Archive for July 9th, 2019

‘Pose’ Recap: Season 2, Episode 4 — [Spoiler] Dies – TVLine

July 9th, 2019

Death is unfortunately a fact of life for Pose‘s ball community — and they had to say goodbye to one of their own in this week’s devastating episode.

Pose FX Season 2 Episode 4 CandyAt the latest ball, as Pray Tell celebrates the chart-topping success of Madonna’s “Vogue” — “We done changed the culture, y’all!” — he’s interrupted by the arrival of Candy, who marches in wearing a Material Girl wig and cone bra. “This bitch again,” Pray Tell groans, before hammering Candy with harsh insults as usual. She sticks up for herself, but the judges side with Pray Tell, hitting her with pitifully low scores — including one zero. She storms off, only to confront Pray Tell later at a summit of local ball emcees, demanding they include a lip-sync category. When Pray Tell shuts her down, she holds a knife to his throat (!) and throws a few things at him before storming off again. So yeah, things aren’t great between them.

But during the next ball, Blanca finds Lulu crying backstage: Candy’s gone missing. She’s been turning tricks lately to make money, so Blanca and Lulu head to her usual motel to look for her, only to get turned away by the manager. Later, though, Blanca gets a phone call and breaks the bad news to Lulu: Candy is dead. (A motel maid found her battered body in a closet.) Nurse Judy helps them talk a hospital administrator into releasing the body to them — Candy’s parents won’t even show up for the funeral — and when they see the dreadful wig and makeup the funeral director gave poor Candy, they pitch in to give her one last glamorous makeover.

Pose Season 2 Episode 4 Pray TellA shaken Pray Tell addresses the mourners at the funeral, admitting that Candy was a “pain in my goddamn black ass… but she was still my sister.” (He’s also refusing to take AZT to battle his dropping white blood cell numbers, preferring “a more holistic approach” of half-baked home remedies.) He wishes Candy were still here, so he could give her “the grandest, shiniest mother–kin’ trophy for her contribution to our community,” and pledges to fight on her behalf against intolerant people like the man who brutally attacked her. After he finishes, he hears a voice saying: “I forgive you.” It’s Candy, who appears in a vision to share some laughs and tears with Pray Tell, who confesses that he picked on her because she represented “all the things I try to hide about myself when I go out into the world.” So they do make peace… even if it’s beyond the grave.

Candy’s ghost appears to others at the funeral, too, encouraging Angel to pursue a mainstream modeling career and reminiscing with Lulu about all the good times they had together. (This, though, is only after a grieving Lulu calls Candy “a thieving bitch” and steals gloves and a brooch off her dead body.) She even finds common ground with her parents, who do eventually show up for the funeral, and though they still bristle at the name “Candy” — her mother still calls Candy her “son” — they reach a new understanding that’s quite lovely. Pray Tell declares that from now on, every ball will have a lip-sync category known as “Candy’s Sweet Refrain,” and Candy gets a final hurrah in a joyous fantasy sequence that sees her lip-syncing to “Never Knew Love Like This Before” at the ball, getting showered with smiles and praise — and straight 10s and a trophy!

The whole ordeal reminds Pray Tell that life is precious — “I don’t want to go to my casket with any regrets” — and so he takes his first AZT pill along with Blanca. They make it a toast: “To life.” And, as a final title card sadly reminds us, the fight for life is far from over: It says that more than 1,000 transgender and gender-nonconforming people have been murdered across the globe since 2016.

Got thoughts on tonight’s powerful Pose? Drop ’em in the comments below.


‘Pose’s Ryan Murphy And Janet Mock Talk Episode 4 Shocker, Subverting LGTBQ Storytelling Tropes – Deadline

July 9th, 2019

SPOILER ALERT: This article contains major details about tonight’s episode of Pose.

Tonight’s episode of FX’s Pose had everyone grasping their pearls and gasping in disbelief. Titled “Never Knew Love Like This Before”, one of the series fan favorites and most outspoken characters was attacked and murdered. Rest in peace, power and pageantry, Candy.

Macall Polay/FX

Played by the impeccable Angelica Ross, Candy’s death is more than just a death. It’s a moment to reflect and a call to action in an era where more and more trans women of color are getting murdered. The news somehow always gets buried and the names are forgotten. This year alone, 13 trans women of color have been killed: Dana Martin, Jazzaline Ware, Ashanti Carmon, Claire Legato, Muhlaysia Booker, Michelle “Tamika” Washington, Paris Cameron, Chynal Lindsey, Chanel Scurlock, Zoe Spears, Johana “Joa” Medina Leon, Layleen Polanco and Brooklyn Lindsey were all of different ages and in different  parts of the country.

