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Dupont Should Come Unglued After Audiences See Todd Haynes’s “Dark Waters” with Mark Ruffalo and Anne Hathaway

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Dupont will no longer be a Teflon corporation after audiences see  Todd Haynes’s memorable scary “Dark Waters,” opening November 22nd. Mark Ruffalo stars as the corporate lawyer from Cincinnati who took down the company and won a $670 million settlement for rural West Virginians who were poisoned by the company when they put something called C-8 in Teflon.

Yeah, the Teflon in our pans. It turns out everyone in the world is infected in some way now, it’s far worse than just the local farmer. Now they’ve removed C8 from Teflon, but the damage has been done.

Feeling nervous? “Dark Waters” is a call to arms directed by Todd Haynes, who usually deals with more intimate films. But activist Ruffalo discovered the story of how Rob Billot working for Cincinnati law firm Taft– who usually worked for the bad guys– saw what was happening and decided to do something about it. He learned how babies were being born deformed, people worked with Teflon were dying of cancer, farm animals were losing their minds and expiring at alarming rates.

“Dark Waters” premiered Tuesday night at Lincoln Center’s Walter Reade Theater with a swell, old fashioned dinner at Lincoln Restaurant. Focus Features has a winner in this descendant of “Silkwood” and “Erin Brokovich” with all-star cast that includes Ruffalo, Anne Hathaway, Tim Robbins, Bill Pullman, Bill Camp, and Mare Winningham.

Everyone showed up except for Hathaway (on bed rest waiting for baby number 2). More on her in a minute. It was Ruffalo, an environmental activist, who pulled this project together. Remember Haynes is better known for his character pieces. But he also made a movie years ago with Julianne Moore called “Safe,” in which no one was safe from chemicals. In a way, he’s return to an old interest and done a smashing job. This might be his most commercial movie.

Ruffalo plays  lawyer Billot, who’d just made partner at a white shoe law firm Taft when his Parkersburg, West Virginia grandmother sends two local farmers to him. All their cows are dead or going mad, everyone is sick. A massive amount of data has already been compiled and hidden by Dupont, which knows what’s happening and won’t do anything about it. Selling frying pans is more important.

Out of the frying pan and into the fire went Billot, who had a young family and dwindling financial resources. The case against Dupont went on for years, but luckily Billot had the help of his firm and two older lawyers (Tim Robbins and Bill Pullman, in roles that used to be played by Josef Sommer and Donald Moffat) who support the cause.

“Dark Waters” plays like a procedural in the mode of “Silkwood” or “Erin Brockovich.” Haynes and co. keep it simple and honest, with tremendously subtle work from a supporting cast that includes Bill Camp and Mare Winningham. Oscar winner Anne Hathaway starts slow as Mrs. Billot but comes through with (as usual) with stark authenticity.

In a season of gangsters, Hollywood cowboys, papal friendship, and alienated villains, we need “Dark Waters,” a David vs. Goliath tale that affects all of us in real life and once again exposes corporate greed. Billot deserves a medal for what he’s done. Haynes, Ruffalo et al should get their recognition for bringing the story to the screen.

 

Harry Styles New Album Hedging Bets for Number 1 Debut: Each Tour Ticket, T Shirt Will Come Bundled with CD

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Everyone had better read the fine print for the Harry Styles album, “Fine Line.”

To hedge their bets and make sure “Fine Line” has a BIG number 1 debut, Styles’ team is doing ticket bundling. To wit: every tour ticket sold and every t shirt sold on line comes with a CD of “Fine Line.”

Tour tickets go one sale November 18th, so this way a big pre-sale will build up for “Fine Line” prior to its December 13th launch. When album sales are counted on December 20th, “Fine Line” will be bloated with all the extra CDs that came through this bundling scheme.

It’s a great way to have a huge debut on the charts. The following week, the fall off is usually around 80%, but the pay off is worth it. You’ve had that week of publicity touting the number 1 chart debut. In this case, it will even be better because the chart counting mechanisms shut down from December 20 th til January 4. The actual numbers will be lost in the miasma of Happy Holidays.

The first self titled Styles album opened with 229,000 copies, so obviously Sony and Styles’ team will be looking to top that. This way, it’s insured. The question will be whether or not the album sales hold up, like Taylor Swift’s “Lover,” or if they drop quickly. It will all go back to the individual tracks, and if they take off on their own on iTunes and Spotify.

