For the last few years, the fans of The Bold and the Beautiful have been watching the love triangle play out with every twist and turn … and wedding imaginable … between the characters of Hope (Kim Matula) Liam (Scott Clifton) and Steffy (Jacqueline MacInnes Wood). Well, things are about to get a royal shake-up! With the departure of Wood, the powers-that-be at B&B decided to bring in a new man for Hope, thus setting the stage for a new love triangle, only this time Hope is in the middle and Liam will be vying for her affections! Just how will it all play out? How many years might this go on? No one knows for certain.
Enter Daytime Emmy winner Darin Brooks, formerly of Days of our Lives, where he played the loveable Max Brady. Brooks left the soap world a few weeks back to move into primetime television, where he landed his first series as a college football quarterback in Blue Mountain State.
Now Darin is back on daytime and on B&B as the mysterious and sexy Wyatt Fuller, who has already crossed paths with the beautiful Hope in an “interesting” encounter out in the woods! Yup, after Hope tells Liam they can’t be together right now, the confused Liam (who has Steffy on the brain even though she hightailed it to Europe) heads back to Los Angeles. Meanwhile, Hope takes a walk in the woods in Big Bear only to come upon Wyatt, naked and taking a shower! Ah, love at first sight?
On-Air On-Soaps caught up with Darin and Kim to get their thoughts and insights into the burgeoning relationship between their on-screen alter-egos, what secrets Wyatt brings to the canvas, especially who he could be related to, and much more. Read our interview for some clues! Here now are self admitted goofballs, Darin Brooks and Kim Matula!
Kim, are you relieved that you are playing scenes with a potential new love interest, and a new guy on the show?
I am so relieved, and this is great! Now it came at a very sad price, because Jacqueline MacInnes Wood is not with us as much anymore, and that sucks. I love her and miss her. I am so stoked that the love triangle has changed, and now Hope maybe gets to have a little fun! She gets the attention of somebody else, instead of being the one to chase all the time.
Darin, it was very repetitive for her! Thank God for Kim’s sake you have arrived at B&B! (Laughs) How did it all come about?
I met Kim and Linsey Godfrey (Caroline, B&B) on the first day and they were joking around. I thought, “Oh, I can fit in here.” They were awesome and very welcoming. And not to toot Kim’s horn, but she is a sweetheart. It was great. I got the call on a Monday that said, “We have a screen test for you with one of the actresses on The Bold and the Beautiful on Wednesday.” I thought, “Yeah, sure why not.” I went in for it and met everybody and Kim. I had taken a couple of meetings previously with Brad Bell (executive producer and head writer, B&B). I guess they were trying to figure how and where to fit me in, and all of that stuff. It kind of happened at the perfect time. Then they called me back on that Friday to run scenes with Scott Clifton who is also awesome and super welcoming. I think Friday at around noon, after that second test with Scott, they said, “Let’s do this …and by the way you’re working Wednesday.”
Was the outdoor “naked” shower scene, which is when viewers first see your character of Wyatt Fuller, shot on your first day?
No, thank God!
That may have been his first shot that viewers saw on air, but I think that was shot two weeks after his first day.
Exactly! I got this call from Ed Scott, our producer, saying, “This is going to be great, and ah, in two weeks, ah, you’re going to have your shirt off. So, hit the gym.” I went, “Oh, OK” So they gave me a two weeks to try and get in the gym and buff up a little. So the “naked” outdoor shower scene was not on the first day, thank God!
Kim, did you have any idea of who a Darin Brooks was, before he landed on B&B? Did you know he was a Daytime Emmy winner from Days of our Lives?
I did not know who Darin was, and I felt terrible. I met him and he is so silly and funny. Then I knew he would fit in perfectly at B&B. We are so dumb together on set. He can give it right back. We will throw a stupid joke at him and he can add to it, and so I thought, “This is perfect. This is good!”
How has it been getting back into the daytime grind? How many episodes have you shot so far of B&B?
It’s been crazy. I think I have shot about 25 episodes, and I have been here for two months already.
We had talked that if you came back to daytime, you would like your character to be a sort of badass … and not a good guy … and so I am expecting the other shoe to drop with Wyatt soon! (Laughs)
The thing was that on Days of our Lives, the character of Max Brady that I was playing was a nice guy and hero. Max was very family oriented, and this character of Wyatt is more of a playboy. He likes to flirt with Hope and see how far he can take it, and stuff like that!
Kim, we can now add the character of Hope Logan to the “Peeping Toms” of daytime soaps, with her taking pictures with her iPhone of Wyatt taking a shower naked in the woods! What did you think of that?
(Laughs) Oh, my God! I read that scene and I went, “Oh, my God, Hope!” They are just changing my character and taking her in a new direction. She likes the attention from Wyatt, because she is not getting that from Liam right now, who is so caught up with Steffy. Hope is like, “I thought we were the great love, not you and Steffy? I don’t understand why we’re not together; I don’t understand why you keep talking about her!” Then Wyatt is giving her all sorts of attention, and it’s fun. She wants to flirt for a change. It’s nice to have happen to her.
The scene where Hope talks to her mom, Brooke (Katherine Kelly Lang) explaining how she took a picture of a naked guy showering in the woods was hilarious. Hope basically said, “I am sure you understand, mom” or something to that effect! (Laughs)
I said, “Where do you think I learned it?” (Laughs) That line was actually not in the script. When Katherine and I were running the scene though, that just organically came out of my mouth. So Katherine started laughing going, “Oh, my God. You have to say that.” So we did!
Darin, your on-screen mom Quinn is going to be played by another Daytime Emmy winner, Rena Sofer, who was very popular at one time on General Hospital! Tell me about working with her?
She is great, and a pro. She jumped right back in the first day and got into the thick of things. Rena is awesome to work off of, and a sweetheart. She always gives a lot in a scene. She always has a lot of subtext going on underneath in her performance.
So, we will learn soon about the mother/son dynamic?
Oh yeah, and a lot of the relationships of Wyatt and Mom.
When you came to B&B, is there anyone else you had not met yet that you sort of clicked with right away?
I would say I enjoyed meeting Don Diamont (Bill), Katherine Kelly Lang, and John “McCookie” (Eric)!
Everyone is in love with “McCookie”!
Oh, I love “McCookie!” (Laughs) I came in on a Monday to pick up some scripts before I started taping my first episode on that Wednesday. And John was checking out scripts, too. He saw me walk in and he goes, “So, are you the new guy?” I go, “Hi, I’m Darin.” And he goes, “Yeah, yeah. I know who you are.” He was so cool. (Laughs)
I love the John McCook accent you are doing right now!
