The couple had attempted to trademark their moniker Sussex Royal but now it looks like they might not be able to use it at all.
Daniel Lee Martin, country singer and host of “Brotherhood Outdoors,” was found dead in his Pasco County, Florida, home Friday of an apparent self-inflicted gunshot wound. He was 54.Pasco deputies discovered his body when they arrived at Martin’s home to serve him with multiple warrants for his arrest that included three counts of sexual exploitation on a minor, three counts of aggravated sexual battery, two counts of committing an aggravated sexual battery and one count of solicitation of a minor to commit rape of a child.Martin was scheduled for a court hearing Friday morning but when he failed to appear, authorities were sent to his home to pick him up.Also Read: Caroline Flack, Former 'Love Island' Host, Dies at 40“The PSO SWAT team was called in to assist, as Martin previously made threats of harm against himself and others,” a Sheriff’s statement reads. “When deputies made entry to the residence, they discovered Martin deceased from an apparent self-inflicted gunshot wound.”Martin was indicted in 2018 of child sex crimes in Williamson County, Tennessee, having been accused of acts against three victims under the age of 13 between May 2014 and January 2018. He was arrested again last month in Florida, accused of exposing himself to a young girl, showing her pornography and performing a lewd act in her presence, according to court documents.Martin was a former baseball player and pro golfer who left a successful career as an advertising executive in 1997 to pursue his dream of becoming a country music recording artist, according to AllMusic.com. At various times he opened for Willie Nelson, Charlie Daniels and Vince Gill.He released albums “All That I Am” in 2003 and “On My Way to You” in 2007, and also co-hosted a hunting show “Brotherhood Outdoors” on The Sportsman Channel.Read original story Daniel Lee Martin, Country Singer Accused of Child Sex Abuse, Dies at 54 At TheWrap
Lynn Cohen, the veteran Broadway actress also known to millions for her role as Magda on the HBO series “Sex and the City” and its subsequent movies, died Friday, her representative told TheWrap. She was 86.Born in Kansas City, Missouri, in 1933, Cohen had a wide-ranging career with dozens of credits in film and television and the stage. Among her most well known roles, she portrayed Golda Meir in Steven Spielberg’s “Munich,” Mags in “The Hunger Games: Catching Fire,” and also appeared in the films “Across the Universe,” “Eagle Eye,” the 2014 comedy “They Came Together,” and Charlie Kauffman’s “Synecdoche, New York,” among many others.Her numerous television credits include appearances on “The Marvelous Mrs. Maisel,” “Nurse Jackie,” “God Friended Me,” “Master of None,” Law & Order: Special Victims Unit,” “The Affair” and “Chicago Med.”Also Read: Kevin Conway, 'Gettysburg' and 'Thirteen Days' Actor, Dies at 77On Broadway, she appeared in a 1989 revival of “Orpheus Descending” and 1997’s”Ivanov,” and was an integral part of New York’s theater community. During her career she was honored with Lucille Lortel and Drama League Award nominations, and received the New Dramatists’ Bowden Award, Fox Fellow, Lilly Award and the Richard Seff Award from Actor’s Equity Association.She also performed as a voice actor, most notably in the hit video game “Red Dead Redemption.”Read original story Lynn Cohen, ‘Sex and the City’ Actress and Veteran Broadway Performer, Dies at 86 At TheWrap
The 82-year-old actress and activist made the plastic surgery revelation in an interview with Elle Canada.
Warner Bros has revealed the first look of Robert Pattinson as the Dark Knight in the upcoming film “The Batman” from Matt Reeves.Check out the video above of Pattinson’s camera test, released Thursday by WB.Production is currently underway in the United Kingdom.The cast includes Zoe Kravitz as Selina Kyle, a.k.a. Catwoman, Paul Dano as Edward Nashton, also known as the Riddler and John Turturro is playing Carmine Falcone. TheWrap previously reported that Andy Serkis is in talks to play Alfred Pennyworth and that Colin Farrell is in talks to star as The Penguin. Jeffrey Wright is playing Commissioner Gordon, Peter Saarsgard is playing the role of Wasserman, while Jayme Lawson is set to star as well.Also Read: Peter Sarsgaard Joins Robert Pattinson, Zoe Kravitz in Matt Reeves' 'The Batman'Reeves has described his film as a “defining” and “very personal” story about the Dark Knight, rather than an origin story in the vein of Frank Miller’s beloved “Year One” series. According to insiders with knowledge of the project, Reeves’ film will explore Bruce Wayne’s second year as the Dark Knight detective.“The Batman” will be released on June 25, 2021.Read original story ‘The Batman': First Look at Robert Pattinson as The Dark Knight (Video) At TheWrap
“Once Upon a Time… in Hollywood” star Julia Butters brought a turkey sandwich in her purse to the 92nd Academy Awards on Sunday because she doesn’t “like some of the food here.”Los Angeles Times journalist Amy Kaufman took to Twitter to post photos of Butters revealing her sandwich.Julia Butters brought a turkey sandwich in her purse because "I don't like some of the food here. Oscars pic.twitter.com/sCDTr4GZYq— Amy Kaufman (@AmyKinLA) February 9, 2020Butters brought her treat as the Oscars are offering a Vegan menu as part of several awards shows going the same route after the 2020 Golden Globes featured a fully plant-based menu.Also Read: How to Stream the 2020 Oscars Ceremony Live OnlineOther than her turkey sandwich, Butters wore a pink ensemble and a high bun. The actress most recently starred in “Once Upon a Time … in Hollywood” opposite Leonardo DiCaprio and Brad Pitt. The film is up for 10 Academy Awards, including Best Picture and Best Director.The 2020 Oscars are taking place at the Dolby Theatre in Los Angeles.Read original story Oscars 2020: ‘Once Upon a Time… in Hollywood’ Star Julia Butters Brings Turkey Sandwich in Her Purse (Photo) At TheWrap
