logo
Kristin Davis reveals ‘Melrose Place' co-star wouldn't speak to her on set during filming

Kristin Davis reveals ‘Melrose Place' co-star wouldn't speak to her on set during filming

New York Post4 days ago
Kristin Davis revealed that one of her 'Melrose Place' co-stars gave her the cold shoulder during the time they worked together on the hit '90s prime-time soap drama.
During a recent appearance on 'Hey Dude… The '90s Called!' podcast, the 60-year-old actress recalled that she 'felt like I won the lottery' when she landed the role of the villainous Brooke Armstrong in the third season of 'Melrose Place' from 1995 to 1996.
However, the 'Sex and the City' star told hosts Christine Taylor and David Lascher 'there was never a moment of feeling confident' on the set of the Aaron Spelling-created series, and one cast member in particular was not very friendly to her.
'There were just so many, so many people [on set],' Davis said. 'And I felt and I have obviously seen all these people since then, and so many of them are so lovely. But at the time … it was competitive.'
'I had my friends within, like Marcia Cross and I were were close, which was wonderful,' she continued. 'But there was one, you know, she wouldn't speak to me. Like, she wouldn't speak to me.
'I never had scenes with her, so it wasn't an issue. But I say, like, 'Good morning,' [and she wouldn't respond].'
Taylor noted she also had similar experiences with co-stars, especially during that 'period of time' in which she recalled actors were wary of 'anybody who could potentially threaten your job.'
4 Kristin Davis appeared as a guest on the 'Hey Dude… The '90s Called!' podcast.
Hey Dude… The 90s Called! / YouTube
'We've all been on sets where we've had that experience where it was like, 'Oh, I don't think that they love that I'm here, but I'm only here for like a guest star [role] or whatever, right?'' she said.
The 'Zoolander' star continued, 'And sometimes they weren't the nicest on certain sets and other times wonderful, but I feel like it was a period of time. And then, I guarantee you now, 30 years out of it everyone looks back and is like, 'Oh my God, what an idiot I was.''
Davis explained she had 'seen this person,' who she did not name, since that time.
'She's very nice to me now,' Davis said. 'And sometimes I'm like, 'Does she remember that she was being not that nice to me?''
4 Davis did not identify the person who allegedly wouldn't speak to her on set.
Hey Dude… The 90s Called! / YouTube
Davis said she took the opposite approach when she starred on 'Sex and the City,' describing herself as the 'welcoming committee' when new actors joined the cast or made guest appearances.
'I tried to get out there quick and be like, 'Hi,' because I remember that horrible feeling,' Davis recalled. 'It was scary.'
Despite her negative experience with one co-star, Davis shared that it was 'amazing' to be part of 'Melrose Place,' though she was disappointed that her stint on the show was short.
'Melrose was intimidating in, you know, so many ways, obviously,' Davis said. 'I mean, I grew up … watching all the 'Dallas' and 'Dynasty' and blah blah blah.'
4 Season 4 of 'Melrose Place' aired from 1995 to 1996.
©Paramount/Courtesy Everett Collection
'So, it meant a lot to me to be on there,' she added. 'Obviously, it was just a job also. Like, at a certain point, you're like, 'I have won the lottery. Like, I have a job. I cannot believe it.'
'You know, it's amazing, right, from a young actor perspective,' she added. 'And, I mean, as far as I know, I was gonna stay there. Like, I didn't know that I was only gonna be one season, which I believe was 32 episodes, which is insane to think about now.'
Davis' character was killed off in the episode 'Devil in a Wet Dress' after she drowned in the Melrose Place pool after falling and hitting her head.
During a February interview with People magazine, Davis revealed that she beat Hilary Swank for the role of Brooke in 'Melrose Place.'
'It was Hilary Swank, myself and a girl named Meredith,' Davis recalled of the final auditions for the part.
Davis told the outlet she had been worried about her 'very, very long hair' at the time since the other actresses on the show had shorter hair. She recalled that she considered cutting her hair but decided against it.
4 Davis attends the 'And Just Like That ' season three photocall in Paris on May 29, 2025.
Getty Images
'I remember going in, and it was just the three of us, and everyone was very nice,' Davis recalled. 'It wasn't one of those, like, scary rooms, and then you go in one at a time..
'And I remember Hilary came out, and she seemed so young, and she had kind of shorter hair and kind of sporty. And I was like, 'Uh-oh,'' she continued. 'And then Meredith had longer hair also. I was like, 'Oh, good.''
Davis recalled that she and Meredith comforted Swank, who told them, 'I totally blew it,' after leaving the audition room.
'Obviously, she goes on to win two Oscars,' Davis said of Swank with a laugh. 'She did fine. She did fine.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Jamie Lee Curtis Explains Why Comedies and Family Movies Don't Often Get Oscar Recognition
Jamie Lee Curtis Explains Why Comedies and Family Movies Don't Often Get Oscar Recognition