“Ford v Ferrari” Starring Matt Damon and Christian Bale Races to the Screen with Big Ideas About America, Friendship, and Cars

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“Ford v Ferrari,” much buzzed for Oscar nominations, is coming this Friday. Among racing movies, it’s a winner, with a compelling central story about Henry Ford’s team vs. Ferrari, very American. But it’s really about Ford’s famous Carroll Shelby (you know his name from the Mustang) played with stolid charisma by Matt Damon vs. his own driver, eccentric and endearing Ken Miles (Christian Bale).
At a screening this week, director James Mangold had a lot to say about his central characters of Shelby and Miles. “It was these unique characters and also a way that a lot of us in filmmaking relate to the struggle of these characters and that we, too. like Carroll Shelby and Ken Miles are trying to convince large corporations to do something they haven’t done before that costs a great deal of money, but the whole thing works.”
Also on hand were actors from the movie Josh Lucas and Jon Bernthal. The big stars, Damon and Bale, are tied up making movies.
“Unlike the drivers,” said Mangold, “We don’t die, but if our gambles don’t pay off, we do magically disappear. And so, that is kind of the struggle that also fascinates me and it was kind of analogous in all our worlds, I’m sure many of your worlds, whether they’re filming or otherwise.”
Added Mangold, “It made me think about making movies because of the unique friendships I’ve made making films, and they’re the kind of friendships that I felt like I could represent on screen with these characters, which are friendships made of doing something, not hanging, not drinking, not watching, not talking, but that you actually get together and make something happen together.”
Directed at audience members who are not, like me, into racing movies, Mangold said, “The last thing I wanted to say about racing, for those of you who are nervous or just bragging here going, ‘I don’t like that shit.’The thing is that what I didn’t discover, so that I can share this with you, is that it is a really interesting world with its own language, with a beauty, with a kind of logic that transcends just cars. And what we did, and what we tried to do, you can be the judge is do something they ever can do when they’re at the races or on TV, which is get inside these characters heads, get inside the cars, understand why they’re slowing down, why they’re pulling over, why they’re getting ahead… You never know that when you’re watching red and yellow whips on some screen with a bunch of jackasses talking about it, but you do know in this movie hopefully.”
“Ford v. Ferrari” sounds like a lawsuit. In other countries, the movie is called “Le Mans 66.” Either way, it’s a pulse-raiser.   Shelby (Damon) and the British driver Ken Miles (Bale) battle corporate interference and the laws of physics to create a revolutionary car for Ford Motor Company that will take down the dominating race cars of Enzo Ferrari at the Le Mans race in France, which lasts a startling 24 hours. It’s as much a buddy movie as a racing film. Set in 1966, the movie is very much a period piece and a throw back to the wonderful, solid films of that era. (Also sure to nab an Academy-Award supporting actor not is Tracy Letts, who is terrific as Henry Ford II, continually living in the shadow of his legendary father.)
Bale has the flashier role of Shelby, a nonconformist with an out-of-control temper who didn’t like playing by corporate rules or any rules at all for that matter. Bale has transformed himself again, from the roly-poly Dick Cheney he played in his last role he’s now all wiry and sinewy as the tightly-wound Shelby. “Ford vs. Ferrari” is a terrific ride for 2 1/2 hours that seems to fly by. The final hour is the Le Mans race and Mangold has welded the CGI seamlessly into the exciting race sequences that will have you literally glued to your seat, whether you’re a racing enthusiast or not.

Harry Styles Getting the Big Money Push to Super-Stardom: World Tour Set for 2020 Behind New Album

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There’s a fine line between star and superstar. Harry Styles is getting the big money push now to turn into the latter.

Even though his first album did so-so, Harry’s last tour was a success. The former One Directioner proved he had the stamina to take it on and be in good spirits: no scandals with sex or drugs. No Justin Bieber-esque breakdowns.

And so today Styles has announced a world tour beginning next April. It’s called the Love Tour, designed to follow release of his new album, “Fine Line,” which comes out Friday, December 13th.

This weekend, Styles will host and be the musical guest on “Saturday Night Live.” That is BIG. It’s the second big marketing move, after his Labor Day Rolling Stone cover, announcing the intention to fill the space left by Justin Bieber when he semi-retired, and to take up the age range left by Justin Timberlake.

