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Scott Bryce, who received two Daytime Emmy nominations for his turn as Craig Montgomery on the CBS soap opera As the World Turns and portrayed Leslie Bibb’s dad on The WB series Popular, has died. He was 68.

Bryce died Sunday in New Haven, Connecticut, after a battle with esophageal and stomach cancer, his son, Jackson Bryce, told The New York Times. He had been diagnosed with cancer in October 2024 and opened up about his health issues with Alan Locher on an episode of The Locher Room last year.

Bryce also showed up on six episodes from 1990-92 as Will Forrest, the husband of Faith Ford’s Corky Sherwood, on CBS’ Murphy Brown.

The New York native originated the role of the antihero Craig on As the World Turns in January 1982 and stuck around through May 1987 for the first of his five stretches on the show (also 1988-89, 1990, 1993-94 and 2007-08, when he was fired).

“The plots on the show are so much darker than they used to be — dead babies, pornography, methamphetamines — and maybe I didn’t fit into that vision,” he said shortly after he was let go. “It’s not the ATWT I remember from those many years ago.”

Executive producer Chris Goutman “would say to me, ‘This is your character, run with it,’” he added. “But when I did, he never seemed pleased. Craig, as I understood him, has a need for family and love and fulfillment, and at all costs, which is what creates all the mayhem and madness in his life. Yes, he’s a villain, but he doesn’t know that.”

Bryce was initially paired onscreen with Meg Ryan’s Betsy Stewart Craig, and his character often tussled with Lucinda Walsh (Elizabeth Hubbard) in the town of Oakdale. For his efforts, he was nominated for outstanding lead actor in a drama series at the Daytime Emmys in 1986 and ’87.

As Mike McQueen, the hapless father of Bibb’s Brooke McQueen, Bryce appeared on all 43 episodes of Popular, which was created by Ryan Murphy and Gina Matthews and ran for two seasons (1999-2001). Mike hooks up with Lisa Darr’s Jane McPherson, mother of Sam McPherson (Carly Pope), and that sets the show’s storyline in motion.

One of three boys, Scott Macalister Bryce was born in New York on Jan. 6, 1958. His father, Ed Bryce, played Capt. Steve Strong on the 1950s kids TV show Tom Corbett, Space Cadet and, on and off from 1959-83, Bill Bauer on the CBS soap The Guiding Light. His mother, Dorothy Bryce, was a soap actor (The Doctors, Guiding Light) as well.

Bryce attended Staples High School in Westport, Connecticut, and the Juilliard School, and in 1977 he played a Roman solider on Broadway in Caesar & Cleopatra, starring Rex Harrison and Elizabeth Ashley.

In 1988, he recurred on the ninth and final season on NBC’s The Facts of Life as musician Rick Bonner, who marries Nancy McKeon’s Jo Polniaczek. He then played lawyer James Pavlik on L.A Law on four episodes from 1991-93 and Sen. Tom Wesley on six installments of CBS’ Beacon Hill from 2014-20.

His TV résumé also included a stint as Dr. Ed Crosby on ABC’s One Life to Live in 2006 and primetime guest-star turns on The Golden Girls, Who’s the Boss?, Homicide: Life on the Street, Sex and the City, Judging Amy, ER, 30 Rock, Homeland, Chicago P.D., Blue Bloods and Law & Order.

In addition to his son, survivors include his wife, Jodi Stevens, an actress (Broadway’s Jekyll & Hyde) and voice teacher whom he married in 2003; his brothers, David and Phil; and a niece, Heather.

A family of Turks living in Berlin is riven when one younger member’s queer sexuality emerges in drama Hijamat, the earnest but underwhelming latest from Iranian-Turkish writer-director Nader Saeivar, and a competitor for the Crystal Globe at Karlovy Vary this year.

Much is made in the film’s publicity and programming material of the involvement of auteur Jafar Panahi, who serves as the film’s editor and one of its three producers. He had the same credits for Saievar’s 2024 feature The Witness, one of several collaborations between the two. (Saievar co-wrote Panahi’s recent award-winner It Was Just an Accident and also was involved in Panahi’s features 3 Faces and No Bears.) However, this drawn out, sometimes clunky issues-driven drama lacks flow, although it has moments, including an oddly tacked-on but still compelling bit of scenery-chewing from a seldom-seen Nastassja Kinski as a mentally unwell neighbor.

Although, like Panahi, Saeivar has a reputation as something of a dissident within the Iranian film world, where he still teaches in a Tehran university and makes films that are openly critical of the regime, one can only wonder if some kind of self-censorship has muddled the clarity of his storytelling here. That’s an especially tempting conclusion since there are passages that take flight, not least a bravura opening sequence shot as a fluid oner that tracks a little boy arriving at a party as the feted guest of honor.

The occasion is the kid’s circumcision, and as the merriment takes hold (with separate areas for men and women) it all seems very jolly until word arrives that one member of the extended family, Kerem (Jael Cem Ilhan), is getting beaten up. As Kerem’s significantly older brother Murad (Kida Khodr Ramadan) tries to intervene, it emerges that the family is outraged by photographs that have circulated among them showing Kerem being intimate with a German man.

Murad and his Kosovan wife Leyla (Nicolette Krebitz), both of them more open to Western ways than others in the clan, are accepting of Kerem’s homosexuality. But that’s not true of Kerem and Murad’s father Ibrahim (Vedat Erincin), a stern patriarch who controls the family through tradition and money, having done well with restaurants both in Berlin and back home.

In fact, even Kerem himself is too tortured by fear to stand up to the family. He meekly goes along to get along when Ibrahim drags him off to the mosque where Sheikh (Aziz Capkurt), the local cleric, hectors him to confess his shame. But Sheikh’s motivations are not entirely religious. Murad knows that he’s in cahoots with a businessman back home who wants Ibrahim to sell a restaurant, and Sheikh is using his clerical position to leverage the situation.

Just when these various plot strands start to felt together into an overall narrative, Saeivar will weave in a new bundle of plot. Some screen time is given over to the breakdown being experienced by Margot (Kinski), a friend of Murad’s late mother who lives across the street from Ibrahim and is still disturbed by her experience of trying to escape into West Berlin from the east years ago. The subplot serves to remind us of how the city has been a refuge for immigrants of all kinds for years and that the trauma of violent escape echoes across generations, but it’s never worked into the main body of the drama satisfactorily.

Likewise, the late suggestion that Murad himself is tormented by feelings of attraction to men is awkwardly inserted and not especially convincing. But at least this reveal allows for another cameo from a German film star: Moritz Bleibtreu as a New Age healer in a ridiculous wig and headband get-up, who offers to fix Murad with some cupping therapy, also known as hijamat — hence the film title.