The box office got an unpleasant surprise this weekend as Warner Bros./DC’s “Birds of Prey” has fallen well short of expectations and posted a $33.2 million opening weekend from 4,236 screens, the worst start for a DC Comics adaptation since “Jonah Hex” in 2010.Heading into the weekend, the new film starring Margot Robbie as Harley Quinn was expected by trackers to at least match the $53.5 million opening weekend of “Shazam!” a pre-summer release with a similar production budget of slightly under $100 million. Warner Bros. was projecting a more conservative $45 million start. Reception for the film suggested that “Birds of Prey” should have easily made that target, holding an 83% Rotten Tomatoes score with a B+ on CinemaScore and 4/5 on Postrak.Also Read: All the Times 'Birds of Prey' Referenced 'Suicide Squad'But instead, the film that was supposed to get February off to a strong start is failing to launch, and it will now need strong legs over the next few weeks to make any sort of sizable profit. The breakdown of the CinemaScore demographics might provide a clue: The highest scores came from audiences under the age of 25, who gave the film a higher grade than the overall average at A-. But the film’s R rating has prevented those younger audiences from turning out en masse — moviegoers under 18 only accounted for 14% of the audience — and unlike other R-rated hits from Warner Bros. like “Joker” and “It,” reception and turnout from older audiences wasn’t strong enough to make up for that loss.Warner Bros. has been relying on the smash success of “Joker” — the first $1 billion hit with an R rating — and the more modest success of “It: Chapter Two” to push through a streak of box office flops that has included “The Goldfinch,” “Motherless Brooklyn” and “Doctor Sleep.” The studio has a strong 2020 slate but those films won’t be coming until the summer, starting with “Scoob!” in May and followed by “Wonder Woman 1984” and “In the Heights” in June and Christopher Nolan’s “Tenet” in July.“Birds of Prey” took No. 1 this weekend, but with no other wide releases out, the rest of the top 5 were holdovers. Sony’s “Bad Boys for Life” took second with $12 million in its fourth weekend, bringing its total to $166 million in North America and $336 million worldwide. Universal’s “1917” is third with $9 million, giving the Best Picture nominee a total of $132 million on Oscar Sunday. Should it win Best Picture, Sam Mendes’ WWI epic may get one more boost of audience interest that could see it pass the $142 million domestic run of fellow nominee “Once Upon a Time…in Hollywood.”Also Read: How to Stream the 2020 Oscars Ceremony Live OnlineIn fourth is Universal’s “Dolittle” with $6.6 million, giving it a $63.9 million domestic and $158.6 million worldwide total that is still well below its $175 million production budget. Standing on the other side of the break-even line is Sony’s “Jumanji: The Next Level,” which grossed $5.5 million in its ninth weekend and is on the verge of crossing $300 million domestic after passing $750 million worldwide this past week. Combined with its predecessor “Welcome to the Jungle,” the two “Jumanji” films have grossed over $1.7 billion worldwide.Farther down the charts, Oscar nominee “Little Women,” which crossed the $100 million domestic mark on Wednesday, took in $2.3 million this weekend for a total of $102.3 million. This is the first year since 2013 that at least five Best Picture nominees have crossed that $100 million mark. Meanwhile, Lionsgate’s “Knives Out,” which director Rian Johnson has announced will get a sequel, is on the verge of crossing $300 million worldwide with $159 million in North America. It joins “John Wick: Chapter 3” as only the second Lionsgate release since the start of 2018 to cross that mark.Read original story ‘Birds of Prey’ Misfires With $33.7 Million Debut, DC’s Worst Opening in a Decade At TheWrap
Up to a certain point, this year’s Oscars seem to be one of the most predictable in recent memory. The four acting races seem to have been decided long ago, and many of the other categories have strong frontrunners as well – if Roger Deakins doesn’t win Best Cinematography and “Parasite” isn’t named Best International Feature Film, 3,000 people in the Dolby Theatre will go into shock en masse.But how much do we really know? Best Picture has a clear frontrunner but also the tantalizing possibility of an upset that wouldn’t surprise too many people. And a number of other categories – including animated feature, documentary feature and short and film editing – could go in a few different directions.With voting closed, the obvious favorites are “1917” and “Parasite,” both of which should go home from the ceremony with some shiny new statuettes. But the year that was supposed to be Netflix’s Oscar breakthrough, with more nominations than any other company, may not end so well: Martin Scorsese’s “The Irishman” could become his second film, after 2002’s “Gangs of New York,” to go 0-for-10 at the Oscars, while “Marriage Story” will probably win a single Oscar and “The Two Popes” will be shut out. (But Netflix does have a real shot in the Best Documentary Feature and Best Animated Feature categories.)Also Read: Pre-Oscar Awards Scorecard: 'Parasite' Won the Most, but '1917' Won the Big OnesAssuming that PricewaterhouseCoopers hasn’t contracted the ballot counting to the Iowa Democratic Party, here’s what we expect to find in those envelopes on Sunday evening.BEST PICTURE Nominees: “Ford v Ferrari” “The Irishman” “Jojo Rabbit” “Joker” “Little Women” “Marriage Story” “1917” “Once Upon a Time … in Hollywood” “Parasite”“Parasite” is