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Y&R’s Jason Thompson Talks Billy Abbott & His Daytime Emmy Nomination: Will Sixth Time Be The Charm To Bring Home The Gold?

Photo: CBS.

Since making his daytime debut on General Hospital back in 2005, Jason Thompson quickly became one of soap operas most respected and critically-acclaimed actors, and after appearing on the ABC daytime drama for over 10 years, he racked up five Daytime Emmy nominations in a row for his role as Dr. Patrick Drake.

Fast-forward, Thompson came over to The Young and the Restless in 2016 to take on the highly-coveted role of Billy Abbott: a role that won its predecessors: David Tom and Billy Miller, Emmy gold.  Now in this year’s 47th annual Daytime Emmy Awards, Jason is nominated for the first time for his work on Y&R in the Lead Actor category.  Will his long-awaited and deserved Daytime Emmy finally come his way on Emmy night?  Tune in to find out Friday night, June 26th on CBS (8 p. m. EST).

Michael Fairman TV chatted with Jason to get his thoughts on his shot this year in the Lead Actor race after his riveting, commanding and demanding performances in the 2019 season, as Billy came off the rails, faced his inner demons, and regained his center … but how long will that last with Billy’s often recklessness?

Always thoughtful, introspective and self-effacing, here Jason not only talks about his Emmy submission, (which included scenes from his incredible standalone episode), but his friendly competition, plus what he thinks of Billy’s storyline as it was left before the coronavirus shutdown working opposite Christel Khalil (Lily), and more.  Here’s Jason.

Photo: JPI

There was gum-chewing in this nomination, correct?  (Laughs)

JASON: There had to be some gum-chewing going on; I’m sure! (Laughs)

I know some of the scenes on your Emmy-nominated reel were from the standalone episode where Billy is fighting his demons against his gum chewing alter-ego.  Were there other scenes as well that you included?

JASON:  Yes.  I started the reel with one of the scenes where Billy woke up in the Chancellor living room not knowing how he got there, and then got back to the master bedroom with Victoria (Amelia Heinle), and she was asking him what was going on, and he was confused about everything.  Then it went into some of the standalone episode, and then I had a scene from the therapist’s office in there, as well.  I kind of switched it up a little bit.  I didn’t put in the whole standalone episode: but I tried to tell a little bit of a story through the process of putting together scenes.

Photo: JPI

You wanted to tell the story of Billy’s emotional downfall, correct?

JASON:  I tried to encompass how he got to a certain way and then, you transition out to a certain extent.  It wasn’t easy to pick scenes.  It never is, but I was very fortunate to have some good story last year which is really the main focus, and really fortunate to get that from the team at Y&R.

What moments from the standalone episode did you pick?  I know the part at the end where Billy is being choked by himself was in your submission.

JASON:  Yeah, it was of one of those things near the end where he was really struggling through everything, and then he has a flashback of everybody who has come to visit him, and it’s that battle within him.

Photo: JPI

How was that episode to actually film for you?  Was it daunting, or amazing, or both?

JASON:  It was a little bit of both.  It was actually done over two days just because of scheduling with everyone coming in and out.  It was great.  I really enjoyed it.  It was something different that I had ever done before, and it was somewhat all encompassing in where you kind of found Billy and him going through the whole range and coming out of it.  Anytime you get to work with all of the people that I did in one day is fantastic.  So, it was super fun, I think what was really enjoyable about it was that it was different.  I think Sally McDonald directed a lot of it.  We were talking back and forth about different background music and different sound structures and everything with the sound guys too.  It was fun to collaborate in a bigger, more elaborate way than a usual episode.

When Billy goes to the therapist, what do you remember about that scene that resonated with you to put it in your Emmy reel?

JASON:  For me, I found a lot of who Billy is in those scenes   – vulnerable, but strong, but still confused   – willing to put himself out there, but trying to figure out what makes him tick.  The actress who played the therapist was great and super comfortable to be around.  So, it helped those kinds of scenes, and again, I think it was just a different level than what you saw in the other scenes on my reel.

Photo: JPI

Your performances last year were gut-wrenching.  I think there is something unique in the humanity that you bring to the audience in your work that resonates with them.  

