He wears a heavy tweed coat instead of a cape and a steely, brooding façade instead of a dark cowl, but for Luther star Idris Elba, his British copper might as well be London’s own Batman. “In concept, we straddle between detective and superhero. Although there aren’t any magic tricks or capes or anything like that, we put our central character through improbable — and probable — scenarios that ask the audience to suspend their belief,” says Elba, the British actor who returns as Detective Chief Inspector John Luther for a third installment of the series running Tuesday through Friday (10 ET/PT nightly, except at 9 ET/PT Wednesday) on BBC America.
Over the course of a trio of seasons since 2010, Luther has dealt with masked serial killers, pedophiles, twin killers, snipers and the psychopathically endearing murderer Alice Morgan (Ruth Wilson), who’s gone from Luther’s arch-enemy to confidante. That stuff is almost easiest for the grumpy lawman to deal with than other aspects of his life, like coming to grips with the death of his ex-wife and brandishing his own sense of justice that, while efficient, puts him at odds with most every other cop in town.
“He’s a spiritually wounded man, and one of the great malicious pleasures of writing for the character and this particular actor is what kind of hell can I put him through next?” says Luther creator and writer Neil Cross.
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According to box office estimates, Lee Daniels’ The Butler the film beat out One Direction: This Is Us to win the Labor Day weekend box office race and become the first movie this year to finish No. 1 three consecutive weeks, according to TheWrap.
It appears the civil rights saga, starring Oprah Winfrey and Forest Whitaker, will bring in a little more than $20 million over the four-day holiday weekend. After looking as if it was going to finish in the top spot, Sony’s boy band music documentary ended the Labor Day weekend with $18 million.
“We’re surprised,” The Weinstein Company’s distribution chief Erik Lomis told TheWrap, “and very proud. We weren’t expecting to come away with this one, especially after starting out $5 million behind ‘One Direction’ after Friday.”
Lomis said “The Butler,” which has now brought in nearly $80 million domestically, was continuing to broaden its demographic base by playing younger.
“With the kids getting back to school, we’re hoping the word of mouth gets even stronger,” said Lomis. There’s not much room to expand in terms of theaters; it’s on 3,330 screens and averaged just over $6,000.
Two other wide openers – the Selena Gomez-Ethan Hawke thriller “Getaway” and the Eric Bana spy tale “Closed Circuit” – were both non-starters. But “Instructions Not Included,” a family comedy starring Eugenio Derbez, recorded the biggest domestic opening ever for a Spanish-language movie – on just 347 screens – and finished fifth with $10 million for the four days.
Get the FULL story at TheWrap.
“We’re surprised,” The Weinstein Company’s distribution chief Erik Lomis told TheWrap, “and very proud. We weren’t expecting to come away with this one, especially after starting out $5 million behind ‘One Direction’ after Friday.”
Lomis said “The Butler,” which has now brought in nearly $80 million domestically, was continuing to broaden its demographic base by playing younger.
“With the kids getting back to school, we’re hoping the word of mouth gets even stronger,” said Lomis. There’s not much room to expand in terms of theaters; it’s on 3,330 screens and averaged just over $6,000.
Two other wide openers – the Selena Gomez-Ethan Hawke thriller “Getaway” and the Eric Bana spy tale “Closed Circuit” – were both non-starters. But “Instructions Not Included,” a family comedy starring Eugenio Derbez, recorded the biggest domestic opening ever for a Spanish-language movie – on just 347 screens – and finished fifth with $10 million for the four days.
Get the FULL story at TheWrap.
CHICAGO — Act I, Scene 1: Four actors in well-worn coveralls and baseball caps take the stage at the county jail. They’re here to tell a tale of love, friendship, jealousy and betrayal. It’s the stuff of Shakespearean tragedy. The names and themes haven’t changed over the centuries, but the language has a modern beat:
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”
[youtube=http://www.youtube.com/watch?v=Cdv5FbuK4rY&w=420&h=315]
Even if Pharrell Williams isn’t a household name where you live, the music he’s had a hand in creating most likely is. He’s featured in this this year’s song of summer, “Blurred Lines,” Daft Punk’s “Get Lucky,” and he’s co-collaborated on songs such as Snoop Dogg’s “Drop it like it’s Hot” and Gwen Stefani’s “Hollaback Girl.”
Sixteen Grammy nominations (and three wins) later, the music producer-song writer-recording artist sat down with TODAY’s Savannah Guthrie to talk about the path to getting to top of the Top 40.
“I can write pretty much anywhere, but in the shower it’s, like, where it’s, like, really great,” Williams told Guthrie of where he’s come up with some of his best work, including “Hot in Herre” Nelly’s super-successful 1992 hit.
