"I think it's much more wonderful that they finally nominated Katherine [Kelly Lang]. I'm always the first to gripe about it when it doesn't happen."
On whether she misses B&B and actring: "Nope. I really only think about that part of my life when somebody calls me. I don't mean to be unkind or anything. I had a great run and a wonderful time, but there's a time to go. And when you go it's over. You don't look back."
Katherine Kelly Lang Celebrates Her First Emmy Nomination
"I'm not the type to analyze or speculate. It was my choice to switch to the supporting category because [in 2012] that's what I was. Brooke didn't really have a story of her own. She was busy supporting her daughter, doing a lot of mom stuff, and of course supporting Stephanie as she was dying. We'll see how it all turns out. I'm just so satisfied being nominated."
DAYS OF OUR LIVES star Arianne Zucker Celebrates Second Emmy Nom
"I'm not sure if it has sunk in yet," shares Arianne Zucker (Nicole, DAYS) on her second nomination for Outstanding Supporting Actress. "I woke up to a call from an NBC rep telling me about the nomination. I told my daughter , 'Izzy, Mommy got nominated for an Emmy,' but she’s still to young to understand what it means!" Meanwhile, due to a busy work shooting schedule in Salem, Zucker didn't get a chance to talk to her Vegas-based husband Kyle Lowder (ex-Brady, DAYS, ex-Rick, BOLD AND BEAUTIFUL) until after 1 in the afternoon.
Bradley Bell & Scott Clifton Speak Out On Emmys
THE BOLD & THE BEAUTIFUL earned its Outstanding Drama Series nomination with Stephanie Forrester's celebration of life and her good-bye party. "I just thought they were really touching and unique," says headwriter and executive producer Bradley Bell. "And Susan [Flannery, ex-Stephanie] was stellar, as always. Everyone in the room was amazing."
"I feel like the competition is a little harder in this category and it means more to me to be recognized as a supportive actor," Clifton says. "In the medium we're in, it is an ensemble cast, and there's nothing more important than being recognized as being supportive of other actors. That's really special."
THE YOUNG AND THE RESTLESS Emmy reactions
Peter Bergman (Jack) received his Lead Actor nod for the episode where Jack had a confrontation with Billy and then checked himself into the hospital for surgery. "Like everyone else, I had two or three great scenes followed by some run of the mill scenes. Nature of the beast. That's the way it is."
Castmate Doug Davidson (Paul) joins Bergman in the same category for the episode where Paul turns himself into Heather for shooting Ricky. "It's a difficult process to match what we do in daytime with the criteria of the contest," he admits.
Jeff Branson (ex-Ronan) was nominated for Supporting Actor for Ronan got drunk and broke up with Phyllis, and has every intention of attending the ceremony. "I love this genre," he declares. "I love that show, I love these people. I would never not be there for something like that."
Melissa Claire Egan (Chelsea) now has a Y&R nod for Supporting Actress to add to the three she earned while playing Annie on ALL MY CHILDREN for the episode where Chelsea argues with Adam over his hiding Sharon in the cottage. "I really loved those scenes," she confides. "Michael [Muhney, Adam] was really great in them as well. It seemed real and raw."
Controversial Soap Opera In Colombia Focuses On Paramilitaries
The soap opera is called THREE CAINS, an allusion to the Biblical story of Cain slaying his brother Abel, in part because Vicente Castano had his brother Carlos murdered in 2004.
A grassroots campaign against the show, which runs on Mundo Fox cable channel in the United States and RCN in Colombia, also has raised questions about a whole genre of Colombian TV series that focuses on the country's top drug traffickers. Some say such shows glorify killers while minimizing victims.
Online Scripted Shows Are Targeting Female Viewers
WIGS, YouTube's popular women's channel, marks its first anniversary with the premiere Friday of the second season of LAUREN, a powerful drama about rape in the military starring Troian Bellisario, Jennifer Beals, Bradley Whitford and Raymond Cruz.
Founded by filmmakers Jon Avnet (Fried Green Tomatoes) and Rodrigo Garcia (Alfred Nobbs), WIGS has consistently delivered some of the most engaging programs online.
Avnet, whose TV work includes the innovative cop show BOOMTOWN, began talking to Garcia about online video five years ago.
"I felt intuitively that a lot of the stuff that was on the Web was (made) for young males," Avnet said in a joint phone interview with Rodrigo. "But we quickly found out that the most rapidly growing demographic online was women and that they are still underserved."
Crackle Plots 2 Made-for-Digital Movies: Sequel to ‘Joe Dirt,’ Martial Arts Action Film
Crackle, available on more than a dozen different platforms spanning TV and mobile, offered 20 hours of original programming last year. It will double up this year, hosting 80 original episodes and the two features.
Other new shows include THE CLEANERS, a six-episode crime series starring Emmanuelle Chriqui, Gina Gershon, David Arquette and Missi Pyle; the music documentary series PLAY IT FORWARD, produced by Robert Downey Jr.; STRAND STREET, directed and produced by Milo Ventimiglia, and second seasons for THE BANNEN WAY and CHOSEN.
Nielsen’s New Digital Test Has Big TV Chasing Elusive Viewers
Nielsen and a coterie of TV networks – A+E, ABC, AOL, CBS, The CW, Discovery Communications, FOX, NBC and Univision – have agreed to take part in a pilot for what Nielsen calls its digital program ratings that will tabulate overnight data for unique audience, stream counts and reach by age and gender for TV programming viewed online.
The test does not take into account people who watch TV via mobile devices such as smartphones or tablets – meaning that no matter how successful the idea is, it will not capture a viewer behavior that is on the rise and growing.
Decoded: YouTube and Television
The New York Times’s Brian Stelter decodes a YouTube event designed to showcase offerings to advertisers, which highlighted the company’s uneasy relationship with television.