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Can’t wait to see Wonder Woman again!!

Box office report: Wonder Woman stays strong, The Mummy doesn’t rise

Wonder Woman storms the box office yet again, emerging as No. 1 for the second week in a row.

The critically acclaimed film pulled in an estimated $57.2 million, seeing only a 45 percent drop in domestic earnings from last week’s record-breaking debut. It’s a marked difference from other DCEU movies like 2016’s Batman v Superman: Dawn of Justice and 2013’s Man of Steel, both of which saw steep second-week drops of 69.1 percent and 64.6 percent, respectively. Even the ensemble flick Suicide Squad saw its earnings decrease by 67.4 percent as it pulled in $43.5 million during its second week at the box office in 2016.

Wonder Woman‘s worldwide popularity (it has an A on CinemaScore) also means that despite the previous three DCEU films posting higher opening numbers, this most recent DC adaptation has pulled in higher numbers than its predecessors in its second week for an estimated domestic total of $205 million. Internationally, the movie (which stars Gal Gadot and Chris Pine) has earned $230 million, bringing its worldwide total to $435 million.

The DC comic adaptation serves as the title character’s first solo outing after her appearance in BvS last year. It follows her journey from the island of Themyscira into the human world, accompanied by a WWI spy named Steve Trevor as she works to find — and defeat — Ares, the Greek God of War, in an effort to save the world.

Coming in second this week is The Mummy, the first entry in Universal’s Dark Universe franchise and a reboot of the 1999 fan-favorite film of the same name. However, the new film, which stars Tom Cruise, won over neither critics nor audiences (it has a B- on CinemaScore) and only earned an estimated $32.2 million its opening weekend. By comparison, every film in the original Stephen Sommers-directed, Brendan Fraser-starring trilogy debuted with higher numbers, with The Mummy, The Mummy Returns, and The Mummy: Tomb of the Dragon Emperor earning $43.4 million, $68 million, and $40 million, respectively (adjusting for inflation).

But despite the film’s low numbers in North America, the movie has proved to be a hit internationally, earning an estimated $141.8 million. This marks Cruise’s biggest international opening ever, beating out War of the Worlds‘ $102.5 million haul, and brings the film’s worldwide total to $174 million, also signifying Cruises’s biggest worldwide opening weekend ever (War of the Worlds opened to $167.4 million). It’s also a big weekend for Universal, which has officially crossed the $3 billion mark in terms of worldwide earnings and the $2 billion one in terms of the international box office.

In third and fourth place are two familiar sets of characters. Captain Underpants (based on the best-selling book series by Dave Pilkey) earned an estimated $12.3 million in its second week out, beating Pirates of the Caribbean: Dead Men Tell No Tales (the fifth in the Disney franchise), which brought in an estimated $10.7 million in its third outing. It’s a bit of a surprise given that the Johnny Depp-starring Dead Men Tell No Tales is actually more popular with fans (an A- on CinemaScore) compared to the family-friendly animated feature (B+ on CinemaScore). In any case, Pirates‘ estimated domestic total is $135.8 million, with the movie having already passed the $500 million mark worldwide.

In fifth place is Guardians of the Galaxy Vol. 2 with an estimated $6.2 million. The movie — which stars Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, and Dave Bautista as the namesake band of space heroes — has now earned an estimated $365 million domestically and $461.9 million internationally. This brings the worldwide total to $833 million.

Elsewhere in the top 10 is It Comes At Night, A24’s psychological horror film starring Joel Edgerton (The Great Gatsby) as the patriarch of a small family that takes in another family seeking refuge from a highly contagious disease ravaging the outside world, only for mysterious circumstances to cause mutual mistrust. The movie did not play over well with audiences (D on CinemaScore) and only earned an estimated $6 million, a much lower figure than was expected from its 2,533 locations.

Megan Leavey places at No. 8 at the domestic box office this weekend. The Bleecker Street film only earned an estimated $3.7 million from 1,956 locations but nonetheless proved to be popular with moviegoers (an A on Cinemascore). The film, based on a true story, stars Kate Mara (House of Cards) as the eponymous young Marine corporal who bonds with Rex, a member of the K-9 unit responsible for sniffing for explosives, during her deployment in Iraq. The pair grows closer and complete multiple missions before getting injured by an improvised explosive device that threatens both their lives.

