actors could have pulled this off.  So, we were really blessed to have a bunch of pros.

TIMOTHY: Every one of them were extremely talented in their roles.  Patrika blew my socks off.  Tristan did what he did, I mean, he’s amazing.  Sarah was great.  Carolyn Hennesy was great   I do a lot of feature stuff, and you know, we are shooting only 4 or 5 pages a day.  Sometimes 6.  So, it’s not often that I am handing someone a 7-page scene and saying, “Hey, go,” especially the day before, and they’re nailing it every single time and being able to deliver every single time, and hitting their marks, which makes the editing process so good.  They’re able to do it, especially when you keep the writing grounded on the side of it that’s about behind the show, but it still has dramatic moments.  You’re giving the actors a lot to chew on, but they all performed the material so well.

Tristan, in story, you play Sean and Sarah Brown’s step-father. There is a major scene in episode 6 between Patrika and Sean where Sam learns about his biological father, and then there is a scene with you and Sean in the aftermath of that.

TRISTAN:  Yes, they are my adopted kids.   Sam is going through a low part in his life, and my character has to kind of sit him down and go, “Listen, kid.  You’re a good guy.  Don’t ever be told that you’re not a good guy.  You’re my son, and I love you, and there’s not a day that goes past that I don’t love you.”  When you’re on the set at the time, it was an extremely emotional scene.  Very, very emotional, and the fact that we got it right the first time, made the intensity better.  If I had had to go back and do that again, it would have been slightly different. That’s the way I work.”

Photo: Studio City

Had you worked with Sarah Brown before; given you both have worked on General Hospital in your careers?

TRISTAN:  Never.  That was a great thing.  I had two scenes with her, and I loved them both, and I thought she was terrific,  What Sean and Timothy have done is  put together a really interesting bunch of people to totally dig and are part of the daytime scene, who are totally familiar with it, and know what it is all about, and make it different.  The only other show I can compare this to is GH: Night Shift.   We were never allowed to develop it, but that was where we were at.  I think we are making the same kind of broad steps here that we were doing back then.  Hopefully, we are given more of a chance to develop the concept of it. 

What can you say about working with Timothy? He obviously loves the soaps too!

TRISTAN:  He’s a good guy.  I mean, they couldn’t have gotten a better person to do the directing and put that side of it together.  He was the perfect choice: having an understanding of the background of daytime and basically liking it for what it is.  He was ideal!

Photo: Studio City

Timothy, you were a fan of The Bold and the Beautiful, correct? How did you come into Sean’s orbit?

TIMOTHY:  Yes … when Brooke (Katherine Kelly Lang) was with dad, Eric (John McCook), or something right before that. (Laughs)  That’s how long ago that was.  I started telling Sean all that stuff, and he sent this cookbook to my mom, and then, he called me.  We stayed in contact and started talking about a few things, and then he contacted me about being in the book he was doing, Success Factor X, and he wanted me to be in the book, so I said okay.  So, we just stayed in contact, and then, I called him about another project. Later, Sean said he had an idea for a show and he’s been working on it for a while, and said, “Here’s the idea.  What do you think?”  I said, “I think it’s something that I could be interested in,” (because I’d always watched soaps back in the day, and it’s something that my mom is a huge fan of) and you know, I could get down with doing it.”  So, we kind of met, shook hands, and said, “Let’s make it happen.”

Did you tell your mom you were working with Sean Kanan?

TIMOTHY:  I did!  She loved it.  Sean actually sent her a video to her phone wishing her a merry Christmas last year.

SEAN:  This guy is a feature-film director. Tim was like, “I think that would be a really interesting challenge.  I’d like to do a digital series,” and then it comes to pass that this sort of tough-guy film director from North Carolina, is a total closet soap freak! (Laughs)

Photo: Studio City

Timothy, in Studio City, when Patrika Darbo has this very emotional monologue about what happened to her and about Sam’s father.  Sean also delivered a powerful performance in the scenes, just through his reactions to her heartbreaking story. I just thought the way he played it was so moving.  You obviously did a great job directing that scene.