Series co-creator Ryan Murphy directed tonight’s episode and co-wrote it with Janet Mock. They felt that they needed to address this issue that seldom sees the light of day. At the same time, The pair knew they needed to subvert the “bury/kill your gays” trope that has often been the norm in TV and film. The trope refers to an LGBTQ character in a film or TV show getting murdered at the service of a straight, cisgender character’s plotline. It gives the impression that LGTBQ lives are more expendable than their hetero co-stars. Of course, the “bury your gays” trope is all about how the storyteller frames it, but more often than not, Hollywood tends to frame it in a less than desirable light.

Murphy and Mock had their work cut out for them when it comes to plot point that was inevitable considering the period of time which the show takes place where many members of the LGTBQ community were dying from HIV/AIDS and murder. One thing they didn’t want to do validate a homophobic cliche — and the load was lightened with their inclusive and empathetic writers room. The Pose directing-writing pair talked to Deadline about how they thoughtfully shed light on the issue of trans women of color being murdered and injected hope into the emotional episode by celebrating family, ballroom culture and the undeniable ferocity and beauty that was Candy’s life.

Michael Parmelee/FX

DEADLINE: What was the conversation that led to this episode, Candy’s arc and her ultimate death?

JANET MOCK: Once we got picked up for the second season, [we knew] that we would have to lose one of our main characters. We were quite sure that we didn’t want it to be necessarily anchored around the epidemic of HIV/AIDS at the time. Instead, we wanted to really concentrate on the epidemic of violence that trans women are facing, not just back then but today. And we wanted to illustrate what loss looks like for this community in a very deep and impactful and grounded way.

Our hardest thing was which character. So once we figured out which character — and Ryan really plotted it out in his mind — we kind of plotted the whole first half of the season around losing Candy and really showing what that would look like. So that involved us showing one of her first scenes in the premiere talking about what a waste and what bullshit funerals are because the person dead can’t read everyone herself. So we knew that we were going to take this surreal step forward by having her be able to speak to everyone that meant something to her. So that’s kind of how the idea came about.

DEADLINE: Why Candy?

MOCK: We have this duty and this burden of occupying this space on television which is so accessible to millions of people, that we needed to have our viewers that were watching, who are just being introduced to this world and to these characters, that they need to also feel that loss…someone who was beloved, someone who stole scenes, and someone who had these iconic moments on the show. So, because we had all these touchstones with her for 11 episodes prior, we knew she was the right person.

DEADLINE: You said that this season felt like you had to lose a character, but when you first started the series were you already planting that seed?

RYAN MURPHY: As Janet said, there are two epidemics running through this show. There’s the epidemic of HIV/AIDS, and there’s the epidemic of violence against trans women. I think we’ve always been conscious of that — of the dangers and the injustices. When we did season one, I think we all felt, in the writers room, collectively, that we didn’t want to do anything gratuitous. We wanted you to know the characters, we wanted you to be invested in them. Because I feel so many times there is the trope of “kill your LGBTQ characters.” Sometimes as a plot point, as opposed to a character development point.

We all were sort of floored when the show aired last season, and so many people who loved the show would go on social media and say, “Oh, Stan is going to kill Angel. I don’t know if I can watch this. It’s going to kill me.” It became such an epidemic online that we actually went on and said, “We’re not killing anybody. We’re not killing Angel, so you can relax into the storytelling.”

But, as we started season two, we felt it would be irresponsible to not tell the truth about the second epidemic, which is the violence against trans women. So we started to chart that out. When Candy’s in the funeral parlor and she talks about that funerals are a waste of time to the dead because you can’t hear anybody talk about you, we started to lay that in so that it all pays off.

Hailie Sahar as Lulu with Ross in “Pose”. Nicole RIvelli/FX

DEADLINE: How did Angelica react to the story?

MURPHY: We didn’t take it for granted, and we took it very seriously. We had a conversation with her, who’s so brilliant in the episode, very early on in the writing, and said, “We want to do this. How do you feel? Will you support it? What do you think?” She thought it was a very important thing to dramatize.  I think when you watch these characters on TV, they become your friends. I know this from Glee, that that character, Kurt Hummel there, really helped gay kids and families, and I think Pose does the same with families as well.

We spent a lot of time talking about and plotting it out and working with the actors. It’s important to talk about this issue right now in our culture when so many trans women are being killed and they’re headlines. At best, they’re on page 24 in a newspaper and then the next day they’re gone and forgotten.

DEADLINE: How did you make Candy’s death and funeral not fall into the “kill your LGTBQ character” trap?

