Actress Meredith Baxter has tied the knot with her longtime partner Nancy Locke. Baxter obtained a marriage licence in Beverly Hills, California on Friday (06Dec13) and exchanged vows with Locke on Sunday afternoon (08Dec13) in Los Angeles.
The 66 year old and her new bride kept the affair intimate, with just close friends and family, including Baxter's five children from previous relationships, in attendance.
During the reception, Locke's band took the stage and the lovers even wowed guests with their first dance as a married couple after taking lessons for its big day.
Gushing about her wedding to People.com, Baxter says, "Now I understand why marriage caught on!"
The former Family Ties actress was previously married to Robert Lewis Bush, David Birney and actor/screenwriter Michael Blodgett. She revealed she was a lesbian in 2009, four years after she started dating Locke.
Actress Meredith Baxter has obtained a marriage licence to wed her partner. The former Family Ties star and Nancy Locke filed the legal paperwork on Friday (08Nov13) in Beverly Hills, California, according to TMZ.com.
Details surrounding the impending nuptials are scarce, but invitations have reportedly already been sent out.
Baxter, who was previously married to Robert Lewis Bush, David Birney and actor/screenwriter Michael Blodgett, revealed she was a lesbian in 2009, four years after she started dating Locke.
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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"Sorry if my snoring bothered you."
Those are not the first words I'd expect out of the mouth of someone who got up on a Friday morning to catch the 10:30 AM screening of a new movie but that is more or less what the fellow who'd been sitting behind me said as I passed him on my way out. I'd heard him snoring over the constant rat-a-tat-tat of bullets and butt-kicking being doled out by Milla Jovovich et al in this latest iteration of the never-ending Resident Evil series (this time in IMAX 3D) but I figured maybe I was hearing things. Nope he was asleep.
I used to play Resident Evil on my ancient PlayStation when it first came out. It scared the crap out of me. I enjoyed the first two movies — hey they included the skinless zombie dogs! — but I lost interest soon after that. How many times can you make the zombie apocalypse exciting? How many different skintight outfits can Jovovich wear while killing grotesque creatures who shoot evil grasping tentacles out of their mouths? Why should we care about all the blood and guts when we know the people we're supposed to be emotionally invested in will never die? We don't.
Try as he might there are only so many ways for writer/director Paul W.S. Anderson to give the Resident Evil series fresh new layers for each new movie. The Umbrella Corporation is the big bad. They were playing with biological weapons and somehow there was an accident that let one of the viruses loose... and boom you've got a zombie apocalypse on your hands. Our heroine is Alice played by Milla Jovovich and there is a rotating cast of characters who help her fight the good fight against the hordes of brain-eaters and whatever is left of the Umbrella Corporation that's now after her. There are some parallels to the video game series but Paul W.S. Anderson (a gamer himself) has taken lots of liberties with the basic plot over the years. While Anderson's flashy style is especially suited to these types of movies there's not enough plot to make it work.
We don't go to video game movies for plot of course but there has to be something to hold onto; otherwise why would we care if our protagonist were in danger? Anderson tries some neat tricks to snap us back to attention like bringing back characters that were killed in previous movies and throwing in a cloning subplot that calls into question some of the characters' true identities but it's still hard to get worked up about anything onscreen. However it ultimately sidesteps any deeper ideas that might take our attention away from all the guns. And there are so many guns and explosions and elegant butt-kickings doled out by Milla and her pals (or former pals in the case of Michelle Rodriguez's character Rain) that they blend together.
It is especially difficult to work up any interest in the story because it's a franchise and no matter how many times the stars or director might say they're not that interested in doing another everyone is just waiting to see how much money this will make before deciding to go forward. There is no question how franchise movies will end; there will be no derring-do on the part of the writer or director to actually kill off a beloved character permanently. At one point it seemed like Anderson was going to pull the old "And then she woke up!" trick which would have been bold both because it's such a hackneyed idea that it would make writing professors' heads explode all over the world but also because it would have required Anderson to play in a different universe and expand his repertoire a bit. Alas like Alice and Anderson himself we just can't seem to escape this rabbit hole.
