Categories
Doctor Who

I’m very okay with this. Hope they find someone amazing!!

Peter Capaldi Stepping Down as ‘Doctor Who’

Peter Capaldi has announced his plans to hang up his sonic screwdriver and step down as the 12th incarnation of Doctor Who.

The actor made the announcement on BBC radio on Monday.

“One of the greatest privileges of being Doctor Who is to see the world at its best,” he said. From our brilliant crew and creative team working for the best broadcaster on the planet, to the viewers and fans whose endless creativity, generosity and inclusiveness points to a brighter future ahead. I can’t thank everyone enough. It’s been cosmic.”

Capaldi first stepped into the Tardis in 2013 and is set to leave in the Christmas 2017 special after three seasons at the same time as showrunner Steven Moffat exits the hit BBC sci-fi series.

“For years before I ever imagined being involved in Doctor Who, or had ever met the man, I wanted to work with Peter Capaldi. I could not have imagined that one day we’d be standing on the Tardis together,” said Moffat. Like Peter, I’m facing up to leaving the best job I’ll ever have, but knowing I do so in the company of the best, and kindest and cleverest of men, makes the saddest of endings a little sweeter.”

Categories
Awards

Denzel’s win is still a shock to me!!

SAG Award Snubs: ‘Manchester by the Sea,’ ‘Westworld’ Shut Out

‘Captain Fantastic,’ ‘Florence Foster Jenkins,’ ‘Lion,’ ‘Black-ish,’ ‘House of Cards’ and ‘Modern Family’ also went home empty-handed.
Manchester by the Sea went into Sunday night’s SAG Awards with a leading four nominations, but the Amazon Studios film left empty-handed, failing to win any of the awards for which it was nominated.

Manchester by the Sea star Casey Affleck even lost the best actor award to Fences’ Denzel Washington, something that surprised even the veteran actor, who admitted onstage that he was sure his young rival would win.

Indeed, Affleck won the Golden Globe for best actor in a drama motion picture and also won a Critics’ Choice award and numerous other accolades from awards groups and critics associations.

Other movies shut out at this year’s awards ceremony were two-time nominees Captain Fantastic, Florence Foster Jenkins and Lion. It’s also worth noting that while both Fences and Moonlight went into the evening with three nominations each, Fences won two awards (for stars Denzel Washington and Viola Davis) while Moonlight only won one (a supporting actor award for Mahershala Ali, who delivered an emotional, showstopping speech). Both films lost the best cast award, the SAG Awards’ equivalent of best picture, which went to Hidden Figures, with star Taraji P. Henson delivering a rousing speech about unity.

On the TV side, HBO’s Westworld failed to win any of the three awards for which it was nominated, including stunt ensemble, where it faced off against Game of Thrones. Thrones won the stunt award but that would be the only trophy it would take home Sunday evening. Numerous TV shows, nominated for two SAG awards each, failed to win either prize, including ABC’s Black-ish and Modern Family, HBO’s The Night Of and Netflix’s Grace and Frankie, House of Cards and Unbreakable Kimmy Schmidt.

Categories
Music

It’s an all-time Canadian Classic!!

The story of ‘Drinking in L.A.,’ 20 years later

Back in the 1990s, after a heavy night of drinking, James Di Salvio found himself one morning groggily coming to consciousness, face-down on a pristinely green West Hollywood lawn and, with his head throbbing angrily, he quietly reprimanded himself: “What the hell am I doing, drinking in L.A.?”

Two decades later, it’s the hangover that keeps on giving. At the time, Di Salvio was a filmmaker at the once-estimable music-video production company Propaganda Films — where he counted Michel Gondry and Spike Jonze as colleagues — with a side career as a DJ that wasn’t his primary focus.

He could never have known then that he would soon return to Montreal to craft an album with a cavalry of collaborators under the gibberish name Bran Van 3000, or that he would always remember that self-admonishment from that woozy morning until it became the irrepressible hook for one of the quirkiest and best-loved hits of the ’90s. Life would soon be for the taking and he wised up and took it quick.

“It’s really strange that the song took us around the world,” Di Salvio recalled recently from, yes, L.A. “These days, I find it more and more strange.

“It’s just been a crazy ride.”

It’s been 20 years since “Drinking in L.A.” and Bran Van 3000’s eclectic debut Glee dropped back in February 1997, when the group’s hip, kitschy, kitchen-sink esthetic and genre-defying mixtape intoxication were so en vogue that even Madonna was drawn into the bidding war.

But Bran Van 3000’s unlikely story starts earlier than that, when Di Salvio was strolling through New York’s Washington Square Park with his mind on money and money on his mind.

In 1994, Di Salvio had been enduring some stress around his ever-inflating credit-card bill. When a royalty cheque finally arrived for a remix he had done for Quebec songwriter Jean Leloup’s “1990,” it felt like a monsoon in a southern California summer. Conservation wasn’t in the cards; Di Salvio wanted to set up a studio. E.P. Bergen, an old buddy of Di Salvio’s from the Montreal club scene, recalls his friend inviting him to “come help him spend the money.”

During Bergen’s ensuing trip to New York, the duo named the group during a walk through the park (“we just came up with those words and didn’t even know what they meant,” Di Salvio recalls) and bought sampling equipment at Sam Ash in Times Square.

Di Salvio and Bergen then returned to Mile End in Montreal and work on Glee began — if it can be called work.

Really, it seems like the duo hosted the musical equivalent of a pickup basketball game, with a cast of collaborators including Stéphane Moraille, Sara Johnston, Liquid, producer Haig Vartzbedian, Adam Chaki and Raymond Akira Betts contributing. It wasn’t an exclusive club. Bergen recalls that they once heard a Montreal street performer capably trilling a clarinet; days later he was performing on “Couch Surfer” and “Supermodel.”

