Coachella 2017: The gates are open — and the fest is noticeably larger

Could the fifth be “Nation”?3. Everything is bigger. That changes this year.Coachella’s 2017 roster includes the highest volume of Latino and Spanish-language bands in its 18-year history. Coachella 2017: Everything’s bigger, from the grounds to the crowds and bars August Brown(August Brown / Los Angeles Times)The first thing you notice when you walk onto the Coachella grounds in 2017? Coachella 2017: Your survival guideAugust BrownFans enjoy a bracing mist at the Coachella Valley Music and Arts Festival. The video for “Humble” shows Lamar sitting at a table surrounded by disciples that’s reflective of Leonardo Da Vinci’s painting “The Last Supper.”Could this story culminate   when Lamar “rises” during Sunday’s Coachella gig?The Magic 8 Ball says maybe. The festival’s website has its list of tips as well as some do’s and don’ts, but here are a few of ours.There’s a new stageEveryone welcome the Sonora Stage to the family. “Our place here is literally being threatened. (Los Angeles Times)Though the   Coachella Valley Music and Arts Festival   has become a spring tradition, there are still many questions for those preparing to attend the desert festival for the first time. What follows is a rundown of questions and story lines to watch during the annual Indio festival.Read more Like the Despacio and Yuma tents of recent years, this one will have a genre focus — punk and garage rock — where super-fans can post up for the day or pass through when they need a bracing blast of guitar noise. “I said it’s like that, dropped one classic, came right back / ‘Nother classic, right back/ My next album, the whole industry on a ice pack.” The theory? Clary / AFP/Getty Images)As the Coachella Valley Music and Arts Festival approaches, devoted music fans have been in the midst of another rite of spring: speculating on what’s going to happen when the music starts.In years past, after all, we’ve paid witness to Roger Waters’ flying pig and Arcade Fire’s glowing orbs. On Thursday, Top Dawg Entertainment in-house producer Sounwave, who works closely with Lamar, posted a tweet that read, “But what if I told you… (Arkasha Stevenson / Los Angeles Times)The Do LaB — the outsider dance music stage at the edge of the   Coachella   grounds — has announced its lineup for the 2017 festival, and it looks prepared to compete with the rest of the forward-thinking club music bills at the fest.Mr. beat-scene favorite Gaslamp Killer, Justin Martin and Dirtybird Records boss Barclay Crenshaw are among the headliners at the fan-favorite niche stage, which has its own ecosystem of Burner-style vibes (indebted to the same folks behind the   Lightning in a Bottle   festival, who curate it).It’s been a 13-year fixture at Coachella, and its rowdy-hippy aesthetic has a life of its own there.Read more MusicScene April 14, 2017, 1:25 p.m. One other upside — there are bountiful new bars and beer gardens at every turn, including right in front of the side stages. Portishead followed by Prince in 2008? Below, five convincing clues.1. That’s what Lamar has been using as a profile photo on Spotify, but recently a new photo shows him standing in front of blue bricks.5. Tupac Shakur came back from the dead — in the form of a hologram-like concoction.Chance the Rapper’s 2014 first-weekend debut saw Justin Bieber pop by for a cameo. In 2007, an unknown Amy Winehouse established a stateside presence during a sunset performance in the Gobi tent. Plus speculation on Lorde, Kendrick and moreRandall RobertsLady Gaga (Timothy A. Might the would-be companion piece, “Nation,” resurrect the fallen Lamar on Easter Sunday?2. People are getting deported.”The shift in direction at Coachella caught many by surprise — even U.S. Gaslamp Killer, Mr. Coachella is excellent at separating people from their beer money, and after all that new walking, it’s rarely been more deserved. immigration agents.Read more Scene April 14, 2017, 1:26 p.m. Carmack headline the Do LaB stageAugust BrownSara Rose peeks through her bear mask while dancing on stage in the Do LaB at a recent Coachella. that’s not the official version.” He followed it with an image of Morpheus from the film “The Matrix.”As the Verge points out, Morpheus reveals the reality of the Matrix by explaining, “You take the blue pill — the story ends, you wake up in your bed and believe whatever you want to believe. Given Southern California’s demographics, some might say it’s been a long time coming, especially when one takes into account that the actual city of Coachella is more than 96% Latino or Hispanic.“I thought we existed outside of what Coachella had to offer,” said Daniel Gomez of Inland Empire band Quitapenas. The lettering on the cover of “Damn” is red, and the first track on the album is called “Blood.”   On the back cover of the album, Lamar is standing in front of red bricks. That changes this yearRandall RobertsThee Commons band members, from left, David Pacheco, Jose Rojas and Rene Pacheco. Kendrick Lamar (Genaro Molina / Los Angeles Times)As if one new Kendrick Lamar album weren’t enough, on Friday morning Twitter erupted with speculation that the Compton rapper would be issuing a companion to “Damn” on Easter Sunday called “Nation.” The theory arose on Reddit, where sleuths started connecting dots.Whether it’s true or not, gathering tidbits of evidence certainly makes for a good parlor game. The gatekeepers are looking more like us.”With President Trump pledging to build a wall along the southern border and Latino communities being shaken by an uptick in Immigration and Customs Enforcement raids, artists say that building bridges between the English-speaking Coachella crowd and Latino communities presents real-world opportunities.Jorge Avila of the Los Angeles-based Qvole Collective, a booking and artist management company focused on what it calls “the black/brown avant-garde,” describes the climate as “the perfect storm of circumstances.”“There’s an urgency for us to come together,” he said. You take the red pill — you stay in Wonderland, and I show you how deep the rabbit hole goes.”4. How will festgoers greet Lady Gaga? IV” earlier this year, and it features what could be portentous lyrics. (Gina Ferazzi / Los Angeles Times)Since it emerged from the alternative rock scene in 1999, the   Coachella Valley Music and Arts Festival   has featured many acts spanning hip-hop, folk, EDM, pop, heavy metal and classic rock.Yet one style of music has long been underrepresented on the grounds of the posh Empire Polo Club in Indio: Latin music. “But things are changing. It’s by the entrance, and worth a look for sets by Guided by Voices, Downtown Boys and T.S.O.L.But there are more peopleLast year the Indio City Council approved an expansion of Coachella’s capacity from 99,000 to 125,000, so expect to see a few more tanned, flower-crowned bodies on the grounds.Read more Music April 14, 2017, 1:25 p.m. Coachella hasn’t had a lot of Latin music. Carmack, L.A. But for anyone with muscle memory about exactly how long it takes to stroll from the main stage to the Sahara Tent will find the compass a little wobbly.The Gobi and Mojave are tucked deep   in what used to be the backstage area. And it’s   more striking a change than the fest has seen in years.An   extra 25,000 fans, naturally, are going to need the space. Epic.These kinds of moments often arrive without notice but immediately become touchstones. “Damn” was released on Good Friday and opens and closes with Lamar getting shot, which detectives suggest mirrors Jesus’ death. The Boyle Heights band is one of several Latino groups playing at the 2017 Coachella Valley Music and Arts Festival. Lamar released the track “The Heart, Pt. Five albums are acknowledged, but “Damn” is only Lamar’s fourth.   Scene April 14, 2017, 1:41 p.m. The new Sonora Tent and the return of the Yuma Tent now make the upper terrace feel like its own mini-festival. Get a peek at some of Coachella’s colorful art August Brown Music April 14, 2017, 1:35 p.m. The pastel Seussian sculpture garden (the Chiaozza Garden, to   be exact) in the main stage   is a world unto itself. April 14, 2017, 2:04 p.m.

