Thursday, December 18, 2025
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Rose McGowan’s Story Fails to Attract Audience as Book Drops Out of Amazon Top 500, TV Doc Bombs

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Rose McGowan is “Brave.” And as Citizen Rose, in her E! documentary, I was fascinated by her childhood, her resolve, and the path she’s taken. That 90 minute film, in particular, is worth a serious viewing. I liked her more than ever.

But audiences are not rallying to her warrior cry. Last week, McGowan dropped off the lecture circuit after a confrontation with a trans person at her Barnes & Noble reading. She wrote on Twitter: “I am canceling upcoming public appearances because I have given enough. I have given beauty, in return I was VERBALLY ASSAULTED for two full minutes by an actor paid to verbally assault a woman who has been terrorized by your system. And no ONE in that room did anything”

The result is that “Brave,” from Harper One, has dropped to number 556 on Amazon. Without McGowan out there promoting it, the book has vanished from the current conversation. What a shame. At the same time, “Citizen Rose” on the E! Channel booked just 188,000 viewers when it was shown on January 30th.

Since then, E! has “unlocked” the doc on its website so anyone can go there and watch it without registration or other shenanigans. I did that last night and, again, it was fascinating. I don’t know that I’d want to watch a whole series, but the 90 minute film shows a courageous, ambitious, young woman who pulled herself up the bootstraps and took on Hollywood. I just wish she would go back to acting after all this. She’s good.

Review: Ryan Coogler’s “Black Panther” is a Marvel: Women Rule Wakanda in Hip, Funny, Black Breakthrough

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I don’t subscribe to Rotten Tomatoes, but Ryan Coogler’s “Black Panther” has a 100 there as of today and I second that emotion. If this– following “Wonder Woman” — were the last super hero comic movie, I’d be happy. That’s because it’s the top of the heap, the one that was missing and now we’ve got it. Coogler– director of “Fruitvale Station” and “Creed” — has outdone himself and Marvel. This could be Marvel’s mic drop. What else is there to say?

Chadwick Boseman and Michael B. Jordan are rivals in the magic make believe African world of Wakanda. They are the Black Panther and his nemesis, Erik Killmonger. Think sort of Thor and Loki. Then there are the women around them, who rule them and run the show (although I don’t think they get that yet) played by Lupita Nyongo, Danai Gurai and Letitia Wright. These women are so terrific they could be spun off into their own movie, frankly. Plus we get Sterling K. Brown– the new male Meryl Streep– as value added.

Wakanda is an oasis, technologically forward and hidden in Africa. Boseman is T’Challa, who returns home to become king when his father dies. He summons the super powers of the Black Panther only to be challenged by Killmonger and other evil forces. That’s the basic idea, and it’s not much different from a lot of comic book movies.

But here we are in Africa, with an all star black cast, and a screenplay that is full of humor and spice. It’s the reverse of every other super hero movie you’ve ever seen in that there are basically two white characters– played by Andy Serkis and Martin Freeman– and  they are secondary to the rest of the cast. Serkis resumes his “Avengers: Age of Ultron” character of evil Ulysses Klaw, Freeman resumes his role as Agent Everett K, Ross from “Captain America: Civil War” (and it wouldn’t hurt to watch that latter movie again).

Otherwise, we are getting the creme de la creme: Angela Bassett, Forest Whittaker, Daniel Kaluuya, plus a cameo from Stan Lee. Everyone is at the top of their game. Coogler is smart– “Black Panther” is less tongue in cheek than some of the more recent Marvel offerings. This gang plays it straight because the premise is so much more Earth-bound. And Oscar nominee (“Mudbound”) Rachel Morrison’s cinematography is sensational and delicious– she’s using a palette far from the red, white and blue of “Captain America” but sharp and bright and rich.

Look for “Black Panther” to draw audiences from all over, and to usher in a new era of multicultural comic book movies. Or movies, period.

PS Yes, there is a Marvel teaser at the end. I won’t give it away.But it means you must sit through all of the end credits. And they are long.

Berlin Film Festival Will Feature Ed Sheeran Documentary Made by His Cousin, Plus Willem Dafoe Gets Special Award

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The Berlin Film Festival will feature a special presentation: a documentary about singer Ed Sheeran made by his cousin. Will it talk about his various plagiarism problems? What do you think? The cousin, Murray Cummings, specializes in films about…Ed Sheeran.