The sprightly and spritzy Glee seems to treat the idea of cohesiveness as a quaint relic from the buttoned-up past, cramming in as many ideas, performers and styles as possible and trusting the listener to keep up, or at least to dance.

It’s the kind of giddily eclectic genre mélange that seemed especially exciting in the days just before the internet became ubiquitous. From the deadpan indie-pop yarn “Couch Surfer” to the gritty hip-hop of “Afrodiziak” (which boasted an appearance from Gravediggaz’s Poetic, made possible by a field trip to the Wu Tang Clan’s hotel headquarters in Manhattan) or the ambient beauty of “Problems,” the record seemed impossible to pin down.

They knew right away that “Drinking in L.A.” was special. It was the last song finished for the record, a layered labour of love that combined a fuzzy dew of guitars, gorgeous harmonies and a knockout hook that would make Manny Pacquiao jealous.

“It was almost like one of those movies where an animated blue bird swings by over the real live footage,” Di Salvio said. “It’s cheesy, but I knew in my heart it was a hit.”

He wasn’t alone. From the beginning, record-company executives in the thriving ’90s saw dollars in Bran Van 3000.

Di Salvio recalls his first trip down to Texas for South by Southwest, when they brought a few dozen white-label cassettes with “Glee”on the cover in Helvetica along with his 514 phone number. On the last day of the festival, Di Salvio managed to get one of the tapes to Moby, who was participating in a panel discussing the electronic music boom.

Three weeks later, he got a call from a Geffen executive who had been searching for the mysterious group behind the tape. Di Salvio and friends were at the Montreal offices of their label Audiogram gathered around a speaker phone.

“We were all tripping. Then he asked the Mexican standoff question: ‘When can I see you live?’ I said six weeks,” Di Salvio remembered. “We didn’t have a band. The idea of a band did not exist.”

Still, they pulled together a touring group and the industry interest only intensified. Other electronic artists like the Chemical Brothers and Prodigy were throttling up the charts, and Bran Van’s “timing was crazy.” Labels including Madonna’s Maverick Records, A&M Records and Capitol were stopping at nothing to sign them, sending Bentleys to pick them up for evening-long schmoozes.

“It went from eating ramen to a Drake song in 15 minutes,” Di Salvio reflected. “I remember the MTV Awards. Everybody was there and it was like all eyes on me.”

He remembers rubbing shoulders with Anthony Kiedis, Marilyn Manson, Billy Corgan and the Beastie Boys’ Mike D, who hosted Di Salvio for a jam session at his house. He remembers Bran Van members knocking a soccer ball around with Massive Attack in Amsterdam, comparing samplers with Prodigy after a festival set and hearing “Drinking in L.A.” booming full-throated from the crowd at the historic Tibetan Freedom Concert.

“When people started buying us drinks everywhere we went, I knew there was something going on,” Bergen said.

“It was a very Hollywood, very surreal time,” Di Salvio added.

Ultimately, it’s still “Drinking in L.A.” that people most remember. The song hit the Top 10 in the U.K., Sweden, Norway and Italy, and seems to have only accumulated affection over the years. Its appeal is intangible, though Di Salvio credits its female voices: “I’m a big fan of the girls. Sara and Jayne (Hill) sing those harmonies so perfectly, and Stéphane just owns the chorus.”

Three more Bran Van albums came afterward, and Di Salvio’s career as a composer/DJ was launched. But you only get one once-in-a-lifetime hit. He hears it frequently still, living as he now does in the City of Angels, blaring from car stereo systems, bar jukeboxes and even supermarkets. Even during this conversation, a woman overhears Di Salvio reminiscing and stops by his table to wish him a happy anniversary.

“I’m not a conventional musician by any means, so the story of Bran Van is ‘with a little help from my friends,’ ” he reflected. “This thing was about family in so many ways. It’s like looking back at your family photo album. I’m so proud.

“It’s just nice to be told happy anniversary, all these years later.”

Categories
Awards

Congratulations to all the winners…some surprise winners!!

SAG Awards 2017 Winners

Viola Davis, Mahershala Ali, and Emma Stone solidified their standing as Oscar frontrunners on Sunday night at the Screen Actors Guild Awards, taking home top acting honors for their 2016 performances.

Stone won best actress for her role as a struggling actress in La La Land, the musical sensation which scored 14 Oscar nominations last week — tied for most ever. Davis scored her award for Fences, which finds the actress going toe-to-toe with Denzel Washington in the adaptation of August Wilson’s famed play (when Davis played the part on Broadway, she won a Tony Award). And Ali won for playing a drug dealer-cum-father figure in Moonlight, Barry Jenkins’ breakout indie about the life of a young gay Miami boy named Chiron.

On the television, side, The Crown dominated the individual acting honors in the drama categories, with Claire Foy and John Lithgow winning best actress and actor in a drama series, respectively, for their work on the Netflix series. But it was another Netflix show which took home best drama series: Stranger Things.

Comedy winners included Julia Louis-Dreyfus (best actress in a comedy for Veep), William H. Macy (best actor in a comedy for Shameless), and the cast of Orange Is the New Black (best comedy ensemble).

In an upset, Bryan Cranston won best actor in a limited series for playing Lyndon B. Johnson in All the Way, topping People v. O.J. Simpson stars Courtney B. Vance and Sterling K. Brown and The Night Of stars Riz Ahmed and John Turturro. Sarah Paulson, meanwhile, won best actress in a limited series for People v. O.J. Simpson.

Before the televised portion of the ceremony started, Game of Thrones and Hacksaw Ridge won the stunt ensemble honors.

The SAG Awards often predict the eventual Academy Award winners. Since the 1994 ceremony, 16 lead actresses have won both the SAG Award and the corresponding Oscar, while 19 SAG-winning performances by leading men have gone on to win Academy Awards during the same period.