TIMOTHY: I said, “Sean, I’m seeing behind the camera.  I’m telling you man, you’re telling so much with your eyes.  You don’t have to say anything.  Don’t tell her it’s okay during the scene,” because his initial reaction was, “It’s my mom.  I want to tell her it’s alright.”  I was like, “No.  Don’t.  I don’t want you to do anything.  You need to absorb this; you need to be in that moment of where you just don’t even know what to say.   You feel for her, but you also have this self-inflicted pain yourself, and you just need to listen.  Just listen to her.  Zone out of everything else and listen to her.”  That’s what he did, and he did it really well.

SEAN:  I remember that Patrika was incredibly generous because once we got her take; she was willing to go through all of that pain again so that my reactions would be as informed as it was.  Honestly I would like to tell you that it was me reaching into my big bag of actor tricks, but all I had to do was shut up and listen.  How can you not be moved by hearing that?  So, I just sort of shut up, didn’t have to hit my mark because I was sitting, and listened, and she did all of the driving on that, and she was just terrific and Timothy captured it beautifully.

Sean, when you envisioned the part of Sam for yourself; were you pleased about how it came across on screen?

SEAN:  Listen, the character is very close to who I am.  This guy is sort of a heightened version of me, but I am very much playing myself in this.  I’m playing myself in some situations that I have never had to deal with.  I was like, “If this is going to succeed or fail, it’s going to happen with me being my most authentic self, and it’s not someone else’s idea of who I am.  I’m going to show you who I am in this.”

Photo: Studio City

Trans actor, Scott Turner Schofield also appears in Studio City.  In part of his story, you are tackling a timely social issue of the plight of African-American trans individuals who are being murdered.  How did you come to the decision to include this arc in the series?

SEAN:  I felt it was important that we told a story that was LGBTQ and trans-centric.  I wanted Scott to be a character on the show that everybody knew was trans.  I don’t want to get too far ahead of myself, but maybe the character Scott plays is going to have a conflict with production and say, “Listen, I’ve got to be a trans character on the show because I need to sort of be a beacon to all of those people out there.  I’m living that life off-camera. ”  When you see him in his group and everything, and I think he is going to kind of stand up for himself, and that’s going to probably alter his story.  I thought it was important to be like, “My character knows he’s trans.  He’s my buddy who happens to be trans,” you know what I mean…. rather than it being this huge big thing.”

Was the goal to get Studio City released right at the end of 2019 to quality for Daytime Emmy consideration in the Digital Drama categories? 

TIMOTHY:  It was definitely something we think could get more eyeballs on the show, more attention to it if you will, in order to get it to the next level.  So, I think that’s important. Do this and get it even bigger … make more episodes and make them longer.  Sean keeps saying this series, is a love letter to soaps, and that’s what he told me he wanted to do.  You know what Sean is talking about.  There is somewhat of a disrespect level in our industry of, “Well, he’s on a soap,” and these people are so talented.  I mean, some of these daytime soaps have better ratings than a lot of the primetime shows.  You just read mainstream media or something about soaps, and you may think, “What?  There’s nobody watching it,” and then, you start looking at ratings and two and a half million viewers during an episode?  This is every day.  That’s a fan base.  There are dedicated people watching it.

SEAN:  It always bothers me when I see that; treating soaps like that because we work really hard, and there’s a lot of talented people involved with it.  It doesn’t always need to always be that whenever you see soap operas represented in “main series” projects, that they’re kind of the butt of a joke.  I was like, “That’s not going to happen because that’s not what they’re about.”

Photo: Studio City

Sean, you make things happen for yourself doing various projects whether it be: stand-up comedy, acting, books, etc and are one of the hardest working guys I know. Why do you think you have continually come back around, and in front of the daytime soap community all of these years?

