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Kimberly Guilfoyle, Who Was Never a Journalist, Leaving Fox News to Help Trump Even More at a PAC

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Kimberly Guilfoyle was never a journalist. She was a presenter at Fox News who supported Donald Trump. Then she started dating his son shortly after his divorce. Now Guilfoyle– as I told you she had– has confirmed leaving Fox News to help support Trump Sr. even more.

She wrote on Twitter: “Today I have a bitter-sweet announcement. I’ve decided to leave Fox News Channel and dedicate myself full time to joining America First as Vice Chairwoman, campaigning across the country and firmly standing with President Trump.”

What you must understand is that no real journalist in any party would do something like this– or write something like this. I hope Kimberly marries Donnie Jr. or at least some of this works out for her. She can’t return to “journalism,” whatever she thinks that is. But my guess is that Bill Shine gives her Sarah Sanders’ job after the November elections.

Toronto Film Festival Gets All the Big Films with Stars: Lady Gaga, Bradley Cooper, Ryan Gosling, Etc

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The 2018 Toronto International Film Festival will kick off with Patricia Rozema’s “Mouthpiece.” And from there it just keeps getting better. From this list you could actually see the whole rest of the awards season in one place. Films are by Claire Denis, Steve M c Queen, Alfonso Cuarón, Barry Jenkins, Nicole Holofcener,Patricia Rozema, Damien Chazelle, Elizabeth Chomko, Zhang Yimou, Bradley
Cooper, Nadine Labaki, Anurag Kashyap, Amma Asante, Matteo Garrone, Eva
Husson, Jason Reitman, Lee Chang-dong, Keith Behrman, George Tillman, Jr.,
Olivier Assayas, and Jiang Wen.

The stars include Lady Gaga, Bradley Cooper, Ryan Gosling, Steve Carell, and so on. It’s everyone all in one place. Good luck to those of us trying to figure out the schedule!

 

 

GALAS 2018
Beautiful Boy Felix van Groeningen, USA
World Premiere
Everybody Knows Asghar Farhadi, Spain/France/Italy
North American Premiere

First Man Damien Chazelle, USA
Canadian Premiere
Galveston Mélanie Laurent, USA
Canadian Premiere
The Hate U Give George Tillman, Jr., USA
World Premiere
Hidden Man Jiang Wen, China
International Premiere
High Life Claire Denis, Germany/France/Poland/United Kingdom
World Premiere
Husband Material Anurag Kashyap, India
World Premiere
The Kindergarten Teacher Sara Colangelo, USA
Canadian Premiere

The Land of Steady Habits Nicole Holofcener, USA
World Premiere
Life Itself Dan Fogelman, USA
World Premiere
The Public Emilio Estevez, USA
World Premiere
Red Joan Sir Trevor Nunn, United Kingdom
World Premiere
Shadow Zhang Yimou, China
North American Premiere
A Star is Born Bradley Cooper, USA
North American Premiere
What They Had Elizabeth Chomko, USA
International Premiere

Widows Steve Mc Queen, United Kingdom/USA
World Premiere

SPECIAL PRESENTATIONS 2018
Ben is Back Peter Hedges, USA
World Premiere
Burning Lee Chang-dong, South Korea
North American Premiere
Can You Ever Forgive Me? Marielle Heller, USA
International Premiere
Capernaum Nadine Labaki, Lebanon
North American Premiere

Cold War Paweł Pawlikowski, Poland/United Kingdom/France
Canadian Premiere
Colette Wash Westmoreland, United Kingdom
Canadian Premiere
Dogman Matteo Garrone, Italy/France
Canadian Premiere
The Front Runner Jason Reitman, USA
International Premiere
Giant Little Ones Keith Behrman, Canada
World Premiere
Girls of the Sun ( Les filles du soleil) Eva Husson, France
International Premiere
Hotel Mumbai Anthony Maras, Australia
World Premiere
The Hummingbird Project Kim Nguyen, Canada
World Premiere
If Beale Street Could Talk Barry Jenkins, USA
World Premiere