That’s just it! He’s got the crazy suave, “hey baby “ … that old school Las Vegas thing going on. (Laughs)
How do you want to see this story between Wyatt and Hope play out? Do you want them lusting after each other for two years? (Laughs) Do you want them to hit it off and have the relationship move fast?
I would like there to be some sort of story arc … that would be nice. (Laughs) I honestly don’t know where they are going to take this. Hope and Liam are engaged. But Hope has made it very clear, “I am not interested, because I am marrying Liam, so get out of here” to Wyatt. But you know, that is going to change! (Laughs)
I kind of like the dynamic. Before, it was the Steffy/Liam/Hope triangle and this guy deciding between two girls. Now Hope kind of has the decision of choosing between two guys. I would personally like to see how much fun Hope can have doing what she does, and having that kind of power, and exploring, and maybe taking a chance on the new guy who has been giving her all of this attention, and her kind of being torn between the two. You are going to come to find that there are a lot of opposites between Liam and Wyatt. I think that is the interesting part of the story.
When do you think the viewers will pick up on who Wyatt really is, and how he is truly related to the canvas?
I think it comes up very soon.
I think it unravels very slowly though! (Laughs) It’s not going to come out all at once who he really is. You will learn more and more about him, though.
That is the thing Brad Bell said to me about my character, “We are sort of figuring it out as we go along.” That is the cool part and the frustrating part as an actor, because you think, “I want to know everything about him!”
Was there an outline for the character of Wyatt that you worked with at the beginning of getting into the role?
We did not have much. We had the description of who Wyatt was. Brad asked me, “What kind of character would you like to play?” And I said, “Kind of a bad boy, because on DAYS I was so nice!” He was like, “OK, I like that stuff.” So he kind of took it and ran with it. Then he came up with a little bit of back-story that he gave me and it was great. We are sort of piecing it all together as it is unraveling.
Brad likes to watch scenes as we shoot them, and then he finds things in the chemistry that we have, or the way that we say a line, and that will spark an idea for him. He really likes to observe the way that we act together and the way the scene goes, because that is going to spur on his creativity.
… Which is the best…especially for someone who is so hands-on, or should I say, eyes-on. It then gives some flexibility to the character, and then Brad will run with it. It’s great to be able to have, and to play, a well-rounded character for people to see.
What was Scott Clifton’s reaction when he found out he was going to have an on-screen competitor vying for Hope’s affections?
I think Scott was stoked that he was finally the one not in the middle. I looked to Scott about how he played indecisiveness for so long and said, “Teach me everything you know!” (Laughs)
“How to Win Two Daytime Emmys for Playing Indecisive” should be the title of Scott Clifton’s master class in acting!
Exactly! (Laughs) How can you love two women and not make it look like you were lying to either one of them?
Which he did!
That is why he has got two Emmys! I think he was excited that he was going to not be playing the man in the middle. The hat has been passed. When Darin was cast, I actually thought that he and Scott, to me, are very similar. You guys are both super quirky, attractive guys, so I look at Darin and think, “You two could totally play brothers!” You seem very similar as people.
Did Scott saying anything to you, Darin, like, “Oh thank God, you’re here!” (Laughs)
(Laughs) That is exactly what he said. No, I am kidding. (Laughs) But he did say, “I am so glad it was you who got the part.” There were three or four other guys reading for the part that day with him. Scott told me everyone else was kind of reading it the same way. We actually did the scene that he and Don Diamont were doing that was actually on Scott Clifton’s winning Emmy reel. It was the scene after Liam embarrasses himself in front of the family with Hope at their supposed wedding. Later, Bill takes Liam aside and says, “What are you doing? You are a Spencer! Man up! Are you going to let this girl walk all over you?” So we did that scene. Obviously, instead of us playing father and son, it was sort of like a brotherly scene. I was saying the exact same thing, but the intent this time was that it was coming from brotherly love like, “C’mon man, you are a Spencer. You can do this.” But it hurt me to say it, now whether I was an older brother, or younger brother, I was playing this with this hurt of like, “I have been there. I know what it feels like. Don’t do what I did. Don’t make those same mistakes.” As opposed to yelling at him, which I think a lot of the actors were doing. Scott said I brought a very loving and hurt quality to what I was saying to him. He later said, “Thank God, it was you. You were the only one who came in and did that.”
Quit tooting your own horn! (Laughs) I am totally kidding!
In closing, since you have now gotten to know each other over the last few months, give me three words to describe each other. Kim, let’s start with you. Give me three words to describe Darin?
Silly … witty …dedicated.
Darin, your turn. Give me three words to describe Kim.
I would say, goofy…a pro… and sweet.
Y&R’s Peter Bergman Talks On Dina’s Death & How It Will Impact Jack, His Final Scenes With Marla Adams & Taping During COVID-19
The Abbott family is reeling from the death of their mother, Dina Mergeron, who passed away from complications from Alzheimer’s disease at the end of last Friday’s episode; signaling the end of an era for Dina’s portrayer, Marla Adams. In a pivotal and heart-breaking scene, Dina shares one last goodbye with her children: Traci (Beth Maitland), Ashley (Eileen Davidson) and of course, Jack (Peter Bergman).
Today, the drama continues as the Abbott’s grieve Dina’s death and its aftermath while they remember the life of their flawed mother. This puts Jack at the epicenter of the family, and like it, or not, the new head of the clan. What does the future hold for him now?
Michael Fairman TV chatted with three-time Daytime Emmy winner, Peter Bergman, who has embodied Jack for over 30 years on the top-rated CBS Daytime drama, to get his thoughts on: how Y&R needed to handle Dina’s death within the confines of the coronavirus pandemic and its safety protocols, what he felt about playing those final scenes with Marla Adams and the significance of the ‘teardrop of love’, and a preview of what fans can expect in the coming days as the impact of Dina’s death will be felt by the Abbott children and extended family.
An actor’s actor, you can always expect a conversation with Peter to be forthright, candid and enlightening, and this one was no different. Here’s what one of the genre’s absolute best had to share about the significance of this story and more.
How has it been returning to Y&R during the pandemic? I bet you never thought in all of your years in daytime, that you would be doing your scenes socially-distanced, sitting or standing, so far apart from your castmates.