Kathleen Kennedy: ‘Episode IX’ ‘started over’ after Carrie Fisher death

But Kennedy recently told Good Morning America   he may be mistaken. RELATED: Watch the trailer for   Star Wars: The Last Jedi
There’s no telling where director Colin Trevorrow and co-writer Derek Connolly (who previously worked together on Jurassic World and Safety Not Guaranteed) will take the story next — partly because we still don’t know where The Last Jedi will depart   Leia’s story. Show Full Article “We pretty much started over,” Kennedy adds. It’s heartbreaking to think that the   Star Wars universe has   seen the last of Leia Organa, who was brave,   uncompromising, and inspiring to all who knew her. The actress   won’t be recreated digitally, but unfortunately, that also means   Leia Organa won’t be a part of the story. “Obviously, with Carrie having passed away, it shook everybody,” Kennedy says. As they tried to figure out what this meant for   Leia’s continuing story, the only option was to leave their original ideas   behind. As the world   still grapples with   the fact   that Carrie Fisher is gone, the galaxy far, far away is coming to terms with the   loss of its own princess general. Lucasfilm president Kathleen Kennedy tells EW the   story team and filmmakers have   come up with a plan for how to handle Fisher’s   absence in 2019’s planned Star Wars: Episode IX. Our world lost the same. 15 was complete… “and   she’s fantastic.”
Star Wars/YouTube
Fisher’s brother, Todd, recently told reporters that he and Fisher’s daughter, Billie Lourd, who has a small role in the new Star Wars films as a Resistance officer, granted permission for old footage of her to be used in Episode IX. The Last Jedi panel at Star Wars Celebration in Orlando featured some images of Leia   as a more regal, but also grayer and more world-worn Resistance leader   than the “fancy gas-station attendant” (as Fisher described herself) in The Force Awakens. Leia will live on in animation with the Forces of Destiny series that was just announced, and her stories — including, perhaps, her end — could still be told in the boundless comics, novels, and cartoons being generated from the Star Wars franchise. (Disney Chairman and CEO Bob Iger recently said it would not be altered to deal with her passing, ending as it was originally planned.)
Kennedy assures that Fisher’s work on the movie coming Dec.

First comes “Damn,” then comes “Nation”? Speculation brewing of a second new Kendrick Lamar album

“I said it’s like that, dropped one classic, came right back / ‘Nother classic, right back/ My next album, the whole industry on a ice pack.” The theory? “Damn” was released on Good Friday and opens and closes with Lamar getting shot, which detectives suggest mirrors Jesus’ death. that’s not the official version.” He followed it with an image of Morpheus from the film “The Matrix.”As the Verge points out, Morpheus reveals the reality of the Matrix by explaining, “You take the blue pill — the story ends, you wake up in your bed and believe whatever you want to believe. Lamar released the track “The Heart, Pt. Might the would-be companion piece, “Nation,” resurrect the fallen Lamar on Easter Sunday?2. On Thursday, Top Dawg Entertainment in-house producer Sounwave, who works closely with Lamar, posted a tweet that read, “But what if I told you… Five albums are acknowledged, but “Damn” is only Lamar’s fourth. Below, five convincing clues.1. The lettering on the cover of “Damn” is red, and the first track on the album is called “Blood.”   On the back cover of the album, Lamar is standing in front of red bricks. Could the fifth be “Nation”?3. Latest updates That’s what Lamar has been using as a profile photo on Spotify, but recently a new photo shows him standing in front of blue bricks.5. Kendrick Lamar (Genaro Molina / Los Angeles Times)As if one new Kendrick Lamar album weren’t enough, on Friday morning Twitter erupted with speculation that the Compton rapper would be issuing a companion to “Damn” on Easter Sunday called “Nation.” The theory arose on Reddit, where sleuths started connecting dots.Whether it’s true or not, gathering tidbits of evidence certainly makes for a good parlor game. IV” earlier this year, and it features what could be portentous lyrics. You take the red pill — you stay in Wonderland, and I show you how deep the rabbit hole goes.”4. The video for “Humble” shows Lamar sitting at a table surrounded by disciples that’s reflective of Leonardo DiVinci’s painting “The Last Supper.”Could this story culminate   when Lamar “rises” during Sunday’s Coachella gig?The Magic 8 Ball says maybe.

‘Brady Bunch’: Maureen McCormick shares Easter-themed flashback Friday photo

For   Brady Bunch   fans, McCormick’s Twitter page is an endless source of reminiscences and flashbacks. RELATED: Celebrities’ Best #TBT Photos

The Marcia Brady actress has maintained close ties to her   Brady Bunch   family and embraced their rich history throughout the years, most recently performing a routine inspired by the sitcom on   Dancing with Stars in 2016. Though   The Brady Bunch never aired an Easter-themed episode, this photo came from a series of 1972 publicity stills that depicted the Brady Bunch   gathering for an Easter family portrait. McCormick wrote, “Happy #FlashbackFriday! The number   included a cameo from Florence Henderson, who played iconic matriarch Carol Brady, months before her death in November. Brady Bunch   actress Maureen McCormick gave fans a Brady-fueled flashback Friday with a Twitter post. Wearing their Easter best, the kids are joined by the beloved ABC sitcom’s patriarch, Mike Brady (Robert Reed), who holds up a giant pink Easter bunny. The 1972 photo shows the Brady children holding baskets full of colorful Easter eggs. Here’s a story of an Easter themed Brady. Hope you have a beautiful Easter weekend!”

Happy #FlashbackFriday !Hope you have a beautiful Easter weekend! Show Full Article
— Maureen McCormick (@MoMcCormick7) April 14, 2017

McCormick portrayed Marcia Brady, the eldest lady in the Brady clan, from 1969 to 1974. McCormick also posted photos   from a January memorial service celebrating Henderson’s life, sharing images of herself with her   costars Christopher Knight (Peter), Susan Olsen (Cindy), and Mike Lookinland (Bobby).

Liam Neeson on Jeff Goldblum: ‘My God, Jeff looks amazing!’

For your daily moment of zen, consider this. Just — my God.”
Goldblum is one of the stars of November’s Thor: Ragnarok. “God, Jeff looks amazing,” Neeson says. You don’t have to be like Arnold Schwarzenegger. While being interviewed for EW’s Love Actually Oral History, Liam Neeson discussed his feelings of bliss when he reunited for Red Nose Day Actually, the Love Actually mini-sequel,   with his original costars, Thomas Brodie-Sangster and Olivia Olson. This is how you’re gonna earn your living. I’m not blowing smoke up my ass. God, he never changes, you’re right.”
Goldblum’s reps did not respond to a request for comment and/or to return the compliment. One glance at his recent credits, which include action roles in the   Taken   and Clash of the Titans franchises, mixed with abyss-deep dramas like Silence   and   voice roles in The Lego Movie, prove his vitality and virility as an actor. “My God, the years go by, don’t they? Neeson will next be appearing as Mark Felt a.k.a. Another performer who fits that description is someone to whom Neeson is often compared: Jeff Goldblum. Because in my heart of hearts I still feel like a man of 36 or 37. “I know Jeff’s a fitness fanatic and I am too — and, you know, it helps. “What can I say? Show Full Article But keep yourself healthy and the business will look after you. I discovered it many years ago that this is the body, this is the factory. But   then I   pass the mirror and I   think, ‘Oh, f—, I am 64.’ Jesus Christ!”
Sarah M. “The timing of that movie, given some of the stuff going down at the moment, is incredible,” he tells EW. And then I   want to take a   look at myself. Deep Throat in the Watergate-era drama Felt. “Oh, it was so lovely to see them   on set,” Neeson remarked in his inimitable, basso   profondo   Irish brogue. So keep it in shape.”

Neeson continues, speaking about his physical conditioning, “You don’t have to advertise it. Lee
But Neeson at 64, of course, is more invigorating than most actors half his age. They are the same exact height (6-foot-4), the same age (Neeson is older by four months), and both possess a wondrous sense of self-awareness, unseriousness, deft humor, and irony about their place in the film industry and the world. And Jeff is a prime example of that. They’ve never worked together — yet, at least — but in order to generate a response from Neeson about Goldblum, you needn’t ask twice. It’s a real help.

