True or not, this is very cool!!

This crazy Iron Man, Spider-Man theory is actually true

The newest Spider-Man to hit the Marvel Cinematic Universe has blown our minds by confirming a wildly popular theory linking Iron Man 2 to a very young Peter Parker.

Eagle-eyed fans have long speculated that Parker was actually in the second instalment of the Robert Downey Jr. franchise as the little Iron Man fan who bravely stands up to one of the rogue Hammer Drones at the Queens’ Stark Expo. In the blink-and-you’ll-miss-it scene, Stark flies in and congratulates the boy, saying “Nice work, kid,” before flying off to finish the fight.

Holland, who first appeared as the spidey hero in Captain America: Civil War and will next star in Spider-Man: Homecoming, revealed that he had gone straight to the Marvel Studios’ boss Kevin Feige for confirmation.

“I can confirm that, that is Peter Parker. I can confirm that as of today. I literally had a conversation with Kevin Feige only 20 minutes ago,” he told The Huffington Post.

“Maybe I’ve just done a big, old spoiler, but it’s out there now. It’s cool. I like the idea that Peter Parker has been in the universe since the beginning.”


Stay strong and stand tall, Adam!!

U2 bassist thanks band for helping him through addiction: ‘they loved me before I knew how to love myself’

NEW YORK — In a frank and heartfelt speech, U2 bassist Adam Clayton thanked his bandmates of four decades for their support during his treatment and recovery for alcohol abuse years ago, and then joined them for a rollicking rendition of a few hits.

“We have a pact with each other,” said Clayton, 57, who was receiving an award from MusiCares, the charity arm of the National Academy of Recording Arts and Sciences. “In our band, no one will be a casualty. We all come home, or none of us come home. No one will be left behind. Thank you for honouring that promise, and letting me be in your band.”

He ended by quoting lyrics that Bono, U2’s frontman, had written when the band was starting out: “If you walk away, walk away, I will follow.” At that, his bandmates came out to join him, performing “Stuck in a Moment You Can’t Get Out Of,” ”Vertigo“ and, fittingly, ”I Will Follow.“

The evening at the PlayStation Theater in Times Square also featured performances by rapper Michael Franti, Jack Garratt, reggae singer Chronixx, Macy Gray, and The Lumineers, who are currently appearing with U2 on their “Joshua Tree” tour.

Clayton was introduced by British record producer Chris Blackwell as someone who “lived through addiction and came out the other side, and has been courageous enough to admit it.”

Taking the stage, the bassist quipped: “I’m not used to achieving anything on my own.”

Turning serious, he said: “I’m an alcoholic, addict, but in some ways that devastating disease is what drove me towards this wonderful life I now have. It’s just that I couldn’t take my friend alcohol. At some point I had to leave it behind and claim my full potential.”

He said part of the reason he had a hard time quitting drinking was that, “I didn’t think you could be in a band and not drink. It is so much a part of our culture.”

It was Eric Clapton, he said, who finally told him he needed help.

“He didn’t sugarcoat it. He told me that I needed to change my life and that I wouldn’t regret it,” Clayton said. He credited another friend, The Who’s Pete Townshend, for visiting him in rehab, where he “put steel on my back.”

As for his bandmates, Clayton said, “I was lucky because I had three friends who could see what was going on and who loved me enough to take up the slack of my failing. Bono, The Edge, and Larry (Mullen) truly supported me before and after I entered recovery, and I am unreservedly grateful for their friendship, understanding and support.”

Clayton received the Stevie Ray Vaughan Award for his support of the MusiCares MAP Fund, which offers musicians access to addiction recovery treatment.

Arriving at the theatre earlier, he told reporters the fund was especially important given the current epidemic of opioid addiction. “MusiCares … really provides funding for a lot of people to look into those things and find help,” he said.

He added that his bandmates had been supporting him for 40 years.

“You know, I guess they loved me before I knew how to love myself,” he said. “So it’s really important that they share this with me.”


Hopefully he returns to play an Ex-President.