Manto Nandita Das, India
North American Premiere
Maya Mia Hansen-Løve, France
World Premiere
Monsters and Men Reinaldo Marcus Green, USA
Canadian Premiere
*Special Presentations Opening Film*
MOUTHPIECE Patricia Rozema, Canada
World Premiere
Non-Fiction Olivier Assayas, France
Canadian Premiere
The Old Man & The Gun David Lowery, USA
International Premiere
Papi Chulo John Butler, Ireland

World Premiere
Roma Alfonso Cuarón, Mexico/USA
Canadian Premiere
*Special Presentations Closing Film*
Shoplifters Hirokazu Kore-eda, Japan
Canadian Premiere
The Sisters Brothers Jacques Audiard, USA/France/Romania/Spain
North American Premiere
Sunset László Nemes, Hungary/France
North American Premiere
Through Black Spruce Don McKellarCanada
World Premiere
The Wedding Guest Michael Winterbottom, United Kingdom
World Premiere
The Weekend Stella Meghie, USA
World Premiere

Where Hands Touch Amma Asante, United Kingdom
World Premiere
White Boy Rick Yann Demange, USA
International Premiere
Wildlife Paul Dano, USA
Canadian Premiere

Soap Drama: Did “Young and Restless” Star Eileen Davidson Lose Two Jobs? “Days of Our Lives” Told Not to Use Her

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Fans of CBS’s “The Young and the Restless” know that long time star Eileen Davidson is leaving the show. She won an Emmy for Best Actress this spring, asked for a raise, was denied, and took her exit. She started on the show in 1982 as Ashley Abbott.

But did Davidson lose two jobs when that happened? Both “Y&R” and “Days of our Lives” (on NBC) are produced by Sony Pictures Television. For many years, Davidson has also had a running role on “Days” as the evil Kristen DiMera. No one else has ever played Kristen, another role for which Davidson once won an Emmy.

But now sources tell me that just as “Days” was writing Kristen back into their story, the producers were told they could not use Davidson. It’s not clear if she knows what happened. But the role of Kristen was recast with a different actress three days before Davidson announced she was leaving “YR.”

Talk about having your eggs in one basket– the Sony basket. It does seem from what I’m told that Davidson — as we might say in baseball– was picked off between second and third.

What a disaster. I told you a few weeks ago that “YR” had not given raises to actors in years. That scenario is what caused actress Mishael Morgan to leave after five years. All four remaining soaps claim to have no money for anything. Some of the sets on “Days of our Lives” are 40 plus years old. But these companies are making a fortune in advertising. The idea that Sony TV can’t give raises is absurd.

Who knows what happens next? Davidson is hugely popular. Sony is making a big mistake– if they care. Davidson can always go back to “The Real Housewives of Beverly Hills,” where’s she also made a name for herself. But it does seem like Sony shut her down from two roles at once.

Broadway: Armie Hammer Nails Broadway Debut But “Straight White Men” is a Pointless Exercise

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Armie Hammer made his Broadway debut tonight in Young Jean Lee’s “Straight White Men.” The good news is that Armie, known for “The Social Network” and “Call Me By Your Name,” nails it–he’s got excellent presence, great projection, and retains his star appeal on stage as Drew, the novelist among a trio of brothers. We’ll see him up there again.

The bad news is that Young Jean Lee’s play is tedious, forced, and has no dramatic tension. Lee is being billed in the PR as “the first female Asian playwright on Broadway.” The truth is, if “Straight White Men” didn’t have an all-star cast and a top notch director (Anna Shapiro), it would be way off Broadway.

Josh Charles and Paul Schneider, very accomplished actors, play Hammer’s brothers, Jake and Matt. This pair has has come home for Christmas to join Matt and their widowed father (Stephen Payne) for the first time since Mom died. There’s a lot of brothers’ horseplay, and the trio clearly care about each other. In time, though, it’s revealed that Schneider has decided to move in with dad and work at a nothing job. He has no ambition and can’t express why. The brothers, without motivation, turn on him. Out of nowhere.

But since Schneider never gives a reason– he’s a Harvard grad, after all–the play becomes a tedious exploration of white privilege. There’s a lot of filler in “Straight White Men”– rough-housing, dancing, long conversations about the boys’ being straight white men. You get the feeling that Lee thinks she’s discovered lightning. But there are no revelations, and nothing to resolve.

