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Emmy Ratings Crash as TV Academy Let’s “SNL” Run Wild, Ignores TV Audience

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Me? I love “Saturday Night Live,” Colin Jost and Michael Che, even Fred Armisen and Maya Rudolph. I could listen to them snark all night. But let’s not forget that “SNL” is aka the Not Ready for Prime Time Players. They are after hours comedians, for the hip and the clique-ish. They are not the mainstream audience.

And so last night, like the last several Emmy shows, was a disaster ratings wise. No one who watches TV is watching this show. TV ratings come from “The Big Bang Theory” and “NCIS.” But the Emmys have become the Cable ACE Awards. Only two shows– “Blackish” and “This is US”– were even involved in last night’s Emmys. The rest came from cable other subscription platforms.

On top of that, the whole show– which I thought was funny and clever in spots, and I was sitting there– was a diatribe. I couldn’t imagine the TV audience giving a hoot about what was going on. And they didn’t. Only 10  million watched the first hour– which was the best hour by far with comedy awards. By 11pm there 7.74 million people. That means 2.3 million gave up before the drama awards and the two big finales.

And there were some strange things. Even though I admired the Aretha Franklin tribute, she wasn’t a TV star. And John McCain? John McCain from his prisoner days? What was he doing in the In Memoriam? That particularly wreaked of Harvard Lampoon silliness– let’s sneak John McCain in to embarrass Donald Trump (again, I loathe Trump so that’s not the point).

Well, you reap what you sow. No one at the TV Academy listens. More than the Motion Picture Academy, the Emmys need a Most Popular Something. And they need to feature the actors and actresses who bring in viewers every week– from Mark Harmon to Mariska Hargitay.

How ABC Deals with Roseanne’s Character on “The Conners”: She Will Die from an Opioid Overdose

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Roseanne Conner is getting killed off from “The Conners” in the worst way possible: she’ll die of an opioid overdose.

Roseanne Barr, her portrayer, revealed the cause of death on a YouTube interview over the weekend. “There’s nothing I can do about it,” she says. “It’s done. It’s over.”

Even though I disapproved of Roseanne’s Valerie Jarrett tweet, and her  behavior since then, this seems unnecessarily harsh. Roseanne Conner doesn’t die a hero, or bravely fighting a disease. It’s a cruel end.

Barr says in the interview that the death and the treatment of the Conner family is “insulting.”

The plan is to discuss the death for 10 episodes. By week 2, the fans should be gone. “The Conners” already feels like “AfterMASH,” a sequel that should not exist. “Archie Bunker’s Place” also felt like a nasty and caustic coda to “All in the Family.” These sequels are pointless without their central characters. Just ask Cloris Leachman about “Phyllis.”

So don’t be surprised if “The Conners” doesn’t get renewed. The first couple of weeks will be big out of curiosity. Then– sounds kind of dismal.

Emmy Awards: With “Veep” Off the Ballot, Which Comedy Will Win Tonight?

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The Emmy Awards are approaching within hours and there’s a big show missing from the ballot: “Veep.” This is the first time in years that Julia Louis-Dreyfus and co. are out of contention– they’ll be back next year for the last time.

So which comedy will take the place of “Veep”? In recent years, “Atlanta” has shown a lot of strength at other awards shows. Donald Glover is very hot these days, so “Atlanta” could be the successor tonight.

But there’s a lot of money riding on the other nominees, all of which are very good. They include “The Marvelous Mrs. Maisel,” “Barry,” “Blackish,” “Curb Your Enthusiasm,” “Glow,” “Silicon Valley,” “Unbreakable Kimmy Schmidt.”

Three of the choices come from HBO– “Curb,” “Barry,” and “Silicon Valley.” Larry David’s show always has a big following, so I’d think it would be the surprise– also, there’s the “Seinfeld” connection to “Veep.”