‘The Handmaid’s Tale’: EW Review

“I had another name, but it’s forbidden now.  
Moss is a brilliant muse, a fantastically unsettling alloy of fury and stillness; if this doesn’t earn her the Emmy she was robbed of for her years on Mad Men, the voting Academy should sue themselves for gross negligence. “My name is Offred,” she intones wearily in the first episode. With her plant-filled apartment and Sunday brunches, June (that’s her given name) could be a character in one of those wry, shambling Noah Baumbach   dramedies about Brooklyn problems. Some faithful Atwood readers may be put off by certain updates made to the script, but the show’s decision to reference totems of modern digital life like Uber and Craigslist inject a jarring currency, and director Reed Morano (The Skeleton Twins, HBO’s Vinyl) brings an innate sense of naturalism to pre-revolutionary scenes that make the stakes in Gilead feel that much more crucial. Their performances — and the show’s resonant, shrewdly paced writing — anchor the drama in something beyond speculative bogey-man sci-fi, making the story feel less like a quasi-fictional fable than an entirely possible preview of what’s to come. Never mind “Netflix and chill;” all hail the new era of “Hulu and panic.” If 2017 feels like both the best and worst of times for dystopian tales, it also continues to be an exceptional year for straight-to-streaming originals. (These joyless three-ways may be some of the most unsettling “sex scenes” ever put to tape.)
RELATED: 30 Biopic Stars: Best/Worst Likenesses
In her crimson robes and flying-nun bonnet, Moss’ Offred is a model of modest compliance: speaking only when spoken to, and even then in little more than obedient affirmations and Biblical proverbs: “Under God’s Eye; Blessed be the fruit.” Flashbacks, though, reveal a drastically different former life: A sun-dappled dream of urban-boho normalcy in which she’s a thoroughly modern book editor with a loving husband, a little girl, and a droll sense of humor. But Morano also pulls impressively nuanced performances from Bledel, Wiley, and the rest of her supporting cast: especially Joseph Fiennes and Yvonne Strahovski, as the Commander and his wife, respectively, and Ann Dowd, as a brutal Handmaid administrator, who eschew easy, one-note takes on what could have been stock villains. And the platform’s 10-part adaptation of Margaret Atwood’s landmark 1984 novel plays like true prestige television: A masterfully unnerving vision of a near future in which a Christian fundamentalist sect has turned what remains of America into a Fascist state called Gilead, and environmental ills have left only a handful of fertile females   — Elisabeth Moss’s titular Handmaid among them —   to carry on the human race. So many things are forbidden now.” In the hierarchy of this bleak new world, Offred   and her fellow maids (which include Alexis Bledel and Orange Is the New Black’s Samira Wiley) are expected to be pliant, pious vessels for the ruling class: menial maternity servants who live like semi-hostages, regularly submitting to the reproductive demands of their Commanders — though only under the strict supervision of their seething, barren wives. This June really lived, and still lives behind Offred’s guarded, affectless gaze. A

Show Full Article

Sisqo remixed ‘Thong Song’ for LeBron James

Should James win the award, it’ll mark his first MVP honor since 2013. To bolster LeBron James’ case as he seeks his fifth NBA Most Valuable Player award, Sisqo released an updated version of 1999 smash “Thong Song” on Thursday. Show Full Article Appropriately titled “LeBron Song,” the track chronicles why James — and none of the NBA’s other elite players — are qualified for the honor. “K-D hurt his knee, knee / This year it won’t be Steph Curry.” And the tune inevitably builds to “Le-Bron-Bron-Bron-Bron-Bron.”
The singer debuted the track with Fox Sports host Colin Cowherd. The NBA will announce this year’s MVP during a televised awards show on TNT on June 26. “Westbrook been really hot, then again he missed a million shots / Some nights he can’t hit the parking lot, they try to say he’s freaking loco” Sisqo sings.

‘Mystery Science Theater 3000’ riffs on ‘Stranger Things’

31. Premiering Friday on Netflix, the comedy has wasted no time in ribbing the streaming service’s crown jewel,   Stranger Things. RELATED: See Stars’ Behind-the-Scenes Photos From the Set of Stranger Things
The Stranger Things Twitter account took the joke well, writing, “You can tease us all you want, @MST3K, we know you love us.”

Harbour himself got in on the fun, tweeting back, “Holy s—, the @MST3K guys body shaming me may just be the greatest moment of my career😏👌🚬🍩.”
Mystery Science Theater 3000 is streaming now, and Stranger Things returns to Netflix on Oct. They have plenty to say about Chief Hopper (David Harbour), whether it’s his sad morning routine or his physical fitness level. Mystery Science Theater 3000 has officially made its long-awaited return. You can tease us all you want, @MST3K, we know you love us. Watch the video above, and see the tweets below.
— Stranger Things (@Stranger_Things) April 14, 2017

Holy shit, the @MST3K guys body shaming me may just be the greatest moment of my career😏👌🚬🍩
— David Harbour (@DavidKHarbour) April 14, 2017

Show Full Article “The best part about waking up is letting my gut hang out,” one of the robots mockingly sings about a shirtless Hopper. In a new bit, Jonah Heston (Jonah Ray) and his companion bots give commentary on the opening scene of Stranger Things,   or as they dub it,   Sadder Things.

Grab a Kleenex: Glen Campbell’s final studio album is called ‘Adiós’

Just Like Always3. (And yes, his dulcet voice is still largely intact.)Here’s the full track listing:1. She Thinks I Still Care10. Postcard From Paris   11. Jackson, who also produced the album, fed him the lyrics in large type a line at a time, holding them up on sheets of paper. It Won’t Bring Her Back   8. The album also features Campbell’s take on classics by Jimmy Webb, Bob Dylan and Roger Miller and includes collaborations with   daughter Ashley Campbell, Vince Gill and Willie Nelson, with whom he duets on a heartrending version of Nelson’s “Funny How Time Slips Away.””Adiós” will be released   June 9, but you can hear Campbell’s take on “Everybody’s Talkin'” below. Arkansas Farmboy   5. “Glen was barely able to remember the words that he was singing at times,” she says. Its title: “Adiós.”The country singer, who turns 81 next weekend, recorded the album after his 2011-2012 “Goodbye Tour,” which was chronicled in the Oscar-nominated   2014 documentary “Glen Campbell … Funny How Time Slips Away   (featuring   Willie Nelson)4. Am I All Alone (Or Is It Only Me) (intro by Roger Miller)6. (Steve Silvas)Glen Campbell, who is in the final stages of Alzheimer’s disease, will release a final studio album in June. I’ll Be Me.”   The album came about after Campbell and his wife, Kim Campbell, spent time with longtime banjo player Carl Jackson and “reminisced about all of the songs that Glen had always wanted to record but had never gotten around to,” she says   in the “Adiós” liner notes, released exclusively to People,Though her husband struggled at times in the studio, Kim Campbell says in the notes, he was “clearly ecstatic” about being there. Don’t Think Twice, It’s All Right9. Glen Campbell’s last studio album is slated for June. A Thing Called Love   12. Am I All Alone (Or Is It Only Me) (featuring   Vince Gill)7. Adiós Latest updates Everybody’s Talkin’2.

Treat Williams talks falling asleep during ‘Once Upon a Time in America’

We rolled, and you were asleep. Wanna join us?’ I had fallen asleep in the midst of   the scene, but I attribute that to an actor who has extraordinary relaxation abilities.”
Watch the full clip above. I look up and it’s Bob DeNiro saying, ‘Hey.’ I go, ‘Hey, what’s up?’ He goes, ‘You wanna say your line? Show Full Article So we’re all working, I’m lying in the bed, and we were talking, and then all of a sudden I feel somebody’s arm on my shoulder, shaking my shoulder. Treat Williams has been in scores of movies over the years, but one of his favorite roles is still one of his earliest: His small part in legendary Italian director Sergio Leone’s final film,   Once Upon a Time in America. “There’s a scene in the film where I’m   in the hospital, I’ve been shot. But in a new interview with   Entertainment Weekly: The Show, Williams shared a funny story of actually falling asleep during filming. “I had been up rather late,” Williams said.

Alex Gibney’s ‘No Stone Unturned’ withdrawn from Tribeca Film Festival

Show Full Article They added, “We are very disappointed that   audiences will not be able to see the film at Tribeca and we know Alex is equally disappointed that his film will not have its world premiere   at the festival.”
The Tribeca Film Festival runs from April 19-30. Producer Trevor Birney said in a statement Friday that the filmmakers were   “bitterly disappointed” to withdraw the documentary   over   “ongoing legal issues relating to the subject matter.”
He added, “No one will feel this disappointment   more than the families at   the center of the film, whose quest for justice has been both inspiring and unstinting these last 23   years. Festival organizers said in a statement that they were notified of the withdrawal Friday and would issue refunds to ticket holders. It is our deepest hope that these sensitive issues can be resolved as soon as possible so that we can share this   important film with the   world.”
Directed by Gibney,   No Stone Unturned   explores the 1994 shooting that left six pub patrons dead and five wounded in the small village of Loughinisland. According to the film’s description, the police investigation was “perfunctory at best,” and no culprit has been brought to justice. Alex Gibney’s   No Stone Unturned, a documentary   about the unsolved 1994 murder of six men watching a World Cup match in a pub in Northern Ireland,   has been withdrawn from the Tribeca Film Festival just nine days before its scheduled premiere.

