Havoc (2005) - News Poster



Alex Garland’s Annihilation Coming to Blu-ray, DVD, and Digital Platforms This May

If you missed Alex Garland's adaptation of Jeff VanderMeer's Annihilation in theaters (read Heather Wixson's four-star review here), then you can enter The Shimmer from the comfort of your own couch when Paramount Home Media Distribution releases the sci-fi horror film on Blu-ray, DVD, and digital platforms this May in the Us:

Press Release: Hollywood, Calif. – Hailed as “a masterpiece” and “a mind-blowing experience”, director Alex Garland’s (Ex Machina) Annihilation debuts on Blu-ray Combo Pack and DVD May 29, 2018 from Paramount Home Media Distribution. The film arrives on Digital May 22.

Biologist and former soldier Lena (Academy Award® winner* Natalie Portman) is shocked when her missing husband (Oscar Isaac) comes home near death from a top-secret mission into The Shimmer, a mysterious quarantine zone no one has ever returned from. Now, Lena and her elite team must enter a beautiful, deadly world of mutated landscapes and creatures, to
See full article at DailyDead »

Anne Hathaway Heads Fat-Shamers Off at the Pass With Weight-Gain Explanation (Video)

  • The Wrap
Anne Hathaway Heads Fat-Shamers Off at the Pass With Weight-Gain Explanation (Video)
Anne Hathaway is offering fans the real skinny on her weight gain — and attempting to preemptively shut down the fat-shamers in the process.

Havoc” actress Hathaway took to Instagram on Thursday to post a video of herself working out — and to explain that she’s packing on pounds for professional reasons.

“I am gaining weight for a movie role and it is going well,” Hathaway wrote. “To all the people who are going to fat shame me in the upcoming months, it’s not me, it’s you. Peace xx.”

Also Read: Raven-Symone Says She Suffers 'Mental Issues' Due to Childhood Body-Shaming

Hathaway added that she wanted to use the Queen classic “Fat Bottomed Girls” as a soundtrack for the video, but was unable to do so due to copyright issues.

Hathaway didn’t elaborate on which role she’s gaining weight for, though according to the actress’ IMDb page her upcoming projects include “The Lifeboat,” about “a young woman on trial for murder, recounts the tale of how she survived a shipwreck at sea in a lifeboat that initially carried too many people.” So … cannibalism, maybe?

Also Read: Playboy Playmate Dani Mathers Sentenced to Community Service in Body Shaming Case

See Hathaway preempt the fat-shamers below.

I am gaining weight for a movie role and it is going well. To all the people who are going to fat shame me in the upcoming months, it’s not me, it’s you. Peace xx Ps- I wanted to set this to Queen’s “Fat Bottomed Girls” but copyright said. Continued peace xx

A post shared by Anne Hathaway (@annehathaway) on Apr 5, 2018 at 8:56am Pdt

Read original story Anne Hathaway Heads Fat-Shamers Off at the Pass With Weight-Gain Explanation (Video) At TheWrap
See full article at The Wrap »

John Cena, Tom Holland and More Join Robert Downey Jr.'s Dr. Dolittle

Shortly after the film rights to Doctor Dolittle were auctioned off to Universal Studios, the production studio announced their plans for a reboot of the film. The children's book series was first turned into a film in 1967. The film was later rebooted in 1998, with Eddie Murphy starring this time around. This particular film earned itself two sequels.

The planned reboot under Universal Pictures was announced and will be titled The Voyage of Doctor Dolittle, with Iron Man star Robert Downey Jr. set to star, and an April 2019 release. It will be written and directed by Oscar winner Stephen Gaghan. Gaghan has previously written and / or directed films such as Syriana, Gold, Havoc, and Rules of Engagement.

