Categories
Television

Can’t wait to see this, and may he rest in peace.

‘Odd Couple’ salutes Garry Marshall’s legacy with star-studded tribute

Both TV versions of “The Odd Couple” sprung to life through the vision of the late Garry Marshall, who died in July at the age of 81.

So it’s only appropriate that Monday night’s “Odd Couple” episode (9:30 p.m. on CBS), “Taffy Days,” will pay tribute to Marshall — in a lighthearted way and with many guest stars from his shows including “Happy Days” (Ron Howard, Anson Williams, Don Most, Marion Ross), “Laverne & Shirley” (his sister, Penny Marshall, and Cindy Williams) and “Mork & Mindy” (Pam Dawber).

“Our first thought [regarding Marshall’s passing] was maybe a little ‘In Memoriam’ card in the first episode [of the season],” says series executive producer Bob Daily. “But the more we thought about it, we thought, Garry devoted his life to making people laugh, so rather than doing a little short, sad card, let’s try to do something we hoped Garry would have appreciated — both heartfelt and just a fun, silly episode.”

Marshall, who developed and executive-produced ABC’s ’70s-era “Odd Couple” starring Tony Randall and Jack Klugman, returned for the CBS version — with stars Matthew Perry (Oscar) and Thomas Lennon (Felix) — as an executive consultant. He appeared in an episode last season as Oscar’s father, Walter.

“We’re told in the first scene [of Monday night’s episode] that Walter had a request — he wants Oscar to scatter his ashes behind the candy factory he owned with his old business partner, who Walter hadn’t spoken to in 30 years,” Daily says. “So Oscar has to find this mystery person and, in tracking her down, he’s looking up old addresses and that’s how he’s running into all these fabulous cameos.

“Ron Howard plays the lawyer who gives Oscar the news about his dad’s instructions, and Marion Ross plays [Walter’s ex-partner’s] mother. Pam Dawber is a bartender, Cindy is [the business partner’s] sister and Anson and Don are barflies sitting in a booth like Arnold’s [in ‘Happy Days’].”

Oscar finally does find Walter’s old partner (but we won’t ruin the surprise).

“I was nervous about the [CBS] reboot job since the show has such a great legacy,” Daily says. “From the very beginning, Garry called and left a message and said, ‘Anything I can do to help; I want to be there for you. I want this to succeed.’ ”

The episode ends with an “In Memoriam” card, showing a picture of Marshall with Randall and Klugman from ABC’s “Odd Couple,” which fades into a picture of Marshall posing with Perry and Lennon.

“He came in every day to pitch jokes, to sit in the writers room and was at every taping,” Daily says of Marshall. “He also sent in story ideas. He always wanted to work, and we just wanted to hear his stories.

“It was such a thrill to have him in the room.”

Categories
Movies

I thought that DOCTOR STRANGE was a great origin story film. I look forward to seeing what they do with the character now.

Box office: Doctor Strange reigns supreme with $85 million

Disney’s record-breaking box office year just keeps getting better, as their Marvel Studios celebrates its 14th consecutive No. 1 debut with the Benedict Cumberbatch-fronted comic book adaptation Doctor Strange.

For the first time in over a month, all of the weekend’s new wide releases occupy consecutive spots at the top of the domestic box office, though Doctor Strange — which amasses a superb estimated $85 million — leads the pack far and away.

The $165 blockbuster got off to a stellar start on Thursday, with $9.4 million coming from Nov. 3 previews, more than similar films like X-Men: Apocalypse ($8.2 million), Thor: The Dark World ($7.1 million), and Ant-Man ($6.4 million) grossed across the same frame in years prior. Its opening weekend haul ballooned to $85 million on Sunday, with an A CinemaScore from polled audiences (Marvel’s tenth straight feature to achieve the feat).

According to RealD, roughly 47 percent of Doctor Strange’s opening numbers come from 3D screenings, while the film pulls in another $118.7 million from international markets, bringing its worldwide total to an estimated $325.4 million as it occupies around 94 percent of its planned global footprint. Approximately $24.2 million of its earnings come from 1,001 global IMAX screens in 66 markets, dethroning 2014’s Interstellar as the largest November IMAX weekend performer in history across domestic, international, and global grosses.

Coming in at No. 2 is Fox’s Trolls, which earns an estimated $45.6 million across its first three days in wide release. The animated family title, which features the voices of Justin Timberlake, Anna Kendrick, Zooey Deschanel, Russell Brand, James Corden, and Gwen Stefani, received an A grade from CinemaScore responders on Friday, indicating a sturdy run on North American screens in the coming months is probable, with a final number in-line with studio hits like Home ($177.4 million) and Kung Fu Panda 3 ($143.5 million).

In third place is Mel Gibson’s directorial comeback Hacksaw Ridge, which stars Andrew Garfield as WWII army medic Desmond T. Doss, who became the first conscientious objector in history to receive the Medal of Honor. The film, which makes $14.8 million against modest expectations, also solidifies itself as part of the weekend’s rare trifecta of A-graded titles on CinemaScore. A strong opening weekend and positive reception from both audiences and critics indicates the public could be willing to look past the actor-filmmaker’s controversy-laden past.

Rounding out the weekend’s top five grossers are two holdovers: Boo! A Madea Halloween ($7.8 million), which falls to No. 4 following two weekends atop the chart, and last week’s No. 2-debuter, Inferno ($6.3 million), which crashes to the tune of 57.9 percent across its second three-day period. The latter has performed well overseas, however, with its global figure hovering around $185.4 million as of Sunday.

On the specialty front, Jeff Nichols’ understated drama Loving, starring Ruth Negga and Joel Edgerton as a couple sentenced to time in prison for their interracial marriage in 1958 Virginia, posts a spectacular $169,000 from four theaters for a per-screen average of $42,250 — the highest of the week.

Moonlight, Barry Jenkins’ likely Oscar contender, also continues to do stellar business as it expands in limited release, pulling in an additional $1.3 million in 47 new locations across its 83-theater total, averaging $16,053 per screen. Its domestic take stands at $3.1 million. The film’s ace performance at the box office thus far bolsters its sturdy positioning heading into the awards race, continuously registering as a must-see title succeeding on strong word-of-mouth as it climbs further into the Oscar conversation from week to week.

Lastly, Sony Pictures Classics’ documentary The Eagle Huntress, which debuted in January at the Sundance Film Festival, takes in $53,848 on four screens for a healthy per-screen average of $13,462.

Check out the Nov. 4-6 weekend box office estimates below.

1. Doctor Strange – $85 million
2. Trolls – $45.6 million
3. Hacksaw Ridge – $14.8 million
4. Boo! A Madea Halloween – $7.8 million
5. Inferno – $6.3 million
6. The Accountant – $6 million
7. Jack Reacher: Never Go Back – $5.6 million
8. Ouija: Origin of Evil – $4 million
9. The Girl on the Train – $2.8 million
10. Miss Peregrine’s Home for Peculiar Children – $2.1 million