In better news, Berlin will give Willem Dafoe a Lifetime Achievement Award. If you haven’t seen “The Florida Project” by now, it’s your fault. I’ve told you how good it is over and over.

Here are the films in competition:

3 Tage in Quiberon (3 Days in Quiberon) by Emily Atef (Germany / Austria / France)
7 Days in Entebbe by José Padilha (USA / United Kingdom) – Out of competition
Ága by Milko Lazarov (Bulgaria / Germany / France) – Out of competition
Ang Panahon ng Halimaw (Season of the Devil) by Lav Diaz (Philippines)
Black 47 by Lance Daly (Ireland / Luxembourg) – Out of competition
Damsel by David Zellner and Nathan Zellner (USA)
Don’t Worry, He Won’t Get Far on Foot by Gus Van Sant (USA)
Dovlatov by Alexey German Jr. (Russian Federation / Poland / Serbia)
Eldorado by Markus Imhoof (Switzerland / Germany) – Documentary, out of competition
Eva by Benoit Jacquot (France / Belgium)
Figlia mia (Daughter of Mine) by Laura Bispuri (Italy / Germany / Switzerland)
Las herederas (The Heiresses) by Marcelo Martinessi (Paraguay / Uruguay / Germany / Brazil / Norway / France) – First Feature
In den Gängen (In the Aisles) by Thomas Stuber (Germany)
Isle of Dogs by Wes Anderson (United Kingdom / Germany) – Animation
Khook (Pig) by Mani Haghighi (Iran)
Mein Bruder heißt Robert und ist ein Idiot (My Brother’s Name is Robert and He is an Idiot) by Philip Gröning (Germany / France / Switzerland)
Museo (Museum) by Alonso Ruizpalacios (Mexico)
La prière (The Prayer) by Cédric Kahn (France)
Toppen av ingenting (The Real Estate) by Måns Månsson and Axel Petersén (Sweden / United Kingdom)
Touch Me Not by Adina Pintilie (Romania / Germany / Czech Republic / Bulgaria / France) – First Feature
Transit by Christian Petzold (Germany / France)
Twarz (Mug) by Małgorzata Szumowska (Poland)
Unsane by Steven Soderbergh (USA) – Out of competition
Utøya 22. juli (U – July 22) by Erik Poppe (Norway)

Berlinale Special films:

AMERICA Land of the FreeKS by Ulli Lommel (Germany / USA) – Documentary Form
The Bookshop by Isabel Coixet (Spain / United Kingdom / Germany)
Gurrumul by Paul Williams (Australia) – Documentary, debut film
The Happy Prince by Rupert Everett (Germany / Belgium / Italy)
The Interpreter by Martin Šulík (Slovak Republic / Czech Republic / Austria)
Monster Hunt 2 by Raman Hui (People’s Republic of China / Hong Kong, China)
RYŪICHI SAKAMOTO: async AT THE PARK AVENUE ARMORY by Stephen Nomura Schible (USA / Japan) – Documentary
Das schweigende Klassenzimmer (The Silent Revolution) by Lars Kraume (Germany)
Songwriter by Murray Cummings (United Kingdom) – Documentary
Unga Astrid (Becoming Astrid) by Pernille Fischer Christensen (Sweden / Germany / Denmark)
Usedom – Der freie Blick aufs Meer by Heinz Brinkmann (Germany) – Documentary
Viaje a los Pueblos Fumigados (A Journey to the Fumigated Towns) by Fernando Solanas (Argentina) – Documentary

Berlinale Special – Berlinale Series:

Bad Banks – Director: Christian Schwochow – Head writer: Oliver Kienle, based on a concept by Lisa Blumenberg (Germany / Luxembourg)
Heimebane (Home Ground) – Creator: Johan Fasting – Director: Arild Andresen (Norway)
Liberty – Creator: Asger Leth – Director: Mikael Marcimain (Denmark)
The Looming Tower – Creators: Dan Futterman, Alex Gibney, Lawrence Wright – Director: Alex Gibney – Written by Dan Futterman, based on the book by Lawrence Wright (USA)
Picnic at Hanging Rock – Director: Larysa Kondracki (episodes 1-3) – Written by Beatrix Christian, Alice Addison (Australia)
Sleeping Bears – Creator and director: Keren Margalit (Israel)
The Terror – Showrunners: David Kajganich and Soo Hugh – Director: Edward Berger (episodes 1-3), (USA)

RIP Father Pete Colapietro, Patron Saint of Elaine’s, And all the Actors in Times Square

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The absolutely legendary Father Pete Colapietro has died at age 69. He was the patron saint of Elaine’s. His favorite saying was: “She took my heart and half my liver.”