PETER: Just getting back to work felt great, loved that. I wasn’t involved really in romantic scenes at this point, so that I didn’t have to do. So, all in all, I was very happy to be back, and socially-distancing didn’t really bother me at all, and then Dina died. Doing that from six feet away was just awful. You saw the limits at a time where not any of us could be within six feet of each other; where you would usually hold a hand, stroke a brow, and talk softly. So, I think the writers did what they needed to do to make it work for Dina’s exit. We are in the middle of COVID, in case anybody forgot, and so you have to ask, ‘Does America really want to watch an elderly woman die in the middle of the Abbott living room or anywhere else?’ So, we had to have Dina’s exit without looking at a dead body, out of respect for the times we are living in. We had to do a strong, powerful, pivotal scene with our hands tied behind our backs.
It’s so interesting that you say that because that’s how I felt watching it, knowing what it would have been like, if Jack, Ashley and Traci would have been with Dina at her bedside, up till the end, for instance. But all of that said, Peter, I got so choked up in your last moments with Marla. Jack is just sitting there and Dina is telling him how much she loved him and you’re doing the thing that only Peter Bergman can do as the tears well-up in your eyes. As we have talked about previously, my mom died from complications from Alzheimer’s, so these are always tough types of scenes for me to watch. I am sure it was also for those in the audience, who have lost a loved one to this disease, many of whom reached out to me on social media following its airing.
PETER: It’s got to be tough for you to watch. I get that.
Yes, so I felt for Jack and Dina in the moment as a son and his mother. But what did you think about how the scene was written, and what Dina was saying to Jack and his sisters as her final goodbyes to her children and their reactions to it?
PETER: As written, something in this necklace triggers something in Dina that brings her out of a stupor, brings her out of the murk, the fog for a brief instant to tell the people who she cares the most about that she loves them in slightly different ways. I have, with everything in me, a struggle to always add in there, “I have a complicated relationship with my mother.” I’ve added that line in there so many times over the years, you have no idea. It was a complicated relationship because by the time she dies, there is no kind of straightening that out, there is no kind of Jack looking for answers. The depth of what Ashley is feeling, what Traci is feeling, what Jack is feeling, were kind of lost because of the way we had to do it. The writers had to do it, so I’m not blaming anyone, but because of the way we had to do it, there was no, “Wow, why isn’t Ashley crying? Why is she just so stoic that this isn’t touching her at all?” because she can’t go there. Traci feeling like she found her place in the family simply by Dina saying, “You’re the beating heart of this family,” and Jack, who is doing the right thing, “She should leave peacefully, she should leave feeling loved, we should all be here, we should give her nothing but love,” damn, this is complicated. You couldn’t have any of those things. . Hopefully, some of that slid in there and we wedged some of those complexities into it, but it was hard to write a complex scene with the situation as it was. We needed to get it done it one day. We did not need to drag this out. Again, were it not COVID time, sure, let’s drag it out. Let’s spend some time on this. People die. Let’s watch the family process a death.
I just think of what it all means for Jack moving forward. Dina basically tells him, “You’re in charge of the family. Look after the family.” That’s kind of where it’s been going for Jack this whole time. I don’t know if that’s what Jack wanted, but that’s where he is ending up.
PETER: Right! That’s where he ends up, and you know, this has been a long time coming. Dad dies, and it is pretty clear that he’s got to step up, and his mom comes into town, and she’s not just his mother. She’s Ashley’s mother; she’s Traci’s mother, we’ve got to look out for her and give her the dignity and things like that. Now, there is just no getting around it. Jack is the head of the family. That’s the way it fell. Twenty-five years ago, was Jack ready to be head of anything? Absolutely not, but I think enough has happened to Jack now: enough heartache, enough growth, enough introspection, enough losing people, that Jack might just be ready for this job.
When Marla Adams came back to Y&R 2017, and they started telling the Alzheimer’s storyline, it brought up such abandonment issues for Jack and rightfully so, about how a mother could just leave her family and children, Throughout all that, you did such poignant work.
PETER: I wanted that to be in there at the very end. One of the powerful parts in this whole thing is that Jack wanted to scream at Dina every bit as much as he wanted to hug her. That was there for quite a while, and Jack had to kind of come to terms with, “Hey, you’ve been leaning on this excuse for quite a time. She’s here. She can’t do you any harm. She feels bad about what happened. What do you want, Jack?”
One of the highlights of this storyline was when Y&R explored the history and relationship between the siblings, Jack, Ashley and Traci. We saw their younger versions as the show flash-backed to when Dina left John and the Abbott family.
PETER: Between the writers and Peter Bergman, we built this story that the night that Dina left, Dad was upstairs with the girls, they were weeping inconsolably, there was no fixing it, there was no telling them that everything was going to be all right. He didn’t want to lie to them and say she will be right back, he told them, “She’s not coming back,” and he comes downstairs, and Jack is fourteen-years-old, and a little confused, but decided to say to his dad, “Hey, can I help?” He looks across the room, and his dad is weeping, first time he had ever seen that. His father is weeping, and he said, “Jack, you’re going to have to help me with the girls. I can’t do all of this,” and it changed Jack’s life forever. Jack was a parent to Ashley for a good part of their relationship. So, all of this stuff with Jack’s identity, all of the fighting with Ashley, all of the Jabot madness is Ashley finally getting to say, “I don’t need a father! You’re not my father. Stop talking to me like you’re going to fix things for me! I’m sick of it.” All done by Dina … all truly caused by Dina.
In my interview with Marla, she told me that at the end of her last scene, you and many others came back to the set to pay tribute to her.
PETER: We did. The show had arranged it, and Tony Morina, the executive producer, stepped out on the soundstage with a microphone, and Marla sat on the sofa in the Abbott living room. Tony began telling a lovely, lovely story about how far back his relationship with her goes because Marla and Tony wife’s, Sally Sussman (Ex- head writer, Y&R), also had a long-standing relationship. Tony was just so grand and gracious in saying that there are some people who, if they weren’t an actor, they’d be this or that or the other thing, but that Marla was born to be an actress. That’s what she is, and it was so generous. I think she got three and a half years that she didn’t expect to get out of this. It was supposed to be a six-month storyline, and four years later, she was still there, and it was a good thing for her, and a unique story turn for the rest of us. It really was. It was a powerful thing, and now the Abbott family has a new shape. There are three adults there: Ashley has established her independence, she is not around as much, she is back and forth between Paris, and Genoa City, Traci is trying to be as supportive and kind as she can be, but essentially, Jack is in the big house by himself.
Yep! Well, now we’ve got to find Jack a good woman.
PETER: Yes, or a bad woman.
