The Buzz - BuzzWorthy Radio

DAYTIME EMMY PODCAST w/ SOAPS in DEPTH's RICHARD SIMMS!

It's that time of year again, soap fans! Not only are we going to dish about the Daytime Emmys, which will take place at the Las Vegas Hilton on June 27, 2010 airing on CBS, but we are also going to talk about all that is daytime dramas!

Joining us on our podcast will be SOAPS in DEPTH's editor Richard Simms. *I called him a GUIDO...he said something else. Figure it out!* I am heavily excited about our Emmy Pre-Pre Show...this is the first of 2 possible pre-Emmy shows. One which will take place here on the podcast, the second to take place in Vegas. Who did I have round up for that? Stay tuned...and you'll find out!

Who was snubbed? Who deserves to take it home? This is your chance to let your voices be heard with the rest of us! Guys, grab the kool-aid. Girls, don't shout into the phone! Our firsty Daytime Emmy pre-podcast gets underway!

Duration:: 2h 7m
Broadcast on:: 09 Jun 2010
Audio Format:: other

Not called the radio. Don't get your lies. It is Buzzworthy Radio. For you can get the latest buzz. I'm all your favorite shows inside. Buzzworthy, start. Now. G'day guys, it's Daniel Goddard from Young in the Restless. And this is my Australian accent. It's Buzzworthy Radio. And it is a fantastic place to be. Excuse me. Welcome. Welcome. Welcome to a new episode of Buzzworthy Radio on your computer right now. It's 8 p.m. Eastern. 5 p.m. Pacific time here at ball fockradio.com. I'm your host, Navell J. Lee. And this is actually going to be a really, really good show for you guys tonight. This is our daytime Emmy podcast with stopes and deaths Richard Simms. He'll be joining us in about 10 minutes time. We actually didn't do one of these last year. But we are doing one this year. Sounds good, right? And I believe there's going to be a little bit more of daytime Emmy's in the next two weeks. Well, I'm in Vegas where a lot of video stuff, I'm not talking about the red carpet. I'm talking about we're going to be doing another pre-daytime Emmy show. So make sure you guys look out for that. Details are actually being finalized a little bit for that. I know we're in the talking pages about doing that. But make sure you guys tune in for that. And find out about that on our Twitter and on our Facebook fan page. If you're not a fan of Buzzworthy Radio on Facebook, why aren't you? I mean, it's very simple. Just go to Facebook.com. If you are a Facebook user like myself, why aren't you a fan of Buzzworthy? Find us. Fan us. Like us. Buzzworthy Radio on Facebook. And if you're not following us on Twitter, shame on you. You should be. Follow us on Twitter at buzzworthyradio and check out our website at www.buzzworthyradio.net. In two and a half weeks time, ladies and gentlemen, two and a half weeks. 37 annual daytime Emmy awards will be taking place at the Las Vegas Hilton June 27th, 2010, 9PM Eastern on CBS. There's going to be a lot of tribute and wonderful exciting investors going to be taking place for the Daytime Emmys this year, one of which will be Agnes Nixon receiving the Lifetime Achievement Award. And if you know her, it's creating several ADCD 10 programs, one of which is on my children, which will also be getting a nice little tribute because they just celebrated the 40th anniversary this January. Another show that we have some out confirmation on that we'll be getting a tribute during the during the festivities will be that of the stuff that I first started watching, is that as the world turns, we'll certainly say goodbye on September 17, 2010. It was confirmed earlier this week by Jim Remotovich that as well terms, we'll be getting the tribute and recognition it deserves at this year's Daytime Emmy Awards. So I'm looking forward to seeing what it has in store for that as well because it definitely is a show that does need to be recognized for all the years. It's been a part of our lives for so many, so many years. And I'm very excited that they are giving it the recognition that it finally does deserve. So I'm looking forward to seeing that as well. And then also Dick Clark and American Bandstand will be getting an honor at this year's Daytime Emmy Awards. Now, from what I understand, and I don't know how true this is or not, but for those that are supposed to take part in this tribute for Dick Clark, I believe their segments are supposed to be pre-trained. I'm not sure if that is the full idea of it. I'm not sure if that is how it's supposed to roll out, but that is what I heard, but I'm not positive that as soon as I get more word on that I will let you guys know. But as far as I'm aware of, they are supposed to be taped, but that's what I know right now. But like I said, I don't know if that's really true or that's really confirmed or not, but that's just the word on the grapevine. So we'll just leave that right there. We'll get into more about the Daytime Emmy as soon as our guest gets here, which is in about five minutes time. Just a little bit of news items I want to share with you all before we get down into the nitty gritty. And I want to say hello to everybody in the chat room first before I get into that. Hey, everybody in the chat room. I am so glad you guys are tuning in for this tonight. And the game plan for this is in each category that we're going to be talking about. We are going to be – we are taking call over to this show just so you know, but what we're going to do so we can take time and get through each category as much as we can. We're going to take one call per category that we're going to get into and let your thoughts be heard on each category. So start writing in the chat room. If you just are in there as a guest but you want to participate in the chat room, log on to www.blogtalkradio.com. Register yourself a username and password. So that way you will be able to participate in this chat room as well. What we're going to do is, like I said, we're going to take one call per category and we want you to basically put in the chat room what category you want to be picked up in. And we'll see who gets picked for each one. We have some time after we dance through everything. We'll definitely take more callers, of course, absolutely. But let us know right now which category you want to vent your opinions about or show your appreciation for whatever have you, whatever opinions you ask. Just let us know earlier in advance which ones you want to definitely take part of, which category, supporting actor or actress, lead actor or best drama series, stronger actor actress, whatever you want to talk about. Let us know right now in the chat room. And a couple of little news bulletins here that has been dropped within the past couple of days. I know that a lot of people have heard that the National Marshal is returning to General Hospital on the August 11th episode. And as I said to somebody previously, I am a huge Sonny Brenda fan. Yes, yes, yes. Sonny and Brenda, yes, I am. So I'm kind of itching to have a little funny and Brenda action. Sorry, Kylie, but that's just how it rolls. No news has been said as to how long her stay is but from what I read and they want to keep her for the unforeseeable future. No, seriously, when you read that, what does that mean? Seriously, what does that mean? I absolutely have no idea what that means. We're just going to leave it that. Jeff Branson will be making his first appearance on the other episodes on June 22nd. Scott Clifton will be joining us. We already know that, but I know we finally got a character name for Scott Clifton's character, his upcoming character on the Bolden Beautiful. And it looks like Michael Muni is here to stay as Adam Wilson Newman. What is his name now, by the way? What is his name? Seriously, what is his name? Adam Newman, you have more names than probably Elizabeth Taylor's husband or whys or whatever they are. But I'm glad Michael Muni's name, but a little word of advice, sir. As I told Stacy about the bang that she was sporting with the curls, which was a huge fashion faux pas, no no. I'm telling you this, no, you need to shave off that beehive that you got on your face there. I'm just saying, just as a fan, just like watching one of my favorite people on screen, I'm just offering some creative criticism. Shave off the beard, just shave off. I really would appreciate it if you did. But you don't have to, for my benefit, I'm just throwing it out there. But enough of Adam Rand. We are now on to the guest of honor that's on the show, Samaritan. He is the editor of Soap In Death magazine. If you're not following him on Twitter, which if you do, you'll probably get some hysterical anecdotes during live bearings of the hearing and the restless head and the bowl and the beautiful, as well as general hospital. Trust me, I know. I watch him. I watch him work. Ladies and gentlemen, Richard Sim is on the light right now. Who, by the way, did not know about this show until a few weeks ago when I told you about it? It's true. It's completely true. I had no clue. It is true. I had no clue. Your fame preceded you, apparently, but it didn't quite reach. My explanation for that is that the office in which I work gets really, really bad cell phone reception. So I have a feeling that my phone would have been ringing constantly with people saying, "Oh, my God, you need to listen to this show. It's the most amazing thing ever." But because I get to- Humble, I love Humble. In my office. Yeah. Yeah. That's the only explanation I can possibly offer. I love Humble. That's good. I like that. You're pretty much now just went up to about number two in my list of people who I like. Number two, who the hell do I have to knock off? Stacey, hi, Duke. Hello. Well, okay. I guess I can humbly serve as second place to Stacey. I mean, she is sort of the reigning goddess. So being right behind her, it's not a bad thing. I'll definitely take that. Okay, good. I was going to say, if you want to knock off a Stacey Hi-Duke off of that list there, you might have a little bit of a breath flow. Now, the funny thing is, think about Stacey Hi-Duke. Think about the fact that, you know, a year and a half ago or whenever, when she was on All My Children, we could have cared less about Stacey Hi-Duke. We didn't care about her. We didn't care about- I barely remember the name of the character she played, Hannah, on All My Children. Hannah. All of a sudden, and Hannah was kind of a little bit psycho, too. Then all of a sudden, she comes on the young and the restless and gives what is undeniably, unquestionably, the performance of the year. I mean, I mean, it's been just a jaw-dropping, tortoise performance, and the fact that she didn't even get nominated is just- for an Emmy is just the most stunning thing in recent Emmy history. It's just inexplicable. Oh, my goodness. I actually have to agree with that, because seriously, I never was saying anything about Stacey How To Contill she joined in line, or I was like, "Huh, that's odd." Yeah, I mean, you know, I knew who she was. I'd seen her on other shows. I'd seen her in primetime. I'd seen her on daytime, and I've always been a fan of hers, but not the kind of fan who would, you know, like go on a show and rave about her just like, you know, I thought she did good work and, you know, whatever. But then, you know, who could have foreseen the hurricane that would be Emily and Patty? I mean, just phenomenal, phenomenal stuff. I think what would be interesting is if they don't keep Patty on the canvas, how long will Emily-- Oh, Emily will stay on the canvas. Well, Emily will stay. Emily will stay. No doubt about it. They're not about to let her go. I mean, that's just, that's just crazy talk. But the thing, the interesting thing will be how does the audience, you know, we've seen her giving these amazing performances as Patty. And she's very, very good as Emily, but obviously Emily is not the interesting character. Patty is a much more interesting character. So it'll be interesting to see sort of how the show adapts to that, especially given the fact that Y&R right now is in sort of a phase where they're telling a lot of sort of passion-esque stories, you know, with Patty and grave digging. And, you know, Victor-- I swear to God, when Victor parachuted out of the plane yesterday, it was an exact replica of when, for days on end, Julian was hanging on the side of a plane on passions as he was in the plane trying to bring him in. And that went on for days. And when Victor stepped out on the wing of that plane and stood there for like the longest time before he jumped, I was like, okay, does anybody, has anybody ever actually been parachuting? Because, you know, you're flying. The plane has to move a certain speed in order for the plane to stay in the air. And you can't just like hang out on the wing standing there. You will get caught by the wind. That's why it's called a soap opera, Richard, you know, to think logically when it comes to that belt. But that's not true. You know, that is what's called a modern soap opera. But the reason modern soap operas are so down in the dumps ratings-wise is because the audience is smarter than they're treating us. You know, they treat us like we are complete in total moron. And that's not-- You know, today, the big reveal on "Young and the Restless" was Adam is in bed and he's talking to a woman and she comes up over his shoulder and lo and behold, it's Skye. Now, it's one thing to bring Adam back from the dead. We had a vested interest in him. We know who he is. You know, he's connected to a core character. Skye, there's no reason to bring her back. Is she a lovely actress? Yes. Did I love seeing her in those dream sequences that Sharon had? Yes. But is there any reason on Earth to bring a second character back from the dead in the same story? No. It's not even just that. It's like what I heard about Skye, it's like Skye who? When she showed up on screen today, you know, they played the music and if it's a big cliffhanger, as if the audience was going to go, "Oh my God, Skye is alive!" But as you know, as you were mentioning before, I live tweet the show and my tweet stream was filled with "Who is that?" You know, like, "Who's Skye?" They're playing music that indicates I should know who she is. It seems like they're playing. This is a very big moment. Why the hell do I have no clue who she is? So, yeah, you know, today soaps treat us like we're morons and they try and tell these stories that, you know, they're passable, I guess, but they don't hold a candle to the classic stories that, you know, made soaps when millions and millions and millions of viewers were tuning in. You know, when like 25 million people were tuning in for the Adventures of Luke and Laura, I kind of blame Luke and Laura for the current demise of daytime because executives ever since Luke and Laura have looked and said, "Hey, let's