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Ghostbusters

I can’t wait to see it!!!

New ‘Ghostbusters’ about forgiveness: Jason Reitman

Carrying on the legacy of a beloved movie franchise is a daunting task for any filmmaker, but the pressure on Jason Reitman when it came to taking the helm of the latest Ghostbusters film had a different sort of intensity.

“I want to make my dad proud and I want him to be proud of this film,” said Jason, during a talk at the Calgary International Film Festival. “I want him to be proud of me but I also want him to be proud of this thing that we’re doing. I’m very aware of the legacy of this movie because I’m a huge fan. I spent summers much like many other young people in the ’80s watching it every day. I’m in love with the movie and I feel a responsibility in picking it up. Since coming here, I’ve met the Calgary Ghostbusters, I’ve met the Alberta Ghostbusters. I want to make a movie that it true to them but I’m also hoping to make a movie that makes my father proud and also makes my daughter proud.”

It was a poignant moment at the Eau Claire Market Cinemas Saturday night, particularly since a visibly moved Ivan Reitman, Jason’s father and the director of the first two Ghostbusters movies, was sitting beside his son as he said this. The elder Reitman, who is co-producing Ghostbusters 2020, was an unannounced bonus addition to the talk, which was hosted by CTV’s Tara Nelson and covered both filmmakers’ careers.

Neither Reitman offered much intel about the plot of the new Ghostbusters film, which has been based in Calgary and has been shooting in various small towns in southern Alberta since May under the name Rust City. Details about the story have been kept under wraps and Jason repeated what he has said before about the inspiration for the new film.

“If you had ever asked me at any point in my life whether or not I was going to direct a Ghostbusters movie, my answer would have been no,” he said. “I couldn’t think of anything intimidating than attempting to direct a Ghostbusters movie. And then this character came to me. She came to me frankly awhile ago. I couldn’t stop thinking about her and her journey. One day I just brought her up to my father and said ‘What do you think of this? And how could it fit inside the Ghostbusters universe.’ He said ‘You have to write it.’”

That character is presumably the one played by 13-year-old Mckenna Grace. Stranger Things actor Finn Wolfhard plays her brother and actress Carrie Coon plays their mother. Paul Rudd plays a teacher, while Sigourney Weaver, Dan Aykroyd and Ernie Hudson have been confirmed as taking on the roles they originated in the 1984 original.

No one addressed rumours that Bill Murray will also be returning, but he did enter into the conversation. Both Reitmans were asked about the beginnings of their career and their habit of using the same actors in their films. That led Ivan to talk about his early days directing Murray, who he called both a “gift from God” and “challenging,” in the 1979 summer camp comedy, Meatballs. Murray, who would go on to star in Reitman’s Stripes in 1981 and the two Ghostbuster films, would not commit to Meatballs until the day before shooting began.

“The second day of shooting, he had the script in his hand and said ‘You know, this is crap,’ and he threw it down,” Ivan says. “We ended up doing the scene as it was in the script. But he had a way of changing every few lines into his own special syntax and language. And I realized ‘Oh, his way is better.’ And if I was smart I was going to listen to him and be his friend somehow through this process and move quickly enough and be nimble enough to take advantage of what he could bring.”

Jason also talked about his early days directing his debut, 2005’s Thank You For Smoking and 2007’s Juno.The latter became a surprise hit and earned Jason an Oscar nomination for best director. The success of the film gave him a certain freedom for his followup Up in the Air, a 2009 comedy-drama with George Clooney that was nominated for six Oscars, including a second directing nod for the filmmaker.

Reitman would go on to direct Young Adult, Tully and the political drama The Front Runner, among others.

“I like making movies about unlikeable characters,” Jason said. “It’s not something I set out to do. It’s only upon looking back that I’ve realized what I like to do is try to give the audience the most unlikeable character possible and try and find the way in and try and find the humanity.”

“Until Ghostbusters,” Ivan added.

“I will say that the Ghostbusters movie is about forgiveness and, in that way, I think it falls really in line with the rest,” Jason says.

As for his experiences in Calgary, Jason said he doesn’t want to leave. Ghostbusters is expected to wrap next month.

“Alberta has had more cinematography Oscars than any other province or state,” he said. “It’s a movie that is rural. It takes place on a farm and it’s absolutely stunning here. This has been my first experience shooting out here and I’m living up here. I’ve been living up here since May, I love it. I’m eating better than I ever have. I have eight favourite restaurants I think in town. I love it here. We have an amazing cast and crew; local actors, local crew. You’ve been incredible hosts to Ghostbusters.”

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Awards

Here’s hoping the fact that they won’t be pushing Star Wars: Rise of Skywalker for awards isn’t a sign of how good it is…or isn’t.

Disney’s Big 2019 Awards Campaign Promotes 5 Movies: Endgame Is In, Here’s Who Was Left Out

Awards season is upon us! After Disney spent the majority of the year racking up astronomical box office numbers with its MCU installments, live-action remakes, and tear-jerky animated films, you best bet the studio is going to campaign for some gold trophies too! Walt Disney Studios has just launched its “For Your Consideration” website with five films to boast about.

