BadBoy93

Yeah amazing accomplishment for him. 16 nods for Sinners is a record. Well deserved. So why not celebrate by doing the AMC film, heh?

Also Amanda Seyfried slagged off Megan McTavish in a recent interview with CBS regarding her firing on AMC. Not sure how she feels about others on the show but yeah....

Think that's partly due to MB's health if anything. Guy is no longer the spring chicken he was 10 years ago.

Here's a scene of dialogue around Josslyn/Tobias At The Altar INTERIOR - WEDDING VENUE - DAY The ceremony space is filled with white roses and elegant draping. Guests sit in hushed anticipation. The OFFICIANT stands ready. JOSSLYN, in her elaborate lace gown and tiara, stands at the altar beside TOBIAS in his perfectly tailored tuxedo. The officiant has just asked if anyone objects. Silence hangs heavy. The officiant begins to move forward when— JOSSLYN (quietly, barely audible) Wait. TOBIAS turns to look at her fully for the first time. His jaw is tight, eyes carefully controlled. TOBIAS (low, measured) Josslyn— JOSSLYN (her eyes dart to the guests, then back to him, voice shaking slightly) I just... I need a moment. Is that—can we have a moment? The OFFICIANT looks uncertain but nods, stepping back slightly. The guests begin to murmur. JOSSLYN turns to face TOBIAS more fully, her bouquet trembling in her hands. JOSSLYN (barely holding it together) Tell me this is right. Please. Just tell me that this is right and I'll—I'll believe you. TOBIAS (his expression softens, but there's something calculated beneath it) You're just nervous. Every bride gets nervous. Look at me. He takes her hand. She searches his face desperately. JOSSLYN It's not nerves. It's not. I can't explain it but something feels... wrong. I woke up this morning and I couldn't breathe. I kept thinking about my mother's face when I told her about us. About how my brother won't even look at me anymore. About— TOBIAS (interrupting, his voice firm but gentle) About how they don't understand. About how they never will. Josslyn, we've been through this. Your family lives in a world of moral compromise. They're not going to see what we have because it threatens their entire belief system. JOSSLYN (wavering) But what if they're right? What if I'm making a mistake? TOBIAS (stepping closer, his voice drops lower—intimate, commanding) You're not making a mistake. You're making a choice. Your choice. Not your mother's. Not Sonny's. Not anyone's but yours. Isn't that what you wanted? Independence? Agency? His thumb strokes her hand. The gesture is tender but there's an edge of manipulation to it. JOSSLYN (tears forming) Yes, but— TOBIAS (cutting her off, more intensity now) But nothing. Listen to me. I know you. Better than they do. I see who you really are—not Carly Spencer's daughter, not the girl who grew up in Sonny Corinthos's shadow. I see Josslyn. The woman who wants to make a difference. The woman who believes in something bigger than family loyalty and mob connections. JOSSLYN looks at him, wanting to believe, but doubt flickers across her face. JOSSLYN Then why do I feel like I'm losing myself? TOBIAS's expression shifts—just for a fraction of a second, guilt crosses his features. But he recovers quickly. TOBIAS (voice softening, almost sad) Because growth feels like loss when you've never done it before. You're not losing yourself. You're becoming yourself. And yes, that's terrifying. Yes, it means leaving some things behind. But Josslyn— He cups her face gently with his free hand. His eyes lock onto hers with an intensity that's both comforting and unsettling. TOBIAS (cont'd) —I love you. I chose you. And I need you to choose me. Right now. Not tomorrow. Not when your family decides to forgive you. Right now. JOSSLYN's breathing is shallow. She looks down at her bouquet, at the ring already on her finger from the earlier exchange, at the sea of faces watching them. JOSSLYN (voice small) Your father is watching us. TOBIAS glances back at JACK BRENNAN, sitting in the front row, his expression unreadable but commanding. TOBIAS (turning back to her quickly) Forget my father. This isn't about him. This is about us. JOSSLYN (meeting his eyes, a flash of clarity) Is it? Is it really about us? Or is it about— She stops herself, as if afraid to voice what she's thinking. TOBIAS (defensive, but covering it) About what? JOSSLYN (backing away slightly) I don't know. That's the problem. I don't know anymore. Everything happened so fast. The assignment with the WSB, meeting you, this wedding—it's like I'm watching someone else's life and I just— Her voice breaks. TOBIAS reaches for her hand again, his grip firm. TOBIAS (urgency creeping in) Josslyn. Look at me. Do you love me? Silence. JOSSLYN stares at him, tears streaming down her face now, mascara beginning to smudge. JOSSLYN (whispered) I don't know if I know what love is anymore. I thought I did. I thought this was it. But standing here, looking at you, I just keep thinking—what if I'm wrong? What if we're wrong? TOBIAS (something harder in his voice now) You're overthinking this. You always overthink. That's what got you into trouble with your family in the first place—analyzing everything instead of trusting your instincts. JOSSLYN (defensive) My instincts are telling me to run. The words hang in the air. TOBIAS's expression darkens—just slightly, but enough that JOSSLYN notices. TOBIAS (very quietly, controlled) Then why are you still standing here? It's a challenge. JOSSLYN looks at him, really looks at him, and for the first time she sees something she hasn't let herself see before—a coldness behind the charm. A calculation. JOSSLYN (barely audible) I don't know. TOBIAS (taking her shoulders now, his voice low and intense) Because you know. Deep down, you know that this is right. That we're right. You're just scared. And I understand that. But Josslyn, if you walk away now—if you embarrass my father, embarrass the Bureau, embarrass me in front of all these people—there's no coming back from that. You understand that, right? It's not quite a threat, but it's close. JOSSLYN's eyes widen. JOSSLYN What do you mean? TOBIAS (recovering, softening his tone) I just mean that decisions have consequences. You know that better than anyone. Your career, your reputation, everything you've worked for—it all depends on the choices you make right now. I'm not trying to pressure you. I'm trying to protect you. JOSSLYN (pulling back, clearer now) Protect me? Or protect your father? TOBIAS's mask slips completely for just a second—pure panic crosses his face. TOBIAS That's not fair. JOSSLYN (voice stronger now) Isn't it? Be honest with me. Right now. At this altar. In front of all these people. Is this about us, or is this about something else? TOBIAS looks torn—genuinely torn. When he speaks, his voice is raw. TOBIAS (quietly, almost broken) It started as something else. I'm not going to lie to you about that. But Josslyn—somewhere along the way, it became real. For me, at least. And I thought—I hoped—it was real for you too. JOSSLYN stares at him, the truth she's been avoiding finally crystallizing. JOSSLYN (tears flowing freely now) What did it start as, Tobias? Before he can answer, there's a commotion at the back of the venue— VOICE (O.S.) Federal agents! Nobody move! The room erupts into chaos. JOSSLYN looks from TOBIAS to the agents flooding in, to JACK BRENNAN standing abruptly, to her mother's horrified face in the crowd. TOBIAS closes his eyes, his expression one of resignation and relief in equal measure. TOBIAS (whispered, just to her) I'm sorry. I'm so sorry. JOSSLYN takes a step back from him, her bouquet dropping to the floor between them. JOSSLYN (voice hollow) So am I. She removes her ring and lets it fall. The sound of it hitting the floor is lost in the chaos, but TOBIAS watches it fall like it's the only thing in the room. [END SCENE] Be curious to hear thoughts because I think the dialogue is scarily realistic compared to the ones now where it seems a little formulaic at times.

