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      Tanya Roberts, a Charlie’s Angel and a Bond Girl, Is Dead at 65

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyTanya Roberts, a Charlie’s Angel and a Bond Girl, Is Dead at 65After finding stardom in the 1980s, she fell out of the spotlight until re-emerging in 1998 in the sitcom “That ’70s Show.”Tanya Roberts with Roger Moore in the 1985 James Bond film “A View to a Kill.” She had earlier starred in the last season of “Charlie’s Angels.”Credit…Alexis Duclos./Associated PressJan. 5, 2021Updated 1:30 p.m. ETTanya Roberts, the breathy-voiced actress who found fame in the 1980s as a detective on “Charlie’s Angels” and as a brave earth scientist in the James Bond film “A View to a Kill,” died on Monday night in Los Angeles. She was 65.Her death, at Cedars-Sinai Hospital, was confirmed on Tuesday by her companion, Lance O’Brien. Her publicist, who was given erroneous information, had announced her death to the news media early Monday, and some news organizations published obituaries about her prematurely.The publicist, Mike Pingel, said Ms. Roberts collapsed on Dec. 24 after walking her dogs near her Hollywood Hills home and was put on a ventilator at the hospital. He did not give the cause of death, but said it was not related to Covid-19. He said she had not been noticeably ill before she collapsed.Ms. Roberts’s big acting break came in her mid-20s, when she was cast in the fifth and last season of “Charlie’s Angels,” the ABC drama series that, trading on its stars’ sex appeal, followed the exploits of three attractive former police officers who often fought crime wearing short shorts, low-cut blouses and even bikinis.The show was an immediate hit in 1976, but Farrah Fawcett, its breakout star, left after one season, replaced by Cheryl Ladd. Kate Jackson quit in 1979, and her replacement, Shelley Hack, was gone after just one season. Ms. Roberts replaced Ms. Hack. Jaclyn Smith appeared throughout the series run.There were high hopes for Ms. Roberts when she joined the cast. Her character, Julie, had some of Ms. Jackson’s character’s streetwise attitude; Julie was known to knock a handgun right out of a tough criminal’s hand. Her part couldn’t save the show’s plummeting ratings, but it did lead to an active decade for her in Hollywood.Ms. Roberts, second from left, starred in “Charlie’s Angels” in its fifth and final season. The other “angels” in this 1980 photo were Cheryl Ladd, left, and Jaclyn Smith, right. Second from right is Patti D’Arbanville, who appeared in an episode.Credit…Getty ImagesMost notably, she was a “Bond girl,” playing a geologist threatened by a microchip-monopolist madman (Christopher Walken) in “A View to a Kill” (1985), Roger Moore’s last appearance as Agent 007.Ms. Roberts also appeared in “The Beastmaster” (1982), a fantasy film. And she played the title role in “Sheena” (1984), a highly publicized adventure film inspired by a queen-of-the-jungle comic book character. Sheena, a female Tarzan type, wore skimpy fur outfits with décolletage, rode a zebra, talked to animals and shape-shifted. The film flopped at the box office, and Ms. Roberts began fading from public view.She returned to the spotlight in 1998 on the sitcom “That ’70s Show” as the glamorous, youngish Midwestern mom of a teenage girl (Laura Prepon). In that role she was beautiful, slim and sexy — and delightfully dimwitted. The comic mystery, year after year, was how her short, dumpy husband, played by Don Stark with frighteningly overgrown sideburns, had ever won her heart. Ms. Roberts appeared on the show for three seasons and later made guest visits.She was born Victoria Leigh Blum in the Bronx on Oct. 15, 1955, the second of two daughters of Oscar Maximilian Blum, a fountain pen salesman, and Dorothy Leigh (Smith) Blum. According to some sources, Tanya was her nickname. She spent her childhood in the Bronx and lived briefly in Canada after her parents’ divorce. She began her career by running away from home to become a model when she was 15.Back in New York, she studied acting, appeared in some Off Broadway productions and worked as a model and a dance instructor to make ends meet. Her modeling career included work for Clairol and Ultra-Brite toothpaste. She made her screen debut in the horror thriller “The Last Victim” (1976), about a serial rapist-murderer.Ms. Roberts, right, in 1999 in a scene from the sitcom “That ’70s Show” with Laura Prepon, another star of the show. Ms. Roberts had kept a low profile for many years until re-emerging in the show.Credit…Frank Carroll/FoxAfter “Charlie’s Angels,” Ms. Roberts acted in both television and films. Her roles included the private eye Mike Hammer’s secretary in the television movie “Murder Me, Murder You” (1983), a detective working undercover at a sex clinic in “Sins of Desire” (1993) and a talk-radio host on the erotic anthology series “Hot Line” (1994-96). Her final screen appearance was on the Showtime series “Barbershop” in 2005.Even in her heyday, Ms. Roberts appeared not to enjoy being interviewed. Chatting with Johnny Carson on “The Tonight Show” in 1981, she laughed nervously, gave short answers and flirted with Michael Landon, her fellow guest. At one point, Mr. Carson mentioned a cover article about her in People magazine, prompting Ed McMahon, the host’s sidekick, to suggest, “Maybe there’s something in the magazine that’d be interesting.”Ms. Roberts was a teenager when she married in 1971, but the union was quickly annulled at the insistence of her new mother-in-law. In 1974, she met Barry Roberts, a psychology student, while both were standing in line at a movie theater. They married that year. Mr. Roberts became a screenwriter and died in 2006 at 60.In addition to Mr. O’Brien, she is survived by a sister, Barbara Chase, who was Timothy Leary’s fourth wife.Ms. Roberts had always insisted that she was a New Yorker at heart, and not just because she hated driving.“L.A. drives you crazy,” she said in the 1981 People magazine article. “I’m used to weather and walking and people who say what they mean.”AdvertisementContinue reading the main story More