Yahoo

time28 minutes ago

  • Yahoo

Jamie Lee Curtis Explains Why Comedies and Family Movies Don't Often Get Oscar Recognition

It's rare to see a true comedy film in contention at the Oscars, and rarer still to see a lighthearted family film up for consideration. And, in a recent interview, Oscar winner Jamie Lee Curtis had a guess as to why that might be. Sitting down with Canadian television show Etalk in support of her new film 'Freakier Friday' (in theaters, fittingly, this Friday), Curtis and her co-star Sophia Hammons responded to questions sent in by fans via text message. One such message asked Curtis specifically for her take on why 'more lighthearted/family movies don't win Oscars nowadays.' More from TheWrap Jamie Lee Curtis Explains Why Comedies and Family Movies Don't Often Get Oscar Recognition | Video Sony Sees 23% Increase in Profit From Gaming Despite Uneven Quarter for Film Dick's Sporting Goods Launches In-House Production Studio Warner Bros. Lays Out Plans for 12-14 Theatrical Releases a Year Across DC, New Line and Other Labels 'It's a very good question. Comedies and family movies do not land as serious,' Curtis said. 'Oscars have a more serious sort of vibe to them.' Curtis then asked Hammons if she personally considered 'Everything Everywhere All at Once' a drama or a comedy. Directed by the duo known as The Daniels (Daniel Scheinert and Daniel Kwan), the movie earned Curtis her first Oscar back in 2023 for Best Supporting Actress. That fact is something Curtis was still in awe about at the start of the question. Hammons quickly answered with drama, but just as quickly conceded that the film had comedic elements as well, with Curtis noting, 'It's pretty funny.' With that juxtaposition, Curtis didn't have a concrete answer for the fan's text, admitting she doesn't know for sure. So, her reply text was simple: 'Good question no idea.' When asked in a follow-up question whether there are any children's films that Curtis and Hammons think deserved an Oscar but were snubbed, they were quick to keep it in the Disney family, immediately naming the 1998 animated film 'Mulan.' 'Freakier Friday' hits theaters on Friday, Aug. 8. The post Jamie Lee Curtis Explains Why Comedies and Family Movies Don't Often Get Oscar Recognition | Video appeared first on TheWrap.

The Future Of TV Is Vertical, Episodic, And On Your Phone
The Future Of TV Is Vertical, Episodic, And On Your Phone

