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Dark Phoenix Rises: Failed Movie’s Star Sophie Turner Sells Exclusive Rights to Wedding to Joe Jonas to Vogue

Roger Friedman
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Dark Phoenix Rises: Failed Movie’s Star Sophie Turner Sells Exclusive Rights to Wedding to Joe Jonas to Vogue

“Dark Phoenix” may be dead at the box office, but its star is about to rise from the ashes.

I’m told that Sophie Turner– better know to us as Sansa Stark from Game of Thrones– will have her wedding to Joe Jonas featured in Vogue magazine.

The wedding– which I told you exclusively will happen the weekend of June 28 in Carpentras, Provence, France–will get the full Anna Wintour splash in the fashion mag’s fabled pages. It could be the centerpiece of Anna’s important September issue.

This would be a coup for Wintour as US Magazine is reporting that British Vogue has hot new popular Princess Mom Meghan Markle guest editing their September issue. Meghan will be on their cover, and her imprimatur will be all over the magazine.

For British Vogue editor Edward Enninful this is a coup. He apparently really wants Anna’s job in the US, and has no doubt been looking to draw attention from the sunglassed Queen of Mean. Markle could do that. But Anna’s chess move– the Game of Thrones-Jonas wedding — is a very clever counterattack.

How much did Vogue pay for the exclusive photos and story? A million? And will it go to charity? And who gets the tax deduction? And does the contract include video footage of the Jonas brothers and pals jamming at the after party?

Stay tuned…

Canadian Kangaroo Court Continues: Clock is Winding Down Unless Top Attorneys General Step In

Roger Friedman
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Canadian Kangaroo Court Continues: Clock is Winding Down Unless Top Attorneys General Step In

Here’s some more about the case I’ve been following in Canada’s federal court in Toronto, called the Ontario Superior Court. The story feels like an HBO or Netflix drama, with touches of John Grisham.

Last week, the judge who previously revoked the defendant’s bail in this crazy proceeding issued a decision in which he refused to grant the defendant bail on a charter application. There were clear, flagrant violations of the defendant’s Charter Rights. The defendant had injuries and serious health risks caused to the defendant by the Toronto Police Service.

Most seriously and potentially a criminal act in and of itself, the judge  in his decision, is said to have fabricated evidence of and for the Toronto Police Service to support his decision.

Two people in Canada  can now order the release of the defendant, if they conclude that there has been judicial or prosecutorial and or police misconduct or criminal acts. My sources say they are David Lametti, the Attorney general of Canada, and Carolyn Mulroney the Attorney general of Ontario, whose father was the former Prime Minister of Canada, Brian Mulroney.

I’ve have seen the evidence in this case and it suggests the complicity of the judge, the prosecutor, and the police. I’m very surprised that things have gotten so out of hand.

It appears that even the evidence of the injury the defendant suffered has been tampered with; and the judge appears to be accepting of this, and that may be the least serious of his acts of abdication of the law.

This will be the last time I get into this case without using names. I’ve done so to the point just to give the government– which they call The Crown– a chance to resolve this matter. But if it doesn’t happen this week, I may have to start presenting the evidence that’s been shown to me. So hold on, and let’s hope for the best.

 

Tony Awards Go to “Hadestown,” “The Ferryman,” But Without Stars, Ratings Crash

Roger Friedman
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Tony Awards Go to “Hadestown,” “The Ferryman,” But Without Stars, Ratings Crash

Sunday night’s Tony Awards crashed in the ratings. This should not have come as a surprise to anyone. Going in we knew that would happen. The reason is there was no break out show, or star this year. There were plenty of good shows but no spectacular ones. “Hadestown” won Best Musical and “The Ferryman” won Best Play, but neither one — which excellent– has caused excitement beyond Broadway.

The highlight of the show was Elaine May winning Best Actress at age 87 for “The Waverly Gallery”– even though it’s been closed for months. Bryan Cranston won Best Actor for “Network,” which closed over the weekend.

The Tony Awards totally rebuffed the mega money spent by producer Scott Rudin on “To Kill a Mockingbird.” It should have been called “To Overkill a Mockingbird.” Rudin has spent zillions on full page and double truck ads in the newspapers, on buses, everywhere. Then he launched an onslaught campaign on Jeff Daniels, the nicest guy in the world. The combination effect was too too much. Daniels lost Best Actor to Bryan Cranston. I wasn’t surprised. They should have each gotten awards.