mimic what that show did." And what they've mimicked is the Freezing of the World by Mika's Casanine and everything and what they fail to recognize is that the audience wasn't tuning in for the Freezing of the World. They were tuning in for this amazingly romantic couple. That's what we fell in love with. You know, and so they've been trying to imitate that ever since, but they're imitating the wrong thing and that's why, you know, daytime is kind of in trouble now. Oh, absolutely. Absolutely. I couldn't agree anymore with what you just said that I possibly ever could. And, you know, we've got people in the chat right now just like ranting and raving away about everything, you know. I just -- wow, I never realized how many people out there are not devoted to what we watch on the screens right now. Oh, without a doubt. I mean, it's -- you know, when you look at the weekly ratings for the Young and the Restless, you know, yes, they are lower than -- it's the highest rated show, and yes, it is lower than, you know, than it's been in years, but it's still 5 million people a day. You know, that's -- that's more than watch, you know, any show on the CW. You know, it's more than watch half of the CW's lineup combined. Oh, absolutely. So, still, even though -- even though, you know, we always are hearing about how soaps are dying, and, you know, of course, we've lost guiding light. We're about to lose as well. It turns. But it's still a very viable medium. They just need to get back to telling stories that we actually care about. And they need to -- they need to stop doing this, you know, kind of -- kind of ridiculousness that makes fans sit there and roll their eyes and say, "Okay, we're so much smarter than this. We know better than this. Why are you treating -- why are you writing stories for two-year-olds? We're not two-year-olds, you know, that's -- we don't want this." When -- when so thin, they're given something good, they will tell their friends, and those people will tune in. People are loving Billy and Victoria on the Young and the Restless right now. You know, they -- it's a couple that no one saw coming, and -- and just has become one of the most popular couples on daytime. >> I never thought I would love that couple, either. I seriously was. >> No one did. Because nobody -- I mean, I love Amelia Heimley. I am -- but -- >> To each their own, go ahead. >> I don't mean necessarily -- I don't mean necessarily -- I don't think she's like -- I've never really liked the character of Victoria as she plays it. I liked Amelia Heimley on Loving. I -- you know, I -- during the whole Stepping Coop era, I was a really big fan. She never really gelled as Victoria for me until they put our opposite Billy. All of a sudden, you know, it's like the character has come alive, and -- and viewers are loving it, and they're talking about it, and they're getting their friends excited and their friends telling their friends the same thing with Days of Our Lives. A year ago, Days of Our Lives was about to be canceled, and it's become one of the more -- you know, the most buzzed about shows because it's telling really good stories. It's not -- you know, it's not insulting the viewers. It's funny, it's romantic, it's good soap, and that's what people want. That's why "The Bold and the Beautiful" is the number one show in the world as far as serialized television, you know, because it tells -- it doesn't tell out, you know, these kind of crazy stories about, you know, grave robbing and crop dusters and whatever. It's a family drama that focuses on sex and romance and love, and, you know, a little too much family love sometimes, but it's just -- that's what it does, you know? Yes, Brooke has left with all of her children's boyfriends, but that's another story. That is another story, which I found out about this weekend, and I had watched it for myself, but -- oh, my God. It was so amazingly well done. I mean, it was -- it was so well done because you don't know if it was Brooke, though. You don't know who was Brooke, though. I mean, sure, you don't know who Brooke was. Oh, no, we know now. We know now. We know now. It definitely was. It definitely was Brooke. They established it yesterday, but it definitely was Brooke. And the best thing is Brooke doesn't really know about it. Brooke does not realize it, so they've been having these scenes where Brooke is talking to her husband, Ridge, and she's like, wow, that was really hot at the party last night. Yeah, I guess it was an okay party, you know, and he has no clue what she's talking about, because she thinks she's left with her husband. It's such a good -- so, Barbara, there is so much damage that's going to come out of this when it all comes out. Oh, let's not have Brooke get pregnant again. Let's not have that happen. And it's not because I don't want to see Brooke have, you know, another child bothered by another of her, you know, daughter's boyfriends. You know, we've done that. We did that. Hope is actually, you know, Deacon's child, who was involved, who was married to Bridget. I don't care so much about that. My problem with it is, I really don't want to think that Oliver, who I really like -- I think Oliver, they're writing is a really good stand-up guy. He's, you know, I mean, he slept with Brooke, but it was an accident. He didn't know who it was. But other than that, he's a good stand-up guy. He's avoided Stephanie. And if Brooke suddenly turns up pregnant, then that means that the first time he had sex with his girlfriend, who's never had sex before, he was a virgin. He didn't use protection. And that's a bad message to send. So, you know, if it was other under circumstances, I wouldn't really care. But given that this was a girl he, you know, has been treating like a very, you know, like a flower, like he's been really respectful of her. I would really hate to think that he didn't use protection. That would kind of bother me. Okay. Okay. Well, actually, before we get into the nominees, Dave wants to know, do you write for the magazine also or only online? Oh, yeah. No, I'm the executive editor. I write for the magazine. I'm in charge of the -- I'm the second in command of the magazine. I write certain sections of the remote patrol section, which is kind of, you know, where we do exactly what you and I are doing right here, where we kind of like say, "What?" and kind of pick apart some of the stories. You know, we have show editors who all submit pieces for that, and then I kind of like cobble them all together and write them all. I do a lot of our cover stories. I do -- you know, I have my hands on just about everything in the magazine. Although, I'll say the one thing I don't really read and I let my managing editor do is personal stuff. To be honest, I don't really care about the Hector's personal lives. I only really care about the stories. So when it comes time to read like a feature with someone or whatever, I don't usually edit that. I let Charlie Mason, who's our managing editor, I let him take those because I'm not interested. And the glory of my job aside from working with my very best friend, aside from sitting in a room watching soap operas, aside from being able to tweet with fans all day, the other great thing about my job is that I get to pick and choose what I do. So it's nice working to get it. I wish -- oh wait, I actually do do that. Never mind. Exactly. See? It's good to get it now. I get it. Yes. You know what? My favorite part of the job really is this kind of thing where I'm talking to you. When I do my podcast and I'm taking callers when I'm on Twitter because I am -- we started this magazine in 1997, I think. And for a couple of years before that, I was writing for Ganette. I was writing a column. And from the very beginning, the reason I got into all of this is because I am the hugest soap geek ever. I grew up on this stuff. The edge of night was my first soap. It was my favorite soap. And I love, love, love, nothing more. Get me talking about my soap and you will never shut me up. And I get to do that all day and it's my job. I love it. Well, this is pretty much the perfect place for you because now we're about to get into the wonderfulness that is what's it called? Oh, yes. It takes from anywhere nominations that we're now -- It's from Emmy nominations. Yay! I know that you have some opinions of your own because, number one, you got to watch the tape, number two. Number two, you are now going to share your thoughts with me who will probably have to agree or disagree and give you his reasons why. So this is going to be a nice little fun topic and discussion that we're going to have, ladies and gentlemen. Again, if you want to call in on this conversation, I didn't give the phone number at the beginning of this show. No, you did. I totally was so black and on that. I emailed you the phone number, dude. Yeah, well, I had to go look it up in my email. Well, you had to look it up in your email. But at least you had it. That's true. I did. These people don't in the room. They don't have it. So here it is for you, for the listeners, my fans, my during public. The phone number to dial in to the show. Shut up. It's 646-595-4228. Talk to the Jersey brothers right now. I did not know you were this from Jersey because this is awesome. I am. I am. I get to talk to another Jersey boy on here. So this is great. So let's get right into it. Let's do it how they used to do it when I was younger and when any actually made sense and not all politics. And they started with supporting actor and actress. Okay. I mean, we're trying to remember correctly, but I think I'm right. If I'm wrong, please tell me. No, I couldn't think you're right. And I think they still do one of the, I feel like they did that last year that they started with supporting actor and actress. I don't remember. I kind of, it all becomes a blur because as you can imagine, when you're actually covering it, the least interesting part of the whole event is sitting there watching the awards show. You know, you're sitting in the theater and you're wearing your tux and you're hot and you're uncomfortable. And then all you want to do is for the awards show to be over so you can go get drinks and hang out with the actors. And, you know, so the actual show itself, you just kind of, it's almost a good time to nap. You know, because, because there's nothing else around the event is except there's parties the night before, there's parties the night after. The last thing you want to do is sit there in that theater and watch two hours of the show, especially since the show tends to ignore daytime kind of most parts. So, I know, in that classroom last year, I was like, like, are you serious? I got up to, I got up to when they announced two-one Outstanding Drama Series. I got up to get a sandwich and when I came back it was over. I said, well, I missed. Who won? Yeah, it was, it was pretty bad. And, and I don't know, you know, I'll be interested to see how this year comes out because CBS is advertising it as sort of this big performance-centric thing with, you know, lots of stars and I mean, or what they're calling stars. I mean, for some reason, Carrot Top is going to be part of the ceremony. I don't know why. So, so, you know, and, and the more, the more things they shove into the show, the more things they have to take out to make room for it. And since it's only a two-hour telecast as it is, one of the first things that I fear will be cut is, and it's something that I always love, is the clips. I love seeing the clips. My only complaint about clips is I think they should always submit. The clips should always be from the real that they nominated, you know, and they'll be nominated. They'll be nominated, yeah. I agree with that. They, they usually use it as a chance to mentor viewers on current storyline instead of, but I think they should always show. Because fans, that's what fans always want to know. When I'm talking- They want to know what dates the minute. Why shouldn't it be? Exactly. They say, you know, what did Bradford Anderson submit? And they're not going to find out by watching the show, because they very rarely show clips from the actual nominated shows, from the actual wheels that they submitted. But here, we can actually tell people who are interested what, what was submitted because I watched every single damn antireal. So, just for this. Yeah, here we go. All right. Let's get right down to it with the nominees for Outstanding DuPraying Actor in a Drama Series. And unlike the early show, we will be announcing every one of them. We won't stop. An nominees are Billie Miller as Billie Addis from CBS's The Young and the Restless. Bradford Anderson as Damien Spinelli from ABC's General Hospital. Jonathan Jackson as Lucky Spencer from ABC's General Hospital. Ricky Paul Golden as Jake Martin from ABC's All My Children. And Brian Kerwin as Charlie Banks from ABC's One Life to Live. All right. Let's get right down to it. Who, what, where, when, and how, who submitted the strongest reel in this category? Who do you think should take it? Why? Bradford Anderson. Bradford Anderson. His reel is fantastic. He submitted scenes when, but Nelly came across Johnny kissing Maxie on the docks. And it starts out being very sad and heartbreaking because he's just like, he's finally realizing, you know, that Maxie is not, you know, even though he's been crushing on her for a while at this point. And it's before they actually fell in love. Oh, well, he was in love with her. But it's just really heartbreaking. And then this, and then the last bit of it is him going to lucky. I think he goes to the diner to Kelly's and he finds Johnny sitting there. And he basically says, you know what, just don't hurt her. It's just, it's beautiful. It's wonderfully acted. It is without doubt the strongest. Now, Billy Miller submitted the longest thing. They basically, when you submit a reel, you are submitting one episode and you're submitting only your scenes from that episode. Everything else is edited out. So, it's not like judges have to watch the whole episode. They only watch your scenes. Billy Miller submitted the episode that was Billy Centric. It was the New Year's Eve episode where... Right, right. Well, it was, no, it was New Year's Eve where Billy got drunk, walked out in the street, and then had the whole, it's a wonderful life fantasy. Of what would life be like in Genoa City? You know, and at the end you find out he died and all that. Billy Miller is one of my favorite performers. I love him. I think he is just an outstanding actor. This reel didn't show him at his best. It was good, but it was, it was just a little, it's a little too not the norm for what you want to see there. Jonathan Jackson, I also expected to have a really strong reel, but you have to remember all of Jonathan's really good stuff came after