Outside the top 10, Fox Searchlight’s My Cousin Rachel earned an estimated $954,000 from 523 locations for a per theater average of $1,824. The film is an adaptation of Daphne du Maurier’s novel of the same name and stars Rachel Weisz (The Mummy) and Sam Claflin (Me Before You).

Also out this week is Roadside’s Sundance favorite Beatriz at Dinner, earning an estimated $150,160 from five theaters for a $30,032 per theater average. Salma Hayek stars as a Mexican massage therapist whose car troubles force her to attend her clients’ (played by Connie Britton and David Warshofsky) dinner party, which is also attended by their wealthy friends with more elitist views.

Per ComScore, overall box office is up 3.2 percent in the same frame from last year. Check out the June 9-11 box office figures below.

1 – Wonder Woman – $57.2 million
2 – The Mummy – $32.2 million
3 – Captain Underpants – $12.3 million
4 – Pirates of the Caribbean: Dead Men Tell No Tales – $10.7 million
5 – Guardians of the Galaxy Vol. 2 – $6.2 million
6 – It Comes At Night – $6 million
7 – Baywatch – $4.6 million
8 – Megan Leavey – $3.8 million
9 – Alien: Covenant – $1.8 million
10 – Everything, Everything – $1.6 million

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I am truly heartbroken. He will always be Batman to me. Rest in peace, Adam West.

Adam West, Straight-Faced Star of TV’s ‘Batman,’ Dies at 88

The actor struggled to find work after the campy superhero series was canceled, but he rebounded with voiceover gigs, including one as the mayor of Quahog on ‘Family Guy.’

Adam West, the ardent actor who managed to keep his tongue in cheek while wearing the iconic cowl of the Caped Crusader on the classic 1960s series Batman, has died. He was 88.

West, who was at the pinnacle of pop culture after Batman debuted in January 1966, only to see his career fall victim to typecasting after the ABC show flamed out, died Friday night in Los Angeles after a short battle with leukemia, a family spokesperson said.

West died peacefully surrounded by his family and is survived by his wife Marcelle, six children, five grandchildren and two great-grandchildren.

“Our dad always saw himself as The Bright Knight and aspired to make a positive impact on his fans’ lives. He was and always will be our hero,” his family said in a statement.

After struggling for years without a steady job, the good-natured actor reached a new level of fame when he accepted an offer to voice the mayor of Quahog — named Adam West; how’s that for a coincidence! — on Seth MacFarlane’s long-running Fox animated hit Family Guy.

On the big screen, West played a wealthy Main Line husband who meets an early end in Paul Newman’s The Young Philadelphians (1959), was one of the first two humans on the Red Planet in Robinson Crusoe on Mars (1964) and contributed his velvety voice to the animated Redux Riding Hood (1997), which received an Oscar nomination for best short film.

Raised on a ranch outside Walla Walla, Wash., West caught the attention of Batman producer William Dozier when he played Captain Quik, a James Bond-type character with a sailor’s cap, in commercials for Nestle’s Quik.

West, who had appeared in many Warner Bros. television series as a studio contract player, was filming the spaghetti Western The Relentless Four (1965) in Europe at the time. He returned to the States to meet with Dozier, “read the pilot script and knew after 20 pages that it was the kind of comedy I wanted to do,” he said in a 2006 interview with the Archive of American Television.

He signed a contract on the spot, only asking that he be given the chance to approve who would play his sidekick, Robin the Boy Wonder. (He would OK the casting of Burt Ward, who had a brown belt in karate but zero acting experience).

“The tone of our first show, by Lorenzo Semple Jr., was one of absurdity and tongue in cheek to the point that I found it irresistible,” West said. “I think they recognized that in me from what they’d seen me do before. I understood the material and brought something to it.

“You can’t play Batman in a serious, square-jawed, straight-ahead way without giving the audience the sense that there’s something behind that mask waiting to get out, that he’s a little crazed, he’s strange.”

