Tragic L'Wren Scott left her entire $9 million (£5.5 million) estate to her longtime partner Sir Mick Jagger. The 49-year-old fashion designer took her own life on 17 March (14), and according to probate documents obtained by the New York Post, she left all her possessions to her boyfriend of 13 years, Jagger.
In the will, Scott wrote, "I give all my jewelry, clothing, household furniture and furnishings, personal automobiles, and other tangible articles of a personal nature, or my interest in any such property, not otherwise specifically disposed of by this will or any other matter together with my insurance on the property, to Michael Philip Jagger.
"I give the rest and residue of my estate to my Michael Philip Jagger."
She added, "Except if otherwise provided in this will, I have intentionally omitted to provide herein for any other my heirs living at the date of my death," specifically leaving out her only living relatives, brother Randy Bambrough and estranged sister Jan Bambrough Shane.
"I have never been married. I have no children," but inexplicably crossed out "never" in ink.
The documents show that her $9 million estate included the $8 million (£4.8 million) condo where she was found dead in Manhattan, as well as $1 million (£603,173) in "tangible personal property and various other assets".
A private funeral was held for Scott in Los Angeles on Tuesday (25Mar14), and her body was cremated.
Fun Size may be the only production from kid-centric studio Nickelodeon to also feature underage drinking (complete with red solo cups) and boob groping. The murky demographic for the movie ends up hurting the well-intentioned Halloween flick — it's not quite suitable for the young ones nor is it funny or wild enough for the Gossip Girl crowd which director Josh Schwartz (creator of the show) knows well. Instead we get a floundering trick or treat adventure that reduces the colorful twisted holiday to a meandering situational comedy.
Nick TV grad Victoria Justice (Victorious) stars as Wren a high school "geek" who finds herself unable to bag the guy of her dreams (who adores her) but finds a glimmer of hope in the big cool kids' Halloween party. Ready for a night out with her best friend April (Jane Levy) Wren thinks life is finally going her way until her Mom (Chelsea Handler) sticks her with her troublemaking little brother Albert (Jackson Nicoll) for the night. If chaperoning Albert wasn't already the worst thing in the world Wren finds herself in an even bigger dilemma when her brother wanders off into his own night of mischievous debauchery.
The "one crazy night" formula fits perfectly with Halloween but Fun Size struggles to find interesting material for its eclectic ensemble. Unlike many of the young actresses who have previously collaborated with Schwartz Justice seems unable to crack his voice and comedic style. She's too hip to too aware to play someone struggling with high school. The material doesn't serve her or Levy either; off-color jokes and a bizarre sense of entitlement turn them into two people you don't want to see succeed. Luckily for the audience during their sweeping search for Albert Wren and April cross paths with two true nerd-looking boys: Roosevelt (Thomas Mann) and Peng (Osric Chau) who along with feeling like real teenagers actually land a joke or two.
Interwoven into this speedy adventure — Fun Size clocks in at a little over 75 minutes giving little time to flesh out our teenage heroes — is Albert's encounter with a convenience store clerk named Fuzzy. The adults of Fun Size see the ten-year-old Albert as a parter-in-crime rather than a lost little boy. Fuzzy recruits him for a raid on his ex-girlfriend's house; after running away he meets a lady who brings him to a nightclub. At one point a sleazebag kidnaps Albert and locks him in his bedroom. If Fun Size were madcap it may all make sense. Instead things just happen — and it's not hilarious scary or even deranged.
Nick's '90s sitcom Pete & Pete created an amazing sense of weirdness and heart in its exploits of two teenage brothers. Anyone could watch and enjoy it. Fun Size has a beautiful look (the colors of Halloween are mesmerizing) and Schwartz as always has impeccable soundtrack tastes but when it comes to telling a story that feels both relatable and wonderfully weird — what Pete & Pete did so well — the movie falls flat. It's stereotype humor (the movie packs many a fat and gay joke) doesn't cut it — when paired to Nick's best efforts the movie lives up to the title: a bite-size portion of a bigger better cinematic sweet.
Wuthering Heights is an incredible experience director Andrea Arnold having taken the Emily Brontë novel and turned it on its head in her typically nervy bold style. There's little dialogue it's shot using available natural light and like her previous film Fish Tank stars an unknown actor whose presence commands every scene.