SAG’s ensemble award is also widely considered a portent of the Academy’s best picture results, with 11 of the guild’s victors also taking Oscar’s highest honor the same year, while a further nine received best picture nominations (the inaugural SAG ceremony did not have an ensemble category, and AMPAS voters ignored 1996’s ensemble champion The Birdcage in best picture).

2017 SAG Awards nominations:

THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role
WINNER: DENZEL WASHINGTON / Troy Maxson – “FENCES” (Paramount Pictures)

Outstanding Performance by a Female Actor in a Leading Role
WINNER: EMMA STONE / Mia – “LA LA LAND” (Lionsgate)

Outstanding Performance by a Male Actor in a Supporting Role
WINNER: MAHERSHALA ALI / Juan – “MOONLIGHT” (A24)

Outstanding Performance by a Female Actor in a Supporting Role
WINNER: VIOLA DAVIS / Rose Maxson – “FENCES” (Paramount Pictures)

Outstanding Performance by a Cast in a Motion Picture
WINNER: HIDDEN FIGURES (20th Century Fox)
TELEVISION PROGRAMS

Outstanding Performance by a Male Actor in a Television Movie or Limited Series
WINNER: BRYAN CRANSTON / President Lyndon B. Johnson – “ALL THE WAY” (HBO)

Outstanding Performance by a Female Actor in a Television Movie or Limited Series
WINNER: SARAH PAULSON / Marcia Clark – “THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY” (FX Networks)

Outstanding Performance by a Male Actor in a Drama Series
WINNER: JOHN LITHGOW / Winston Churchill – “THE CROWN” (Netflix)

Outstanding Performance by a Female Actor in a Drama Series
WINNER: CLAIRE FOY / Queen Elizabeth II – “THE CROWN” (Netflix)

Outstanding Performance by a Male Actor in a Comedy Series
WINNER: WILLIAM H. MACY / Frank Gallagher – “SHAMELESS” (Showtime)

Outstanding Performance by a Female Actor in a Comedy Series
WINNER: JULIA LOUIS-DREYFUS / President Selina Meyer – “VEEP” (HBO)

Outstanding Performance by an Ensemble in a Drama Series
WINNER: STRANGER THINGS (Netflix)

Outstanding Performance by an Ensemble in a Comedy Series
WINNER: ORANGE IS THE NEW BLACK (Netflix)
STUNT ENSEMBLES

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
WINNER: “HACKSAW RIDGE” (Lionsgate)

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series
WINNER: “GAME OF THRONES” (HBO)
LIFE ACHIEVEMENT AWARD
53rd Annual SAG Life Achievement Award

Categories
Movies

This week I saw SPLIT and PASSENGERS. Horror fans should see the first one and everyone should skip the second one.

Box office report: Split repeats, A Dog’s Purpose puts Resident Evil down

All dogs do go to heaven — or at least to the top of the box office in the wake of major controversy.

Despite a heavily ballyhooed promotional cycle leading up to the film’s wide release — including deflecting negative publicity after an on-set production video showing a trainer apparently forcing a German Shepherd into a pool of churning water while filming a scene surfaced — audiences greeted A Dog’s Purpose with tails wagging, launching the film to an estimated $18.4 million from 3,059 locations, according to box office data from comScore.

On top of pushing the film to a solid debut, polled moviegoers gave the film an A on CinemaScore, easily besting the week’s other new wide releases Resident Evil: The Final Chapter (B) and Gold (B-).

A Dog’s Purpose couldn’t dethrone reigning champion Split, however, as the M. Night Shyamalan thriller again defies expectations, shedding a slight 34 percent for an estimated sophomore weekend total of $26.3 million despite genre trends suggesting it would fall somewhere in the 50-60 percent range.

Trailing A Dog’s Purpose at No. 3 is three-time Oscar-nominated holdover Hidden Figures, which crosses the $100 million mark with an estimated $14 million weekend haul after four weeks in wide release. Since expanding nationwide Jan. 6, the film has yet to leave the domestic top three, peaking at No. 1 for two consecutive weeks earlier this month. Its North American total currently stands at $104 million.

At No. 4, the last film in the internationally driven Resident Evil film franchise notches a new series low with its final bow in theaters, grossing an estimated $13.9 million from Friday to Sunday — around $3 million less than the original film’s opening number in 2002.

After an almost five-year gap between pictures, Resident Evil‘s sixth outing, again fronted by action heroine Milla Jovovich on a $40 million budget, should still balloon the action-horror collective’s worldwide haul past the $1 billion mark in the coming days, as its overall global cumulative stands at $78.4 million and counting — $64.5 million of which came from international territories.

Rounding out the top five is current best picture frontrunner La La Land, which widened its theatrical scope by 1,271 locations after scoring a record-tying 14 Oscar nominations this week. The Damien Chazelle-directed musical takes in another $12 million from 3,136 theaters, enough to bring its total to $106.5 million in the U.S. and Canada and $223.5 million globally.

Elsewhere, the Weinstein Company’s Gold opens to a soft estimated $3.5 million from 2,166 theaters, averaging $1,602 per location. The Matthew McConaughey-fronted adventure flick marks the third underwhelming live-action movie in the Oscar winner’s recent career, after his Sea of Trees debuted to boos at the 2015 Cannes Film Festival and the historical drama Free State of Jones took in a muted $20.8 million in June.

On the specialty front, Asghar Farhadi’s Academy Award-nominated foreign film The Salesman, which had its world premiere at Cannes in 2016, takes in an impressive estimated $71,071 at three locations in limited release. The Iranian director made headlines this weekend after unconfirmed reports suggested President Donald Trump’s heavily criticized immigration ban would prohibit him from attending the upcoming Oscar ceremony.

Overall box office is about even with the same frame last year, down a mere 0.2 percent. Check out the Jan. 27-29 box office estimates below.