“Mrs. Maisel” was put in the comedy category. I don’t know why–it’s a drama. I’d love it to win a lot of awards. I just don’t know if the voters are thrown by the category.

If “Blackish” pulls off a win, that would be earth shaking. It’s only the show with African Americans, and the only nominee from a broadcast network.

So keep watching for this category. It’s a nailbiter!

 

Irony: Mia Farrow Said to Be Upset Woody Allen Finally Using Her Own Tactics Against Her

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Page Six reports that tomorrow’s New York magazine will have a feature on Soon Yi Previn Allen, daughter of Mia Farrow, and wife of Woody Allen for 25 years. She’s also the mother of Woody’s two grown daughters.

The report claims that Farrow and her daughter Dylan are upset because the author of the piece is a friend of Woody’s, Daphne Merkin.

How hilarious is that?Farrow regularly uses her pals to attack Woody. New York Times writer Nick Kristof, one of her best friends, used his op-ed space in the paper a couple of years and gave Dylan a forum to character assassinate Woody. In Vanity Fair, her buddy Maureen Orth made up the whole Frank Sinatra is Ronan Farrow’s father canard as Mia’s behest.

Well, Farrows, what’s good for the goose is good for the gander, as they say. Now Soon Yi will set the record straight. Maybe Amazon Studios will take what she has to say seriously and release Woody’s new movie. The worst kind of blacklisting has been served on Woody, and he doesn’t deserve it.

Toronto Film Fest Surprise: Audience Chooses Buddy Film over Michael Moore, Lady Gaga, Moon Landing Astronauts

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Surprise! The Toronto Film Festival audiences have voted for their favorite film.

It was not Lady Gaga and Bradley Cooper in ” A Star is Born” or Ryan Gosling in “First Man” or Michael Moore’s anti Trump doc “Fahrenheit 11-9.”

The winner of the Audience Award was Peter Farrelly’s “Green Book,” a kind of “Driving Miss Daisy” for the new generation. Viggo Mortensen stars as an Italian bouncer in the South, circa the early 60s, who has to drive around a famous musician, played by Oscar winner Mahershala Ali. They use the “Green Book” which is a guide to restaurants and motels were blacks were allowed.

“Green Book” is now certainly a main Oscar contender. It was shown at TIFF toward the end, after many critics had left. But audiences loved it.

The runners-up were Barry Jenkins’ excellent “If Beale Street Could Talk” and Alfonso Cuaron’s “Roma,” both of which are likely Oscar candidates as well. Grolsch gives the Audience Award and pays the winning director $15,000.

Farrelly is usually not associated with award winning films, but funny ones and box office hits. His credits include “Dumb and Dumber,” “There’s Something About Mary,” and “Shallow Hal.”

The films that lost the Grolsch award will absolutely be Oscar contenders. But the studios that made them are getting quite a marketing referendum here. The audience didn’t vote for them despite critical raves.

“Green Book” will be released on November 21st by Dreamworks/Amblin, the same mini-studio that also has “First Man.”

Here’s the full list of winners:

IWC Short Cuts Awards – Canadian:  Brotherhood

IWC Short Cuts Awards- International:  The Field

Canadian First Feature: Roads In February

Canadian Feature Film: The Fireflies Are Gone

Fipresci Jury Award – Discovery: Float Like A Butterfly

Fipresci Jury Award – Special Presentations: Skin

Eurimage Audentia Award   –  Fig Tree

NETPAC Award For World or International Asian Premiere:  The Third Wife

Toronto Platform Prize: Cities Of Last Things

Grolsch People’s Choice Award –  Midnight Madness: The Man Who Feels No Pain

Grolsch People’s Choice Award – Documentary: Free Solo

Grolsch People’s Choice Award: Green Book

“Blade Runner 2049,” A Cult Hit with Disappointing Box Office, Headed to TV as Series

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EXCLUSIVE

We haven’t seen the last of Rick Deckard. The last time we saw the hero of “Blade Runner” was in “2049” last year. Played by Harrison Ford, he found his daughter, born from replicant.