The hunky Lyle Waggoner (later of The Carol Burnett Show) and Peter Deyell also tested to play the Gotham City crime fighters, but West and Ward clearly were superior, and Batman debuted at 7:30 p.m. on Jan. 12, 1966, a Wednesday.

The cliffhanger episode would be resolved the very next night — Same Bat-time! Same Bat-channel! The show was originally intended to last an hour, but ABC split it up when it had two time slots available on its primetime schedule.

West said that he played Batman “for laughs, but in order to do [that], one had to never think it was funny. You just had to pull on that cowl and believe that no one would recognize you.”

The series, filmed in eye-popping bright colors in an era of black-and-white and featuring a revolving set of villains like the Riddler (Frank Gorshin), Joker (Cesar Romero), Penguin (Burgess Meredith) and Catwoman (Julie Newmar), was an immediate hit; the Thursday installment was No. 5 in the Nielsen ratings for the 1965-66 season, and the Wednesday edition was No. 10.

Batman was nominated for the Emmy Award for outstanding comedy series in its first year, losing out to CBS’ The Dick Van Dyke Show. A 20th Century Fox movie was rushed into production and played in theaters in the summer before season two kicked off in September 1966.

However, the popularity of the show soon plummeted, and Batman — despite the addition of Yvonne Craig as Batgirl — was canceled in March 1968 after its third season.

West quickly struggled to find work, forced to make appearances in his cape and cowl at car shows and carnivals and in such obscure films as The Marriage of a Young Stockbroker (1971), written by Semple, and The Happy Hooker Goes Hollywood (1980). He and his family downsized, leaving their home in the tony Pacific Palisades for Ketchum, Idaho.

“The people who were hiring, the people who were running the studios, running the shows, were dinosaurs,” the actor said in the 2013 documentary Starring Adam West. “They thought Batman was a big accident, that there was no real creative thought, expertise or art behind it. They were wrong.”

He returned to voice his iconic character in such cartoons as The New Adventures of Batman, Legends of the Superheroes, SuperFriends: The Legendary Super Powers Show and The Simpsons, and Warner Bros.’ long-awaited DVD release of ABC’s Batman in 2014 brought him back into the Bat Signal’s spotlight.

He was born William West Anderson in Seattle on Sept. 19, 1928, the second of two sons. His father, Otto, was a wheat farmer; his mother, Audrey, was a pianist and opera singer.

West attended an all-boys high school, then graduated with a major in English literature from Whitman College. During his senior year, he worked for a local radio station, doing everything from Sunday morning religion shows to the news.

He also starred in a couple of plays at the local theater. “I found that I could move an audience and I was appreciated,” he said.

In the Army, West served as an announcer on American Forces Network television, then worked as the station manager at Stanford while he was a graduate student.

He got a job at a McClatchy station in Sacramento, Calif., then moved to Hawaii, where he hosted a two-hour weekday show in the late 1950s with a diaper-wearing chimp named Peaches. (West said he once interviewed William Holden as the actor was passing through.)

West got a contract at Warner Bros. at $150 a week and was placed in one of the studio’s TV series — Colt .45, Maverick, Hawaiian Eye, 77 Sunset Strip, Cheyenne, etc. — pretty much every week.

He got his first regular TV role when he played Det. Sgt. Steve Nelson under the command of Robert Taylor on the 1959-62 ABC/NBC series The Detectives, coming aboard when that show expanded to one hour in color.

After he split with Warner Bros., West showed up in such forgettable films as Geronimo (1962) starring Chuck Connors, Tammy and the Doctor (1963) with Sandra Dee and in The Three Stooges film The Outlaws Is Coming (1965) before Batman changed his life forever.

He later starred in a rejected 1991 NBC pilot episode called Lookwell — written by Conan O’Brien and Robert Smigel — in which he portrayed a once-famous TV detective who thinks he can solve crimes in real life.

Then came the gig on MacFarlane’s Family Guy.

“I had done a pilot with Seth that he had written for me. It turned out we had the same kind of comic sensibilities and got along well,” he said in a 2012 interview. “When Family Guy came around and Seth became brilliantly successful, he decided to call me and see what I was doing. He asked if I would like to come aboard as the mayor, and I thought it would be neat to do something sort of absurd and fun.”

