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    Danny Masterson Is Sentenced to 30 Years to Life in Prison for Two Rapes

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    The “That ’70s Show” actor was found guilty in May of raping two women in the early 2000s.Danny Masterson, the actor best known for his role in the sitcom “That ’70s Show,” was sentenced to 30 years to life in prison on Thursday for the rapes of two women when he was at the height of his career more than 20 years ago.Judge Charlaine F. Olmedo of Los Angeles Superior Court handed the sentence down after hearing statements from the women, who described the lasting impact of Masterson’s actions on their lives.“The body is a relentless witness,” one of the accusers, identified as N. Trout, said in a statement that was read aloud in the courtroom on Thursday. “When you raped me you stole from me,” she said. “That is what rape is, a theft of the spirit.”George Gascón, the Los Angeles district attorney, said he hoped the women’s bravery would be an example to others. “Justice was finally served today,” he said, noting that one of his top priorities was to ensure “Los Angeles will no longer be a hunting ground for Hollywood elite who feel entitled to prey on women.”Shawn Holley, a lawyer for Masterson, told reporters outside the courtroom that she was “very disappointed” in the sentence, noting that a team of lawyers had reviewed the case and found “a number of significant evidentiary and constitutional issues” that they planned to to use in appeals.“Though we have great respect for the jury, and for our system of justice, sometimes they get it wrong — and that’s what happened here,” Holley said, noting that Masterson maintains his innocence.Masterson, 47, played Steven Hyde on “That ’70s Show” from 1998 to 2006 and also starred in the television comedy “Men at Work” from 2012 to 2014. More recently, he appeared in the Netflix comedy “The Ranch,” but was fired from the show in 2017 after the rape allegations emerged.The case against Masterson drew widespread attention, and at times mirrored a television saga, in part because of accusations that the Church of Scientology, to which Masterson belonged, had tried to discourage his accusers.In May, Masterson was convicted of raping two women at his home in the Hollywood Hills in the early 2000s. The jury deadlocked on a charge that the actor had raped a third woman.The mixed verdict was delivered after a jury deadlocked on all three charges in November, resulting in a mistrial.The retrial this spring lasted more than a month before Masterson was found guilty of two counts of rape by force or fear.The legal case against Masterson began unfolding in 2020, when he was charged with three counts. He pleaded not guilty.The case was closely watched not only because it involved a Hollywood star on trial in the #MeToo era but also because two of the women had accused the Church of Scientology, to which they also belonged, of discouraging them from reporting the rapes to the authorities. The church denied that it pressured the victims.One accuser, who was identified as Christina B. and who said Masterson raped her in 2001 when they were in a relationship, reported the rape to the church’s “ethics officer,” according to court documents. That officer told her, according to the documents, “You can’t rape someone that you’re in a relationship with” and “Don’t say that word again.” In May, the jury deadlocked on the charge related to her accusation.Court documents also said that Masterson had raped another woman, identified as Jen B., in April 2003 after he gave her a drink. Jen B., who sought the church’s permission to report the rape, later received a written response from the church’s international chief justice that cited a 1965 policy letter, which for her raised concerns she could be ousted from her family and friends if she reported a fellow Scientologist to the police. Still, she reported the rape in 2004.The third accuser, who was identified as N. Trout and who was raped in 2003, did not tell the church but shared it with her mother and best friend. “If you have a legal situation with another member of the church, you may not handle it externally from the church, and it’s very explicit,” she said, according to court documents. She added that she “felt sufficiently intimidated by the repercussions.”The church has maintained that it is not a party to the case, and should not be implicated. “There is not a scintilla of evidence supporting the scandalous allegations that the Church harassed the accusers,” it said in a statement following the sentencing.But Alison Anderson, a lawyer for two of the accusers, said that her clients planned to continue holding the church accountable for attempting to silence them.“Despite persistent harassment, obstruction and intimidation, these courageous women helped hold a ruthless sexual predator accountable today,” Anderson said. “They are eager to soon tell the fuller story of how Scientology and its enablers tried desperately to keep them from coming forward.” More