The House of Mouse has set up campaigns for Avengers: Endgame, Aladdin, Toy Story 4, The Lion King, and Frozen II. So far, special award voters screenings have been set up for Endgame and Toy Story 4 in Los Angeles, New York, San Francisco and London, per the official website, but Disney has not announced the specific awards the films will be lobbying for.

However, this leaves Captain Marvel, Dumbo, Maleficent: Mistress of Evil, and Star Wars: Rise of Skywalker without awards campaigns. Considering the franchise set in a galaxy far, far away has previously scored big during awards season, Rise of Skywalker may still come in later? Or is Disney is gunning for Avengers: Endgame to clear the big categories without competition of Star Wars this year? A John Williams score nomination is in order in the least, right?

Following the success of Black Panther last year at the Oscars, including three wins and contending for Best Picture, Disney will likely give similar treatment to Endgame. The MCU culmination may be campaigning for Best Visual Effects, Best Director, Best Picture, and even a Best Actor nomination for Robert Downey Jr, after a decade of playing Tony Stark.

If the Academy nominates Endgame in categories besides comic book movies’ frequent Visual Effects attention, they’d be honoring Marvel’s masterful universe-buiding and the highest-grossing movie of all time. How Endgame does during award season will make clear if Black Panther was an exception to the rule or a sign of changing tides toward the genre.

In the “Best Animated Movie” category, Toy Story 4 and Frozen II will likely score a nomination. Both Frozen and Toy Story 3 won the award in their respective years. However, Disney’s two sequels last year resulted in the studio losing its six year streak in the category to Sony Animation’s Spider-Man: Into the Spider-Verse. Additionally, Frozen II’s new songs may score a “Best Original Song” category, following in the footsteps of “Let It Go.”

Disney may be competing against itself for “Best Original Song” with the Aladdin new song “Speechless” also in contention. Oscar-winning La La Land lyricists Benj Pasek and Justin Paul wrote the song with Alan Menken. Beyoncé’s new The Lion King song “Spirit” could also join the category.

Aladdin could also score nominations for the Costume Design and Production Design categories as the people behind them are past Oscar nominees. The Lion King could go up against Endgame for Best Visual Effects considering the photo-realistic animation the Jon Favreau film achieved.

There’s certainly a lot in the mix for Walt Disney Studios this year!

Categories
Awards

Congratulations to all the winners!!

Fleabag wins big, Billy Porter makes history at Emmy Awards

Fleabag leaped over formidable competition at Sunday’s Emmy Awards with multiple wins, including the best comedy actress award and a writing trophy for series star and creator Phoebe Waller-Bridge.

Waller-Bridge and her dark comedy about a dysfunctional woman, which also won a directing award, blocked Veep star Julia Louis-Dreyfus from setting a record as the most-honoured performer in Emmy history.

“Nooooo!” said a shocked-looking Waller Bridge. “Oh, my God, no. Thank you. I find acting really hard and really painful. But it’s all about this,” she said, her acting trophy firmly in hand.

In accepting the writing award earlier, she called the recognition proof that “a dirty, pervy, messed-up woman can make it to the Emmys.”

Bill Hader won his second consecutive best comedy actor award for the hitman comedy Barry.

Billy Porter made history in the best drama actor category, becoming the first openly gay man to win for his role in Prose.

“God bless you all. The category is love, you all, love. I’m so overjoyed and so overwhelmed to have lived to see this day,” said an exuberant Porter, resplendent in a sequined suit and swooping hat.

Quoting the late writer James Baldwin, Porter said it took him many years to believe he has the right to exist. “I have the right, you have the right, we all have the right,” he said.

Peter Dinklage, named best supporting actor for Game of Thrones, set a record for most wins for the same role, four, breaking a tie with Aaron Paul of Breaking Bad.

“I count myself so fortunate to be a member of a community that is about nothing but tolerance and diversity, because in no other place I could be standing on a stage like this,” said Dinklage, a little person.

Ozark star Julia Garner won the best supporting drama actress trophy against a field including four actresses from Game of Thrones.

The auditorium erupted in cheers when Jharrel Jerome of When They See Us, about the Central Park Five case, won the best actor award for a limited series movie.

“Most important, this is for the men that we know as the Exonerated Five,” said Jerome, naming the five wrongly convicted men who were in the audience. They stood and saluted the actor as the crowd applauded them.

It was the only honour for the acclaimed Netflix series of the evening; Chernobyl won the best limited series honour.

Streaming hit new Emmy heights, powered by Amazon Prime winners Fleabag, The Marvelous Mrs. Maisel and a Very English Scandal, and Netflix’s Bandersnatch (Black Mirror), honoured as best movie. But HBO again showed its strength, including with the trophies for Chernobyl, Barry and John Oliver’s best variety-talk win.

Michelle Williams, honoured as best actress for her portrayal of dancer Gwen Verdon in FX’s limited series Fosse/Verdon, issued a call to arms for gender and ethnic equality.

She thanked the network and studio behind the project for “supporting me completely and paying me equally because they understood … when you put value into a person, it empowers that person to get in touch with their own inherent value. And where do they put that value, they put it into their work.”