How ‘The Fate of the Furious’ handles Paul Walker’s absence

RELATED: Fast and Furious: Brian O’Conner’s Best Moments
As for why he’s unnamed, Elena tells Dom she chose a middle name — Marcos — but that she wants Dom to pick his first name. This post contains massive spoilers about   The Fate of the Furious   and its ending
The Fate of the Furious is not only the eighth film in the Fast and Furious franchise, but it’s the first full film without franchise staple Paul Walker, who died in November 2013 during   filming on   Furious 7. In other words, they’re playing this as if Brian and Mia are off living their happy life, and maintaining that is more important than figuring out what’s going on with Dom. The big twist of the film — again, spoilers! They do eventually figure out what’s going on with Dom, which   brings us to the second Brian reference. In the end, Cipher kills Elena, but Deckard Shaw (Jason Statham) saves Dom’s unnamed son. “No,” she says, before reminding him, very firmly, that they all agreed not to bring Brian and Mia into further adventures. Does it make sense? RELATED: Tyrese Talks Paul Walker’s Continued Inspiration on Fast   Franchise

Long story short: He doesn’t. “That wasn’t Dom,” she tells Hobbs (Dwayne Johnson) as she wonders aloud what kind of hold Cipher must have on the man she loves. After his death, the Furious 7   team, with the help of Walker’s brothers and CGI, found a way to finish his character’s story. There are only two mentions of Brian in the film, and Mia is nowhere to be seen. Is it a sweet sentiment? But hey, we’ll take all the Brian we can get. So naturally, when it was announced there would be an eighth film in the series, fans were left wondering just how Brian would play into things, if at all. He wanted to save his (new) family. Show Full Article So, in the last shot of the film, Dom introduces everyone at the cookout to … Brian. Considering Brian is still alive within the Fast universe, one could argue it’d make more sense to name him Paul. In Letty’s moment of weakness, Roman (Tyrese Gibson) says what we’re all thinking: “Brian would know what to do.” But before he can say anything else, Letty cuts him off. More specifically, at the end of Furious 7, Brian O’Conner is last seen driving down the road away from Dom and toward a life with Mia (Jordana Brewster), their children, and most importantly, no bullets. Not entirely. Just after Dom (Vin Diesel) and Cipher (Charlize Theron) break into Mr. The final scene of the movie features the whole team together for a rooftop cookout, where Dom has a special delivery. But don’t worry. Nobody’s (Kurt Russell)   top-secret location to steal God’s Eye — otherwise known as the scene where Cipher kisses Dom in front of Letty (Michelle Rodriguez) — Letty is left in a state of disbelief. Definitely. — is   that Elena (Elsa Pataky) gave birth to Dom’s son without telling him, and Cipher had kidnapped them both, which is why Dom “went bad” in the first place.

‘Love Actually’ is all around: EW’s oral history of the rom-com classic

I think you can see it in the scene after I do my Snoopy dance in   the doorway: two injured people finding each other. Obviously, this is the only movie in history where he’d have to walk past a picture of Benjamin Disraili. Universal
Time After Time
CURTIS: Love Actually   was a relative joy to make but an unbelievably difficult edit. I had an accessible kind of fame. In a normal movie, someone comes into the bank, robs it, and then they go away. NEESON: Someone recently said to me that Emma and I should have gotten together at the end of the film. I was beside-myself happy. And he’s got a huge, big heart. I had worked with Liam before. I said to Hugh, “Please bend your knees and brace yourself when I jump on you. I didn’t have facial hair or wrinkles back then — and I wasn’t starring on a zombie TV show. And   there was this very pregnant, beautiful woman pushing a pram. I really need to take a look. He was one of the great guys in our industry and just a wonderful man. And she did it perfectly all nine times. But the day I was sitting there and watching all these people walk into the room, all my heroes and idols and reference points for me in my life, that’s when I realized it was real. But I said, “Wouldn’t it be great to have only the best scenes, instead of having to trudge through the other stuff?” So this was a chance to do the 30 best scenes from ten   movies instead of one movie with three good scenes. “I don’t think any of us expected it to become a phenomenon,” says Keira Knightley, one of several actors, along with Bill Nighy, Andrew Lincoln, and Chiwetel Ejiofor, who became stars in the film’s wake. I already knew after reading the script who the cast was. But then I got older and   I loved shaking a leg and being a rock idiot because it was so ironic. But I kept saying to Richard, “Are you sure I’m not going to come off as a creepy stalker?”
CURTIS: Retrospectively, I’m aware that Andrew’s role was on the edge. LINNEY:   They were originally looking for a full British cast and Richard   kept telling his partner Emma [Freud], “To play Sarah, I’m looking for someone like Laura Linney.” And Emma   finally said, “Why don’t you just f—ing ask her?”
LINCOLN: I’ve joked that it was really lazy casting by Richard Curtis, because [he and Love Actually‘s   producers]   all came to see Bill Nighy, Chiwetel, and myself onstage in an incredible play by Joe Penhall called Blue/Orange. CURTIS: It was my first directing go. Colin and I did a movie last year. Just at the point where they might be convinced that I knew what I was doing, then a   week later I was gone. They are   extremely excited to meet me   and ask questions. Some have gotten divorced. And you hear Hugh Grant’s voice saying that on Sept. We shot the scene with Emma weeping in the bedroom nine times, three times at each size: three close-ups, three middle shots, three wide. Is that Colin Firth?”
KEIRA KNIGHTLEY [Juliet]: I remember doing the read-through, with everyone sitting around the table. Billy Mack was familiar to me. NEESON: It’s 14 years ago now and we’ve all lived lives. A class act. It was traumatic. Ah, he’s so f—ing great in it. In fact, mixed reviews and ho-hum box office in the U.S. But then we did a read-though and he got a laugh from every single line. meant it took a couple of years (thanks to DVD sales and holiday TV airings) before the film acquired modern   rom-com   classic status. CURTIS:   See, this is the reason why you hire a brilliant, serious actress for a lighter-tone movie. I defy anyone to switch off. “Oh, hello, Hugh Grant. You can see the mini-sequel   Red Nose Day Actually on May 25 on NBC.)
Mitch Jenkins for EW
At First Sight  
RICHARD CURTIS [writer-director]:   Two of the stories, the Hugh Grant story and the Colin Firth story, I had started to work on as whole films. I just had to hold cards and be in love with Keira Knightley. McCUTCHEON: Hugh has a really naughty sense of humor. I had so many opinions about absolutely everything, so I decided at a certain age it would just be safer for me to direct it myself. LINNEY:   But I’ve loved the relationships I made thanks to Love Actually. 11, “all the messages were messages of love.” You’re grabbed immediately by that. CURTIS:   For the Billy Mack role I had two people in mind, one a famous comedian and the other a famous rock star. Show Full Article Every single line. [The “y” in Nighy is silent.]