SEAN:  I envy guys who have been on daytime consistently for 10, 15, 20 years, and there are times that I wish I were there and doing that, but I don’t necessarily know that if I were that guy that I would have had the wherewithal to write the books I have written.  I think I may have gotten comfortable, and you know, God bless.  I am in no way disparaging that because there is a lot to be said for that longevity on a series. I feel like on daytime I have always been kind of a hired guy.  I get brought in, I get let go, I get brought in, I get let go.  I never sort of maintained a sense of terra firma.  I always felt that it was probably going to be temporary, and I’d better figure out what else I’m going to do, which has given me opportunities that I have created to do projects that I am really passionate about like this one.

For more on Studio City, visit their website here.

Have you checked out Studio City on Amazon Prime yet?  If so, what do you think of it and the performances? Excited to see Sean and Tristan in different roles? Comment below.

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I loved this show -it’s outstanding- ironically funny, tender and so we’ll acted. Please make more episodes!!!

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Loved this show! It’s a great watch on so many levels. Sure want more episodes please!!!

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I binged all 6 episodes and LOVED it. I hope there’s more in the works.

Breaking News

NATAS Reveals Categories to be Presented at 49th Annual Daytime Emmys and Creative Arts & Lifestyle Ceremonies

On Monday, The National Academy of Television Arts & Sciences (NATAS) announced which categories will be presented at the 49th Annual Daytime Creative Arts & Lifestyle and the 49th Annual Daytime Emmy Award ceremonies.  Both award shows will be held at the Pasadena Civic Auditorium in Pasadena, California.

The Daytime Creative Arts & Lifestyle Emmy ceremony will stream live at 9 PM ET/6 PM PT on Saturday, June 18 at watch.TheEmmys.tv and via The Emmys apps for iOS, tvOS, Android, FireTV, and Roku. while The Daytime Emmy Awards telecast will be presented live at 9 PM EDT (replay at 9 PM PDT) on Friday, June 24, on the CBS Television Network and streamed on Paramount+.

Check out the alignment of categories for each show and ceremony below.

The 49th Annual Daytime Creative Arts & Lifestyle Emmy Awards

Saturday, June 18, 2022 

Categories to be awarded:

Outstanding Culinary Series

Outstanding Legal/Courtroom Program

Outstanding Lifestyle Program

Outstanding Travel, Adventure and Nature Program

Outstanding Instructional and How-To Program

Outstanding Arts and Popular Culture Program

Outstanding Entertainment News Series

Outstanding Daytime Special

Outstanding Short Form Daytime Program

Outstanding Interactive Media for a Daytime Program

Outstanding Daytime Promotional Announcement

Outstanding Guest Performance in a Daytime Drama Series

Outstanding Culinary Host

Outstanding Daytime Program Host

Outstanding Writing Team for a Daytime Non-Fiction Program

Outstanding Directing Team for a Single Camera Daytime Non-Fiction Program

Outstanding Directing Team for a Multiple Camera Daytime Non-Fiction Program

Outstanding Music Direction and Composition

Outstanding Original Song

Outstanding Lighting Direction

Outstanding Technical Team, Camera Work, Video

Outstanding Cinematography

Outstanding Single Camera Editing

Outstanding Multiple Camera Editing

Outstanding Live Sound Mixing and Sound Editing

Outstanding Sound Mixing and Sound Editing

Outstanding Main Title and Graphic Design

Outstanding Casting

Outstanding Art Direction/Set Decoration/Scenic Design

Outstanding Costume Design/Styling

Outstanding Hairstyling

Outstanding Makeup

Outstanding Special Effects Costumes, Makeup and Hairstyling

Lifetime Achievement Award: This Old House

Photos: ABC, CBS, NBC, JPI

The 49th Annual Daytime Emmy Awards

Friday, June 24, 2022

Categories to be awarded:

Outstanding Daytime Drama Series

Outstanding Game Show

Outstanding Informative Talk Show

Outstanding Entertainment Talk Show

Outstanding Lead Performance in a Daytime Drama Series: Actress

Outstanding Lead Performance in a Daytime Drama Series: Actor

Outstanding Supporting Performance in a Daytime Drama Series: Actress

Outstanding Supporting Performance in a Daytime Drama Series: Actor

Outstanding Younger Performer in a Daytime Drama Series

Outstanding Game Show Host

Outstanding Informative Talk Show Host

Outstanding Entertainment Talk Show Host

Outstanding Writing Team for a Daytime Drama Series

Outstanding Directing Team for a Daytime Drama Series

Lifetime Achievement Award: John Aniston

So, what do you think about how NATAS has chosen to give out this year’s gold statuettes?  Looking forward to the ceremonies? Comment below.

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General Hospital

General Hospital’s Nancy Lee Grahn Chats On Her Daytime Emmy-Nominated Performance and Its Significance

When the nominations were revealed for the 49th Annual Daytime Emmy Awards, General Hospital mainstay, Nancy Lee Grahn (Alexis Davis), was recognized for her stunning work in the Alexis-centric standalone episode which honored her 25th anniversary with the ABC daytime drama series.

Grahn, is already a two-time Daytime Emmy winner.  She won back in 1989 in a tie for Outstanding Supporting Actress for her work as Julia Wainwright on Santa Barbara along with All My Children’s Debbi Morgan, and again received the honors in that category in 2012 for her work on General Hospital.

Now. she is vying for the gold in 2022 in the Outstanding Supporting Actress in a Drama Series category against other formidable actresses including: B&B’s Kimberlin Brown, DAYS Stacy Haiduk, Y&R’s Melissa Ordway, and her GH castmate, Kelly Thiebaud.

Michael Fairman TV caught up with Nancy to talk about her decision to enter the Emmy race this year, her powerful and moving scenes, why this nomination is significant and important to her, and her take on some very important social issues of our time.

Always candid, insightful, combined with great humor and wit, here’s what Nancy had to share below, and make sure to check out GH this week when sparks fly between Alexis and Gregory (Gregory Harrison). Will he turn out to be the new beau in Alexis’ life? Stay tuned.

Courtesy/ABC

Congratulations on the Emmy nomination.  How do you feel about being in the running again, especially with the material from your 25th anniversary episode?

NANCY:  You know, I don’t submit myself if I don’t think I have something, and I didn’t last year.  This year, I had the one show, and the first reason I submitted myself was I had the episode that was worthy of the competition. These judges have to sit, and watch this stuff, and very often, it’s hard to watch soap opera scenes.  It really is, unless you’re in it.  It’s a different kind of material that most primetime people aren’t used to watching.  So, it’s tricky business.  I don’t want to put them through anything too awful. I don’t want to torture them and I’ve judged before. It can be a bit tedious. So, for me to submit myself, I thought, it has to be something that isn’t going to torture another human being. The second thing is, older women get marginalized the older they get, and they get diminished very often, and every time we get nominated, it means something different to me.  This time, to me, I want it to somehow be symbolic, or a shoutout to women who are still producing, who have been doing their job for a long time and are still doing it good enough, and that it’s still worthy of respect and recognition.

When we were at the GH Convention back in March, I played the scene on-stage for the fans in attendance of when Alexis goes over to the corner of Kevin’s office and heals her younger self.  You saw the reaction just from the fans.  It’s such a beautiful moment within the story.  What did you think about how the standalone episode was crafted?