“And so the next time a woman and, especially a woman of colour, because she stands to make 52 cents on the dollar compared to her white male counterpart, tells you what she needs in order to do her job, listen to her,” Williams said.

Patricia Arquette won the trophy best supporting limited-series or movie actress for The Act. She paid emotional tribute to her late trans sister, Alexis Arquette, and called for an end to prejudice against trans people, including in the workplace.

Ben Whishaw took the category’s supporting actor trophy for A Very English Scandal, admitting in charming British fashion to a hangover.

Alex Borstein and Tony Shalhoub of The Marvelous Mrs. Maisel won best supporting acting awards at the ceremony, which included early and varied messages of female empowerment after the host-less ceremony kicked off with Homer Simpson.

“I want to dedicate this to the strength of a woman, to [series creator] Amy Sherman-Palladino, to every woman on the Maisel cast and crew,” Borstein said, and to her mother and grandmother. Her grandmother survived because she was courageous enough to step out of a line that, Borstein intimated, would have led to her death at the hands of Nazi Germany.

“She stepped out of line. And for that, I am here and my children are here, so step out of line, ladies. Step out of line,” said Borstein, who won the award last year.

Shalhoub added to his three Emmys which he earned for his signature series in Monk.

The awards opened without a host as promised Sunday, with an early exchange pitting Ben Stiller against Bob Newhart.

“I’m still alive,” Newhart told Stiller, who introduced him as part of a wax museum comedy hall of fame that included Lucille Ball and other late legends.

Kim Kardashian West and Kendall Jenner drew some mocking laughter in the audience when they presented their award after Kardashian West said their family “knows firsthand how truly compelling television comes from real people just being themselves.”

An animated Homer made a brief appearance on stage until he was abruptly crushed, with Anderson of black-ish rushing in to, as he vowed, rescue the evening. He called Breaking Bad star Cranston on stage to tout the power of television from its beginning to the current golden age.

“Television has never been bigger. Television has never mattered more. And television has never been this damn good,” Cranston said.

Categories
Awards

There were so many snubs, surprises and mistakes. So, so many mistakes this year!!!

Emmys: The Biggest Snubs and Surprises

Although HBO juggernaut series “Game of Thrones” and “Veep” both came to an end this year and therefore were seeing their final chances to be celebrated at the Emmys, the voting members of the Television Academy did not just tick all of the boxes for those two behemoths and call it a night. In fact, far from it.

At Sunday’s ceremony, “Game of Thrones” won the drama series trophy and supporting drama actor for Peter Dinklage, while “Veep” was shut out.

There were some other repeat names called this year, including lead comedy actor winner Bill Hader (“Barry”) and supporting comedy actress winner Alex Borstein (“The Marvelous Mrs. Maisel”), but the 71st Annual Primetime Emmy Awards were chock-full of new names accepting onstage at the Microsoft Theater at L.A. Live — including first-ever Emmy winners Jodie Comer (“Killing Eve”), Craig Mazin (“Chernobyl”), triple-winner Phoebe Waller-Bridge (“Fleabag”) and Jharrel Jerome (“When They See Us”).

Here are the biggest snubs and surprises of the 71st Primetime Emmy Awards.

SNUB: Julia Louis-Dreyfus
The titular star of HBO’s “Veep” who beat cancer last year was a frontrunner going into nominations at this year’s Emmys — but at the end of the day she didn’t get enough votes to win her seventh statue for the role. If she had won she also would have become the most-decorated performer by the Television Academy.

SURPRISE: Jodie Comer
The “Killing Eve” star topped some tough competition in the lead drama actress category, including her own costar Sandra Oh, who had been nominated last year and was seen as a frontrunner this year. But Comer’s seductive assassin Villanelle proved too good to pass up for Academy members, giving Jodie Comer her first-ever Emmy.

SNUB: Ava DuVernay
The Oscar nominee and previous Emmy winner (“13th”) wrote and directed all four episodes of “When They See Us,” the dramatized telling of the real-life 1989 Central Park jogger case that saw five teenage boys wrongfully convicted and imprisoned for an assault. It was an emotional tale that had everyone talking when it dropped on Netflix, but ultimately she lost the limited series/TV movie writing and directing awards to players from HBO’s limited series, “Chernobyl.”

SURPRISE: Phoebe Waller-Bridge and “Fleabag”
Many pundits were anticipating the “Fleabag” auteur would take the comedy writing trophy (and she did), but she also won the lead comedy actress Emmy — over long-time favorite Julia Louis-Dreyfus (who was nominated for the last time for her titular role on HBO’s “Veep”), as well as last year’s incumbent winner Rachel Brosnahan (“The Marvelous Mrs. Maisel”), to name a few — and the coveted comedy series trophy.

SNUB: “Schitt’s Creek”
The little Canadian comedy that could pushed onto the Emmy ballot with four total noms this year, including comedy series and lead comedy actor and actress, proving the voters didn’t mind being a little late to celebrate a long-running series. But not even the star power of Catherine O’Hara and Eugene Levy was enough to topple “Fleabag.”