Sony is betting a lot on Harry Styles even though the first single from his new album, “Lights Up,” was not a huge seller. Its numbers break down to just 30,000 in paid downloads but boom up to a total of 345,000 including streaming. Spotify shows “Lights Up” with 94 million streams, making it his fifth most popular song on that platform. But the label must be enthusiastic about what we haven’t heard from “Fine Line,” to think that its songs are strong enough to support a huge world tour.

And so into the pop world, Styles will threaten to become his generation’s star, a sort of Leonardo DiCaprio of pop since the singer has also proven he can act seriously (see “Dunkirk”) and be naturally funny (“SNL”).

Even better news is that on the North American leg of the “Love” tour his opening act is the best “older” singer songwriter around, Jenny Lewis. She’s 43, and has never really gotten her due. A favorite of Elvis Costello, a close pal of Bill Murray, Lewis once fronted a great group called Rilo Kiley. Her songs are an absolute pleasure, and this will bring her to a wide audience.

 

Rumor Scotched: “Days of Our Lives” Longtime Star Kristian Alfonso Says “We are still here, you heard it here first, we are not going anywhere!”

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I told you yesterday I didn’t think that TV Line story about “Days of our Lives” rang true.

Long time star Kristian Alfonso posted to Instagram today with headwriter Ron Carlivati. She says, quoting today’s date, “We are still here! You heard it here first, and we are not going anywhere!” She looks a lot better in this video than she does on the show, btw.

Oscars: “Little Women” and “Bombshell” Will Bring Much Needed Last Minute Influx of Females to Awards Season

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This year’s Oscars? So far it’s been high testosterone. There’s Tarantino, Di Caprio, and Pitt from “Once Upon a Time in Hollywood.” Then you’ve got “The Irishman,” with Scorsese, De Niro, Pacino, Pesci, and pretty much no women. Ditto “Two Popes,” “Dolemite,” “Ford v. Ferrari,” and so on.

Where are all the girls? The glaring lack of women in film this year may be why so many arm chair pundits have tried to float a balloon for Jennifer Lopez in “Hustlers.” This is not an Oscar performance, but for a minute there, JLo had the stage to herself.

But now we’re warming up. Two really great movies with ridiculous review embargoes star and feature lots of terrific ladies who will soon fill up slots in lead and supporting categories.

“Little Women,” directed by Greta Gerwig, is girls girls girls. Saoirse Ronan leads a phenomenal cast including Laura Dern, Florence Pugh, Emma Watson and even Meryl Streep. Ronan is lead, Pugh is in supporting, Gerwig could be a Best Director nominee. The whole gang will be Best Ensemble at SAG. The cast should play “The Irishman” on Family Feud.

“Bombshell” is Jay Roach’s terrific film about the Roger Ailes-Gretchen Carlson scandal at Fox News. Charlize Theron is lead as Megyn Freakin Kelly, Nicole Kidman is supporting as Carlson, and Margot Robbie nearly steals the show as a composite female victim of Ailes’s lechery. This group also works as an exceptional ensemble. And I’d rather see “Hustlers” in ensemble rather than single out one performer.

So the women are here, we just had to wait for them. And let’s not forget Renee Zellweger as “Judy,” Cynthia Erivo leading “Harriet,” and Alfre Woodard searing in “Clemency.”

End of “Days”? Probably Not. Soap Opera Cast Released from Contracts as Producer Fights with NBC

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Is it the end of “Days”? Probably not.

But “Days of our Lives” executive producer Ken Corday has reportedly released his entire cast from their contracts. It’s part of his negotiating ploy with NBC. No one knows better how to cheap out a negotiation like Corday, who puts no money on the screen. He once killed off all his characters.

Corday is in talks with Sony and NBC to renew the show for a 55th year. It can’t be going well, since Corday recently unsuccessfully sued Sony TV, his partner, for promoting another show, “The Bold and the Beautiful,” over his in international territories. He lost that fight.

Corday films six months in advance, so he has enough shows to go through the summer. When he makes his deal, he’ll hire back the cast for less money if he can. But it’s likely this will all get sorted out. He recently invested in an app for the show, and this week got a lot of publicity for a time jump in the series’ story line.

But who wants to live like this? It’s not pleasant for the actors or crew. I suppose in the end Corday will have to give in. Without “Days,” he has no standing in Hollywood. His parents created the show in 1965. It’s his whole life.

