Actress Yvette Nicole Brown is leaving her role on cult TV comedy Community in order to care for her ailing father. Brown has played Shirley Bennett on the series since 2009, but she announced on Tuesday (30Sep14) that she will not be joining her fellow castmates for the upcoming sixth season, and requested to be released from her contract to focus on caring for her sick dad.
She tells TV Guide Magazine, "My dad needs daily care and he needs me. The idea of being away 16 hours a day for five months, I couldn't do it. It was a difficult decision for me to make, but I had to choose my dad.
"I can't say enough how much I respect Sony and (executive producer) Dan (Harmon) for how they handled this profound change in my life... I'm still Community's biggest fan... It's very bittersweet. I can take care of my dad but won't be with my TV family. I don't want the fans to worry; it's going to be fine."
Brown is also currently working on the remake of classic sitcom The Odd Couple, starring Matthew Perry.
Meanwhile, Community stars including Joel McHale, Alison Brie and Ken Jeong are all slated to return for the show's sixth season, which will stream on Yahoo! Screen, after it was cancelled by bosses at America's NBC network after five seasons.
Rage Against The Machine star Tom Morello is raging against the staff of a Seattle, Washington restaurant after he and his friends were refused entry after a gig on Friday night (26Sep14). The guitarist was turned away from The 5 Point Cafe after performing with his former Audioslave bandmate Chris Cornell at the 15 Now benefit event nearby, and he was not happy.
Taking to Twitter.com, he urged followers to "spread the word", writing, "Five Point restaurant in Seattle is the worst. Super rude & anti-worker. S**ttiest doorman in the Northwest. P**ck."
His angry tweet prompted a response from the cafe's owner, David Meinert, who took to Facebook and stated, "For the record, Tom Morello, The 5 Point is totally pro worker. Sorry if you had an issue with our staff, but typically our staff is awesome, and when they are not, it's usually a reflection of the customer. Act like a p**ck = get treated like a p**ck.
"Rock stars don't get special treatment at The 5 Point. We couldn't give less of a s**t."
He later added, "Turns out Tom and his crew didn't get let in as the place was at capacity and there was a line. No one was being let in. According to our doorman, who I totally trust, Tom and his crew were all totally rude."
Tribeca Film via Everett Collection
When the frequently braved “writer’s block” genre produces a winner — evading the call of mediocrity that beckoned Secret Window, Deconstructing Harry, Ruby Sparks, Finding Neverland, and the like — it really produces a winner. By nature of its subject matter, it tends to test the limits of form, character, pathos, and human imagination. In stark contrast to the suffocating destiny chronicled therein, we wind up with creative liberation: The Shining, Barton Fink, Adaptation., and now Listen Up Philip. It’s been more than a decade since we’ve seen an original, diabolical, earnest, and fun movie about writing and writers as Alex Ross Perry’s dip into the mania that is fiction composition. Not simply presenting but celebrating all the narcissistic, panphobic, and sociopathic typhoons inherent in the trade, Listen Up Philip manages the rare feat of showcasing something in its honest form and still making it enjoyable to look at.
Jason Schwartzman was born to play Philip Lewis Friedman, an under-35 curmudgeon who manages to escape the viewer's derision thanks to A) occasional flashes of the doe-eyed idiot boy that seems to live on inside of him, and B) how outrageously funny he is from start to finish. He surrounds himself with a class of character deserving little more admiration. His girlfriend Ashley (Elisabeth Moss) wades around ideas and identities, winning our sympathies but stewing in her psychological absence. Fans of Moss from Mad Men or Top of the Lake will cherish every second she spends onscreen in Listen Up Philip, finally able to work her magic in an earthy, low-concept dramedy.
Tribeca Film via Everett Collection
Philip's mentor is Ike Zimmerman (Jonathan Pryce), the Baby Boomers' stoic, stubborn, and chauvinistic answer to Generation X's entitled, irritable, all around incompetent title character. At the dawn of the film, Ike takes fellow malcontent Philip under his wing, probing the young man to find an outlet for his inarguable talent. The process lays varying degrees of waste to the lives of Philip, Ike, Ashley, and the assortment of characters unlucky enough (though more or less deserving of their fate) to be stuck in the company of the man-children at the center of the film.
Listen Up Philip is light on plot and oustandingly rich with character. As such, chapters that stray from its stronger figures (Philip and Ashley, unsurprisingly) toward the attention of secondary folk — the only significant culprit of this is a segment devoted to Joséphine de La Baume's Yvette — lag and lend to lapsed interest. But once we return to the mordant dissection of the inexcusable lifestyle entailed by writing and inexplicable agents of bile that willingly abide by such parameters, we're right back in the thick, hot, blood pool that is the fun.
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Kasabian rocker Tom Meighan has urged celebrities to put down their cell phones and stop taking "pointless" pictures of themselves. The British musician admits to taking 'selfies' with his two-year-old daughter, Mimi, but he thinks the photo-taking method is self-indulgent and wants other stars to stop flooding social networking websites with their snaps.
He tells Britain's Q magazine, "I've done them (selfies) before with my daughter, but I'm not going to do it any more. I just don't see the point. It's all about me, me, me. 'Quick! Look at me on the toilet!' I wish all these celebrities would put their phone away."
Paramount Pictures via Everett Collection
With extended metaphors about the expanding universe, every troubled teen gambit in the book, and (most of all) that title, Men, Women & Children seems to carry some extreme delusions of grandeur. But despite a sizeable cast and some menacing musical cues, this isn’t the high school Magnolia that Jason Reitman wants it to be. Still, enough instances of charm and humanity peek up from the haze of self-importance, allowing us something entirely watchable… if not all that inspiring.