NANCY:  It was a different experience for me because GH co-head writers Chris Van Etten and Dan O’Connor, and script writer, Scott Sickles gave it the attention, but even more to that, they allowed me to participate in the creation of it.  They allowed the director, Phideaux Xavier, to participate.  We all sat in a room.  They said, “You know what?  Make it how you’re comfortable with it.”  There were so many people who gave it time and effort, and Phideaux gets a lot of credit because he came up with a lot of ideas.  So, the little girl in the therapy room wasn’t initially a part of it.  That was Phideaux’s idea, and they let us alter things, and they allowed me to write some words that meant something to me with the character.  Our producers, Michelle Henry and M.K Weir, who I both adore, were also a part of this.

Courtesy/ABC

That is great to hear that you were involved in the collaborative process of the creation of the episode.

NANCY:  We read through the whole script, and we worked it like you would on primetime. We went through it like, “Does this moment work?  Does that moment work?  Does this make sense?  Does that make sense?”  We never do that in soaps.  We don’t get to that.  So, it was a gift to me.  It really was. Chris and Dan, and Scott and Phideaux, and the two producers, generosity in gifting me that experience and making sure that it was to everybody’s liking, was really very special to me, and it meant a lot.

Did you come up with the key lines which summarized Alexis as a person and her journey: “I’m Alexis Davis, and I’m a fighter, and an idealist and an advocate?”

NANCY:  No. They designed it, but we were allowed to enhance and contribute creatively to it, and, we don’t normally have the time to do that.  They don’t have the time to – and you can’t allow people to do that with every episode, to be creatively participating, because it would turn into madness with everybody.

Then, when it came down to choosing the scenes from your anniversary episode to include for your Emmy submission, was that a challenging process of which moments to go with?

NANCY:  I just told a little story with it with the time that I had, and so, I edited it with a friend of mine.  I did a sort of pre-edit on it, I’m good at that, and handed the timeline to our editor, who nicely put it together. It took very little effort.

In my humble opinion, I think that episode featured one of your all-time best performances.

NANCY: Thank you. There was a nice effort from everybody, from the lighting to everybody else, and all the effort Phideaux put into it.  He worked so hard on that!  It was fun for us.  It was like the old days where you really got to work something out.

Photo: ABC

It truly harkened back to everything we knew up to that point about Alexis and her past as well, and included a montage of scenes over the years.

NANCY:  I think it was M.K. who put that together, but when you’re working at the pace we’re working now, to have to sit and put together a montage of twenty-five years, that’s not an easy feat.  Nobody has time for that anymore, but they did it, and like I said, it was really, really appreciated.  My only thought with it is that I wanted it to be relatable to other people.  I didn’t want it to just be some, you know, self-indulgent Alexis episode. I knew that by bringing in the little girl and talking about people being hurt in their childhood and how that makes somebody feel that it was probably relatable to many people, and so it became meaningful to other people and not just me.

Do you think you’ll attend the Daytime Emmys? I know the last time you won you were not present.

NANCY:  Yeah, I’m planning on it.  I mean, barring anything happening! (Laughs)

Does it feel nice to be recognized by your peers?

NANCY:  Of course, it does.  It always does, and way too often, women who are still producing well in their jobs, don’t get the respect and the acknowledgment for it.  So, that’s why I’m saying, this is no small thing, and that I want other women to know that I know that, and that I wish for them the same thing.

What was the reaction of your daughter, Kate and your fiancé, Richard, when you told them you were Emmy-nominated?

NANCY:  Richie goes, “What is this?  Your 18th nomination?” (Laughs). You know what I mean?  It was just kind of like, “Yeah, sure, why wouldn’t you be?” It wasn’t like, “Oh, my God!”  It was like they kind of expected that.  That was nice!  I’m glad they feel that way.  I’m glad they weren’t surprised.  They were like, “Sure!  Of course, you would be.  Why wouldn’t you be?”  I said, “You know, it doesn’t always work like that!”

Photo: JPI

Now comes the part of having to find a dress and all that goes with it for the red carpet.  Do you enjoy that part?