… Or a bad woman! I’ll take him in a relationship with someone to stir things up. I also hear coming up, there will be the reading of Dina’s will. Is there anything you can tease about that?
PETER: There is a will read, yes. No one knows what to expect, and Dina … in the end… comes through for almost everybody…
Well … that ought to be good.
PETER: Yep… really comes through for almost everybody, and you know, the Abbott children are wealthier, and all three of them are alone, and in no small thanks to Dina for that. These are three adults who have been very unlucky in love. Of course, this is the next challenge. I don’t mean to assume that I have any idea of what you went through in losing your mom, but there is a point at which you also have to let go and say, “Okay, now it is just me, and what do I want to do with this life? I’ve used this as a reason not to move forward for a good while. What am I going to do now?” I think the next turn in the Jack Abbott story comes pretty organically. Dina’s death frees Jack to be just as alone as he has ever been.
No matter what Jack does, including the bad things, you always see the inner-pain that is very palpable within him, as you have portrayed him.
PETER: Yes, but he really has grown in the last 30 years. Jack is hungry for more right now, and he couldn’t really be that way with Mom in the house. He didn’t have time for that. Now he has all of the time in the world. So, we’ll see what he does with that.
I understand there is a funeral for Dina, but it will be off-camera? I guess, because of COVID, it is better that way.
PETER: That’s true and it’s off camera, that’s correct. What’s important at most of these things isn’t what happens at the gravesite, it is what happens at the reception afterwards, and that is also a fun turn. So, they all agree as a family they are going to do it at Society, and they kind of close the joint and make it their own little party, and someone shows up who isn’t expected, and it throws a really, really different vibe into the whole thing, and everybody has to adapt. It’s actually fun, what it turns into. It turns into a memory fest with crazy stories of Dina.
Do you have a favorite moment, or memory, of a scene you played with Marla?
PETER: I think I had a day where Jack tried to get through to her and tell her, “Do you realize the damage you did? Do you realize?” and she wasn’t able to take it in, and he went to Traci, and he said, “I want to shake her. I want to yell at her… and I want to protect her.” I thought there was something just so rich about that. That was my favorite moment, my favorite part of it, when Jack finally said, “She’s going, man. We’ve got to get this conversation done now. We’ve got to talk this through,” and he was too late. She was too far along with Alzheimer’s. She wasn’t up to it. She couldn’t do it.
And now here is Jack; and his parents are both gone. There is no Jerry Douglas or Marla Adams on the show as both John and Dina have passed on within the history of The Young and the Restless.
PETER: Again, you were generous enough to share your own personal experience, but isn’t it amazing? Wow, you’re the grownup now. Isn’t it amazing? That’s what the Abbott’s are going through: just what you went through. There is no older generation to turn to for anything. We are the older generation. It’s powerful stuff, and I’m really, really grateful for anytime that Ashley, Jack, and Traci are together talking about those things, talking about, “Wow, okay, that just happened… where do we go from here?” It’s going to be really interesting. If you asked me, “Over the last 30 years that you’ve played Jack Abbott, have there been many times where you’ve thought, ‘I’ve got no idea where this is going!’” I would say, “Yeah, right now.” I’ve got no idea where we are going with this.
There has been much speculation that the “teardrop of love” necklace will lead Jack to a new romance, or some new adventure in his life. They spent a lot of time mentioning it in short order, that it would seem it’s not just to bring Dina some closure. What are your thoughts on it?
PETER: I think it has legs. I think you’re going to hear about it again. There is something in there, and I don’t know if it’s the teardrop’s magic charm or that its history is not what it was, or it gets stolen. I don’t know, but I think we have spent enough time saying ‘teardrop of love’, that there could be a story there.
In Dina’s final moments where Jack brings her the ‘teardrop of love’, wasn’t it symbolic to her because it was her acknowledgement of having her family back together and with her at all times? There is a back-story to that piece of jewelry as well.
PETER: The point of the necklace is, “This was when I was truly happy, when I had this necklace, when it is all back together,” and maybe we are to know something more about the teardrop…? I don’t know. So, this was a gift to her before Jack was born. She wore it home from the hospital when she brought him home, but we don’t know exactly what year she got it, and we don’t know exactly what year she lost it. It was stolen, and it was on the black market for a while, and Victor (Eric Braeden) was looking into it. It was clear that it was very important to Dina. So, Jack, against his own wishes, said, “No, I’ve got to do the right thing. I’ve got to try to trace this thing down. It clearly means something to her. Maybe she is trying to tell us something. God only knows.” So, he did the right thing, not because, “I want to make Mommy happy,” but because he forced himself to do the right thing, to find the damn necklace, and to see what this is about. Then, we saw the affect it had when he gave it to her.
It’s always good to chat and check-in with you during these key and historical moments in the life of the character of Jack Abbott. There have been many throughout your time on Y&R, and it will be interesting to see where this goes from here.
PETER: It will be, and I’m telling you, this is a real moment. Normally, we just go from one story into the next, into the next, and this one has been hanging for so long that, “Okay, now that it is over, wow, what is going to happen to Jack?” I’m just as curious as everybody else.
So, what do you think will happen next for Jack? Did you reach for the hankies in Peter’s final scenes with Marla Adams? Share your thoughts via the comment section below.
Marla Adams Talks Her Final Scenes As Dina Mergeron, The Alzheimer’s Storyline, and Her Touching Farewell
Today on The Young and the Restless marks the end of the enduring run of Marla Adams in the role of Dina Mergeron. In story, Dina passes away from complications from Alzheimer’s disease. It’s a storyline that started four years ago when the CBS Daytime drama brought back the character and Adams; and one that has deeply affected many in the viewing audience who have also had their own personal experience of losing a loved one to this dreadful disease.
If you have not seen today’s episode yet, you may not want to read any further, but needless to say, make sure you have the hankies ready for Dina’s final moments with her children and how she leaves this earth, which will be remembered for quite some time to come.
Marla originated the role of the rich and spoiled Abbott matriarch back in 1983 and portrayed the role on and off for what amounts to five decades. Her classic scenes with Jerry Douglas (Ex-John), Eileen Davidson (Ashley) and so many more from the iconic soap, always made for great and complex stories.
With this her final airdate on Y&R, it also puts an exclamation point for Marla on an incredible daytime career having also appeared on: The Bold and the Beautiful. Capitol, Days of our Lives, Generations and The Secret Storm
Michael Fairman TV chatted with Adams in this very special conversation where she shared with us how it was to play these heartbreaking last scenes, the importance of the ‘teardrop of love’ necklace to the story, how Y&R gave her the most overwhelming and beautiful send-off, and her ‘thank you’s’ to all of you, who have been her extended family and are sad to see her go. She is one-of-a-kind …and now, here’s Marla.