SURPRISE: Jharrel Jerome
The young actor who played the real-life Korey Wise during both parts of his story (in his teenage years when he was first falsely arrested in the 1989 Central Park jogger case and then more than a decade later as he literally grew up in prison) was the youngest in his category and also the freshest face when it came to his resume, but the power of his performance in “When They See Us” prevailed over the bigger names.

SURPRISE: Julia Garner
Garner won her first-ever Emmy for the second season of “Ozark” after being on the ballot alongside four powerful players from “Game of Thrones” and Fiona Shaw of “Killing Eve.”

SURPRISE: Jason Bateman
The “Ozark” actor-producer-director took the drama directing trophy in a tightly-packed category that included multiple entries from the final season of “Game of Thrones.”

SURPRISE: Jesse Armstrong
The second season of “Succession” has been lighting up social media, and that added buzz undoubtedly helped scribe Jesse Armstrong go all the way for the win for drama writing over the series finale of “Game of Thrones,” as well as a hanging second season episode of “The Handmaid’s Tale” and the fourth season finale of “Better Call Saul,” among others.

Categories
Movies

I would’ve gone to see AD ASTRA this weekend, but I went for a hike on the last weekend of Summer. Maybe I’ll go next week.

Downton Abbey proves enduring popularity with $31 million debut at the box office

Violet (Maggie Smith) may never ask “What is a weekend?” again considering the Downton Abbey movie just won it.

Exceeding expectations, Downton Abbey opened to $31 million, proving a healthy appetite for the historical series, co-produced by ITV and PBS, which ended its television run in 2016. The film, which follows the excitement of a royal visit to Downton, posted one of the biggest openings ever for a TV to big-screen adaptation, excluding major franchises like Mission Impossible and Star Trek.

It’s a good weekend for new releases in general with the top three slots at the box office dominated by new titles. Brad Pitt continues his starry summer with a $19.2 million second-place opening for space epic Ad Astra. A more tried and trued title takes third place with Sylvester Stallone’s end to the Rambo franchise Rambo: Last Blood taking in an estimated $19 million in ticket sales.

Rumors of a Downton Abbey film persisted before the series even concluded its very popular run in 2016, and the film hit U.S. theaters with heavy anticipation after already running overseas in the U.K. market for a week. Written by series creator Julian Fellowes, it reunites the bulk of its original cast members, including Maggie Smith, Hugh Bonneville, Michelle Dockery, Laura Carmichael, Allen Leech, and Elizabeth McGovern for a continuation of the story of the Crawley family and their servants. A royal visit throws the household into chaos as everyone struggles to prepare for the King and Queen, whilst dealing with unexpected romance, assassination plots, and more.

Directed by frequent series helmer Michael Engler, Downton Abbey beat the odds to win the weekend and proved its enduring popularity. The debut marks the biggest opening weekend ever for speciality distributor Focus Features. Producers have suggested that the possibility of a sequel hinged on the film’s success in the North American market, and these returns are a solid argument for more Downton. The film has earned solid reviews, but most importantly, it’s clearly resonating with fans, garnering a sterling A CinemaScore.

While a passel of British TV stars took the top spot, one of America’s biggest movie stars lays claim to second place. After a stellar summer with Once Upon a Time in Hollywood, Brad Pitt is kicking off an interstellar fall with Ad Astra. The movie star plays astronaut Roy McBride, who travels to the outer reaches of space to find his missing father and unravel a mystery that threatens our planet. Directed by James Gray, the film also stars Tommy Lee Jones, Liv Tyler, Donald Sutherland, and Ruth Negga.

Pitt is already earning Oscar buzz for the role (as well as his Once Upon a Time in Hollywood performance). With $19.2 million, it’s far from his best opening of all time — it’s in 18th place behind 2011’s Moneyball. Ad Astra slightly exceeded expectations, especially given that its release has been delayed several times. Audiences didn’t love it, giving it a mediocre B- CinemaScore.

Sylvester Stallone has a habit of making good at the box office with enduring franchises, and he’s saying goodbye to the franchise that made him an international action star. Rambo: Last Blood is set to be the final title in the Rambo franchise, and its $19 million third-place opening is on track with the previous 2008 installment, Rambo, which opened to $18.2 million.

The 73-year-old Stallone returns as Rambo, who finds himself facing off against one of Mexico’s most violent cartels when the daughter of one of his friends is kidnapped. Directed by Adrian Grunberg, it also stars Paz Vega, Sergio Peris-Mencheta, Oscar Jaenada, Joaquin Cosio, Adriana Barraza, Yvette Monreal, and Genie Kim. Fans gave it a middling B CinemaScore.

Other September success stories round out the top five. It: Chapter Two takes fourth place in its third weekend of release with an estimated $17.2 million in ticket sales. Last weekend’s buzzy female driven flick Hustlers drops to fifth place with an estimated additional $17 million in ticket sales added to its cumulative gross. In just 10 days, Hustlers has grossed $62.6 million domestically, over three times its $20 million production budget.

Overall box office is down 5.2 percent to date, according to Comscore, a steadily improving number buoyed by the success of three new releases this weekend. Check out the Sept. 20-22 numbers below.