Meanwhile, the younger star of the movie, K, played by Ryan Gosling, lay dying, while snow fell all around him.

The sequel to “Blade Runner,” so hotly anticipated, was a box office disappointment. But Roger Deakins won an Oscar for cinematography, and the movie won a second Oscar for Best Achievement in Visual effects. The fervor for “Blade Runner” still exists. A third movie wouldn’t be practical, but a TV series was inevitable.

And so I’ve been told that the series is being developed right now, although no details are set. It does seem like Rick, his daughter, and maybe K sans snowflakes would form the central family, with lots of possibilities for new characters and old ones. Producers of the film are on the fast track.

The biggest part of a “Blade Runner” TV series would be the look. They’re not going to get Deakins, so the hunt would be on for a director of photography who can translate the iconic “Blade Runner” images.

And who would play Rick? Not Harrison Ford although who knows? Maybe Netflix or Amazon would pay for him. But if this turns out to be for Syfy or another cabler, the casting will have to be ingenious.

Emmy Awards Parties: Variety Beats Hollywood Reporter in Trade War, BAFTA Brings the Brits

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The trade war in tinsel town is about the trade newspapers, Variety and the Hollywood Reporter, and which could throw the best Emmy Awards weekend party.

Variety won by a mile, hooking up with Women in Film and taking over Cecconi’s hot spot on Melrose formerly Morton’s and the location of the annual Vanity Fair party during its heyday.

The Variety WiF gala had all the energy of the old VF shindig, except with TV stars– a few of whom should be aiming for movies ASAP. I do mean Sterling K. Brown of “This is Us” fame, who will another statue on Monday night as supporting actor in a drama (Tony Shalhoub should get comedy). It’s time for him to get off that show and make his move into top notch film. (He will. He has a contract. But hey — Jack is dead. It can happen to anyone!)

There as an intense moment at VWiF when it seemed like tons of familiar faces were there, from Brown to Thandie Newton (who made the rounds with RuPaul all day, spotted earlier at BAFTA’s swell garden get together at the Beverly Hilton), plus Ann Dowd, Jenna Dewan, Trevor Noah, “Boys Don’t Cry” director Kimberly Peirce, Jenna Elfman (looking very much like Rosamund Pike), Lakeith Stanfield, Alison Brie, Busy Phillips, Laverne Cox, Geoffrey Wright, the kids from “Stranger Things), Samira Wiley, Sarah Hyland from “Modern Family,” and a blonde. just-turned-30 Rumer Willis, who has really grown into a beautiful young woman. There was also a special appearance by Caitlyn Jenner.

Just an hour earlier, the BAFTA garden party hosted the great Hal Linden of “Barney Miller” fame, movie mogul Byron Allen, “Young and Restless” EP Mal Young, “Crazy Rich Asians” star Henry Golding, plus Jared Harris, Justin Hartley, the ever-gorgeous Lynn Whitfield, “St Elsewhere” alums Cynthia Sikes and Christina Pickles, a very low key Celia Imrie, plus producer Sam Sokolow, Louie Anderson, and the hot as a pistol nominee from “Jesus Christ Superstar” Broadway star Brandon Victor Dixon.

Whew!

 

UPDATE: Is the McConaissance Over? Matthew McConaughey’s “White Boy Rick” Has Disastrous $8.8 Mil Weekend

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SUNDAY: Weekend total was very disappointing, really disastrous $8.8 million, not McC’s lowest but close to it.

SATURDAY: Lucky for Matthew McConaughey, he’s got those Lincoln commercials to keep the money coming in.

At the box office, however, he’s not having a great time. His new movie, “White Boy Rick,” panned by critics, is aiming for a $12 million weekend– and that’s being kind.

The numbers on Friday night were $3.4 million.