Marla, I am so glad we have the opportunity to chat in this full-circle moment as you have brought the character of Dina to a close.
MARLA: It’s such a joy to talk to you. It seems like yesterday and an eternity as well. I thought of you so much, and I remember talking to you specifically with all of the different interviews over the years, when I was at the studio. But I will always remember the interview you did with me and Beth Maitland (Traci), my darling soul sister, and you talked to me about your mother who has since passed on from Alzheimer’s. I’ll never forget what you had to say all those months ago
Yes, and when as audience members we watch these stories unfold with characters we have loved, or watched on our screens for years, and there is a death, we feel connected to them as well. And in this case, as a child who has lost a parent to Alzheimer’s, like many in the audience, you ask yourself first, “Can I watch this?” It hits very close to home, but I’m sure when people watch today’s episode of Y&R and see Dina pass away, they will be extraordinarily moved.
MARLA: Oh, my gosh. Wait until you people see Friday’s show. I know they will be moved. They should be! I’ve got friends who I’ve already said to, “Get your Kleenex box out.” It’s so beautiful what happens at the end of the episode.
How did you feel about playing Dina’s final scenes?
MARLA: It was wonderful because it showed her lifetime of sorrow and regret, and what was so wonderful was the fact that the hero of the whole thing is the kindness and respect that she really did have for her whole family. They had the most beautiful sendoff for me. They sent me a limo! I went to the studio, and dear Patti Denney (Make-up artist, Y&R) was there, of course with all kinds of makeup and everything else, and she looked like she was entering the ER room for Covid-19, because of all the safety protocols we must have. It was unbelievable, the kindness that was served to me. After we finished taping my final scenes, I came back to the soundstage and they totally surprised me. Dear Tony Morina (executive producer, Y&R) and Sally Sussman (Ex-head writer, Y&R) were there, and Tony spoke about me, and so did my Y&R extended family and on-screen children: Peter Bergman (Jack), and Beth Maitland, and Eileen Davidson, and much of it was put on tape (see excerpts in video below). Afterwards, Tony gave me beautiful flowers. I was driven back home after this, and I felt really special, and it was just amazing to me. I had written Josh Griffith (Current head-writer and co-executive producer, Y&R) a ‘thank you’ for writing the show with his wonderful people, but I never heard back, but when I walked in my apartment, the phone was ringing. Guess who? It’s Josh! He said, “I waited until I knew you would be home to thank you,” and I felt so lovey-doved up, I couldn’t believe it. I want to read something to you that I received in the wonderful flowers that came the next day from CBS Daytime executive Margot Wain and others. The flowers were so big that they didn’t fit on the bar! The card read: “Thank you for bringing the amazing force that is Abbott matriarch, Dina Mergeron to countless fans of The Young and the Restless. Your vast contribution to Y&R and CBS for more than five decades is unparalleled. We are forever grateful for all you’ve brought to Y&R as both a consummate professional and a cherished co-worker. All our best wishes.” I was just so touched by the sentiments.
I also want to share something with you. When it was revealed in the promo that came out last week that this would be your last show, I received so many notifications on social media, saying, “Oh, my God! We love Marla! You have to interview her!” You are loved by the Y&R fans. I hope you know that! They’re sad to see you go, because you’re a legacy character to them, and soap fans have deep connections to characters that have been on their favorite soaps for decades.
MARLA: Five decades! My God! I’m eighty-freaking-two. I can’t believe it.
In story, Jack was on a mission to get the ‘teardrop of love’ necklace back to Dina before she died, hoping that she would have one last moment of lucidity and would recall it and it would hopefully make her happy. He moves heaven on earth to get it, and does, and brings it to her and viewers saw her reaction.
MARLA: The necklace had never been anywhere before in story except recently, but I said to myself that I would play it ‘quietly and graciously’, because it made for such a beautiful moment for Dina with her children.
For Dina, the necklace was a symbol of remaining connected to her family and her children, even when she was not with them all of those years. In your final scenes, Dina had these moments to say goodbye to each of your children. Do you remember looking at Eileen, Traci, and Peter taping those highly emotional beats?
MARLA: Yes, they were so there for me. They are an extended family that is so precious to me, and playing this iconic character has been, too. I remember when Sally Sussman told me a few years ago, “ I’m going to bring you back on The Young and the Restless, but you’ve got Alzheimer’s,” and I said, ‘What!? You’re bringing me back so you can kill me off?’ and she said, “Oh no, it’ll be about a year.” That dissolved into four years, and now five decades had passed and I was still on Y&R. I am beyond grateful.
As an actress, was it hard to play Dina’s final moments when she goes to the light to join her beloved, John?
MARLA: It was heart-wrenching for me. In the story, Dina died when she went outside and to the front door of the Abbott home. They did not tell me before-hand, and that’s why it was so wonderful. I hope they came in for a closeup of that because I had no makeup on, it was beautiful, and then, Dina said, “Oh, John.” I’ve done everything from movies, to daytime, to nighttime, to Broadway, but that was the iconic moment for me, to do this gig with wonderful, wonderful actors and friends, and to do this particular storyline.
It was 1983 when you first appeared on Y&R. And through the years, Dina did not do such great things! She had an affair with Brent Davis who was the biological father of Ashley that caused such a rift between mother and daughter for years. She abandoned the Abbott children and walked out on them and her marriage to John, and that’s just for starters! Dina was a complicated character. Did you love the fact that she could be very selfish at times?
MARLA: You think? That’s why I loved her. Of course! I can be very selfish, too. You have to be selfish if you’re an actor, good God. (Laughs).
It was great that The Young and the Restless brought you back four years ago so that through the telling of the Alzheimer’s storyline that Dina was able to somewhat repair her relationships with her children. Obviously, over the last many months the audience could not witness the more day to day progression and toll the disease took on Dina and her family in its final stages, but unfortunately with the way COVID-19 has affected shooting daytime soap operas, and all of our lives, including safety protocols, I am sure plans had to be altered,
MARLA: Of course. As an actress, this was the most important role of my life, and to have her final moments spread out in one day really is because of all of the fans who have been writing in and wanting to see Dina again,
People were rooting for you to win the Daytime Emmy back in 2018 when you were nominated for Outstanding Supporting Actress in a Drama Series. That must be a nice moment to carry with you from playing Dina’s final storyline.