the submission period would have ended, because the submission period is from January to January. So, it was January 1st, 2009 to January 1st, 2010, and all of Jonathan's really great, strong stuff came after he found out, after Lucky found out about Nick and Liz, and that was after the New Year. So, next year I think he has a walk on this category. No doubt about it. He will walk away next year. This year, not his year. Absolutely not. And it's like, seriously, one of the things I started saying in my head was, I hold Jonathan doesn't take it home because he's Jonathan Jackson, aka the Anthony Gary in training. Because it just seems like he just gets the award just because it's Jonathan Jackson, or like, it's very, it's very, it really can come down to, are the people who are watching the reels, you know, are the people who are asked to judge that category? Are they going to make a decision based on the reel submitted, or are they familiar enough with, and sometimes they are, sometimes they're not. Are they familiar enough with the body of work where they may say, well, it wasn't really a great reel, but he's a better actor, you know, it really can all come down to that. We've seen it in the past where we've seen where a bad actor can have one good reel, all you need is one good episode, and you can win. You can win with one good episode, some pretty bad actors have in the past. You can also lose because you don't have the right material in one episode because, you know, you may have great material over like a week, but you only get to submit one day, and that day may, you know, you may have a hard time finding a day that really encapsulates everything that was great about your year. So it really, it really comes down to who's judging it. That's exactly how it is at the best drama series, because that's what they do, and most of them somehow manage it to pull it out because they always submit their best stuff, which is when they do stunt week. Well, I'm always confused by General Hospitals' wins, because, you know, you said they submit their best stuff, which is, you know, the stunts, but to me, that is not good soap opera. There is no reason-- It's not, but there's no reason how it is. I agree, and I don't understand it, because there's no reason that, like, for example, the Metro Court Crisis should win over some really strong things submitted by the young and the restless, that may not be as flashy, but is actually good soap opera. So again, it's a little hard to, you know, that's what makes picking the winners, you know, it's more of a show game than ever, because it really depends on who's doing that. It really depends on who's doing the judging and what their criteria are. So, you know, we do all the-- When I am doing this, I do this based on only the real submitted. You know, if I was going by body of material, I would probably go with Billy Miller. I think he's just a fantastic actor. I love watching him. But in all of these categories that we're talking about, I am only judging based on the episode submitted, so that's what I have to go on. That's why Bradford may take this home. Like, again, we'll see what happens on the night. So we do have a call for this category, I believe. It's Eric 573. You're on the line. How are you? What's your name? Where are you calling from? Hi, guys. My name is Linda. I'm calling from Missouri. Hey, Linda from Missouri. Hey, how are you? Nicely. I want to come in about a couple of things. Well, first, what you guys were just talking about about how I'm in a hospital. They kind of rely on sleep. And that's a big problem I have with them. To me, the show is to give me key right now. You know, they kind of just fall asleep throughout the year, you know? May they give us something decent, November something different. So, you know, I like what you guys said about that. That is so true. But do you guys see the rails for the pre-nominations, like Brandon Barash's rails? Do you guys know what he submitted? No, we don't get that. They give us a list of who was pre-nominated. But they don't actually submit things. I don't think of the pre-nomination. I think it's just, I think they do. Oh, we know they do. They don't submit until the list comes out. And then once the list of pre-noms comes out, then they submit something. And then based on that, they get the nomination. And then once they get the nomination, then they decide what they're going to submit for that. So it's sort of a four-step process. His breakup with Olivia was so good. I cannot believe he could not get nominated on that. I mean, that was just acted so good. And then right after Claudia's death when he went to Olivia's apartment, now it's just heartbreaking. And that was such good acting. A lot of it has to do with behind-the-scenes stuff. A show may decide, "Well, our best chance of getting in any is with all of our support behind this person." And they do. They say, "Yeah, you had a really good year, but we think that we have a better chance with this person." So a lot of it has to do less with great material or even talent, as it does either A, who the show thinks they have a better chance of. And B, sometimes, and I really hate to sit up the system, but sometimes it comes down to, "Who do the powers that B want to give the attention to?" And sometimes the powers that B do not necessarily put their best foot forward. There are a couple categories this year where some people should have been nominated, but weren't because the people at the show said, "You know what? No, we prefer this person. We want to throw this person a bone, and we're going to put them out there instead." And I think it's kind of shameful, and I really think it taints the whole process, but it's not like anybody cares what I think. I'm sorry, just one last question. I'll stop taking up so much of your time, but how do you think the fact that Drew Garrett and Sarah's with Brown were nominated for GH, and they were both fired from GH, if they were to win, how would that make the powers that B is GH look? It really doesn't make them look like anything. For one thing, it happens fairly often. Before you answer that, was there a round actually fired? I thought she left on her own accord because she wanted to leave the show. No, exactly. There was actually an article that was, I'm sorry, go ahead. No, there have been, one side says one thing, one side says the other. Sometimes both sides say the same thing. I mean, it's one of those things where you may never know the true story. It's also one of those things with Sarah withdrew with a lot of other actors. A lot of times what happens is the story is out there and there are people who know it, but there are things you can't talk about. It sometimes happens. She actually said in an interview, it was on Twitter today, I have to get the article. I think she tweeted the link, but she actually says in an interview that she was fired, and she said that she was actually a little confused because there was so much time left in her contract. I was under the impression that her contact was almost up and they just didn't want to renew it. But she actually flat out says in this interview that she tweeted the link to, that she was fired from GH. Well, again, you have to remember that actors have a reason for saying what they say. They show a reason for saying what it says. And those two things might not serve the same purposes. You know, that happens a lot. It happens when Drew Garrett was let go. There were rumors, there were stories. His side said one thing, the show said another. And the truth usually as with everything lies somewhere in the middle. Well, thank you guys for answering my questions. Thanks for calling Linda. It has been a pleasure talking to you guys. Take care. Bye-bye. Now, another question I definitely want to bring up because, of course, I know you've seen it. I've seen it in regards to this category. There have been a few fans that have come out of the woodwork to say why weren't the kish boys nominated. You know, in that case, I don't think the show, of course the show is not going to nominate them, but they're support behind them. You know, the show right or wrong, the show decided that the gay overload was a problem. And that's part of the reason that they, you know, the show has been pretty public about saying that. And that was part of the reason they decided to write them off. So, of course, they're not going to suddenly come forward and support them in the category. It just, it doesn't make sense. It doesn't make sense for them as a show. I also, I love both of them. I love them both very, very, very much. I think they are fantastic actors. But do I think that they would have had strong enough material to compete in this category and win? No. So, to me, it makes sense to say, you know, to just not do it. I just don't see them having any one episode where if you were only watching their stuff, there was enough there to get either of them an award. Excuse me. Yeah, I actually had to agree. I mean, as groundbreaking of a couple that kish were on the show, don't get me wrong. And I think both actors were great in the part, but was there really anything in there? And any of the episodes that they did were strong enough to garner them any nominations, which I don't agree with. Like, I don't think that-- I just couldn't put together. They could have put together a reel. Anybody can put together a reel. But I think when you look, when you're going up against, you know, Ricky Paul Golden and Bradford Anderson and Jonathan Jackson, do they have something that's going to be strong enough to knock guys like that off the podium? And no, I don't think they do. No. It isn't. You know, I don't particularly think Brian Kerwin does either, but Brian Kerwin does come with a certain recognition factor, you know, that depending on who ends up on that committee voting for that, that, you know, seems like he's acting in scenes off opposite Eric and Slazak, who, you know, is like the Queen of the Emmys. So that can also carry a certain amount of weight. So, again, a lot of it is political. A lot of it is, you know, is selection of who we're going to push at the time. And the show that has gotten rid of them is not going to necessarily see a lot of reason to push them. You know, Drew Garrett is a different story because while they did replace him, they didn't really have, in that particular category, anybody else, that they particularly needed to push, you know. It just -- the new guy wouldn't have qualified. Chad Chaddoor wouldn't have qualified because he's too new. And there's not really a younger actor. There's not really anybody else that I can think of on the show who would have qualified. I mean, unless you're going to put up, you know, Aaron Reprum or someone like that who -- and I love Aaron Rep from either great kid and a fantastic actor. But, again, they try -- they tend to put their -- when you're talking about younger actor, you tend to put them up as old as you possibly can within the category because the older they are, the more acting experience they have and the more screen time they're probably going to have, so. Right. Right. Exactly. Exactly. So, since we jump to younger actor, let's go ahead and do younger actor in a drama series right now. The nominees for this category are, as follows, Drew Tyler Bell as Thomas Forrester from the Bull and the Beautiful. Drew Garrett as Michael Comrento's junior from General Hospital. Dylan Patton as Wilhelton for Days of Alive. Scott Clifton as Skyler Jofflin from a Life to Live and Zach Conroy as James Spalding from Guiding Light. This is another category where there's really -- in my mind, no comment. In my mind, no competition. Scott Clifton's reel was phenomenal. He submitted the scenes where -- I keep wanting to call him Dylan -- where Skyler walked in, saw that Stacy wasn't really pregnant, and then Stacy and Kim basically led him to believe that it was his child. And, you know, Scott Clifton, like a lot of these kind of actors, you know, like -- like John Paul Lavoisier. There's a whole -- there's a slew of actors in that age range who are very good at comedic stuff, who sometimes can go a little over the top. This is an example of an actor who is perfectly walking the line between the dramatic and the comedic aspect of the scene. And it's just -- it's a fantastic series of scenes. Amanda Sutton and Crystal Hunt work brilliantly with him. It's just -- it's "One Life to Live" at its very best. It's well written in this scene. And he just brings it. It's completely deserving. And I think this is a case where -- because there was no reason for them to write Skyler off of "One Life to Live." This is a case where I think when he walks up on that stage and takes the award, I'm hoping, you know, people at ABC look at it and say, "Damn, we made a big mistake." And, you know, what -- Kudos B&B for "Snatching Them Up." I mean, you know, the great thing about going on B&B is that B&B is a show that has a tendency of bringing people on for sort of limited runs. So even if he spends a year there or whatever, he could still go back to General Hospital when that's over, because everybody was like, "Why didn't General Hospital bring him back as Dylan?" And I think that if he walks away in any winner, you know, it's going to make it a lot -- it's going to make it a lot more tempting. If and when B&B is -- He's not going to be borrowing a little bit more attention for himself if he takes that Emmy home from the brass. I mean, ABC is like, "Oh, we got to get him back." And we can't let him go to it on the network. Well, he's already gone. I mean, there's nothing they can do. He's already gone. He's, you know, but I do think that should he become available again. I think they will very quickly snatch him up and put him back on GHH as Dylan Quarterman. Like I said, the other reels in this category are okay. I was surprised that Drew Garrett wasn't stronger. I really like Drew Garrett. I think he's just a fantastic actor. And he basically submitted scenes where after Claudia's death, Michael is not really feeling much emotion. And Jason and everybody is trying to tell him, "It's okay. You're allowed to feel." And he really isn't. And if you're a viewer of the show, you got that. You know, you understood it. But if you're on the panel and you don't necessarily follow the show, it's kind of a -- it doesn't really work as well as you might want it to. And the other people in the category, Drew, Zach, and Dylan, they all had okay reels, but there was nothing about any of them that comes even close to Scott Clifton. Wow. Wow. I know, right? Wow. I don't know what they did. I'm kind of speechless now. I said it. Wow. I said it. I'm not bagging down from it. Wow. You know what? You know what? I said it. And you know what? Now that we've said it, let's move to