A lot of shows will close now without Tony Awards. I’m sure “The Prom” is in jeopardy. “Tootsie” and “Beetlejuice,” however, each very very good productions, with strong box office, should survive for quite a while.

And so ends the 2018-19 theater season. The ratings? Well, where was Cher? She might have helped. Where was Hugh Jackman, who’s coming next season in “The Music Man”?

At least CBS has a long term deal to keep the Tonys on the air. And next year, the show will have more to offer the passive viewer. We can only hope.

Best play
“Choir Boy” by Tarell Alvin McCraney
“The Ferryman” by Jez Butterworth *WINNER
“Gary: A Sequel to Titus Andronicus” by Taylor Mac
“Ink” by James Graham
“What the Constitution Means to Me” by Heidi Schreck

Best revival of a musical
“Kiss Me, Kate”
Rodgers and Hammerstein’s “Oklahoma!” *WINNER

Best musical
“Ain’t Too Proud to Beg”
“Beetlejuice”
“Hadestown” *WINNER
“The Prom”
“Tootsie”

Best revival of a play
Arthur Miller’s “All My Sons”
“The Boys in the Band” by Mart Crowley *WINNER
“Burn This” by Lanford Wilson
“Torch Song” by Harvey Fierstein
“The Waverly Gallery” by Kenneth Lonergan

Best performance by an actor in a leading role in a musical
Brooks Ashmanskas, “The Prom”
Derrick Baskin, “Ain’t Too Proud”
Alex Brightman, “Beetlejuice”
Damon Daunno, “Oklahoma!”
Santino Fontana, “Tootsie” *WINNER

Best performance by an actress in a leading role in a musical
Stephanie J. Block, “The Cher Show” *WINNER
Caitlin Kinnunen, “The Prom”
Beth Leavel, “The Prom”
Eva Noblezada, “Hadestown”
Kelli O’Hara, “Kiss Me, Kate”

Best performance by an actor in a leading role in a play
Paddy Considine, “The Ferryman”
Bryan Cranston, “Network” *WINNER
Jeff Daniels, “To Kill a Mockingbird”
Adam Driver, “Burn This”
Jeremy Pope, “Choir Boy”

Best performance by an actress in a leading role in a play
Annette Bening, “All My Sons”
Laura Donnelly, “The Ferryman”
Elaine May, “The Waverly Gallery” *WINNER
Janet McTeer, “Bernhardt/Hamlet”
Laurie Metcalf, “Hillary and Clinton”
Heidi Schreck, “What the Constitution Means to Me”

Best book of a musical
“Ain’t Too Proud,” Dominique Morisseau
“Beetlejuice,” Scott Brown and Anthony King
“Hadestown,” Anaïs Mitchell
“The Prom,” Bob Martin and Chad Beguelin
“Tootsie,” Robert Horn *WINNER

Best original score (music and/or lyrics) written for the theater
“Be More Chill,” Joe Iconis
“Beetlejuice,” Eddie Perfect
“Hadestown,” Anaïs Mitchell *WINNER
“The Prom,” Matthew Sklar and Chad Beguelin
“To Kill a Mockingbird,” Adam Guettel
“Tootsie,” David Yazbek

Best direction of a musical
Rachel Chavkin, “Hadestown” *WINNER
Scott Ellis, “Tootsie”
Daniel Fish, “Oklahoma!”
Des McAnuff, “Ain’t Too Proud”
Casey Nicholaw, “The Prom”

Best direction of a play
Rupert Goold, “Ink”
Sam Mendes, “The Ferryman” *WINNER
Bartlett Sher, “To Kill a Mockingbird”
Ivo van Hove, “Network”
George C. Wolfe, “Gary: A Sequel to Titus Andronicus”

Best performance by an actor in a featured role in a musical
André De Shields, “Hadestown” *WINNER
Andy Grotelueschen, “Tootsie”
Patrick Page, “Hadestown”
Jeremy Pope, “Ain’t Too Proud”
Ephraim Sykes, “Ain’t Too Proud”

Best performance by an actress in a featured role in a musical
Lilli Cooper, “Tootsie”
Amber Gray, “Hadestown”
Sarah Stiles, “Tootsie”
Ali Stroker, “Oklahoma!” *WINNER
Mary Testa, “Oklahoma!”