Alec Baldwin’s Donald Trump will return to SNL next year

We’re still not rid of the real Donald Trump, which means Alec Baldwin’s Donald Trump on Saturday Night Live won’t be going anywhere either. Speaking with CNN, Baldwin confirmed that his Trump will return during the show’s next season, but his busy schedule will prevent it from being a regular thing like it was last season. “We’re going to fit that in,” he said regarding his Trump impression on SNL, adding, “I think people have enjoyed it.” That may seem like an odd take on the “character”—which was evidently popular enough to bring back nearly every week—but Baldwin did admit back in February that he doesn’t exactly have fun playing Trump.

Basically, it sounds like he’s only agreeing to come back because people responded to his Trump so positively, which goes against a comment he made in March about not knowing “how much more people can take it.” Perhaps that’s why he’s dialing back the number of appearances he’ll make, telling CNN that it will be “a couple celery sticks” instead of a “whole meal.” Either way, we’ll have less Trump on SNL, but the same, depressing amount of Trump in real life.


Very, Very, Very, Very Cool!!

Super Nintendo Classic console launches Sept. 29

Nintendo has announced the Super NES Classic console, a miniaturized version of its 16-bit console from the 1990s and a followup to last year’s wildly popular NES Classic.

The box will launch in stores Sept. 29 for $99.99 Cdn ($79 US) and will include 21 games, including Super Mario World, Final Fantasy III and, notably, the previously unreleased Star Fox 2, the company said Monday.

The console will come packaged with two controllers, an HDMI cable, a USB charging cable and an AC adapter.

“While many people from around the world consider the Super NES to be one of the greatest video game systems ever made, many of our younger fans never had a chance to play it,” Nintendo of Canada chief executive Pierre-Paul Trepanier said in a statement.

“With the Super NES Classic Edition, new fans will be introduced to some of the best Nintendo games of all time, while longtime fans can relive some of their favourite retro classics with family and friends.”

First released in North America in 1991, the Super Nintendo Entertainment System — known as the Super Famicom in Europe and Asia — boasted better graphics and more memory than its predecessor, the Nintendo Entertainment System. Many of the games released on the Super NES are still regarded among the best video games in the medium.

Last fall, Nintendo released the NES Classic, a miniature version of the NES from the ’80s loaded with 30 games. It became one of the most sought-after holiday gifts, but supply shortages made it nearly impossible to find in stores.

It regularly sold for two to three times the $80 Cdn ($60 US) retail price on online auction sites like eBay. Nintendo cancelled production of the NES Classic in April, to the frustration of gamers and collectors worldwide.

The NES Classic only included one controller, unlike the Super NES’s two. Extra NES Classic controllers were sold separately, but they became just as difficult to find in stock as the console.

Shortly before it was discontinued, Nintendo told IGN that it never intended the NES Classic to be a long-term retail product and was caught off guard by its popularity among hardcore gamers as well as casual and lapsed players.

In a statement to Kotaku, Nintendo said it plans to produce “significantly more” units of the Super NES Classic than its predecessor, but currently is only committing to ship units through the end of the 2017 calendar year.

The company said it is focusing its “long-term efforts” to supporting its latest console, the Switch, and the 3DS line of handheld devices in the upcoming years.

Here’s the full list of games preloaded onto the Super NES Classic:

Contra III: The Alien Wars.
Donkey Kong Country.
Final Fantasy III.
Kirby Super Star.
Kirby’s Dream Course.
The Legend of Zelda: A Link to the Past.
Mega Man X.
Secret of Mana.
Star Fox.
Star Fox 2.
Street Fighter II Turbo: Hyper Fighting.
Super Castlevania IV.
Super Ghouls ‘n Ghosts.
Super Mario Kart.
Super Mario RPG: Legend of the Seven Stars.
Super Mario World.
Super Metroid.
Super Punch-Out!!
Yoshi’s Island.


I saw CARS 3 this week and enjoyed it.

Box office report: Transformers: The Last Knight lands in first place

Transformers: The Last Knight has touched down in a prime position.

The latest movie in the franchise brought in an estimated $45.3 million in its opening weekend. While this was enough to come out on top, it doesn’t bode well for the aging space robot-based series of films. This marks the lowest domestic opening of a Transformers movie yet, debuting with at least a full $50 million less than previous releases Transformers: Revenge of the Fallen ($109 million), Transformers: Dark of the Moon ($97.9 million), and Transformers: Age of Extinction ($100 million). Even the movie that kicked off the Autobots’ live-action stint on the big screen, Transformers, earned $70.5 million its opening weekend.

