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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.

Megyn Kelly Internet Comeback Fizzles With Only Six Thousand Instagram Subscribers, 22K on YouTube

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Megyn Kelly’s big comeback on You Tube and Instagram has fizzled. She’s scratched up just 22,000 followers on the latter, and a mere 6 subscribers on the former.

For her big interview with Ashley Bianco, the 25 year old woman who has been accused of leaking Amy Robach’s off air rant during a break on ABC News about the Jeffrey Epstein story, Kelly has garned just 211,000 views over the weekend. The YouTube post also has had a meager 1,564 comments.

Kelly’s homemade video looks cheap, which is odd considering she got a payout of $69 million from NBC News earlier this year after being tossed over her blackface comments. The editing looks like a ping pong game, going back and forth between her and Bianco with every question. There’s no two shot of them to indicate they were even in the same room. Bianco looks like she’s reading off a script. Kelly’s rapid fire questioning isn’t appropriate for this kind of interview, either. It feels like she’s biting Bianco’s head off.

What’s odd about the whole thing is Bianco choosing to do this with Kelly. Kelly is in the journalism doghouse, and even when she had her Today show hour, she would have been the last stop for anyone with a story. If Bianco wanted to seem serious she could have gone to CNN or MSNBC or NBC. Or even PBS. Someone reputable would have taken her story, and she knows it. She’s already worked at two networks. Does she have a publicist or a lawyer? She’s been given terrible advice.

Kelly may have rushed the piece to capitalize on the imminent movie, “Bombshell,” in which she is portrayed in a knockout performance by Charlize Theron. Even though she was the “victim” in the Roger Ailes matter, I wouldn’t say Kelly comes off well. Making lemonade from lemons may not be so easy here.

 

“Apollo 11” Wins 5 Awards from Critics Choice, Tips to Front of Oscar Line, Other Winners Include “Maiden,” “Honeyland, Film About Linda Ronstadt

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“Apollo 11” snatched 5 wins at the Critics Choice Awards in Brooklyn Sunday night. Frederick Wiseman was presented the first ever DA Pennebaker Lifetime Achievement Award, and Michael Apted was saluted for a lifetime of filmmaking including his extraordinary series of films culminating in the new “63 Up.” The former award was presented by filmmaker Chris Hegedus in memory of her late husband. Michael Moore presented to Apted.

The awards ceremony, held at BRIC on the BAM campus, drew an appropriately starry crowd including Zoey Deschanel, who came with the evening’s emcee Jonathan Scott of “Property Brothers.” Other presenters were an eclectic group including Rose McGowan (Citizen Rose), Jim Gaffigan, Dr. Ruth Westheimer, Wyatt Cenac (Wyatt Cenac’s Problem Areas), Lou Diamond Phillips, Gloria Reuben (Mr. Robot), Erich Bergen (Madam Secretary), Nicole J. Butler and Reggie Currelley (She Shed State Farm commercial), Aasif Mandvi (The Daily Show), Ryan Serhant (Million Dollar Listing New York), and Amir Arison (The Blacklist).

Dr. Ruth received a nice standing ovation when she presented the Documentary Short Subject award. “I am short,” she said, “and I will make this short.” She’s 91 years young.

Apollo 11 took home the evening’s most prestigious award for Best Documentary Feature as well as Best Editing for Todd Douglas Miller, Best Score for Matt Morton, Best Archival Documentary, and Best Science/Nature Documentary. This could mean it’s set up nicely for the Oscars. But let’s not forget that last year’s winning doc, the popular “Will You Be My Neighbor?” by Morgan Neville, failed to score an Oscar nomination. It was bewildering. I do think “Apollo 11” will make it, however.

There was a tie for Best Director between Peter Jackson for They Shall Not Grow Old, and Julia Reichert and Steven Bognar for American Factory. They Shall Not Grow Old also brought home the award for Most Innovative Documentary. American Factory also won the award for Best Political Documentary.

Producer James Keach accepted the award for the Linda Ronstadt movie.

“Once again, we are thrilled to celebrate and support the vibrant and groundbreaking work of these talented documentarians. We are proud that our yearly gala event has become an informed and valuable way for people to find the best films out there and for the work of these filmmakers to find their audiences,” said CCA CEO Joey Berlin. “It was a great night of lauding the greats in the documentary field as well as some outstanding newcomers.”

The award for Best Cinematography went to John Chester for The Biggest Little Farm.

Best Narration went to Bruce Springsteen for Western Stars.

Honeyland took home the award for Best First Documentary Feature for directors Tamara Kotevska an Ljubomir Stefanov.

The award for Best Biographical Documentary went to Toni Morrison: The Pieces I Am.

The Best Music Documentary award went to Linda Ronstadt: The Sound of My Voice.

Maiden won the Best Sports Documentary award.

The Best Short Documentary Award was given to Period. End of Sentence.

This year’s honorees for Most Compelling Living Subject of a Documentary are Dr. Amani Ballor (The Cave), David Crosby (David Crosby: Remember My Name), Tracy Edwards (Maiden), Imelda Marcos (The Kingmaker), Hatidze Muratova (Honeyland), Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin (Knock Down the House), Linda Ronstadt (Linda Ronstadt: The Sound of My Voice), and Dr. Ruth Westheimer (Ask Dr. Ruth).

Bruce Willis’s Latest “D” Movie Made for Video, “Breach,” Picked Up Low End Distributor Saban Films

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I seriously don’t know why this is going on and on and no one says anything.

I’ve just received a press release announcing that yet another “D” movie from Bruce Willis, this one called “Breach,” has a distributor. It’s low end Saban Films, which makes movies that you will never see. No one sees them. They fill space on VOD services. You can’t even say they’re DVDs anymore.

I’m worrying about Bruce. He’s in project after project from the bottom of the movie barrel, movies in which his name is used to get publicity, but he’s only in the film for a couple of minutes. In these movies, Bruce’s work is done in one way, two at most. Clever editing cuts around him, sometimes one or two lines are ADR’d in so it sounds like he has dialogue.

In “Breach,” it’s a sci fi thing, and two young guys are the leads. The director, named John Suits, has never made anything we’ve heard of unless you were a fan of “Pandemic” or “The Scribbler.” I mean, this is sad.

Bruce currently appears, briefly, in “Motherless Brooklyn.”

This is Bruce Willis, and he deserves a little better. He also cannot possibly need the money.