younger actors because I love this category. You really want to talk about the category where people get nominated for having the best piece in daytime television? The best what? The best piece. The best piece? The best piece. You need to just be quiet and read the kit. You just need to read the nominations. I'm just telling you how it is, man. I'm just saying. Well, you need to read those nominations right now. Okay, okay, okay. Nominees are in this category that still should have been called Outstanding Yuggert Teeth in the Drama Series. Our Crystal Kaleel as Lily Winters in Beyond the Restless. Marty Schulenburg as Allison Stewart from Asible Turns. Molly to taste Burton as Molly Layton from Days of Our Lives. Shelly Henning as Stephanie Johnson from Days of Our Lives. And my girl who I think will take this one home because I saw what she submitted. Julie Berman as Lulu Spencer from Jennifer Hospital. Okay, so first of all, Molly Burnett is, I love her. I would watch her comb her teeth. There are certain actresses in daytime, primetime, movies, whatever. When they come on screen, you never know what they're going to do. They are fascinating to watch. They're quirky. They're interesting. And they're like real people. The scene might call for them to walk across the room and say their line. But as they're walking across the room, they might like straighten the table. They just do interesting things. I find Molly Burnett to be one of those actresses. She's just, that said, this will not be her year because the real, you know, the real that she submitted, it's a wonderful little piece, but it can't really compete against one or two of the others. If I had my brothers, Molly would definitely win just because, but again, I'm basing that on body of work, not on real submitted. Based on real submitted, I cannot give it to her. Marnie Schullenberg, who I am not a fan of, Alison, by any stretch of the imagination. But remember how we were saying, remember how we were saying earlier that sometimes actors can find a really good real, because they just happened to get a really good episode during the year? She did. She pulled out a fan. She used an episode from when Larry came. And like, I don't know, a certain engagement party or something, you know, one of the five million times Alison was engaged this year. And Larry shows up at the party and she doesn't want him there, and she finds out that, you know, I don't know, Casey or Emily, or somebody invited him. And it's actually really good material. Plus, as an extra added bonus, her hair is not that annoying, washed out blonde. It's kind of the annoying brown hair that they all had for a while. But what, actresses on as well turns, I swear to God, I swear to God, I truly believe that as well turns, five hair color in bulk and whatever color they happen to buy, every actress on the show gets that color. You know, for a while, they're all getting blonde. Then they all had to, like, Mousy Brown. Well, this is from the, like, sort of, Mousy Brown with a tinge of red. And somehow that brings out the best. Marnie Schullenberg, because she was really good in these scenes. But again, I am not giving it to her either. Shelly Heming, she's a bit of the scenes where Phillip was shot in front of her. And I'm just going to say this, that scene required her to come out and scream over his body and she does not have a future in horror. That's all I'm going to say. Crystal Khalil, you know, cancer storylines are usually any bait. And there, you know, you expect that when you do a cancer storyline, you're going to get a nod out of it. And she got the nod, but she's not going to get the win. Julie Marie Berman is going to win this. My only problem with Julie's reel was, the scenes that she submitted were Lulu confronting Maxy and Johnny, after she's, you know, and Maxy basically admitting that she and Johnny almost slept together. It's fantastic stuff on all three of them. The only problem I have with it. And the only way I could see her possibly not getting it. And I'll be shocked if this happens. But as I was watching the reel, I literally, there is so much good acting going on, that halfway through the scene, I totally forgot who I was supposed to be watching. I was, you know, like Christian Storms was doing a great job, Brandon Barash was doing a great job, and the writing was good. That, you know, halfway through the reel, I forgot who I was watching. The other thing is this episode comes from General Hospitals, you know, General Hospitals is a very misogynistic show. And there is nothing it loves better than having women get in fights and start screaming bitch at each other. And I'm sorry, I was really distracted by how often they called each other "bitch" and "hor" and "slut." And I was just like, man, you know, maybe they did do that a lot in that scene. Yeah, they did. The thing is, it might not seem so much if you were watching the episode because there would be scenes interspersed, you know, and there would be other stuff going on. But when you edit all of an actress's scenes together, it plays as one continuing scene. And so every minute or two, she's saying, you know, you're a slut, you're a whore, you're a bitch. It can be a little off-putting. But I still think, I still think she's got to win. It's just, it's a really, really, really good reel. I'm telling you, she's going to be taking that home, man. She's going to take that home. I am 95% with you on that. Like, I'm 99, I'm 95% with you. I am surprised, like someone just said in the chat room, I'm surprised here's some storms didn't get the nomination this year. I can see that. I mean, she had really good material. It, you know, but it may have just come down to, you know, which one's going to get it. And they went with Julie. And, you know, and it makes sense, Julie, one last year. So, you know, why not stick with a winner? You know, you know that she's got fans out there in the voting academy because she had enough from her reel last year to win. And she has great material that was submitted. So, it seems smart, you know, why not back a winner? You know, there's a reason that Erika Slazack and Peter Bergman and people like that, you know, and Kim Zimmer, when she was still on guiding. Like, there's a reason people get nominated year after year after year. And it's because, you know, not only because they have great material and they're great actors, but it's also because, you know, they're known quantities. And, you know, when you go to the store and you're looking on the shelf and you see Pepsi and then you see no name, you're probably going to buy the Pepsi, you know, you're going to buy the thing you know. I never heard of that comparison before, but you're right. It's true. Seriously, it's something I know compared to something I don't know. I'm going to go with something I know part. Exactly. That goes with everybody. That goes with everybody because, you know, you're going to stand behind something that you know and trust rather compared to something that's doing fresh. Anyone fresh, really? Did I just use that word? Yeah, I did. You're doing a tampon part right in the middle of the show. Well, hey, if I could get paid for doing a commercial ad space or somebody, then I'm that person to call. Exactly. Exactly. Call him. He'll sprout wings. I will, and seriously, all this stuff right now I'm saying is probably coming out of my butt. So, you know, no one is surprised by that. That's the thing. No one is surprised by that. No, they're not. They're used to it. They're used to it exactly. They're used to it. You would know that if you hadn't been under a rock over a year. Blah, blah, blah. I'm saying. Just saying. No, in three years, really. Three years. Wow. Well, they're here. I had a magazine to run. It's better late than never though. I'm building an empire. It's better late than never. Exactly. Exactly. Exactly. It's better late than never. Yes. We'll go with that. Apparently, people did not like that category because no one was really talking about it. So, we're going to go ahead to the next one. They were like, that was a snooze vest for them. So, they were hopping on the younger actor part, but this one they're not. I guess I can agree with that. The only thing they were really saying is that they don't want Julie Berman to win. That's all they said. Well, they may be disappointed. I guess they are. Sorry, folks. You're probably not going to get your wish. It's just like how I felt when Jennifer Landon won all those Emmys at that time, three in a row. But I'm not bitter. Right? But you really have no right to be. I don't know if you know this, but you don't eat her. Are you? Oh, my God. Are you? If so, this is the best doppelganger story ever. Why not take note? This is how you do with Avelanger's story. Not that mess that you did with Sarah Smith. We won't get into that because if I talk about that, I will be here all day. No, no, we won't talk Lipstick Lauren. Instead of Lipstick Lauren, we'll talk supporting actress. Thank you. I've got to get that image on my hand. Beth Chamberlain has Beth Ringe following from "Guiding Light." Julie Pinson has Janet Snyder from "As the World Turns." I was excited about this one. Carolyn Hennessy as Diane Miller, General Hospital. Ariane Zuker as Nicole Walker for "Nays Were Lives." And Brie Williamson as Jessica Brennan for "One Like to Live." Now, who would you pick? Out of this category? Well, of course out of this category. I would. I would. We're talking about. Well, who would you pick? Out of nowhere. Speak the obvious again. Out of this category, I actually think that I will put my money on Ariane Zuker or Julie Pinson taking this. It's one of those two. Wow. I can see one of those two taking it. You know, I might- I love Carolyn Hennessy, I do, but there's a lot of her stuff that's too comedic. And I don't think that if the judges don't know that very well about her character, they may not go for that. So I don't see Carolyn Hennessy taking this one. Beth Chamberlain loves the woman to death. Loved her. The final year of "Gutting Like" was definitely her year. Do I think that she has a strong enough real for her to take it home? Maybe. I know she has a lot of body work that she definitely, if she could have submitted a lot more stuff. Oh, absolutely. She would overtake all of them in a heartbeat. But I could see Ariane probably taking it. I could probably see her taking it. Julie Pinson. I love her to death. I do love her to death. Oh, I love everybody. You love everybody. I do love everybody. You're a big old love fast. You notice what name I did not mention, right? I'm not going there. You're not dragging me out. I know you're not dragging me out in your mud. Okay, here. Here's the deal. Let's talk this category. There is some very good stuff and there's some stuff that is not so good. Ariane's look is good. She's very, very, very good. She's in the scenes where Nicole tells E.J. that she switched the babies. It's very dramatic and it's very good. No, she could win. I could see that. Julie Pinson, I'm a really big fan of hers and I'm kind of surprised how much for some reason and I don't know why I did not like the idea of her real more than I liked the actual real. She submitted stuff where it's after Brad has died and Jack and Janet's marriage is kind of falling apart and for some reason, there were several different Julie Pinson's. There's the Julie Pinson we got on Port Charles who is not a good actress. There's the Julie Pinson we got on the young. During her short stint as Shiloh on the young and there's the rest list who was phenomenal. When she did that short stint, I was like, who is this woman and where was she during the entire run of Port Charles? The Julie Pinson we get on as it will turn is, I love her, but she's a little hit miss. Sometimes she's dead on. What about the Julie Pinson that was on Days of Our Lives? You forgot about Julie Pinson that was on Days of Our Lives. You're right and I liked that Julie Pinson. I really liked that Julie Pinson. The Julie Pinson Day of Our Lives is like Days of Our Lives itself. A little schizophrenic and it depends a little on the material and the direction. I'm just giving a break. Days of Our Lives. I mean as the world turns is a really, really schizophrenic show. One day it'll be fantastic family drama. And the next day it'll be Meg going crazy and some weird pair of twins kidnapping, Noah or whatever. Like psycho du jour. And Julie Pinson's real for me this year was a little bit like that. It was part good part a little too forced. It came off as a little too forced in some areas. Dove Chamberlain's real was fantastic and to be honest I think she should win but I don't think she will. I don't think they're going to give it to guiding light. I just don't. I do think of the real submitted I think hers is probably the best. She submitted stuff where she reacting, she finds out that Coop died and then she goes home and she basically lashes out at Allen and says you never loved me Coop. You really knew what love was. Brie Williamson? Okay, here's the thing with Brie Williamson's real. Oh my gosh, here we go. Brie Williamson submitted. No, Brie Williamson submitted stuff where, it's the episode where Jessica is in full best mode. And Vicki is pretending to be Jean Randolph to help Jessica remember what happened that night. The scene, the episode opens with Jessica dressed all in black and wearing black glasses and her hair pulled back, opening the door to Vicki who is standing there all dressed in black wearing her little Jean Randolph glasses. And if you did not know better, if you were watching this for the first time, if you were unfamiliar with the show and you have to remember, voters might not be familiar with your show or story. If you were watching it for the first time, you would think you were watching a Saturday Night Live skit. It's like what the hell is going on here? It looks like women in black instead of men in black. It just does not. It's very dramatic and it's very nicely written and stuff, but I just don't think that any of you will necessarily get it. Carolyn Hennessy rocked it. She knew exactly what it took. She picked a Thanksgiving Day episode in which Diane goes over to Alexis's house for Thanksgiving and little Molly, okay, if you can throw a kid into your scene who is a good actress, you're golden. Little Molly basically gives her a dollar and says, "You're my lawyer now" and says, "We're setting my mom up." Then Diane goes to Sunny's little club and has this whole scene with Milo and some other guy, not Max. I can't remember who the other person in the scene is, where they're talking about Max's impotence and then she and Max have sex. It's a funny reel, but it's not. Yeah, Diane can sometimes be over the top. It's not that Diane. It's the really great best Diane ever, and