This was all we knew about the film for quite a while, until Robert Downey Jr. recently took to Twitter to reveal the full cast list for next year's film. This star studded cast includes: Robert Downey Jr.
See full article at MovieWeb »

'The Post' Review: Steven Spielberg's Journalistic Thriller Could Not Be More Timely

'The Post' Review: Steven Spielberg's Journalistic Thriller Could Not Be More Timely
The first thing to know about The Post, aside from the fact that it's one of best and tick-tock timeliest movies of the year, is that it's a love story. That's right. Steven Spielberg's tense, terrific new drama celebrates the passionate bond between a free press and every thinking human being, however diminished the species in Trump's America.

The film is set in 1971, when Washington Post publisher Katharine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks) decided to defy threats from the Nixon White House and publish the Pentagon Papers,
See full article at Rolling Stone »

'The Post' Review: Steven Spielberg's Journalistic Thriller Could Not Be More Timely

'The Post' Review: Steven Spielberg's Journalistic Thriller Could Not Be More Timely
The first thing to know about The Post, aside from the fact that it's one of best and tick-tock timeliest movies of the year, is that it's a love story. That's right. Steven Spielberg's tense, terrific new drama celebrates the passionate bond between a free press and every thinking human being, however diminished the species in Trump's America.

The film is set in 1971, when Washington Post publisher Katharine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks) decided to defy threats from the Nixon White House and publish the Pentagon Papers,
See full article at Rolling Stone »

Doc NYC 2017 Women Directors: Meet Barbara Kopple — “A Murder in Mansfield”

“A Murder in Mansfield”

Barbara Kopple is a two-time Academy Award winning filmmaker. Her credits include “This Is Everything: Gigi Gorgeous,” “Miss Sharon Jones!” and “Harlan County USA.” Kopple actively participates in organizations that address social issues and support independent filmmaking.

“A Murder in Mansfield” will premiere at the 2017 Doc NYC film festival on November 12.

W&H: Describe the film for us in your own words.

Bk: “A Murder in Mansfield” is the story of a boy who grew to manhood haunted by the trauma of a murder and by issues with his parents and family that remained unresolved in him many years later because of that murder. It’s a story about human resilience and hope. It’s a story about someone choosing to confront the past in an effort to take control of his future.

Collier Landry is the boy and the man at the center of this story, the son of a prominent doctor and a beautiful, loving mother in Ohio. Dr. John and Noreen Boyle raised Collier with a picture-perfect life, but below the surface was deep dysfunction and unhappiness. Even before the tragedy that changed his life, Collier was dealt a psychological double-whammy: a distant father who withheld love and acceptance from him, and a lonely mother who overcompensated by treating her son like her missing partner.

Then one day at age 11, Collier told his parents good night, went to bed and woke up to learn his mother was missing. 26 days later, her body was discovered in the basement of Dr. John’s second house. Also discovered was John’s pregnant mistress for whom he had purchased the house. Collier and his adopted sister were pulled from their home and placed in foster care as their father was arrested and charged with the murder of their mother.

The arrest and ensuing trial turned the small city of Mansfield upside-down. Collier had a very public decision to make. Would he stand by his father, regardless of his guilt, or would he seek to avenge his mother? As the cameras rolled inside the courtroom from nearly every news outlet in Ohio, an angry young Collier took the stand and left no bones about whose side he was on.

As dramatic as that story was, it turned out to be only the beginning for Collier. And that’s where our film picks up. After the news and cameras went away, the boy struggled with the fallout of his decision to testify.

W&H: What drew you to this story?

Bk: The first thing we watched when we started this project was Collier’’s hours of testimony at his father’s trial when he was 12-years-old. He was such a bright, articulate, sensitive, and artistic boy. It was like an adult talking from a child’s mouth.

Another thing that strikes you is that Collier clearly had a lot of anger toward his father at that point. You wonder, “Was he angry before the murder?” It seems like something that’s been simmering inside him for a long time. He’s asked by the prosecutor how much time he spent with his mother and how much with his father, and he answers, “99% with my mother and 1% with my father,” which drew a gasp from the courtroom audience.