Best performance by an actor in a featured role in a play
Bertie Carvel, “Ink” *WINNER
Robin De Jesús, “The Boys in the Band”
Gideon Glick, “To Kill a Mockingbird”
Brandon Uranowitz, “Burn This”
Benjamin Walker, “All My Sons”

Best performance by an actress in a featured role in a play
Fionnula Flanagan, “The Ferryman”
Celia Keenan-Bolger, “To Kill a Mockingbird” *WINNER
Kristine Nielsen, “Gary: A Sequel to Titus Andronicus”
Julie White, “Gary: A Sequel to Titus Andronicus”
Ruth Wilson, “King Lear”

Best choreography
Camille A. Brown, “Choir Boy”
Warren Carlyle, “Kiss Me, Kate”
Denis Jones, “Tootsie”
David Neumann, “Hadestown”
Sergio Trujillo, “Ain’t Too Proud” *WINNER

Best orchestrations
Michael Chorney and Todd Sickafoose, “Hadestown” *WINNER
Larry Hochman, “Kiss Me, Kate”
Daniel Kluger, “Oklahoma!”
Simon Hale, “Tootsie”
Harold Wheeler, “Ain’t Too Proud”

Best scenic design of a musical
Robert Brill and Peter Nigrini, ‘Ain’t Too Proud”
Peter England, “King Kong”
Rachel Hauck, “Hadestown” *WINNER
Laura Jellinek, “Oklahoma!”
David Korins, “Beetlejuice”

Best scenic design of a play
Miriam Buether, “To Kill a Mockingbird”
Bunny Christie, “Ink”
Rob Howell, “The Ferryman” *WINNER
Santo Loquasto, “Gary: A Sequel to Titus Andronicus”
Jan Versweyveld, “Network”

Best costume design of a musical
Michael Krass, “Hadestown”
William Ivey Long, “Beetlejuice”
William Ivey Long, “Tootsie”
Bob Mackie, “The Cher Show” *WINNER
Paul Tazewell, “Ain’t Too Proud”

Best costume design of a play
Rob Howell, “The Ferryman” *WINNER
Toni-Leslie James, “Bernhardt/Hamlet”
Clint Ramos, “Torch Song”
Ann Roth, “Gary: A Sequel to Titus Andronicus”
Ann Roth, “To Kill a Mockingbird”

Best sound design of a musical
Peter Hylenski, “Beetlejuice”
Peter Hylenski, “King Kong”
Steve Canyon Kennedy, “Ain’t Too Proud”
Drew Levy, “Oklahoma!”
Nevin Steinberg and Jessica Paz, “Hadestown” *WINNER

Best sound design of a play
Adam Cork, “Ink”
Scott Lehrer, “To Kill a Mockingbird”
Fitz Patton, “Choir Boy” *WINNER
Nick Powell, “The Ferryman”
Eric Sleichim, “Network”

Best lighting design of a musical
Kevin Adams, “The Cher Show”
Howell Binkley, “Ain’t Too Proud”
Bradley King, “Hadestown” *WINNER
Peter Mumford, “King Kong”
Kenneth Posner and Peter Nigrini, “Beetlejuice”

Best lighting design of a play
Neil Austin, “Ink” *WINNER
Jules Fisher and Peggy Eisenhauer, “Gary: A Sequel to Titus Andronicus”
Peter Mumford, “The Ferryman”
Jennifer Tipton, “To Kill a Mockingbird”
Jan Versweyveld and Tal Yarden, “Network”

Former “Young and Restless” Star Michael Muhney Says He Was Suicidal After False Claim Forced Him Off Show

Roger Friedman
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Former “Young and Restless” Star Michael Muhney Says He Was Suicidal After False Claim Forced Him Off Show

Former “Young and the Restless” actor Michael Muhney has posted an extraordinary notice to Twitter over the weekend. He says now that five and a half years ago, when he was fired from the CBS soap and then slagged on social media with a “grotesque internet rumor and lie,” he became suicidal.

Muhney, a committed cyclist, wrote that he’d “imagine drifting across the double yellow line into oncoming traffic and ending it all.” He notes that his wife’s mother actually had committed suicide some years earlier, and that he sought his wife’s permission to post this Tweet.

What happened to Muhney haunts the number 1 one rated “Y&R”. A volatile actor on the set, he often clashed with series star Eric Braeden. When he was abruptly told by CBS Daytime chief Anjelica McDaniel that he was being written off the show, something odd happened. TMZ’s TV show reported that Muhney was out because of he’d sexually molested “Y&R” actress Hunter King, who was in her early 20s. They didn’t seek any comment. No complaints were filed. It was a done deal according to TMZ.