There is moping on the moors in Wuthering Heights but the muddy meditative experience that has almost nothing in common with its predecessors. There's no romantically brooding Olivier or pillow-lipped Tom Hardy here; this is not an experience for teen girls to swoon over. As children Catherine and Heathcliff are odd playmates. Once Mr. Earnshaw dies and Catherine's older brother Hindley takes over the household Heathcliff's life changes drastically for the worse. He's physically and verbally abused and banished to the barn to sleep with the "other animals." It's clear that this is a brand-new nearly incomprehensible world for Healthcliff and it's impossible to not feel empathy for him especially during an aborted attempted at baptizing him. As a teen his relationship with Catherine is magical despite (or because?) how much he risks to just play in the mud with her. An ominous indicator of their lifelong relationship is that she doesn't grasp why her playmate isn't as free as she is to do what she wants. She's sorry that Heathcliff gets beaten for ditching work to play with her but that doesn't stop her from encouraging him. As children they romp like puppies with just a hint of their budding sexuality; they're pure selfish id.
In many ways neither of them outgrow this selfishness. Even when she's married and pregnant Catherine feels Heathcliff betrayed her by leaving. Heathcliff's ruthlessness in his pursuit of revenge is equally childish; we see him torturing dogs that mirrors the actions of Hindley's grubby-faced neglected child. Is it nature or nurture? Is Hindley's child learning by watching the adults around him or should we believe the natural tendency of children is this utterly careless cruelty? Whichever it is there's no doubt that Heathcliff's disavowal of the past and insistence of living in the present — "There's only now " he tells her — has nothing to do with Buddhist mindfulness but a total disregard for how his actions affect others. His initial plan included suicide but this seems much more interesting.
Howson's performance as an adult Heathcliff is remarkable. He's not a sympathetic character — no one is in this film. Although it's not clear whether or not Arnold was specifically looking to cast a person of color for the role of Heathcliff the fact that Howson is black adds an extra layer of complexity to the drama. In the book he's described in such a way that indicates at the very least his ethnic background isn't white but Arnold ups the ante by putting a racial epithet in Hindley's mouth. This drives home the idea of Heathcliff's outsider status; it makes his "otherness" visible.
There's something gentle in Heathcliff's face that belies the nearly sociopathic anger within. When he first seduces Catherine's sister-in-law Isabella as part of his revenge on Catherine it's erotic in a way that makes the viewer complicit in Isabella's eventual destruction. (This serves as an interesting foil to Fish Tank and its ethically troubling but arousing sex scenes with Michael Fassbender and Katie Jarvis.) As the adult Catherine Kaya Scodelario puts in a good performance. Her Catherine looks angelic but is all hard angles underneath those lacy flounces. She is the wild shrieking woman to Heathcliff's cold silence and when she is finally quiet it's only because she's succumbed to the furor of their lifelong struggle.
Throughout Wuthering Heights we are put in Heathcliff's shoes. We see Catherine through his eyes and we understand what it feels like to ride on a horse behind her with her hair whipping in our face and the warm flank under our fingers. We are immersed in this sensual experience of being Heathcliff thanks to the magic of Robbie Ryan's cinematography. (Ryan has worked as a cinematographer on all of Arnold's films including her Oscar-winning short Wasp.) The handheld camera work is intense and occasionally nauseating but its immediacy is crucial to the film. Using available light occasionally works against it as some scenes are so dark it's hard to tell what's actually happening.
Wuthering Heights gives rise to an internal debate. If it was edited down more with less lingering shots of bugs crawling across leaves or birds twinned in the sky as obvious metaphors for Heathcliff and Catherine it would be an entirely different experience. Would it be better maybe more enjoyable easier to sit through? Or is that beside the point? Andrea Arnold's talent lies in pushing the viewer past their normal boundaries of what's romantic or beautiful. In Arnold's world a mother and daughter dancing in a kitchen to "Life's a Bitch" by Nas is as loving and joyful as Heathcliff's frenzied attempts to unearth Catherine's coffin. You either decide you're all in or you're not.
S1E14: I’ve never really noticed this before, but Reese is kind of starved for attention. In the earliest episodes of Person of Interest, Reese would pop in on Finch, toying with his boss’ paranoia and “threatening” to get to know him better. Now that Reese is coming to distrust Finch more and more—thanks to Finch’s not-so-secret relationship with Will Ingram—our vigilante hero is seeking attention, and camaraderie, elsewhere. In fact, we see Reese tread the waters of three new friendships this episode, each more unlikely than the last.