MURPHY: We really wanted an episode that takes you beyond the headlines. I mean, the thing that I think Janet and I and the writers are the proudest of is, we take you through the process: How do you claim the body? What is it like to walk in and see your friend and your sister in a casket and have to take charge of that narrative and make that person look like who they want to be seen as? Then how do you notify the parents and the families? It’s things that you haven’t really seen on television, I think, in terms of how we handle that death.

Macall Polay/FX

DEADLINE: It was truly a shock that Candy died — and there was part of me that didn’t believe it was really happening. But when it was shown that she was really dead, you went into this fantasy storyline where her spirit came back and sort of reconciled with nearly all the main characters. What was the conversation of creating this fantasy world where Candy returns?

MURPHY: Well, I think two things. I think we can all relate to this universal idea of maybe not telling people you love them enough or appreciate them enough when they’re alive, right? Everybody feels that. They say: “Oh, I wish I could’ve said something. I wish I could’ve let them know.” So that was our jumping off point, which is, wouldn’t it be great if she could show up and have conversations with people? And not just talk about her identity, but also her power and need and want to be seen and respected? All of those things.

DEADLINE: Did you look to anything to inspire the fantasy of her return?

For me, as a director, one of the things that I really thought about was All That Jazz as a sort of dreamlike quality and yet ends on sort of a triumphant note. I think as we were writing it, Janet and I were always wanting to make sure that the character Candy was always seen — like in that scene with the parents. What you see in our show is the first take from those wonderful actors. It was a room full of people. They got standing ovations from the cast after every take.

We were also dealing with the idea of, “I wish my parents had said that to us.” It’s not just about a trans person, it’s about any child wants to feel loved and seen, but not just by their parents but by the world. I think, hopefully, that scene, in particular, will launch many conversations. The thing we know about Pose is that people watch it as a family. Young people watch it with their parents. It’s always been a show that’s good medicine — if you will. It’s an instructor. It is a healer. All of those, I think, were involved in the making of it and the structure of it.

But there is sort of a theatrical phantasm to it, but that’s what the ballroom is. Ballroom is going into a space and claiming, “I am this. I want to be seen as this,” and getting respected for it. Whereas out in the real world, you’re not. I liked that one of the runners of our episodes throughout the first two seasons has been Candy, very thirsty for fame and having a lot to offer and being taken for granted, and not allowed to be everything that she wants to be in the world. I love that last scene that Angelica plays so beautifully where she sings that song and gets that perfect 10s, finally. I think many people will relate to that idea.

Ryan Murphy and Janet Mock with cast, creators and producers of “Pose”. Stewart Cook/Shutterstock

MOCK: Also, for us, you have this great moment, where you said, you went through the moments of complete fright, at first, then denial. You didn’t believe that she was really gone. I think that everyone has that first reaction when you see her body. You’re hopeful — because our show is hopeful — that when she goes missing and the girls can’t find her that she’s going to pop up, and then they’re going to pull her back together. Maybe she had a scare and then she won’t strip anymore and put herself in these situations. So there is that sense of that.

Then, also, we lay the groundwork also in episode three. We have Candy, who’s also aware that the systems aren’t fair, and she introduces them to Euphoria, who’s played by Peppermint, and we see the brutality that trans women face at the hands of men. You see her get beat up in that car. You see her get thrown out. You see her get arrested and beat up. So we get to show all the things that we don’t necessarily want to show to our beloved Candy because people care too much. But people can now imagine, right? They can imagine the brutality that her body faced. They can imagine violence in that hotel room, they can imagine the idea of a John just throwing her and discarding her body into a closet.

DEADLINE: You talked about loss earlier and wanting to give nuance to Candy’s death. What was the process of getting that story on to the page?

For us, the care comes in the sense of, what do our people do after we’re found? How do they deal with that loss? What does that look like, as Ryan said, to go and claim this body that the system says you have no right over, despite you being the ones that were her real family? What does it look like to contact parents who haven’t even talked to her, who don’t know her as a woman? What does it look like to reconcile all this pain? We see Lulu for the first time without Candy, and that’s a loss. Because ever since the first frame of the show, those two women have been together. They started a house together, they were sisters together in Abundance and all these girls were Elektra’s daughters… and now she’s gone. What does a proper goodbye look like?

So all of these elements, I think it speaks to the intentionality and the thoughtfulness, specifically in the writers room, and how many drafts it took us to pour over it. I think it’s probably the most revised script we’ve ever done beyond the pilot from last season.

DEADLINE: The biggest shock of Candy’s death was that it felt like she had so much story left to tell.