JASON:  We all know that feeling when it kind of rings true for you.  That is really the biggest challenge of my job, which is also why I love my job.  I’ve got to work hard to make it feel real.  I think for me it starts where I can relate it to my own life, and then it’s not fake emotions.  I think as audience member, I appreciate that when I see it done in the right way with one of my favorite actors.  So, to me, that is the challenge – just trying to see something in that character that you relate to, and it’s not easy to do; to allow yourself to go there a lot of times, but that’s what I enjoy doing.

I know this is your sixth Daytime Emmy nomination, and we’ve talked every year you’ve been nominated.  And I know I have said you were going to win before, too!

JASON:  No, ring-a-ding-dings yet!  You have been wrong a couple of times, but I appreciate that.  This is my fourth nomination in the Lead Actor category and I had two previously in the Supporting Actor category.

Photo: JPI

However, this is your first nomination for playing Billy on Y&R.

JASON:  First for Billy, and I am actually really excited about that.  I thought it was kind of a nice touch in an interesting time.  You know, this is my fourth year and first nomination on the show and with this character, and it just feels kind of nice.  It’s been such a great time at Y&R over these four years.  I’ve appreciated the people I’ve worked with.  It’s important for me to earn trust from cast members and from our crew, and obviously the writers and producers, and of course the network and everything.  That is something that I try to pride myself on.  When your number is called, you want to be ready and you want to be prepared to go the distance.  It isn’t easy what we do in daytime, and it takes a lot of energy to come up with story, and write it, and get it Okayed from everybody, and you want to do your best to make it lift off the page.  So, like I said before, getting those opportunities with our great cast, and getting a nomination with this character that other people have played in the past because it’s such a great character, feels good.

Do you feel like you have now put your stamp on the character of Billy Abbott?

JASON:  I feel like Billy is constantly evolving.  He is always learning, so I am always learning more about him.  He is always in new situations, so I am learning how he navigates those kinds of situations and those moments.  I mean, is he mine?  That’s not necessarily for me to decide.  All I can do is what I have tried to do from the beginning, which I felt like I tried to do at GH also, which is to continue to evolve with the character which is part of what I love about daytime; because it is ongoing.

Photo: JPI

It’s was interesting in 2019 to see the reaction of the fans on social media to Billy because of his behavior.  Some were negative, and some would say, “Grow up, Billy!” Did that at all color your performance an actor, or did you have to block it all out and not listen to the noise?

JASON:  I try to not let too much of that stuff affect me.  I can’t just pick and choose to listen to all of the great things people say, or all of the nice things people say.  It goes both ways.  At the same time, you’ve got to try and play the long game with your character as much as you can, and be in the moment with your character, because you’re doing him a disservice if you’re not playing the real emotions.  It doesn’t mean you don’t have an eye on where you want to end up or where you want to go, but at the same time, yes, he’s being a jerk in this scene or he’s not communicating very nicely, let’s say, there is a story that you’re playing.  There is hurt.  There is vulnerability.  There is elation in a lot of ways, and the way Billy is, he gets to kind of roam all over the place.  He zig-zags.  He’s not a straight A to B kind of guy.  He likes to wander a little bit, which I really appreciate in him.  He is full of life in a lot of ways, and that life can really make him buoyant, or sometimes it can make him heavy, but that’s fun for me.  I think that’s what people really like the character for, whether it was me or anybody else playing him.  Billy does have a sense of recklessness that I think most people can kind of admire. Does it get him in trouble?  Yeah, it does, but he’s got a big heart, and I think that’s what he leads with.

Photo: JPI

You’ve got some gentlemen I think you know very well in your category: Jon Lindstrom (Kevin/Ryan GH), Thorsten Kaye (Ridge, B&B), Thaao Penghlis (Tony, DAYS), and Steve Burton (Jason, GH).  What do you think about being nominated with this group, and did any of them communicate with you; after receiving a nomination?

JASON:  Steve texted me a couple of minutes, and I kind of had another phone call coming through, so I kind of looked and saw he got nominated too.  That was great.  Steve was there when I first started on General Hospital as Patrick, and he was one of those guys who had been around a long time who still really enjoys his job and gets off on the acting part of it also.  Thorsten, I see all the time because we are across the hall from B&B.  Jon Lindstrom … I look up to Jon because I really admire his career.  He has been able to just keep working.  I see him pop up on HBO shows and then back at GH, and he is a very, very capable actor and nice gentleman.  Thaao, same thing.  I worked with him at GH also.  So, to come full circle and be in a group with the people who you are accustomed to working alongside and seeing them get accolades also is great.