The documentary Starring Adam West culminates with him receiving a star on The Hollywood Hall of Fame in 2012.

He married Marcelle in 1970; they met when she was the wife of the Lear Jet founder and they posed for a publicity photo at Santa Monica Airport, with him in his Batman costume. (They each had two children from their previous marriages, then added a couple of their own.)

When Batman was canceled, “The only thing I thought is that it would be the end of me, and it was for a bit,” he told an audience at Comic-Con in 2014. “But then I realized that what we created in the show … we created this zany, lovable world.

“I look around and I see the adults — I see you grew up with me, and you believe in the adventure. I never believed this would happen, that I would be up here with illustrious people like yourselves. I’m so grateful! I’m the luckiest actor in the world, folks, to have you still hanging around.”

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I can NOT wait to hear this!!!

Harry Shearer Recording Solo Album as Spinal Tap Bassist Derek Smalls

Actor and comedian Harry Shearer is slipping back into his character of Spin̈al Tap bassist Harry Smalls for a new solo album due later this year.

News of the LP, tentatively titled Smalls Change, is tucked into the end of a lengthy (and fascinating) profile piece recently published by GQ, which largely focuses on the legal battle Shearer’s spearheaded to account for decades of allegedly unpaid back royalties. While the case is undoubtedly time-consuming, it isn’t keeping Smalls out of the studio — or from enlisting a number of high-profile friends.

Guests who’ve already recorded contributions for the set include Steely Dan‘s Donald Fagen — who sings the bridge on “a little ditty about erectile dysfunction” titled “Memo to Willie” — as well as Steve Vai and Peter Frampton. Reportedly something of a concept album about the life of an aging rock star, the record also currently includes the song “MRI” and the ode to senior-citizen touring “It Don’t Get Old.”

Although Shearer hasn’t nailed down a release date yet — and his lawsuit against Spın̈al Tap’s corporate parents at Vivendi could complicate the project in all sorts of ways — he’s pressing ahead; according to the article, he’s already mapping out plans for a Derek Smalls tour that would see him performing as an older but presumably no wiser version of the lovably clueless bassist, complete with white muttonchops. If and when Smalls Change makes its way to stores, it’ll mark the first Tap-related LP since the parody band resurfaced with Back From the Dead in 2009.

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The new MUMMY isn’t the worst film of the year, but it is pretty bad. If you’re a fan of the Universal Monsters movies, don’t miss it. Otherwise just skip it.

‘The Mummy’: Why Tom Cruise Couldn’t Top Brendan Fraser

The 1999 film harkened back to ‘Indiana Jones,’ while the new installment is more interested in setting up a shared universe.

“Where’s your sense of adventure?” is a question that Tom Cruise poses multiple times in The Mummy. The 2017 film may be a revival of the iconic horror-movie character from Universal Pictures, but that question suggests something more in line with the Indiana Jones films, as does the fact that Cruise’s character is a treasure-hunter at his core. Tom Cruise may not be the first choice to play an Indiana Jones-esque explorer, but it’s hard not to make the connection, especially considering that this isn’t the first stab at a Mummy remake from Universal; a 1999 version, starring Brendan Fraser and Rachel Weisz, owed a great debt to the Indiana Jones series. Unfortunately, the 1999 film did a much better job of paying homage to Harrison Ford’s adventurer.

Director Stephen Sommers’ take on The Mummy arguably made more sense in placing its hero, Rick O’Connell, as an Indiana Jones type; the film takes place in 1926, roughly a decade before the first three Indiana Jones films. The new version of The Mummy, directed by Alex Kurtzman, takes place primarily in the present day, excluding a couple of exposition-heavy flashbacks. But it’s hard for the kind of spirit evinced by the Indiana Jones films to be replicated in the present. (It’s no coincidence that last week’s exciting Wonder Woman movie, a welcome throwback to the upbeat comic-book adventures of old, takes place a hundred years in the past outside of brief bookends.) So perhaps another complete Indiana Jones-like version of The Mummy would have been impossible.

