Thursday, December 18, 2025
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Box Office: Ryan Reynolds’ Non Movie Doesn’t Show Much “Life” with Weak Friday Opening

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“Life,” a movie I can’t imagine anyone enjoying, had a rotten opening last night– it finished 3rd with $4.4 million. Sony-Columbia Pictures says the budget was $58 million. But the special effects seem like they’d make it more expensive. (It’s not nearly as good as the 1999 Eddie Murphy-Martin Lawrence movie called “Life.”)

This is a strange and unpleasant horror film–not at all a great space movie. Plus, Ryan Reynolds — hot off “Deadpool”– is only in it a short time, and just as audience bait. The stars are Jake Gyllenhaal and Rebecca Ferguson, who look like they’d rather be somewhere else.

“Life” is almost like a parody of itself. They’ve got three throwaway characters– a foreign woman, a black guy and a Japanese guy– who are just there to be killed quickly. Reynolds is used like a prop, frankly.

The other new release, Warner Bros. movie version of the terrible TV series “ChiPS,” is a goner. They took in $2.6 million last night. Again, was there a groundswell of interest in remaking that show? It was garbage. And the movie goes straight to planes, trains, and VOD.

“Beauty and the Beast,” meanwhile, crossed the $500 million mark worldwide today. It’s up to $541 million and counting. That’s in eight days. One billion served will soon be going up over their logo.

Writers Guild Sends Letter to Members Asking for a Strike Authorization Vote: Time for Protesters and Donuts Again?

The Writers Guild sent a letter out tonight asking members for a strike authorization note. The last strike ran from November 2007 to February 2008. It didn’t help the studios. Has no one learned a thing since then? The strike pits the writers against the Alliance of Motion Picture and Television Producers which represents 397 movie and TV producers. Carol Lombardini is their president since 2009. The current Minimum Basic Agreement expires on May 1, 2017.

March 24, 2017

Dear Colleague,

The initial two-week bargaining period agreed to by your Guild and the AMPTP concludes at the end of the day today. We do not yet have a deal. We will continue to bargain in good faith to make such a deal. But, at this point, we want to let you know where we stand.

We began the negotiations with two truths about the current state of the business at the heart of our proposals:

First, that these have been very profitable years for the companies. This past year they earned $51 billion in profits, a record.

Second, that the economic position of writers has declined sharply in the last five or so years. Screenwriters have been struggling for a long time. They are now joined by television writers, for whom short seasons are at the core of the problem. In the last two years alone, the average salary of TV writer-producers fell by 23%. Those declines have not been offset by compensation in other areas. In Basic Cable and new media, our script fees and residual formulas continue to trail far behind those in broadcast – even though these new platforms are every bit as profitable as the old model.

In light of all this, we sought to tackle a number of issues that directly affect the livelihoods of all writers.

–We asked for modest gains for screenwriters, most particularly a guaranteed second-step for writers earning below a certain compensation level.

–We asked for a rational policy on family leave.

–We sought to address chronically low pay for Comedy Variety writers.

–We asked for 3% increases in minimums – and increases in the residual formula for High Budget SVOD programs commensurate with industry standards.

–We made a comprehensive proposal to deal with the pernicious effects of short seasons. This included a limit on the amortization of episodic fees to two weeks, a proposal that sought to replicate the standard that had been accepted in the business for decades. It addressed, as well, the continued problems with Options and Exclusivity. And it sought to address the MBA’s outdated schedule of weekly minimums, which no longer adequately compensates writers for short terms of work.

–Finally, we sought to address script fee issues – in basic cable and streaming – but also in the case of Staff Writers. Unconscionably, our lowest paid members are now often held at the staff level for multiple seasons, with no compensation for the scripts they write.

What was the companies’ response to these proposals?

No, in virtually every case.

–Nothing for screenwriters. Nothing for Staff Writers. Nothing on diversity.

–On Family Leave they rejected our proposal and simply pledged to obey all applicable State and Federal laws – as if breaking the law were ever an option.

–On short seasons, they offered a counter-proposal that addressed the issue in name only – thus helping no one.

–They have yet to offer anything on minimums, or on HBSVOD.

–They have made some small moves on Options & Exclusivity – some small moves for Comedy Variety writers in Pay TV. But that is all.