1. Downton Abbey— $31 million
2. Ad Astra— $19.2 million
3. Rambo: Last Blood— $19 million
4. It: Chapter Two— $17.2 million
5. Hustlers— $17 million
6. The Lion King— $2.6 million
7. Good Boys— $2.5 million
8. Angel Has Fallen— $2.4 million
9. Overcomer— $1.5 million
10. Fast & Furious Presents Hobbs & Shaw — $1.5 million

Categories
Movies

Nope…nothing to see at the theatres right now!!

Hustlers earns Jennifer Lopez a career high opening with $33.2 million debut

Hustlers has danced its way to a massive second-place opening weekend.

The STXfilms release exceeded expectations to open to an estimated $33.2 million across 3,250 theaters. Hustlers marks career highs for both of its leading ladies, Jennifer Lopez and Constance Wu. This is Lopez’s best live-action opening ever, coming in at over $10 million ahead of her previous record-holder 2005’s Monster-in-Law. Newer box office draw Wu also earned her biggest opening weekend ever with Hustlers beating the $26.5 million debut of Crazy Rich Asians.

While Hustlers is the weekend’s best success story, It: Chapter Two continues to scare up impressive returns, taking first place for the second weekend running with an estimated $40.7 million across 4,570 theaters. The horror sequel also expanded in international markets, bringing its estimated global total to $323.3 million. Angel Has Fallen secures the third-place spot in its fourth week of release with an estimated $4.4 million in ticket sales.

Hustlers, which is based on a New York Magazine article follows a band of former strippers, led by Lopez’s Ramona, who come together to turn the tables on their Wall Street Clients. In addition to Lopez and Wu’s buzzy leading roles, the film also stars Julia Stiles, Keke Palmer, Lili Reinhart, and features memorable appearances from Cardi B, Lizzo, and Usher. Lorene Scafaria (The Meddler) writes and directs. It marked the biggest opening ever for the relatively new STX Entertainment.

The film is a testament to the power of women at the box office (and behind-the-scenes given it was written, directed, and produced by women). STX reports that the opening weekend audience was 67 percent female and 69 percent of the film’s audience was over the age of 25. With its diverse cast, the film also resonated with a wide audience, bringing in a crowd that was 36 percent Caucasian, 26 percent African-American, 27 percent Hispanic, 9 percent Asian and 3 percent Native American or other ethnicities. Time and again, Hollywood likes to trot out the argument that diverse, female-driven films don’t make money, but Hustlers stands as proof to the contrary with glowing reviews to match.

This weekend’s other big opening The Goldfinch is the opposite of a success story. Based on the Pulitzer-prize winning novel by Donna Tartt, the film opened in eighth place with an estimated $2.6 million in ticket sales across 2,542 theaters. It marks one of the worst openings of all time, given that it’s the sixth-worst debut ever for a film launching in over 2,500 theaters.

The Goldfinch, which premiered at the Toronto International Film Festival (as did Hustlers), follows the tale of a 13-year-old boy into early adulthood after he survives a terrorist bombing that kills his mother. The boy finds solace in a painting he finds amid the destruction at an art museum, sending him on a dangerous journey that parallels his growing up. Ansel Elgort, Nicole Kidman, Sarah Paulson, Luke Wilson, Jeffrey Wright, Denis O’Hare, and Finn Wolfhard star in the film directed by John Crowley (Brooklyn).

Undoubtedly, The Goldfinch was hurt by scathing reviews, though, strangely, it did earn a higher CinemaScore than Hustlers, clocking in with a B to Hustlers B-.

Though it’s fallen from the top 10, Once Upon a Time in Hollywood continues to make box office news. The ninth film from Quentin Tarantino is now his second highest performing title behind Django Unchained. It hit $329.4 million at the global box office this weekend to surpass 2009’s Inglourious Basterds.

Holdovers round out the top five with Good Boys and The Lion King continuing to pull in impressive returns. In its fifth weekend, original comedy Good Boys lands in fourth place with an estimated $4.3 million in ticket sales. Disney’s The Lion King continues to be one of the biggest success stories of the year, taking fifth place with an estimated $3.5 million in ticket sales in its ninth weekend of release.

Overall box office is down 5.7 percent to date, according to Comscore, a nice improvement following a slow summer. Check out the Sept. 13-15 numbers below.

1. It Chapter Two— $40.7 million
2. Hustlers— $33.2 million
3. Angel Has Fallen— $4.4 million
4. Good Boys— $4.3 million
5. The Lion King— $3.5 million
6. Fast & Furious Presents: Hobbs & Shaw— $2.8 million
7. Overcomer— $2.7 million
8. The Goldfinch— $2.6 million
9. The Peanut Butter Falcon— $1.9 million
10. Dora and the Lost City of Gold — $1.9 million

Categories
People

I am speechless about this shocking, sad news. May he Rest In Peace.

Ric Ocasek, Cars Singer Who Fused Pop and New Wave, Dead at 75

Ric Ocasek, the idiosyncratic singer and guitarist for the Cars and hit-making album producer, died on Sunday in his New York City apartment. He was 75. A rep for the NYPD confirmed the singer’s death to Rolling Stone.