McConaughey had what we all dubbed a “McConaissance” back in 2013 when won an Oscar for “Dallas Buyers Club,” and killed it in “Wolf of Wall Street” and “Interstellar.” He also struck gold in the “Magic Mike” movies.

The last two years have brought a lot of box office disappointment, though, from bad choices. The worst was “Sea of Trees,” which made $20,444 for indie company A24. “Free State of Jones” made just $20 million.

“White Boy Rick” won’t get much higher than $40 million– and that’s being kind, unless white supremacists are turned on by the title. (They’ll be surprised.)

McConaughey should be doing better. And his acting is always fine. I still laugh (in a good way) thinking of him as that coked out financier from “Wolf.” It was a magic moment.

Michael Moore Thinks Donald Trump Wrote NYTimes Op-Ed Piece: “He’s the master of distraction, he wants us to believe there are adults in the room”

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Michael Moore made the scary prediction that Donald Trump was “the last president of the United States” in the trailer to his new documentary “Fahrenheit 11/9,” which premiere in New York Thursday evening at Alice Tully Hall.

On the red carpet I asked the filmmaker exactly what he meant by that.

“It’s that we may not have our United States the way that we knew it. If he’s successful in dismantling our democracy than the United States of old is gone and that’s what I’m worried about.”

On a different tack he added, “In my perfect world on November 6 there will be a tsunami of women, young people, people of color, going to the polls. And they’re going to try and right a very huge wrong. I believe that.”

“Fahrenheit 11/9,” which premiered in Toronto to rapturous reviews, is a bookend of sorts to his hugely successful 2004 Bush-bashing film “Fahrenheit 9/11,” which became the highest grossing documentary of all time. But for all the pillorying and parodying of the president, Bush still went on to serve a second term. So does Moore think his new film, “Fahrenheit 11/9,” can make people vote for liberal candidates?

“Make, no. But I hope it can inspire people to do the right thing, can give them some optimism, can sometimes show them a way out. I hope that’s what Im doing in this film tonight, helping show people a way out of the madness that we’re in.”

Overheard on the red carpet:

Asked if he knew the identity of the anonymous New York Times op-ed leaker in Trump’s circle, Moore said: “No, but if you want me to make a wild guess, Trump wrote it or one of his minions wrote it…. He’s the master of distraction. He’s the King of the Misdirect. If we’ve ever known anything by now, it’s that he does things to get people to turn away and the line that is most identifiable in terms of what he wants the public to believe, the line that says, ‘don’t worry, adults are in the room.’ The idea is to get him to get us to calm down and look away from what he’s really doing.”

Later in the cavernous Alice Tully Hall in his intro to the film, Moore told the invite-only audience that for him and producers Carl Deal and Meghan O’Hara this was their most difficult film to make.

“We made the decision on the first day of making the movie we would not chase the news cycle. The last thing people want to see on a Friday night was two hours of Donald Trump, which they’d already have seen for the last two years. We did want to tell a larger story of the Trump-ian times we’re in.”

Moore added, “ I think to be honest we have an enormous amount of despair and we are dispirited Americans, and I think that you, many of you, have felt the same despair and the same torment and the same kind of wondering if will we ever pull out of this? Is there a way out? And we saw that around the country people are not hopeful. They’re very aware that this person pulled off something unimaginable. To have someone who appears to be an idiot beat the smartest person ever to run for the president of the United States, that takes some evil genius and for him to outsmart us is part of our pain, I think, so I’m going to present you with our vision of how we got here and where we’re at and where we’re going or not going.”

Nobody’s off the hook in the doc when it comes to responsibility for Trump’s election. It opens with a montage of politicians and media types who never took Trump seriously. Footage of liberals and their pre-election smugness that Americans could never elect “The Apprentice” reality star as president is hilarious and painful to watch replayed.