1. Split – $26.3 million
2. A Dog’s Purpose – $18.4 million
3. Hidden Figures – $14 million
4. Resident Evil: The Final Chapter – $13.9 million
5. La La Land – $12 million
6. xXx: Return of Xander Cage – $8.3 million
7. Sing – $6.2 million
8. Rogue One: A Star Wars Story – $5.1 million
9. Monster Trucks – $4.1 million
10. Gold – $3.5 million

Categories
People

He was amazing! May he rest in peace.

John Hurt, Oscar-Nominated Star of ‘The Elephant Man,’ Dies at 77

The British actor of stage and screen also received an Academy Award nom for ‘Midnight Express’ and was memorable in ‘Alien,’ three Harry Potter films and ‘Doctor Who.’
John Hurt, the esteemed British actor known for his burry voice and weathered visage — one that was kept hidden for his most acclaimed role, that of the deformed John Merrick in David Lynch’s The Elephant Man — died Friday in London. He was 77.

The two-time Oscar nominee’s six-decade career also included turns on the BBC’s Doctor Who and in A Man for All Seasons (1966), Midnight Express (1978) and three Harry Potter films.

He announced in June 2015 that he had been diagnosed with pancreatic cancer.

On screens big and small, Hurt died what seemed a thousand deaths. “I think I’ve got the record,” he once said. “It got to a point where my children wouldn’t ask me if I died, but rather how do you die?”

On his YouTube page, a video titled “The Many Deaths of John Hurt” compiled his cinematic demises in 4 minutes and 30 seconds, from The Wild and the Willing (1962) to Tinker Tailor Soldier Spy (2011), 40 in all.

One of his most memorable came when he played Kane, the first victim in Ridley Scott’s Alien (1979), in which he collapses over a table and a snakelike alien bursts out of his chest. (How’d they do that? There was an artificial chest screwed to the table, and Hurt was underneath.)

“Ridley didn’t tell the cast,” executive producer Ronald Shusett told Empire magazine in 2009. “He said, ‘They’re just going to see it.’ ”

“The reactions were going to be the most difficult thing,” Scott explained. “If an actor is just acting terrified, you can’t get the genuine look of raw, animal fear. What I wanted was a hardcore reaction.”

Hurt then lampooned the famous torso-busting scene for director Mel Brooks — whose production company produced 1980’s The Elephant Man — for the 1987 comedy Spaceballs.

The Elephant Man received eight Academy Award nominations, including one for Hurt as best actor, but went home empty on Oscar night. (Hurt lost out to Robert De Niro as boxer Jake LaMotta in Raging Bull.)

In 1980, he recalled the extensive makeup needed to become the kind-hearted man with the monstrous skull.

“It never occurred to me it would take eight hours for them to apply the full thing — virtually a working day in itself. There were 16 different pieces to that mask,” he said. “With all that makeup on, I couldn’t be sure what I was doing. I had to rely totally on [Lynch].”

Hurt also garnered an Oscar best supporting actor nomination and a Golden Globe win in 1979 for Midnight Express, in which he portrayed a heroin addict in a Turkish prison. The Alan Parker drama was based on the true story of Billy Hayes (played by Brad Davis), an American college student caught smuggling drugs.

“I loved making Midnight Express,” he said in 2014. “We were making commercial films then that really did have cracking scenes in them, as well as plenty to say, you know?”

His more recent film appearances came in Snowpiercer (2013), The Journey (2016) and Jackie (2016). He is set to be seen in the upcoming features That Good Night and My Name Is Lenny and was to play Neville Chamberlain in the upcoming Joe Wright drama Darkest Hour.

John Vincent Hurt was born Jan. 22, 1940, in Chesterfield, Derbyshire, England. He studied art at his parents’ behest, earning an art teacher’s diploma. Disillusioned with the prospect of becoming a teacher, Hurt moved to London, where he won an acting scholarship at the Royal Academy of Dramatic Art. He studied there for two years, securing bit parts in TV shows.

“I wanted to act very early. I didn’t know how to become an actor, as such, nor did I know that it was possible to be a professional actor, but I first decided that I wanted to act when I was 9,” he told The Guardian in 2000. “I was effused with a feeling of complete and total enjoyment, and I felt that’s where I should be.”

Hurt made his London stage debut in Infanticide in the House of Fred Ginger in 1962. That year, he acted in his first film, The Wild and the Willing, and his role as the duplicitous baron Richard Rich in Oscar best picture winner A Man for All Seasons helped him become more widely known in the U.S.

Hurt often played wizened, sinister characters. In his younger years, his wiry frame, sallow skin and beady eyes curled together in performances that bespoke menace and hard-wrought wisdom. He was especially effective playing psychologically ravaged characters, like when he was a jockey plagued with cancer in Champions (1984) or the viciously decadent Caligula in the 1976 BBC miniseries I, Claudius.

Hurt brought his peculiarly powerful persona to the role of Mr. Ollivander in Harry Potter and the Sorcerer’s Stone (2001) and Harry Potter and the Deathly Hallows: Part 1 (2010) and Part 2 (2011).

He also had a recurring role as Trevor “Broom” Bruttenholm in Hellboy (2004) and Hellboy II: The Golden Army (2008) and was the voice of the character in the 2007 TV movie Hellboy Animated: Blood and Iron.

Other film credits include The Sailor From Gibraltar (1967), Sinful Davey (1969), 10 Rillington Place (1971), The Osterman Weekend (1983), White Mischief (1987), King Ralph (1991) and Rob Roy (1995). He played a fascist leader of Great Britain in V for Vendetta (2006) and was Professor Oxley in Indiana Jones and the Kingdom of the Crystal Skull (2008).

Hurt also was known for his rich, nicotine-toned timbre, which won him many voiceover assignments. He was the narrator in The Tigger Movie (2000), Dogville (2003), Manderlay (2005) and Charlie Countryman (2013) and lent his dulcet utterances to The Lord of the Rings (1978), Watership Down (1978), The Black Cauldron (1985), Thumbelina (1994) and the Oscar-nominated short film The Gruffalo (2009).