What a soap opera! TV Line first reported this news.

Ricky Gervais Returning To Host the Golden Globes For a 5th Time: Are They Gluttons for Punishment or Crazy Like Foxes?

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Ricky Gervais is back to host the Golden Globes for the fifth time. This should be good.

Nobody makes the Globes fun like Ricky. He “takes the piss” on the Hollywood Foreign Press Assocation and all the stars. In the past, that’s gotten him into trouble. Are the HFPA gluttons for punishment? Or crazy like foxes? I think the latter.

“Once again, they’ve made me an offer I can’t refuse,” said Gervais in a statement. “But this is the very last time I’m doing this, which could make for a fun evening.”

Last time? There is no last time in Hollywood. Everyone comes back for more.

But giving the job to Ricky is smart, he’ll bring in ratings, make a lot of jokes about Netflix, their many movies and TV shows, and so on. Of course, Ricky works for Netflix, so the jokes won’t be too pungent.

Now, what can the Oscars do? Bring back Billy Crystal? How about Billy and Whoopi Goldberg? That’s what I would do. But no one asked.

 

Broadway Suffers First Major Loss from 2019 Season: “Tootsie” with 11 Tony Nods Will Close In January 2020

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#RIP “Tootsie.”

Nominated for 11 Tony’s, winner of two including Best Actor and Best Book, “Tootsie” will shuffle off to Buffalo next on a national tour. But come January, the musical based on the great Dustin Hoffman movie will close shop.

“Tootsie” opened literally against another terrific musical based on a movie, “Beetlejuice.” “Tootsie” got better reviews and was even in the lead at one point to win the Tony for Best Musical. (“Hadestown” won.)

For a while, with just the 2 awards, it did pretty well at the box office. But then summer came, and it was ironically overtaken by “Beetlejuice.” The latter was actually my favorite of the two. “Beetlejuice” is now playing at nearly sold out houses, 100% of capacity. “Tootsie” is down to 78%.

“Tootsie” also had an odd performance schedule. They played Mondays instead of Thursdays. A few weeks ago, Tony winner Santino Fontana did a private gig for a charity dinner I was at on a Thursday. I thought maybe he was AWOL. Then it turned out he was free. Thursday is the big ‘going out’ night for New Yorkers. I didn’t understand that decision at all.

Meanwhile, “Beetlejuice”– which had fans lined up around the block on the first night of previews– really caught on. It’s fun, something “Tootsie” was not. When you think about it, winning the Best Book award was strange,too. The musical dumped characters and a big subplot from the movie. The whole soap opera setting was gone, which could have been parodied a lot. Producers could have had stunt soap actors come in for special gigs. Instead, they set the show in the much used world of putting on a musical. Mistake.

This past season was rough. It ate “The Cher Show,” among others that did not get through a whole year. The bar for survival is very high these days because so are costs.

The songs for “Tootsie” were written by David Yazbeck, Tony winner from “The Band’s Visit.” One song from the show stuck in my head and I find myself humming it a lot. Sarah Stiles, from “Billions,” performs it. Listen below. Go see “Tootsie” if you can before it goes.

 

Review: Robyn Crawford’s Book “A Song for You” About Whitney Houston Is The Only Real Account of a Tragic Life

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Robyn Crawford, author of a memoir about her life with Whitney Houston,  has been on Dateline, the Today show, and in People magazine doing press aimed for publication this week. “A Song for You” is the only accurate account of Whitney’s life so far, it’s as true as it could be, from Crawford’s perspective. She’s not doing it for the money. But with Whitney and Bobbi Kristina tragically dead, and Cissy Houston too frail to know what’s going on, Robyn is all we have.

“A Song for You” covers just Robyn’s experiences. It doesn’t go beyond that. Robyn met Whitney when she was 19 and Houston was 17. They had a real love affair that went on for two or three years until 1982, when Robyn says the physical part ended. But the love never stopped. They were still living together when I went to see them in early summer 1990 at Whitney’s gigantic modern house in Mendham, New Jersey. How do we know? Robyn writes about it on page 179-80. It is not a happy recollection for Robyn, although the good news is we remained friendly, and Whitney and I pretty good relationship through good times and bad.