The veteran TV star has wed three times and shocked fans when she 'came out' as a lesbian in 2009, revealing she had found love with another woman, building contractor Nancy Locke.
And now she's back to shock again after claiming her marriage to her Bridget Loves Birney co-star was blighted by domestic violence in her explosive new memoir, entitled Untied.
On Tuesday (01Mar11), she returned to the U.S. TV news show where she revealed all about her sexuality two years ago, to open up about her alleged abusive marriage.
When asked during the Today Show chat why she didn't leave her husband, the 63 year old said, "I didn't know I had a choice. I didn't know I could go."
Baxter revealed she kept her personal problems to herself while she was working with her husband: "You learn to compartmentalise. As soon as I got to the studio, my home life was not happening. I never talked about it. No one knew anything."
But the violence at home became too much for her to bear: "It was so sudden and unexpected, I couldn't tell you which hand hit me, or even how hard. I do recall thinking, 'I'd better not get up because he's going to hit me again.'"
Baxter and Birney had three kids together during their marriage.
The actor has yet to respond to his ex-wife's TV allegations.
The 62-year-old Family Ties actress opened up about her secret life for the first time last month (Nov09), revealing she has been living with building contractor Nancy Locke for four years.
The book, which has yet to be given a title or release date, will chart Baxter's career, which has included spells on TV and Broadway as well as her three failed marriages and her romance with Locke.
A spokesperson for publishers Crown says the memoir "will present a fully realised portrait of her life as an actress, mother of five children, and grandmother and will candidly discuss her fight with breast cancer, her 19 years of sobriety, entrepreneurship and her decision to come out".
The veteran actress, who has been married three times, 'came out' to People magazine last month (Nov09), and confessed she had been secretly living as a lesbian for seven years.
The 62 year old revealed she has found love with building contractor 54-year-old Nancy Locke, who she moved in with in 2007.
And now the couple are set to make their union official, according to the National Enquirer.
An effort to legalise gay marriage in Baxter's home state of California was recently defeated, and the couple reportedly plan to go elsewhere.
A source says, "They're talking about getting married either in Canada or Massachusetts."
The veteran actress, who portrayed supermum Elyse Keaton on the hit 1980s show, confirmed rumours she is gay in this week's (begs30Nov09) People magazine.
The 62 year old revealed she has been living as a lesbian for the past seven years and has found love with building contractor Nancy Locke, who she moved in with in 2007.
Gross, who found out Baxter is gay in 2005, is fully supportive of her decision to share her sexual orientation with fans and is delighted his pal has found happiness.
He tells People.com, "She's one of my favourite people in the world, and I'm just thrilled that it's no longer a secret, and that's about the size of it. I'm just thrilled this has happened because now my wife and I don't have to hide this from everybody we know. Occasionally people will say to us, 'Hey, Michael, you still see your co-star? How's she doing? Is there a man in her life?'
"Meredith's children are very accepting of this (her sexual orientation) and I myself have met Meredith's partner on numerous occasions. I've travelled with them. She's just a first-rate individual - and I like her a lot. My wife does as well."
The veteran TV star, 62, has been married three times, including a failed union to actor David Birney - but Baxter confesses she's found love with another woman, building contractor Nancy Locke.
The couple has been dating for four years and has been living together since 2007.
Rumours of her sexuality first surfaced last month (Nov09) when Baxter was snapped on a gay cruise holiday in the Caribbean.
The mother-of-five is relieved to finally share her secret life with her fans, claiming she was never comfortable as a married woman.
She tells People magazine, "I had been so profoundly unhappy, and I never knew that was why. I'm happy for the first time in my life."
Baxter was relieved to find her kids, now all grown up, supported her choice to become a lesbian, but admits she delayed announcing her sexuality to the world because she feared she would lose out on acting work after years portraying supermum Elyse Keaton on the hit 1980s show.
She says, "I reluctantly held this position as America's mum for seven years... You don't know what kind of information is going to go into the decision to cast or not to cast you. It's hard enough to get a job. Why make it harder?"