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      ‘White Lie’ Review: In Sickness and in Stealth

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘White Lie’ Review: In Sickness and in StealthA young woman grows increasingly desperate to maintain the illusion of her illness in this restrained drama.Kacey Rohl in “White Lie.”Credit…Lisa Pictures & Rock Salt ReleasingJan. 5, 2021, 7:00 a.m. ETWhite LieDirected by Yonah Lewis, Calvin ThomasDrama1h 36mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“White Lie” is something of a misnomer, given that the fraud that Katie (Kacey Rohl), a young college student, is perpetrating is far from victimless. Neither is it easy: The effort involved in pretending to have cancer consumes most of her energy (and all of the film’s 96 minutes). She looks exhausted, although — according to a crooked physician — not nearly enough to convince potential marks. Luckily, that’s a problem weight-loss medication can solve.Small in scale and gray in aspect, “White Lie,” written and directed by Yonah Lewis and Calvin Thomas, is a coolly indeterminate tease. Instead of a third act, this unusual Canadian drama simply continues Katie’s desperate sprint to stay one step ahead of exposure, and her frantic recalibration whenever her scam is threatened: A grant application requires falsified medical records; a social-media post demands panicked damage control.[embedded content]The plot’s repetitive rhythms are eased, though, by Rohl’s startling commitment to her character’s pathology — a long, money-grubbing con of begging, borrowing and online fund-raising. We first see her in her bathroom, meticulously shaving her head, the cold calculation of her actions contrasting with the practiced sweetness of her public persona. Katie’s estranged father (Martin Donovan) may challenge her ruse with hints of a troubled past; but her affluent, devoted girlfriend (a wonderful Amber Anderson) is pitiably eager to finance nonexistent treatment options.Yet as Katie veers from pathetic to vicious, “White Lie” observes her shameless behavior without attempting to elucidate. The result is a movie that’s too vague to capitalize on its jittery tone and too timid to fully wrestle with the monster at its core.White LieNot rated. Running time: 1 hour 36 minutes. Rent or buy on Google Play, FandangoNow and other streaming platforms and pay TV operators.AdvertisementContinue reading the main story More

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      Vanessa Kirby Recalls Crying Her Eyes Out Watching Live Birth for 'Pieces of a Woman' Preparation

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      Sunday Times Culture

      Having to portray a woman left grief stricken by her stillborn baby, the young Princess Margaret of ‘The Crown’ reveals she was given a chance to sit in on a birthing experience at Whittington Hospital.