It was a child’s exaggeration, but it’s clear that there is something deeper going on between Collier and his father. That footage opens “Murder in Mansfield,” and everyone who watches it is just hooked right away by this compelling young man, as I was.

Meeting Collier, who is such an open and vibrant person, it is hard to imagine how much he had endured. His attitude towards life is so inspiring to me, and I was touched — but not surprised, by how many people loved him.

Collier’s relationship with his father is complicated and their correspondence is heartbreaking. I was left feeling that the maturity and emotional intelligence Collier displayed in his letters to his father was incredible. I understood how deeply Collier wanted acceptance and approval from his father, even with their convoluted past.

When I looked at tapes of young Collier, so brave and well-spoken on the stand, my hope was that he might grow up to be something like the adult Collier I know now. Adult Collier is kind, smart, and following his dreams as a cinematographer. I am thankful to know a person like Collier, who makes us believe again in the power of the human spirit and our ability to survive tragedy and live a full life.

W&H: What do you want people to think about when they are leaving the theater?

Bk: “A Murder in Mansfield” has a true crime subject, but we weren’t interested in making a true crime documentary. For one thing, most of the documentaries in the genre are trying to create doubt about whether someone convicted are actually innocent, or whether someone who got off is actually guilty.

In the case of Noreen Boyle’s murder, I don’t think I’ve ever seen a clearer cut case of guilt than with the man who got convicted for it, John Boyle. In the midst of divorcing, with Dr. John Boyle’s baby due the following month from another woman, he rents a jackhammer for the first time, he and his wife go to sleep in separate rooms of their Mansfield home, and his wife is never seen alive again.

Boyle tells his son Collier the next morning that “Mommy took a little vacation.” 26 days later, Noreen’s body is unearthed by police in the basement of the new home John Boyle has just purchased for his mistress. She was suffocated by a bag and hit twice on the back of the skull by a hammer-like object.

So immediately this was not a case where you are exploring a mystery or a miscarriage of justice. Instead it was compelling to me to explore the effect it had on the mental and spiritual well-being of those connected to the case, especially Collier.

I studied psychology in Boston before I became a filmmaker, and my son is now a psychiatrist in Manhattan. I’ve done several documentaries that look at mental illness and psychological damage by getting up close and personal with a few individuals dealing with those issues. These are always “heavy” subjects to tackle, but it can also be incredibly inspiring to watch someone try to fix themselves, to try to better their own lives and be happy.

“A Murder in Mansfield” was a chance to look at the trauma experienced by people close to a violent crime — how sometimes there are more victims than just the recognized victim. It seemed like an under-explored topic given how many people in America are affected by violent crime, and one that an audience might be moved by.

W&H: What was the biggest challenge in making the film?

Bk: The real challenge of this film took place inside Collier Landry. Our team was along for the ride, essentially, and it was on him to figure out what he was looking for, both in Mansfield and inside himself, and what path he needed to take to get there.

I know that was an extraordinarily difficult process for him, and we had a lot of conversations and concern about going with him on his journey rather than pushing him into a journey. It had to be his, not ours. Collier held a great deal of faith that confronting and examining the trauma he carried would lead to good things — something that others in his life were very skeptical about and preferred to avoid it like the plague.

We wanted to make sure that what we were participating in would be healing for him, not add further harm. We consulted with mental health specialists before we started filming, and Collier picked up his sessions with Mansfield’s Dr. Dennis Marikis that he had started as a child when the murder happened.

So he had someone who cared and understood his story to guide him repeatedly through all this as it unfolded. And there’s no question in my mind that the results for Collier speak for themselves. He took the right approach.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Bk: The project came about when an old friend from Hollywood, John Morrissey, sent me a message about a cinematographer he knew out there named Collier Landry. Actually, I recently looked back at the first email, and it was sent in late January 2015, coincidentally twenty-five years to the day after Collier’s mother’s body had been found, his father arrested, and his life changed forever.