positioned to win this award like no film not in English has ever been. It won the SAG ensemble award and the Writers Guild Award, it picked up more guild awards than any other film, it’s by far the critical favorite of 2019 and its director and cast have been the hit of the awards circuit since Cannes. It also fits the recent pattern at the Oscars, in which a big, bold movie wins Best Director but a smaller, actor-driven film wins Best Picture: “Gravity”/”12 Years a Slave,” “The Revenant”/”Spotlight,” “La La Land”/”Moonlight” and “Roma”/”Green Book,” all within the last six years.And yet “1917” won the Producers Guild Award, the only major award that uses the same preferential system of counting votes that the Academy does. And it won the Golden Globe for drama, and the Directors Guild Award, and the British Academy Film Award (BAFTA). Films can win those awards and still lose Best Picture – “La La Land” and “Brokeback Mountain” did – but it’s rare.Unless “Once Upon a Time … in Hollywood” or “Jojo Rabbit” pulls off a shocker, a film is going to make history on Oscar night: “Parasite” as the first non-English film ever to win the award, “1917” as the first film since “Grand Hotel” in 1932 to win without an acting or editing nomination. The question is which one will be favored by the Oscars’ preferential voting system, in which the second-place choices of the films that receive the fewest votes come into play, or whether that will end up helping “Once Upon a Time” or “Jojo” in unexpected ways.“Parasite” is a tempting pick that would fit with recent trends, but it also has a de facto best-picture category where it will win, Best International Feature Film. And given what else “1917” has won this year, it seems foolish to bet against it.Predicted winner: “1917”Also Read: '1917': How Sam Mendes & Co. Re-Created World War I in a Single TakeSan Mendes on the set of “1917”BEST DIRECTOR Nominees: Bong Joon Ho, “Parasite” Todd Phillips, “Joker” Sam Mendes, “1917” Martin Scorsese, “The Irishman” Quentin Tarantino, “Once Upon a Time … in Hollywood”To split or not to split? In recent years, the Best Director and Best Picture awards have gone to different movies more often than not. But here’s an even more powerful stat: Over the last 71 years, this award gone to the director who wins the Directors Guild Award for feature film 63 times – and in the last 16 years, the only time the two awards didn’t match was when the Academy’s Directors Branch forgot to nominate Ben Affleck for “Argo.”This year, the DGA win gives a big edge to “1917” director Sam Mendes, who pulled off a huge movie that looks like a single shot. “Parasite” director Bong Joon Ho would be a popular alternative, and it’d be hard to argue with giving this to Martin Scorsese or Quentin Tarantino, but all signs point to Mendes.Predicted winner: Sam Mendes, “1917”BEST ACTOR Nominees: Antonio Banderas, “Pain and Glory” Leonardo DiCaprio, “Once Upon a Time … in Hollywood” Adam Driver, “Marriage Story” Joaquin Phoenix, “Joker” Jonathan Pryce, “The Two Popes”The four acting categories seem to be all but locked, with the same four actors winning at the Golden Globes, Critics’ Choice Awards, SAG Awards and BAFTA. It’s hard to envision a scenario in which Joaquin Phoenix doesn’t win this award for “Joker”: The film is the overall leader in nominations, even people who don’t like it are impressed by his performance, and the massive “Joker” backlash that’d need to happen for voters to give this one to, say, the subtle perfection of Antonio Banderas’ performance in “Pain and Glory,” has never materialized.Face it: If Phoenix has any disappointment on Oscar night, it’ll be that the menu at the Governors Ball is mostly but not completely plant-based.Predicted winner: Joaquin Phoenix, “Joker”Also Read: Director Todd Phillips: 'Joker' Sprang From Concern Over World Without EmpathyBEST ACTRESS Nominees: Cynthia Erivo, “Harriet” Scarlett Johansson, “Marriage Story” Saoirse Ronan, “Little Women” Charlize Theron, “Bombshell” Renée Zellweger, “Judy”This category provided the biggest surprise at last year’s Oscars, when presumed winner Glenn Close lost to Olivia Colman in “The Favourite.” But Colman had won at BAFTA, so her upset win didn’t come completely out of the blue. Renée Zellweger’s portrayal of Judy Garland in “Judy,” on the other hand, hasn’t faced any serious competition all season – while Charlize Theron got some initial buzz for playing Megyn Kelly in “Bombshell,” the movie never quite got the traction it needed to make her a serious challenger. (It doesn’t help that she’s asking Hollywood to identify with and root for a Fox News personality.)Like Best Actor, this should be one more walk to the podium for a performer who’s been there all season.Predicted winner: Renée Zellweger, “Judy”BEST SUPPORTING ACTOR Nominees: Tom Hanks, “A Beautiful Day in the Neighborhood” Anthony Hopkins, “The Two Popes” Al Pacino, “The Irishman” Joe Pesci, “The Irishman” Brad Pitt, “Once Upon a Time … in Hollywood”The supporting categories provide surprises more frequently than the lead categories, but it’s hard to imagine a surprise happening this year. In a lineup of pretty iconic actors, the effortless charm of Brad Pitt’s performance has carried over into a string of delightful acceptance speeches, and who doesn’t want to see him deliver one more on the stage of the Dolby? Barring a last-minute decision to make it up to Tom Hanks for 19 years of snubs (nope, that’s not gonna happen), Pitt is the one sure winner for “Once Upon a Time … in Hollywood.”Predicted winner: Brad Pitt, “Once Upon a Time … in Hollywood”BEST SUPPORTING ACTRESS Nominees: Kathy Bates, “Richard Jewell” Laura Dern, “Marriage Story” Scarlett Johansson, “Jojo Rabbit” Florence Pugh, “Little Women” Margot Robbie, “Bombshell”Lately, there’s been a growing buzz for