      Jan 5, 2021
      AceShowbiz – Actress Vanessa Kirby was so in awe of the process of childbirth she held her breath as she observed a woman in labour as research for her new movie.
      In “Pieces of a Woman”, Vanessa portrays Martha, who is left grief stricken after her baby is stillborn, and she felt daunted by her first scenes, which depicted her character giving birth.
      As “The Crown” star has never had children of her own, the actress contacted officials at London’s Whittington Hospital and asked if she could sit in on a birthing experience – and was stunned when an expectant mother agreed.
      “I walked in in my scrubs. We had asked permission and unbelievably she said yes. Not sure I would. Some random actress in there…,” Vanessa remarked to The Sunday Times Culture magazine.
      “Anyway, I sat next to her on the bed and vaguely waved. I was in awe. Her mother was there too. I hardly breathed for six hours.”

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      Asked if she offered encouragement, Vanessa exclaimed, “No! Can you imagine? ‘Go on, girl!’ No, I was silent. It was a greater achievement than I’ve seen anybody do. There were forceps.”
      “At one point she looked at me. Halfway through a difficult contraction. I blew her a kiss. Why? So embarrassing.”
      Although she didn’t know the family, Vanessa found the experience of watching the mum welcome her son very moving.
      “When he was actually born, the nurses brought me round to see him come out. I was crying my eyes out,” she recalled. “All colour came back to the mother. It was holy. And then I was introduced, and they went, ‘Oh God, Princess Margaret!'”
      Vanessa portrayed a young Princess Margaret in the first two seasons of Netflix’s royal drama “The Crown”.

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      Patty Jenkins Gets Candid About Warner Bros.'s Initial Mistrust Over Her 'Wonder Woman' Vision

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      WENN/Sheri Determan

      When addressing her internal war with the studio over the blockbuster movie, the ‘Wonder Woman 1984’ director admits they just wanted her to be a symbol of empowerment without any power.

      Jan 5, 2021
      AceShowbiz – Patty Jenkins battled with Warner Bros. bosses over her vision for “Wonder Woman”, because they just wanted a female to direct the blockbuster.
      The filmmaker reveals studio chiefs didn’t even want to read her script for the hit film and initially refused to take her suggestions seriously until she made it clear she wasn’t just going to be a symbol of empowerment without any power.
      “They wanted to hire me like a beard,” she said on Marc Maron’s “WTF” podcast. “They wanted me to walk around on set as a woman, but it was their story and their vision.”
      “They didn’t even want to read my script. There was such mistrust of a different way of doing things and a different point of view… When I first joined ‘Wonder Woman’, it was like, ‘Uh, yeah, OK, but let’s do it this other way’. But I was like, ‘Women don’t want to see that. Her being harsh and tough and cutting people’s heads off… I’m a Wonder Woman fan, that’s not what we’re looking for!’ ”

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      But she can understand why some executives were nervous about “Wonder Woman”, “They were all freaked out by all the female superhero films that had failed, the smaller ones that had failed, and also Christopher Nolan was making the ‘Dark Knight’ thing, so I think they were just trying to figure out what they were doing with DC at that time,” she added.
      “During that period of time, there were so many scripts and I could see the writing on the wall. This was an internal war on every level about what ‘Wonder Woman’ should be.”
      The film went on to become a huge hit for the studio, breaking records around the world, and Jenkins’ sequel, which was released on Christmas Day (December 25), has also been acclaimed. She is now working on a third film with “Wonder Woman” star Gal Gadot.