I like the idea of combining characteristics of the two -- having her fun flirty compassionate side from Tiffany but also the uncontrollable rage and perhaps controlling nature of Grant. Would make her a fascinating character to watch in a relationship. Perhaps Courtney might be gay like Ben. Or an abuse story.

It just makes you remember how much of a huge mistake killing Ronnie & Roxy was. Courtney coming in has been long overdue. The character is almost 30 now. We missed her entire twenties. So much story there and what she could be coming in. How much like her mum and dad she could be. A real lost opportunity that no showrunner has taken advantage of.

It's a good moment but its basically good acting shielding silly writing. Why oh Why Teresa needed to marry Alistair never made sense and only made things much worse for her but there you go.

The idea of Sonny not being front and center of the show is baffling to me given how long he's been the core of GH for many decades. Could be because Mo is getting older which as I stated before does show in his scenes now more than ever.

Only really followed him when he was Todd Manning, both OLTL and GH. Not fussed about his other characters.

Thanks for clarifying. I looked at the TV Guide interview they did and I was surprised at the revelation that Exec Producers/Writers get residuals for the characters they create. That's wild. Explains perhaps why JFP/Guza axed a lot of characters and replaced them with their creations. Cast of 2000 and 2011 GH are very different.

I'm curious to know a bit more about Tony Geary's working relationship with all the exec producers he was under. Gloria Monty (both times); Wendy Riche; Jill Farren Phelps & Frank Valentini. Given all the talk and evidence of how Tony Geary was not always easy to work with, I'm eager to know how he got on with various bosses. Head Writers might be harder given the volume of them that he was with.

Is this just in the US or is this globally? UK resident so would like to know if its easy to get this from my end.

I never took to Elizabeth Baldwin as her name so I'm happy for her to revert to Webber. If anything its the best name for her. Elizabeth Lansing was weird, and I liked Elizabeth Spencer but I always like a Webber still on the show as its a good glue to GH's early history.

And this Vaughn guy is not gonna change things at all. I mean, the idea of Joss/Kristina at least gives Joss a purpose. A long term plan to kill Sonny if her heart is truly set on it. And I like the idea of planting the seed for the inevitable day that Maurice Bernard steps down and Sonny finally exits the show, when or how that will be.

Part of me would bring back Lexi A and start the pairing then. It'd be the type of epic story that would have ramifications and so many incredible reactions and adjustments for a lot of characters - Sonny, Carly, Alexis, Michael!!!!, Molly, Ric, Jaks (if he ever returns), Laura, Lulu, Jason, Dante, etc. I might write up a story idea about it further and post it on the AI thread and see what people think.