But before he was sharing top billing with the likes of Nelly, Justin Timberlake and Ludacris, he was any other kid growing up in Virginia Beach, playing the drums and going to band camp. “Most of us were kinda nerdy,” Williams said. “Nobody sort of walked in, like, you know, Kurt Cobain, Dave Grohl-cool.” It was at that camp where Williams, then 12, met his producing partner Chad Hugo. By the time they were 19, the duo had helped write and produce the 1992 Wreckx-N-Effect hit song, “Rump Shaker.”
Fast forward two decades and many successes, Williams says he can point to the singular best song he’s ever co-written. “My son,” he told Guthrie of Rocket, his little boy with new fiance Helen Lasichanh. “Every night’s like a sleepover,” he said of Lasichanh, who he calls his “bestie.”
So what else does the super-successful Williams hope to accomplish? “Honestly? It’s … more music,” he said. That said, music isn’t the only thing on the artist’s plate: Beginning Nov. 5, Williams will appear as a mentor on Rihanna’s new fashion reality competition show “Styled to Rock” on the Style Network.
article by Courtney Hazlett via today.com
LOS ANGELES (AP) — The Oprah Winfrey Network (OWN) is in the black for the first time since its rocky start two-and-a-half years ago. More than 30 new advertisers are joining original heavyweight sponsors Procter & Gamble and General Electric, and are paying higher rates as the channel has found its programming and distribution footing. Headlines about profitability and audience growth have replaced the drumbeat of speculation that her ambitious venture with Discovery Communications might end up a costly flop and an uncharacteristic failure for Winfrey.
Now, Winfrey says, “rewarding” is the word for her experience at OWN, both as the chairwoman and CEO shaping the channel and as a viewer lodestone who hosts several series including “Oprah’s Next Chapter” and “Oprah’s Lifeclass.”
“I no longer have such fear and anxiety about it. I really have more confidence in my decisions,” Winfrey said. “In the beginning, I was in a lot of meetings where people said, ‘You don’t understand cable.’ … I’d say, ‘But I do understand the audience. Aren’t people the same?’”
The answer is yes, says Winfrey, who’s enjoying a career renaissance with OWN’s turnaround and her return to big-screen acting in “Lee Daniels’ The Butler,” No. 1 at the box office for two weeks with more than $50 million in tickets sales.
Her confidence in OWN also is backed up by numbers. For the year to date, viewership is up 22 percent among the target audience of adult women and 23 percent among all viewers compared to last year, according to Nielsen Co. In the third quarter, prime-time viewership among women 25 to 54 and total viewers each are up more than 60 percent compared to 2012. For August, OWN drew a channel-high 536,000 prime-time viewers, a fraction of the millions that watched Winfrey’s talk show but respectable for a developing cable channel.
“I no longer have such fear and anxiety about it. I really have more confidence in my decisions,” Winfrey said. “In the beginning, I was in a lot of meetings where people said, ‘You don’t understand cable.’ … I’d say, ‘But I do understand the audience. Aren’t people the same?’”
The answer is yes, says Winfrey, who’s enjoying a career renaissance with OWN’s turnaround and her return to big-screen acting in “Lee Daniels’ The Butler,” No. 1 at the box office for two weeks with more than $50 million in tickets sales.
Her confidence in OWN also is backed up by numbers. For the year to date, viewership is up 22 percent among the target audience of adult women and 23 percent among all viewers compared to last year, according to Nielsen Co. In the third quarter, prime-time viewership among women 25 to 54 and total viewers each are up more than 60 percent compared to 2012. For August, OWN drew a channel-high 536,000 prime-time viewers, a fraction of the millions that watched Winfrey’s talk show but respectable for a developing cable channel.
Director Ron Howard will debut the “Made in America” documentary about the Jay Z-curated music festival in Philadelphia Oct. 11 on Showtime.
Close to 50,000 fans attended Jay-Z’s “Budweiser Made in America” festival on Labor Day weekend last year. The two-day event included performers such as Pearl Jam, Drake, Run DMC, Skrillex, D’Angelo and Calvin Harris.
The year’s festival kicks of this weekend with performances from Beyonce, Nine Inch Nails, Imagine Dragons, Deadmau5, Kendrick Lamar and Macklemore & Ryan Lewis. Howard’s documentary serves as a backstage pass to the event, which showcases performers sharing stories of how they are “making it in America.”
It will debut Sept. 7 at the Toronto International Film Festival.
article via eurweb.com
It seems like only yesterday that we bid farewell to Robin Roberts on “Good Morning America,” but it’s been a full year. The beautiful and inspiring anchor is set to make her full time comeback! Roberts came back to the show earlier this year, but is now back five days a week! “The day after Labor Day, I’ll be back to a five-day a week schedule,” Roberts explained. “I’m looking forward to it. I want to get back to my full life.”