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      Tanya Roberts Is Still Alive, Says Publicist Who Reported She Had Died

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyTanya Roberts Is Still Alive, Says Publicist Who Reported She Had DiedA miscommunication led to erroneous reports about the 65-year-old actress, known for her roles in the James Bond movie “A View to a Kill,” and in the television shows “Charlie’s Angels” and “That ’70s Show.”Tanya Roberts as Stacey Sutton, an earth scientist, in the 1985 James Bond film “A View to a Kill.” She had earlier starred in the last season of “Charlie’s Angels.”Credit…Keith Hamshere/Getty ImagesJan. 4, 2021Hours after announcing the death of Tanya Roberts, the actress known for starring opposite Roger Moore in his final turn as James Bond and for her roles in “Charlie’s Angels” and “That ’70s Show,” her publicist said on Monday that he had done so in error.The publicist, Mike Pingel, said in an interview on Monday night that Ms. Roberts, 65, was hospitalized at Cedars-Sinai Medical Center in Los Angeles and in grave condition for an unspecified illness.The information contradicted earlier accounts that Mr. Pingel had given to several media outlets that had reported that Ms. Roberts had died.Mr. Pingel said that he had relied on information from Lance O’Brien, Ms. Roberts’s longtime partner.“It’s a human miscommunication, unfortunately,” Mr. Pingel said. “People have been writing beautiful amazing stories on her. It’s a shame this happened.”Mr. O’Brien said in a separate interview on Monday night that Ms. Roberts had been hospitalized since Dec. 24 after feeling ill after a hike a few days earlier in their Hollywood Hills neighborhood. Ms. Roberts developed sepsis after an infection and her prognosis is bleak, he said.Mr. O’Brien said he had been recounting visiting Ms. Roberts on Sunday at the hospital to Mr. Pingel and told the publicist that “I just said goodbye to her.” In what he called an “innocuous” miscommunication, he said that Mr. Pingel had been under the impression that Ms. Roberts had died.”I was an emotional wreck,” Mr. O’Brien said. Then, he said, he started to receive push notifications on his phone regarding Ms. Roberts’s death.“My phone blew up,” he said. Among the media organizations that had reported Ms. Roberts was dead based on information from her publicist were The Associated Press, USA Today, the website TMZ and The Hollywood Reporter. The Washington Post published an obituary of Ms. Roberts by The Associated Press on its website, which it later appended with a note saying that the report had relied on information provided by her publicist. Ms. Roberts, who was born in the Bronx, scored her first big break as an actress in 1980 playing a detective on the final season of the television series “Charlie’s Angels.”Her biggest success on the big screen came in 1985, when, despite being 28 years younger than the leading man of the Bond franchise, Ms. Roberts starred opposite Mr. Moore in “A View to a Kill.” She played Stacey Sutton, who teams with Bond to thwart a plot by the industrialist Max Zorin (Christopher Walken) to destroy Silicon Valley with a double earthquake.It was the final appearance of Mr. Moore as the British spy, one that he later criticized for the age gap between himself and Ms. Roberts, who is known for her breathy voice.From 1998 to 2004, Ms. Roberts introduced herself to a new generation of television viewers with her recurring role as Midge Pinciotti on “That ’70s Show.”The reporting of Ms. Roberts’s death prompted a series of tributes on social media, including from fans of the Bond franchise.Her name unexpectedly and erroneously joined those of recently lost stars associated with the franchise, including Sean Connery, the dashing Scot who first played Ian Fleming’s secret service agent, who died in October. The British actress Diana Rigg, who marries Bond in “On Her Majesty’s Secret Service” and is killed on their wedding day, died in September.AdvertisementContinue reading the main story More

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      Report: Michael Keaton to Return as Batman for DCEU Films

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      Warner Bros.

      NY Times writer Brooks Barnes confirms that the star of Tim Burton’s 1989 movie ‘Batman’ is going to replace Ben Affleck in future films of a non-Batman-centric saga.

      Jan 5, 2021
      AceShowbiz – Michael Keaton, not Ben Affleck, is going to be the main Batman of DCEU going forward, according to reports. Words are the 69-year-old actor is going to be wearing the cowl again for future films in a non-Batman-centric saga, after Affleck dropped out of the franchise in 2019.
      In a recent interview with Warner Bros. chief Walter Hamada, New York Times stated that “Warner Bros. will have two different film sagas involving Batman – played by two different actors – running at the same time.” One of them is starring Robert Pattinson.
      When asked to confirm if he meant a new actor will play Batman in the second franchise, writer Brooks Barnes replied on Twitter that he was referring to Keaton.