it's Diane and Alexis, Diane and Molly. We Diane them a lot of characters, so you get that this is, she is the epitome of a supporting actress. Really? She's perfect. Plus, let's not forget. Never forget, you don't know who's going to be on that panel. What do we get every week from Carolyn Hennessy? We get those hysterical little one-minute cameos on Cougar Town. She has timecred behind her. She's got Brian's timecred behind her. She is so funny on Cougar Town in those one little minute things. You always want to rewind and watch her scene again because she kind of comes on, delivers her line and exits. So, yeah, Carolyn Hennessy, I love her. She's one of my favorites. I bought a tie to where to latch to the Emmys two years ago specifically because it looked exactly like the cover of one of her Pandora books. I worship her, and finally she is going to get recognition. She is going to walk away with this one. I hope. Wow. Hello. Carolyn Hennessy, ladies and gentlemen. Hers was literally one of my favorite reels of all the reels. It was that good. It was just charming. Out of everybody combined, not just the category, but everybody. Not just the category. Out of all the reels combined, hers was one of my favorites. Scott Jones was another of my favorites. And it's because they really, they show that soaps can be more than just, you know, strong and strong. They can be drama and comedy at the same time if you've got the right kind of actors. And it really showcases these actors as being, you know, just, it showcases that daytime has some of the best actors in the biz. These two people win the awards if Carolyn Hennessy and Scott Clifton win. In my mind, it almost says, you know what, the daytime Emmys are more than just about daytime. They really transcend that because these actors are so incredible. You could put them in any project and they would work. That's how good they are. Wow. I like that assumption because it's funny that you said it because there was actually a date to an actress that actually said there's exact words to me, you know, in there. Because this is the hardest genre to work in than any other genre that's out there. Of course. And if you can do daytime, you can make it anywhere. Exactly. It's like New York, New York. If you can make it here, you can make it anywhere. Absolutely. That's why I really find it, what's the correct word I want to use? I find it dismal that people look down on daytime. I really, really do. I agree, it changes, it really depends on who you're talking about. I mean, there are certain people in the mainstream part of the business who don't look down on it and, in fact, look at it as a great place to cast people from because they know just, I mean, like law and order. When there were more soaks in New York, law and order was famous for giving really, really good roles to daytime stars. You know, Adam, David Canary played a Walker, a gay man who escorts older women to the operand stuff in an episode that was just fantastic. And, you know, there are just a plethora of New York actors from daytime who have been hired by law and order over the years, including Scott Evans. He had a great episode of SBU earlier this year, just a really, really fantastic episode. He wasn't in it all that much, but it really showed his diversity. I mean, it'll be great for his real, not his any real, but his actual professional real. It's going to be fantastic. So there are certain parts of the industry as a whole that don't look down on daytime, but there are other parts that do. They smear on it. And one of the places is the mainstream media that the publicists in daytime are working so hard to get pieces of. So, you know, USA Today broke the Vanessa Marcel story earlier this week. We were told the night before, the news came out on Monday. We got an email Sunday night saying, just so you know, they're going to release it, that USA Today will have it on Monday morning. And I pick up Monday morning to USA Today, and I'm scouring the paper, looking for it. And it's this tiny little three-line blurb. It doesn't mention that Vanessa Marcel starred on Las Vegas. It doesn't mention that she was on Beverly Hills 90210. It's just this really badly written little three lines. And I'm like, "Wow, this is what all the publicists at the show bend over backwards trying to get. Is this kind of mainstream media?" Or when they break the Franco story with people. And, you know, the articles inevitably say, "Oh, you know, James Franco is doing daytime. That's so beneath him." I don't understand why they're so desperate to get attention from that kind of audience that looks down on them. But anyway, we've gotten far off the track as often happens when I begin speaking. It says, "Hey, it broadens us the conversation," which is why I like that. That's what I love about. I'm a talker. Hey, that is the best person to have on these kind of shows. Because if you don't have a talker, then what you have, dead air. That's true. That's true. All right. Are we moving to Lee after an actress? Yes, we are. I'm telling that out there. All right. My two favorite categories, obviously, throughout the entire show that we always have to wait until the end for. No. No, no, no. No. No. The end of the show is always best drama. They always show those two towards the end before we get to. Yes. Now we go into the finals. The lead actor, lead actors directing, writing, and, of course, closing out with best drama. Best drama. It's always case in point. Whoever wins, like, best writing, always somehow manages. That's not always true. No, in fact, it's almost always not true. And for years, many people in the show press, including myself, have said, "How can you win best drama and not win best writing?" But when we get to those categories tonight, I'm going to explain to you exactly how it happened. Because tonight, for the first time, I know, and I understand. Look, something to look forward to. I'm doing a teaser. All right. I definitely want to understand that a little bit better, because I've always used that assumption. You will, my friend. All right. I will explain it to you, and you will say, "My God, Richard, you're a genius." I don't know if I'll say those exact words, but we'll find out. Well, we'll find out what happens. Help me. Help me. Help me. And it leads us into drama series. The nominees are Crystal Chappelle at Olivia Spencer from "Gadding Lights." Michelle Stafford as Phyllis Newman from "The Young and Restless." More or less as Carly Tennie from "As the World Turns." Sarah Brown, Claudia Zakara, Carinthos from "General Hospital." And Bobby Eakes as Crystal Carey from "All My Children." This is a good category. I mean, you've got some good actresses in this category, obviously. The problem is the actress who should win isn't here. Stacey Heideck is the actress who should win. There is just kind of a black cloud. There was a black cloud hanging over this category, because she is the elephant in the room. She should have been nominated. And the fact that the show did not throw their support behind her and get her a nomination is just... It's a crime. It's just a sin. So even when, in next week's issue, when we talk about our picks, she's my pick to win. I know she can't win, but she's my should win, because there's just no way that, you know, with no disrespect to any of the actresses in this category, there is no way that Stacey Heideck shouldn't be in this category and shouldn't win it, period. There's just no two ways about it. But since she's not here, we have to give it to somebody else. There were some really, really strong things here. I know that Crystal Chappelle is one of the most loved actresses to ever come down the pike. She's like, you know, Venus on the half-show, and I love her. But the scene didn't really do it for me. She submitted when Olivia basically told Natalya, finally admitted to Natalya, I think on Natalya's wedding day, that she loved her. And they're very nice, and they're very good, but you can't help but be distracted by the production values. You know, that was one of the problems with Guiding Light during that final year. And, you know, they're also really trying very, very hard to hide. Um, Jessica let you have pregnancy, and there's still a lot of things working against these scenes. So I think she'll have a better shot next year with Days of Our Lives than she did during this final year with Guiding Light. Sarah Brown, real, is from when Claudia was in the hospital after she -- well, she hadn't technically lost the baby. She was in the process of losing the baby. Like, they knew the baby was dead, and they still had to do with DNC. And it seems with her and Sunny and a couple other people, as she's laying there and she's talking about, you know, the pain of losing this baby and what the baby meant to her. It's very powerful, but here's the problem with it. Again, remember, you may not know the show, you may not know the story. Claudia, at that point, was in so much pain that she was unemotional. You know, she was kind of cold and detached. And that comes across in these scenes. And so while it's, you know, a phenomenal acting on the part of Sarah, if you're coming into it cold and don't know the story and don't know, you know, like everything that came before and the whole story of her and Sunny's -- of Claudia and Sunny's relationship, you walk away from it unimpressed because it's such great acting, but it's not kind of acting that's on the surface, so that could be a problem for her. Michelle Stafford has a fantastic reel. I love the Stafford and her real rock. It's Nick telling his wife that Sharon might be carrying his child and Phyllis reacting to this, you know, like this. After all the humiliation she's been through, you know, with him running back to Sharon all the time. And then he goes and he gets -- and then she finds out that this baby might be his -- it's really, really, really great stuff. Just the kind of stuff that Michelle Stafford delivers regularly and easily and, you know, I mean, I mean, literally, I think she could fart this stuff, she's so good. She just is the powerhouse of an actress. Meaning that, you know, meaning that some people really have to work to give this kind of performance, Michelle Stafford is so talented. She could just walk in, look at the script, walk on set and be like, "Okay, let's do this." And, you know, it's over. She's just -- she delivers. It's just -- she's awesome. And yet, I don't think she's going to win. More like -- Why? Because more or less submitted a reel from when everybody got together and did the intervention when Carly was drunk. And there are just -- there's a lot of material in it, and there's also some stuff that's really hard to beat. There's this great moment where Carly is trying to leave. Are there at a cabin, or maybe they're at -- I don't know, maybe they're out at the lake. I don't know, wherever they are. She tries to leave, and Parker stops her. And Parker has always been like, you know, he's been enabling her for months at this point. And even though you don't know that watching the reel, there's this great scene where it's a mother trying to leave, and her son saying, "No, you need help. You have to do this." It's just -- it's a really, really, really fantastic reel. So my ultimate choice to win would be Stacy Heidek. She's out of the running, so as much as I -- if I was giving it for body of work for the year, I would give it to Michelle Stafford because she just is such an amazing deliverer. I don't like the way they write syllabus these days, but Michelle Stafford makes it work. But based only on the reel submitted, I have to say, "Morrow West" will definitely walk away the winter. That's -- yeah. Wow. I mean, I seriously would have picked either "Morrow West" or Michelle Stafford. Probably Michelle Stafford more than "Morrow West," but with what your description of what she did submit, I would have to say. That's to say, "Morrow West," but she could walk into a room and fart. You totally made me go back to the -- No, no, no, no, no, no. I did not say she could walk into the room and fart. I said she could fart -- I didn't say it to David. I didn't even say it to David. I just couldn't do it. Listen, I just -- I have a lot of experience at this -- there's this horrible experience that I've been having lately. I'll go on a podcast or I'll do my podcast. And I'll say something like, you know, if I was writing the story, Sonny would leave the mob. Next day, I will get 50 people on Twitter all saying to me, "Oh, my God, I read the message in a message board." But you said last night, Sonny is leaving the mob. And I'll be like, "No, that's not what I said." I said, "If I was writing the show, so I need to be very careful." Let's say I did not say, you know, "I did not say Michelle Stafford walks around farting." I said, "You know, I don't want to be misinterpreted." It was not going to be like the headline tomorrow in the magazine somewhere. It's like, "A while ago, it was Michelle Stafford farting on set." Right, exactly. Yeah, and that's not what I'm saying. I love her, and I do not want -- my God, I do not want to get the mail from these people. No! Let's move on to lead actors, shall we? Yeah, after that embarrassment. [ Laughter ] Oh, boy. Smells a fart acting indeed, Joe Treviani. Peter Kirk is the best Jack Abbott for the young and restless John Lindstrom. And Craig Montgomery from As A World Turn. Michael Park. Jack Snyder from As A World Turn. Doug Davidson, Paul Williams from the young and restless. And James Scott, as E.J. D'Amara from These Are Alive. This was actually the hardest category for me, I think. First of all, I love Doug Davidson. I think -- oh, my God. I just think he's such a good actor, and he so naturally has such a presence. But he's not a lead actor. He's a supporting actor. And he should have been in that category. I just don't think -- and again, I'm kind of going against my own rule here because, you know, I'm judging his body of work when, really, you're only supposed to be judging what's on the real. It's a very nice real. It's a very good real. It's basically him -- it's basically Paul confronting Victor and saying, you know, look, you're responsible for what's wrong with my sister. You brought her to town. You knew she was crazy. And you set her off. You know, you pointed her at Jack and said, go get him. So it is a good scene. I kind of feel like it's a weird scene in that Eric Braden, who -- you know, Eric Braden is a presence. And in this scene, Victor, you know, I don't think it's a big secret that Eric Braden's and particularly love that everybody was blaming Victor for what happened with Patty. He didn't really like that. And in this scene where, you know, this very emotional scene where Doug Davidson and Paul is yelling at him and blaming him for what happened, Victor