Larger than life with the biggest heart ever, Father Pete is the subject of a beautiful obit by James Barron in the New York Times tonight. But what you really don’t get is how all of us knew Father Pete, who was assigned to two different churches in Times Square. All the actors knew him. And loved him.

Well, everyone loved him. I have a lot of favorite Father Pete moments. But the best were when he sang in Elaine’s. (This, of course, was when Paul Sorvino wasn’t singing.) Father Pete liked to sing – rather — perform– “Mack the Knife”– the original Brecht and Weill, in German. His mostly bald head turned red, water beaded up on him, and it was like he acted out the entire Threepenny Opera with such passion and commitment. Bravo!

Elaine Kaufman was Jewish. Very Jewish. And Father Pete was Catholic. But they would talk for hours, and Elaine loved him like a brother. I once said to her who do you want to talk at your funeral? “Pete, of course,” Elaine said. They had transcended religious backgrounds. (Elaine wasn’t accorded a proper funeral, but that’s a story for the book…)

It’s hard to imagine Pete was only 69. He didn’t look old– he was huge, 6’3″ well over 300 pounds– but he was an old soul. I will really, really miss him. But wait til that funeral. Talk about “parties of the century.”

RIP: The Great John Mahoney, of “Frasier” and “Moonstruck” Fame, Dies at Age 77

John Mahoney, the great character actor who played Frasier and Niles’ Crane’s dad, Martin, has died at age 77.

Mahoney was nominated for two Emmy Awards and two Golden Globes for his role as Martin, Frasier’s blue collar father with a twinkle in his eye who always knew more than he let on.

Mahoney was born in England but became American when his family moved here in 1959. Although he didn’t start acting until he was 37, Mahoney came to prominence with the Steppenwolf theater group in Chicago, where he appeared in countless plays. He finally hit it big playing the man who flirts with Cher’s mom (Olympia Dukakis) in John Patrick Shanley’s 1987 movie, “Moonstruck.”

He won a Tony Award in 1986 for John Guare’s play, “The House of Blue Leaves.”

Broadway: Winter Kills as “Hello, Dolly!” Slips Over 6%, Even “Hamilton” Drops by $300K

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Winter is cruel on Broadway. It’s cold out, and the shows suffer — even the big ones.

“Hello, Dolly!” was down over 6% in total capacity from last week, off by $160,000. WIth Bette Midler the average ticket price has sunk to $95.40. The heady days of $750 tickets is over.

“Hamilton” was off by almost $300,000– and their average ticket price is down. No show in invincible.

“The Book of Mormon” also took a hit– by just under $200,000. For the first time in two years that show finished the week below $1 million. Wow.

It’s a good time to see Broadway shows, that’s for sure. Go see “The Band’s Visit” now– before it wins a lot of Tony Awards!

Female Record Execs Write Letter Criticizing Academy Chief– But Why Aren’t They Promoting Female Artists?

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Listen, I don’t get it.

Ben Sisario writes in the New York Times online this morning that six female record company execs have sent a letter to NARAS criticizing Neil Portnow. He said, blithely, that female artists should “step up” in the business. It was a toss off, but now everyone is blaming him for everything.

“Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview. They are, unfortunately, emblematic of a much larger issue with the Naras organization as a whole on the broader set of inclusion issues across all demographics,” the women wrote. They are: Michele Anthony, an executive vice president at the Universal Music Group; Jody Gerson, the chief executive of Universal’s publishing arm; Julie Greenwald, the co-chairman of Atlantic Records; Sylvia Rhone, the president of Epic Records; Julie Swidler, the general counsel of Sony Music; and Desiree Perez, the chief operating officer of Roc Nation.