At approximately 3 p.m. ET, police officers responded to a 911 call at Ocasek’s home at 140 E. 19th Street, the rep said. Officers discovered Ocasek unconscious and unresponsive. He was later pronounced dead at the scene, though no cause of death has been revealed. A rep for the New York City Office of Chief Medical Examiner did not immediately reply to a request for comment.

Beginning with the Cars self-titled debut in 1978, Ocasek established himself as a stoic frontman with a sense of humor and melodrama on songs like “My Best Friend’s Girl,” “You’re All I’ve Got Tonight,” and “Good Times Roll.” As a member of the Cars, Ocasek helped kickstart the new-wave movement by pinning his disaffected vocals against herky-jerky rhythm guitar, dense keyboards and dancefloor-ready beats, and as one of the group’s lead vocalists, alongside bassist Benjamin Orr, he sang the hits “Shake It Up” and “You Might Think.” With the exception of only a couple of songs, Ocasek wrote every tune the Cars recorded. After the band broke up in 1988, Ocasek recorded as a solo artist and worked as a producer, helping sculpt blockbuster hits like Weezer’s Blue Album and Green Album and cult favorites like Bad Brains’ Rock for Light.

casek was born to a Polish Catholic family in Baltimore. His father was a computer systems analyst, and he was sent to a parochial elementary school, where he was kicked out in the fifth grade. He told Rolling Stone in a 1979 profile that he couldn’t remember why he’d been expelled, though he said he aspired to be what he called a “drake,” a tough kid. He fell in love with the Crickets’ “That’ll Be the Day” when he was 10, prompting his grandmother to give him a guitar, though he didn’t take to it immediately. He became a rebel in his teen years, running away for weeks at a time to the beach town of Ocean City, Maryland.

His family relocated to Cleveland when he was 16, and he decided to shape up and get good grades so he could attend a good college, but he ended up dropping out anyway and became interested again in guitar. This time it stuck, and he started writing tunes regularly. “After I started writing songs, I figured it would be good to start a band,” he told Rolling Stone. “Sometimes I’d put together a band just to hear my songs. If a person couldn’t play that well, there’d be fewer outside ideas to incorporate.” One of the musicians Ocasek drafted was Benjamin Orzechowski (later changing his last name to Orr); he helped record one of the demos.

Ocasek and Orr relocated to New York City, Woodstock and Ann Arbor, Michigan, singing Buddy Holly songs as a duo or playing hard rock so they could open for the MC5. Eventually, they settled in Cambridge, Massachusetts and formed a folk trio called Milkwood, releasing an album in 1972. They both struggled financially — Ocasek worked in clothing stores to keep his family fed — and eventually they met the musicians who would form the rest of the Cars and the group gelled in the winter of 1976. Ocasek wrote all the songs and acted as a benevolent dictator.

“The way it worked was, it would either be on a cassette, or Ric would pick up his guitar and perform the song for us,” Cars guitarist Elliott Easton told Rolling Stone. “We’d all watch his hands and listen to the lyrics and talk about it. We knew enough about music, so we just built the songs up. When there was a space for a hook or a line — or a sinker — we put it in.”

The Cars’ self-titled album, which Queen producer Roy Thomas Baker helmed, came out on June 6th, 1978 and became a Top 20 hit in the U.S. It was later certified sextuple platinum on the strength of the hits “Just What I Needed” (sung by Orr), “My Best Friend’s Girl,” and “Good Times Roll.” The record is also home to a couple of songs that became hits later, including “You’re All I’ve Got Tonight” and (with some thanks due to it soundtracking a pivotal scene in Fast Times at Ridgemont High), “Moving in Stereo.”

Categories
Awards

Very cool!!

Bradley Whitford Wins 2019 Guest Drama Actor Emmy

Bradley Whitford won the 2019 guest drama actor Emmy for his role of Commander Joseph Lawrence on Hulu’s “The Handmaid’s Tale.”

Whitford joined the cast of the streaming dystopian series at the end of its second season, in episodes that were released after the close of the 2018 Emmy eligibility window. The Television Academy agreed they could be submitted this year, and that decision now sees him picking up his third total trophy from the group. He previously won the supporting drama actor statue in 2001 for his work on “The West Wing” and the guest comedy actor one in 2015 for his turn on “Transparent.”

He was nominated alongside Michael McKean (“Better Call Saul”), Kumail Nanjiani (“The Twilight Zone”), Glynn Turman (“How To Get Away With Murder”) and both Michael Angarano and Ron Cephas Jones from “This Is Us.”

Whitford also made Emmy history by becoming the first performer to have won the guest actor Emmy for both comedy and drama, having previously won in comedy for “Transparent.” “It’s an honor to do that, it means a lot,” he said backstage.

Whitford gave off a long-list of thank yous and noted: “Award shows are not arenas of justice. We know that because the Hot Priest did not get nominated,” he said, citing the popular “Fleabag” character.