It gets more curious here. Standing in the background that day on the TMZ set was Brian McDaniel, husband of Anjelica McDaniel. She was Muhney’s boss (and still runs CBS Daytime). You can see him in this clip at 1:27, resting his chin on his palm. Brian McDaniel, then a comedian, was also a regular on TMZ.

So what was the husband of CBS’s chief of Daytime Programming doing on TMZ while the show was presenting incendiary and unsubstantiated possible illegal behavior by a CBS Daytime employee? And how does Harvey Levin “know” in the segment that Muhney is guilty? Or that he’s been accused of other “bad behavior”? The whole thing is a set up, it seems, to tank a career without judge or jury.

Muhney has always denied anything happened. The actor says he later discovered that the rumor was started by a fan on the internet. He said in an interview that his lawyers approached CBS and got nowhere. (They don’t sound very competent.)

King never filed a complaint with CBS, Sony TV, or with her union. She has never spoken in Muhney’s defense. But was almost immediately thereafter given a contract to also appear on the CBS nightime sitcom, “Life in Pieces.”

Muhney certainly had a right to be depressed, if not suicidal. When he came to “Y&R,” he’d been a regular on “Veronica Mars.” But in the last five years he’s struggled to find work. His last role was a small one on ABC’s “The Good Doctor” in 2017. Coincidentally, Brian McDaniel doesn’t have any credits on the IMDB since 2017 either.

The post this weekend was incredibly brave of Muhney, who was clearly scapegoated out of “The Young and the Restless,” where he played Adam Newman to great acclaim from 2009 to the end of 2014. He was nominated for a Daytime Emmy for Lead Actor in 2013. Since he was ousted, the role of Adam Newman has been recast twice– first with Justin Hartley, who went on to “This is Us,” and currently with a new actor 12 years Muhney’s junior.

Box Office Hell: “Dark Phoenix” $7 Mil Lower than Lowest Estimate, “Pets 2” Comes in 53% Lower than Original, But “Rocketman” Hits $50 Mil

Roger Friedman
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Box Office Hell: “Dark Phoenix” $7 Mil Lower than Lowest Estimate, “Pets 2” Comes in 53% Lower than Original, But “Rocketman” Hits $50 Mil

What a weekend!

Marvel-Fox-now Disney’s “Dark Phoenix” came in at $33 million including Thursday previews. The low estimate had been $40 million, so this was really really really a disappointment.

It’s the end for the X Men in their current form, but a sad one considering how other series on both TV and in movies have gone out on highs– especially the Avengers for Marvel.

But now there will a break, a re-think, and the X Men, Spider Man, the surviving Avengers, and other Marvel characters will all be tossed into new movies. But this left the X Men in tatters, whereas Spider Man, Captain Marvel, and Black Panther remain hot hot hot.

In other news the number 1 movie of the weekend,  “Secret Life of Pets 2” made sad $47 million. That’s 53% lower than the original blockbuster. The Pets will have to come up with better Secrets for their third installment. (Maybe a Marvel crossover!)

“Rocketman” has hit $50 million on its way to $100 million. The Elton John biopic is doing very well. Whenever someone says, What  movie should I see? I tell them “Rocketman.”

Some more good news: “Late Night” made $250,000 in four theaters. It goes wide on Friday.

and Alec Baldwin’s “Framing DeLorean” made $9,106 in one theater. I think he’ll figure out a way to return to “Saturday Night Live.” He’s got five kids to feed!

It’s Alec Baldwin’s Annual “I’m Not Gonna Play Donald Trump Anymore on SNL” Negotiation Season, Last Year it was “Agony”

Roger Friedman
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It’s Alec Baldwin’s Annual “I’m Not Gonna Play Donald Trump Anymore on SNL” Negotiation Season, Last Year it was “Agony”

If it’s spring there’s jasmine in the air and Alec Baldwin is pretending he’s not coming back to “Saturday Night Live” as Donald Trump.

This is annual song Baldwin sings. He starts in April, puffs up in June, and by September he’s there in the cold opening.

This week he said during an interview for a movie called “Framing DeLorean,” which no one will see, that he’s had it, his kids want him home, and that “this fall I’m working like I never have before.”

As far as I can tell, Baldwin’s only project this fall is the live TV version of Aaron Sorkin’s play, ” A Few Good Men.” He’s taking the Jack Nicholson role, so he’ll get to say, “You can’t handle the truth.”

Well, yes we can. A year ago Baldwin said it was “agony” to play Trump on “SNL.”