And neither fans nor critics seem particularly enthused by the latest movie (which will be followed by two more in 2018 and 2019). Last Knight earned a B+ on CinemaScore, the only film in the series apart from 2009’s Revenge of the Fallen to not earn an A or A-, which usually signifies not only whether a film is popular with moviegoers, but also if it has staying power in the box office top 10. (Dark of the Moon scored the rare A and went on to make $1.1 billion worldwide.)

Nonetheless, Last Knight has performed quite well overseas, bringing in $196 million, which is more than double the film’s cumulative domestic haul so far ($69.1 million). However, compared to previous Transformers films’ international earnings, the fifth film is still a long way behind 2014’s Age of Extinction and 2011’s Dark of the Moon, which both went on to earn $858 million and $771 million, respectively, during the course of their international runs. (Age of Extinction also crossed the $1 billion mark.)

The movie sees Mark Wahlberg return as inventor Cade Yeager in a world where humans are warring against the titular robots — and Optimus Prime is gone. Yeager teams up with beloved Autobot BumbleBee and Anthony Hopkins’ Sir Edmund Burton, an old English historian who knows about the history of Transformers on Earth, which they will need to explore if they are to find peace.

A little lower in the top 10 are Cars 3 and Wonder Woman, tied for second place with estimated earnings of $25.2 million each. This tracks well for the latest Pixar film, which has now earned an estimated $99 million so far. While not bringing in the same opening numbers as predecessors Cars ($60 million by its second week) and Cars 2 ($66 million by its second week), its week 2 has only seen a 53.1 percent decrease in domestic earnings, which is much better than Cars 2‘s 60.3 percent decline. Worldwide, Cars 3 has brought in $141 million but is yet to open in many key foreign markets, including China.

As for Wonder Woman, this week’s figures prove to be another impressive feat for DC’s latest big-screen superhero. The Patty Jenkins-directed movie sees a 39 percent drop in what is its fourth weekend at the box office and has become the highest-grossing live-action film directed by a woman thanks to its domestic earning of $318 million and worldwide total of $652.9 million. The film has now tied Iron Man‘s domestic total ($318 million) and is on track to take on fellow DCEU films Batman v. Superman: Dawn of Justice ($330.4 million) and Suicide Squad ($325 million) despite having had a smaller opening figure than either film. So far the movie, which stars Gal Gadot as the iconic DC superhero, has already out-earned Man of Steel‘s entire run and Iron Man‘s total worldwide earnings ($585 million).

In third and fourth place in the top five are shark-infested Mandy Moore movie 47 Meters Down and Tupac Shakur biopic All Eyez On Me. The former brought in an estimated $7.4 million for a domestic haul of $24.3 million, while the latter saw a sharp 77.9 percent drop for an estimated earning of only $5.9 million. This brings the film’s domestic total to $38.6 million.

At No. 5 is The Mummy, which sees a steep 59.8 percent drop in the domestic box office for an estimated earning of $5.8 million in its third week out. This brings the movie’s domestic haul to $68.5 million. However, the Tom Cruise movie continues to do well overseas, where it’s earned a total of $273.6 million for a cumulative worldwide earning of $342 million. The recent reboot of the fan-favorite 1997 film of the same name sees Cruise play Nick Morton, an archeological thief who steals ancient artifacts from sites of historical value and sells them to the highest bidder. When he accidentally comes across Ahmanet, a buried Egyptian princess, he must try and prevent her rage-filled rampage from destroying London.

Outside the top 10 is recent release (and Sundance favorite) The Big Sick, starring Silicon Valley‘s Kumail Nanjiani, who co-wrote the script with his real-life wife Emily V. Gordon. It follows a Pakistani comedian who falls in love with Emily, an American graduate student (Ruby Sparks‘ Zoe Kazan), but is worried about how his more traditional Muslim parents will react. When Emily falls ill and goes into a coma, Kumail begins to get to know and bond with her distraught parents (Ray Romano, Holly Hunter). The film, which opened in limited release, has brought in an estimated $435,000 from five locations with a per-screen average of $87,000. It has the largest per-screen average of any film opening on more than one screen this year.