two women who could be saluted for more than one 2019 performance: Florence Pugh, who shone in “Little Women,” “Midsommar” and “Fighting With My Family,” and Scarlett Johansson, who was nominated for both “Jojo Rabbit” and “Marriage Story.” But Laura Dern was in two movies last year, too, “Marriage Story” and “Little Women,” and everybody in Hollywood loves her. She’s been winning all season and she’s not about to stop now.Predicted winner: Laura Dern, “Marriage Story”BEST ADAPTED SCREENPLAY Nominees: “The Irishman” “Jojo Rabbit” “Joker” “Little Women” “The Two Popes”For a while, this category seemed to be one of the best chances for “The Irishman” to avoid an 0-for-10 shutout. But “Little Women” won the Scripter Award and seemed poised to win here, too – until “Jojo Rabbit” had a very good final weekend before the Oscars, winning at the Writers Guild Awards on Saturday and at BAFTA on Sunday.Barring a surprise from “The Irishman” or “Joker,” this now appears to be a showdown between “Little Women” and “Jojo Rabbit.” And it might be the prime opportunity for voters to recognize the latter film, which we underestimate at our own risk.Predicted winner: “Jojo Rabbit”BEST ORIGINAL SCREENPLAY Nominees: “Knives Out” “Marriage Story” “1917” “Once Upon a Time … in Hollywood” “Parasite”Even as Quentin Tarantino’s “Once Upon a Time … in Hollywood” began to slip from its status as one of the Best Picture frontrunners, the Best Original Screenplay category seemed likely to give him an Oscar win. But “Parasite” has been coming on very strong in the homestretch: It won the Writers Guild Award, which you can’t hold against Tarantino because his script wasn’t eligible, and then won the next day at BAFTA, where “Once Upon a Time” was eligible and had been nominated.Academy voters do like Tarantino, who has been nominated four times and has won for “Pulp Fiction” and “Django Unchained.” But BAFTA voters gave him those same four nominations and those same two wins, plus another nom for “The Hateful Eight” – so for “Parasite” to win there is a real danger sign for Tarantino. Plus, this could be the voters’ only chance to give “Parasite” writer-director Bong Joon Ho an Oscar win of his own – the Best International Feature Film Oscar will officially go to South Korea, not to Bong.Predicted winner: “Parasite”BEST CINEMATOGRAPHY Nominees: “The Irishman” “Joker” “The Lighthouse” “1917” “Once Upon a Time … in Hollywood”When “1917” first screened for voters and press in late November, the viewers and pundits agreed on three things: It was a strong Best Picture contender and it was going to win for its score and its cinematography. The first of those is clearly true, the second has turned into a big question mark and the third seems to be a lock. Roger Deakins, who couldn’t catch a break from Oscar voters for the longest time, is poised to win his second Oscar in three years for planning and executing the one-take look of “1917,” and for that astonishing sequence in the bombed-out French town.If he somehow doesn’t win, Robert Richardson probably has the best chance to take this one for “Once Upon a Time … in Hollywood.” But this award is Deakins’ to lose, and he’s not going to lose.Predicted winner: “1917”BEST COSTUME DESIGN Nominees: “The Irishman” “Jojo Rabbit” “Joker” “Little Women” “Once Upon a Time … in Hollywood”There may have been a time when the smart move in this category was to pick the frilliest and poofiest nominee to win – but that time is no more, what with “Black Panther” beating “The Favourite” last year and “Mad Max: Fury Road” topping “Cinderella” and “The Danish Girl” a couple of years earlier. Still, this year’s frontrunner does appear to be the one nominee with some (relatively) frilly dresses, “Little Women.” And it might help that this is one of the few places to honor that film, which was popular enough to land a Best Picture nomination.Of course, every other nominated film in the category is a best-pic nominee, too. And you can’t rule out the lure of those groovy period threads in “Once Upon a Time … in Hollywood” … or the appeal of “Jojo Rabbit,” the costumey-est of the nominees … or even the power of that red suit in “Joker.”Predicted winner: “Little Women”BEST FILM EDITING Nominees: “Ford v Ferrari” “The Irishman” “Jojo Rabbit” “Joker” “Parasite”Some people say you need a Best Film Editing nomination in order to win Best Picture (though 2014’s “Birdman” didn’t have one), but you don’t need to be the Best Picture winner to win here: In the past 10 years, only “The Hurt Locker” and “Argo” have turned that trick. Typically, this award goes to a film that is nominated for but doesn’t win Best Picture, and one with a liberal amount of action. That seems to favor “Ford v Ferrari,” but “Jojo Rabbit” and “Parasite” won the top awards from the American Cinema Editors, so you have to take them seriously.And you certainly have to take the legendary editor Thelma Schoonmaker seriously. She’s been nominated a record-tying eight times and could become the first editor to win four Oscars if her work on “The Irishman” prevails here. Could complaints about the film’s excessive length hurt her chances? Sure – if it wins, it’ll be the category’s longest winner since “Lawrence of Arabia” won 57 years ago.Predicted winner: “Ford v Ferrari”BEST MAKEUP AND HAIRSTYLING Nominees: “Bombshell” “Joker” “Judy” “Maleficent: Mistress of Evil” “1917”Make an actor look like a famous person, win an Oscar. That worked two years ago for “Darkest Hour” (Gary Oldman as Winston Churchill) and last year for “Vice” (Christian Bale as Dick Cheney), and it should happen this year for “Bombshell,” which features Charlize Theron as Megyn Kelly, Nicole Kidman as Gretchen Carlson and John Lithgow as Roger Ailes. By contrast, “Judy” had only one transformation, of Renee Zellweger into Judy Garland — but neither