However, the new movie does try to echo the Steven Spielberg-directed films in fits and starts. Cruise plays Nick Morton, a military man/treasure hunter, an inverted version of Harrison Ford’s hero. He has a push-pull relationship with archeologist Jenny Halsey (Annabelle Wallis) that’s sometimes reminiscent of the failed romance in Indiana Jones and the Last Crusade (at one point, as in the 1989 film, Nick and Jenny wind up in an overturned tomb, with only a few inches of breathable air below a vast ocean of water). Nick’s friendship with his fellow soldier of fortune Chris (Jake Johnson) feels similar not only to Indy and his trusty sidekick Sallah (John Rhys-Davies), but to the ‘99 Mummy, with Rick O’Connell’s contentious relationship with the shifty Beni (Kevin J. O’Connor).

Thus, there are elements of the Indiana Jones films in this new Mummy, which means that there are also more than a few elements of the ‘99 Mummy here. (One image that’s hard to forget, and is repeated here: the mummy’s roaring face appearing at the front of a massive sandstorm.) Largely, this new Mummy exists less to weave a rousing adventure yarn or to embrace the old-school horror of the 1932 original. No, this Mummy is all about building out the shared universe of characters known as the Dark Universe. After the Universal Pictures logo, the Dark Universe logo makes its first appearance on the big screen, leading into a narration from Russell Crowe as Dr. Henry Jekyll; this functions as a statement of purpose much more than any of Cruise’s derring-do ever could.

The continuing success of the Marvel Cinematic Universe has been arguably one of the most important points of mainstream cinema in the 21st century, for better or worse. It’s only because of the MCU that we have a DC Extended Universe, or a would-be six-film franchise about King Arthur, or an ever-expanding series with Jekyll, The Mummy, the Bride of Frankenstein, the Invisible Man and more. Putting the cart before the horse didn’t work for King Arthur: Legend of the Sword, and the jury’s out on whether it’ll work for The Mummy, though the early reports (and the film itself) aren’t encouraging. With the summer movie season approaching its halfway point, what would be nice is if studios like Universal take a lesson from the two biggest creative successes so far: Guardians of the Galaxy, Vol. 2 and Wonder Woman. The lesson should not be “Build out shared universes instead of telling interesting stories.” The lesson should be “Make movies that are fun.”

The Mummy (1999) was not made in a vacuum: Universal was hoping to revive its 1930s-era horror-movie characters into a big franchise. (Sommers, after his two Mummy movies, directed Van Helsing, which would have further expanded the series.) But it manages to both be heavily indebted to the Indiana Jones films while also being a fun, rip-roaring thrill ride of its own. The new Mummy wants to be too many things: a shared-universe kickstarter, an exciting adventure, a swooning romance, etc. So it’s unable to be good at any of those, especially its attempt to mirror Marvel’s success.

There’s nothing inherently wrong with remaking The Mummy; the 1999 film (itself a remake) is a lot of dumb fun, but just that. There’s nothing inherently wrong with a studio wanting to create a franchise for itself to rake in cash a la Marvel. But The Mummy (2017) falls into every possible trap by focusing too much on the long con of getting audiences to buy into a decade of movies, instead of focusing on the story it’s supposed to be telling, even if that story is mildly derivative, as the ’99 film was of the Indiana Jones films. By aiming too high, the new Mummy falls very far.

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I loved Northern Exposure…but do I want new episodes? That’s a tough question.

‘Northern Exposure’ Team Talks Possible Revival: “We Would Love to See It”

Stars Rob Morrow, Janine Turner and Cynthia Geary joined Joshua Brand and producers Mitchell Burgess, Robin Green and Cheryl Bloch to discuss the beloved CBS series.

The cast and creative behind cult favorite Northern Exposure reunited Friday at the ATX Television Festival to celebrate the 25th anniversary of the CBS series.

“I think it was five years ago,” star Rob Morrow joked.

Like most reunions in the Peak TV era, the question turned to potential revival of the quirky drama, which ran for five seasons and 110 episodes. Set in a sleepy town in Alaska, the series centered on New York City physician, Dr. Joel Fleischman (Morrow), who is sent to practice in the fictional town of Cicely, Alaska to fulfill his obligation after Alaska paid for his medical education.

