A man accused of trespassing on Taylor Swift's beachfront property in Rhode Island on three separate occasions has been sentenced to 18 months of probation. Daniel P. Cole was initially taken into custody and charged in December (13) after he parked his pick-up truck outside the singer's Watch Hill home and refused to move.
Police were called to the scene to investigate and the Massachusetts resident allegedly became involved in an altercation with officers, just 12 days after Swift's security guards had to escort Cole off the star's estate.
The second incident landed the 39 year old a no trespassing order, but cops found him back on the property in March (14), when he was also slapped with a no contact ruling, demanding he keep his distance from the singer and her home, according to local paper The Westerly Sun.
He pleaded not guilty to misdemeanour charges of wilful trespassing and disorderly conduct, but was convicted on Thursday (17Jul14) after a three-day trial in Warwick, Rhode Island.
Judge Frank Cenerini ordered Cole serve probation and undergo anger management screening and counselling. He also renewed the no trespassing and no contact orders.
Cole hasn't been the only unwelcome visitor at Swift's Rhode Island luxury house - three people recently pleaded not guilty to disorderly conduct charges after allegedly hurling beer bottles at the mansion in June (14).
The singer was not home at the time of either incident.
Taylor Swift's Red tour has become the biggest revenue earner for a country act. The 15-month world trek grossed over $150 million (£88 million) and surpasses Tim McGraw and Faith Hill's Soul2Soul tour in 2006 and 2007, according to Billboard.
The Red tour began in March, 2013 and hit Australia at the end of the year, Europe at the beginning of 2014, and Asia in May and June (14). The tour ended in Singapore on 12 June (14).
In total, over 1.7 million fans caught Swift onstage during her 86 performances in 12 countries.
Getty Images/Taylor Hill
Lana Del Rey is speaking very candidly about her death wish in a new interview with The Guardian. Here is the opening from the interview:
“I wish I was dead already,” Lana Del Rey says, catching me off guard. She has been talking about the heroes she and her boyfriend share – Amy Winehouse and Kurt Cobain among them – when I point out that what links them is death and ask if she sees an early death as glamorous. “I don’t know. Ummm, yeah.” And then the death wish.
Don’t say that, I say instinctively.
“But I do.”
“I do! I don’t want to have to keep doing this. But I am.”
Do what? Make music?
“Everything. That’s just how I feel. If it wasn’t that way, then I wouldn’t say it. I would be scared if I knew [death] was coming, but …”
For some people, tragic LDR works perfectly for her music, but in real life it's a bit much. It's one thing to idolize the dead. It's another to want to emulate them in their postmortem state. And yet, if you're a fan of Lana's, this whole statement isn't very surprising. It could also be argued that she's speaking from a state of depression, which brings up an entirely different set of issues.
You can read the full interview here. Lana goes on to talk about more dark subject matter, and reaffirms her status as a non-feminist.
Follow @Hollywood_com Follow @shannonmhouston
Beloved children's book writer Eric Hill has died, aged 86. The Brit, best known for creating the Spot The Dog series, passed away at his home in California following a brief illness.
A statement from his family reads, "Although this time of loss is a great hardship for us, we can honestly say that we take some solace in the joy he brought to so many children and families through his work. We know Spot, and therefore Eric, has had a beloved presence in so many homes and bedtime readings. And we know we share our grief with many."
Hill worked as a designer and illustrator before coming up with the iconic Spot The Dog character for his son. The first book he wrote, Where's Spot, was published in 1980 and went on to become a sensation and a children's reading staple.
The book series also spawned a spin-off TV show, which aired in both Britain and the U.S. with notable American stars including Jonathan Taylor Thomas and Haley Joel Osment providing the title character's voice.
Hill was made an Officer of the Most Excellent Order of the British Empire (OBE) in Queen Elizabeth II's 2008 New Year's Honours List.
Miranda Lambert made history and ruled the 49th annual Academy of Country Music Awards on Sunday (06Apr14), earning three top prizes, including Female Vocalist of the Year for the fifth time in a row. The House That Built Me singer became the only female artist to win the honour five consecutive times, edging out Reba McEntire, who won the award for four successive years, and seven in total.
Lambert also took home the Record of the Year prize for her song Mama's Broken Heart, as well as the Vocal Event of the Year prize for her duet with Keith Urban, We Were Us, which was handed out on the red carpet before the ceremony began.
Country music icon George Strait won the ultimate prize of the night for Entertainer of the Year, beating out Taylor Swift, Lambert, her husband Blake Shelton and Luke Bryan. The latter two also co-hosted the event for the second year in a row.
Follow Your Arrow hitmaker Kacey Musgraves followed up her two Grammy wins in February (14) with the Album of the Year award for Same Trailer Different Park, and boasted, "I'm really proud to be a woman representing country music," in her acceptance speech.
For the second year in a row Jason Aldean picked up the Male Vocalist of the Year title, and other winners included The Band Perry (Vocal Group of the Year), Florida Georgia Line (Vocal Duo of the Year), Justin Moore (New Artist of the Year), Lee Brice (Song of the Year for I Drive Your Truck) and Highway Don't Care by Tim McGraw, featuring Taylor Swift & Keith Urban (Video of the Year).