Another limited release that, like The Big Sick, is being considered as a potential contender come award season is The Beguiled. The Sofia Coppola-directed film (which is based on the 1971 novel of the same name) opened earned an estimated $240,545 from four locations for a per-screen average of $60,138. The film’s impressive cast includes Nicole Kidman, Colin Farrell, Kirsten Dunst, and Elle Fanning.

Per ComScore, overall box office is up 27.6 percent in the same frame from last year. Check out the June 23-25 box office figures below.

1 – Transformers: Last Knight – $45.3 million
2 – Cars 3 – $25.2 million
2 – Wonder Woman – $25.2 million
3 – 47 Meters Down – $7.43 million
4 – All Eyez On Me – $5.85 million
5 – The Mummy – $5.83 million
6 – Pirates of the Caribbean: Dead Men Tell No Tales – $5.24 million
7 – Rough Night – $4.7 million
8 – Captain Underpants – $4.28 million
9 – Guardians of the Galaxy Vol. 2 – $3 million
10 – Beatriz At Dinner – $1.8 million


If it’s good – in the end – none of this will matter, just like ROGUE ONE.

How the Han Solo film broke apart — with Ron Howard picking up the pieces

Ron Howard is now steering the Millennium Falcon. And he has to maneuver it out of a giant asteroid field.

A little over a day after the directors of the upcoming Han Solo movie were fired, Lucasfilm has turned to the veteran filmmaker to steer the Star Wars project home.

“At Lucasfilm, we believe the highest goal of each film is to delight, carrying forward the spirit of the saga that George Lucas began forty years ago,” Lucasfilm president Kathleen Kennedy said in a statement. “With that in mind, we’re thrilled to announce that Ron Howard will step in to direct the untitled Han Solo film. We have a wonderful script, an incredible cast and crew, and the absolute commitment to make a great movie. Filming will resume the 10th of July.”

Howard previously worked with Lucasfilm when he directed the 1988 fantasy adventure Willow, with Warwick Davis, Val Kilmer, and Joanne Whalley. And the A Beautiful Mind Oscar-winner also served as an unofficial adviser to George Lucas on his prequel films, having been a longtime friend ever since costarring in Lucas’s coming-of-age classic American Graffiti in 1973.

Brace yourself for a wave of “Help us, Opie-Wan Kenobi, you’re our only hope” headlines.

The Star Wars stand-alone project, starring Alden Ehrenreich in the role originated by Harrison Ford, was just weeks away from ending principal photography when directors Phil Lord and Chris Miller, best known for The LEGO Movie, were dropped from the film Monday — with Lucasfilm and the filmmakers both citing “creative differences.”

The question remained for Star Wars fans: What exactly were those differences, and why were they so insurmountable that neither side was willing to compromise to avoid this public upheaval?

Here’s what we know now: Several sources close to the movie and others close to the directors tell EW that ever since filming began back in February, Lord and Miller, who are known primarily for wry, self-referential comedies like 21 Jump Street and the pilot episodes for Brooklyn Nine-Nine and Last Man on Earth, began steering the Han Solo movie more into the genre of laughs than space fantasy.

Apparently, the split was a subtle one that became magnified over time: Lucasfilm and producer Kennedy believed Lord and Miller were hired to add a comedic touch; Lord and Miller believed they were hired to make a comedy.

It’s an ironic turn. Last year, when Rogue One was undergoing reshoots, fans were critical because they assumed Lucasfilm was trying to “lighten” the war story with more comedy. Those concerns were unfounded, but now the opposite may be the case for the Han Solo film: Lucasfilm wants young Han Solo to be more grounded.

As usual with stories like this, not all sources agree. Another individual close to the movie says it wasn’t a question about how much comedy would be in the film. The consensus, however, is that the filmmakers were encouraging significant improvisation from the actors, which some at Lucasfilm believed was shifting the story off-course.

With actors who are also writers, and gifted at coming up with their own material, like Atlanta creator and star Donald Glover in the role of Lando Calrissian and Fleabag creator and star Phoebe Waller-Bridge as an unspecified motion-capture character (which in galactic terms, that usually signals a droid or alien), the sources say Lord and Miller began straying from the script by Star Wars veteran Lawrence Kasdan and his son, Jon Kasdan (The First Time).