Photo: JPI

Did you ever think, when you started at General Hospital years ago, you would now be a six-time Emmy nominee?

JASON:  Oh yeah, 100%.  I was just pissed it took me so long. (Laughs)  Truth be told, you don’t go play in the NHL if you don’t want to win MVP of the Stanley Cup.  You’d be lying if you said you wanted to be an actor and you haven’t given these speeches in the bathroom or your car before.  We have.  We all do.  So, yeah.  There is something about that.  That’s not the sole purpose of the work, but it does drive you to want to excel, and to me, that’s another one of those things.  One of the amazing things about this quarantine was being able to sit down and watch The Last Dance, the Michael Jordan documentary.  That is a powerful man right there with a psyche to go along with it, and a work ethic, and everything else.  Sometimes that’s hard to be around.  I’m nowhere near that, but what you can appreciate is that he finds his own little battles inside of him to power him, and those could be positive things, and those could be things that you want to overcome, and for me, you always want to try to be the best in your business.  That’s just what you want to do, and for me, I want to be along those lines.  The people who I look up to are: Tony Geary (Ex-Luke, GH) Maurice Benard (Sonny, GH), Eric Braeden (Victor, Y&R) and obviously Peter Bergman (Jack, Y&R), Jane Elliot (Tracy, GH) Eileen Davidson (Ashley, Y&R), Jess Walton (Jill, Y&R).  They’re always at the top of their game.  So, you want to be among them.  You want to be in the same boat with those people, if you will.

I watched The Last Dance.  I thought it was riveting.  I thought it was so well done.

JASON:  Yeah, it was riveting.  My wife, Paloma has probably watched two basketball games in her life, and she couldn’t wait for the next episode to come on just because it’s about the psychology of it all.

Photo: JThompsonIG

It’s going to be a virtual Emmy’s.  Are you going to hang out with the family on Emmy night, or what are you going to do?

JASON:  It’ll probably be a little more spur-of-the-moment.  We’ll see.  We haven’t really started figuring out what we are going to do yet.  I’m assuming yes, I’ll be with my family and take it as it comes, and just enjoy the experience.  I’m stoked that CBS wants to do have the Daytime Emmys on network TV again.  I think it’s really, really cool for them to step up and want to do it, but let’s just hope that this is the last time that we do this kind of thing, virtually.  It is great to be together with people.  It is one of the things that I really love most about this time, especially when you are nominated, to get to go along the ride and kind of enjoy it, and get to talk to people like yourself and do the red carpet, and if your name gets called, you get to thank the people who helped you get there and all of the people who support you.  That’s an amazing thing.  So, I am going to miss not being with everybody and seeing old friends and making new ones, but at the same time this is a new experience like everybody has been having lately, so we will go for it and see what happens.

Do your children Bowie and Rome know; or understand, that their dad is an Emmy nominee?

JASON:  Well, I mean kind of, but no not at all. (Laughs)  We were on the beach when Y&R publicist, Matt Kane called us, and when I got off the phone, Paloma was like, “What was that?” and I said, “I got an Emmy nomination,” and she’s like, “Oh my God, great, great, congratulations!”  Bowie is like, “What’s an Emmy nomination?”  I’m like, “It’s kind of like… I don’t know… what is it?  I guess it’s kind of like potentially an award or something or whatever for doing good work.”   I was looking at a list of the nominees, and I said to him, “Oh, a couple of your favorite shows got nominated, Dino Dana,” which he loves watching.  So, he was more excited that Bubble Guppies and Dino Dana got nominated for Emmys along with his daddy. They don’t know what daddy does for a job yet or anything like that, so I don’t think it means much to them right now.

Photo: JPI

When we last saw new episodes of Y&R, prior to the production shutdown due to COVID-19, you had been working more in story with another Emmy nominee, Christel Khalil.  How do you feel where we left Billy when we last saw him? Are you enjoying that storyline?

JASON:  I think it’s great.  I’m excited to see where it goes.  Obviously, we’ve had a pretty decent break now too, so they’ve probably had time to think about things a little bit differently.  So, I really don’t know what’s to come, but I am really stoked that Christel is back.  I think she is an asset to our show.  She is a beautiful woman inside and out, and I think she is a very, very capable actress and she is really fun to work with.  I know Billy and Lily had a relationship in the past, but it’s new for me to explore.  So, anytime I get to do that, it’s always fun.  I think it is going to be exciting with working at Chancellor Industries.  Anytime I get to work with Jess Walton is great, and it starts to mix what I think Y&R does really, really well.  It’s love, family, and business.  I think those three worlds are really, really intertwined with Y&R, and I think that is when we are at our best, when those three things are working really well.