MOCK:  That’s it right there. Right? It’s like, you still don’t know enough about Candy. I feel like we’re still kind of meeting her. Who are these parents? Where did she come from? Did she grow up in New Jersey? You want to know so much more. But that’s what happens. It’s like these women are stripped away and you don’t get to know all of that. At the same time, we are putting the responsibility in the kindest, gentlest way to the audience, to think about how we lose our people — and this is what’s happening every single day, from back then to today.

Dominique Jackson, Sahar, Mj Rodriguez and Ross in “Pose”. Macall Polay/FX

DEADLINE: Pose is changing the game when it comes to LGBTQ storytelling and it has accomplished a lot of “firsts” in the industry. You both have entered a space that is predominantly occupied by white, heterosexual cisgender males. In that aspect, you are considered pioneers. Do you guys experience pressure and pioneer burnout because of the responsibility to the LGBTQ community?

MURPHY: For me, I don’t. But I’m also doing things where I feel like I’m using any power that have or money in the bank, so to speak, by giving people from the generation below me a chance. That’s Janet in my book. She has this amazing, groundbreaking new deal at Netflix. So, no, I never get burnout when I have the opportunity to bring people up that I love, who I think can change the world. If that wasn’t in the cards, maybe.

I started in television in 1998. I remember on my first show I wasn’t allowed to have a gay character. I walked into that set, I was the only gay person out of a crew of 500 people. So I look at what has happened to me in the past 20 years, and I sort of marvel at that. To be blunt, it was a fight. I wasn’t just given something, I have to fight. I was lucky that I had great people in my corner who believed in me. But none of it came without cost — and it certainly took a lot out of me.

But, I feel very lucky and blessed to be in this position to be able to make shows like this and give people like Janet and Steven [Canals] opportunities. So that, in itself, is energizing. What I love about Pose, for me, is I feel like I’m literally passing a torch and saying, “Okay, now you run.” That’s what it feels like on this set. Janet and Steven are writing, directing, producing. They are the boss, they are calling the shots. That is, for me, such a blessing and a miracle, that I’ve lived in a time where that has been able to happen, from where I started.

MOCK: As for me, I think if I had any other showrunner, maybe I would feel that sense. But there’s not much fighting that Steven and I have to do to tell the stories we want to tell. Our showrunner is invested from the start, and the team of people that he’s recruited and brought on as collaborators, they’re all on the same page. Our space is very intentional, the way that it’s been built.

Even when we spoke with Angelica, that first time, to let her know that we were going to lose Candy, she never thought about herself. She thought about serving the story. And what she does well in this episode is that she uses every single inch of her experiences and her talent to tell this story, and so does all of the other actors who are featured. Everyone gave of themselves so much.

So, for us, I think that we are pioneers in this space, but we get to do it together. I know I sound very much like Mother Blanca here. It’s true, though. We don’t feel like we’re alone and doing it in a vacuum. We feel like we’re a team and a family of collaborators and people who are together wanting to tell the best story possible. And when we give it to the audience, they sop it up, like a biscuit to gravy. They love it and they embrace it and they watch it over and over again and they tweet us. So we feel just the love and the affirmation.


Hollywood icon Rip Torn dies at 88, family announces – WPVI-TV

July 9th, 2019
Hollywood icon Rip Torn, whose career on stage and screen spanned seven decades, has died at age 88, his publicist announced.

Torn died Tuesday at his home in Lakeville, Conn., with his wife Amy Wright and daughters Katie Torn and Angelica Page by his side, according to the statement.

Torn’s career included some 200 appearances in film and television, including memorable roles in films such as “The Cincinnati Kid,” “Men in Black” and “Dodgeball” and as producer Artie on “The Larry Sanders Show.” He was nominated six times for “Larry Sanders,” winning in 1996.

He appeared on Broadway 10 times and was nominated for a Tony in 1960.

He was nominated for a Best Supporting Actor Oscar for his role in the 1983 film “Cross Creek.”

Albert Brooks, who cast Torn as an afterlife defense attorney in “Defending Your Life,” wrote: “R.I.P Rip Torn. He was so great in Defending Your Life. I’ll miss you Rip, you were a true original.”

Torn was married three times. He had a daughter, Danae Torn, with his first wife, actress Ann Wedgeworth. He married Geraldine Page in 1963 and they were together until her death in 1987. They had a daughter, Angelica Page and twin sons, Tony and Jon Torn. He married actress Amy Wright in 1989 and they had children Karie and Claire Torn.

Torn is also survived by his sister, Patricia Alexander, and four grandchildren: Elijah, Tana, Emeris and Hannah.