MARLA: Yes, and I should have won! Eric Braeden (Victor, Y&R) was furious. (Laughs) He said, “What do you mean, darling, you should have won! Goddammit!” He’s a wonderful man and a good friend. He came to pick me up several times to go to the studio for my last few shows, and that’s the kind of mensch he is. So, I feel just so blessed and I feel great love and loss. I would like Dina to come back as a ghost, but I have no idea, if that will happen or not. But if the fans would be interested in seeing Dina as a ghost … make sure to write in to the show and tell them!
Speaking of the fans that have followed you for decades on Y&R, what would you want to say to them now that Dina has passed on?
MARLA: Thank you, from the bottom of my heart for all of the love, the support, and the chance to play Dina out… and I’m thankful that you cared, and loved her, up till the end.
So what did you think about Dina’s final moments on today’s Y&R? Will you miss Marla Adams? Share your thoughts via the comment section below. But first check out the special behind the scenes tribute for Marla, followed by The Michael Fairman Channel’s interview with Marla and Beth Maitland from Y&R’s 45th anniversary celebration referred to during the above conversation.
B&B’s Jacqueline MacInnes Wood Talks Steffy’s Opioid Addiction Storyline, The Emotional Scenes & Adjustments Made Due To COVID-19
If you have been watching CBS’ The Bold and the Beautiful over the last two weeks, you have witnessed the compelling and important storyline unfold with Steffy Forrester (Jacqueline MacInnes Wood) at its epicenter. In a harrowing tale of opioid addiction that can so easily happen to anyone given the circumstances, the daytime drama took on a social issue prevalent and rising in our society today.
This story gave Daytime Emmy-winner, Jacqueline MacInnes Wood another chance to shine in some of the most deeply affecting episodes and scenes in soaps of 2020. In story, after Bill Spencer (Don Diamont) accidently hit Steffy with his car while she was on her motorcycle; she became hospitalized to treat her injuries. Once there, she met new love interest, Dr. Finnegan or as the show calls him “Finn” played by newcomer, Tanner Novlan. Finn prescribes pain medication for her. But before you know it, once Steffy is out of the hospital and back at home she struggles with the pain and the isolation of her life, and the losses she has experienced over the last many months, and before you know it, she is addicted, and no longer getting the pills from her doctor, but by any means possible.
Last week, we named Jacqui’s work the ‘Power Performance of the Week’, but we are also giving it to her again this week for her masterful performance on Tuesday’s episode, where Steffy breaks down after being confronted by Finn, Liam (Scott Clifton) and her father, Ridge (Thorsten Kaye) and finally coming to the stark realization that she is an addict.
Michael Fairman TV caught up with Jacqueline MacInnes Wood after all the key scenes had aired to: get the inside Intel on what went down taping those moments, and how the show made some important decisions amid the coronavirus pandemic about the telling of this storyline. Here is what Jacqui had to say about: her co-stars, herself, and what she learned about those who struggle with addiction.
How did you feel about being handed the ball to tell this important story, and how much were you told ahead of time?
JACQUELINE: Originally, I was told that we were going to tell this story, and that was before Covid-19. So, it was literally the week before we went into lockdown, and we were about to dive into this story. Obviously, I am so grateful to be able to tell this story because traditionally The Bold and the Beautiful has a long list of social stories that we are known for telling. It is something that that we need to talk about because it is happening, and it is happening everywhere. Someone knows somebody – it is in our family, or our friends are dealing with this, and I didn’t realize how close to home it was for so many people. I think that with our show, the way we balance drama, and romance, and real social issues that really touch people, is special. I noticed that throughout this week with so many people reaching out to me. People who are police officers, to people who actually work with people who are addicted, people who were addicted have reached out to me. There have been a lot, but I’m very honored, again, to dive into this story.
A lot of fans and viewers remarked along the lines of “Wow, Steffy got addicted very fast,” because it felt like the story kind of accelerated itself, and some people are like, “Well, they just told it too fast.” I wondered how you felt about that, knowing what you know about soap operas and research you may have done on addictions.
JACQUELINE: I did some research on YouTube on opioid addiction from first-hand accounts of addicts and the effect on just them, but also on the grief it had caused their families. I originally had mistakenly thought, “It must take years to become addicted,” and I was very surprised by how quickly and easily one can be trapped in pain management, and many cases are heartbreaking. You always think, with opioids, “Oh, this can’t happen to a lot of people,” but it’s not just, “Oh, the ‘crackhead’ down the street…” It could be a mom, or these people who have a surgery, or an accident, and then they just get on these pills, and it happens so quickly. Yes, the storyline happened extremely fast, but there is truth to it because addiction does happen very quickly in this world. The other thing I have to say, I think what Brad Bell (executive producer and head writer, B&B) did so elegantly, is that we were going to tell this story, and we were going to tell this story for a very long time. I love that he was very perceptive to this – that we are in a dark time right now. It’s a dark world, and I think that it is important, again, to shed some light on this, but we didn’t want to necessarily drag it on too long because it’s like, you watch every news outlet, and it’s depressing, and it’s depressing everywhere. Before Covid-19, this story would have been a lot longer, and I think it was kind of realizing, “Let’s take it back. But, let’s dive into this.” I think we were also being mindful of the viewers because we are shedding light on this, but also, opioid addiction had now skyrocketed through this pandemic, and this quarantine. I think, again, it’s important to tell this story, but we didn’t want to be another show that is just so depressing right now during such a depressing time.
Right, so the story won’t be as elongated , but obviously, she will always have this addiction now, which is always great as a character, to delve back into, that Steffy will have in her physical and emotional make-up now.
JACQUELINE: Absolutely. She will always have that. She will always have to be mindful of it.
What did you think about Dr. Finn in all of this? Do you think that he should have caught on earlier that this was happening to Steffy?
JACQUELINE: (Laughs) Yes, absolutely. I think, Steffy was pretty good at hiding it from him, especially the last time when she invited him over, and she said she didn’t need the pills. However, on Tuesday’s episode when there was that huge explosion, and he really got to see that visceral side of Steffy as defiant and angry, that was a lot for him to take in. Tanner has been doing such an incredible job of diving into this and telling this story, but yeah, you wonder if Finn noticed, but again, I do think Steffy was pretty good at hiding it.
She was pretty slick, but when she got the pills from Vinny, I kept thinking, “What did he give her?”, because they seemed awfully strong, or laced obviously with another drug.