NANCY:  No, I hate that part.  That is my… oh ‘boohoo’, you know?  I mean, I have to find something to wear.  Also, the older you get, that becomes so much less important, and the more makeup, and the more hair, and the more foofy, the more ridiculous I look. I start looking like Whatever Happened to Baby Jane.  You’ve just got to keep it simple.

You were talking about women and ageism.  Do you not feel that also exists for men?

NANCY:  It exists for men, but it’s not at all on the same par as women.  I mean, men still get paid more than women, and men still are valued more than women.  I mean, there are exceptions, but if you look in any place of employment, even the soaps, you will typically find the men making more money than the women, and the older the women get, the less they get.  Life’s not fair right now.  It’s fairer than it was, but still the equality game is not won yet.

Photo: JPI

I know how much all of this means to you in terms of equality for women, and people being run out of their jobs because of their age.

NANCY:  It’s just a reality.  It’s not something that I’m hopeless about, but I have a story to tell.  I’ll tell it when the time is right.  It’s life!  It happens in every field everywhere.  When my mom was 70, she was still producing the exact same way she was producing when she was 30, and she got run out, and was replaced by a man who was 40 or something, and there was no particular reason for it.  It was just, “You’re done.  We decided you’re done,” but like I said, it happens everywhere, in every line of work, and that’s why I just wanted to give a shout-out, when you still, after 36 years, can be recognized or shown respect or acknowledgment for what your do.  It’s a very big deal that I am appreciative of and grateful for.

So, rooting for Nancy to win the Outstanding Supporting Actress prize? Happy she was nominated for her work in the the milestone episode devoted to Alexis? Share your thoughts in the comment section below, and to tune-in to the 49th annual Daytime Emmy Awards on CBS and streaming on Paramount+ on Friday night, June 24th.

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General Hospital

GENERAL HOSPITAL: What’s Up With Elizabeth?

Friday’s episode of General Hospital, finally moved the story of the haunting of Elizabeth (Rebecca Herbst) along a bit, after it has been a very slow build for the audience. As it turns out, and with the new developments, it appears that Liz has been going in and out of a catatonic state, while sleeping walking.

With a tip from Violet (Jophielle Love), Finn (Michael Easton), who is chatting with Gregory (Gregory Harrison), recalls Liz was having trouble sleeping and was that she given a sleeping aid. He thinks he may be on to something so he decides to go to Liz’s house to talk to her.

Meanwhile, Liz comes to her house and tears Finn and Violet out of the picture that Violet drew, and then gets a scissors and starts cutting pieces off of the drawing, bit by bit.

Cameron (William Lipton) comes home and see his mother.  She does not respond to him and appears in a trance-like state. He is getting more upset by the moment, and then Finn arrives on the scene.

Finn is able to get the scissors from Liz, and also get her to snap out of her trance.  Liz talks with Finn and wonders what is happening? She doesn’t even remember how she got home.  When Cameron fills Liz in on what she was doing … cutting up the drawing and all … Finn tells Liz he believes she is the one who is haunting herself.

In tears, if what Finn is claiming is true, then it is she who is responsible for slashing her dress, setting fire to Franco’s studio, and hitting Chase over the head.  In that moment, a teary-eyed Liz recognizes that something is terribly wrong, saying, “What’s happening to me?”

Finn promises Liz they will get to the bottom of this as Cameron looks on.

So, what is happening to Liz and why? Is this just a case of another sleeping pill storyline on soaps, where someone does not recall their actions or where they are going in the middle of the night a la Nighttime Hope on DAYS? Is someone controlling Liz to make her do these things?  Is something else physically wrong with Liz causing her behavior? Share your thoughts on this storyline … and where you think this is all heading via the comment section below.

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Cameron Mathison talks with Michael Fairman on taking on the role of GH’s Drew Cain, the latest developments in Port Charles for Drew. his busy career outside of soaps and the loss of his mother and his public battle with cancer.Leave A Comment
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The Bold and the Beautiful

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