McCUTCHEON:   I remember Emma Thompson invited me into her trailer to have lunch and she said, “You do know that not all films are like this?” So I kept pinching myself. That is all, all, all Emma. And it’s not even mine. LINCOLN: I was screen-tested a lot, and I think it was decided that I looked quite innocent. Some of us have died. But we   both got to make each other feel better all day long. Rodrigo Santoro is   on Westworld. “But it took on this wonderful following and now it’s almost bigger in America than anywhere else.”
EW caught up with Curtis and many in his cast for a lovely, lively look back at a movie that its fans know by heart. NIGHY: It turned out that all those years of reading New Musical Express, Rolling Stone, and Melody Maker counted for something. And now it doesn’t work so well. I think the house burned down shortly afterwards. Hi, Alan Rickman. It was like one of those Merrie Melodies cartoons featuring all the famous characters. [Natasha Richardson died after a skiing accident in 2009.] And, oh, sure, plenty of times I’ve thought about this film and my own life. CURTIS:   Hugh and I had many arguments about him being prime ministerial. Hi, Liam Neeson. You’re Richard.”
CURTIS: Me? Huge. I gave all the random   footage to Emma [Freud, Curtis’ partner]   and asked,   “Will you just knock that into some kind of shape?” We never changed her editing. He used to play acidic, left-wing characters and there was something vinegary about him that wouldn’t be right for the film. In the film’s most heartbreaking scene, Karen (Emma Thompson) discovers on Christmas Eve that a necklace bought by her husband (Alan Rickman) has been given to another woman. This story originally appeared in Entertainment Weekly’s Untold Stories issue, available to buy right here. I don’t want to kill you on my first day.”
FIRTH: It was a bit tricky filming in the pond because I think it was only about three   feet deep. People are so affectionate   about old rockers — and me doing lively gyrations in front of beautiful women was so ironic and so stupid that it was enjoyable. The water was pretty foul and I emerged with a mysterious and immense swelling on my elbow. Martin Freeman is on Sherlock. I was driven to the nearest doctor but no one ever figured out what it was. It was so delightful to see her. I’ve done several films with children and I just love acting with them. Chiwetel, of course, my God, did you see him in   12 Years a Slave? “I was such a great fan of Pulp Fiction, Robert Altman’s films, Woody Allen’s films,” he tells EW. All   because of Love Actually. NEESON: In the first minute of the film, you see real people in the airport, these lovely anonymous faces, all happy to see each other. I didn’t look as, well, creepy as I do now. That was the effect that the film had. It was so powerful. We’d both recently been through terrible relationships and were bemoaning that moment in our lives. I don’t know about that. But afterwards, I noticed people felt more trepidation about approaching me. [Laughs]
LINCOLN: In one of the most romantic movies of all time, I got to play the only guy who doesn’t get the girl. I was so terrifically moved by that song, especially by the fact that it was written   by a 23-year-old yet is so suitable for a woman who’s had the whole of life’s experience. “Those movies with multiple storylines that crisscross each other.” That template hadn’t really been applied to the romantic-comedy genre — until Love Actually. So since I’d   shown interest they ended up letting me play Daniel. She was just a pedestrian on the bridge, she wasn’t an extra. The usual sensitivity and delicacy, which I obviously didn’t agree with. Billy Bob Thornton [who played the U.S. But in this movie, anything could come after anything. The producer Duncan Kenworthy kept yelling, “Down with the guitar!”
NEESON:   We were doing our little scene, walking and   talking, on the Millennium Bridge. Richard’s girlfriend [script editor Emma Freud] came up to me and said, “You realize who you’re playing? I’ve cast him in everything I’ve directed since. Hi, Emma Thompson. I used to be able to tell you the bass player in every band on earth. NEESON:   Thomas [Brodie-Sangster] and I felt like we were the stars of the film. But then Richard left us and made another whole movie with Hugh, with Emma, with Bill Nighy. I’d seen Bill Nighy   a few times onstage and found him not really to my taste. I’ve lost my wife. CURTIS:   It was a bit nerve-wracking for me as a first-time director because no actor could get used to me. And look at how Emma touches her palms to her face and how she taps the bed. In 1995, Four Weddings and a Funeral lost the Best Original Screenplay Oscar to Pulp Fiction. president had Angelina Jolie’s name carved on his arm. I’d go to interviews and I couldn’t work out the vibe because suddenly they were persuading me to be things, rather than me pretending not to beg. And Billy Bob was going [in his Southern accent], “Oh my Gahd, Hugh, I dun’t laake this.”
CURTIS:   I quite enjoyed knowing that the U.S. We’re just acting like we’re not.”
LÚCIA   MONIZ [Aurélia]: There was a   feeling of you have to see this to believe this. She receives a Joni Mitchell CD instead. It was a huge moment in my career, doing the play with those guys. NEESON: Richard did a lot of research by watching his favorite movies. You mean, obsessively in love and unable to express it so well? The movie, with eight intertwined stories, was not a populist slam dunk. The first scene we ever filmed was actually the airport scene at the end. Andrew Lincoln is on The Walking Dead. president] hates antiques, and Hugh was constantly pointing at pieces that were 500 years old. I recall the whole area where we filmed was a fire risk and we were surrounded by firefighters throughout. And the wonderful Alan Rickman said to me, “We all are, darling. Wow. But yeah, I don’t know, maybe we should have. KNIGHTLEY: Oh, Saturday Night Live did a parody of that? (For much more on the film’s Red Nose Day reunion,   click here. Nick Briggs
For more revelations from the past four decades of entertainment, visit As she passed me she said, “Liam, don’t you remember me?” And I’m thinking, “Was this some   night of passion that I’ve forgotten all about?” Anyway, it was Katrine Boorman, who was in my first film Excalibur. But my bum kept floating up. I went out in the street and called my mum and said, “This is unbelievable.”
MARTINE McCUTCHEON [Natalie]: I was so nervous at the first read-through. LINCOLN:   The one great sadness is obviously Alan not being around. I’ve always described it as three-dimensional chess. I just wanted to curl up in a ball and die. I’d be having lunch with my mother and daughter and someone   comes up to us to say hello. Alan Rickman and I became really good friends and he was as much of a mentor in my career as anyone. For [screenwriting projects] Bridget Jones’s Diary and Notting Hill, I’d been on set and I thought I’d be killed by the next director because I was so annoying. Now, of course, I can’t imagine anyone else   other than Alan. McCUTCHEON: Before Love Actually, my fans felt like I was their friend. My experience of an airport is normally putting my head down and running out of it as fast as I can. I think they’d cast my old friend James Nesbitt in the part   but   he had a conflict of dates. Everett Collection
COLIN FIRTH [Jamie]: I seem to remember Richard Curtis wondering whether mine and Hugh’s roles should be switched. And some audiences have almost been able to pronounce my name. You’re supposed to stop reading NME when you’re 42. FIRTH: We were on location in the South of France and it was like doing an entirely separate film. I just wanted him not to be a bore. What are you implying?” Then I realized, “Oh, no, she was Hugh Grant’s sister.” It’s been so many years. No sensible person would have gone in that water. He said to me, “I was just looking at some Woody Allen films and I forgot you were in Husbands and Wives.” I was telling him stories about that. Which counted me out. LAURA LINNEY [Sarah]: Before filming began, there was a huge table read. KNIGHTLEY:   It’s so beautiful, the idea of loved ones waiting to reconnect. Looking back at Robert Altman’s work, I did watch the first five minutes of Short Cuts and realized how he introduced   everybody at the beginning. Bill Nighy is everywhere. But it’s set up like a prism looking at all the different qualities of love. McCUTCHEON:   I was in love with Hugh Grant ever since I was a teenager when   I saw him in Four Weddings. But I read it and thought I’d be more suited for the scenes with the kid. And so Richard   just came to National Theatre to watch the play and then cast all three of us. I’m not sure how Lúcia dived in. LINNEY: Rodrigo [Santoro] and I were both heartbroken at the time we made the film. ANDREW LINCOLN [Mark]:   My big scene with the cards in the doorway felt so easy. But that setback only fueled Four Weddings’ writer, British maestro Richard Curtis, to pursue his dream movie. He always thought I was making him too sweet, with the dancing and all. Keira is so famous. I just loved it. CURTIS:   The movie was meant to be a mixture of the not famous and the famous. NIGHY: After the film’s release, I didn’t have to audition anymore. The audience for Love Actually was big enough for me to play other principal roles in big movies. My favorite stuff in the whole film, actually, is the airport stuff. That was why I totally got it, even on the script level. Oh, my dear old friend Alan Rickman, God rest him. And I said, “But she’s my sister! Don’t forget to subscribe for more exclusive interviews and photos, only in EW. I wasn’t aware. It’s like a silent film. Mine was unrequited. Any actor will tell you, that was like all my Christmases rolled into one. NIGHY: For one of the music videos, I was naked with nothing except for a guitar and cowboy boots. It’s why cinema is so pure. MONIZ: It happened to me in London and Toronto. I hadn’t seen her since the ’80s but she just happened to be passing. We realized we were all sharing it. It might all have gone downhill from there, for all I know. So I told him, “Bad news, Billy Bob.”
BILL NIGHY   [Billy Mack]:   When I was young I used to be in a band and I got terribly self-conscious because I thought I   had to throw shapes that might suggest I   was   good in bed or something. Whenever I’m flicking the channels, I have to watch. And the second drummer. CURTIS: I had quite a lot of pushback on the 9/11 mention. I carried on until I was in my late 50s. We definitely played Joni Mitchell’s “Both Sides Now” as we were filming the scene. But I think because Andrew was so openhearted and guileless, we knew we’d get away with it. To make it seem deep I had to try and sit on the bottom. And while pretending to play the guitar, I would lift it up, exposing a part of me that was not destined for the movie, if you see what I’m saying. Liam Neeson has become the greatest action hero in the world. I was in awe. The most fun thing was that one of Billy Bob’s oddest   phobias was towards [British prime minister]   Benjamin Disraeli’s facial hair. It has a beautiful arc running through it. LIAM NEESON [Daniel]:   I was originally asked to do the Alan Rickman part. I   learn so much from them. Both Sides Now
Several of the film’s scenes have since become pop culture touchstones, none more so than when Mark (Andrew Lincoln) declares his unrequited love to his best friend’s wife (Keira Knightley) by   silently holding up handwritten cards that proclaim his true feelings to her.