      NY writer Brooks Barnes confirmed Michael Keaton would return as Batman in DCEU films.

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      This, however, doesn’t necessarily mean that Affleck is forever out of the DCEU. In the same article, Barnes reported that both the “Justice League” star as well as Keaton will be appearing in The Flash stand-alone film, which is set for release in theaters in 2022. The upcoming movie “will link the two universes and feature two Batmans, with Mr. Affleck returning as one and Michael Keaton returning as the other,” so he wrote.
      As reported back in July 2020, Affleck has signed a deal with Warner Bros. to re-team up with the filmmaker in the latter’s future projects that are backed up by HBO Max, AT&T and WarnerMedia. It’s not specified what these projects are, but it’s said that they can range from cameos, miniseries and full-length feature films through HBO Max.
      Affleck starred as the Caped Crusader in “Batman v Superman: Dawn of Justice” (2016) and “Justice League” (2017). He additionally made a cameo appearance as the character in “Suicide Squad” (2016). He was going to star in a standalone Batman film with him at the helm. After stepping down from the directing duty in 2017, he bid farewell to the character in January 2019, with Pattinson being tapped to take on the lead role in “The Batman”, which is directed by Matt Reeves.
      As for Keaton, he earned critical acclaim for his dramatic portrayal of the Gotham hero in Tim Burton’s “Batman” (1989) and “Batman Returns” (1992). He has since branched out to a superhero film from rival studio Marvel, starring as the villain Vulture in 2017’s “Spider-Man: Homecoming”.

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      Justin Bieber Distances Self From Hillsong Church Amid Reports of Him Studying to Become Minister

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      Sia Admits Maddie Ziegler Casting as Autistic Teen in Her Movie Is 'Actually Nepotism'

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      WENN

      The ‘Cheap Thrills’ hitmaker continues to defend the casting of the ‘Dance Moms’ star to play an autistic teen in new movie ‘Music’ despite the girl not being autistic herself.

      Jan 5, 2021
      AceShowbiz – Sia has once again defended her casting of Maddie Ziegler in her film “Music”, hailing the move “nepotism.”
      The “Cheap Thrills” hitmaker recently faced controversy because of the casting of her frequent collaborator as an autistic girl (Music) who moves in with her newly-sober half-sibling Zu (Kate Hudson) – despite the fact the 18-year-old star isn’t autistic herself.
      And after passionately defending the casting on Twitter, Sia once again opened up about the controversy during an interview on Australia’s The Sunday Project, explaining, “I realised it wasn’t ableism. I mean, it is ableism I guess as well, but it’s actually nepotism because I can’t do a project without her. I don’t want to. I wouldn’t make art if it didn’t include her.”

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      Maddie – who has starred in many of Sia’s music videos, including the promos for “Elastic Heart” and “Chandelier” – feared people would think she was “making fun” of autistic people.
      “I bold-facedly said, ‘I won’t let that happen,’ ” Sia insisted, but added that she’s come to realise she cannot “protect” Maddie from criticism.
      “Last week, I realised I couldn’t really protect her from that, which I thought I could. We sent it off to the Child Mind Institute and she received 100 per cent as performance accuracy. I realise that there are some things I can’t protect her from as much as I try,” Sia sighed.
      The movie originally starred Shia LaBeouf who co-starred with Maddie Ziegler in Sia’s “Elastic Heart” music video, but the “Honey Boy” actor was ditched by the singer following abuse allegations made by former girlfriend FKA twigs.