“I have always been aware of voice in film. I think that it’s almost 50 percent of your equipment [as an actor],” he once said. “It’s as important as what you look like, certainly on stage and possibly on film as well. If you think of any of the great American stars, you think of their voices and their looks, any of them — from Clark Gable to Rock Hudson.”

For the small screen, Hurt starred in the TV shows The Storyteller, The Alan Clark Diaries, The Confession and Merlin and in the miniseries Crime and Punishment and Labyrinth. He notably played the War Doctor in the 2013-14 season of Doctor Who.

On participating in the Whovian fandom, Hurt said in 2013: “I’ve done a couple of conferences where you sit and sign autographs for people and then you have photographs taken with them and a lot of them are all dressed up in alien suits or Doctor Who whatevers. I was terrified of doing it because I thought they’d all be loonies, but they are absolutely, totally charming as anything. I’m not saying it’s the healthiest thing — I don’t know whether it is or isn’t — but they are very charming.”

The accomplished stage actor performed with the Royal Shakespeare Company and Royal Academy of Dramatic Art. In 1994, he starred opposite Helen Mirren in Bill Bryden’s West End production of A Month in the Country, and he scraped out an edgy and vigorously dour performance in Samuel Beckett’s autobiographical one-man drama Krapp’s Last Tape in 1999.

When asked about the difference between film and stage acting, Hurt explained: “It’s rather like two different sports. You use two completely different sets of muscles.”

In 2012, Hurt was honored with a lifetime achievement award by the British Academy of Film and Television Arts, then was knighted by Queen Elizabeth II in July 2015.

Survivors include his fourth wife Anwen Rees-Myers, whom he married in 2005, and sons Alexander and Nicholas.

Categories
Business

Goodbye HMV and thanks for all of the friends!!

HMV in receivership, stores to close by April 30

Friday marked the beginning of the end for heavily-indebted music retailer HMV.

An Ontario Superior Court of Justice approved an application filed by HUK 10 Ltd., a subsidiary of the British restructuring firm Hilco UK that bought HMV in 2011, to place HMV Canada Inc. into receivership.

HMV stores are to cease operations by Apr. 30, according to sale guidelines issued by the court.

Senior Justice Geoffrey Morawetz appointed Gordon Brothers Canada ULC and Merchant Retail Solutions ULC as the agents to sell HMV’s remaining merchandise.

According to the application, HMV owes close to $39 million to HUK 10 as of Jan. 24 and has not made any payments toward its debt since November 2014.

A sworn affidavit submitted by HUK 10 director Christopher Emmott said HMV was profitable from 2011 to 2013, but has had negative earnings since. In 2012, HMV’s revenue was about $266 million, but, by 2016, this had fallen to $193 million, a trend that’s “expected to continue as more customers move to online consumptions of media.”

To continue operations, HMV would requite an “immediate cash injection” of $2 million and then $5 million of additional cash injections every year after that, the affidavit added.

“These financial difficulties, combined with the further decrease in (HMV’s) sales expected over the coming years, means the current situation is not sustainable,” the affidavit said.

“HUK 10 is not prepared to provide further financial support to (HMV) under the current circumstances.”

The application noted that HMV’s inventory is “significantly depleted with no viable alternative support arrange to replenish its stock.”

HUK 10 gave HMV from mid-December 2016 until Jan. 20 to try and get its major suppliers to support its business for at least 2017, but HMV failed to “reach terms that were mutually acceptable.”

Remaining HMV stores will maintain regular opening hours until their final vacate dates, court sale guidelines said, and may advertise with “store-closing,” “everything-on-sale” and “everything-must-go” signs.

HMV currently operates 102 stores in Canada and employs about 1,340 people, most of them at its retail locations.

HMV Canada did not return requests for comment Friday, and staff at its flagship store at 333 Yonge St., which opened in 1991, declined to speak to the media.

Categories
People

She was one of my first loves. I wanted to work with her news team. May she rest in peace.

Television Icon Mary Tyler Moore dead at 80

NEW YORK — Mary Tyler Moore, the star of TV’s beloved “The Mary Tyler Moore Show” whose comic realism helped revolutionize the depiction of women on the small screen, died Wednesday. She was 80.

Moore gained fame in the 1960s as the frazzled wife Laura Petrie on “The Dick Van Dyke Show.” In the 1970s, she created one of TV’s first career-woman sitcom heroines in “The Mary Tyler Moore Show.”

“She was an impressive person and a talented person and a beautiful person. A force of nature,” producer, creator and director Carl Reiner, who created the “The Dick Van Dyke Show,” told The Associated Press. “She’ll last forever, as long as there’s television. Year after year, we’ll see her face in front of us.”

Moore won seven Emmy awards over the years and was nominated for an Oscar for her 1980 portrayal of an affluent mother whose son is accidentally killed in “Ordinary People.”

Tributes came pouring in. “Mary’s energy, spirit and talent created a new bright spot in the television landscape and she will be very much missed,” Robert Redford, director of “Ordinary People,” said in a statement. Ellen DeGeneres took to Twitter to say: “Mary Tyler Moore changed the world for all women.”

Moore’s first major TV role was on the classic sitcom “The Dick Van Dyke Show,” in which she played the young homemaker wife of Van Dyke’s character, comedy writer Rob Petrie, from 1961-66.

With her unerring gift for comedy, Moore seemed perfectly fashioned to the smarter wit of the new, post-Eisenhower age. As Laura, she traded in the housedress of countless sitcom wives for Capri pants that were as fashionable as they were suited to a modern American woman.

Laura was a dream wife and mother, but not perfect. Viewers identified with her flustered moments and her protracted, plaintive cry to her husband: “Ohhhh, Robbbb!”