just kind of stands there and is very stoic and very non-reactive. And to the point where it's a little bit distracting from the scene, so it kind of didn't work for me. John Lindstrom had a nice scene. It was stuff about him vowing to help Carly after -- right after she almost runs him down while she's drunk. She's trying to prevent him from telling somebody something. I can't remember what. And she sees him standing there and says, hey, I'll just run him down, which is just so Carly. But it's actually a better scene. The scenes are better for Mora than they are for John, so I don't really think this is his year. Which brings us to the three contenders. Peter Bergman had -- you know, Peter Bergman is like Michelle Stafford. He's just one of those actors who knows what he's doing. There's a reason that he's won so many times. It's because he's just a great actor and he has that ability to just -- even though Jack does bad -- he's kind of a jerk a lot of the time. He's sympathetic. You know, Peter Bergman has those eyes that just -- he knows how to aim at the camera and make you feel for Jack. He can just rip your heart out. And in these scenes, it's especially true because it's when he confronted Billy about having slept with Sharon. And it's just really good heartbreaking stuff. Michael Park's scenes are the kind of thing you expect to be really strong in wind. It's when Jack told Katie that he was the one who shot Brad. And they're in the hospital and Katie's like, you know, obviously -- but this is another of those scenes kind of like Sarah Joy Brown's. It's the same thing where Jack is so in shock and he's trying to confess this thing, but he doesn't even know how to say it, so he's a little unemotional. And for that reason, it doesn't connect as well as it should. So, you know, if he wasn't up against people like Peter Bergman and the next person we're going to talk about, he'd probably have a really good shot. And maybe he still does, but for me, it didn't work. And then the final person in the category is James Scott, who, you know, this is sort of like Stacy Hightock. Remember when James Scott was on all my children? You know, he was -- nobody cared. Nobody cared. He was not interesting. His character wasn't interesting. He was kind of boring. Then he comes on days of our lives as EJ. And my God brings the house down. He's just proving what a great actor is and what a good actor can do with good material. And although sometimes I say a really great actor, it's one who can make, you know, bad material really, really good. But anyway, his real here is -- his real here is when EJ find out that Grace died and then he goes to the morgue and he talks to a dead baby. That's tough stuff to beat, you know? I mean, you've got an actor who's dealing with a lot of emotions here. I kind of want James Scott to win because I think he did such an amazing job. But again, familiar quality, familiar quantity in Peter Bergman, and Peter Bergman's real is really fantastic. And he's working opposite Billy Miller, who brings his best in this scene. So as much as I would like to say that Days of Our Lives will get it for James Scott, I think it'll be Peter Bergman, again, getting his -- what is this? Like his 962nd Emmy? Well, I love her. Me too. But I think he's going to rack up another one because it's really just a good, good, good real. Wow. I have to agree with you because, you know, as you were saying in regards to James Scott, and, you know, throwing it back to what you said about Stacy, yeah, no one cared when he was on All My Children. And still, and then when he got on Days of Our Lives, it was like, wow, who's this guy? Where was this guy when he was on All My Children? But, you know, he had more -- he had more material to work with, as well, because look how they made that character's students he first stepped on the scene on that show. He didn't have that kind of material he was on All My Children at all. Well, I don't know if that's even fair to say, because he did. I mean, he was Eric as on the board at fetus. I mean, that's a lot of material to work with right there. And he had strong story. It just wasn't -- I don't know. It just wasn't -- maybe it wasn't a good fit between actor and character. Maybe it just wasn't -- you know, maybe something just didn't work. But, you know, boy, that's sure not true with Days of Our Lives because he's just -- I would love to have seen him involved at Eric as on the board at fetus, but he wasn't a part of that since that wasn't Eric as child, but that's just me. Well, yeah, I mean, they rewrote history, of course. But that doesn't mean he didn't come in with a really, really strong story. I mean, that's, you know, no matter what -- I mean, he wasn't -- Eric is on a board at fetus. That's Colin Egglesfield. Oh, my God, you're right. You're right. You're right, my God, who was Ethan? Oh, Ethan was Jack's kid. Oh, never mind. All right, so never mind. Well, he wasn't -- well, he still didn't make me. See, that's how little of an impression he made that I was really to say she was the unimportant fetus. Like, what do you mean he wasn't the un aborted fetus? Oh, of course he was. Oh, wait. No, he wasn't. Well, there goes my -- there goes my -- there goes my expert standing. Thanks a lot. I'm glad I'm here to help. Let's get on to the -- let's get on to the writing and directing. Let's go to the directing. Directing. I'm going to stop. We're not even going to waste time on directing because Jage submitted the carnival. There's no way they'll lose, period. I mean, they went on -- they built that whole carnival in the parking lot. You know, it's gorgeously filmed. They show Edward plowing people over. Nothing that anyone else submitted can possibly compete with it. I mean, when one way to live submitted a cart wreck, and it's one of those soap opera cart wrecks where, you know, people throw their hands up in the air and go, "Ah!" As they head into the light, that looks so silly and cheesy. So, yeah. Jage, we don't even have to talk about this because there is no way anyone but Jage wins that award. That's true. All right, so let's just go right ahead to the writing. The bold of the beautiful as the world turns all my children and the young and restless. Okay. Remember what we were saying earlier? How does the show win best writing but not win best drama? Best drama. Yes. This is -- I could see it happening this year and here's why. Okay. In the writing category, as well turns, had kind of a typical episode. You know, it's the one where Audrey killed James and Janet tried to prevent liberty from having an abortion and then there's stuff with Paul talking to Emily about getting married. I mean, nothing really huge happens in the episode, but it's a solid episode. You know, it's a good episode. It shows what as the world turns can do and it's -- you know, there's nothing great about it. There's nothing awful about it. It's a good episode. All my children -- I don't know why they submitted this under best writing. I really don't. But they submitted the episode where Bianca and Reese are getting married and as they're getting married, Greenlee in full wedding regalia is driving off a cliff or being driven -- Oh, why did they submit that? That was awful. No, it just was -- I mean, you know, when you're dealing with the other two shows, B&B and Y&R submitted really emotional stuff. And so, you know, really character driven, really honest, really emotional stuff. So when -- in the first five minutes of all my children's best writing submission, you see a woman in a leather jacket and a wedding gown going driving over a cliff, you're just sort of like, okay, next. It just -- I don't know how they came up with the decision to submit that one. B&B, they submitted this in several categories. They did it in directing. They did it in writing and they did it in drama. Because B&B is a half hour show, it gets to submit two episodes. Two episodes. Right. So they submitted back-to-back episodes where Betty White's character Anne died. The first episode is sort of like, you know, they take her home and she's there and she has a little stroke and they take her to the hospital. And then the second episode is they go through all the rigmarole, getting her out of the hospital and they take her down to the beach and she dies on the beach. It's a really, really, really great episode. And they submitted that for both writing and drama. And I think they have a decent chance of winning best drama because it is so wonderfully dramatic. I mean, you know, it's horrific to think about having to deal with the death of a parent. You know, and that parent does not want to be hospitalized and yet they wind up in the hospital and then you have to get them out of the hospital and take them to the beach and they die. And if you saw those episodes, the very end of the second episode, a younger version of, it's Betty White's or Anne. She played Anne. It's her spirit or soul or whatever. She walks down the boardwalk as this lovely music plays and she fades off into the distance. It's like she's going to heaven and it's just, it makes you weak. It's so nice. But it won't win them writing, I don't think. I don't think it'll win them writing because, you know, a lot of the episode is sort of, you know, typical B&B where it's sort of overwritten and a little bit, you know, a little bit over melodramatic and stuff. So I don't think it'll win them writing, but it could very well win them for best drama because that's the difference. In best drama, you're looking at the dramatic impact of the show. Whereas in best writing, you're looking at the actual dialogue. And the dialogue was okay, but it wasn't fantastic. But the drama was fantastic. I think the winner in best writing will be YR. YR submitted Chloe and Billie's wedding day. And the only flaw in this episode is that it ends with, you know, it ends with the kind of silly cat fight, a cake fight, I should say, between Jill and Catherine. And that's, you know, that's a little over the top and a little silly, especially given all of the really lovely stuff that comes before. But it is a heartfelt episode. It's got, it shows Y&R at its best, or what used to be its best, when it was telling solid, relatable, you know, family drama stories. So I think Y&R definitely walks away with best writing. It just, it just, it seems destined to please God. I'm muted. You're muted, ladies and gentlemen. Hello. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. I, I seriously had to spend like five minutes trying to unmute this switchboard. And I'm like, okay, why am I muted? And they won't let me come back on my show. Or are they trying to tell me? I don't know. I don't know. But, you know, we got all the way down to the end. We only have one category left. I think that's why they muted me, so that I wouldn't talk about this category. It's neither, maybe. The final one. Outstanding drama series. The nominees for this category. I don't have a drum roll. Otherwise, I would ask for, otherwise, I would play it. But I would have a drum roll. I can hold the sound of my stomach and you could hear it rumbling. But that's the best I've got. I don't want them to tune out. I want them to stay here. The nominees for this one. All my children. The bowl and the beautiful. General Hospital. The young and the restless. Okay, so this category, all my children, submitted the night of, well, we now know it to be steward. But at the time, we thought it was Adam's death. With everybody going to the mansion and everybody confronting him. And they also submitted that episode for Best Directing, by the way. But again, that they're going to lose to the carnival, so it doesn't really matter. But it's an okay episode. I mean, it's very dramatic and there's lots of gun waving and finger pointing and accusations made. It's an okay episode, but I don't think it really has what it takes to win best drama. The bowl and the beautiful, as we said, submitted the back-to-back episodes in with, which Stephanie and Pam take their mom to the beach and she dies. And, you know, they might just win for no other reason than they killed Betty White. You know, I mean, come on. Everybody's doing it. That's what everyone said about that category. They're going to win just for Betty White. They didn't kill off. If they do, it will be well deserved. If B&B happens to get its second, not only its second win, but its second win in a row, it will be well deserved because, like I said, it's a really good drama. The episodes really showcase that. But here's where the competition comes in. You know, you've got General Hospital and the young and the restless. General Hospital submitted the carnival and the chaos around it. And again, I don't think that what they submitted is what I would want to see win for best drama, but they win this kind of stuff. They've done it before, you know, and every time it happens, I'm like, really? So they could. The young and the restless submitted some really, it's just really great drama. It's Nick telling Phyllis that the baby died, that his insurance baby died. And at the same time, Victor's in the hospital, having been shot in the chest by Patty, and Tracy decides to pull the plug on Colleen. I mean, it's just, it's really fantastic emotional stuff. So, you know, in this category, I'm saying that I think the young and the restless should win, but that I actually think just because they have a history of it, that somehow... That is because somehow General Hospital is going to take it home. Not how they will. We all know that. I don't want them to, and the reason I don't want them to is General Hospital, every time General Hospital walks away a winner, whether it's for best writing or for best drama, it reinforces the idea that there are, that people, you know, like the mob, and that we want all violence and all dark and all gloom. And, you know, there's a significant portion of the audience. Yes, there's a part of the audience that really does like that, and that does support that, and that is behind that. But there's a lot of that. I think there's a larger part of the audience that's saying, you know what? Bring back the hospital. Well, yes, well, not just bring back the hospital, balance the show. If you're going to do the mob, fine, but don't do all mob all the time. As it is now, it's four days a week mob, one day a week, you know, whether it's scrubs or live lucky Nicholas or, you know, whatever, it's the other stories on the show. It's so unbalanced. I've literally never seen a show tilt so heavily toward one set of characters. You know, it's almost comical how really strongly they tilt toward that. And I've made it, you know, I've set the time and again. I have a real problem with the lack of, you know, of what I see as, you know, I am not, I need to say, I am not a prude. I'm not