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      Actor Danny Masterson Found Guilty of Raping 2 Women in Retrial

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      The case against a star of the sitcom “That ’70s Show” drew widespread attention because of accusations that the Church of Scientology had tried to discourage his accusers.A jury in Los Angeles on Wednesday convicted Danny Masterson, the actor best known for his role on the sitcom “That ’70s Show,” of having raped two women in a case that drew widespread attention because of accusations that the Church of Scientology had tried to discourage his accusers.The jury deadlocked on a charge that Masterson had raped a third woman, the Los Angeles County District Attorney’s Office said.The mixed verdict came after a jury deadlocked on all three charges in November, resulting in a mistrial. The retrial lasted more than a month, and jurors deliberated for more than a week before finding him guilty of two counts of rape by force or fear.Masterson, 47, was taken into custody after the verdict. He will face up to 30 years to life in state prison when he is sentenced on Aug. 4, the district attorney’s office said.Prosecutors said that Masterson, who played Steven Hyde on “That ’70s Show” from 1998 to 2006, raped three women at his home in the Hollywood Hills between 2001 and 2003. He was charged in 2020 and had pleaded not guilty. A spokeswoman for Masterson’s legal team said the lawyers had no immediate comment after the verdict on Wednesday.The case was closely watched in part because of accusations by two of the women that the Church of Scientology, to which they and Masterson belonged, had discouraged them from reporting the rapes to law enforcement, according to court documents. The church has strongly denied that it pressures victims.Although both trials centered on the same allegations, Judge Charlaine F. Olmedo of Los Angeles Superior Court allowed prosecutors to tell jurors directly in the second trial that Masterson had drugged his three accusers, The Associated Press reported.Prosecutors suggested the possibility of drugging only in the first trial, as they presented testimony that the women felt disoriented and confused after Masterson gave them alcoholic drinks.Masterson’s lawyer, Philip Cohen, had argued that the women’s stories were inconsistent and that there was no physical evidence of drugging and “no evidence of force or violence,” The A.P. reported.“I am experiencing a complex array of emotions — relief, exhaustion, strength, sadness — knowing that my abuser, Danny Masterson, will face accountability for his criminal behavior,” one of Masterson’s accusers, who was identified in court documents only as N. Trout, said in a statement released by a public relations firm for lawyers who are representing her in a lawsuit against Masterson and the Church of Scientology.Another accuser, who was identified in court documents only as Christina B., said in the same statement that she was “devastated” that the jury had deadlocked on the charge that Masterson raped her in 2001 when they were in a relationship.“Despite my disappointment in this outcome, I remain determined to secure justice, including in civil court, where I, along with my co-plaintiffs, will shine a light on how Scientology and other conspirators enabled and sought to cover up Masterson’s monstrous behavior,” she said.According to a trial brief filed by the Los Angeles County District Attorney’s Office in September, Christina B. had reported the rape to the church’s “ethics officer” or “master at arms,” who told her, “You can’t rape someone that you’re in a relationship with” and “Don’t say that word again.”According to the brief, Masterson raped a third woman, identified only as Jen B., in April 2003 after he gave her a red vodka drink. About 20 or 30 minutes later, she felt “very disoriented,” the brief states.According to the brief, Masterson raped her after she regained consciousness on his bed. She reached for his hair to try to pull him off and tried to push a pillow into his face, the brief states. When Masterson heard a man yelling in the house, he pulled a gun from his night stand and told her not to move or to “say anything,” adding expletives, the brief states.Jen B., after seeking the church’s permission to report the rape, received a written response from the church’s international chief justice that cited a 1965 policy letter regarding “suppressive acts,” the brief states.To her, the response signaled that if she were to report a fellow Scientologist to the police, “I would be declared a suppressive person, and I would be out of my family and friends and everything I have,” the brief states. Still, she reported the rape to law enforcement in June 2004, the document states.N. Trout told her mother and best friend about the rape, but not the church, the brief states.“If you have a legal situation with another member of the church, you may not handle it externally from the church, and it’s very explicit,” she said, according to the brief. She added that she “felt sufficiently intimidated by the repercussions.”The church said in a statement in April that it “has no policy prohibiting or discouraging members from reporting criminal conduct of anyone, Scientologists or not, to law enforcement.”“Quite the opposite,” the statement said. “Church policy explicitly demands Scientologists abide by all laws of the land.” More