“Only the paranoid survive.” – Finch
We begin with Reese popping in on Carter, adorning her with his robotic charm, and filling her in on this week’s case. The number of the week is that of fourteen year-old Darren (Astro, from The X-Factor), whose older brother and sole guardian Travis has just been shot and killed by some local young criminals. First and foremost, I am glad that this episode takes a different approach to the crime scene than the show’s usual forte. We often see political figures, Wall Street executives, businessmen, high profile criminals and the like involved in these cases. This week, it’s (for lack of a less lame term) street toughs. After Travis is gunned down, his younger brother heads on a vigilante quest to avenge him.
“What are you?” – Darren
“One of these days I’ll have to come up with an answer to that.” – Reese
Enter the superhero team, with Reese on the foreground. Darren is the second friend Reese makes this week, although this relationship is formed gradually. Young Darren is a promising musician and illustrator whose brother wished to send him to an arts school. He’s also well-versed in Sun Tzu’s The Art of War (that’s the second reference to this work on a CBS series this week) and comes to respect Reese as he sees him: a lone, disgraced samurai, wandering the world looking for what he has lost, helping people along the way. Very romantic.
“The most efficient way to win a fight is to act by knowing your enemy.” – Reese
Meanwhile, on the other side of the team, we are reunited with Will Ingram, who comes to Finch with a question regarding a note he found in his father’s old things: dated February 24, 2005—a date amid the hiatus of his company’s productivity—Nathan denoted the inception of the Machine, and wrapped the note around the cork of a wine bottle to indicate celebration. Will is determined to find out what the Machine is and why he was celebrating. Finch plays dumb, so Will goes to another associate of his father’s: a woman who worked for the White House, and who was involved in Nathan’s one dollar sale of a mysterious invention to the government. Unfortunately for the ambitious young man, his next interrogation is just as closed-mouthed as Finch, leaving him without any further leads on who his dad really was or what sort of work he did. So, he does the natural thing that someone does when no one will answer questions about his dead father: he moves to Sudan.
“ The idea of letting a fourteen year old hire you to avenge his brother has backfired?” – Finch
Reese’s bond with Darren grows stronger by the scene. Darren “hires” Reese to capture the men who killed his brother, and Reese shows him the ropes of his work as they go along. Apparently, the boys responsible for Travis’ death are controlled by a man named Andre—a seemingly genteel comic book shop owner played by Malik Yoba (although he’s more famous for other roles, I prefer to remember him as Ice from Arrested Development)—whose criminality goes so high that he has the police in his pocket. Again, concerns about where Elias fits into all this arise. I can’t imagine that the show is replacing the character with these new threats, but one wonders what conflicts might arise from the police force being under the control of two logically conflicting crime syndicates.
“Nothing wrong with cops. Just the bad ones.” – Reese
Reese’s primary lesson to Darren, trumping tips on observing your enemy and finding out his weaknesses, is that living a life of vengeance never ends well. Reese explains to Darren that by pursuing his brothers’ killers, he’ll end up in jail or dead, as the ladder of responsibility is interminable. Muddled by his anger, Darren finds himself with a gun pointed at Andre and the thug who shot his brother—Reese intervenes, but when the tables turn and Andre is in possession of both the gun and Darren, an unexpected hero is revealed.
“Darren, this is Det. Fusco. He’s a…f-friend.” – Reese
Andre loses grip of Darren, but manages to fire at him from several yards away—blocking the bullet from the boy is Det. Fusco, on the scene with Det. Carter (neither of whom have any idea that they’re both on Reese’s squad). Fusco is injured, but fine, and is in the boy’s good graces for saving his life.
You could have been a good cop if not for a few bad choices.” – Reese
And he’s in Reese’s good graces as well: thus marking the third friendship Reese forms this week. Reese pays some rare kind words to Lionel, and shares a pleasant moment with the would-be decent man. In return, after the duo drops Darren off at the doorway of his new life—a foster family and entry into the aforementioned arts school—Fusco shares some info with Reese about what Finch has been up to—and some info about some other aliases he’s used over the years, including Harold Wren (also not his real name). As bonds form, others fizzle.
Do you think Reese and Fusco might form a more substantial relationship? When will Carter and Fusco find out about one another? And when might Will find out about his dad’s work? And what exactly would be the degree of the consequences of that? Let us know your thoughts in the comments section, or on Twitter (@MichaelArbeiter).