On the last day of these two weeks, the companies’ proposal has barely a single hard-dollar gain for writers.

$51 billion in profits and barely a penny for those of us who make the product that makes the companies rich. But that’s not all.

In response to our proposal to protect our Pension and Health Plans, this has been their answer:

Nothing on Pension.

And on our Health Plan, two big rollbacks.

First, they have demanded that we make cuts to the plan – $10 million in the first year alone. In return, they will allow us to fund the plan with money diverted from our own salaries.

More, they’ve demanded the adoption of a draconian measure in which any future shortfalls to the plan would be made up by automatic cuts in benefits – and never by increases in employer contributions.

This, too, is unacceptable. The package, taken as a whole, is unacceptable – and we would be derelict in our duty if we accepted it.

Therefore, your Negotiating Committee has voted unanimously to recommend that the WGAW Board of Directors and WGAE Council conduct a strike authorization vote by the membership.

Once again, we are committed to continue negotiating with the companies in good faith to get you the deal we all deserve. We will continue to update you as things progress.

Respectfully,

The Negotiating Committee Members of the WGA West and WGA East

Chip Johannessen, Co-Chair
Chris Keyser, Co-Chair
Billy Ray, Co-Chair

Alfredo Barrios, Jr.
Adam Brooks
Zoanne Clack
Marjorie David
Kate Erickson
Jonathan Fernandez
Travon Free
Howard Michael Gould
Susannah Grant
Erich Hoeber
Richard Keith
Warren Leight
Alison McDonald
Luvh Rakhe
Shawn Ryan
Stephen Schiff
David Shore
Meredith Stiehm
Patric M. Verrone
Eric Wallace
Beau Willimon
Nicole Yorkin

Howard A. Rodman, WGAW President, ex-officio
Michael Winship, WGAE President, ex-officio
David A. Goodman, WGAW Vice President, ex-officio
Jeremy Pikser, WGAE Vice President, ex-officio
Aaron Mendelsohn, WGAW Secretary-Treasurer, ex-officio
Bob Schneider, WGAE Secretary-Treasurer, ex-officio

Drake Smashes Some Records as “More Life” Gets More than 500,000 Streams, Singles Fill Charts

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Drake– as they say on “Seinfeld,” — ‘everyone loves the Drake.’

The rapper dropped a mixtape late last Saturday and it shot to number 1 on Spotify and iTunes instantly. It’s for streaming or downloading only. There is no physical CD.

So what happened? Hitsdailydouble reports 560,000 total streams and downloads. Paid downloads only came to 230,000.

Hitdailydouble says all of their top 10 streaming singles are from the album.

Spotify reports 13 of the top 20 streamed singles since last Saturday are from “More Life.”

“More Life” is the number 1 album on iTunes. But fans haven’t done much for the individual tracks on iTunes. I guess they’re just downloading the album. It’s price to sell at $10.99.

Is it good? Oh , what’s the difference? Get over it. The song is about drunk texting Jennifer Lopez. I hope she gets a cut.

“More Life” just is.

Let them Eat Cake! Aretha Franklin Surprises Crowd at Dazzling 75th Birthday Show With Knockout Performance and Dessert for Everyone

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The Queen of Soul, Aretha Franklin, celebrated her 75th birthday in style last night at a sold out show at the Mohegan Sun arena in eastern Connecticut. Even though Aretha’s birthday isn’t really until tomorrow, the famed singer welcomed a bunch of friends from Detroit and  New York including music mogul Clive Davis. She toasted the crowd and pals by serving delicious lemon flavored birthday cake to more than 200 of the nearly 10,000 fans who turned out for the occasion.

It was a sweet night for the fans, too, who got to see a newly slimmed down Aretha recall the singer who came to prominence in the mid Sixties with hits that sounded as good as they did then including “Respect,” “Chain of Fools,” “Daydreaming,” “Baby I Love You,” “Do Right Man.” Franklin shimmied across the stage, warning the audience that she was getting over a cold. “So if I miss a note,” she pleaded, but the crowd roared back and frankly, if that’s how she sounds with a virus or an upper respiratory whatever, then it’s pretty damn good.