Morrissey was a producer probably best known for “American History X,” and he had produced my 2005 film “Havoc” starring Anne Hathaway and Bijou Phillips. That was a scripted film, and Morrissey had always been interested in doing a documentary with me. He ran in the same circles as Collier and saw something in his story, and when my producers and I heard it, so did we.

The original concept was to follow several individuals all connected by the same violent crime, watching them come together, and help each other find ways to deal with lingering trauma. There were 1,197,704 violent crimes committed in the U.S. in 2015, according to a report released by the FBI. We felt a film on this subject could be an inspiration to so many people who find themselves as “secondary victims.”

As we researched the subject, we found that many of those close to violent crimes suffer Ptsd-like symptoms. Many never deal with their trauma because they don’t want to give any further energy to such a terrible event in their lives by focusing on it or thinking about it more than they have already had to. As a result, many carry baggage from these crimes for the rest of their lives and never find a way to deal with it.

Collier tried to convince others affected by his mother’s murder to be a part of this film. One family member told Collier that she had tried so hard to move on and did not want to go back into the worst moment of her life. When these kinds of tragedies happen that mix terrible loss with man’s inhumanity to man, the depths of depravity, many people can’t let themselves go there for too long and try to quickly move past it toward something positive in their lives.

The problem is that they never really heal.

For Collier, even though he had carved out this successful life for himself in production out in L.A., he still carried this with him every day, and it still affected him in all kinds of ways. When I met him he seemed desperate to find someone else he could share that with, someone who had been affected by the same terrible moment. And he seemed genuinely concerned that others might be hurting and he might be in a unique position to help them.

But his journey proved to be more complicated.

W&H: What does it mean for you to have your film play at Doc NYC?

Bk: Doc NYC is a wonderful film festival and so important for documentaries. Thom Powers has my love and admiration for creating it. Another film of mine very dear to my heart, “Miss Sharon Jones!” got its U.S. premiere opening the festival in 2015.

The same year I was honored to receive a career achievement award from the festival, alongside my colleagues Frederick Wiseman and Jon Alpert. I look forward to that ceremony every year because it’s a chance to see all my favorite filmmakers and colleagues together in one room celebrating what we do.

W&H: What’s the best and worst advice you’ve received?

Bk: Bad advice? I can’t remember anything in particular, but I think most of the bad advice in my life has been people telling me I can’t do something or shouldn’t do something. It’ll cost too much. It’s too dangerous.

Some advice I heard early in my career that I live by when making documentaries is to be true to your “characters” — be true to the people you are filming, and allow them to take the lead of where they are going, because they will always be much more interesting and moving than whatever you have in your mind. And be a really good listener.

As far as life goes: When someone tells you that you can’t do something and you feel deeply in your soul that you can, go for it. If you fail, you’ll learn from it. If you do well, the risk was well taken.

W&H: What advice do you have for other female directors?

Bk: It’s the same as I would have for male directors: not to be afraid of anything. That really is the best advice. Stick it out, know that you can do it, even if you aren’t sure you can, and people will help you and stand up with you. If you tell other people you need their help, people will want to see you succeed.

Don’t take no for an answer, figure out a solution, go by your instincts.

Believe in yourself and mostly have fun. Make the material your own.

It’s not easy to make documentaries. You are always prying into other people’s lives, often in times of stress. Trust between you and the people whose stories you are telling is sacred. Stay focused. Serve the story, as it is being told by the characters you are following.

Maybe most importantly, there’s no right or wrong way to direct. Embrace good ideas from others. And it’s also okay to change your mind. That’s courageous. That’s a good thing. If you find a better way to do something, it’s fine to change your mind. That’s part of life. And I think it’s very open and cool to say, “Hey, I thought this was a good way to do it, but this is better.”

W&H: Name your favorite woman-directed film and why.