Photo: CBS

I just wanted to pass along: I was talking with Sally McDonald, and we were talking about the funeral episode for Neil, when Kristoff St. John had passed.  She said to me, “I just loved Jason Thompson in the memorial” because even though you weren’t speaking, when the camera would go to you in the pew you were just so in it.  She said, “I don’t know him as well as I know the other cast members because they’ve been here longer, but he is just amazing.”

JASON:  That was very kind of her, and that was a tricky day to shoot:  part celebration, part heartache, part all of those kinds of emotions everywhere. I just had the blessing of being a part of something like that, and to hear people speak so honestly about a friend that a lot of people had lost was so special.  Kristoff was very, very special to a lot of people, and had a long, long relationship on this show with the cast members and the crew.  I’d look at Christel and Bryton (Devon), and they were just incredible.  Eric Braeden got up there, and the honesty that was coming from him and everybody, I was so honored to be there.  So, there wasn’t really anything for me to do except sit there and listen, and nowadays we all could probably do that a bit better.  It’s a very natural reaction when you listen with compassion and empathy to people speak so highly of their friend.  I was glad to be a part of that episode.

Photo: JPI

Alright, Jason, I guess I should not conclude this interview with my pick of who I think will win Lead Actor. (Laughs)

JASON:  Only because you don’t want to be wrong!  Honestly, thank you for your support.  You’ve always been in my corner.  I appreciate that.

So, will you be rooting for Jason to take home the Outstanding Lead Actor in a Drama Series Daytime Emmy this Friday night? What do you hope happens next for Billy Abbott when Y&R returns from its taping shutdown? Share your thoughts via the comment section below.

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Maddy HayesClaudioPatricia WraggK:kayViolet Lemm Recent comment authors
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I’m sorry, but I don’t think Jason Thompson’s version of Billy Abbott deserves anything other than either a trip to the backburner or termination and replacement with someone better. Jason was excellent on GH as Patrick Drake, one of the most consistently dependable actors on what can be a very uneven show. But his turn as Billy Abbott on Y&R has been a disaster. His Billy is petulant, unpleasant, selfish, unpleasant, delusional, unpleasant, unkind, unattractive and worst of all, utterly humorless. I don’t know who he’s playing but it’s NOT Billy Abbott. It’s one thing to put your own stamp… Read more »

Violet Lemm
Violet Lemm

Of course I’ll be rooting for Jason. I think he can go toe to toe with any and all of the other gentlemen. Good luck Jason!


Jason had the chops for this storyline to have been brilliant unfortunately Douglas Marland was not alive to write it ! My glorious Terry Lester was brilliant with the DID storyline on ATWT that Doug wrote then he passed away and poof the story went to hell! I would love if we had some of those brilliant minds back again not sure we will ever get back to the glory days ! Bottom line if Jason wins I will not have a problem he is a good actor just had some crap writing !i have major heartburn on what GH… Read more »

Patricia Wragg
Patricia Wragg

I love Jason as Billy Abbott!! I truly hope that he wins

Maddy Hayes
Maddy Hayes

Team Jason


I love Jason, he deserves to win the Daytime Emmy. Jason is a wonderful actor.


Y&R’s Brytni Sarpy Talks On Her Emotional Week of Scenes & The Fallout From Elena and Devon’s Break-Up

Talk about self-sabotage! Over the last few weeks, fans of CBS’ The Young and the Restless have seen how one decision, or moment in time, can have an effect on several residents of Genoa City, such as the case with Elena Dawson (Brytni Sarpy), after she had sex with her colleague Dr. Nate Hastings (Sean Dominic) … at the clinic they work at!

It all starts unraveling for Elena when her fears get the best of her thinking that the current-love-of-her-life, Devon (Bryton James) will fall for the sister of his late wife, Hilary, in the form of Amanda Sinclair (Mishael Morgan).  And thus sets the stage for a potential quadrangle, and perhaps … some baby drama?