Moore’s chemistry with Van Dyke was unmistakable. Decades later, he spoke warmly of the chaste but palpable off-screen crush they shared during the show’s run.

They also appeared together in several TV specials over the years and in 2003, co-starred in a PBS production of the play “The Gin Game.”

But it was as Mary Richards, the plucky Minneapolis TV news producer on “The Mary Tyler Moore Show” (1970-77), that Moore truly made her mark.

At a time when women’s liberation was catching on worldwide, her character brought to TV audiences an independent, 1970s career woman. Other than Marlo Thomas’ 1960s sitcom character “That Girl,” who at least had a steady boyfriend, there were few precedents.

Thomas on Wednesday called Moore a gifted actress and a wonderful comedian. “I’m proud that we were in that groundbreaking sorority that brought single independent women to television,” Thomas said in a statement.

Mary Richards was comfortable being single in her 30s, and while she dated, she wasn’t desperate to get married. She sparred affectionately with her gruff boss, Lou Grant, played by Ed Asner, and addressed him always as “Mr. Grant.” And millions agreed with the show’s theme song that she could “turn the world on with her smile.”

Asner paid tribute to his co-star, saying on Twitter: “A great lady I loved and owe so much has left us. I will miss her. I will never be able to repay her for the blessings that she gave me.”

The show was filled with laughs. But no episode was more memorable than the bittersweet finale when new management fired the entire WJM News staff — everyone but the preening, clueless anchorman, Ted Baxter. Thus did the series dare to question whether Mary Richards actually did “make it after all.”

The series ran seven seasons and won 29 Emmys, a record that stood for a quarter century until “Frasier” broke it in 2002.

“Everything I did was by the seat of the pants. I reacted to every written situation the way I would have in real life,” Moore told The Associated Press in 1995. “My life is inextricably intertwined with Mary Richards’, and probably always will be.”

“The Mary Tyler Moore Show” spawned the spin-offs “Rhoda,” (1974-78), starring Valerie Harper; “Phyllis” (1975-77), starring Cloris Leachman; and “Lou Grant” (1977-82), starring Asner in a rare drama spun off from a comedy.

“Mary Tyler Moore” was the first in a series of acclaimed, award-winning shows she produced with her second husband, Grant Tinker, who died in November 2016, through their MTM Enterprises. (The meowing kitten at the end of the shows was a parody of the MGM lion.) “The Bob Newhart Show,” ”Hill Street Blues,“ ”St. Elsewhere“ and ”WKRP in Cincinnati“ are among the MTM series that followed.

Moore won her seventh Emmy in 1993, for supporting actress in a miniseries or special, for a Lifetime network movie, “Stolen Babies.” She had won two for “The Dick Van Dyke Show” and the other four for “Mary Tyler Moore.” In 2012, Moore received the Screen Actors Guild’s lifetime achievement award.

On the big screen, Moore’s appearances were less frequent. She was a 1920s flapper in the hit 1967 musical “Thoroughly Modern Millie” and a nun who falls for Elvis Presley in “Change of Habit” in 1969.

She turned to serious drama in 1980’s “Ordinary People,” playing an affluent, bitter mother who loses a son in an accident. The film won the Oscar for best picture and best director for Robert Redford, and it earned Moore an Oscar nomination and a Golden Globe.

“She was a truly amazing person, a great friend, and an inspiration to all,” Timothy Hutton, her “Ordinary People” co-star, said in a statement. “I will always be grateful for her kindness and thankful beyond words for knowing her. She will be missed greatly.”

In real life, Moore also endured personal tragedy. The same year “Ordinary People” came out, her only child, Richard, who’d had trouble in school and with drugs, accidentally shot himself at 24. Her younger sister, Elizabeth, died at 21 from a combination of a painkillers and alcohol.

In her 1995 autobiography “After All,” Moore admitted she helped her terminally ill brother try to commit suicide by feeding him ice cream laced with a deadly overdose of drugs. The attempt failed, and her 47-year-old brother, John, died three months later in 1992 of kidney cancer.

Moore herself lived with juvenile diabetes for some 40 years and told of her struggle in her 2009 book, “Growing Up Again.” She also spent five weeks at the Betty Ford Clinic in 1984 for alcohol abuse.

She served as chairwoman of the Juvenile Diabetes Foundation International, supported embryonic stem cell research and was active in animal rights causes.

In 1983, Moore married cardiologist Robert Levine, who survives her. Her marriage to Tinker lasted from 1962 to 1981. Before that, she was married to Dick Meeker from 1955 to 1961.

Moore was born in 1936 in Brooklyn; the family moved to California when she was around 8 years old. She began dance lessons as a child and launched her career while still in her teens, appearing in TV commercials.

In 1992, Moore received a star on the Hollywood Walk of Fame. A decade later, a life-size bronze statue went on display in Minneapolis, depicting her tossing her trademark tam into the air as she did in the opening credits of “The Mary Tyler Moore Show.”

Categories
Awards

Because you can’t have nominees without people who get overlooked.

Snubs And Shocks And Surprises

Awards obsessives spend months speculating, tracking patterns, tuning in to the yay-or-nay buzz, consulting and re-consulting our tea leaves – but at the end of the day, nobody knows anything except the person holding that little envelope. Months of prognostication were upended this morning when the nominations for the 89th annual Academy Awards were finally announced (the telecast runs Sunday, February 26th), sending the internet into a tizzy of insta-analysis over the shocks, surprises … and of course, the snubs.

With 2016 yielding a bumper crop of excellent films and performances, some perfectly worthy potential nominees were bound to get edged out. So while agents field apoplectic phone calls on the most hectic day of the showbiz year, let’s take stock of the most heinous omissions in this year’s Oscar lineup – from deserving parties overshadowed by the buzz cycle to presumed frontrunners that went inexplicably ignored.