One person close to the fired directors says: “They thought they were brought on to make a Phil and Chris movie. … Sometimes they just thought the actors could do it differently.”

But others on the project say they pushed too far. It wasn’t just a question of tone. The variations added up to significantly change the story. They may have been brought aboard to give young Han Solo a wiseacre vibe and an irreverent style, but Lucasfilm still felt the directors had a responsibility to tell the story as written.

When dailies began rolling in featuring improvisation from the actors and new ideas from the directors that significantly parted ways with the script, the relationship with the home office at Lucasfilm became fraught. As principal photography for the movie approached its end, it became clear that the filmmakers and producers did not share the same vision for some critical scenes.

Reshoots were always possible (they are factored into almost every major film these days, and each new Star Wars project has undergone them), but as Lord and Miller dug in, refusing to compromise on what they saw as best for the film, the partnership went from strained to fractured. If they wouldn’t do the scenes as Lucasfilm and Kennedy wanted them now, why would they do them that way during reshoots?

Sources close to the studio tell EW that Kennedy was also determined to do what was best for the film. Those perspectives were just different — and growing further apart.

After relaunching the franchise, which had taken damage from the critical reception of the Star Wars prequels, and building not just an acclaimed new saga with The Force Awakens but kicking off a series of stand-alone films with Rogue One, Kennedy felt she had earned her galactic bona fides: The directors should give her the benefit of the doubt and follow her concept of what the Star Wars movie should be.

Lord and Miller are well-liked within the industry and have a style that has often led studios to compete for their attentions, but Kennedy — whose long history of credits include Back to the Future, E.T. the Extra-Terrestrial, and Jurassic Park — also has an immense, proven track record. Backing her was Kasdan, Star Wars royalty — the screenwriter of The Empire Strikes Back, Return of the Jedi and The Force Awakens.

They became immovable objects. If the filmmakers were refusing to make the movie Lucasfilm expected, why continue?

On Monday, Lord and Miller were told they were terminated. The production was put on hold.

Howard’s name began circulating immediately, but yesterday his agency, CAA, was still saying a deal hadn’t been reached. This morning, it was done.

He will have two weeks to get to England and get up to speed on where things are, where they went awry from the studio’s point of view, and come up with a plan to complete it — if not on time, then with minimal extension to the schedule.

Meanwhile, Lord and Miller will begin packing up and heading home. Reps for the directors declined to say whether they might return Warner Bros.’ big-screen version of the DC Comics superhero The Flash, which they had left to take on the Han Solo movie. But since they were fired over a difference of vision, rather than an out-of-control production, they aren’t expected to take a massive career hit.

A source close to them said they wouldn’t have bad blood toward Howard. “Somebody has to take over the movie.”

Some close to the pair say Lord and Miller see the Han Solo film like a romantic break-up. It’s the end of an unhappy relationship, something they once deeply cared about, even if there is no future together.

To paraphrase the smuggler and the princess:

“I don’t love you.”

“I know.”


That actually makes sense.

Why Richard Dreyfuss Keeps His Oscar in His Fridge

He took home a best actor Academy Award in 1978 for ‘The Goodbye Girl.’

Forget the fireplace or the safe deposit box, Richard Dreyfuss has found a more unique place to store his Oscar that works for it — and other items like milk, eggs and ketchup.

The veteran star, who took home a best actor statuette in 1978 for his work in The Goodbye Girl, tells The Hollywood Reporter that he keeps the award in the refrigerator. “I don’t like to brag, but I like everyone to know about it,” laughs the 69-year-old. “Sooner or later, I know they are all going to go to the refrigerator.”

Dreyfuss, now starring on the series Shots Fired, revealed the news at Diane Keaton’s recent AFI Life Achievement Award presentation. They both took home trophies that night back in 1978 — Keaton for best actress in Annie Hall, a film that won a total of four Oscars, including best picture. The only nomination that didn’t turn to gold was Woody Allen’s best actor prize — because of Dreyfuss.