JACQUELINE: When Steffy got the pills from Vinny, that was the first thing I said, “Is this just opioids?” Now, she’s getting it off the street, and we just don’t know. It’s laced with God-knows-what. She has no idea because she’s not getting it from an actual doctor; she’s getting it from Vinny.
So, when Tanner came to the show, did you read screen-test with him? What was your initial thought of him and Steffy finally having a potential new relationship?
JACQUELINE: He is absolutely wonderful. It’s funny because we have a lot of friends in common, and he is a fellow Canadian, and we bonded over that. He originally screen-tested, I think, a few days before we went into lockdown. So, who knew that we were not going to be able to work with each other for months and months and months, but he has been completely added to the group, and it is a different world that we are navigating, especially with how we are filming on set and the 8 feet apart rules, and you have these emotional scenes, and you feel like you just want to grab someone, and hold them, and cry. I have so many fans going, “My God, I just wanted one of the characters to hold you!” and then you’re like, “COVID,” and nobody can really touch me, so…
Isn’t he kissing his wife though as your stand-in? B&B alum, Kayla Ewell?
JACQUELINE: Yes, yes he is! I just thought it was priceless that, how long have I been on the show, that Steffy has just been pining away for Liam for years, and years, and years, and finally gets the go-ahead, and she’s going to get a new love interest, and I’m like, “Woo-hoo!” and then, COVID happened, and I find out, “Your love interest is going to be a doll!” So, he gets his wife, which is great. My husband has been completely supportive, but my husband has not come in. I don’t think it would work playing opposite him as Tanner, but his wife actually has a very similar look to me, which is great. So, she’s been in a few times, which has been amazing! I get the foam doll. (Laughs)
I was just thinking it’s so funny, too. Steffy FINALLY gets a new man, but she is with a doll!
JACQUELINE: I know, I know.
What’s great about when you get to play these kinds of emotional levels in an addiction storyline … or anything that kind of flips the character’s mental state, is that you get to see the anguish. You know, we’ve never seen Steffy discuss or really say anything about having Beth taken from her, whom she raised her as ‘Phoebe’, and then losing Liam to Hope, and this is kind of addressing her pain through this story arc, which I thought was really good, that it wasn’t just swept under the table. The characters, the audience, and Steffy were realizing that she had emotional baggage and distress over those losses. How did you feel when taping those scenes with the confrontation where she pulls out a switchblade on Brooke (Katherine Kelly Lang), Ridge, Liam and Hope (Annika Noelle)? Those were great scenes.
JACQUELINE: Thank you, thank you. We didn’t know how we were going to be able to do these scenes.
Because of the social distancing?
JACQUELINE: Well, yeah, social distancing! We did it in one take. It was a long 10-12 page scene.
Well, the final 7 minutes of that episode were just a riveting; which included that knife scene, which in itself was gut-wrenching to watch, as I assume it must have been to play?
JACQUELINE: It was a big scene, and it was a big, emotional week for all of us, obviously, and I couldn’t have done it without my cast. They were so phenomenal as well. We were trying to think, “How are we going to do this?” Thorsten Kaye came up with this idea that Steffy should have a knife because Ridge would want to go to her and grab her, and the only thing that would maybe keep him away. She is so angry, and she does have so much emotional baggage, and yes, she is in pain from her motorcycle accident, but I think that a lot of people saw in that phone call from Hope, where Hope said, “Oh, Kelly wants to spend another night,” that was that whole mental shift of, “Oh, my God, this is my worst fear. It’s finally happening. My daughter doesn’t want to stay here. I am truly alone. I don’t have anybody.” Her life up to now has been about raising Kelly, and then that was that whole baggage unload – the pain of all of the years of what the Logans had done to the Forresters – it was just a domino effect. She obviously is not dealing with the pain in a pragmatic way. I think Steffy was using the pills to mitigate her misery, physically and emotionally.
I think there were two turning points … after the switchblade incident, when she finally realized, “Oh, my God, what am I doing? I’ve got this knife,” and she gets rid of it. She does seem to have these moments (in that episode and the one that aired Tuesday) where she realizes, “Oh, my God, I’m messed up,” which were heartbreaking moments. Do you remember playing that moment of, “Oh, my God, I’m an addict,” where Steffy admitted it out loud?
JACQUELINE: Yeah! It was extremely difficult. I’m really good at being able to work on set and being able to leave it behind. That’s the one thing that people will say to me, “What is it like off of set? It must be so emotional for you!” Once we say cut, I’m done. I don’t mentally check out from the scenes, but I’m just able to let go because we just have so many episodes and so many emotional scenes, but I have to say this took a little while to shake. I had to get into my car, and I was still emotional, and I had to put some good music on, and blare it, and drive home. To know that these things are happening in the world and it is happening to so many people, it just breaks my heart, and I still get emotional about it. It is gut-wrenching to know that this happens. When I have those emotional scenes, (especially like that) I can’t fake it. That’s just not who I am. I can’t just fake cry to get through it. Yeah, I’m an actor, but even though we film so quickly, even though it’s usually just one take, even though we are crying all day with all of these scenes, I really like to emotionally get there. Obviously, over the years, I’ve learned to get there quicker, and I am really proud of myself for that, but what you see is what you get. Those are real emotions. I am just as present as I possibly can be in that scene and just listening to Ridge, and Liam, and Finn and just taking it all in – then Steffy realizes that she is addicted, just that moment of everything breaking down; her whole world was falling apart. I think it was an important moment, but we were just really there for one another in that scene.
Scott Clifton, I just really want to say, throughout that week, had to play annoyingly holier-than-thou with you as Steffy. People were annoyed with Liam. He was the perfect annoyance to get her really pissed off!
JACQUELINE: Yeah, I know! It was actually funny at one point because so many fans were like, “Steffy was out of her mind! She was clearly on drugs!” I love the Steffy fans who were like, “Liam is so wrong!” You could see how loyal the fans were.
They were! It was great, but Liam was super annoying. That being said; did you watch back last Friday’s episode where after Steffy runs out, the camera pans to Scott, and Liam breaks down and cries? So good.
JACQUELINE: Yep, yep. I know, it was so good, and that was him! That’s what I find so beautiful is that when you are in that scene, you don’t know what the reactions are going to be, and I know that was so true and authentic of Scott. It was a genuine emotion that came out of him. I hadn’t seen him break down in a long time, but it was so unexpected, but I was glad to see it, really glad.
We haven’t seen Bill Spencer come to Steffy yet. How does she feel about that?