The year before, he had so many commitments he knew he’d have cut back.

But it’s just Alec trying to get a raise from NBC. And in the season of the run-up to the Democratic debates and primaries, with Trump acting crazy all the time in real life, Baldwin will be back. He gets maximum exposure from the gig. It’s not like he has travel far– from the East Village to Rockefeller Center. He meets other stars, which is fun. He gets out of a house of sleeping children. It’s really the perfect job.

He also has an Emmy Award for his work.

Actors do this all the time. Remember when Daniel Craig said he’d slit his wrists if he had to play James Bond again? Yeah. That was before he got his $50 million paycheck.

Alec Trump will be back. You can bet on it.

Mindy Kaling’s “Late Night” from Amazon Studios: Will it Be “Booksmart 2”? Did it Open This Weekend? Next Weekend? Where Is It? Why Is it Lost?

Roger Friedman
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Mindy Kaling’s “Late Night” from Amazon Studios: Will it Be “Booksmart 2”? Did it Open This Weekend? Next Weekend? Where Is It? Why Is it Lost?

Mindy Kaling’s “Late Night” was a big hit in Sundance this past winter. Emma Thompson’s turn as a late night talk show host, written by Kaling, was snapped by Amazon Studios immediately for millions of dollars.

And now? I have no idea.

Maybe “Late Night” opened this weekend. It’s playing at two theaters in Los Angeles and one in New York. On Fandango, an ad says it opened June 7th. But when you click on the ad, you can’t see it until June 13th.

This morning, of course, Amazon posted no box office numbers from last night. So “Late Night” doesn’t exist. It’s also not on the Amazon prime page, so it’s not like the online company is excited about it coming to that platform.

I haven’t seen it. There was no opportunity in New York. My colleague saw it in Los Angeles. I didn’t get a strong reaction.

Will “Late Night” become “Booksmart 2”? or “The Hustle 2”? or “Poms 2”? It has that feeling about it. These were all movies written and directed and starring women. They’ve all been DOA. Is there a theme here? It sure feels like one.

“Booksmart,” by the way, also poorly marketed, from Annapurna, will top out at less than $19 million. It had a 97% on Rotten Tomatoes.

Friday Box Office: “Dark Phoenix” Set to Be Lowest Grossing of the 12 X Men Movies, “Rocketman” Holding On, “Pets 2” in Doghouse

Roger Friedman
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Friday Box Office: “Dark Phoenix” Set to Be Lowest Grossing of the 12 X Men Movies, “Rocketman” Holding On, “Pets 2” in Doghouse

“Dark Phoenix” is doing as poorly as its reviews suggested. Last night the final “X Men” movie took in $14 million. It will be lucky to close out the weekend with $40 million.

There were seven movies branded with “X Men,” two Wolverine movies, 2 Deadpools so far, and “Logan.” None of them have struck out like this. Fan reaction to “Dark Phoenix” has been fairly negative, too. They’re complaining on social media that “Dark Phoenix” feels like a paycheck movie.

Anyway, the series will end here with this installment and re-boot in the Marvel universe. “Deadpool” with Ryan Reynolds, it is hoped, will be left alone at least for one more of those–they’re too good.

Meantime, “Rocketman” is doing fine. It will hit $100 million worldwide soon, and eventually get to $100 million US as well. It will not do “Bohemian Rhapsody” numbers, but it’s a better movie and will have a long life going forward. Go see it this weekend!

“The Secret Life of Pets 2” made $16 million last night. The original did over $100 million opening weekend three years ago. You see where this is going. Don’t blame the pets, bet the owners. This was a paycheck movie, too, apparently.

“Billions” Is the Sublime, Upscale Modern Version of “Dallas,” So Why Doesn’t It Get Any Love from the Emmys or the Golden Globes?

Roger Friedman
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“Billions” Is the Sublime, Upscale Modern Version of “Dallas,” So Why Doesn’t It Get Any Love from the Emmys or the Golden Globes?

“Billions” creators Brian Koppelman and David Levien may not like this, but in “Billions”– which finishes its fourth season on Showtime this Sunday– they have invented the sublime, upscale modern version of “Dallas.” Their show is a treasure that manages to score 750,000 viewers on Sunday nights even when it’s up against “Game of Thrones.”

“Billions” stars Paul Giamatti and Maggie Siff, as Chuck Rhoades and his wife Wendy. Damian Lewis’s Bobby Axelrod is their version of JR Ewing. Giamatti is playing Cliff Barnes, Siff is Sue Ellen Ewing. Chuck started out as the US Attorney in New York trying to nail wicked hedge funder Bobby Axelrod and his company Axe Capital. Siff’s Wendy works in house for Axe Capital as their shrink and spiritual guru.