Let’s backtrack for a minute, though: when you enter the Hayes Theater (it used to be the Helen Hayes Theater, but that was too hard for people to remember apparently) there’s loud rap music playing. Really loud. There’s a silvery Las Vegas type curtain. Two people come out who you might think are women. They introduce themselves as “non binary.” They’re listed in the program as Person in Charge 1 and Person in Charge 2. They tell their own stories, too irrelevant to get into here, and then lead the main actors onto the stage. I am just not hip enough to understand what they are doing.

I’m guessing a lot of people will think this pretentious nonsense is very, very clever, a real comment on “straight white men” by two people who declare that they are not “straight white men.” Great! I would have liked a fully formed story of the three brothers, their father, why they feel compelled to comment endlessly on their privilege, and for someone to explain why Matt prefers not to have a life.

This is a persistent problem in new plays: no third act. No pay off. “Straight White Men” is 90 minutes without an intermission. Producers do this because no one could come back for the Second Act. When the silvery Vegas curtain falls for a minute at the 45 minute mark, you have no reason to stay– there is no peril, nothing is up for grabs, and you don’t really care what happens. But if you can grab a decently discounted ticket, I guess the upside is you see some good acting by four talented men.

NY Daily News: Ex Publisher Mort Zuckerman’s Hidden Mental Decline Spelled the End of the Paper He Loved

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The New York Daily News was gutted today by its new owner, Tronc, formerly the Tribune Publishing Company. Half the staff was fired. But Tronc was never the real publisher. From 1993 until last year, Mort Zuckerman protected his passion project.

Mort Zuckerman loved the New York Daily News. If he were well, and still in charge, Mort would never have let the paper fall into the clutches of people like Tronc. But Mort– who I met in 1985 when I went to work for him at The Atlantic Monthly Press Publishing Company– has secretly suffered from a form of dementia for the last several years. No one talks about it, and when the News was sold to Tronc last year for $1 no one mentioned it.

Over the years when Mort owned the paper, his employees and critics complained about him– because that’s what you do when your boss is a real estate billionaire. Mort went through editors like water through his fingers. But the paper was a symbol to him, and he propped it up the way Rupert Murdoch runs the New York Post. Mort knew his News was an essential to counterbalance in New York to Murdoch’s zany conservatism.

But Zuckerman has not been photographed at a public event in two years. A staple of Page Six, he slowly retreated from  public views. Zuckerman– who has daughters aged 20 and 9 — essentially turned the paper and his real estate business over to his devoted nephews and associates three or four years ago.

Mort bought the paper– rescued it, really, in 1993– when Czech-born billionaire Robert Maxwell, who owned the News, mysteriously drowned at sea. Mort installed Harold Evans, former editor of the Times of London, editor in chief of Random House, and my old boss at the Atlantic Monthly Press, to run the paper. In the 90s, the News enjoyed a Renaissance that continued into the 2000s– right up until the digital age came calling like the Grim Reaper.

No one ever discussed Mort’s declining situation. I wrote a piece about it, sort of, three years ago. At this point, lady friends of his escorted him to dinners. He was in a jovial mood. His dementia (it could be Alzheimer’s) had softened him and made him even more charming. You could see why famous women like Gloria Steinem had dated him. At a January 2016 dinner for the movie, “Creed,” he introduced me to his companion by saying, “This is Roger. He knows everything.” He clasped my hand in his, recalling our old acquaintance-ship. At that dinner, Mort bragged about his new editor. “What’s his name?” I asked. Mort hesitated. “I could tell you,” he said, “but you could look it up.”

Obviously something was wrong.This was not the Mort Zuckerman I knew: when we worked for him, he was ruthless. He sold the Atlantic Monthly Press to the highest bidder, a novice with money, not to the established Italian publisher who wanted it, because it lost money. “I don’t own companies that lose money,” he said. In the 80s he’d bought US News and World Report, The Atlantic Monthly, and the book company. Then in 1993, the Daily News. They were passion projects, and solid platforms to advance him as a TV presence on places like the McLaughlin Report. He was fiercely pro-Israel, which always endeared him to people who sometimes might be mad at him for other things. (Evans was a key part of his success. He wrote all of Mort’s editorials for US News, at least back then.)