The film opens with a fresh bounty on the head of the digital age. As we make our way through seven or eight interwoven stories, we watch a vigilant takedown of the myriad toxicities implied by the Web’s place in our society today. Texting, social media, dating websites, personal pages, Tumblr, MMORPGS, discussion forums, and Internet porn all get their 'The More You Know' segments via technologically-induced shortcomings of a Texan suburb with a double dose of Weltschmerz.
The after school specials vary in attraction. While the blossoming romance between acerbic Kaitlyn Dever (whose helicopter mom, Jennifer Garner, tracks every move she makes) and head-in-the-clouds ex-jock Ansel Elgort (who sinks into a World of Warcraft-type game in the wake of his parents’ divorce) has plenty of spark — for which we credit Dever — the marital decay of Adam Sandler and Rosemarie DeWitt is a chapter that we’re consistently trudging through.
Paramount Pictures via Everett Collection
Tying into the self-satisfaction that courses through Men, Women & Children’s every scene is an air of melodrama, the biggest atrocity committed by any of the film’s episodes. Beyond just robbing the movie of authentic gusto, the “overdoing it” approach actually works to undo any of the messages that the film wants to impart — when you’re dealing with paramount issues like depression, eating disorders, and teen pregnancy, it’s imperative to keep things sincere.
Thanks to a ganglion of inherently watchable people — Dever tops the lot, but Dean Norris and Judy Greer make up a screen duo that, despite deficient characters, doesn’t want for much chemistry — and its propensity to keep focus on no individual party for more than a few minutes at a time, Men, Women & Children never becomes an absolute bore. But the pride in what it is saying and such ostentatiousness in how it presents its thoughts dominate. The movie isn’t half the movie it thinks it is.
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British actress Rosamund Pike got a front row seat to Ben Affleck's transformation to Batman while playing his wife in new thriller Gone Girl. Director David Fincher called on his stars to lose and gain weight for thriller Gone Girl, which was shot out of sequence, but agreed to let his leading man bulk up as filming came to an end so he would be in shape to play the Caped Crusader in the Man of Steel sequel.
Pike tells WENN, "We did jump back and forth and a lot of it was dictated by the weight fluctuations that had to occur for our characters. I had to be heavier and slimmer in all the different locations.
"But he (Affleck) was becoming Batman. By the time we were in the shower scene, I was with Batman!"
Actor Nathan Lane poked fun at his Broadway co-star and pal Matthew Broderick's shoe-loving wife Sarah Jessica Parker during an appearance on America's The Tonight Show on Friday (26Sep14). The Producers stars were promoting new show It's Only a Play on the programme when host Jimmy Fallon suggested they all switched seats and pretended to be each other.
Broderick took over Fallon's chair, Fallon sang his response to a question as Lane and Lane pretended 'his wife' Parker was calling on his cellphone.
He said, "I'm getting a call. Oh, hi Sarah, how are you...? OK, a quart of milk, gluten free bread and 400 pairs of shoes...'"
Broderick sat awkwardly as he pal joked, perhaps fearing that he'd give away a private secret, and then he felt even worse seconds later when he became Lane and Lane, as Fallon, asked him, "Nathan, when did you first realise you were a homosexual?"
The Inspector Gadget star replied, "Wow..." before adding, "I forgot who I was".
Hip-hop star Dj Khaled is suing bosses at his former record label over allegations they lost him around $1 million (£625,000) in royalty payments. The All I Do Is Win hitmaker has filed suit against Entertainment One, accusing executives of breach of contract, accounting and unjust enrichment, claiming they failed to keep track of money he is owed, according to Billboard.com.
Lawyers for Entertainment One have moved to end the case by insisting company bosses released the appropriate accounts and allowed an audit of their records in April (14), but allege Khaled's representative failed to show up.
Khaled has previously worked with stars including Pitbull, Kanye West and Lil Wayne.
Actresses Ann Reinking and Bebe Neuwirth are heading back to the New York revival of Chicago to help celebrate the show becoming the second longest-running production in Broadway history. Reinking, who also choreographed the musical, took centre stage as Roxie Hart when it first opened in May, 1996, alongside Neuwirth as Velma Kelly, Joel Grey as Amos Hart and James Naughton in the role of Billy Flynn.
Now all four original stars will return to the Great White Way for cameos on 23 November (14) for a special performance to mark the theatre record.
Chicago, which will have racked up 7,486 performances in 18 years by the time the curtain falls on the November show, will take over the second-place title from Cats, which recorded 7,485 shows on Broadway between 1982 and 2000.
However, the 1920s-based musical still has a way to go to claim the top honour - that is held by another Andrew Lloyd Webber production, The Phantom of the Opera, which is still running at the Majestic Theatre after more than 11,000 performances since 1988.
Lionel Richie is convinced nobody will remember songs by Miley Cyrus and Justin Bieber in years to come.
The Hello hitmaker is adamant pop stars who favour popularity and notoriety over quality of music will not stand the test of time, unlike tracks by Michael Jackson and Madonna.
He tells the London Evening Standard, "The beautiful part of where we were - we had shock value. But what came with shock value was hit after hit after hit. Madonna was outrageous - but she had a catalogue of music that was unbelievable. At the end of all the theatrics with Michael (Jackson), he had nothing but the most fabulous catalogue. Now, we've got a lot of theatrics... but where's the song that is going to stick around forever?... Twenty years from now, let's take anybody - where's the body of work? I'm going to judge you not by your popularity but by your longevity, your staying records. I'm thinking about Miley, Justin Bieber. We've made amateur music mainstream. There's a difference between a stylist and a singer. Everybody can sing! Go to karaoke, there are some guys seriously singing their a**es off! But do they have a unique voice, or distinct voice?"