it nor any of the other nominees’ work was startling enough to make voters forget that they had trouble telling Charlize from Megyn.Predicted winner: “Bombshell”BEST ORIGINAL SCORE Nominees: “Joker” “Little Women” “Marriage Story” “1917” “Star Wars: The Rise of Skywalker”After 14 nominations without a win, this was supposed to be the year for Thomas Newman, whose music for “1917” was essential to the movie’s power. But over the last few weeks, Icelandic composer Hildur Guðnadóttir, only the ninth woman ever nominated for scoring, has been winning awards for her ominous score to “Joker,” including the Golden Globes, Critics’ Choice Awards, Society of Composers and Lyricists and BAFTA. Though Newman still has a shot, the momentum seems to be with Guðnadóttir.Predicted winner: “Joker”ParamountBEST ORIGINAL SONG Nominees: “I Can’t Let You Throw Yourself Away” from “Toy Story 4” “Into the Unknown” from “Frozen II” “(I’m Gonna) Love Me Again” from “Rocketman” “I’m Standing With You” from “Breakthrough” “Stand Up” from “Harriet”Could Diane Warren actually win her first Oscar after 11 nominations, for “Breakthrough,” a faith-based indie that’s probably the least-seen nominee this side of the shorts? Sure, she could – it wouldn’t be any stranger than her and Lady Gaga losing the Oscar a few years ago to the worst James Bond song ever written. But she’s a longshot behind the song that Elton John and Bernie Taupin wrote for the movie about Elton John and Bernie Taupin, “Rocketman,” and behind Cynthia Erivo’s song from “Harriet.”And while you can never write off Robert Lopez and Kristen Anderson-Lopez, who are 2-for-2 at the Oscars with songs from animated features, their song from “Frozen II” is more adventurous and less inescapable than “Let It Go” from the first “Frozen.” Elton will likely get to celebrate the 25th anniversary of his “Lion King” win with another trophy.Predicted winner: “(I’m Gonna) Love Me Again” from “Rocketman”BEST PRODUCTION DESIGN Nominees: “The Irishman” “Jojo Rabbit” “1917” “Once Upon a Time … in Hollywood” “Parasite”This probably comes down to two amazing sets (the rich and poor homes in “Parasite”) v. a recreation of 1969 Los Angeles (“Once Upon a Time … in Hollywood”) v. miles of trenches, tunnels and countryside (“1917”). In recent years, voters have been leaning toward elaborate fantasy over period reconstructions – and maybe the nominee that comes closest to fitting that bill is the one that brings the “once upon a time” to Hollywood.Predicted winner: “Once Upon a Time … in Hollywood”BEST SOUND EDITING Nominees: “Ford v Ferrari” “Joker” “1917” “Once Upon a Time … in Hollywood” “Star Wars: The Rise of Skywalker”The eternal question in predicting the sound categories: Will voters pick the same movie in both categories or will they differentiate between editing (the creation of artificial sounds and sound effects) and mixing (the overall audio balance)? In three of the last four years and seven of the last 10, the same film has won both, which is one of the reasons why the Academy is considering consolidating the two categories.So if the same movie will win both categories, will it be the war movie, “1917,” or the car-racing movie, “Ford v Ferrari?” The latter film won the top award from both of the Hollywood sound organizations, the Cinema Audio Society and the Motion Picture Sound Editors, but war movies typically do well here, and “1917” figures to be a voter favorite up and down the ballot. If there’s a split between the categories, editing is where “Ford v Ferrari” could well prevail.Predicted winner: “1917”BEST SOUND MIXING Nominees: “Ad Astra” “Ford v Ferrari” “Joker” “1917” “Once Upon a Time … in Hollywood”There’s only one difference in the nominations between sound editing and sound mixing, with the artier, lower-budget space movie “Ad Astra” slipping into the spot vacated by “Star Wars: The Rise of Skywalker.” But like the other sound category, this is a race between “1917” and “Ford v Ferrari” – and, we suspect, another narrow win for the WWI movie.Predicted winner: “1917”BEST VISUAL EFFECTS Nominees: “Avengers: Endgame” “The Irishman” “The Lion King” “1917” “Star Wars: The Rise of Skywalker”“The Lion King” won the top prize at the Visual Effects Society Awards, and a film that consists of nothing but visual effects ought to be a serious contender in this category. But in recent years, Academy voters have usually gone for lower-key visual effects, with last year’s win for “First Man” over “Avengers: Infinity War” only one example. In addition, a Best Picture nominee has lost to a non-nominee only once in the last 49 years, when the low-budget “Ex Machina” somehow beat “Mad Max: Fury Road,” “The Martian” and “The Revenant” in 2015.The best-pic stat should give “1917” and “The Irishman” the edge here – but with the de-aging effects in the latter film drawing a decidedly mixed reaction, the war movie could be an easier one for voters to embrace.Predicted winner: “1917”BEST INTERNATIONAL FEATURE FILM Nominees: “Corpus Christi” “Honeyland” “Les Miserables” “Pain and Glory” “Parasite”There are other easy categories to predict at this year’s Oscars, but nothing quite this easy. The five previous films nominated for Best Picture and Best Foreign Language Film in the same year all won in the latter category, and there’s really no chance that streak will change just because they’ve renamed the category.Unless the Academy voters all got together when we weren’t looking and decided to give this award to “Pain and Glory” or “Les Miserables” so they can save “Parasite” for Best Picture, Bong Joon Ho’s film is going to follow in the footsteps of “Z,” “Life Is Beautiful,” “Crouching Tiger, Hidden Dragon,” “Amour” and “Roma” with an easy win here.Predicted winner: “Parasite”BEST DOCUMENTARY FEATURE Nominees: “American Factory” “The Cave” “The Edge