Backed by the largest configuration of her traveling orchestra, Franklin provided thrilling vocal acrobatics and jazz touches on the songs that elude singers half her age. She threw in some great ballads and mid tempo numbers, too, like ‘Skylark.’ and a sensational reading of “It’s My Turn” which she dedicated with special lyrics to Mr. Davis. She sang just one number, “Natural Woman,” from a lovely padded chair on stage, with power and range that were quite impressive.

But as usual Franklin’s best moments of the night came when she moved to the piano. A skilled natural musician, she led the orchestra through Jerry Butler’s “Brand New Me” and her signature number “My Cup Runneth Over” with skill and magnificent flourishes. The show ended with a rousing rendition of “Freeway of Love.”

Davis was there for many reasons, including their 50 year friendship. He was also there to discuss Aretha’s role in his upcoming mega concert set for April 19th at Radio City Music Hall, which will follow the opening night premiere of his documentary “The Soundtrack of Our Lives.” What will Aretha sing that night? I cornered the pair backstage after the show, but they were in deep negotiations!

Bob Dylan Watches “I Love Lucy” on the Tour Bus, Says the Sound of Joan Baez’s Voice “Could Put You in A Spell,” Greatness Lasts for A Short Time

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Bob Dylan doesn’t do a lot of interviews. But his management company commissioned one by music writer Bill Flanagan, and it’s up on Bob’s website. It’s pretty comprehensive, too. Flanagan asked a lot of the questions we’d ask and got good answers. Bob is promoting his three CD “Triplicate” album of standards coming out shortly. He starts his next tour with three nights the Capitol Theater in Port Chester, New York.

Here are some of my favorite Q&A’s from the session:

When you’re on your bus, what shows do you watch on TV?

I Love Lucy, all the time, non-stop.

What do you think of Joan Baez?

She was something else, almost too much to take. Her voice was like that of a siren from off some Greek island. Just the sound of it could put you into a spell. She was an enchantress. You’d have to get yourself strapped to the mast like Odysseus and plug up your ears so you wouldn’t hear her. She’d make you forget who you were.

A lot of other songwriters have mentioned you in their songs – John Lennon in “Yer Blues,” Ricky Nelson in “Garden Party,” David Bowie in “Song for Bob Dylan.” It’s quite a list. Do you have a favorite?

“Garden Party.”

In Don McLean’s “American Pie,” you’re supposed to be the jester.

Yeah, Don McLean, “American Pie,” what a song that is. A jester? Sure, the jester writes songs like “Masters of War,” “A Hard Rain’s a-Gonna Fall,” “It’s Alright, Ma” – some jester. I have to think he’s talking about somebody else. Ask him.

You met John Wayne in 1966 – how did you two hit it off?

Pretty good actually – the Duke, I met him on a battleship in Hawaii where he was filming a movie, he and Burgess Meredith. One of my former girlfriends was in the movie too, and she told me to come over there; she introduced me to him and he asked me to play some folk songs. I played him “Buffalo Skinners,” “Raggle Taggle Gypsy,” and I think “I’m a Rambler, I’m a Gambler.” He told me if I wanted to I could stick around and be in the movie. He was friendly to me.

You’ve known so many legendary musicians, actors, writers – was there anyone you look back on and say, “Man, I wish I had appreciated how great he was when he was still around?”

I can’t say who’s great or who isn’t. If somebody does achieve greatness it’s only for a minute and anyone is capable of that. Greatness is beyond your control – I think you get it by chance, but it’s only for a short time.

Paul McCartney’s “Flowers in the Dirt” Box Set Shines with Elvis Costello Collaborations

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Real Paul McCartney fans know which albums are the ‘stars’ of his later catalogue– namely “Flowers in the Dirt,” “Flaming Pie,” “Chaos and Creation in the Backyard,” and “Memory Almost Full.”

That’s why there’s so much anticipation about Friday’s release of the “Flowers” box set, essentially an album of collaborations with Elvis Costello from the late 80s. You get the remastered album plus two sets of demos featuring McCartney and Costello, as well as a DVD of videos, and downloads! If you get the box, there’s a set of high resolution downloads of everything plus B sides including “Back on My Feet,” a McCartney-Costello rarity.