Celebrities and notable figures who have recently passed away

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Australian study finds seagulls carry superbug threat to humans – TVNZ

July 9th, 2019

Sharing your fish and chips with seagulls at the beach may harm your health, with researchers revealing the birds carry drug-resistant superbugs.

A study found Australian silver gulls were infected with antimicrobial-resistant bacteria that could cause illnesses in humans such as urinary tract infections and sepsis.

“Seagulls act as ecological sponges and we have earmarked them as a potential reservoir for agents that may cause human disease,” Murdoch University antimicrobial researcher Sam Abraham said.

“This is the first comprehensive study establishing that seagulls across Australia are carriers of drug-resistant disease-causing E. coli that could affect humans.”

More than 20 per cent of seagulls tested carried bacteria resistant to two commonly used antimicrobial drugs in humans.

Birds found in NSW and Victoria were also resistant to carbapanem drugs, used to combat antimicrobial-resistant infection in hospitals if other drugs fail.

A seagull at the popular Cottesloe Beach in Perth also carried resistance to colistin, which is a last resort drug to fight antimicrobial-resistant infection.

Researcher Mark O’Dea said it was the first time resistance to the drug had been recorded in an Australian wild animal.

“Seagulls could be acquiring this pathogen through their opportunistic feeding habits, where they scavenge from leftover human waste and may then be subsequently spreading these resistant bacteria over vast distances,” he said.


‘AGT’: Singer Luke Islam, 12, wins golden buzzer after bringing Julianne Hough to tears – USA TODAY

July 9th, 2019

Gonzo is a Japanese tambourinist who shocked the “America’s Got Talent” judges with his performance. America’s Got Talent/NBC

The audition round of “America’s Got Talent” came to an end Tuesday but not before gold confetti dropped on one last contestant. 

Judge Julianne Hough entered Tuesday’s sixth and final audition episode in control of the NBC talent competition’s  final golden buzzer and she awarded it to someone who looks up to her. 

Singer Luke Islam, 12, told the judges that Hough was his favorite “because me and my sister have been following you and your brother (Derek Hough) dancing for a long time.”

Despite getting an automatic red X from Hough’s jealous fellow panelist Simon Cowell, Islam went on to share his goals in showbiz. “My dream is to be a star and make it to Broadway,” he said. 

‘AGT’: As auditions end, look back at a six-pack of memorably weird Season 14 acts

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Islam instantly took the judge’s breath away with an effortless rendition of “She Used to Be Mine” from the musical “Waitress.” He received a standing ovation from the crowd, which brought tears to Islam’s eyes. 

“I’m extremely flattered that you would even look up to my brother and I with a voice like that, with an energy like that, because you have such talent and grace. You have something so special,” said Hough, who had tears in her eyes, too.

She continued: “I believe that not only are you going to become a star and get your dreams to come true and I don’t think you have to wait that much longer because …”

Hough then slammed on the golden buzzer, advancing the preteen straight to the live shows in August, along with the other golden-buzzer recipients: Kodi Lee, Joseph Allen, Tyler Butler-Figueroa and the Detroit Youth Choir.

“You should be incredibly proud of yourself because you killed it,” judge Gabrielle Union said.

Islam said he was in shock. “I can’t believe it … I never expected anything like this to happen in my whole life. I am so grateful.”

Oops! ‘AGT’ dancer Ben Trigger hilariously hits his own golden buzzer after stripping down


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Rip Torn Dies: ‘Larry Sanders Show’ Emmy Winner & Broadway Veteran Was 88 – Deadline

July 9th, 2019

Rip Torn, who played the Garry Shandling’s profane, fiercely loyal producer on HBO’s The Larry Sanders Show, co-starred in the original Men in Black films and won a Tony during a long Broadway career, died today surrounded by family at his home in Lakeville, CT. He was 88.

Rip Torn dead
The Larry Sanders Show Brillstein-Grey

The prolific Torn played the unstoppable and unflappable Artie on Larry Sanders, which aired from 1992-98 and followed the behind-the-scenes and onstage antics of a successful late-night network talk show. Along with scoring a Supporting Actor in a Comedy Emmy in 1996, he was nominated for each of the show’s six seasons.

The year Torn won his Emmy, he also had been up for Guest Actor in a Drama Series for his turn on CBS’ Chicago Hope. In 2008, he earned his ninth and final Emmy nom, for his recurring role as Don Geiss on NBC’s 30 Rock. His first was for The Atlanta Child Murders in 1985.

Elmore Rual Torn, Jr. on February 6, 1931 in Temple, Texas, the versatile actor once said, “Play drama as comedy and comedy as drama.” He claimed that was his secret weapon.