“Rob has been working trying to get them to do it,” co-creator Joshua Brand said. “We would love to see it because I think it is of a time but it’s also not of a time.”

In addition to Morrow’s efforts, actor Darren E. Burrows, who played Ed on the series, has been working to raise money for the project. “It sounds like we all want it to happen,” said Cynthia Geary, who played Shelly.

Janine Turner, who played Maggie, encouraged those in the crowd to write to Universal Television, which produced the series. “Write Universal. At least we got to get it streamed,” she said of the series, which is not currently available to stream on any platform.

The push for a potential revival harkened back to the early efforts to simply get the show on the air. Brand recalled the show’s unassuming start when it quietly launched on CBS in the summer of 1990 with an eight-episode order.

“They didn’t think anyone would watch but they had to, they had to burn off an eight-episode series,” Brand recalled of the deal between Universal Television and CBS. “The network didn’t understand the show.”

Case in point? Brand recalled one of the original names pitched for the series was Dr. Snow. “Of course, they thought it was a medical show,” Brand said with a laugh. “Rob would get on his sled and carry the serum to the sick people.”

Because of that, CBS initially refused to air the season one episode, “Aurora Borealis: A Fairy Tale for Grown-Ups,” which has since become a fan-favorite and screened for fans Friday at the start of the panel. “When the network saw it, they thought it was too weird and odd and they didn’t want to air it,” Brand said. Producers convinced them to air it as the eighth and final episode of season one and it was quickly embraced by viewers.

“Once we knew that people did like this episode we actually, my partner and I, we turned to each other and we said we can do anything we want on this show and it was incredibly liberating,” Brand said. “We understood that the audience was willing to go on any ride we wanted to take them. … It opened up the whole show for us.”

While the show was off beaten the path, Morrow said it continues to resonate because it appealed to a broad spectrum of viewers. “It was highbrow and lowbrow,” he said. “You could an intellectual and like it and be an idiot and like it and that was really rare. It certainly on the page read like nothing I had ever read.”

Because the series was hard to understand, at least by network standards, the creative team was largely left alone according to Brand. “We were fortunate in that we were flying under the radar,” Brand said. “At the time, we were fortunate to sort of have to fly by the seat of our pants.”

However, that all changed once the show became a runaway hit. Brand recalled a particularly big fight over the season two episode titled “War and Peace,” in which Morrow’s character broke the fourth wall – a creative move that “horrified” the studio, he said.

“I got into a huge fight with them because they wanted me to change it,” he said. “I said no, ‘This is it.'”

Brand then recalled bring flown to New York for a tough meeting with executives. “They sort of told me I was a really bad boy and I either had to kiss the ring or the threat was obviously to get rid of me,” he said. “It was an explicit threat. … I loved the show and I didn’t want to leave the show so I kissed the ring.”

However, Brand went back to Los Angeles and soon found he was “miserable” and “unhappy.” So he called his agent and told him he was done with the show. Two hours later, Brand recalled, the studio called him. “They said, ‘Here’s the deal: You can do whatever you want, but you can’t ask us for any more money,'” he said with a laugh. “And I never got another note from them again.”

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She was the personification of the word “lovely”. May she rest in peace.

Dirty Rotten Scoundrels star Glenne Headly dies at 62

Following a five-decade career as a prolific performer on stage and screen, Emmy-nominated actress Glenne Headly died Thursday night, EW has confirmed. She was 62.

“It is with deep sorrow that we confirm the passing of Glenne Headly. We ask that her family’s privacy be respected in this difficult time,” representatives for the actress told EW in a statement. A cause of death has yet to be announced.

Before going on to star in major movie productions like Dirty Rotten Scoundrels (1988), Dick Tracy (1990), and Mr. Holland’s Opus (1995), Headly got her start on the stage as an originating member of Chicago’s Steppenwolf Theatre Company. She’d later replace Ellen Barkin in the off Broadway production of Extremities opposite Susan Sarandon, and alongside Kevin Kline in 1985’s Arms and the Man; the latter was directed by her ex-husband, John Malkovich, whom she married in 1982.