like, you know, Johnny, Johnny, do do write, bubbly do write or anything. But there comes a point where I look at a show and I say, there are no good people on it. You know, General Hospital was a show where, you know, the highlight of their last year was a mobster who is the hero of the show shooting an unarmed cop. That is unacceptable to me. That is, you know, that. Well, that basically goes, we can case in point with some of these actors that have left the show in the recent years, case in point Ted King, it's like starting to always win. That basically was a statement. It's not even, it's not even that. I mean, the problem with the show is that, that it is a dark show with a really messed up sense of morality. I mean, it's a show where because a judge did the right thing and sent a young, and sent Michael to prison for killing his stepmother, you know, because of that, the supposed good guys on the show, Lucky and Dante, are trying to dig up dirt on the judge to blackmail him. I mean, that's, that's crazy. Like, seriously, like, why do you want to do that? I mean, he went to prison for killing a woman. Why do you want to get him out? Because they build a woman. That's what he says. You know, we've got Carly wandering around every day, plotting against Dante and Lulu, because she blamed them for her son being in prison. When Carly, this is your fault. From the moment that you gave birth to this child and basically handed him over to a mobster instead of to AJ, and then continued over the years right up to the point where he killed Claudia and wanted to confess, and, and Jax wanted him to confess, you know, and you sat there and said, no, if you confess, this will be bad. I mean, I mean, this is a woman who never takes responsibility for her action, and yet she's the heroine of the show. I love General Hospital in that it has some of the, it has some of the best actors in the business. There is no denying it, you know, Maurice, Laura, Steve, just all the way down, Kimberly, Jason, Jason. You know, there's so many good actors on that show, and their dialogue writers are the, are some of the best in the business. General Hospital is a show that you watch it, and you, you don't necessarily like the over all stories they're telling, but you're compelled to watch it because the dialogue and the actors are so fantastic. And that's a really weird combination, you know, like I hate, I really have gotten to the point where I can't take much more of the mob and stuff, but I do love all of these actors, and I really like the dialogue that they deliver and how well they deliver it. So it creates a weird show that I watch, but I'm not necessarily, you know, I have intrigued by it. Wait, there's no, wait, there's no suspense to it, you know, there's no suspense to when somebody pulled the gun on Johnny or Jason or, or, you know, or Sonny, or when Carter in prison threatens to kill Jason, there's no real threat because we know that Jason and, and all of these other guys, that all these other mobsters, we know nothing's going to happen to them. They're not going to go to jail, they're not going to be punished, they're never going to be made to pay for their various crimes. There's no suspense in that kind of storytelling for me. Would you, and this is a question that I definitely wanted to ask, just when you brought that up because I know I haven't mentioned this time at the time again, you've watched when Wendy Rich was the executive producer of that show. Sure. During that time, would you like it go back to that? I mean, what I want is not necessarily any one person, you know, era or, I mean, let's, you know, Bob Guza, you know, a lot of people criticize Bob Guza and his writing. But let's remember Bob Guza also gave us Clink Boom, one of the most famous moments in general hospital history. You know, the story of Jason, Sonny, and Brenda was, was a highlight in the last 10, 20 years of, of general hospital history. So it's not so much going back to a particular person as it is. I don't, I don't want any soap to become completely obsessed with any two or three characters. That to me is a very unbalanced canvas. And if I'm not interested in those people, then, you know, if I'm trying to bring in new viewers, I need them to be interested in, and let's say, let's say, I'm trying to bring new viewers into the show. And they tune in one day, and what really captures their attention is Patrick and Robin. They're like, "Oh my God, I love this couple. This, this couple is adorable." Well, if that couple then disappears for a week because they had their one day a week and the rest is going to be all mob stories and violence and whatever, I've lost that person, you know? So I need for the show to be more balanced, and to remember that it does take place in a hospital, and that, and I also need it to find sort of a moral center and compass. And, you know, that was always a big thing in the old days of soaps. And when, again, this is when soaps were, you know, wildly more popular than they are now, is while there are, while there are interesting things to be done with characters who are shades of gray, you don't want characters who are all, all black or all white. You want characters who are sort of in the middle sometimes. But general hospital is a show that is all dark, you know? There aren't characters who are shades. I mean, and the characters who we're supposed to think of as being sort of shades of gray are bad people, you know? I mean, yes, Jason went to prison to protect Michael, but you know what, Jason is a hitman. Jason's job is to kill people, and I'm sorry, but your hero, the hero of your show should not be someone whose job description is killer. You know, it should be like corporate executive, or I don't know, rich guy, not killer. Right. So, yeah, I just, if you're not funny, you're pretty much not anybody when I watch the show, it seems like to me. If you're not, if you're not in any way, and shunning at his and his people's orbit in any way, shape, form, then what's the point of you being on this show? Well, think about it. Well, think about it. Even Patrick and Robin, what do Patrick and Robin fight about all the time? They fight about her connection to Jason and Sunny. I mean, I mean, you know, there's so much more to Patrick and Robin than her connection to Jason and Sunny, and the time that they spent together years ago, and, you know, that Jason's her ex-boyfriend and Sunny was a mentor to the first love of her life. There's so much more to these characters than that, and yet, you know, that's what 90% of Jason and Patrick's story revolves around, and that to me is just insane. Like, they didn't, like, easily just, like, have another, something else that they could be fighting about, but it always has to be drawn over to them, and that's pretty much... That's the thing I want to know. How come Sunny and Jason, that what they do is their niche? Why is that their niche? Why is this another person's niche? Why is this person's niche? I mean, seriously, isn't there anything else that you could be fighting over? I mean, when I hear that whenever constant power comes back to a prize-a-roll, it's Helene and Katharine. I love it, because it's me away from Sunny and Jason. It gives me a way for Sunny and Jason. I agree. It finally gives me something to see with Tony Gary and Jane Elliott. I mean, love her, yeah, but seriously... What do they do? And what do they do? They talked about months and months and months ago, back in, like, you know, October or something. Even before that, I think, they started getting us excited for this big Valentin story. It was a guy who was so... Valentin, Katharine, has been built to us as a guy who is so scary that Helene is afraid of him. That's how bad this guy is. And we've heard about him for months. And yet people are saying, "Oh, we don't have room on the canvas for that right now." You know how you can make room for that? Cut Sunny and Jason back to three days a week and give Helene a two days a week instead of one. I mean, you know... Oh, no, we can't do that. That means we lose our fan base. If we can have Sunny and Jason for more than two days off of a week. If we give them three days a week, what the couple, what are we going to do? We will survive. Please tell them. Somebody else who cares. Yeah, I agree. They just asked, "Is that other Katharine ever coming?" I said, "Yeah, the day that that comes is the day that pretty much I give up Kool-Aid." And you know how I feel about that. No, it will come. I do believe that it will come. But the problem is that, you know, it's... There's got to be room on the canvas for that story. And, you know, they keep letting other things push it back. You know, Franco is coming on now. And, you know, when Franco... Why are they bringing him back and his mother? I mean, that's the other thing. Why did they have to do that? That was an epic fail when that first started. And they... I completely disagree. I completely disagree. I completely disagree. I thought, you know, if you're going to continue to tell me dark, dark stories, there needs to be something at least interesting about them. I found Franco's story to be really interesting. Here was this guy who was obsessed with me. Really? I mean, I actually watched that in full, and I was not pleased. And I'm like Franco. But you have to... I'm like Franco. But you have to realize, no story is going to satisfy everybody. No matter what story it is, there's going to be people who like it, and there's going to be people who hate it. I happened to really, really like the Franco story because it was tied to the mob, but at least it was something different. And it was interesting. And it was an unusual story, and it was kind of creepy, and it was weird. And I liked that. So I have no problem, you know, because if it means I get away from Sonny's constant whining about how he... I hurt everyone in my life, and yet he doesn't do anything to change. I mean, that's been going on for five years now. So if Franco coming in is something that gets me away from that story, then, hey, I'm all for it. It's a little bit different. Plus, because of the way they left it open, one of the other things I really like about Franco was the end of Claudia of the Cara's story. You know, when Claudia of the Cara was murdered, they found a way, on pretty short notice, to spiral that beautifully into the Franco story. Because, you know, Franco saw the whole thing, and he recreated the crime scene, and it got our story off to a really weird start. Well, when Franco left, the last thing he said was, if you kill, if Jason killed, I will kill again, you know, and then Franco left. Well, here we go. We've got another great way of bringing him into the story, because, you know, so far, Jason has not killed anybody, but he's about to. And once Jason kills, that automatically sets in motion, Franco returning. So, you know, like, I like when stories feel as if they kind of progress out of something. So, while there's things about this that I don't particularly love, I do like that they're playing this kind of thing that was left hanging in the balance. You know, when Franco left, it makes sense to bring him back, because they left this huge open door that they have to resolve. If Jason is going to continue to be a hitman and continue to function in the mob, sooner or later, he's going to kill somebody. And that means you almost have to bring Franco back, because there's that threat hanging in the air. So, for me, it makes perfect sense. But these just make this be like that's the only thing they can do very well with continuity is just something like that, where it deals with what you just said. Oh, I agree. I completely agree. But if these are the stories you're going to tell, at least I want them to be interesting. And, you know, if you're going to insist on telling me these dark kind of violent stories, at least I'm going to want them to be interesting. And, you know, this at least is a little bit interesting to me. So, I'm willing to at least start the story and see how it plays out, because the last time he was around, I enjoyed the story. They should just rename the show Mob Central. It wouldn't be any different. So, you know, that's just the title. That's people have been saying that for years, you know. Or that when they decided to do a spin-off, you know, it was ironic that, you know, Port Charles was during its first year or two before it went, before it turned into a Gothic telenovela. Port Charles all took place at the hospital, and General Hospital all took place at the mob. And people were hearing like, well, they should really just change the name of the two shows. That would make more sense. But, you know, that's a long time complaint from people. Wow. You know, we were allowed to complain, I guess, but will they listen? No, but we were allowed to complain. It's like how I complain about some issues with YNR. You know, it's like how Mackenzie was telling J.T. the other day. She was fat. She was -- she's huge. She's hormonal. But, yeah, J.T. was still to call her beautiful. I'm not fat. I'm not fat. I'm spewing testosterone whenever YNR does something that I don't like. I thought that was a lovely scene. I am not a big fan of Mack. I didn't say that was a terrible scene, but when I watched it, I said, you know, that was kind of cute. That was kind of cute. Especially, you know, that was the same day I did that interview with Stacy, and of course, during that, during the line airing of that, they were reading your tweet that you wrote about it. Allowed. They said, yeah, from folks in depth, CBS, they said, this is what we want to see more of on YNR. I'm like, yeah, it's true. Exactly. We want to see real stuff. We don't want to see this. We don't want to see the crappy stories. I mean, if we want to see crappy action, mystery stories, we've got a lot of other shows we can watch. We've got primetime shows that can do it better. Hell, we can turn over and watch General Hospital. But I want Congressman YNR. I want family drama. I want fun. I want Billy in Victoria. I want Abby. I want, you know, I want real drama. I don't want Victor Perry. Do you want Mapper? You can admit it if you want. Do you want to see Snapper? I'm very interested in this, because the story that they're going to tell with Snapper and Liz and Greg all coming back is a story that's been kind of left up the page. It's been kind of left up in the air for quite a while now, which is who are Jill's real parents? Because, you know, we thought for a while that it was Catherine, and then they revealed that that wasn't it. So ever since they revealed that Catherine and Jill really aren't mother and daughter, we've never really addressed the issue of who are her parents. And that is going to be addressed by this story. That's why they're doing this story. So, yeah. I