Bk: This question makes me feel like you’ve got a gun to my head. Well, you’re going to need a lot more guns, because there are too many great female directors for me to pick just one!

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Bk: Yes, I am optimistic. So many consistently great documentaries by women are getting to be ever more popular. Women directors are a special group who are determined, have perseverance, and continue on in the hardest of times.

They should be applauded, loved, and given lots and lots of money to make their films!

Doc NYC 2017 Women Directors: Meet Barbara Kopple — “A Murder in Mansfield” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Box Office: Justice League Tracking For A Mighty $110M-$120M Opening

In what is fast becoming a busy, busy week for the Warner Bros. tentpole, early figures reveal that Justice League is on course to become a box office monster, even if it falls just short of its DC peers.

Word is the ensemble piece will open in the $110m-$120m ballpark domestically, putting it significantly lower than Batman v. Superman: Dawn of Justice ($166 million) and Suicide Squad ($133.7 million). We should stress that these figures come from industry analysts, and are therefore not indicative of Warner’s internal estimate. Also of note, the studio is yet to make its final marketing push, so tracking could climb higher still.

Perhaps the more fitting comparison here is Marvel’s Thor: Ragnarok. Granted, the Taiki Waititi-directed threequel initially ranked higher on Fandango, though this $110m-$120m estimate puts Justice League and Ragnarok neck and neck. Positive reviews and general word of mouth have ensured
See full article at We Got This Covered »

Han Solo Spinoff Will Be Titled Solo: A Star Wars Story

Well, it’s official.

To mark the end of principal photography, director Ron Howard has confirmed that his Han Solo anthology pic will release as Solo: A Star Wars Story on May 25th, 2018.

Howard initially took control of the Star Wars spinoff back in June, when Lucasfilm fired erstwhile directors Phil Lord and Chris Miller due to creative differences. The Powers That Be later executed a similar shake-up for the untitled Episode IX, after J.J. Abrams was drafted in to replace the outgoing Colin Trevorrow.

As for Solo, it’s now evident that Lucasfilm and Disney are adhering to a fairly strict template when it comes to their Star Wars anthology series, given today’s announcement follows in the footsteps of Rogue One. It’s all in an effort to differentiate these spinoffs from the core Skywalker saga (Obi-Wan: A Star Wars Story, anyone?), so don’t be too surprised
See full article at We Got This Covered »

Grey's Anatomy's Jason George: Will the Spinoff Break Up Ben and Bailey?

When Jason George leaves Grey’s Anatomy to star in the ABC drama’s spinoff about firefighters, the first blaze that Ben has to put out may be at home. Can anyone not picture smoke coming out of Bailey’s ears when her husband announces that he wants to give up medicine to risk his neck as a fireman?

The powers that be “haven’t told me” yet how Ben’s career switch will impact his marriage, the actor revealed to TVLine at Entertainment Weekly’s pre-Emmy bash on Friday. But, since “there will definitely be crossovers between Grey’s and the spinoff show…
See full article at TVLine.com »

Hellboy Reboot Casts Deadpool Star In Supporting Role

As Lionsgate and Millenium’s Hellboy reboot – which, apparently, won’t be an origin story – gears up to enter production this fall, it’s starting to put together quite the cast. In recent weeks, we’ve seen Ian McShane, Sasha Lane and Milla Jovovich all hop on board to join David Harbour in the title role and now, we have word of yet another exciting addition: Deadpool star Ed Skrein.

Best known for playing Ajax in the Merc with a Mouth’s first solo outing on the big screen, the actor has signed on for Neil Marshall’s new take as Major Ben Daimio, “a rugged military member of the Bureau for Paranormal Research and Defense who, due to a supernatural encounter, can turn into a jaguar when angered or in pain.”