Torn also earned an Supporting Actor Oscar nomination for Cross Creek (1983) and a Best Featured Actor in a Play Tony Award in 1960 for Elia Kazan’s staging of Tennessee Williams’ Sweet Bird of Youth. He would reprise that role as Tom Finlay Jr. in the 1962 feature adaptation directed by Richard Brooks that also starred Paul Newman and Geraldine Page. Torn would marry Page in 1963.

Rip Torn dead
Men in Black Columbia/Kobal/Shutterstock

Amassing nearly 200 film and TV credits during a seven-decade career — and 10 more on Broadway — Torn likely is best known to younger moviegoers as Agent Zed in the smash 1997 Will Smith-Tommy Lee Jones sci-fi comedy Men in Black and its 2002 sequel. He memorably also played tough-love Coach Patches O’Houlihan in the 2004 comedy Dodgeball: A True Underdog Story, which starred Vince Vaughn and Ben Stiller.

All that was a just a taste of Torn’s career, which began in the mid-1950s with guest roles in such TV series as Kraft Theatre, Pursuit, The Restless Gun, Alfred Hitchcock Presents and Playhouse 90. He continued to work on the big and small screens throughout his career, appearing in dozens of popular TV shows including The Untouchables, Route 66, Dr. Kildare, The Man from U.N.C.L.E., Rawhide and Combat! during the ’60s. He appeared in Norman Jewison’s The Cincinnati Kid (1965), which starred Steve McQueen, Ann-Margret, Karl Malden and Tuesday Weld.

Torn mostly worked in film during the 1970s, including a role opposite David Bowie in The Man Who Fell to Earth (1976). He also played Richard Nixon in the 1979 miniseries Blind Ambition, starring Martin Sheen at POTUS 37’s special counsel John Dean — whose congressional testimony in the Watergate hearings ultimately would help topple Nixon.

Torn would continues to work throughout the 1980s, but it was his role opposite Albert Brooks in 1991’s Defending Your Life that grabbed Shandling’s attention. That led to Torn’s career role as the irascible but fatherly producer on The Larry Sanders Show.

Based loosely on Shandling’s experiences as guest host of The Tonight Show, it depicted late-night talk as a cesspool of ego, betrayal and unchecked ambition. Starring Shandling as Larry Sanders, the comedy helped launch or solidify the careers of such actors as Jeffrey Tambor, Janeane Garofalo, Wallace Langham, Bob Odenkirk and Jeremy Piven.

Torn is survived by his third wife, Amy Wright; daughters Katie Torn, Danae Torn, Claire Torn and Angelica Page; twin sons Tony and Jon Torn; sister Patricia Alexander; and four grandchildren. No memorial service plans were announced.


Samsung Galaxy Tab S6 leak reveals dual camera and wirelessly-charging S Pen – TechRadar

July 9th, 2019

Rip Torn Dead: ‘Larry Sanders Show’ Star Was 88 – Hollywood Reporter

July 9th, 2019

The respected Emmy winner and Oscar and Tony nominee always aimed for authenticity but had a reputation as a trouble-maker.

Rip Torn, the tenacious, temperamental Texan whose much-admired career was highlighted by his brilliant turn as Artie the producer on HBO’s The Larry Sanders Show, died Tuesday. He was 88. 

Torn, who was nominated for an Oscar for portraying the hard-drinking father Marsh opposite Mary Steenburgen in the 1984 Martin Ritt drama Cross Creek, died peacefully at his home in Lakeville, Connecticut, his publicist announced.

His wife, Amy Wright — an actress known for Stardust Memories and The Accidental Tourist — and his daughters, Katie and Angelica, were by his side.

Torn wowed critics as the fiercely protective Artie (his last name was never mentioned during the series) on The Larry Sanders Show, which starred Garry Shandling as a neurotic late-night TV talk-show host.

The groundbreaking sitcom ran from 1992-98, and Torn received an Emmy nomination for every one of its six seasons, winning in 1996. His character was said to be based on Fred De Cordova, the longtime producer of Johnny Carson’s The Tonight Show.  

The part “was written to be a straight man,” he recalled in 2011, “but people were saying, ‘God, Rip is getting all those laughs. Who ever thought that Rip could be funny? Just everybody that knows him.'”

“With Rip, he came in the first time, and his agent said he wouldn’t read,” Shandling, who died in March 2016, said in 2012. “Weeks later, it was just him and me in a room with no one else, and I said to Rip, ‘Could we read half of this together?’ And he said, ‘I don’t want to read.’ I said, ‘That’s totally fine,’ and I pushed it to the side of the table.

“We talked for less than another minute, and he reached over and took the page, and he starts the scene. It’s like trying to describe a good date to a friend the next day. I had to say to HBO and everybody else, ‘Honestly, this is the best sex I have had.'”