“Diane and I never got to talk that night, but I thought it was totally appropriate that Annie Hall won everything it won and that I won what I won. It would’ve been out of balance for Woody to have won best actor, but he won everything else,” Dreyfuss says. “And he deserved to win everything else. She was great, the script was extraordinary. It’s the greatest romantic comedy since the end of the Second World War. You can watch it now as if it’s brand new and get introduced to this grown-up, imaginative Woody Allen introducing this extraordinary, singular, eccentric woman.”


I saw ROUGH NIGHT and it was awful, pure garbage with only a few laughs. Hope to see CARS 3 soon!!

Box Office: ‘Cars 3’ Beats ‘Wonder Woman’ With $53.5M; ‘All Eyez on Me’ Nabs $27M

In a surprise upset, Mandy Moore shark thriller ’47 Meters Down’ beats the R-rated female comedy ‘Rough Night,’ starring Scarlett Johansson; ‘Wonder Woman’ approaches $600 million globally.
Despite signs of franchise fatigue, Pixar and Disney’s Cars 3 dominated the road at the North American box office over the weekend.

The threequel opened to an estimated $53.5 million from 4,256 theaters, enough to beat ruling champ Wonder Woman. It is anticipating a brisk Sunday, thanks to Father’s Day (the movie is skewing slightly male). Overseas, Cars 3 debuted to $21.3 million from its first handful of territories for a global start of $74.8 million.

Make no mistake, Wonder Woman continues to impress, falling a scant 30 percent in the U.S. to $40.8 million for a domestic cume of $274.6 million. The Warner Bros. movie, directed by Patty Jenkins, enjoyed one of the best third weekends in history for a superhero film. Internationally, Wonder Woman’s hold is almost as good, earning another $39.5 million for a foreign total of $297.2 million and worldwide tally of $571.8 million.

In the coming days, Wonder Woman will eclipse 2008’s Mamma Mia! ($609.8 million) to become the top-grossing female-directed film of all time, not accounting for inflation.

Cars 3 nabbed an A CinemaScore. That means all 18 Pixar films have received some variation of the top grade. It is also the 16th Pixar movie to open at No. 1.

At the same time, Cars 3 came in 19 percent behind the $66.1 million domestic debut of Cars 2 in 2011, which went on to earn $562.1 million worldwide. The original Cars, which hit theaters in 2006, opened to $60.1 million in its North American bow before topping out at $462.2 million worldwide. Overall, Cars merchandise is a huge revenue generator for Disney.

The threequel follows the legendary Lightning McQueen (voiced by Owen Wilson) as he’s pushed out of the sport he loves by a new generation of blazing-fast racers. He enlists the help of a young race technician (voiced by Cristela Alonzo) to help him get back in the game.

The other big headline of the weekend was the Tupac Shakur biopic All Eyez on Me, directed by Benny Boom. The movie, landing at No. 3, came in ahead expectations with $27.1 million from 2,471 theaters.

Lionsgate’s Codeblack Films partnered with Lionsgate on the movie, which was released on what would have been the late iconic rapper’s 46th birthday. Named after Shakur’s fourth studio album, the film includes over a dozen songs from his music catalog.

The biopic, starring Demetrius Shipp Jr., grabbed an A CinemaScore. The cast also includes Kat Graham, who plays Jada Pinkett-Smith, who was close to Shukur. (Pinkett-Smith says the movie is “deeply hurtful.”) More than half of the audience was African-American (52 percent), followed by Caucasians (22 percent), Hispanics (19 percent) and Asians/Others. That’s on par with the audience breakdown for Straight Outta Compton, which debuted to more than $60 million two summers ago.

Universal’s The Mummy followed at No. 4 with $13.9 million from 4,034 locations for a 10-day domestic total of $56.6 million through Sunday. While the Tom Cruise starrer might be lagging in the U.S., it continues to do solid business overseas, where it won the weekend with $53 million from 68 markets for a foreign total of $239.1 million and global cume of $295.6 million.

In North America, the news was rough for Sony’s raunchy female comedy Rough Night. The R-rated movie fell flat with $8.1 million from 3,162 theaters. The $20 million film stars Scarlett Johansson, Ilana Glazer, Kate McKinnon, Jillian Bell and Zoe Kravitz as a group of friends who gather for a weekend-long bachelorette bash.