Since coming to Y&R from General Hospital, actress Brytni Sarpy has been developing the character of Elena and playing her for all she is worth and then some in recent heavy-duty heart-tugging scenes where viewers saw Elena confess to Devon that she cheated on him with his cousin, Nate! Then later, she gets kicked to the curb by the man she loves, leaving her wondering, “What did I just do … and why?”


Well, Michael Fairman TV has some of the answers as we chatted with Brytni to get the lowdown and the insight on these pivotal moments in Elevon’s love story, and if there is even a future for them, or is it on ice for good? Plus, Brytni opens up about falling for her co-star and recent Daytime Emmy winner, Bryton James, and taping what would normally look like a red-hot passionate sex scene on the soaps with Sean Dominic, but having to do it under strict CDC Covid-19 protocols. Here’s what Ms. Sarpy had to say about it all!


You’ve got this big storyline unfolding now on Y&R.  Did you know when they brought on Sean Dominic that they were going to bust up  Elena and Devon?

BRYTNI:  Yes and no.  When Sean was first brought in, there had been another actor playing his role, so technically his character has already been on-screen.  So, I didn’t necessarily think it was going to cause any type of conflict, or a love triangle, or anything like that.  However, I think that there were little hints about it along the way in the writing, and our characters similarities in both being doctors.  The writers are pretty tight-lipped, so I only know things two or three weeks in advance.

Were you playing that Elena had this attraction to Nate for a while now?

BRYTNI:  There was a point where I decided to play it, and that is when I felt that it was in the material. It was when things got a little crazier with Amanda coming around and Elena being at the height of her insecurity about that, and her really choosing to only confide in Nate.  I think that kind of relationship and comfortability that she was finding and that dynamic of being at the clinic with Nate, and establishing that with him, she was not having with Devon.


Right, and so do you think once Elena knew Amanda was interested in Nate, she subconsciously stepped up her own interest in him?

BRYTNI:  No, I think around this time she was hoping for Amanda to date Nate, and she was asking a lot of questions and things to egg on that whole relationship.  I think in her subconscious she really felt like, “Oh good, if I can put these two together, then my fears about this woman who looks exactly like my boyfriend’s dead wife… that resolves that.”  I think for Elena it was just kind of putting them together.  It wasn’t about Nate.  It was about someone to occupy Amanda so that Elena’s insecurities didn’t have to come out and she didn’t have to worry about Devon, or anything with those two being together.

But didn’t Elena have a nightmare/dream about Amanda and Devon having sex?  Wasn’t she freaked out about Amanda being Hilary’s sister?

BRYTNI:  This was when she had already jumped down the rabbit hole of being insecure about what was going on about Amanda and Devon and how much time they were spending together and hoping that he didn’t fall back into those feelings he had for Hilary that he had just gotten through.  For Elena, I think it was a lot of PTSD; for her.  She felt the first half of their relationship was trying to get over Hilary.  Once it finally turned to a point where Amanda was spending a lot of time with Devon. and she had started only confiding in Nate and not Devon about how she felt, that’s when I think those insecure feelings came up, and her talking about it so much manifested into her dreams, and she set herself up for her own trauma.


So, you have to do this sex scene amidst Covid-19 protocols with Sean Dominic.  How was filming that scene with Sean because Nate looks at Elena, she looks at him, signaling they want to have sex right now, right there at the clinic, and then it cuts out.  Was it awkward filming it?

BRYTNI:  Yes, it was certainly awkward because his double was Bryton, so it’s hard to play that you’re cheating on a character with the actor who plays the character that you’re cheating on. (Laughs)

We are going to give you the Emmy right there for that!  (Laughs)

BRYTNI:  Right! (Laughs) Then in some of the scenes we are looking into each other’s eyes, and we appear to be close, but of course we are not that way.  So, I am staring up at a mannequin that it is at Sean’s eye-level, and he is staring down at a mannequin that is at mine.  It is not easy to try to sell that energy that is between two people in such an electric, heated moment, so it was definitely challenging.

Do you buy Elena’s rationale that they were on a euphoric high from saving Jared’s life at the clinic, as the impetus that leads her and Nate to have sex?