of Democracy” “For Sama” “Honeyland”There’s talk that “Honeyland” could win because all the Academy’s international members will vote for that Macedonian film, which is also nominated in the Best International Feature Film category. But the category also contains two films set in Syria and one in Brazil – so if regional loyalties figure in the voting, it might benefit the one nominee that is from the United States, “American Factory.”In fact, “American Factory” is also a formidable contender because it’s about American and Chinese relations at a time when those are in the news; it’s made by two acclaimed and well-liked filmmakers, Steven Bognar and Julia Reichert; it’s executive produced by Barack and Michelle Obama, the first film from their Higher Ground Productions; and it’s on Netflix, making it the most seen of the nominees. But “For Sama” is an emotionally wrenching doc that focuses on a mother and child bond in a ravaged Syrian town, and “Honeyland” does get some boost from that international nomination. In a very close race between those three films, “American Factory” may have a slight edge.Predicted winner: “American Factory”BEST DOCUMENTARY SHORT Nominees: “In the Absence” “Learning to Skateboard in a Warzone (If You’re a Girl)” “Life Overtakes Me” “St. Louis Superman” “Walk Run Cha-Cha”If you watch these five top-notch nominees back-to-back, the one that hits hardest is probably the Korean film “In the Absence,” a heartbreaking and infuriating indictment of the government response to the Sewol ferry disaster in 2017. In the days when voters had to see all the nominated films at AMPAS screenings, that would probably give it the win.But the BAFTA-winning “Learning to Skateboard in a Warzone (If You’re a Girl)” has the same things going for it that 2017’s winner “Heaven Is a Traffic Jam on the 405” did: a great title and a story that leaves you with some uplift. (It’s also a better movie than “Heaven.”) And “St. Louis Superman” is a timely reminder that politics can sometimes do good, and one of the few nominated films with a black protagonist. Like doc feature, this is a very close race.Predicted winner: “Learning to Skateboard in a Warzone (If You’re a Girl)”BEST ANIMATED FEATURE Nominees: “How to Train Your Dragon: The Hidden World” “I Lost My Body” “Klaus” “Missing Link” “Toy Story 4”“Toy Story 4” must overcome a couple of hurdles here. The first is that in the 18-year history of this category, only one sequel has ever won. (Good news: It was “Toy Story 3.”) The second is that the Academy’s love for Pixar has cooled in recent years: After winning the Oscar for six of its eight releases between 2001 and 2010 (with nominations for the other two), it has put out 10 movies, landed five nominations and won three times. For most studios, that’d be great; for Pixar, it’s a slump.But what can beat it? Netflix’s “Klaus” won big at the Annie Awards, but it’s hard to trust its sweep at an awards show historically prone to manipulation. A different Netflix film, “I Lost My Body,” will get the arthouse vote and might have an outside chance if it is widely seen, which is doubtful. Laika’s “Missing Link” isn’t that studio’s best but has been campaigning hard and has a shot if Pixar fatigue has truly set in. And it feels a little late for the Academy to recognize DreamWorks Animation’s “How to Train Your Dragon” series.Pixar has won nine times in 18 years, and it didn’t win last year. It’s due, and there’s nothing really positioned to take it down.Predicted winner: “Toy Story 4”BEST ANIMATED SHORT Nominees: “Dcera (Daughter)” “Hair Love” “Kitbull” “Memorable” “Sister”The French film “Memorable,” about an aging artist with dementia, may be the most artistic and substantial of the nominees – but if voters in the category were looking for artistic and substantial, they would have nominated Theodore Ushev’s masterful “The Physics of Sorrow,” which made the shortlist but inexplicably did not advance. So even though “Memorable” and the Chinese-American film “Sister” are imaginative and moving, this race may well come down to the two big-studio offerings, Sony’s “Hair Love” and Pixar’s “Kitbull.”Of the two, “Hair Love” tells a charming and winning story, and is one of the few ways in which voters can recognize diversity in this OscarsMostlyWhite year. But “Kitbull” is a touching tale of cooperation and friendship between a stray kitten and abused dog – and since the rules in this category were changed to allow the entire membership to vote without attending special screenings, Pixar and Disney have won four times in seven years, including two Pixar wins in the last three years.Predicted winner: “Kitbull”BEST LIVE ACTION SHORT Nominees: “Brotherhood” “Nefta Football Club” “The Neighbors’ Window” “Saria” “A Sister”“The Neighbors’ Window,” the narrative debut from two-time documentary nominee Marshall Curry, is the category’s only English-language nominee, and the kind of expertly-made, crowd-pleasing film that veers from comedy to sorrow and once would have coasted to a win in this category. With a more international Academy, though, it faces strong competition from “Saria,” which tells a devastating story and packs a real punch; “Brotherhood,” a disquieting family drama that speaks to issues that plague the Middle East; and even “Nefta Football Club,” a comedy with the kind of twist ending that voters sometimes appreciate.While the Academy often makes confounding choices in this category, all of the nominees are strong. This will be the fifth time in the last decade with only one American nominee in the category – and three of the first four times, that film has won. That may give “The Neighbors’ Window” a slight edge in a competitive field.Predicted winner: “The Neighbors’ Window”Read original story Oscars 2020: We Predict the Winners in All 24 Categories (Photos) At TheWrap