Forbes

time30 minutes ago

  • Forbes

The Future Of TV Is Vertical, Episodic, And On Your Phone

Short-form video has transformed from internet novelty to cultural cornerstone. What started as 15-second clips now looks more like a new form of television, one driven by creators, structured in episodes and optimized for phones, not prime time. The result? A boom in what some are calling 'Social TV.' And at the center of that boom is Portal A, a creative studio betting big on it with their latest initiative: Moonshots. 'There's this trend we've seen explode: short-form episodic series that are basically social TV,' said Zach Blume, co-founder and managing partner at Portal A. 'It's not just sketches or vlogs anymore. These are creator-driven shows with format, with consistency, with voice. It's new television, made for your phone.' A few years ago, the collapse of Quibi and the quiet exit of YouTube and Snap Originals led many to declare that 'premium short-form' was a dead-end. But the reality is, audiences didn't reject the idea of high-quality short-form, they rejected platforms trying to impose Hollywood models on social-native ecosystems. Now, audiences are flocking to creator-led formats built for these platforms. Portal A didn't start in branded content. It began with a group of friends making original internet series like White Collar Brawler in the early YouTube days. 'We were doing web series before that was even a term,' said Blume. 'It was fun, experimental, and honestly, it was creative R&D. That's what Moonshots is about, bringing that spirit back.' Moonshots is a self-funded initiative through which Portal A invests in independent creators and bold IP ideas. It's a commitment to originality in a landscape often shaped by briefs and brand approvals. 'With branded work, there's a brief, you see ball, hit ball,' Blume explained. 'Moonshots is about asking: What's the big idea you can't do alone? What's the show you wish you had time, budget, or a team for?' To date, Portal A has backed 25+ Moonshot projects, ranging from short films to TikTok-native formats and even feature-length documentaries. The trend is bigger than any one initiative. Viewership behavior is shifting dramatically: Blume connects the dots: 'People are watching short-form content like they used to watch TV. But the platforms are different. The formats are different. The creators are different.' What's emerging is a new kind of entertainment, shows with recurring segments, arcs and characters, built specifically for social. We're seeing the rise of creator-led franchises like Hot Ones, Keep the Meter Running, and Boy Room; proof that audiences will tune in and come back for originality. While the loudest voices in the creator economy often chase spectacle and virality, a growing movement of creators is focused on storytelling, structure, and originality. Groups like Creator Camp are experimenting with short films and serialized formats on tight budgets showing what's possible when creativity leads. It's part of a broader shift from content to craft. One Moonshots standout is Third Cultures, a food-and-travel social series created with Korean-American creator Jaeki Cho. 'Jaeki went to Prato, Italy, where there's a large Chinese immigrant community. The show explored the fusion of Chinese and Italian cultures through food, language, daily life,' said Blume. 'It's a fresh take on a travel show. Not celebrity-driven. Creator-driven. And it resonated, millions and millions of views.' That kind of format, part docuseries, part culinary exploration, all optimized for vertical video, is exactly what's rising on platforms like TikTok and Instagram. 'We're seeing the birth of formats that feel native to the platform but still have the weight and craft of TV,' Blume added. 'It's where TikTok meets Anthony Bourdain.' Portal A isn't just experimenting for the sake of virality. Moonshots is also a long-term strategy to build original intellectual property. 'Some of these projects can live as short-form, but others we're scaling into long-form shows, brand partnerships, or even traditional distribution,' Blume said. 'It's a pipeline for IP that starts creator-first.' Importantly, the goal isn't to 'graduate' to TV. Many creators are already building massive reach and relevance within social ecosystems — and they're staying there by choice. Even athletes and celebrities are embracing this shift, developing social-native formats from scratch, like NBA star Anthony Edwards' Year Five series on YouTube, created with Portal A. That's a key evolution in the creator economy: creators are no longer just influencers; they're studios in the making. And for Portal A, investing in creators means investing in future franchises. 'We're not trying to replicate what creators are already doing. We're asking, what's your moonshot? Let's build that.' As creators innovate with new storytelling formats, brands have a unique opportunity to shift from sponsor to studio partner. Blume noted that the most progressive brands have already begun to embrace this change. 'The best brand partners are funding creativity,' said Blume. 'They're leaning into creator-led series, backing original IP and getting in early when a format is being shaped.' For marketers, that means rethinking what branded content can be. Instead of one-off influencer campaigns or mid-rolls, brands can: This also requires more trust and creative flexibility. 'The traditional ad model was built around control,' Blume said. 'This space rewards collaboration. You have to let creators do what they do best, and your brand will benefit from the authenticity.' This trend opens new creative and commercial pathways for creators looking to move beyond sponsorships and ad reads. 'There's always going to be a place for integrations,' said Blume. 'But we think creators have stories to tell that deserve more time, more depth, more ambition.' For creators, that could mean: 'The most exciting creators are the ones building something that didn't exist a year ago,' Blume emphasized. 'We want to help them do that.' For all the hype around short-form, Blume sees this moment as foundational. 'It's still early. We're just scratching the surface of what social TV can be,' he said. 'The tools are here. The audiences are here. The creators are here. Now it's about who's going to put it all together and build the next big thing.' With Moonshots, Portal A is making its bet. And for creators watching the trends, don't just post. Build a show. Tell a story. Create something that lasts longer than the scroll. This article is based on an interview with Zach from my podcast, The Business of Creators.

Pete Davidson Has ‘Never Been More Excited' About Becoming a Father
Pete Davidson Has ‘Never Been More Excited' About Becoming a Father

Elle

timean hour ago

  • Elle

Pete Davidson Has ‘Never Been More Excited' About Becoming a Father

THE RUNDOWN: Pete Davidson is opening up more about his thoughts on becoming a father. On August 6, Davidson appeared on an episode of Late Night With Seth Meyers to promote his new Prime Video movie, The Pickup. During the interview, Davidson opened up about becoming a dad. Last month, his girlfriend, Elsie Hewitt, revealed that the couple was expecting their first child. 'I'm stoked,' Davidson told Meyers. 'I can't wait. Let's go.' He added, 'I'm so excited. I've never been more excited for anything.' When Meyers asked whether his The Pickup co-star Eddie Murphy had offered any parenting advice, Davidson replied, 'Eddie was like, 'I got no advice for you because you're on your own.' He was like, 'You can't tell anyone how to [be a father]. You're gonna do your own thing.'' Last month, Davidson also shared that Murphy told him, 'It's going to change your life and you're going to love it, and I'll know you'll be good at it.'' He received additional encouragement from his other co-star, Keke Palmer, who showed him how to balance parenthood with work. 'What was cool is when we were doing The Pickup, Keke's baby was just born,' Davidson said. 'She had him on set the whole time. She would go into a take and then run over and play with the baby. It made me realize it's possible to co-exist in both worlds. I was really impressed with way she was parenting on set.' Learn more about Davidson and Hewitt's relationship here and watch the full Late Night episode below:

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store