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      The Trouble With Reboot TV

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      The reboot that changes nothing will be uncanny and lifeless; the one that thinks itself more clever than its predecessor will turn out cynical and sour. In life, you rarely get a second chance to do something right — so goes the shopworn cliché. Contemporary Hollywood is a different matter. If a property was even glancingly popular in the 1980s or ’90s, it seems, it’s either in the process of being resuscitated or has been already. “Reboot” is one of those coinages that burrows into the lexicon without ever being fully explained (at least to me), but it has clearly supplanted “remake,” migrating over from the language of computing such that you now imagine the entertainment industry pulling every last item from its junk drawer and plugging it in to see if it still works. So startlingly large is the number of rebooted series that the phenomenon has even inspired an original show: Hulu’s very funny “Reboot,” about a fictional garbage ’80s sitcom being brought back to life.Hollywood’s dependence on old intellectual property has been a source of hand-wringing for at least the past two decades, but a majority of those complaints have centered on the film world and its parade of blockbusters. It’s on television and streaming services, though, that all this grasping at the familiar has really reached an apotheosis, with three recent shows yielding some of the strangest gambits yet. One of them is distinguished by the threadbare rationale for its existence. Gen Xers like me sacrificed untold I.Q. points on the shoals of ’80s television, but even I look at the new incarnation of “Night Court” — among the less-remembered of NBC’s classic Thursday sitcoms, about a Manhattan judge who was also an accomplished magician — and marvel at its pointlessness. The original, which ran between 1984 and 1992, felt like a supersize sketch show and depicted weirdos and reprobates dragged before the court after hours, a parade of old-timey jokes about winos, flashers and sex workers. Later I would have occasion to learn firsthand that there is no such magical judge to slap you on the wrist and send you on your way when you get arrested at night.The labored premise of NBC’s hit new version puts us right back where we started: The now-deceased Judge Harry Stone (played by the great Harry Anderson in the original) has been replaced on the bench by his daughter. The show strikes a sort of nonaggression pact with the audience: It won’t be funny, but neither will it challenge or rearrange any of the psychological furniture of the original. Its selling point is stasis. When Dan Fielding — John Larroquette, returning from the original — finds himself “surprised” by fake snakes exploding from a box, an old Harry Stone gag, even he seems vaguely disappointed. Whom exactly is this show for? What is the point of making it about Stone’s daughter, rather than any judge in any night court? How do you generate nostalgia for something that wasn’t especially missed? This is the reboot at its most indecipherable, a miasma of reflexive nostalgia and boardroom guesswork. HBO Max’s new “Velma” operates on the opposite logic: It interrogates and deconstructs its source material so aggressively that it often turns abrasive. The program is an animated spinoff from the “Scooby-Doo” franchise — first produced for television in 1969 and then in various forms since, with a talking Great Dane and a group of young detectives traveling around in a van solving mysteries (Arthur Conan Doyle meets “The Electric Kool-Aid Acid Test”) and unmasking ornery criminals who curse about how they “would have gotten away with it, too, if it weren’t for you meddling kids” (a Watergate-era mantra). This isn’t an especially offensive premise, which makes it difficult to understand the level of contempt “Velma” seems to have for it.One simple explanation may be that “Velma” sits in a lineage of dorm-room pop-culture deconstruction that became popular, during the 1990s, among a generation seized by the misapprehension that it was the first to discover irony. (This was my generation; in my early 20s, I briefly thought I was a genius for recognizing subtext in the cartoon “He-Man” that was actually just text.) The core of this aesthetic position is condescension — a belief that you, the astute modern viewer, are equipped with a sophisticated grasp of the medium, and the world, that eluded the credulous rubes who came before you. Programs that pander to this fantasy often skew mean, and “Velma” is meaner than most. There are some funny jokes, and Mindy Kaling voices the lead role with dyspeptic