McCartney’s extraordinary solo career really ranges from saccharine sweet (Silly Love Songs) to incredibly inventive and vital (his Fireman CDs). The first five or six albums — from McCartney and Ram through Band on the Run — have stood the test of the time. Remember the Beatles only lasted seven or eight years. McCartney has kept up a very high average of quality music for forty seven more years. Insane.

Costello came into his life at just the right moment. Costello’s gift for wordplay, for double meanings and sometimes just fun really inspired McCartney. And Paul gave Elvis a sweetness often lacking in his songs, and a structure. Costello didn’t play the part of John Lennon, but he did provide a counterbalance McCartney needed.

The best song on the whole set is “My Brave Face.” It’s sort of a companion to Elvis’s “Veronica,” which he kept for his own album of the time, “Spike.” Still, fans have all the bootlegs of demos of both guys on both songs. They rank at the top of each artists’ canons. That opening couplet “I’ve been hitting the town/ and it didn’t hit back” is pure Costello. But then Paul swoops in. He’s singing Elvis’s crowded lyric, and then adding his own McCartney-isms to it including the melody, the hook and again, the structure. Voila! A classic is born.

A real treat on the Flowers box set is the collaboration demos on “So Like Candy.” A Costello classic that turned up in its official form on his album, here it gets the McCartney treatment. Again, while Costello clearly wrote the main lyric, Paul has crafted a box of — candy– chocolates, I was going to say– that results in a kind of perfect single. It’s sumptuous and filling but there’s a slight bitter aftertaste. Just grand.

The full box set is beautifully packaged, by the way, with loads of Linda McCartney photographs. There are also interviews with the boys. The whole design is terrific.

There’s a cool unofficial website that’s worth reading. I nicked a photo from it. I hope they don’t mind. Very interesting secondary reading.

(Listen) Chuck Berry Sounds Amazing on His Posthumous Single “Big Boys” — It’s a Total Hit, He Even Sings in French

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Chuck Berry recorded a whole new album right before he died. “Chuck” will be released on June 16th. The first single, “Big Boys,” is so great– a total hit. Chuck sings and plays guitar like it’s 1959. Why didn’t he do this five years ago? Well, at least he did it. The albums features guest spots from Gary Clark Jr., Tom Morello, Nathaniel Rateliff, as well as some of Chuck’s kids and grandkids, who all have the music gene.

You’re going to listen to this a few times. In dreary times, it’s a real pick me up:

Loony “Gong Show” Host Chuck Barris Gets the Gong at 87, Thought He was in the CIA

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Yes, Chuck Barris is dead. The loony host of “The Gong Show” was 87. He finally got his own gong. Goodbye, Chuck.

George Clooney made a really great movie from Barris’s autobiography, called “Confessions of a Dangerous Mind.” Sam Rockwell played Chuck, and it’s an underrated performance of real genius.

Back in 2002, the Miramax movie had an opening night party right before New Year’s Eve. There were lots of famous people at the W Hotel including Joel and Ethan Coen, as well as director James Toback, co-star Drew Barrymore, Campbell Scott, Patricia Clarkson, Maria Bello, Liev Schreiber, Liv Tyler, (celebrating the debut of Lord of the Rings: The Two Towers the previous night), and his producing partner Steven Soderbergh.

They were there for Rockwell. Barris was kind of an odd bird. When I asked him about being a CIA hitman, he said: “I don’t talk about it, and if you’re interviewing me, I’m going to walk away.”

The only star who turned out for him was the (now late) Sheila McRae, a great Broadway star and Jackie Gleason’s Alice in the 60s version of “The Honeymooners.” Sheila, it turned out.  was actually a judge once on The Gong Show. Barris couldn’t believe it when they were reunited. “He was always a little crazy,” MacRae said.

Clooney told me a lovely story that night. His famous aunt, Rosemary Clooney, had died six months earlier. He said, “Christmas was a big time for her. Every year she’d send us a Christmas song on tape that she’d sing for the whole family. Then two years ago we got the tape and put it in and she said on it, I’ve been doing this for like 30 years and ‘I’ve run out of Christmas songs.’ So she sang ‘Easter Parade!’ Isn’t that great?” He took a moment. “But it’s still sad.” (Even sadder now is that Rosie’s son, Miguel Ferrer, has recently died at age 60.)