Torn said he took the job because he owed family members a lot of money. Producers thought Torn would be perfect as Artie after seeing him play a lawyer in the Albert Brooks film Defending Your Life (1991).

A few years after the end of Larry Sanders, Torn’s unpredictability and intensity were smartly channeled on NBC’s 30 Rock, where he played Don Geiss, the amped-up CEO of General Electric and Jack Donaghy’s (Alec Baldwin) boss. He received another Emmy nom in 2008, the ninth of his career.

In other comedic turns, he portrayed Zed, the head of the top secret government organization, in the first two Men in Black films; had fun as Patches O’Houlihan, a legend of his sport, in Dodgeball: A True Underdog Story (2004); and played King Looney in the sword-and-sandals spoof The Legend of Awesomest Maximus (2011).

As good as he was in comedy, Torn was at his best in dark dramas. He earned a Tony nomination in 1960 for playing Thomas J. Finley Jr. in Tennessee Williams’ Sweet Bird of Youth and was the shifty blackmailer William Jefferson Slade in The Cincinnati Kid (1965).

Onscreen debauchery was a specialty. He played a psychiatrist filming the women he sleeps with in the pornographic Coming Apart (1969); was a womanizing college professor who becomes David Bowie’s confidant in The Man Who Fell to Earth (1976); and stood out as an egomaniacal record producer who seduces a young blonde in Forty Shades of Blue (2005).

Torn was married from 1963-87 to the acclaimed actress Geraldine Page, whom he met at the Actors Studio in New York. One of the leading acting couples of their era, they founded the off-Broadway Sanctuary Theater Workshop in 1976. They were separated when she died of a heart attack in 1987 at age 62.

Torn also helped launch the Oscar-winning career of his cousin, actress Sissy Spacek, who was the daughter of his Uncle Ed.

Torn was an “actor’s actor,” but he had a reputation as a trouble-maker.

Legend has it that he was all set for Jack Nicholson’s career-making role in Easy Rider (1969) before things went awry. Dennis Hopper, the film’s director, said years later on The Tonight Show that Torn had pulled a knife on him in a diner, costing him the job. Torn said it was Hopper that pulled the knife on him and sued for libel, winning $475,000 in damages.

In an improvised fight seen in Maidstone (1970), Torn attacked actor-director Norman Mailer with a tack hammer; Mailer then bit into Torn’s ear during the ensuing scrum. The Criterion Collection described the movie as being “shot over the course of five drug-fueled days in East Hampton, New York.”

“What do they say about all the guys that are tremendous actors?” he told The New York Times in a 2006 interview. “Don’t they say they have a volatile temper and emotions? Yeah, sure they do! They’re not saying they like a nice mild guy. Look at Sean Penn.”

In January 2010, Torn, intoxicated and armed with a loaded revolver, was arrested after he broke into a Connecticut bank after closing hours. He pleaded guilty and received a suspended sentence.

He was born Elmore Rual Torn Jr. on Feb. 6, 1931, in Temple, Texas. All the men in his family nicknamed themselves “Rip.” He enrolled at Texas A&M to study agriculture but transferred to the University of Texas at Austin to pursue architecture. Soon, he “defected,” as he put it, to the drama department, where he was taught by Shakespearean scholar B. Iden Payne.

Torn then apprenticed at the Dallas Institute of Performing Arts, studying under Baruch Lumet, the father of director Sidney Lumet.

After a two-year stint in the Army, Torn moved to New York and trained under Lee Strasberg at the Actors Studio, where he met Page during a speech class (he was separated from his first wife, Ann Wedgeworth, at the time). He drew the attention of director Elia Kazan, who regarded him as the next James Dean or Marlon Brando.

Kazan gave Torn his first big opportunity — as the understudy to Ben Gazzara as the booze-swilling Brick in the original 1955 production of Williams’ Cat on a Hot Tin Roof.

Kazan later gave him small roles in Baby Doll (1956) and A Face in the Crowd (1957) and then cast him opposite Paul Newman and Page in Sweet Bird of Youth. (All three reprised their roles for the 1963 film.)

In these years, some producers objected to his “Rip” nickname and wanted him to use a more conventional stage name. He was billed as “Eric” for one production but vowed to head back to Texas if he were forced to use that name permanently. 

Torn landed his first major movie role with Time Limit (1957), a court-martial drama in which he played a prisoner-of-war survivor who cracks on the witness stand. He went on to appear in another military-set drama, Pork Chop Hill (1959), and appeared as Judas in King of Kings (1961).