In the beginning, the show was about Chuck, the good guy, pursuing his wife’s boss for prosecution. Bobby, aka “Axe,” was married to Malin Akerman and two kids. Chuck was holier than thou in his crusade against Wall Streeter Bobby. In the background, Chuck was also plagued by his wealthy father, Chuck Sr. played with much evil glee by Jeffrey DeMunn.

In time the premise shifted. Because Chuck and Maggie have a secret– they’re into S&M big time– their skeletons in the closet were as bad as Bobby’s. Eventually, through blackmail, Axe was able to corrupt them. I think this was also because Giamatti and Lewis weren’t in a lot of scenes together, and they were the stars. So they began to work together. Then Koppelman and Levien added a character, Taylor Mason, non-binary, frighteningly smart, played by Asia Kate Dillon, who uses “they” as a pronoun. They is a find (from “Orange is the New Black”). They’s sensational.

As the show has advanced, they dropped Akerman so Axe could move around more freely. This season they added the exceptional Nina Arianda as Rebecca, Axe’s lover and new business partner. Arianda has lighted up the screen (can you say that?). In Sunday’s season finale, she finishes a season of amazing work. There is also David Costabile as Wags, Axe’s loyal valet, so to speak, his Sancho Panza. If JR Ewing had had a Wags, he never would have been shot.

There is also, much like “Dallas,” several Greek choruses on both sides, secondary supporting characters who are so well drawn that when I’ve run into the actors at New York parties, I call them all by their fictional names. And that’s high praise. They are each indelible. This includes Toby Leonard Moore, Clancy Brown, even John Malkovich. Sara Stiles, who has a minor role, is nominated for a Tony Sunday night for “Tootsie.” Condola Rashad is a featured player!

So why no Emmy or Golden Globe love? I’ve looked at the Gold Derby website. “Billions” doesn’t exist. Aside from “Game of Thrones” or “This is Us,” “Billions” should be a watercooler show with lots of buzz. Is it Showtime? Can they not work the system? Giammatti and Lewis should be in Best Actor, Siff in Best Actress, Dillon and Arianda in Supporting Actress. Kevin Pollak outdid himself this season in a guest shot as Taylor’s dad.

Koppelman and Levien’s scripts sing with wit, inside jokes. and smart talk. They also use the best music in a series since “The Sopranos.” The look of the show is distinctly Wall Street, money -obsessed, insular. It’s all sleek and minimalist on Axe’s end, old New York with the Rhoadeses. What everyone forgets is that “Dallas” — in its first five or six seasons– was like a Whitman sampler of delectable chocolates. “Billions” is the same, although they’ve upped the game from chocolate truffles to the kind that cost thousands of dollars to shave onto pasta. The aroma is intoxicating.

I just about never review TV shows. I do love “Mrs. Maisel” and “Veep.” I thought Peter Dinklage was worth all of “Game of Thrones.” Sterling K. Brown should be a movie star. All that said, Emmy voters should just binge watch “Billions” and give these people some respect.

Waiting for News of the The Beatles’ “Abbey Road” 50th Anniversary on September 26th: Something in the Way Special Editions Sell

Roger Friedman
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Waiting for News of the The Beatles’ “Abbey Road” 50th Anniversary on September 26th: Something in the Way Special Editions Sell

It’s June 8th, so September 26th is not far off.

That would be the 50th anniversary of the release of The Beatles’ towering classic album, “Abbey Road.” Something is happening, but we’re not sure what exactly.

So far, The Beatles have struck gold with 50th anniversary editions of “Sgt. Pepper” and “The White Album.” Each release was inventive and cool, and sold like crazy.

“The White Album” did include outtakes of two “Abbey Road” songs– “Mean Mr. Mustard” and “Polythene Pam.” But otherwise there are plenty of work tapes, demos, and other miscellaneous music that would be swell to hear from the making of “Abbey Road.” Also, the album, which was remastered for the 2009 box set, could get a Giles Martin remix now.  Martin is also working on the 2020 50th anniversary of “Let it Be” and the movie that accompanies it.

Still: It’s unlikely the Beatles will miss the 50th marketing opportunity. And so far, they’ve done such a great job, fans would be disappointed.

So we wait, not too long, I hope for a “surprise” announcement!

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