And now, Chuck Barris is dead. He’s the answer to a Trivial Pursuit question. Last week, I said to a friend, “I’m so sad, Chuck Berry died.” She replied, having mis-heard me: “Chuck Barris died?” And now he has.

Condolences to Jaye P. Morgan.

 

Jake Gyllenhaal Selling Signed Broadway Drawings for Charity for Either $500, $1000, or A Million Bucks

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Last night on Broadway at “Sunday in the Park with George” was also the first night of selling merch for Broadway Cares/Equity Fights AIDS. Co-star Annaleigh Ashford– so great as Dot, and then Dot’s granddaughter–took the mic after a standing ovation at the show’s conclusion. “These drawings made by our big deal movie star”– meaning Jake Gyllenhaal– “will be on sale outside for $500.”

Not missing a beat– Gyllenhaal, who was on stage signing the drawings he allegedly created as artist Georges Seurat (but resembling nothing like a Seuratt)–grimaced and said aloud, “A thousand dollars!” Ashford, who was adlibbing and getting laughs, then added the audience could buy them “for a million dollars.” She added: “This is obviously the first time we’re doing this!”

It’s not the first time they’ve done the show, however. This “Sunday” started as a two night run off Broadway last year.  Now it’s back for a longer but limited run that ends April 23rd and won’t be considered for the Tony Awards. (That’s because the producers don’t want to give freebies to Tony voters, etc.) It’s too bad, because “Sunday” could give “Hello, Dolly!” a run for their money in musical revival. It’s that good.

Jake Gyllenhaal is not a name you associate with Broadway musicals, but it turns out he could be our next Jerry Orbach– or even Mandy Patinkin, who originated the role of Seurat in 1984. He can sing more than reasonably well. If he weren’t in this Sondheim show, he’d make a great Anthony in “Sweeney Todd.” As Seurat, he projects a tortured artist (who was probably autistic or “on the spectrum”) obsessed with his work, contemptuous of rivals, and neglectful of loved ones. Hello, Picasso!

“Sunday in the Park” is a tricky Sondhein show. The first act is a glistening complete gem. Last night it was actually thrilling as the Seurat painting, “A Sunday Afternoon on the Island of La Grande Jatte,” came together on stage. You could leave after Act 1 and have seen a perfect musical comprising sophisticated ideas, a gorgeous score, and wonderfully executed performances.

In addition to Gyllenhaal and Ashford, there’s also Penny Fuller as Seurat’s disapproving mother, Robert Sean Leonard as a wealthy more successful painter, and Tony winner Ruthie Ann Miles– stuck in supporting supporting–singing her guts out. (You can her clearly. She’s a star.)

The second act is superb, too, especially the beginning. But it’s a bit of a letdown after you’ve experienced perfection. Still, Gyllenhaal and Ashford get to shed their 1886 personas, and “Putting it Together” remains a Sondheim classic.

The Hudson Theater is being touted as “newly renovated.” It’s very nice, but it’s mostly the same as it’s been the last few years– maybe with nicer seats. PBS used it as a place to do “Downtown Abbey” screenings each new season before it became an official Broadway house. The bartenders are still getting used to the pace of returning the audiences to their seats before curtain call.

Carly Simon Making a Rare Radio City Appearance for Clive Davis’s Tribeca Film Fest Super Show

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Clive Davis’s super show at Radio City Music Hall just hooked a star who makes rare appearances.

Carly Simon has agreed to be in the show that will open the Tribeca Film Festival on April 19th. So far almost everyone Clive has worked with has agreed to be in the show following the screening of his documentary “The Soundtrack of Our Lives.”

So far Aretha Franklin, Jennifer Hudson, Earth Wind and Fire, Dionne Warwick, and Barry Manilow are all onboard. I’d be surprised if we didn’t see Chicago, maybe Bruce Springsteen, and either Simon or Garfunkel, not to mention Alicia Keys.

I do think the last time Carly did something like this was in 1989, for Arista Records’ 15th anniversary. She sang with Hall & Oates, if I recall. It was a five hour show at Radio City.

During Carly’s hit run with Clive, she had a massive hit with “Coming Around Again.” Then she won an Oscar for “Let the River Run,” her song from “Working Girl.”