Roberts revealed, “I’m really at peace now. I’m not as frightened. I feel 90 percent of myself again, and that’s a great feeling.” September 20th marks a full year since Roberts’ bone marrow transplant and she’s apparently feeling closer to her old self!
Recently getting back from a Maui vacation with a close group of friends, Roberts used that time to renew and reflect and called the trip meaningful. “To be able to feel stronger and a little more active, it’s great to feel that way again,” Roberts said of her trip. Roberts kept a photo of Maui up in her hospital room as motivation to get well. And it did the trick because we get to see her beautiful face every weekday morning. Welcome back Robin!
article by Danielle Young via blackamericaweb.com
Roberts revealed, “I’m really at peace now. I’m not as frightened. I feel 90 percent of myself again, and that’s a great feeling.” September 20th marks a full year since Roberts’ bone marrow transplant and she’s apparently feeling closer to her old self!
Recently getting back from a Maui vacation with a close group of friends, Roberts used that time to renew and reflect and called the trip meaningful. “To be able to feel stronger and a little more active, it’s great to feel that way again,” Roberts said of her trip. Roberts kept a photo of Maui up in her hospital room as motivation to get well. And it did the trick because we get to see her beautiful face every weekday morning. Welcome back Robin!
article by Danielle Young via blackamericaweb.com
According to Variety.com, Universal and Imagine Entertainment have agreed to make the long-gestating James Brown biopic after hiring “42″ star Chadwick Boseman to play the legendary artist known as the “Godfather of Soul.” “The Help” director Tate Taylor is directing the film with Imagine’s Brian Grazer and Erica Huggins producing, along with Mick Jagger and Victoria Pearman under their Jagged Films banner.
Jez and John Henry Butterworth wrote the script, which follows Brown’s rise from extreme poverty in Georgia to becoming a world-famous and highly influential R&B musician with a string of hits in the 1960s and ’70s including “Please, Please, Please,” “I Got You (I Feel Good),” “Papa’s Got a Brand New Bag” and many others. Brown died in 2006 at age 73.
Several actors were vying for the role, but Boseman emerged as the top choice a few weeks ago, though no offer could be made until the movie was formally greenlit by Universal. Boseman will be seen next in Summit’s NFL drama “Draft Day” starring Kevin Costner.
article by Lori Lakin Hutcherson via Variety.com
Jez and John Henry Butterworth wrote the script, which follows Brown’s rise from extreme poverty in Georgia to becoming a world-famous and highly influential R&B musician with a string of hits in the 1960s and ’70s including “Please, Please, Please,” “I Got You (I Feel Good),” “Papa’s Got a Brand New Bag” and many others. Brown died in 2006 at age 73.
Several actors were vying for the role, but Boseman emerged as the top choice a few weeks ago, though no offer could be made until the movie was formally greenlit by Universal. Boseman will be seen next in Summit’s NFL drama “Draft Day” starring Kevin Costner.
article by Lori Lakin Hutcherson via Variety.com
Just over a decade ago, Vin Diesel shot from near-obscurity to earning a $10 million payday in what seemed like record time, racing from an ensemble role in “Saving Private Ryan” to headlining “XXX” in nearly four years. But those who think of Diesel as an overnight action star don’t know the half of it.
“Vin is one of the most wildly misunderstood actor-producers out there,” says Universal co-chairman Donna Langley, whose connection with Diesel predates even 2001’s “The Fast and the Furious,” tracing back to “Boiler Room” at New Line.
While Diesel’s fans are familiar with his muscular physique and the trademark thunder-roll of his voice, what they don’t necessarily realize is just how much work Diesel puts into developing the movies they see as pure popcorn fun — or how hard he struggled to get to this point.
Before he became a star, Diesel broke through as an independent filmmaker, writing and directing work that was invited to screen at the Sundance and Cannes film festivals. And before he retires, Diesel will likely step behind the camera again, maybe even to direct his long-brewing passion project, “Hannibal.”
According to variety.com, three new wide releases, led by Sony-Screen Gems’ Y/A adaptation The Mortal Instruments: City of Bones, with an estimated $14.1 million in five days, were no match for Lee Daniels’ The Butler, which only fell 31% in its second weekend, for a projected $17 million through Sunday. The Weinstein Co.-distributed movie has earned north of $52 million so far.
The holdover success of Lee Daniels’ The Butler can be largely attributed to its broadening audience: Last weekend, the film earned 76% of its gross from audiences over 35, while in its second weekend, that share shrunk to 63%. Moreover, African-Americans contributed a weighty 39% of the film’s opening; just 33% of its total this weekend came from black viewers. The film’s playability mirrors the stronghold that The Help had on the box office this time two years ago.