A thoughtful meditation on liberation, egg sandwiches and glitter bombs, “Birds of Prey” (subtitled “And the Fantabulous Emancipation of One Harley Quinn”) is a giddy treat of an R-rated comic-book movie, borrowing elements from inspirations as disparate as “9 to 5,” Bugs Bunny and Modesty Blaise to create an adventure that tweaks its genre familiarity with delightful bursts of anarchy and wit.A sort-of sequel that soars far above “Suicide Squad,” this fresh follow-up wisely puts the spotlight on Harley Quinn (Margot Robbie) as she carves out (sometimes literally) a new life for herself in the aftermath of her breakup with the Joker. In discovering the power she’s always had to stand on her own two feet, and in freeing herself from trying to please the dysfunctional man in her life, she even manages to make some new female friends along the way.They include hard-drinking lesbian Gotham City detective Renee Montoya (Rosie Perez), who patterns her patter after old cop shows; Dinah Lance, aka Black Canary (Jurnee Smollett-Bell), a singer whose voice can also become a powerful sonic boom; Helena Bertinelli, aka Huntress (Mary Elizabeth Winstead), once a Mafia princess but now an angel of vengeance seeking to murder the men who wiped out her entire family; and Cassandra Cain (Ella Jay Basco), a foster kid who finds herself in a world of hurt when she picks a diamond (the film’s shiny MacGuffin) from the wrong pocket.Watch Video: 'Birds of Prey' New Trailer Shows Harley Quinn Bouncing Back From Breakup With JokerThat pocket belongs to Mr. Zsasz (a platinum-dyed Chris Messina), the brutal (and palindromic) enforcer for disgraced scion Roman Sionis (Ewan McGregor), who has turned his back on his privileged upbringing to become Gotham mob boss Black Mask. Screenwriter Christina Hodson (“Bumblebee”) skillfully weaves the five women’s relationship with Black Mask — be it as pursuer or victim — and jumps back and forth in time to put all of them in a place where they must band together to fend off not only him but also his army of goons.(As presented by Hodson and director Cathy Yan, Gotham is part modern metropolis, but also — as in the old comics and the 1966 TV series — a home to volatile chemical plants, elaborate and abandoned amusement parks, and fog-shrouded, rotting piers.)Also Read: 'Birds of Prey,' and the Box Office Power of One Harley QuinnYan (“Dead Pigs”), making her first foray into big-budget studio filmmaking, could teach others in the superhero biz a thing or two about introducing multiple new characters without letting the pace lag. The leads all get enough time and space to establish themselves (and their relationships to each other) in an unrushed way — in between several breathtaking action sequences, of course, which esteemed cinematographer Matthew Libatique (“Native Son,” “Venom”) shoots with gusto, whether on the streets or in a variety of visually striking interiors from production designer K.K. Barrett (“The Goldfinch”).The film’s various elements work in wonderful concert to keep the momentum brisk but still grounded in a stylized version of human empathy, from Jay Cassidy and Evan Schiff’s whiz-bang editing to Daniel Pemberton’s consciously grandiose score. The cast makes each moment count: Robbie once again gives Harley a bravura physicality, this time aided by the outrageous costumes by Erin Benach (“A Star Is Born,” “The Neon Demon”), and she pinballs delightfully between the character’s extremes of boop-oop-a-doop sex kitten and experienced clinical psychiatrist.Also Read: Can February's Box Office Hit New Heights Without a 'Black Panther' or a 'Deadpool'?Winstead makes a vendetta-obsessed crossbow killer more fun that you might imagine; having spent her life training to be a deadly assassin, she’s more than a little socially awkward with the new peer group she’s suddenly amassed. And McGregor, playing a goosy sadist, hasn’t had this much fun on screen since “I Love You, Philip Morris.”Yan keeps some tricky plates spinning: With the anarchic Quinn on the loose in a somewhat straightforward crime piece, “Birds of Prey” is required to jump from serious to silly and back again at a moment’s notice, and the director always has a firm grasp on the material. As for her female gaze, it’s most apparent when Roman humiliates a female guest at his nightclub; the camera pulls back discreetly, refusing to be his accomplice. (Here, the drooling close-ups are reserved for breakfast treats.)When it comes to the film’s titular wonder women, however, we are firmly drawn in as they fight for their lives and for their own agency. And if we don’t get quite enough insight into Renee or Dinah or Cassandra, hey, that’s what sequels are for, and “Birds of Prey” left me wanting one, which is about the most anyone can hope for in a big-screen comics adaptation.Read original story ‘Birds of Prey’ Film Review: Margot Robbie Strikes a Mallet-Blow for Female Empowerment At TheWrap
Robin Wright, Viola Davis, Julianne Moore, and Laura Linney are among the throng of 50 actresses over 50 currently making waves in Hollywood.Nicole Kidman (birthdate: 06/20/67)The Australian Oscar winner appeared in no less than four movies at 2017’s Cannes Film Festival.Helena Bonham Carter (birthdate: 05/26/66)After starring in 2015’s “Cinderella,” this Oscar nominee reprised a different Disney role as the Red Queen in “Alice Through the Looking Glass.”Robin Wright (birthdate: 04/08/66)A Golden Globe-winning actress, Wright plays Claire Underwood in Netflix’s “House of Cards” and will appear in 2017’s “Wonder Woman” and the long-awaited “Blade Runner” sequel.Halle Berry(birthdate: 08/14/66)Aside from the fact that she’s the only black woman to win an Oscar for Best Actress, she most recently starred in “X-Men: Days of Future Past” and will be in “Kingsman: The Golden Circle.”Salma