Jimmy Smits reflects on ‘NYPD Blue,’ ‘West Wing,’ and more favorites

“That sticks in my head: Butt work.”
Years after exiting   NYPD Blue, Smits joined the later seasons of   The West Wing   as Matt   Santos, a Barack Obama-like politician who successfully pursues a campaign to succeed Jed Bartlet (Martin Sheen) as president. That show was known for showing some slight nudity and, in Smits’ words, “risque sexual situations,” which made every new episode a surprise for the cast. “Talk about opening-night jitters. Jimmy Smits has been a consistent presence on TV for decades. Wow.”
Watch the full clip above. Show Full Article Though he now stars on Fox’s   24: Legacy   and Netflix’s   The Get Down, Smits sat down with Entertainment Weekly: The Show to talk about his favorite roles over the years. One of Smits’ first major breakout roles came on NYPD Blue, where he played Bobby Simone, the partner to Dennis Franz’s surly Andy Sipowicz. He even recorded a live debate with his opponent, Arnold Vinick (Alan Alda). Download the free app on your Smart TV, mobile, and web devices. Catch the   full episode of   Entertainment Weekly: The Show, available   here   and on the new   People/Entertainment Weekly Network (PEN). “It was fun to see every week, when the new script would come in, who was going to be at the treadmill or gym, because they knew their butt was going to be shown in that particular episode,” Smits said. “To do a live debate, when you don’t really know much about the political situation, it was like doing a play,” Smits said.

Emily Ziff Griffin explains friend Philip Seymour Hoffman’s influence on her work