Deadpool
The expansion of the Best Picture category was designed as an effort to incorporate more populist favorites after The Dark Knight was edged out in 2008, and it looked like Ryan Reynolds’ smart-ass superhero flick was going to be the beneficiary of that policy this year. After the Golden Globes wholeheartedly endorsed the year’s most irreverent men-in-tights movie, the Merc with a Mouth appeared to be on the fast track to Oscar night. It turns out that the permanently smirking comic book deconstruction full of poop jokes and other sophomoric humor, however, wasn’t the right fit for the slightly higher-browed Oscar crowd after all.

Silence
No big deal, nothing to see here, just arguably the greatest living American filmmaker completing a decades-long passion project that could very well be his magnum opus. It’s not hard to see why Martin Scorsese’s religious epic about Jesuit missionaries suffering in Japan went almost entirely ignored by the Academy – it’s a punishing, draining three-hour experience that had minimal publicity and a quiet late-year release. That doesn’t make its exclusion any easier to take, though; ditto seeing Mel Gibson’s name in that Best Director lineup instead of Scorsese’s. God forgive us.

Annette Bening
In a year with so many outstanding turns from lead actresses, somebody had to fall through the cracks. What a shame that it had to be Annette Bening, so movingly earnest as a mother struggling to give her son the upbringing he needs in 20th Century Women. There’s humor, pathos, strength and vulnerability in her performance, possibly a career-best – maybe all she was missing was that big Oscar Moment, the one clip that stick in the voters’ minds long after they’ve left the theater. But hey, they can’t all have monologues about their cool aunt who jumped into a river in France.

Amy Adams
Adams shone as Dr. Louise Banks, a linguistics expert racing against time to decipher the inscrutable messages that alien visitors have sent humanity in Arrival. The performance was a real balancing act, with the actress having to negotiate the more straightforwardly sci-fi material and the mind-bending philosophical jumps that the film makes as it rolls into its third act. She also had the chance to nab a slot courtesy of her solid work in Tom Ford’s meta-noir Nocturnal Animals – but no dice there either. Chalk this up as another casualty of this year’s crazily overstuffed Best Actress race

Team Loving
Ruth Negga deservedly secured a spot in the Best Actress race, but this once-favored period piece missed out big time everywhere else. Her costar Joel Edgerton and director Jeff Nichols both got the heave-ho, and the movie was outright ignored in the Adapted Screenplay and Best Picture categories. It may have been the film’s humble nature that kept it out of the Oscar spotlight; the film centers on two people uncomfortably trying to shrug off their own historical significance instead of owning it in the way that the women of Hidden Figures did. Voters have always favoured fiery speechifying over pregnant silences – and this snub baldly reinforces that notion.

Pablo Larraín
When his moody, mercurial biopic Jackie played at the Toronto International Film Festival back in September, Larraín’s name instantly shot to the top of the Best Director contender list. His stately rendering of White House glamour and beautifully worn photography made fans out of many critics, and Natalie Portman wouldn’t have broken into the Best Actress race without her director’s careful counsel. Why, then, is he AWOL this morning? You can write it off to the chilly, reserved nature of the film or simply tough competition this year, but it’s still a crime.

Elle
A kinky rape-fetishizing thriller laced with sadistic black comedy sounds like a hard sell to Academy voters, but after getting the boot from the Best Foreign-Language Film shortlist, Elle was on the Best Picture table for a minute there. The unimpeachable excellence of Isabelle Huppert’s lead performance counted for a lot (and there she is, hanging out in the Best Actress category), plus Paul Verhoeven’s name still had some of the recognition as a director of provocative American studio pictures during the Nineties. But some tastes are too exotic even for the reputedly highbrow awards program.

Sully
A big hit, a movie star owning his charisma, a name-brand director with plenty of Oscar love in the past – where did Sully veer off course? (Sorry.) Maybe it just wasn’t made for these times; this year was all about topical matters, from the tender queer love of Moonlight to the glass-ceiling-shattering of Hidden Figures, from the multicultural identity politics of Lion to the Obama-era economic struggles of Hell or High Water. Clint Eastwood’s ode to the heroic pilot is an old-fashioned sort of film, an account of a stoic, strong-silent-type man forced to account for his own heroism by a bunch of pencil-necks. The winds of change weren’t blowing in this one’s favor. Not even Tom Hanks could get a nod.

Roger Deakins
Breaking a five-year streak of nominations for the master cinematographer, the Academy shunned Deakins’ ravishingly good-looking camerawork on the Coen brothers’ Old Hollywood throwback Hail, Caesar! this year. Deakins did a bangup job of capturing the look and feel of the Fifties, saturating everything with a golden hue that calls to mind the cinematic spectacles of old. In an era where every major studio doggedly chases the nostalgia dollar, Deakins actually conjured that rarest of feelings, but alas, the February release had fallen off everyone’s radar by ballot-casting time.

Aaron Taylor-Johnson
As the publicly-shitting, scraggly-haired redneck criminal that terrorizes the heroine of Nocturnal Animals’ book-with-the-movie, Taylor-Johnson clearly left an impact on the Hollywood Foreign Press Association. They voted him Best Supporting Actor at the Golden Globes and instantly ushered him to the front of the Oscar conversation. But there’s no such thing as a sure thing, as clearly evidenced by his snub in favor of costar Michael Shannon, who played the lawman tracking him down.

Cameraperson
Kirsten Johnson’s formally adventurous documentary earned heaps of praise for its cine-journal style and personal take on going once more unto the breach of political hotspots – but its commendably unclassifiable quality may have worked against it come awards time. It’s more of a film essay/personal visual statement than strict documentary, collecting Johnson’s various footage shot over several years and arranging it in a challenging, nonlinear fashion. The more experimental documentaries have historically fared poorly in the Oscar race, and while making it onto the nine-film shortlist was a victory of its own, Johnson’s film couldn’t win over the voting body.