Also in the 1960s, Torn portrayed Ingrid Bergman’s young lover in the CBS prestige project Twenty-Four Hours in a Woman’s Life and guest-starred on many top TV shows of the era, including The Untouchables, Route 66 and The Man From U.N.C.L.E., exuding what one reviewer described as an “air of menace.”

After Torn met with Attorney General Robert F. Kennedy in an attempt to start an integrated national theater in 1963, he was targeted by the FBI and found trouble finding work in major motion pictures. “I began to see things in gossip columns, stories about me,” he once said.

In 1970, on the day after Torn spoke out against the Vietnam War on The Dick Cavett Show, a bullet was fired through the window of his Manhattan home.

He soldiered on, appearing on stage and in such films as Payday (1973), playing a mean, manipulative country singer, and the Italian import Crazy Joe (1974), as a gangster. Much later, he portrayed Louis XV for Sofia Coppola in Marie Antoinette (2006).

Torn is also survived by his sister, Patricia, and his grandchildren Elijah, Tana, Emeris and Hannah.

Duane Byrge contributed to this report.


Cameron Boyce’s Family Confirms He Suffered From Epilepsy – E! NEWS

July 9th, 2019

Cameron Boyce‘s loved ones are shedding new light on the medical condition that contributed to his tragic passing

The Disney Channel star, who passed away on July 6 at the age of 20, suffered from epilepsy, his family confirmed to E! News in a statement on Tuesday.

“Cameron’s tragic passing was due to a seizure as a result of an ongoing medical condition, and that condition was epilepsy,” a family spokesperson shared. “We are still trying to navigate our way through this extremely heart wrenching time, and continue to ask for privacy so that the family, and all who knew and loved him can grieve his loss and make arrangements for his funeral—which in and of itself, is agonizing.”

E! News previously confirmed that an autopsy was performed yesterday, but an official cause of death had not yet been reached pending “further investigation” by the medical examiner. 

Authorities were called to the actor’s North Hollywood, Calif. home after he was found unresponsive. Boyce was pronounced dead at the scene. 

In the days following his passing, many of the Descendants star’s peers and former co-stars paid tribute on social media. 

Cameron Boyce, Dove Cameron, Sofia Carson, Booboo Stewart, Descendants 3, Behind the Scenes, Instagram

Instagram / Cameron Boyce

Actress Dove Cameron, who starred opposite Boyce in the Disney Channel film franchise, addressed his death for the first time just hours ago. 

“I’ve been unsuccessful thinking about trying to summarize something where there are no adequate words in the English language,” she shared in a series of videos. “My system is still in shock, my brain is still foggy and full of holes.”

“Cameron was one of my favorite people alive in the world, though I know that’s not unique to me. Cameron was magic, an earth angel,” she continued. “Over the last six years, since he was only 14, Cameron talked me down from countless ledges, talked me through eating disorders, helped me out of a dark relationships and through endless break downs… I can’t count the amount of times on my hands we ruined something because we couldn’t stop making each other laugh.”

Plans for Boyce’s memorial have not yet been announced.


Canadian military’s second-in-command abruptly resigns – CTV News

July 9th, 2019 Staff
Published Tuesday, July 9, 2019 9:43PM EDT
Last Updated Tuesday, July 9, 2019 10:30PM EDT

The Canadian military’s second-in-command, Lt.-Gen. Paul Wynnyk, has abruptly retired.

In a news release, Wynnyk said he decided to retire after 38 years of service with the Canadian Armed Forces following “an incredible career that took me farther, and challenged me more deeply, than I could ever have imagined.”

“I have been considering this decision for the past few months and Marianne and I have decided that the time to reunite with my family is now,” he said in the release.

Wynnyk also thanked Gen. Jonathan Vance “for the confidence he showed in me when he appointed me as the Vice Chief and for his leadership of the CAF during what have been challenging times recently.”

Wynnyk took over as vice chief of staff from Vice-Admiral Mark Norman on July 16, 2018, after Norman was suspended for allegedly leaking government secrets related to a pricey shipbuilding contract. Norman had been charged with breach of trust, but the case was stayed in May.

After the matter had been stayed, Vance mentioned he’d hoped Norman would return to duty in some capacity, but Norman announced his own retirement in June after receiving an undisclosed settlement with the Canadian government.

Vance thanked Wynnyk for “his tireless contribution and sacrifice to our country.”

“He has been an exceptional leader and an even better friend,” Vance wrote. “He will be deeply missed.”

Wynnyk joined the military in 1981 as part of the 20th Field Regiment and served in Germany, Cambodia, the Congo and Afghanistan during his career.

His retirement is effective as of Aug. 9.

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