Her first film role came in Arthur Penn’s 1981 comedy Four Friends, which received a Golden Globe nomination at the 1982 ceremony. In addition to the aforementioned pictures, Headley consistently appeared on major television shows throughout her professional life, including Frasier in 1995, ER from 1996-1997, Monk from 2003-2006, Parks and Recreation in 2012, on three installments of last year’s critically lauded HBO miniseries The Night Of, and even voiced a character on a 2002 episode of Rugrats.

Both of her Emmy nods were received in the Outstanding Supporting Actress in a Miniseries or a Special category; the first was for 1989’s Lonesome Dove, and the second for the TV movie Bastard Out of Carolina (1996).

Headly was in production on Hulu’s Seth Rogen/Josh Hutcherson project Future Man at the time of her death. Both actors shared remembrances of their late costar Friday on social media, with Rogen tweeting: “Devastated to hear about Glenne Headly’s passing. She was an amazing person. Incredibly talented. Incredibly kind. I will miss her.”

Hutcherson paid tribute on Instagram, sharing a lengthy post in which he said Headley “made [him] feel like her son before, between, and after they called action and cut.”

And Deadpool star Ryan Reynolds posted a tribute to the “charming, talented, and kind” actress on Twitter, recalling her as his “first movie mom” in the 1993 film Ordinary Magic.

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Hopefully the historic Stanley Cup rings can be put on display in the Hockey Hall of Fame one day.

Here’s Why ‘Rocket’ Richard, Gordie Howe Will Be Taken Off Stanley Cup

By June 14th, either the Pittsburgh Penguins or the Nashville Predators will be crowned the 2017 Stanley Cup champions.

In doing so, the winning team will have an impact on one of the most legendary trophies in sports. This year’s Stanley Cup-winning roster will be the last team to have their names engraved on the bottom ring of the trophy, meaning more space will need to be created at the top, according to The Hockey News.

That said, some legendary teams and players from the 1950s and 1960s will be removed from the Cup in the coming year, including two household names that particularly stick out: Maurice “Rocket” Richard and Gordie Howe.

Richard won eight championships with the Montreal Canadiens. He also was the first player in NHL history to score 50 goals in a single season. Each year, the Rocket Richard trophy is awarded to the NHL player with the most goals in a season, in honor of the Canadiens legend.

The late Gordie Howe, better known as “Mr. Hockey,” also will be wiped from the trophy. Howe played a remarkable 26 seasons in the NHL, and was a part of four Cup-winning teams.

While these legendary names will soon be erased from the trophy, they never will be erased from the deep history of the game.

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I’ll probably have to sit through the stinky THE MUMMY this weekend and so I hope to fit in another viewing of WONDER WOMAN, just for fun.

Box-Office Preview: ‘Wonder Woman’ to Bury ‘The Mummy’

The monster movie reboot has taken a drubbing by critics; psychological horror film ‘It Comes at Night’ and drama ‘Megan Leavey’ also launch this weekend.
One of Hollywood’s most classic monsters looks like it will be no match for an Amazonian princess-turned-superhero at the North American box office this weekend.

If prerelease tracking is correct, Universal’s The Mummy reboot, starring Tom Cruise, might have trouble scaring up more than $35 million from 4,000 theaters, putting intense pressure on the movie’s foreign performance.

In the U.S., Warner Bros.’ Wonder Woman will easily stay at No. 1 in its second weekend with as much as $50 million after opening to a historic $103.3 million — the top domestic launch of all time for a female director — and whipping up strong midweek business for a $138.7 million domestic total through Wednesday.

On Thursday morning, at least one major tracking service further downgraded its forecast for The Mummy from $35 million to $33 million, whereas the same service predicted $40 million several weeks ago. One likely culprit for the latest tweak are poor reviews, which hit Wednesday. The summer event film currently sports a 22 percent rating on Rotten Tomatoes, tying with Losin’ It (1983) to mark the worst aggregated score of Cruise’s acting career behind 1988’s Cocktail (5 percent).

The Mummy, which is launching Universal’s new Dark Universe franchise, is instead counting on a huge international showing, where the pic bows in almost every major market. Already, it has scored the biggest opening day of all time in South Korea with nearly $7 million. Directed by Alex Kurtzman, the modern-day action film cost $125 million to make after tax rebates and also stars Sofia Boutella, Russell Crowe, Annabelle Wallis, Jake Johnson and Courtney B. Vance.