thought it interesting that they are addressing it, because, I mean, obviously, Y and R's main consistent thing that Y and R is known for is that they've been known to drop stories, and they never picked them up. I mean, there's quite a bit of stories that have been dropped in and have never been mentioned before. One of them has been about actually not being shot at as biological daughter. The other one is that of the fact that Chris and Paul's hit and run, they dropped that too. We all know what's still is, but they don't know that. Oh, yeah. That's what makes Phyllis one of those typical characters around is that Phyllis is all of a sudden this woman who's going to run around town and butt into everybody's business and solve crimes and be a super detective or whatever, and every time she says something like, and they have her do this all the time where she's like, "He's a killer, and we're going to get at him." You know, really Phyllis, you of all people are going to start spitting lines like that, and you've done some really awful things, including, as much as I love, Nick and Phyllis now, we need to remember he was a married man at the time that she stole him. And so now, you know, when she gets all, you know, very upset with Sharon for being around, you're just getting the taste of your own medicine. I would really like to see the old Phyllis come back. And by that I mean the feisty, fiery Phyllis. For me, they missed a huge, huge story opportunity when Phyllis started to figure out that Adam, you know, was maybe behind the baby switch and all that. All of a sudden Phyllis went into heroin/detective mode, and she was going to find out what really happened, and she was going to pin this on Adam, and she was going to break up Adam and Sharon's marriage. Now, to me, that made no sense, because why would Phyllis want to break up Adam and Sharon's marriage? If Sharon is single, what's the first thing she always does? Boom, or anything. Go to Nick. What should have happened was when Phyllis found out that the baby was Nick and that the baby had been swishing all the way, she found that out, she should have worked with Adam to keep that secret. And we could have played it like, you know, we didn't need to play it like she was a basketball. Or black male, she could be even black male than to do that. Not even worse than. But what she should have done was she should have worked to keep that secret under wraps, because, you know, knowing that my God, as soon as my husband finds out that the baby is alive, and that he and Sharon have a child out there again, we know Nick. We know what he's going to do. He's going to be drawn back to her. And we could have played that Phyllis was reluctant to do this. And sort of had her have conversations with Michael, who remembers her from the bad old days. And she could have said, Michael, I hate this. I'm regressing to the person I used to be, but I have to do it. I have to do this in order to keep my marriage and to keep my husband. It would have been great drama, and it would have stretched the story out longer instead of rushing the story. But no, they right now, they've now decided that Phyllis is the heroine of the show. And the writer is if she has never done anything wrong, and if she is, you know, she has every right to be very self-righteous and sanctimonious when that's not that those we knew for years and years and years and years. And she never really did anything to earn the right to be that sanctimonious. Oh, absolutely not. You know, it's funny. I was actually meeting a message on Twitter the other day and they said that when Laura Lee Bell returns to the show as cricket, I never referred to her as Chris, by the way. I always referred to her as cricket, just so you know. But whenever cricket returns back to the show, they should like have cricket just basically go ahead and, you know, nail Phyllis are running her and Paul over. I was like, yeah, but now that's been like 15 years. I mean, do we really need to rehash that? And I'm like, they can probably, for what purpose, maybe, so they could start bringing Phyllis back to her old conniving ways. Sure. But how would they work with that? That's the other thing. How would they bring her back to how she was? Well, there are a million ways to do it. I mean, the fact is, this week, Sharon is moving in with Phyllis and Nick. They bring out all of Phyllis' insecurities. And when Phyllis is insecure, that's when she does stupid stuff. Every time that she tried to hurt cricket, it was because she was jealous and she was, you know, afraid that she was going to lose her husband or, you know, lose Danny or whatever. And whenever Phyllis in the past got that way, she does stupid stuff. That's, you know, she got that way when Diane moved into the pool house at the time that her back was married to Phyllis. I mean, it's a record with her. She does it all the time. So it would be very, very easy to play. And it would be great because you could still play her as, you know, I don't really love her as a heroine, but you can play her as a heroine and sort of have her being drawn back and saying, "God, I remember how to do this. It's pretty easy for me to be bad and I don't want to, but I have to because if I don't, I'm going to lose my husband or I'm going to lose, you know, whatever." There's so many easy ways to do it. It's just a matter of the show stopping looking at her and saying that she's a heroine and remember that she's a feisty Vixen. You know, there's nothing wrong with being a Vixen. I mean, the most interesting characters on daytime to me have been Vixen's. My favorite character of all time is Raven Alexander Jameson, Swift Whitney, Deborah O'Brown Whitney Whitney. I mean, she was the best Vixen in daytime history for my money. So to make Phyllis this kind of boring married woman who is all of a sudden, you know, a goody-two-shoes and self-righteous to boot, that's boring to me. That's a dime, it doesn't roll. I want Vixen Phyllis. We definitely don't have a Vix -- really, we don't have any Vixen Phyllis on right now. We need one. I would agree. I mean, there are characters who -- like, it happens all the time. They start out as Vixen. Chloe started out as a Vixen. Now she's kind of, you know, lost that. I mean, she's still a little bit, but not too much. There's really -- yeah, there's really not a good -- I guess the closest is probably Jill, but, you know, they don't really write her -- they write her more as a kind of a -- it's more of a mean shrewd than they do at Vixen. [ Laughter ] I agree with that. I do agree with that. That's all they're writing her at, because they're not giving her anything up until this new story long starts. Yeah, and even this -- and even this, she's very secondary in it. You know, it's really more about Ashley and Tucker and Billy and Victoria. Jill is really just sort of a kind of a secondary prop in the story. Oh, unless you mean the Jill's mom. And I'll be interested to see how that plays out. And, you know, is it sort of a limp, or do they play it out long term? It'll be interesting to see. Yeah, we don't know about that. I mean, I found out what's going on with this story, who it is, whatever. But it's just like, is this going to be a long term? I mean, remember, Jill Foster Abbott is an original character of the show. So it's kind of weird seeing her character being treated as a secondary prop to other things now. So she was an original character of the show. Granted, there were other actresses in the place of the world. But she's an original character from the show. So again, it's still weird. But I would love to see her be used more and how she should be used. Just welcome an amazing actress. Give her material to work with. Give her a story to work with. She can make it work. And they're not giving her that. I mean, they try today. They stop. They failed. And then they just never gave her anything. Give her something to do. Give her something in the corporate business. Because that's how she's able to roll in that. She's able to roll in something to blow. Oh, but for the love of God, give her a boyfriend. I mean, she needs a love interest. She needs a man. Yeah, I mean, yeah. Jill is a notorious man-eater. She needs, you know, I mean, she's always been the most interesting when she's had a man to play off of. Because it brings out her in security. It brings out, you know, that's something that was always, you know, Jill had, you know, when she was involved with Shark. You know, Larry, whatever his name was, they, you know, and she had that hot young computer guy who was her boyfriend Sean. I think his name was for a while. Sean. They, you know, they need to do that again. They need that they need to bring, they need to play her as a viable romantic interest. But, you know, they don't, like for God's sake, why not? You've got Jeffrey. You've got Gloria. We know that Gloria, or we know that Jeffrey and Jill were involved in the past. Let's play that again. That was good fun stuff. And Judith Chapman is just a blast to watch. So, let's play that again instead of back burnering. That's because she reminded me of Brenda Dixon's Jill. That's why. Sure. To me. I could see that. Totally to me. She reminds me of Brenda Dixon's Jill. That's why, it's fine. There it is. She brings the, she brings a little bit of the camp with her. So, there it is. Yeah, and there's nothing wrong with that. I mean, BMB has been playing camp for years now. When I talk to you. They've been playing camp that has started. Well, no, no, they haven't. They haven't. And that's the thing. I was talking to Brad Bell a while back. And he was, we were talking about the history of the show because this was when it was celebrating its 20th anniversary. And we were talking about the difference between the show then and now. And he said, you know what really made the difference was when we introduced Sally Spectra and we introduced a little bit of camp into the show. And he said, and we all of a sudden realized. And this was, Sally was not on at the beginning. He said, we all of a sudden realized this was something really fun. And it gave us, it didn't just give us a second family to cut away to. It gave us fun stuff that we could do. And we could be over the top and we could be campy. He said, if it wasn't for Sally Spectra and the introduction of her, we never would have had what to me was the best scene of 2009, which was man and horse. When Brooke came riding in and Taylor and Ridge were about to get married. And the minister said, I now pronounce you man and horse. It was classic, it was campy, it took one of the, you know, what can be a tired woman. It was totally B&B. It was classic B&B, but it was not classic original B&B. Original B&B was much more serious and dramatic. And it took itself very, very, very seriously. And it wasn't until they introduced Sally Spectra and then started, you know, kind of, that was what gave them the freedom to play camp and they've run with it ever since. Oh, there. I've got to tell you what, we've been here for two hours. I know, and we can be here, and we can be here for maybe about another two hours, but it looks like we got a roll. Yeah. Well, when I'm dying of hunger, I'm starving. I didn't realize I would be here so long. I am so hungry. I'm so hungry. You have no idea. I have to get in my car and go to the nearest McDonald's or something. That's how hungry I am. But there are messages saying that we need to do a weekly show. Well, good Lord, you never know. You never know. I already, I've got two a week at this point, and my goodness, we'll have to see. We'll talk. We'll talk. We'll find, we'll come up with something, folks. Just find out when we get back for Vegas. We'll let you know after that. Yes, that sounds good. Are you going? I am. No, I am not. I can't. It's almost impossible when the ceremony is on a Sunday for me to go. I mean, we'll have a staff out there. I would like to go. I love going to the end because I think it's a blast. But because we basically have to hold pages that Monday morning, we have to start working on to get all the late coverage of the Emmys in. There's just no way that I can go to the Emmys on Sunday night and be back and work a 15-hour day on Monday. It's just literally impossible. I used to always go when it was on Friday because then I could stay Friday. I could go to all of the afternoon. On Saturday, I would fly home and Sunday I would start working on the issue. But these days, the last two years, this year and last year, it's on Sunday. And Sunday night, unfortunately, just makes it impossible unless they, in the future, if they're going to continue doing it on Sunday, if they happen to move it back to New York, then I'd be able to do it. But to go to Vegas, which is one of my favorite cities on Earth, I wish I could go, but I'm not going to be able to make it this year. Oh, well, I will miss you. You'll be there in spirit. I will be there in spirit. I definitely will. So, we're going to sign off now. But again, once I get back to Vegas, we'll talk. We'll have email, phone, conversation, whatever. We'll work out something. Okay. It'll be fun. It'll be fun. Yeah. Well, thank you for stopping by on your first visit. Thanks for having me. Thanks for letting me pop your buzzworthy cherry. I'm not going to touch that. I'm not going to touch it. Look, if I could say I just stayed behind, I guess I could say to you. I suppose that's true. I'm in good company, so I guess I guess that's true. So, there it is. Thank you very much again. Richardson, editor, social and death. Made his first buzzworthy visit. I thank you again. And really, the door is open. I'd love to have you back. Anytime you want, please come. We would love to have you on again. No doubt. Thanks. I'd love to. I'll talk to you later. All right. That does it for me, actually. That does it. Am I done? Wow. I'm starving. I'm hungry. I've got to eat something. But for now, I'm signing off. I want to thank you all for joining the show tonight. I am right now just hugely excited because during the night, I just got a confirmation email that I graduated. I'm now in the job placement program for a radio position. It's just so much that it's going on within the past two hours that I just couldn't get into. But I'm just hugely excited. I'm hugely hungry. I'm hugely everything. So, I'm just huge, but I just don't show it. But I'm huge. But I want to thank you again for tuning into the show. For now, I'm signing off. I'm the Vell Gilly. I want to make sure you guys get the latest buzz with Buzzworthy Radio. We'll see you guys in a bit. Take care. Can't get enough of Buzzworthy Radio. Knock on down to www.buzzworthyradio.net. To get the latest news, I'm upcoming guest. Past shows and videos of all your favorite stars. Keep getting the latest buzz with Buzzworthy. (drum beats)