Moore’s documentary most controversial parts compare the forces that helped get Trump elected to the ways Adolf Hitler attained power in 1930’s German. And meriting a documentary alone, Moore returns to his hometown of Flint, Michigan to report on the scandals and horrors of the water crisis and cover up by Governor Rick Snyder. The toxic water resulted in thousands of people, primarily poor black children, suffering from irreversible lead poisoning damage and even death from Legionnaires disease.

Doing the 25-minute Q&A following the screening, Moore reminded the audience there was only 54 days before the midterm elections. “I wake up every morning with the knowledge and the belief that we’re going to lose on November 6. If you don’t believe that, if you don’t embrace that truth, you are going to help us lose.”

“I think the thing with Woodward’s book and all the other stuff where we talk about Trump, and try to just kind of (write him off), that he’s just an idiot, he’s crazy… all these names we attached to him, like he said, he’s president and you’re not. He’s so dumb he figured out how to win the White House by losing. How do you do that? That’s like, Wow!!!”

Moore tells liberals to stop whining and act. “We have to start believing in ourselves in this,” he said, noting that the majority of Americans take the liberal position on every single issue. “That’s us, that’s our country. Who ever thought of Texas as not being a white state before coming in here tonight? You need to look at America because it’s you. We won six of the last presidential elections with the popular vote.… You don’t need to convince a single Trump voter. Who you need to convince are the members of the largest political party in the United States, the non-voters. Every poll and resource that has been done has shown that the one hundred million non-voters, if they did vote, would vote for the Democrat.”

Moore said he hopes the movie galvanizes liberals to do some work, to convince non voters to vote for progressive politicians. “Make a long lunch out of it. Bring beer. That’s all it takes.”

At the after party at Tavern on the Green, Moore gave a shout out to legendary documentary film makers Barbara Kopple, D.A. Pennebaker and Chris Hegedus.

During a 14-minute impromptu speech, he recounted how a two-hour conversation with Steve Bannon “changed the course of the film.” Moore said he asked Bannon after the election, “How did you pull this off?’” Bannon said, “Oh, it’s a very easy answer. Our side, we go for the head wounds. Your side went for the pillow fights. And while you’re pillow fighting, we’re going for the head wounds.” Moore said the conversation “egged us on.”

The message is clear. As Moore said earlier in the evening, “It takes a Donald Trump and a rotten system that caters to Trump to realize that now, right now, our time is out. We need to act immediately.”

photo c2018 Showbiz411 by Paula Schwartz

Paul McCartney Number 1 as “Egypt Station” Gets Last Minute Sales Surge from Revelation of Beatles Pleasure-Fest

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Paul McCartney, his team, and Capitol Records should be proud of themselves. “Egypt Station” finished its first week at number 1 with huge numbers. They were much better than predicted and er, came at the last minute.

The album, McCartney’s first in five years, sold 145,777 copies according to BuzzAngle. Not only that, but 140K of those sales were pure CDs and paid downloads. Streaming was minimal.

That news is great because those are ‘real’ sales, with higher royalties. And fans wanted the album package to keep, not just listen to passively. They were committed.

McCartney worked like a dog on this debut. The marketing campaign has been intense, starting with the two James Corden shows on CBS. McCartney also appeared at private fan shows in London and New York, and streamed the latter on YouTube. Spotify is carrying the audio of McCartney’s Abbey Road show from London.

And who knows? Maybe McCartney’s revelation that he and Lennon pleasured themselves together as young men back in the day was the final magic. Early in the debut week, “Egypt Station” was not doing that well. By Wednesday, before the NY Post cover recalling the raunchy story, the album was only at 25,000. But once the anecdote– which broke in GQ magazine’s UK edition– hit the media, there was a last minute, ahem, surge in sales.

Back on the 13th, Hitsdailydouble.com and BuzzAngle were predicting McCartney sales between 115 and 125K. So something definitely aroused those sales. Most punsters fashioned Beatles titles to go along with it, but few realized McCartney had already given them the best pun from the new album with the song “Come on to Me.”