But at a certain point, I really started to view this book as a kind of metaphorical journey for a girl who’s coming into her own power, specifically her own creative power. I smiled and took a step toward them. There are a lot of ideas in this story, but the central ideas have to do with the ways in which the darkest moments of our lives actually become the most transformative, empowering, revealing, and impactful in a positive way. Emily Ziff Griffin will publish her debut YA novel,   Light Years,   this September — but this is hardly the beginning of her career. I swallow, then will the sensation away with the sound of my own voice. Okay?” I nodded and watched him go. The things that have come with the distance from it. Certain people and places can spark complex reactions. A place to work, a bed. Five minutes ago. Griffin’s grief over two events in her life — her father’s death from AIDS when she was 14, and Hoffman’s death in 2014 — helped inspire   Light Years,   the story of Luisa, a young girl with synesthesia, who ends up on a personal spiritual quest while also trying to stop a global pandemic. That is my first memory. It’s one big room. The door clicks behind me and a wave of bright yellow gives way to pitch black. “She’s late,” I report. The doors open with a wave of cold air. As my eyes adjust to the darkness, I see a large desk at the center of the room. What does Bell keep in his fridge? My ears pop and my stomach rolls over on itself. How do you flex different muscles as a novelist than as a producer? This isn’t real, I tell myself. “I told her, not today. And another. Two slick black chairs stand next to it facing a monitor that seems to float on the surface. “And good afternoon, Mr. Joe leads me to sit and a moment later I am alone. EMILY ZIFF GRIFFIN:   The real seed of the book was my father’s illness and death when I was a child. My mother: In a cab. He sets a crystal-clear glass of water on a heavy coaster. The waves seemed like mountains, but as my mother charged into them, they shrank. Which somehow makes me calmer. My grandmother says it looks like Our Lady of Guadalupe, the Mexican Virgin Mary. I think, as creative people, these huge turning points — and sometimes very small turning points — become these anchors in our work. My first lesson in scale and perspective. I sit down and look over at the wall of closed doors. And as we built a production company and both made choices about what to take on, I learned from him to always be looking for that: Why am I attracted to this story? Check out the interview and excerpt, below. “Mr. I don’t know if I cried from upset or relief. Below us, Central Park’s lush meadows and plump trees spill out, surrounded on three sides by the gray and beige concrete of an older New York, the one that existed before the skyline was swallowed by glass and steel. Bright light and a couch for reading. I wrap my hands around the armrests and wait, steeping in the amber glow of the monitor. It’s the other way around. I sense a figure standing in the corner. The continuation of our relationship, to me, is actually being able to put this book in the world. “Before a concert,” my dad says as we wait, “I like to think about how the music isn’t for me; it’s for someone out there listening, someone who needs it. Who’s in them? I keep it hidden. Like I said, people think she’s nuts. I look down again at my scar. I stand and look down from this 200-million-dollar apartment nearly 1,000 feet in the sky. That always makes me less nervous.”
Okay, that’s nice and all, but Thomas Bell doesn’t need anything from me. “What do you think?” replies Joe. I was almost 14 when my father died. The main attraction, aside from feeling that I have this thing I want to share and express, is the fact that producing requires a lot of other people to say yes to you, to give you money, and to agree to participate. “Is he falling or flying?” I wonder aloud. Blue always tastes like chocolate when I’m nervous, and I’m nervous. “Hello, Luisa,” he says. I took another step. Telling that story would have been the story of a young child who’s sort of disconnected from this impending loss. Leather sofas. I hesitate. I watch the liquid settle in the glass. The room brightens. I’m Joe Anderson, Special Assistant to Mr. I start to relax. You just be yourself and let go of the results.”
But I have everything to lose. I step toward a bright-eyed man behind a reception desk. They are too influential, in terms of how we experience life and how we view the world, not to become huge factors in the work that we do. Plus, my mom would be paying for college and I don’t want to owe her anything. My mother: In the lobby. Bell,” Joe says. But as an adult, with all of the distance and time and work that I’ve done, and all the other life experiences that I’ve had since then, I have the ability to think about my own death and the loss that we all experience when people around us pass away in a totally different way. Suddenly a wave rushed in and knocked me down. I felt the most “in my element” writing this than I ever did producing someone else’s movie. My chest constricts. I picture the apartment I will have. She’d only make me more stressed.”
He sits down and hooks his steady green eyes to mine. Show Full Article Be there ASAP. Another flash of pink reminds me that I am not at ease. Light Years   was also influenced by your creative partnership and friendship with Philip Seymour Hoffman, right? A rush of magenta sweeps across my eyes. They looked back at me and began to swim to shore. It’s like the wires get crossed and my brain sends the wrong messages to my body, or vice versa.   I worked with him for 12 years, and   that relationship influenced the way I view art and storytelling and character. I watch Joe move briskly to one of the doors, then vanish behind it with barely a sound. My watch buzzes again. My dad shakes his head. I want my life to start now. I didn’t want to tell the story of a young child in the 1980s whose father gets AIDS and dies. I rub the scar with my thumb. I turn back. Griffin explains that in EW’s exclusive excerpt from the book, below, Luisa “starts out as someone who is driven by logic, rationality, and her intellect… and what she eventually gets to uncover is that there are other parts of herself, her emotional self and her creative self, that are equally important.”
The author spoke with EW   about the book’s genesis and what Hoffman taught her about art. I feel like I can hold the entire world in my palm. How many rooms are back there? My father and I arrive at the elevator. My father looks at me. “Seventy-fifth floor.”
“Thank you.” I turn toward the long, mirrored corridor that leads to the elevator bank. A fat little arrow. My eyes search for the door. Smells come with flashes of color, sounds have tastes, sights bring the sensation of temperature or touch. Most of the time, I can think my way back to normal. “Jesus,” he mutters. My grandmother is the same way and all her life everyone has treated her like she’s crazy. “Something to drink?”
My father clears his throat. My father set me down, grabbed my hand, and we ran after her. I have to get out. The elevator car shakes gently against its surrounding walls as we rocket up the seventy-five stories to the penthouse. My skin erupts in goosebumps and the trickle of sweat that has been nagging its way down my spine dries up in the cold air. I had always been interested in the idea of telling that story, but I never wanted to tell the   literal   story of what happened. I grab my bag and follow Joe to the wall of closed doors. College is just a bubble, a delay. The Avarshina Industries logo fills the void: an abstracted image of a flaming match. I glance down at my black lace dress and chunky, high-heeled ankle boots. And that was my own journey with Phil — it’s like a torch I feel like I picked up and am trying to carry on. My father and I stand. It’s short and squat. I take two clumsy steps and the screen lights up behind me. The building’s edges blur against the cloudless sky—nature and the man-made becoming one. I take one look back at my dad and cross into the next room. ENTERTAINMENT WEEKLY: What inspired this book? Orange: bright, harmless. I stare up at the gleaming glass tower and a torrent of blue pours down. What are some of the specific things you learned from him about character and art? But I don’t. I always felt like that wouldn’t allow me to get to the elements of the story that, to me, are most resonant for other people, not just for myself. His expression is unnervingly flat. She says it signifies my closeness to God. I’m making coffee in the morning quiet. My father takes in the space. I felt the water all around me, filling my ears and pulling me as the wave ebbed. Griffin has spent years working as a movie producer, from running Cooper’s Town Productions with the late Philip Seymour Hoffman and to producing   such films as   Capote, God’s Pocket,   and   Jack Goes Boating. “How can I help?” he asks. We enter the marble lobby and the temperature drops about twenty-five degrees. Like what? I press “up” and focus on the shape of the arrow on the button. The walls are papered in pale grey velvet and lit by small chandeliers that look like they were salvaged from the Titanic. Bell.” He shakes our hands and leads us to a door at the end of the luxe hallway. I track the edges of the match from one end to the other and back again. Maybe there’s a bird on the window ledge. “I’m Luisa Ochoa-Jones,” I reply quietly. A hissing sound envelops me, like I’m surrounded by snakes. I have to go. My father pulled his T-shirt off over his head and stooped down to my level: “Stay here, lamb. My shrink, Dr. She grabbed me and held me as I cried. She doesn’t seem to mind the condition, but I do. I remind myself that 2,300 people applied and only five of us made it this far. His eyes are searching, uncertain, then they shift. Merit Press
Excerpt from Light Years   by Emily Ziff Griffin
Chapter 1
It was that time of day, when the light hits everything sideways. I want to know what it’s like to turn the lock on my own apartment door, to work all night and sleep all day if I feel like it, to not have to explain myself to anyone. I struggle to draw breath. Maybe she is. “This is it,” I say to my father as the white-gloved doorman beckons us inside. Maybe it chirps like it understands the value of solitude. Thick, plush rugs. We braced against a sheet of wind that hit with the force of a clanging church bell when we cleared the top of the boardwalk and saw the ocean spill out before us. So at that age, I had no bigger perspective other than just fear, and kind of an inability to even process what was happening. I zero in on the match’s orange tip. “I’d like some water, please.” Now he’s nervous. And then, my father’s hands, lifting me to him and my mother swooping in. Not to this.”
“I don’t care,” I respond quickly. “You have nothing to lose here, whatever happens. Yes, the fact that I’ve made it to the final round will most definitely help get me into college, if I wanted to go to college. Two walls of floor-to-ceiling windows, a third with a series of closed doors, and a fourth covered by a massive painting of a shirtless figure superimposed over a satellite image of a city. My mother ran ahead, flinging her sandals onto the sand and stripping off her emerald green dress. I leap to my feet. We went down to the beach, my young mother smiling and laughing, her dark chestnut hair falling down her back in wavy curls, and my father carrying me in his arms.  
The two of them sank under the warm summer sea, then reappeared, kissing, as I stood on the wet beach, the frothy water rushing up and over my feet. Anything I know about those things is because of working with him. We come out into the hall. “You’re very tall in those shoes,” he says after a moment. My pulse quickens with it and my mouth becomes so dry I imagine any words I form will come out as imperceptible gasps. A ding as we level off. I soften into a smile. That’s really what I think he did so beautifully, always connecting   his own experience and his own perception of people and humanity to the character he was playing. Moments later, I am overwhelmed by the smell of roses. “Yes, of course,” the man says, nodding. I guess I’m still getting used to it. All the days between splitting my knee and dyeing my hair are imbedded in my cells like bits of rock in a mountainside: my body as time capsule. But I cried and my mother kissed my face, wrapped me in her green dress, and carried me all the way home. “Sorry, the meeting is between Luisa and Mr. A light-haired, boyish-looking man stands waiting in crisp khakis and a white dress shirt. I started to observe that he chose even the projects that bore no external resemblance to his own life because they were   about   him on some level. What is it about me that I can bring to the telling of this story that’s going to make it resonate for other people? One of the biggest things is the idea that all creative work must be personal, but it should rarely be literal. It’s easily twenty times the size of the biggest room in our house. I clutch the handrail, wanting both to get there and never arrive. I cross my legs and direct my anxious mind to the scar on my knee from when I fell horseback riding in Mexico. The sun was casting its final gleam of golden warmth and the sky was going from blue to purple. Joe is back. I’ve been blonde for exactly nine hours and even though I’d never felt more like myself as when I stepped out of the shower with my new hair, my reflection is kind of a shock. The amazing thing to me about writing is that it requires none of that: I can literally sit down and do this thing, and no matter what anybody else says, whether it gets published, it exists in the world. My watch buzzes with an incoming text. These sensory misfires have been with me all my life. When my emotions run high, my senses get muddled. But my body doesn’t believe me. *
The sound of the city dissolves into a hum. “Please sit,” he offers after a moment. I had actually started this book shortly before he died. I think that’s why his characters produce so much empathy, even when he was playing someone who was not nice, or not a “good guy.” You always felt for those characters, and I think it’s because he could see himself in them. All grays and white. Jones. I go back to my seat. I quicken my pace. I was all of two or three years old, but I remember. Thomas Bell is the most brilliant and successful tech entrepreneur in the world and the Avarshina Fellowship means funding, mentorship, and most importantly, freedom. Steph, says that the more I can engage my senses deliberately, the less they will take on a life of their own. Yeah. Most of the time, I can keep my feelings in check. My father mops his sweaty brow with a handkerchief. I wrote the book and it’s a complete thing. Bell is ready to see you.” I look up. Breathe, I tell myself. We step through. “It’s better she’s not here. The figure is Bell. I shift my posture, tilt my chin slightly upward, roll my shoulders back. She’s late, like always.

Goldie Hawn on learning some Hollywood lessons

But, says Hawn, “It   did not serve me because there were directors that thought, ‘Oh she just wants to do her stuff’   or it became a ‘Goldie Hawn Movie.’ With all of   that — whatever my gift might have been in terms of drama or anything I might have wanted to do — I really had to develop it myself.   Her new film   Snatched   (in theaters May 12)   is her first since 2002’s The Banger Sisters and it pairs her with the perfect co-star—the equally smart and funny Amy Schumer. To read more on Goldie Hawn and Amy Schumer’s new film Snatched, pick up the new issue of Entertainment Weekly on stands Friday, or buy it here. Don’t forget to subscribe for more exclusive interviews and photos, only in EW. It was a real double-edged sword.”

Show Full Article So getting a great director — although I worked with some wonderful ones — was not easy for these comedies, because nobody wanted to do something that had that stamp on it. RELATED: Exclusive Photos From EW’s Cover Shoot with Goldie and Amy
“Private Benjamin was the first movie I produced, and I produced it for practical reasons,” she says. Let’s take a moment to enjoy the fact that the great Goldie Hawn is coming back to movie theaters. The film went on to be one of the top box office earners of 1980 and was nominated for three Academy Awards. When EW sat down with the spiritually-related pair, we talked about their very funny film, comedy and Hollywood. In the video above, Hawn explains that even after starring in a big hit (and she starred in many) it doesn’t always translate to more power.