BRYTNI:  I don’t think she really understands what happened.  I think she is trying to put it together.  Right after it happens, she goes into that whole monologue about how, “I’m not blaming you, but this happened, and we were just coming down from a high.”  I think it’s just her trying to figure out why her emotions brought her to this place because I think this is one of the few times in someone like Elena’s life when she has acted without thinking or without forethought to the consequences.  I think she has just been exhausted with trying to battle her emotions, trying to be a doctor with a residency in a hospital, and then also trying to do as much work as she is doing at a clinic.  Then, coming off of an emotionally-charged partnership with Devon after seeing what he was going through with the ghost of Hilary for so long, and going back into this after finally having a calm and peaceful few months, it rocked the whole boat again.


Viewers have seen what played out over the last week and half, a lot of scenes were you as Elena are called upon to do a lot of breaking down, and crying.  So, how are those scenes to perform? Do you like those types of scenes, or are you like, “Oh, God! These are so soapy!”

BRYTNI:  For me, personally playing that, I think with all the tears and all of that, it’s been exhausting, because there are certainly levels of reality to this where I have to go for it to not be me just trying to emote on-screen, but actually feel the depths of what my character would be going through.  It’s a lot.  I’ve had a few migraines after work sometimes, but I do enjoy it.  I enjoy getting those emotions out.  I think that because of what I’ve established with her character for a little over a year, I’ve been building up Elena, and more importantly, building up her relationship with Devon.  I think to understand her actions, it had to come from a really solid place.  I don’t think she is ill-intended in any of her emotions.  I think she really cares about and wants to protect her partner, Devon throughout all of this, and then she finds herself unprotected and vulnerable in making decisions that inevitably do the complete opposite.  So, I think at the end of it, she really is disappointed in herself and also, she has just created this entire disruption of her life in the matter of a moment, and I think there is a lot of mourning, and there is a lot of guilt.  I just don’t think that it is intentional of her character to do something like what she did.  I think that for me to make it what it was… something that my character would do or did … it had to come from a real place that didn’t sit well with her, and it just happened, and she feels guilt-ridden.  It’s as serious as a character attempting to murder someone, or any other kind of character who would go to the extremes of who they are in their characteristics.


For you, since you are romantically-involved with Bryton James in real life, does that make it harder or easier to play?

BRYTNI:  I’d say both.  It makes it harder because it’s more real, but it also makes it easier because it’s more real.  These are situations that could at some point come up or have come up, and to put yourself in those positions, and to have him look at me the way that he does and to jeopardize something that real, to go to that place, is a dark place to have to portray.

… And then Devon throws her out! 

BRYTNI:  He does.

Devon tells her to leave the penthouse and he tells her to pack her stuff and go.

BRYTNI:  Rightfully so.


Doesn’t Elena deserve that reaction for her actions?

BRYTNI:  I think so.  She made a mistake, and she has to learn from it.  I think if there is any potential for these two to ever reconcile, there has to be space given, and there has to be understanding.  You can’t just pretend like everything is normal even though she is sorry.  Sorry isn’t a reason why and sorry isn’t proactive.  She has to fix the issue.

They brought Jared (Michael Maclane) back to be the catalyst that was ended up being the spark that ignited Nate and Elena’s passionate moment together at the clinic. What did you think of that plot point?

BRYTNI:  The point was actually, that it was a patient who they had invested in and cared about, and she was able to do something for this kid and save his life with someone who she has been leaning on, someone who she has had a shared connection with, someone who shares her perspective, and helped her through situations with Devon, and who has seen her ugly side and her insecure side, and it was a bonding moment, I guess, that they were able to save a kid’s life who they both knew added another layer to their relationship that caused things to go grey.

Coming up, it appears that Amanda is going to be instigating a lot of stuff, and Nate is going to still have feelings for Elena.

BRYTNI:  Yeah, I mean, it’s not over.  Now that the cat has been let out of the bag, they still have residual feelings.  I think Nate is starting to make it very clear why he went the direction he went.  I think he has more of an understanding of where his feelings lie and that they are with Elena.  I think with Amanda, maybe a part of her ego just got bruised, and maybe she wants to unearth the truth of all of this because she was kind of caught in the middle of it.

When you and Bryton are together in real life, are you rehearsing all of these scenes and playing all of the other characters in them?

BRYTNI:  Typically, we run lines together.  I have voices for everyone.  I have a Nate voice.  (Laughs)  I have an Amanda voice; I have a Lily (Christel Khalil) voice.

Photo: Sonja Fleming/CBS

You are in one of those interesting situations where you are with the person in real-life and in story.  I have talked to Bryton about this, but what was the moment when you knew it clicked with him? 