“I want to thank Margaret Atwood for giving us perspective in this disorienting moment as we are inundated and undermined by a misogynistic, radical, right-wing ideology.

“Despair is not an option. Our children can’t afford it. Action is the antidote to despair. Our future is an act of our creation.”

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Awards

The Simpsons Win Again!!! Plus, even though Bruce Didn’t Win, Springsteen On Broadway did!!!

Creative Arts Emmys: ‘Free Solo,’ ‘Queer Eye’ Among Big Winners on Night One

“Free Solo,” “Queer Eye,” “RuPaul’s Drag Race” and “Saturday Night Live” were among the big winners Saturday after the first night of the Creative Arts Emmy Awards at the Microsoft Theater in downtown Los Angeles.

“Free Solo,” the National Geographic feature documentary that already claimed the Oscar earlier this year, lead the field on the night largely devoted to unscripted programming with seven big wins. On Sunday, the remaining Creative Arts Emmys will be handed out for shows largely in the scripted genre.

RuPaul earned his fourth consecutive trophy as reality host for his work out front on VH1’s “RuPaul’s Drag Race.” Netflix’s “Queer Eye” nabbed four wins, including its second consecutive trophy for structured reality program. “The Simpsons” added more hardware to its trophy case with the win for animated program. And the late Anthony Bourdain earned two more Emmys for his CNN series “Parts Unknown,” which won for informational series and also for writing.

TV legend Norman Lear picked up another Emmy, a win that makes him the oldest person to win an Emmy (at 97) in the variety special (live) category for ABC’s “Live in Front of a Studio Audience” special featuring new stagings of episodes from “All in the Family” and “The Jeffersons,” produced by Jimmy Kimmel. Lear wasn’t the only nonagenarian to pick up a win on Saturday; Sir David Attenborough, 93, won for narration for Netflix’s “Our Planet.”

When pressed backstage about the live special connected with such a large audience, Lear said that the family and relationship subjects that he probed in the 1970s are still relevant today. “The shows reflect our common humanity. And that hasn’t changed. We are as misguided today as we were then in certain ways,” Lear said.

“Carpool Karaoke” had a good night, winning short form variety series for the Apple incarnation of the franchise that began on CBS’ “The Late Late Show with James Corden.” Last year, Corden delivered a special extra-long edition with Paul McCartney” that became an hourlong CBS primetime special “Carpool Karaoke: When Corden Met McCartney Live From Liverpool,” which took home the win for variety special (recorded).

Corden was effusive backstage about the privilege of working in American television in a big way, as he has since landing on “Late Late Show” in 2015. “We just want to be a place people go to have a really nice time before or, let’s be honest, while they fall asleep,” Corden said of the show.

CNN’s “United Shades of America with W. Kamau Bell” prevailed once again for unstructured reality program, picking up its third consecutive trophy. Bell used his moment on stage to call on the industry to embrace diversity and inclusion at every level of the industry.

“I’ve thanked my wife and my kids and the people I work with enough,” Bell told reporters backstage. “I not only have to call my team out, but I have to call the industry out. I feel like if I’m going to be about it I have to talk about it.”

Fox’s staging of “Rent” earned two trophies, for lighting design and production design.

HBO’s “Leaving Neverland” documentary was recognized for documentary special. CNN’s “RBG” and HBO’s “The Sentence” earned exceptional merit in documentary filmmaking honors.

Among networks, Netflix emerged with 15 wins (including a number of animation wins that were previously announced), followed by National Geographic with eight; CNN and NBC with five apiece; and Fox, HBO and YouTube with four apiece.

Saturday’s full list of winners:

Variety special (live): “Live In Front Of A Studio Audience: Norman Lear’s ‘All In The Family’ And ‘The Jeffersons’” (ABC)

Variety special (pre-recorded): “Carpool Karaoke: When Corden Met McCartney Live From Liverpool” (CBS)

Choreography for variety or reality programming: Tessandra Chavez, “World of Dance” (NBC)

Production design for a variety special: “Rent” (Fox)

Production design for a variety, reality or competition series: “Saturday Night Live” (NBC)

Structured reality program: “Queer Eye” (Netflix)

Short form variety series: “Carpool Karaoke: the Series” (Apple)

Short form animated program: “Love, Death & Robots” (Netflix)

Picture editing for a nonfiction program: Bob Eisenhardt, “Free Solo” (National Geographic)

Narrator: Sir David Attenborough, “Our Planet” (Netflix)

Music composition for a documentary series or special (original dramatic score): Marco Beltrami, Brandon Roberts, “Free Solo” (National Geographic)

Music direction: Alex Lacamoire, “Fosse/Verdon” (FX)

Original music and lyrics: Adam Schlesinger, Rachel Bloom, Jack Dolgen, “Antidepressants Are So Not a Big Deal,” “Crazy Ex-Girlfriend” (CW)

Creative achievement in interactive media within an unscripted program: “Free Solo” (National Geographic)

Interactive program: “NASA and SpaceX: The Interactive Demo-1 Launch” (YouTube)

Technical direction, camerawork, video control for a special: “Late Late Show Carpool Karaoke Primetime Special 2019” (CBS)