That’s all we’ve got to go on for now, but story-wise, it’s been confirmed that
See full article at We Got This Covered »

Don’t Call The Hellboy Reboot An Origin Story; David Harbour Outlines His Approach To The Half-Demon

The Hellboy reboot currently simmering on the brink of production has been described as many things – dark, a character study and, at least until recently, Rise of the Blood Queen.

Neil Marshall’s cinematic redo has since ditched the subtitle in favor of just Hellboy, and we’re now learning that despite this being pitched as a franchise revival, the Hellboy of 2018 won’t be an origin story. At least, that’s according to David Harbour, who spoke to Happy Sad Confused (via Collider) at length about Marshall’s vision for the project, and why it’ll be markedly different from the two Guillermo del Toro films that launched into theaters in 2004 and 2008.

Flanked by Milla Jovovich (Resident Evil), Ian McShane (American Gods) and, potentially, American Honey breakout Sasha Lane, Harbour is surrounded by talent on all sides, and here, the towering actor stressed that the terms ‘reboot’ and ‘origin story’ needn’t be synonymous.
See full article at We Got This Covered »

Why Is Twin Peaks' Audrey So Sour? Orphan Black's 'Must' Encore? Should Younger Go There? And More TV Qs!

Why Is Twin Peaks' Audrey So Sour? Orphan Black's 'Must' Encore? Should Younger Go There? And More TV Qs!
We’ve got questions, and you’ve (maybe) got answers! With another week of TV gone by, we’re lobbing queries left and right about shows including Power, Everwood, Younger and Suits!

1 | With only two Orphan Black episodes left, which characters — dead or alive — do you hope make an appearance before the show’s end? Hot Paul, Beth, Cal…? (It would be strange if Kira’s dad never popped up again, right?)

RelatedOrphan Black Star on [Spoiler]’s Death: ‘It’s an Extraordinary Loss’ for Sarah

2 | Would Twin PeaksAudrey — who always was as cool as the other side of
See full article at TVLine.com »

'Catwoman' Covers "Elle"

  • SneakPeek
Take another look @ revealing images, plus footage of 'Catwoman' actress Anne Hathaway in "Elle" (UK) magazine:

Following several stage roles, Hathaway appeared in the 1999 television series "Get Real". She came to prominence after playing 'Mia Thermopolis' in the Disney film "The Princess Diaries" (2001) and in its 2004 sequel.

Since then, Hathaway has starred in dramatic films including "Havoc" and "Brokeback Mountain" (2005). She starred in "The Devil Wears Prada (2006) and "Becoming Jane" (2007).

In 2008, she won several awards for her performance in "Rachel Getting Married", also earning an Academy Award nomination for 'Best Actress'. In 2010, she starred in the box office hits "Valentine's Day", "Tim Burton's Alice in Wonderland", and "Love and Other Drugs", winning an Emmy Award for her voice-over performance on "The Simpsons".

In 2011, Hathaway had a voice role in the animated film "Rio", followed by her performance as 'Selina Kyle', aka 'Catwoman' in "The Dark Knight Rises ", followed by
See full article at SneakPeek »

Blind Item: Drama Series Poised to Whack Fan Fave — In Season Premiere

Blind Item: Drama Series Poised to Whack Fan Fave — In Season Premiere
The producers of a popular series are looking to take a page from Annalise Keating’s killer curriculum.

Rumor has it that an hour-long drama series on one of the Big 5 broadcast networks is poised to kill off one of its most popular characters (an original series regular), while tacking on a time-tripping twist straight out of How to Get Away With Murder.

RelatedAsk Ausiello: Major Blind Item Clue About the Series So Bad Its Network Tried to Dump It

According to sources, if the storyline is approved by The Powers That Be at the network, the character in question
See full article at TVLine.com »

Kermit the Frog: Trump and Donald Jr. Audition to Voice Muppet on Late Show

Kermit the Frog: Trump and Donald Jr. Audition to Voice Muppet on Late Show
President Donald Trump won’t be making a rainbow connection any time soon.