Del Shores returns to the ‘Sordid’ world 17 years later

That was truly my inspiration. That is a really great question. Do you think you would return to Sordid   down the line? Show Full Article When I wrote Southern Baptist Sissies that was the first time that I really ventured out into pure drama with themes where there was not one laugh sometimes. You can’t have Leslie Jordan not perform Tammy Wynette. We need to move on to some other stories. Fans first met Juanita, Brother Boy, Latrelle, Sissy, and the gang in Del Shores’ play-turned-movie   Sordid Lives   in 2001. Supreme Court’s same-sex marriage ruling, and deals   with the ensuing responses to the decision from various members of the community. With Sordid, that’s why: People genuinely care. That’s why so many gay fans are comfortable to share Sordid Lives with their families. Advancing it all the way to 2015, just made so much sense. Because I saw what happens when equality comes roaring into these rural areas, where these religious bigots are still fighting and screaming even louder because we now have laws that protect us. As a kid I was always inspired by the comedy of Carol Burnett. I guess Modern Family in a way if you have to. I do. We lost the amazing Sarah Hunley after we shot. When the original movie came out, it was never my intention to have people come out to their families by showing Sordid Lives to them, which I always thought was a little bit odd. Since then, the cult favorite has spawned a short-lived TV series (Sordid Lives: The Series) and now, 17 years later, a movie sequel in   A Very Sordid Wedding. It’s not really a gay story. The series has such a following, were you thinking of just giving fans what they want? Never say never. I like that tone but in that, but I didn’t have to go to that well. [But] they saw people in that. Is representation better? There you have family members happen to be gay and the show is not really gay. That could be a possibility. They were asking this question at a Q&A. Oddly enough I’ve never been worried about the tone as long I stay true to the characters. So it’s a combo in writing. The limited-release film   is set in the small town of Winters, Texas in 2015, following the U.S. Let’s take the character of Brother Boy. and I was able to return to my characters and see how they have evolved or how they haven’t, given the circumstances of their lives and the circumstances of what’s going on in the country. I had that ability to remember verbatim things that they said. I just became an observer of behavior and dialogue. If you don’t care about [the characters] you’re not gonna think about it the next day. You touch on   real issues in the movie. But I’ve always gravitated organically to blending tones and usually get good reviews about that. But you and I could sit here and probably list 15 shows with gay characters — and very good gay characters. Having worked in television and film, do you feel like one medium is more progressive than the other in terms of representation? But I think it’s the end. Sordid is rather unique. I think so. I would literally go back in my head to the town I grew up in and then returned to every single summer. Where would you fit Sordid in terms of gay representation? Were you afraid of losing the Sordid tone? Queer as Folk is gay gay gay gay gay. What made you want to return again? I really feel that Queer as Folk preceded it all. I love that, that we don’t have to have our own show. I knew the fans would love that. I often say I’m really not a writer, I’m just a thief. You suddenly had gay characters who weren’t just the clown. Or were you focused on what you wanted for the characters? I literally re-write for every single character so that I can get inside their head and kind of breath them throughout the script. Suddenly it gave them the bravery to come out… I can’t think of any other show. I immerse myself into this world. At the same time, my movie’s the only one so far that has really captured what happened after that Supreme Court decision. I loved Dick Clair and Jenna McMahon’s Mama’s Family. What makes a film or show something that culturally moves the bar? All I had to do was go to my mother’s family. EW caught up with writer-director Shores to discuss returning to his Sordid   world, and whether gay   representation in pop culture has really gotten better. We’ve seen it in both mediums, but I do feel like TV paved the way. They were actually people with relationships, with children, with problems, who actually have sex. Beard Collins Shores
Gay rights have really progressed since the original film and Queer as Folk, which you wrote for. I did feel like in telling this story that it was the last chapter for Sordid Lives and for the Sordid characters. You   jumped so many mediums with Sordid   — was there anyone or any series you looked at as a model for how to do this? My actors, they’re getting up there… I guess I could always do Sordid Lives the early days. And Rue McClanahan. That’s what life is about. I added Loretta Lynn and Dolly Parton and just had such a blast. ENTERTAINMENT WEEKLY: Since Sordid Lives, you also made a TV show with these characters. We don’t really have that show anymore. SHORES: I love these characters, and people wanted to know where they ended up, with what was going on with the LGBTQ community and our progress that was being made, yet so much hatred is being spewed from pulpits and politicians’ podiums. I do know my fans and characters and what they expect. It’s just much more a family story that happens to have gay members, which most people do.

‘A Quiet Passion’: EW Review

Terence Davies’ portrait of poet Emily Dickinson — who died in 1886 at age 55, virginal and virtually unknown — is, like its subject, a strange bird: ethereal but severe, full of dreamy flights and odd formalities. And Nixon vividly telegraphs both her character’s convictions and her deep physical and emotional suffering. Played in early scenes by Emma Bell, Dickinson seems like the kind of young woman who might have become a suffragette firebrand, openly challenging authority and the obedient, God-fearing hypocrisies of her peers. Putting a life of the mind on paper is one thing; finding a way to translate to the screen is a trickier proposition. (Her extreme isolation makes it unsurprising that the few outside connections she does forge have the tortured, feverish intensity of unrequited love.)
Writer-director Davies (The House of Mirth) manages to capture at least some of the metaphysical swoon of Dickinson’s work in a series of beautifully composed images, which is a feat in itself. B

Show Full Article But the movie is also hobbled by its insistent lack of naturalism; characters don’t so much engage each other as speechify in grand, self-aware paragraphs as if every dinner-table musing is being recorded for posterity. But she’s also guided by her own rigid codes and phobias, and Cynthia Nixon embodies the adult Emily as both a radical romantic and a priggish scold, so wedded to her version of moral truth that it almost cracks her open to live in the world like most people do. Though of course some of them will be, and that’s where A Quiet Passion finds its most transcendent moments: in the immortal, extraordinary verses Dickinson left behind. And so, eventually, she doesn’t — and her family, including her stern but loving father (Keith Carradine) and devoted sister Lavinia (Jennifer Ehle), end up a party to her undoing, treating her like a hothouse flower to be carefully tended and protected until she becomes a sort of jittery, self-imposed recluse.

‘Fear the Walking Dead’ renewed for season 4, finds new showrunners

Gimple is joining the series as an EP as well. Per the network, Andrew Chambliss and Ian Goldberg (Once Upon a Time) will become the show’s new co-showrunners in season 4. The third season of   Fear The Walking Dead   premieres June 4 at 9 p.m. Fear The Walking Dead is coming back for yet another season — albeit with new showrunners. As EW previously reported, showrunner   Dave Erickson is stepping down after season 3 in order to focus on new projects for AMC Studios. The network also announced that   Walking Dead showrunner and executive producer Scott M. ET

Show Full Article AMC renewed   The Walking Dead   companion   series for a fourth season ahead of its third season premiere, the network announced Friday afternoon. “We are thrilled to be joining Fear The Walking Dead   and couldn’t be more excited to work alongside the wonderful team at AMC on this show,” said Chambliss and Goldberg in a statement. “We love this universe and are truly honored to have the chance to contribute to it.”
“We’re very excited to continue the journey of Fear The Walking Dead,   and truly look forward to working with the talented team of Andrew Chambliss, Ian Goldberg, and Scott Gimple,” said AMC and SundanceTV president of original programming and development Joel Stillerman.

’13 Reasons Why’: Dylan Minnette easter egg discovered on Google Maps

Show Full Article Google Maps
Google Maps
So,   13 Reasons Why   fans, do you think it’s actually him? See the photo below:
Google Maps
As you can see, we can’t be 100 percent sure that it is Minnette since his face is blurred, which is what Google does   to every face (and license plate) captured by its Street View Cars. And for all of EW’s   13 Reasons Why coverage,   click here. However, there’s definitely reason to suspect it is him because, as Pehanick points out, you can see the production crew when you pan to the left and the right (see the photos below). Are you already planning your trip to stake out the house in case the show receives a second season? RELATED:   Why the Cast of ’13 Reasons Why’ Looks So Familiar
“The only thing that gives me pause is that in this picture he’s wearing Apple earbuds, but in the series, Clay uses over-the-ear headphones,” she writes. PopSugar’s Maggie Pehanick, a former EW intern, Googled the address of the show’s main character, Clay (Dylan Minnette), and when she switched to Street View, she was surprised to find an image of what appears to be   Minnette himself posing outside of the house. She does admit, though, that there’s one thing that causes her to question if it’s really him. Check out this fun easter egg on Google Maps yourself, here. A journalist   stumbled onto a hilarious   13 Reasons Why easter egg on Google Maps while researching an article. It seems as though one of Google’s Street View Cars drove by during production.