But the gay thing was always a problem for Whitney. Robyn acknowledges this in the book. Tabloids were all over them all the time. If all this happened today, no one would care. But now is a different world. In the 80s, unless you were Elton John, you couldn’t have a career. Or so it was thought. Whitney didn’t date other women after Robyn. She had relationships with men. When I interviewed her that day in 1990, Eddie Murphy, Jermaine Jackson, and Eagles quarterback Randall Cunningham were all in the picture. We discussed them as we walked around Whitney’s Olympic sized pool that had script W painted in black on the bottom.

At the end of the day, as I was walking out, I asked Whitney if she played any instruments. She said, No, but she was thinking of taking up the drums. “If they thought I was gay before, what will they say now?” She laughed uproariously. I can see her so clearly. She was almost 27, and so young and fresh faced. She looked like Bambi with her pert ears pointing out over a short haircut. She had a beautiful smile.

Robyn was there. (So was Whitney’s whole family.) She’d come in from playing basketball, still dribbling in the house. She wore a basketball uniform, had a close cropped haircut. I remember shaking hands with her. It was a vivid picture. Cissy Houston was not happy to see her. And I didn’t completely know what was going on. I was also very thrilled to meet Cissy, an R&B legend who’d sung background and backup for Aretha Franklin.

The quote made it into the piece, more for fun than anything else. Our publisher, Steven Greenberg, insisted the cover line for the story in Fame magazine be “The Secret Life of Whitney Houston.” It was the first time Whitney had been on the cover of a mainstream magazine. It was very rare then for blacks to get that honor. Really. I and the other staff begged for that not to be the cover line. But Greenberg, who was eccentric and difficult, insisted.

In October, when the magazine arrived, Whitney’s team was furious. Arista Records pulled their ads from Fame for about six months. The article was otherwise very favorable, and there was no mention of drugs that I can recall. All of that hadn’t happened yet.

Robyn recalls in her book that she and Whitney were doing coke around the clock long before they met Bobby Brown. They could have been high when I was with them. It took two decades to uncover that Whitney’s brothers turned her on first, and that she took to it like a fish in water. She couldn’t stop. Crawford is nothing if not honest about the progression of drugs in Whitney’s life like a forest fire that could not be put out. Sometimes it seemed under control, but then it roared back to life.

Robyn’s book had to have been difficult for her to write. For one thing, she had to wait until Cissy was out of the picture. Cissy didn’t like her at all. But Cissy didn’t like anyone. She was horrible to Whitney, was very jealous of her overnight success after Cissy had worked so hard, thanklessly, for decades. Robyn stays out of a lot of Houston family politics. She mentions Pat Houston’s name once, in passing. She doesn’t get into how Pat, second of wife brother Gary, a big druggie, took over managing Whitney after her dad, John Houston, passed. It wasn’t pretty.

There might be one other person out there who could write a book about Whitney. I won’t mention his name because he’s managed to stay low profile. Otherwise, it’s all Robyn. She was there (so was I) backstage at the 2000 Grammys when Whitney and Bobby had a knock down, drag out fight. I can’t remember if she was there later at Mel’s Drive-In on Sunset when Bobby stood on a table stop and announced to me that “L.A. Reid is giving me a $100 million contract.” Whitney was horrified. It was she who’d gotten the $100 million contract.

There’s plenty more: ironically, a failed recording with George Michael, who is also dead now thanks to drugs. A re-enactment of Burt Bachrach firing her from the Oscars. Endless stories of Bobby hitting Whitney, very Ike Turner, throwing things at her, etc, and her accepting it. Also failed attempts at rehab or sessions with doctors. It wasn’t for lack of trying. Even I once had the number for Whitney’s drug counselor in California in my Blackberry. Almost everyone who knew her was concerned about her. Robyn was at the top of the list.

Crawford lets Bobby Brown off the hook for the drug addiction. It started way before they met him. But Bobby is culpable for violence, for neglect of his children, for so many things. And it just seemed like Whitney leaned into it. Once she was divorced and away from Bobby, and from Robyn, her life continued spiraling down a self-destructive. But Robyn doesn’t go there. After more than 20 years she went her own way, to a life with a partner (Lisa Hintelmann, a great person) and two adopted children. It was a wise decision.

So read the book. I’ll have a little more on this to come. This may not be the final word for anyone, but it’s the best possible way to frame the rollercoaster short life of Whitney.