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      Listen to Rudolph: A New Year Is Both a Comfort and a Fiction

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookListen to Rudolph: A New Year Is Both a Comfort and a FictionA 1976 TV movie that imagined years as people is a helpful reminder that a new page on the calendar is an arbitrary creation.“Rudolph’s Shiny New Year” was a follow-up to the better-known Christmas special, but the second movie has lessons for our pandemic year.Credit…Rankin/Bass ProductionsJan. 4, 2021, 4:06 p.m. ETIf 2020 were a person, what would it look like? I imagine someone tired, ravaged, beaten down by illness and police brutality, and weary from trying to stay afloat in a sinking economy. We’ve personified 2020 in articles and memes and GIFs, speaking of it as though it were a living, breathing antagonist in our collective story. And this past New Year’s celebration was not so much about the birth of a new year as about the death of an old one that no one asked for.I was thinking of the poor pallor and limping gait of 2020 as I watched the 1976 Rankin-Bass stop-motion movie “Rudolph’s Shiny New Year” over the holidays. The film highlighted something that 2021 will surely come to prove: the ways we mark time are arbitrary, ultimately a fantasy in which our memory of a year often only accounts for the extremes of our experience: the best and worst things that happened to us. Time is unwieldy and untameable, so much larger than the ways we define it, and it continues whether or not we mark its passage.I grew up watching all the Rankin-Bass Christmas movies, with Heat Misers and Snow Misers and Burgermeister Meisterburgers, but “Rudolph’s Shiny New Year” always seemed the odd man (or, more accurately, odd reindeer) out. Unlike the others, which stuck to Christmas and its traditions, with stories of Santa and special holiday magic, “Rudolph’s Shiny New Year” focused on our celebration of passing time.The follow-up to “Rudolph the Red-Nosed Reindeer” set its protagonist on a new mission: After saving Christmas with his shiny schnoz-beacon, Rudolph must track down Happy, the baby new year, who has run away because people keep making fun of his Dumbo-esque ears. The aged Father Time tells Rudolph that if Happy isn’t found by midnight on New Year’s Eve, it will remain Dec. 31 forever.Rudolph encounters various silly side characters along the way, and the most delightful part of the movie for me was always his jaunt among the Archipelago of Last Years, with each year, personified based on prominent events and attitudes, getting its own island where time is locked. (I now wonder if the plot was swiped from the writer’s table at “Doctor Who.”)One Million B.C. is a cave man living among dinosaurs, and 1776 looks like Benjamin Franklin. We don’t get to see every island but learn that on 1492 island, people were too busy discovering things to help, and that 1965 was too noisy. Rudolph also mentions the island of 1893, the year of a major depression, but they have never heard of Happy.It’s a cute joke, one I missed as a kid but that caught my attention now: You could imagine 2020 there, passed over by Rudolph because its inhabitants have also never heard of Happy. But the premise reveals its own holes. For one, the personifications are America- and white-centric. America was born in 1776, but it was also the year of a deadly hurricane in Guadeloupe and a war against Cherokee tribes. And the island descriptions are all deliberately myopic: 1893 was the year of a depression but it was also the year of the Belgian workers’ strike and the Chicago World’s Fair. In 1965, when civil rights protests and Beatlemania were in full swing, it was definitely a year of noise but also silences: the death of Winston Churchill, the assassination of Malcolm X, deaths of civilians and soldiers in Vietnam. And then the quiet face of Mars, photographed for the first time by Mariner 4, hanging like a red ornament, suspended in the silence of space.But this is how we think of time: one adjective at a time, the best or the worst within the narrow confines of our own perspectives. Otherwise we’d go mad, accounting for every second of every day, every victory and trifle.“Rudolph’s Shiny New Year” is a reminder, however, that there’s comfort in that, to think that our worst years also contain someone else’s best, that our best years are tempered with the worst, and that there’s a larger narrative always happening beyond the turn of a calendar page.So we’ve kicked the old year out onto its island, and welcomed baby Happy 2021 hoping for the best. There is still a pandemic. There are still people sick and dying or unemployed. But on New Year’s Day I passed by children playing in the park and texted a friend about her exciting new job offer. I happily browsed new art to hang in my apartment, listened to music and watched a TikTok musical. Our celebration of the passage of 2020 is arbitrary, because there is more to come: the good and the bad and the everything in between.AdvertisementContinue reading the main story More