They’re all talented women who wield a lot of power at their companies and in the business. But it’s their responsibility to sign and promote female acts. NARAS doesn’t put out records. It has nothing to do with the labels at that level. This is the same as two years ago during #Oscarsowhite when the Motion Picture Academy was being blamed for so few black nominees. Again, they had nothing to do with it. It was the filmmakers who weren’t making those movies.

In all these articles and letters the point is made that there have been fewer female Grammy nominees in the last six years. As I wrote last week, this is because to streamline the Grammys and make them “PC,” gender distinctions were removed. This eliminated three big awards for women. The answer is to bring them back– Best Pop, R&B, Country Female Vocal– and then the percentages will revert to the previous years.

One more note: over the weekend, 90s pop almost-star Fiona Apple wore a t shirt that read “Kneel Portnow.” I had to laugh– is Fiona Apple blaming her uncommercial career on the head of NARAS? That’s not going to fly. I learned a long time ago– artists who don’t have big careers have themselves to blame nine out of ten times.

Fiona Apple never got with the program. After one hit with “Criminal,” she released music sporadically, and when she did the albums had long unpronounceable names. (She’s put out just four albums in over 20 years. Hello?) Male or female, the record business like any other takes work. I look at Sheryl Crow, for example, as someone who stood her ground but realized it’s the business in ‘music business’ that keeps you going.

Super Bowl Night Surprise: Paramount Dumps Unreleasable “Cloverfield Paradox” Film on Netflix

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The Eagles winning wasn’t the only surprise on Super Bowl Sunday.

Paramount dumped the JJ Abrams- produced “Cloverfield Paradox” on unsuspecting Netflix fans without any warning.

Originally titled “God Particle,” the horror film from Abrams’ Bad Robot Productions cost around $45 million. But it was so bad Paramount kept changing the release date. Last year there was some talk of a deal with Netflix and obviously it happened.

“Cloverfield Paradox” now has a 12 on Rotten Tomatoes from critics who caught it last night when it was dropped like one of those watermelons David Letterman used to discharge from his office at 30 Rock on people in the skating rink. The movie stars good people whose names shouldn’t be associated with it. I’ll leave them out.

Who knows? Maybe on Netflix there will be some views from subscribers who can see it in their monthly list. Better that than dragging it around to theaters where no one wanted it.

 

 

UPDATE: Justin Timberlake Post Super Bowl Lands 13 Hits on Charts, But Carrie Underwood Hits Number 1 with “The Champion”

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UPDATE MONDAY NIGHT Post Super Bowl sales numbers are coming in and Justin Timberlake did very well after his half time show.

JT has 13 hits on the iTunes top 100, from number 2 “Say Something” to a clutch of new and old songs including “Can’t Stop the Feeling.”

He also has all his albums in the top 100 albums including number 1 “Man of the Woods.”

But the real winner of the night was Carrie Underwood. Her single “The Champion,” featuring Ludacris, shot to number 1 during the game is holding on nicely. “The Champion” is the official NBC theme song for the Super Bowl and the Olympics, meaning we’re going to hear it A LOT. And people seem to be scooping it up A LOT. Sunday numbers won’t be in until later.

Paul Simon Joins Elton John, Neil Diamond, Aretha Franklin: Retiring from Touring, May Have New York Send Off with Art Garfunkel

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Paul Simon is outta here.

A little update: Look for Simon probably with Garfunkel at Madison Square Garden. MSG has June 23-24 open before U2 arrives.

Earlier:
Like Elton John and Neil Diamond and Aretha Franklin before him, Simon is retiring from touring.

Simon says: “I’ve often wondered what it would feel like to reach the point where I’d consider bringing my performing career to a natural end. Now I know: it feels a little unsettling, a touch exhilarating and something of a relief. I love making music, my voice is still strong, and my band is a tight, extraordinary group of gifted musicians. I think about music constantly. I am very grateful for a fulfilling career and, of course, most of all to the audiences who heard something in my music that touched their hearts.”

Simon has just announced dates for a Farewell Tour in the US, UK and Europe. But no dates have been set yet for New York. I am told that the whole thing will end in a huge New York blitz probably featuring Art Garfunkel. You heard it here first.

Simon is 76 years old. Once he, Elton, Diamond, Aretha are off the tour track, that will leave the Rolling Stones (combined age 700), Paul McCartney (eternally young), and what’s left of The Who touring from the classic rock era.

PS I hope Paul (like Elton) keeps writing songs and albums.