JACQUELINE: That’s a good question. I don’t know how Steffy is going to feel about that. I think, obviously before the addiction happened, she would blame him for hitting her on her motorcycle, but you never know, things could change coming up with Bill and Steffy.
Well, he will probably blame himself now for the addiction, I would think, because he hit her.
JACQUELINE: I think so, too. That’s one of the things he may be playing in those scenes. So, we shall see.
Talk to me about Thorsten Kaye in those scene with you as the dad, because in the episode we saw Tuesday, there was a powerful moment when he just sat beside Steffy, but not holding her at the very end. I thought that was a very nice touch given also Covid-19 protocols. At that point they weren’t dragging Steffy out into a rehab facility. We just watched him sitting there quietly while Steffy had this reckoning to herself.
JACQUELINE: I really liked it. I liked that we had a lot of those chill moments of taking each other in. Thorsten and I get along so well. We’ve just always had a bond, and I love working with him because in rehearsal, we do something one way, and then, again, when you’re filming, it’s always so unexpected, you don’t know what he is going to throw at you, which makes you be even more present. It’s a tough scene. I was feeding off of him and vice versa, and I’m sure he was putting himself in that situation of God-forbid if his daughters were in this situation, and you know, I’m looking at him in that father-daughter moment and seeing him become emotional for his daughter. It just kills you, it really does, but it was a heartbreaking moment, but I like how we ended the scene: with something as very simple as sitting beside each other.
Your fans and the soap pundits are saying that obviously you have your Emmy reel for next year, it’s done. It’s right there. This may just make you a two-time Lead Actress Daytime Emmy winner.
JACQUELINE: Aw, that’s so sweet.
It is great for you because you have an arc of a story there to tell, and we’ve talked about this before – an arc of a story for a submission in Emmy competition seems what many of the judges like to see and can understand because they watch the performer in scenes from the progression of a story.
JACQUELINE: Definitely, and it was nice to know that I was going to do this story and that we were going to tell this story, but once we came back months later, I didn’t know that we were still going to dive into opioid addiction with Steffy, because again, with our show, and with a lot of soaps, storylines change all of the time. I am very grateful for it.
So, what can we tease? Will Steffy get Kelly back, or will she be estranged from her for a little bit? What do you think?
JACQUELINE: I think that Steffy is a strong woman, and I think she will come back stronger than ever, and I think she will get her daughter.
You should be very, very proud of this work, Jacqui!
JACQUELINE: Thank you. I am. During the week, when we had all of the dialogue to do, and it’s a different world now when you’re taking care of a toddler, and then with the Covid-19 protocols, and then you get the story, (and again, so grateful for it), but it was so much dialogue, and going back and forth, and making sure you’re bringing it emotionally, and it was extremely challenging, to say the least, But, I am really proud of myself that come that Friday I was like, “Oh, my God, we did it. We did it!”
What have you thought of Jacqueline’s performances in the opioid addiction storyline? Were you glad to hear the show decided not to drag out the story due to the times we are all in? Do you feel this storyline was powerful and could help those in need of help? Share your thoughts on the interview with Jacqui and more via the comment section below.
Tom Pelphrey Set As Series Regular For Amazon’s Mystery Drama ‘Outer Range’
‘This Is Us’ Preview: Kevin Drops Baby Bombshell On Toby and Kate
The Bold and the Beautiful Celebrates Taping 100 Episodes Since Returning to Production Amidst COVID-19
THE BOLD AND THE BEAUTIFUL: Thomas Gets Creepy As The Hope Mannequin Talks To Him
DAYS Alum Molly Burnett Promoted To Series Regular on ‘Queen of the South’
ABC Previews General Hospital’s Halloween Episode
DANCING WITH THE STARS: Chrishell Stause Shares & Performs Emotional Tribute To Her Late Parents
Kiara Barnes To Perform Her Original Song On The Bold and the Beautiful
As the World Turns Cast To Perform Virtual Reading Of Final Episode
Days of our Lives Returns To Production After Temporary Halt Amid COVID-19
James Scott Comments: “I Will Never. Never. Never. Never. Never, Go Back to Hollywood Let Alone DOOL”
ABC Previews General Hospital’s Halloween Episode
Gregory Harrison Is The New Gregory Chase On General Hospital
Kristian Alfonso Bids Farewell to DAYS as Final Episode Airs Today Sharing; “Thank YOU From The Bottom Of My Heart For Welcoming Me Into Your Homes All Of These Years”
Judi Evans & Vincent Irizarry Set For Virtual Guiding Light Beth & Lujack Reunion
‘This Is Us’ Cast, Julianne Moore, Allison Janney & More Ask NBC To Move President Trump’s Town Hall Opposite Joe Biden’s To A Different Time Slot
B&B’s Jacqueline MacInnes Wood Reveals Baby Number Two On The Way
Y&R Shares ‘Most Memorable Moments Of Dina Mergeron’: What Was Your All-Time Favorite?
‘The Bachelorette’ Releases Two-Minute Hot Mess Promo Ahead of Tonight’s Season Premiere
The General Hospital Promo Featuring The Arrival of Kim Delaney
‘Tiger King’s’ Carole Baskin Gets Emotional In ‘Dancing with the Stars’ Preview Leading Into Tonight’s Competition
WATCH: Ellen DeGeneres Address Toxic Workplace Issues & How She is a ‘Work in Progress’ in Talk Show Season Opener
DANCING WITH THE STARS: Anne Heche. Jesse Metcalfe & Chrishell Stause Make Their Ballroom Debuts; While Tyra Banks Bows As New Host
Chandler Massey & Freddie Smith Discuss Their Departure From DAYS, New Beginnings & WilSon’s Journey
WATCH: Matt Bomer & Tuc Watkins in Official Trailer for Netflix’s Film Adaptation of ‘Boys in the Band’
The Bold and the Beautiful Shows How They Shoot Scenes With Blow-Up Dolls & Mannequins On Access Hollywood
Video du Jour
The Michael Channel
Days Of Our LivesOctober 14, 2020
General HospitalOctober 20, 2020
ABC Previews General Hospital’s Halloween Episode
InterviewsOctober 16, 2020
General HospitalOctober 14, 2020
Gregory Harrison Is The New Gregory Chase On General Hospital
Days Of Our LivesOctober 14, 2020
General HospitalOctober 18, 2020
InterviewsOctober 19, 2020
Guiding LightOctober 15, 2020
Judi Evans & Vincent Irizarry Set For Virtual Guiding Light Beth & Lujack Reunion