Technical direction, camerawork, video control for a series: “Last Week Tonight With John Oliver” (HBO)

Short form nonfiction or reality series: “Creating Saturday Night Live” (NBC)

Writing for a variety special: Hannah Gadsby, “Nanette” (Netflix)

Writing for a nonfiction program: Anthony Bourdain, “Anthony Bourdain Parts Unknown” (CNN)

Motion design: “Patriot Act With Hasan Minhaj” (Netflix)

Exceptional merit in documentary filmmaking: (tie) “RBG” (CNN); “The Sentence” (HBO)

Informational series or special: “Anthony Bourdain Parts Unknown” (CNN)

Documentary or nonfiction special: “Leaving Neverland” (HBO)

Documentary or nonfiction series: “Our Planet” (Netflix)

Makeup for a multi-camera series or special (non-prosthetic): “Saturday Night Live” (NBC)

Hairstyling for a multi-camera series or special: Hector Pocasangre, “RuPaul’s Drag Race” (VH1)

Costumes for variety, nonfiction or reality programming: Zaldy Goco, Art Conn, “RuPaul’s Drag Race” (VH1)

Directing for a reality program: Hisham Abed, “Queer Eye” (Netflix)

Casting for a reality program: “Queer Eye” (Netflix)

Directing for a documentary/nonfiction program: Elizabeth Chai Vasarhelyi, Jimmy Chin, “Free Solo” (National Geographic)

Directing for a variety special: Thom Zimny, “Springsteen on Broadway” (Netflix)

Animated program: “The Simpsons” (Fox)

Character voice-over performance: Seth MacFarlane, “Family Guy” (Fox)

Picture editing for variety programming: “Last Week Tonight with John Oliver” (HBO)

PIcture editing for an unstructured reality program: “United Shades of America with W. Kamau Bell” (CNN)

Picture editing for a structured reality or competition program: “Queer Eye” (Netflix)

Sound mixing for a variety series or special: “Aretha! A Grammy Celebration for the Queen of Soul” (CBS)

Sound mixing for a nonfiction program (single or multi-camera): “Free Solo” (National Geographic)

Sound editing for a nonfiction program (single or multi-camera): “Free Solo” (National Geographic)

Lighting design/direction for a variety special: “Rent” (Fox)

Lighting design/direction for a variety series: “Saturday Night Live” (NBC)

Host for a reality or competition program: RuPaul, “RuPaul’s Drag Race” (VH1)

Unstructured reality program: “United Shades of America with W. Kamau Bell” (CNN)

Cinematography for a nonfiction program: “Free Solo” (National Geographic TV)

Cinematography for a reality program: “Life Below Zero” (National Geographic TV)

Saturday’s award categories are primarily for unscripted programs: reality, variety special, documentaries, animated program and short form animation, choreography for variety or reality programs, and interactive program.

Sunday’s awards will focus on scripted programs: short form drama and comedy series, casting, cinematography, and guest performers in comedy and drama series.

Categories
Awards

Congratulations, Mr. Lear!!

Norman Lear Breaks an Emmy Record, Becomes the Oldest Winner Ever

Norman Lear was already one of the most-honored people in television history, but now he has another distinction to add to his long career: At 97 years and 49 days, he’s the oldest person ever to win an Emmy Award.

Asked about the achievement, he said backstage at the Creative Arts Emmys on Saturday: “I don’t think about it a lot,” and quipped, “I like waking up in the morning.”

Lear set the record on Saturday as one of the producers of “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons.’” The ABC program, which included live performances of episodes from two of Lear’s seminal 1970s comedies, won in the Outstanding Variety Special (Live) category.

Jimmy Kimmel, who produced the show with Lear, was asked what it was like to make a show with the TV legend.

“It’s the greatest thing you could ever imagine. It’s like dancing with Fred Astaire,” Kimmel said.

“That makes me Ginger Rogers,” Lear quipped.

Lear and Kimmel also announced that they are planning another live special later in the year, but declined to provide details.

Lear was also asked how he had written to many African American characters embraced by black viewers, especially on “The Jeffersons.” He had another quick joke: “Evidently you haven’t noticed that I’m black.”

He went on to add that he tries to focus on the universal similarities between all people.

The previous record-holder as the oldest winner was David Attenborough, who set a new record on Saturday night about half an hour before Lear won. Attenborough, who is 93, won for narrating “Our Planet.”

With his nomination for “Live in Front of a Studio Audience,” Lear had already topped Carl Reiner to become the oldest Emmy nominee ever.

Lear’s win comes 48 years after he won the Emmy in the Outstanding Series – Comedy category for “All in the Family.” He would go on to win four Emmys for that show, and to be inducted into the Emmy Hall of Fame in 1984. He has also won two Peabody Awards, the Kennedy Center Honor, the Woody Guthrie Prize and the National Medal of Arts.

The award was announced at Saturday’s Primetime Creative Arts Emmy Awards ceremony, the first of two non-televised ceremonies that will precede the Sept. 22 Primetime Emmy Awards telecast. The ceremony took place at the Nokia Theatre in downtown Los Angeles.