If Mort had stayed well, he might have been able to fight the digital slaughter. But his illness coincided with the rapid rise of the internet. The physical paper, his bailiwick, was suddenly irrelevant. It slipped away almost as a metaphor for his own decline. I don’t know if Mort — who I’m told is well taken care of– has any idea of what happened recently. His family sold the paper to Tronc for a dollar– one dollar. When you pay a sawbuck for something, it has no value. Tronc didn’t care about the history of New York, journalism, any of it. And today they showed it.

The gutting of the Daily News today– it’s a tragedy to so many of us. I wrote for them in the early 90s, a lot. My editor was Harriett Lyons, who was wonderful. She ran NY Live, the paper’s Sunday magazine, a great read. Liz Smith had her famous gossip column at the News for years. She was followed by Rush & Molloy, Mitchell Fink, all of whom broke tough stories and were supported by Mort. The paper was full of strong voices like Pete Hamill, Mike Lupica, and Stanley Crouch.

Even recently the News won a Pulitzer Prize.  Last year it seemed like Tronc might be investing in the paper. Editor in perpetuity Arthur Browne and Time Magazine editor Jim Gaines interviewed potential new hires. But it was not to be. Jim Rich succeeded Browne after having left once before. Beleaguered Rich ran the paper like every edition was the last. His Trump covers were brilliant. To think that Tronc ‘troncked’ him today, is insane.

But there we go. Kids read their phones. Newspapers are too expensive to produce unless you’re willing to lose a lot of money. The Daily News needs a billionaire like Mike Bloomberg or David Geffen to swoop in and save it, in honor of Mort Zuckerman.

 

 

 

Gaga Goes Venice: “A Star is Born” Will Premiere at Venice Film Festival Out of Competition

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Lady Gaga is heading to the Lido. Her Bradley Cooper-directed Oscar hopeful “A Star is Born” will play the Venice Film Festival on August 31st.

This is a big roll of the dice for Warner Bros. But they’re hedging their bet. The movie will play out of competition, so it won’t have to deal with getting an award. A lot of other big fall releases will be in competition. Warners doesn’t need the headache of losing an award early in the season.

“A Star is Born” will then head to the Toronto Film Festival ten days later, and then on to its opening. There’s supposed to be a soundtrack album with new songs from Lady Gaga, as well. Will this be a bonanza or a bust? I think it’s destined to be a hit, with Gaga picking up an Oscar nomination. The pre-PR has certainly been laid like a foundation for a shiny new skyscraper.

Stay tuned…PS As for the music, Gaga has to get the record out before the Grammy deadline September 30th. The Grammys take place February 10th– imagine the hype if she performs the songs there, wins, then goes on to the Oscars. February 2019 will be Gaga month!

Broadway: Nine Stars Are Born in First Ever Revival of Lieber-Stoller “Smokey Joe’s Cafe”

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Jerry Lieber (now deceased) and Mike Stoller were the heavy hitters in the Brill Building. Alongside Carole King and Gerry Goffin, Neil Sedaka and Howard Greenfield, Neil Diamond, Cynthia Weil and Barry Man, Lieber and Stoller penned a huge catalog of hits with and for Ben E. King, the Drifters, Elvis, and so on.

Tonight their 24 year old Broadway revue, “Smokey Joe’s Cafe,” was revived in New York for the first time. This version is off Broadway, at what used to be called the Little Shubert, now Stage 42. It’s a big deal. Philip Smith, head of the Shubert Organization, was there. So was Stoller, 85 years young, and his singer-songwriter wife Corky Hale. Plus, people came who worked on the original show, like actor Michael Park, and many of the musical directors. I also finally got to meet a great Broadway performer, Christina Sajous.