In a surprise upset, Rough Night was beaten by the femme-centric shark thriller 47 Meters Down, starring Mandy Moore and Claire Holt. The film, the first major title from Byron Allen’s distribution venture Entertainment Studios, grossed $11 million from 2,270 theaters to land at No. 5.

Rough Night received a C+ CinemaScore, while 47 Meters garnered a C.


May he rest in peace.

Animal House star Stephen Furst dies at 63
Stephen Furst, best known for playing Kent “Flounder” Dorfman in 1978’s Animal House, died in his California home on Friday from complications due to diabetes. He was 63.

Furst’s death was confirmed by his sons, Nathan and Griffith.

“Steve has a long list of earthly accomplishments,” Furst’s sons wrote on Facebook. “He was known to the world as [a] brilliant and prolific actor and filmmaker, but to his family and many dear friends, he was also a beloved husband, father and kind friend whose memory will always be a blessing. To truly honor him, do not cry for the loss of Stephen Furst. But rather, enjoy memories of all the times he made you snicker, laugh, or even snort to your own embarrassment. He intensely believed that [laughter] is the best therapy, and he would want us to practice that now. If you knew him personally, remember his gift for lighting up a room. And no matter who you are, when you think of Steve, instead of being sad, celebrate his life by watching one of his movies or use one of his bits to make someone else laugh — really, really hard.”

Born in Norfork, Virginia on May 8, 1955, Furst made his first credited acting appearance in the 1977 film American Raspberry just one year before breaking out in Animal House. He played Flounder in the comedy classic, a legacy pledge and “real zero” who becomes friends with the disruptive fraternity brothers of Delta Tau Chi — played by John Belushi, Tim Matheson, and Peter Riegert. Furst reprised the Flounder role in the short-lived 1979 follow-up television series Delta House.

After Animal House, television success followed. Furst appeared on numerous series throughout the 1980s and 1990s, including a costarring role on St. Elsewhere, where he played Dr. Elliot Axelrod through the show’s five-year run from 1983-1988. He also made guest-star appearances on Newhart, The Jeffersons, MacGyver, CHiPs, Murder, She Wrote, Scrubs, and many other series. Furst’s other notable television role was playing Vir Cotto on Babylon 5.

Furst last appeared on screen in 2006’s Basilisk: The Serpent King, which he also directed.


I’m so happy that my country will be recognizing Gord while he’s still alive. This is a beautiful thing!!

Gord Downie, Indigenous activist Sylvia Maracle to receive Order of Canada on Monday

OTTAWA—Gord Downie and Indigenous activist Sylvia Maracle will be appointed to the Order of Canada on Monday, while Downie’s Tragically Hip bandmates will also receive one of the country’s highest civilian honours at a later date.

Maracle will be named an officer of the Order of Canada and Downie will be named a member.

They are among 30 recipients to be honoured for leadership in supporting Indigenous issues, including NHL player Jordin Tootoo, who will receive a meritorious service medal in the civil division.

Maracle, a Mohawk from the Tyendinaga Mohawk Territory and executive director of the Ontario Federation of Indigenous Friendship Centres, is known as a passionate advocate for urban Indigenous peoples and women’s issues.

Downie, who announced last year that he was diagnosed with terminal brain cancer, has become a strong advocate for Indigenous people and issues.

His recent solo album and graphic novel Secret Path tells the story of an Indigenous boy, Chanie Wenjack, who died while trying to escape a residential school.

The Hip’s members — Downie, Rob Baker, Johnny Fay, Paul Langlois and Gord Sinclair — are being honoured for their contributions to Canadian music and support for social and environmental causes.

An officer of the Order of Canada is recognized for national service or achievement, while a member of the Order of Canada is honoured for contributions at the local or regional level or in a special field of activity.

Other recipients to be feted on Monday include Métis author Jacqueline Guest, whose children’s and young adult books showcase Indigenous culture. She was announced as a member of the Order of Canada in January.

Cree activist, producer and actress Tina Keeper and Royal Winnipeg Ballet artistic director Andre Lewis will also each receive a meritorious service medal for producing the acclaimed ballet Going Home Star — Truth and Reconciliation.

The story depicts the painful history of residential schools and was envisioned by late Cree elder and activist Mary Richard, who will receive a posthumous meritorious service medal.