RelatedDonald Trump Jr. Visits Hannity Amid Email Scandal: Meeting With Russian Attorney Was ‘Opposition Research’

Proving it’s really not easy being green, The Late Show With Stephen Colbert on Wednesday featured “auditions” for the voice of Kermit the Frog, with Trump, son Donald Trump Jr. and White House Press Secretary Sean Spicer among those in consideration to voice the iconic muppet. The cold open follows word that longtime voice actor Steve Whitmire has left the Muppets and will no longer provide the voice for Kermit following 27 years on the job.
See full article at TVLine.com »

So You Think You Can Dance Recap: Which NYC Auditions Won You Over?

So You Think You Can Dance Recap: Which NYC Auditions Won You Over?
For its third night of Season 14 auditions, So You Think You Can Dance traveled to New York City — and, amazingly, didn’t play Jay-z’s “Empire State of Mind” over a single inspirational montage! (But there’s still another night of NYC tryouts awaiting us, so perhaps I’m speaking too soon.)

After showcasing a bevy of stunning auditions in Los Angeles, the Fox series’ pit stop in New York proved equally as successful, featuring at least two Dance hopefuls that, at first blush, seemed worthy of a spot in the finale.

RelatedFox Fall Premiere Dates: Empire, Lucifer, Lethal Weapon
See full article at TVLine.com »

Mobb Deep's Prodigy Dead at 42: Tributes Roll In as Rappers Mourn

  • PEOPLE.com
Mobb Deep's Prodigy Dead at 42: Tributes Roll In as Rappers Mourn
The rapper Prodigy, half of the hip-hop duo Mobb Deep, has died in Las Vegas, multiple sources confirm. He was 42 years old.

“It is with extreme sadness and disbelief that we confirm the death of our dear friend Albert Johnson, better known to millions of fans as Prodigy of legendary N.Y. rap duo Mobb Deep,” a Mobb Deep representative wrote in a statement to Xxl.

“Prodigy was hospitalized a few days ago in Vegas after a Mobb Deep performance for complications caused by a sickle cell anemia crisis. As most of his fans know, Prodigy battled the disease since birth.
See full article at PEOPLE.com »

‘Battlestar Galactica’ Atx Reunion Goes According to Plan (Sort Of)

‘Battlestar Galactica’ Atx Reunion Goes According to Plan (Sort Of)
Austin, Texas — The lively and laughter-filled “Battlestar Galactica” panel at the Atx Television Festival started to seem like an episode of the show about halfway through its nearly two-hour running time: Technical glitches garbled the Skype participation of cast member Jamie Bamber, who called in from France. Maybe it was the Cylons having a last bit of revenge?

For a few minutes, Bamber’s face on a screen loomed over the reunited cast, and when a connection was finally established, most of Bamber’s answers were unintelligible. Mary McDonnell, who played Laura Roslin, stood up from the gray couches assembled on the Paramount Theatre stage and tried to chat with Bamber. Edward James Olmos, who played Admiral William Adama on the Peabody-winning Syfy series, also stood up and asked Bamber if he had headphones with a microphone to cut down on the audio difficulties. He then tried to call Bamber on his phone.

See full article at Variety - TV News »

Sense8 Cancellation: Netflix Not Reversing Its 'Hard' Decision

Sense8 Cancellation: Netflix Not Reversing Its 'Hard' Decision
Netflix will not be bringing Sense8 back from the dead, Timeless-style.

A little more than a week after cancelling the ambitious drama, The Powers That Be at Netflix reached out to grieving Sense8 fans on Facebook to let them know that, after crunching the numbers again, they were not able to make the stars align for a third season.

RelatedCable/Streaming Renewal Scorecard: What’s Coming Back? What’s Cancelled? What’s On the Bubble?

“We’ve seen the petitions, we’ve read the message… we know you want [us] to #RenewSense8,” read the message. “The reason we’ve taken so
See full article at TVLine.com »
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