The revival is a home run. Do not hesitate to see it right. The nine main performers are superb, each one a star waiting to happen. Jelani Remy, a former “Simba” in “The Lion King,” nearly steals the show with “Jailhouse Rock.” But Nicole Vanessa Ortiz is absolutely sensational on “Hound Dog” and “Fools Fall in Love.” Dionne D. Figgins makes Aretha Franklin proud with “Spanish Harlem.” You don’t want to miss John Edwards’ dramatic reading of “I Who Have Nothing.” Alysha Umphress is the group’s Adele. Dwayne Cooper has a magnificent bass baritone perfect for doo wop and R&B.

There is no “book” per se. Joshua Bergasse sets up little narratives in each song, so that Lieber and Stoller’s intent is realized whether it’s a hit or a rediscovered gem. What really comes across– just as in “Beautiful”– that these songs have stood the test of time. You needn’t be contemporaneous to them to enjoy their magnificent melodies and lyrics. Frankly, this show comes at the right time.  A little Love Potion Number 9 always works its magic.

Sacha Baron Cohen’s Showtime Series Fails to Dupe Ted Koppel, “Gets” Dick Cheney, Insults Regular People In Kingman, Arizona

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I felt bad for the people of Kingman, Arizona who were duped in episode 2 of Sacha Baron Cohen’s Showtime series, “Who is America?” They didn’t ask for the show to come and embarrass them. Somehow Cohen got a group of these rural rubes to come to a presentation in which Cohen’s heavily made up character told them they were going to get a $385 million mosque.

Look, the people are racists. They don’t have teeth. They admit to tolerating the black people in their town. But isn’t this shooting fish in a barrel? Don’t we know this already? Their spewing of hate is nothing new. Arizona wouldn’t allow the MLK Holiday at first. Rather than Muslims coming in, Cohen should have asked about Mexicans and immigration. Much more on point.

In this episode, Cohen tries to dupe journalist Ted Koppel, who won’t be had. Cohen does make mince meat of Dick Cheney, an old stupid war monger who is not relevant to what’s happening today. Cheney is so 2005.

Cohen is very funny, I do laugh at his stuff, but I also wonder: what is being accomplished here? A huge effort is being made to humiliate really sad people. He savages a Georgia state rep, gets him to pull down his pants and say terrible things. But the guy is already so pathetic, what’s the point? On top of that, Cohen money or a tax break from the Georgia Film Commission. Their logo comes at the end of the show. I’m sure they’re thrilled.

There’s also a lot of time spent setting up and savaging a “Bachelorette” contestant, Corinne Olympios. This girl has an IQ of 7. Why pick on her? Funny? Yes. But if “Who is America” is largely getting stupid people to read inane scripts, what’s the point there? I’m sure you could get her to read the ingredients on dog food.

Yes, it’s all fun. But in the current political climate, “Who is America?” is not helpful.

Denzel Snatches Victory from Jaws of Defeat! “Equalizer” Sequel Upsets “Mamma Mia” Sequel for the Win!

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Denzel Washington and Antoine Fuqua Jr. came from behind today and took the weekend from Cher, Meryl Streep, and ABBA.

“The Equalizer 2” was the surprise weekend winner over “Mamma Mia: Here We Go Again.” Nicely done for Denzel, he beat the ABBA musical $35.8 to $34.3 million. All week the good money was on “Mamma Mia” right through Friday night. But “Mamma Mia” had a little more fall off than expected on Saturday and Sunday.

The top six movies this weekend were sequels, by the way. Yawn!

Many indie films did great including “Sorry to  Bother You,” “Blindspotting,” “Leave No Trace,” and “RBG.” But the Whitney Houston doc took a big fall, from number 17 to 28. Roadkill Attractions pulled it from 291 theaters in its third week, ensuring its early death. Too bad. But it’s too to get into name calling again just yet.

Meantime the Beatles’ 50th anniversary edition of “Yellow Submarine” is up to $683,000 in its third week.

Former Fugees Star Lauryn Hill Angers Fans on Twitter After Showing Up Late to Shows, Playing Short Sets, Unrecognizable Songs

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Believe it or not this is the 20th anniversary year for “The Miseducation of Lauryn Hill.” It was the only commercially viable album by the Fugees star. She’s spent two decades squandering her talent.

Now a blow out show in Toronto has backfired on her on Twitters. Fans are fuming that she showed up late, played a short set, and the songs were unrecognizable. She’s done it in other cities, too.