Pharrell Williams
Technically, Pharrell did land a nomination this year, but only in his capacity as a producer of Best Picture contender Hidden Figures. His solid-gold soul tune “Runnin” was shut out of the Best Original Song category, however, squeezed out by a pair of tunes from La La Land, a selection from Moana, and Justin Timberlake’s inescapable pop hit from Trolls. Pharrell is a known name to the Oscar voters, too, having been nominated for “Happy” from Despicable Me 2 two years ago. Looks like it’s a lot easier to make it to Oscar night if your single is currently dominating the airwaves.

Finding Dory
There was a time when you could set your watch by Pixar’s inevitable return to the Best Animated Feature category, but apparently that time has gone by. Their big project for 2016 fell back behind the latest from Laika and Disney, not to mention smaller-scale foreign imports The Red Turtle and My Life as a Zucchini. How’d it happen? Blame sequel fatigue; Pixar has started dipping back into their own library of content and though the public made Finding Dory one of the most successful films of the year at the box-office, the Oscar voters clearly favored something a bit more original.

Categories
Awards

It was such a long shot but I was hoping DEADPOOL would get a nomination for Best Picture.

Oscars: ‘La La Land’ Ties All-Time Record With 14 Nominations

“La La Land,” a musical tribute to Los Angeles, dominated the Oscar nominations on Tuesday, picking up 14 nods to tie the record set by “Titanic” and “All About Eve.” The honey-coated celebration of all things Hollywood was nominated for best picture and best director for 32-year old wunderkind Damien Chazelle. Both of its lead actors, Ryan Gosling and Emma Stone, were recognized for their work as big city dreamers in love.

“La La Land’s” main competition in the major categories came from “Arrival,” an alien invasion thriller, and “Moonlight,” a low-boil drama looking at a gay man during the crack epidemic in Florida. Both films landed a total of eight Oscar nominations.

Three films were tied for third with six nods apiece: “Hacksaw Ridge,” a bloody World War II drama, “Lion,” a true story about a man who uses Google to find his long-lost family in India, and “Manchester by the Sea,” a shattering tragedy that marks a return to the A-list for Kenneth Lonergan after a few years out of the limelight. Lonergan’s career was derailed after his previous film, 2011’s “Margaret,” became entangled in a protracted legal fight. He was nominated for best original screenplay and for his direction. “Manchester by the Sea” was backed by Amazon Studios and marks the first time that a streaming service has earned a best picture nod.

The Academy has been rocked by protests over the lack of diversity of its nominees and of its membership, inspiring the popular hashtag #OscarsSoWhite. However, after two straight years of shutting out performers of color, this year’s nominees were notably more reflective of a multicultural America. Seven out of the 20 performance nominations went to actors of color, and a number of best picture and documentary contenders, such as “Hidden Figures,” “Fences,” “13th,” and “O.J.: Made in America” grappled with the issue of racial inequality. In response to the blowback over the lack of inclusion, the Academy has set a goal for itself of doubling the diversity within its voting body by 2020.

“La La Land” a spirited, rousing tribute to the musicals of Vincent Minnelli and Jacques Demy, is also the rare uplifting best picture nominee. That escapist vibe could resonate with Oscar voters at a time when Donald Trump’s presidential victory exemplifies a rightward swing in the country that is out of step with left-leaning Hollywood. Other best picture nominees examine such weighty topics as race relations, sexual identity, war, and economic disaffection.

If, as expected, “La La Land” captures the top prize, it will continue a tradition of entertainment-industry focused victors. Stone stars in the picture as an aspiring actress and there are several winking nods to life on the studio lot. Oscar voters tend to reward films that unfold in their professional backyard — recent winners set in the world of theater and film include “Birdman” and “The Artist.”

Casey Affleck, who stars in “Manchester by the Sea” as a grieving janitor, has dominated the early awards, picking up a Golden Globe and most of the critics honors. His competition comes from Denzel Washington as bitter garbage man (“Fences”), Andrew Garfield as a conscientious objector (“Hacksaw Ridge”), Viggo Mortensen as a hippie father (“Captain Fantastic”), and Gosling.

“La La Land” wasn’t the only record-breaker. The Academy continued its love affair with Meryl Streep, handing her a precedent-fracturing 20th Oscar nomination, the most ever for a performer. Streep was recognized for her work as a tone-deaf opera singer in “Florence Foster Jenkins.” She will face off against Isabelle Huppert as a rape victim (“Elle”), Natalie Portman as a resilient first lady (“Jackie”), Ruth Negga as a civil rights warrior (“Loving”), and Stone.

After a decade in the professional wilderness, Hollywood signaled that it had at least partially forgiven Mel Gibson. A previous Oscar-winner for “Braveheart,” Gibson was shunned by many industry power brokers when he was caught on tape making anti-Semitic remarks to a police officer after being pulled over for a DUI in 2006. On Tuesday, Gibson was nominated for his directing work on “Hacksaw Ridge,” a gritty war drama that also scored a best picture nod.

From a box office perspective, this year’s list of nominees was dominated by smaller, indie-spirited features and adult dramas. There were no “Inceptions” or “Avatars,” and the lack of a certifiable blockbuster could dim ratings for the awards broadcast.

Jimmy Kimmel hosts this year’s ceremony. It marks his first time as emcee, but also represents a long-desired stab at synergy. ABC, which broadcasts the Oscars, also backs Kimmel’s late night program. The network has been pushing for the comic to host the show for years.

This year’s Oscar nominations were announced in a novel way. Instead of having Academy brass and the odd celebrity read out the lists of honorees to assembled journalists, ABC offered up short interstitial videos with previous nominees and winners such as Marcia Gay Harden, Glenn Close, Brie Larson, and Ken Watanabe sharing their memories of their big mornings. Most of their reflections boiled down to a simple, obvious takeaway — getting nominated is exciting.