But Baxter has no plans to wed Locke because her previous failed marriages has left her wary of exchanging vows again: "It has nothing to do with Nancy or how much I love her. Being a wife was not a great experience for me."
A perfect husband a devoted father a loyal friend a successful architect—yes Steven Burke (David Duchovny) is the kind of flawless family man we only encounter in hankie-soaking Hollywood melodramas. He exists solely to be killed off just so his friends and family can become better people through their loss. So it comes as no surprise that Steven dies a Good Samaritan's death while on his way home—of course—from buying ice cream for his two kids. If that won’t get you crying nothing will. Steven’s death leaves his wife Audrey (Halle Berry) a mess. She can’t look after herself let alone her daughter Harper (Alexis Llewellyn) and son Dory (Micah Berry). Instead Audrey turns to Steven’s best friend Jerry (Benicio Del Toro) for help. Not really the smartest choice—Audrey despises Jerry for squandering his life and career on drugs. But Audrey’s desperate for a shoulder to cry on so she inexplicably invites Jerry to stay at her home while he tries to clean up his act. Quicker than you can say “rest in peace ” Jerry’s dispensing words of wisdom to Steven’s kids and in a moment of unintentional hilarity spooning with the lonely Audrey in her bed. Audrey naturally comes to believe that Jerry isn’t the strung-out leech she’s considered him all these years. Still we can’t help but count down the minutes until Jerry slips back into his old habits. Or wonder how long it will take for Audrey to kick Jerry out of her house when the inevitable happens. Things We Lost in the Fire serves an important purpose: to make clear that Halle Berry’s performance in Monster's Ball wasn’t a happy accident. As a widow unable to function without her soul mate Berry shakes up the otherwise maudlin proceedings with a rage and intensity that’s honest and fearless. Never afraid to present Audrey as occasionally cold and unsympathetic especially in regards to her treatment of Jerry and her children Berry nevertheless always makes us feel Audrey’s burning love for Steven without resorting to Joan Crawford-like histrionics. Too bad Audrey is defined only by her role as a wife and mother—Berry never receives the chance to show that Audrey has a life outside her family. She does share a good rapport with the typically brooding Benicio Del Toro whose ravaged face reveals more about Jerry’s lifetime of self-inflicted pain and suffering than words ever could. But there is a slight spark to be found in Del Toro’s sleepy eyes which gives us the impression that Jerry has what it takes to live one day at time with the support of his new friends. David Duchovny doesn’t do much beyond smiling like he’s just been named Father of the Year for the 10th time. Not that Duchovny needs to exert himself to make Steven charming and likeable—Steven is as happy and uncomplicated as Duchovny’s Californication philanderer is as sad and screwed up. Alexis Llewellyn and Micah Berry (no relation to his onscreen mother) nail the anguish confusion and profound sense of loss that comes with grieving for a dead parent without being annoyingly precocious. How disappointing it is to discover that not even the usually calm and collected Susanne Bier can turn Things... into something more than the standard Lifetime TV weepy of the week. The Danish director’s Hollywood debut is very much like her earlier character-driven dramas in that it is preoccupied with how established family dynamics shift in the wake of a life-altering event. After the Wedding and Brothers managed to be poignant without getting too gushy but Bier cannot keep Things... from drowning in its own sentimentality. The problem clearly lies with screenwriter Allan Loeb’s emotionally manipulative script which fails from the start to convince us Audrey would open her house to her late husband’s drug buddy. Ignoring Loeb’s hard-to-swallow premise Bier does an excellent job of establishing the relationship between Audrey and Jerry. Theirs is a well-presented study in co-dependency which results in an insightful—though occasionally obvious—exploration of drug addiction the grieving process and the pursuit of personal redemption. Things... smartly avoids making much of its interracial marriage—it would only overcomplicate matters—or taking Audrey and Jerry down a path that would led to an ill-advised romance. If only Bier and Loeb showed some guts in the way they portray Steven. Surely he had at least one skeleton in his closet to make him seem more human. Everything we learn about Steven—especially about the fire referenced in the seemingly cryptic title—merely reinforces the notion that he was too good for this world. Or at least the world Hollywood thinks we live in.