Garth Brooks presented veteran singer Merle Haggard with the Crystal Milestone Award to mark his 50th anniversary in the industry, and George Strait and Lambert teamed up to sing a medley of his hits, including The Bottle Let Me Down and I'm a Lonesome Fugitive.
The achievement coincided with Haggard's 77th birthday, and Brooks led the entire audience in serenading the singer on his big day.
The ceremony was also filled with stand-out performances, including sets from George Strait, Darius Rucker, Florida Georgia Line, Jason Aldean, Keith Urban, Sheryl Crow and Toby Keith.
In addition, a number of artists joined forces for special collaborations - Florida Georgia Line and Luke Bryan teamed up for a pyrotechnics and bicycle stunt show during their performance of This is How We Roll; Tim McGraw was joined by his wife Faith Hill for a duet of Meanwhile; Stevie Nicks joined Lady Antebellum for a rendition of Rihannon, and The Voice stars Shelton and Shakira gave the country night a Latin feel as they reworked her song Medicine.
Prior to Sunday's ceremony, Carrie Underwood was given the Gene Weed Special Achievement Award, Toby Keith and Ronnie Milsap were handed the Career Achievement Award, and Rascal Flatts were honoured with the Jim Reeves International Award for their success overseas.
The full list of winners is:
Entertainer of the Year: George Strait
Album of the Year: Same Trailer Different Park by Kacey Musgraves
Female Vocalist of the Year: Miranda Lambert
Vocal Group of the Year: The Band Perry
Male Vocalist of the Year: Jason Aldean
Song of the Year: I Drive Your Truck by Lee Brice
Record of the Year: Mama's Broken Heart by Miranda Lambert
New Artist of the Year: Justin Moore
Vocal Duo of the Year: Florida Georgia Line
Vocal Event of the Year: We Were Us by Keith Urban and Miranda Lambert
Crystal Milestone Award: Merle Haggard
Video of the Year: Highway Don't Care by Tim McGraw, featuring Taylor Swift & Keith Urban
Gene Weed Special Achievement Award: Carrie Underwood
Career Achievement Award: Toby Keith and Ronnie Milsap
Jim Reeves International Award: Rascal Flatts
Taylor Swift has reportedly purchased duplex penthouses worth $20 million (£12 million) in New York City. The Love Story hitmaker is allegedly the mystery buyer of two luxury units in the Big Apple's TriBeCa district, properties that were previously owned by Lord of the Rings director Peter Jackson.
He listed the adjacent duplex penthouses, which cover the top two floors of a boutique building, in November (13) for $19,950,000 (£12,007,226).
In January (14), rumours swirled that Swift was scoping out apartments in Manhattan, and last month (Feb14), the TriBeCa lofts were sold for an unspecified price to an unknown buyer.
When combined, the massive penthouses boast seven bedrooms, eight bathrooms and wrap-around terraces.
Swift also has properties in Nashville, Tennessee, Beverly Hills and California, and a beachfront mansion in Watch Hill, Rhode Island.
A 38-year-old man has been ordered to stay away from Taylor Swift's Rhode Island mansion after he was arrested for trespassing. Daniel P. Cole, from Brewster, Massachusetts, was initially escorted off the singer's Watch Hill property by police on 9 December (13), when security personnel spotted him blocking the driveway with his pick-up truck.
Cops were called to the star's home once again on 21 December (13), when Cole allegedly refused to leave his vehicle and became involved in an altercation with an officer who asked him to move on.
According to authorities, the 38 year old asked police to "tell the guard it was OK for him to come up to the house", before shouting obscenities as he was arrested and taken into custody.
He was slapped with counts of wilful trespass and disorderly conduct on Thursday (20Mar14), and appeared before a Wakefield District Court judge on Friday (21Mar14), when a judge issued a no contact order against him, demanding he keep his distance from Swift and her home.
Cole, who pleaded not guilty to the charges, has since been released on his own recognisance.
The country star was on her Australian tour at the time of the first incident, and it is not clear if she was at home when Cole made his second unwanted visit.
Swift's security team has been on high alert in the past year after a male swimmer was arrested and booked for straying too close to the shoreline of her private beach last May (13). She subsequently had quirky new signposts installed around the building warning against trespassing, quoting lyrics from her hit single I Knew You Were Trouble.
The signs read: "I knew you were trouble when you walked in. NO TRESPASSING".
Actor Rhys Ifans is set to follow in fellow Welshman Richard Burton's footsteps by starring in a new film adaptation of iconic poet Dylan Thomas' famous play Under Milk Wood. Director/producer Kevin Allen has obtained the movie rights to the 1954 work, which features the dreams and innermost thoughts of the inhabitants of a fictional Welsh fishing village, and is planning to make back-to-back English and Welsh language versions of the project, which was previously tuned into a big screen release by filmmaker Andrew Sinclair in 1972.
Allen has cast Notting Hill star Ifans in the role of First Voice, which was originated onscreen by Burton.
Burton's on/off wife Dame Elizabeth Taylor also starred in the 1972 film.
Producers have promised to "veer away from delivering a one dimensional, literal reflection of Thomas' original work" and instead "explore some of the darker, visceral elements" of "a richly funny, filthily fluid dystopian dreamscape - whilst not stooping to mess with Thomas' original text".
Filming on Under Milk Wood is due to begin this summer (14).
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
Follow @Michael Arbeiter
| Follow @Hollywood_com
Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.