Two other movies open nationwide this weekend: the psychological horror film It Comes at Night and the drama Megan Leavey, starring Kate Mara as a young Marine fighting in Iraq and a bomb-sniiffing combat dog named Rex.

It Comes at Night, from indie distributor A24, is projected to gross $6 million to $7 million from an estimated 2,500 theaters. The critically acclaimed film was directed by Trey Edward Shults (Krisha) and cost less than $5 million to produce. Joel Edgerton, Riley Keough, Christopher Abbott, Carmen Ejogo and Kelvin Harrison Jr. also star.

Bleecker Street’s Megan Leavey is based on a real-life story, with Gabriela Cowperthwaite directing. Edie Falco and Common also star.

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His voice will always live in my heart and mind. Rest in peace Peter Sallis.

Peter Sallis, Voice of Wallace in ‘Wallace & Gromit’ Films, Dies at 96

English actor Peter Sallis, best known for voicing Wallace in the “Wallace & Gromit” films, died Friday in a London nursing home. He was 96.

“It is with sadness that we announce that our client Peter Sallis died peacefully, with his family by his side, at Denville Hall on Friday, June 2,” his agents, Jonathan Altaras Associates, said in a statement to the Guardian.

Prior to his retirement from acting in 2010, Sallis notably starred in Britain’s longest-running sitcom as Norman Clegg in “Last of the Summer Wine.” Sallis was the only actor to appear in all 295 episodes during the show’s 1973-2010 run.
He also provided the voice of Rat in the “Wind and the Willows” TV series and appeared on dozens of other TV shows including “Dr. Who.”

His vocal work in the Academy Award-winning claymation series helped him also become known outside of the United Kingdom. He portrayed the eccentric cheese-loving inventor in a number of shorts and feature including “The Wrong Trousers,” “A Close Shave,” and “A Grand Day Out.”

Sallis last voiced the character in Nick Park’s 2008 “Wallace and Gromit” short, “A Matter of Loaf and Death.” He won an Annie Award for Best Voice Acting in an Animated Feature Production in the Oscar-winning 2005 film “Wallace & Gromit: The Curse of the Were-Rabbit.”

It wasn’t until 1983, when Sallis was in his 60s, that he joined the “Wallace and Gromit” project.

“It is pleasing knowing millions are going to see your work and enjoy it. To still be involved in a project like this at my age is heartwarming. To have a legacy like this is very comforting. I am very lucky to have been involved,” he was quoted as saying in The Guardian.

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I’ve said since the first day they announced the remake/reboot that Paul Feig was the wrong director for the project. It’s nice to see someone else finally say it too!!

Dan Aykroyd Blasts ‘Ghostbusters’ Director Paul Feig: “He Will Not Be Back on the Sony Lot Anytime Soon”

The star of the original movie said Feig, who helmed the 2016 reboot, spent too much, making a sequel economically unfeasible.

Taking aim at director Paul Feig, Dan Aykroyd said Sunday that there will be no sequel to last year’s Ghostbusters reboot because Feig spent too much money shooting the film and that “he will not be back on the Sony lot anytime soon.”

Appearing on the morning talk show Sunday Brunch on Britain’s Channel 4, Aykroyd, who co-wrote and starred in the original 1984 Ghostbusters and is credited as an executive producer on the remake, didn’t mention Feig by name, but said, “The director, he spent too much on it and he didn’t shoot scenes we suggested to him. Several scenes that were going to be needed, he said, ‘No, we don’t need them.’ And then we tested the movie and they needed them, and he had to go back — about $30 to $40 million in reshoots.”

However, one source close to the production countered Aykroyd’s claims, saying, “the studio had an incredible relationship with the director, who was first-rate,” and adding that reshoots cost about $3-4 million.

The film, which cost a reported $144 million, grossed just $229.1 million worldwide.

Aykroyd praised the cast, headed by Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon, saying, “I was really happy with the movie.”

But, he added, “it cost too much, and Sony does not like to lose money. It made a lot of money around the world, but it just cost too much, making it economically not feasible to do another one.”