BRYTNI:  We certainly liked each other since day one just as people.  He was a great scene partner to do a screen-test with, very giving, just really professional, but just a down-to-earth nice guy. Then, just moving forward from that and working with him as my scene partner on Y&R, I think it was during our first group scene, it was the opening of Society, and we did a tribute to Neil Winters (Kristoff St. John), and that was the first time I had spent long hours on a Y&R set.  You’re with the whole group all day because you’re doing group scenes.  We just discovered and learned that we are both really goofy, and we were just laughing and talking about stories.  I think we found that we had a lot more in common than we would have realized… very similar pop-cultural references, and upbringings, and all of that.  From there, we’ve just gotten along really well, and it progressed.

Photo: Sonja Fleming/CBS

Back in late June,  there was this viral video of you jumping up and down when Bryon’s name was called as the winner of the Outstanding Supporting Actor in a Drama Series during the 47th annual Daytime Emmys telecast.  What do you remember of that night with him?  You seemed more excited than he was!

BRYTNI:  Yeah!  I was really excited for him.  The year before – well, I didn’t know that it was our first date –  but,  I guess it was our first date at the 46th Daytime Emmys, because I honestly thought that Matt Kane (publicist, Y&R) had asked me if I wanted to go along, and apparently, Bryton had asked if he could invite me.  So, we spent that time together, and he was nominated that year as well and lost.  Cut to this year where Bryton is a person who I have actually worked with and have seen how he works, and after Kristoff’s passing, and just seeing the amount of work that Y&R put into it, and the time that they spent on those episodes, and how beautiful they came out, everyone deserved an Emmy for that.  It was really beautiful work, and it was really touching, and it was really true and honest.  I really thought Bryton deserved it.  I think he was just as happy.  He’s just more reserved than I am.

What do you want to see happen for Elena moving-forward?  Do you want to see more of her extended family pop up so she is a character who has more ties to Genoa City?

BRYTNI:  I do, I do.  A lot of the characters never know who their father is.  I’d love to know who that is. (Laughs)  Like when I played Valerie on General Hospital, she didn’t know who her father was either.  Things like that are interesting to play.  I’d love to start closing those little holes about her because that helps me.  It helps me to create more dimensions in her character and to make firmer choices, and give her somewhere to go, and it gives more richness in her story.  I would love to also cement her to the Y&R canvas if she has any relation to anyone else there.


There have been rumors that Elena will become pregnant.  What would you say to that?

BRYTNI:  What do I think of that?  I don’t know.  It could happen.  Crazier things have happened on soaps.  Will it be the classic, “Whodunit?”

You mean, who could be the baby daddy?

BRYTNI:  (Laughs) Yes, that would be interesting, and yes, I’ve seen those rumors, too.

Do you think Elena will fight and claw her way back to Devon, or do you think she is going to let it be? 

BRYTNI:  I think even from the scenes that aired this past week, you can see the extent of how sorry she is.  She is laying it all out there, in a puddle of tears, exactly how she feels even though she is not able to really understand why she did what she did, her sorrow is there.  I don’t think there is really much more for her to do as far as pleading to get him back until he is ready, if he ever is ready.  I think her respecting his wishes in the situation is probably the best thing that she can do at this point.

Photo: IG

Meanwhile, if you have any more romantic scenes with Sean Dominic, Bryton will step in, so you will still be in scenes with him, even if Elena and Devon aren’t together. 

BRYTNI:  (Laughs) Yes, that’s true!

So, are you rooting for Devon and Elena to get back together quickly?  Do you think she may end up in a relationship with Nate? What have you thought of Brytni’s performances in this storyline? Comment below, but first watch Devon tell Elena to move out!

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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.

Photo: Ed McGowan/Plain Joe Studios

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.

Photo: CBS

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?”

Photo: CBS

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.

Photo: JPI

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.

Photo: CBS

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.

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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.

Photo: Getty

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

Photo: HallmarkChannel

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.

Photo: CBS

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.

Photo: CBS

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,

Photo: CBS

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.

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Video du Jour

B&B’s Jacqueline MacInnes Wood deliver the Power Performance of the Week as Steffy’s drug addiction leads to a confrontation and intervention by her loved ones with dire consequences.  Here is the last seven minutes that featured Emmy-winner Wood at her best. Leave A Comment

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Airdate: 10-08-2020