Hayek(birthdate: 09/02/66)Salma Hayek has been a household name since forever and it’s no wonder — she’s had notable movie roles “Frida,” “Desperado,” and “Wild Wild West.”Viola Davis (birthdate: 08/11/65)An accomplished SAG and Emmy winner, Davis stars in ABC’s hit series “How to Get Away with Murder” and 2016’s “Suicide Squad.”Gong Li (birthdate: 12/31/65)After making her American film debut in 2006’s “Miami Vice,” Li helped bring Chinese cinema to Europe and the U.S.Sarah Jessica Parker (birthdate: 03/25/65)Following the enormous success of her breakout series “Sex and the City,” Jessica Parker starred in a string of romantic comedies. She stars in HBO’s new with comedy “Divorce.”Diane Lane (birthdate: 01/22/65)The Oscar nominee has been busy, voicing the mother in Pixar’s “Inside Out,” playing Cleo Trumbo in “Trumbo,” and Martha Kent in 2013’s “Man of Steel” and 2016’s “Batman v. Superman: Dawn of Justice.”Vivica A. Fox (birthdate: 07/30/64).Since the ’80s, Fox has made a name for herself in both film and TV, including appearances in Fox’s “Empire” and reprising her role as Jasmine Dubrow in “Independence Day: Resurgence.”Read original story 50 Actresses Over 50 Who Still Rule Hollywood (Photos) At TheWrap
The Duchess of Cambridge re-wears Alexander McQueen dress to first sustainable BAFTAs.
The Duchess was pictured visiting Mayhew, an animal welfare charity of which she is patron.
Neil Portnow, the former CEO of the National Academy of Recording Arts and Sciences that oversees the Grammy Awards, on Tuesday was accused of raping an unnamed female recording artist.In a discrimination complaint filed Tuesday with the Equal Employment Opportunity Commission, ousted Recording Academy CEO Deborah Dugan, said that Portnow “allegedly raped a female recording artist, which was, upon information and belief, the real reason his contract was not renewed.”Dugan, who replaced Portnow last May to become the first woman to lead the Recording Academy, did not name the artist or offer many details about when the alleged incident might have occurred.In her complaint, Dugan said that she learned of the accusation last May while attending a three-day meeting of the Academy’s Board at the Ritz Carlton, Laguna Niguel after taking the job. “Ms. Dugan was hauled into a conference room and told — for the very first time — that a foreign recording artist (and member of the Academy) had accused Mr. Portnow of raping her following a performance that she gave at Carnegie Hall,” the complaint reads.Also Read: Ousted Recording Academy CEO Deborah Dugan Files Discrimination Complaint With EEOCPortnow could not immediately be reached for comment.The Recording Academy issued a response to Dugan’s complaint: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.“Nonetheless, we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 25,000 members of the recording industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”Dugan’s attorneys, Douglas Wigdor and Michael Willemin, dispute the Academy’s statements. “Ms. Dugan repeatedly raised concerns throughout her entire tenure at the Academy, and even gave large presentations focused on diversity and inclusion at Board meetings,” they wrote. “The Academy has lost its way and abandoned the recording industry, instead focusing on self-dealing and turning blind eye to the ‘boys’ club’ environment, obvious improprieties and conflicts of interest.”Her attorneys continued: “It was never Ms. Dugan’s intention to turn this into a public fight precisely because of her love for music and the members of the recording industry. Unfortunately, staying silent was made impossible by the Board’s repeated leaks and disclosures of false and misleading information to the press.”They also disputed the Recording Academy’s claim that Dugan sought a $22 million payout to leave her position. “On the morning of the day she was put on leave, the Academy offered Ms. Dugan millions of dollars to drop all of this and leave the Academy. The Board Chair demanded an answer within the hour,” the attorneys wrote. “When Ms. Dugan refused to accept and walk away, she was put on leave. The Academy claimed that Ms. Dugan was put on leave based on accusations made against her over a month prior that the Board knows very well are meritless. That is not a credible story.”Also Read: 26 Stars Who Only Need a Grammy to EGOT, From Liza Minnelli to Al Pacino (Photos)In her complaint, Dugan said the the accusation was presented to her as if the Board had just learned of it but “in reality, they were well aware of the allegation at the time Ms. Dugan agreed to take the CEO position, but never told her.” Dugan also said the Recording Academy pressured her into rehiring Portnow as a consultant for the “hefty sum of $750,000,” which she said she refused to do.Dugan also accused Joel Katz, the Academy’s general counsel, of sexually harassing her during the three-day meeting. Katz said in an email he is not responding to media inquiries: “I am currently out of the office with a respiratory infection. I will not be checking email or taking calls until I’m feeling better.”Dugan also said that a letter sent by interim CEO Harvey Mason Jr. to the Academy membership on Monday was “designed to retaliate against Ms. Dugan, threaten her, and malign her reputation.”In the letter, Mason Jr. said that Dugan was placed on administrative leave after the Academy’s executive committee received a letter from Dugan’s attorney saying she would agree to step down from her role as CEO and “withdraw” her accusations if she was paid out, with Billboard reporting on Monday she asked for the sum of $22 million.You can read Dugan’s complaint with the EEOC below.Filed EEOC Supplement by Sharon Waxman on ScribdRead original story Former Recording Academy Chief Neil Portnow Accused of Raping Female Recording Artist At TheWrap