panache, but the series on the whole oozes molten hostility: It is viciously satirical, festooned with disturbing imagery, full of slapdash violence and kneejerk nihilism. Within its first two episodes, the original characters Fred and Daphne appear as a possibly psychopathic man-child and a glamorous drug dealer. Scooby-Doo makes no appearance at all. There are needling remarks about television’s checkered history of minority representation, and the showrunners seem to treat their reconception of Velma — making the character South Asian and moving her to the center of the story — as an act of bold subversion, but it’s not clear “Scooby-Doo” is a cultural monument of such gravity as to make those choices particularly brave. “Velma” mostly just wants to bite the hand that feeds it.Netflix’s reboot of “That ’70s Show” makes some rational sense, at least. The original sitcom chronicled the escapades of a group of cheerfully stoned and horny Wisconsin teenagers across the Carter administration. Its reincarnation, “That ’90s Show,” follows a parallel cabal of stoned and horny Clinton-era teenagers, who through some tortured story machinations end up pursuing their indolence in the very same Wisconsin basement, under the watch of the very same authority figures. All this is tactically coherent: It revives a cozy period piece while also capitalizing on the current youth vogue for all things ’90s.Unfortunately, the subtle warping of the space-time continuum is by orders of magnitude the most interesting thing about the show. Like so many family reunions, the overarching vibe is one of obligation. The pilot features a large swath of the original cast, but no one radiates much happiness at being back. Saddest of all is the return of Kurtwood Smith and Debra Jo Rupp as the roost-​ruling adults. Unlike the younger actors reprising their roles, these two never get to leave; their characters are now tasked with spending their golden years still wisecracking at a bunch of teenagers.The logic of the television industry suggests that so many reboots exist for the simple reason that they stand a high chance of being popular, using a familiar idea to cut through a glut of programming. Distant number-crunching concludes that some substantial segment of NBC’s prime-time viewers, a demographic whose median age is around 60, may sooner revisit “Night Court” than sample something more novel; excellent Nielsen ratings bear that out. Judging by Netflix’s rush to reboot everything from “Full House” to “Lost in Space,” streaming services’ internal data must say similar things.These shows face a clear creative bind. The reboot that changes nothing will be uncanny and lifeless; the one that thinks itself more clever than its predecessor will turn out cynical and sour. Either way, the market will keep serving them to us. So often, on TV as in apps, research and algorithms seem to manifest our lowest impulses as an audience, even the ones we would rather not have — say, a weakness for stupefying predictability, a smug feeling of superiority or a comforting retreat into fuzzy-blanket familiarity. They know what makes us click, even when the answer isn’t pretty.Source photographs: Patrick Wymore/Netflix; Robert Sebree/20th Century Fox Film Corp., via Everett Collection. More

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      What to Know About the Danny Masterson Rape Trial

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      The “That ’70s Show” actor has been charged with raping three women in the early 2000s. Two of the women have said the Church of Scientology discouraged them from reporting the assaults to the police.The actor Danny Masterson, known for his roles in the sitcom “That ’70s Show” and the Netflix comedy “The Ranch,” before he was fired in 2017 amid sexual assault allegations, has been on trial in Los Angeles on charges that he raped three women at his home in the Hollywood Hills in the early 2000s.Masterson, 46, has pleaded not guilty to three counts of forcible rape. Opening arguments began on Oct. 18, and the trial is expected to last four weeks. Masterson could face 45 years to life in prison if convicted.What are the allegations?According to a trial brief filed by the Los Angeles County District Attorney’s Office, Masterson raped a woman, identified only as Jen B., in April 2003 after she went to his house to pick up keys and he gave her a red vodka drink. About 20 or 30 minutes later, she felt “very disoriented,” the brief states.According to the brief, Masterson raped her after she regained consciousness on his bed. She reached for his hair to try to pull him off and tried to push a pillow into his face, it states. When Masterson heard a man yelling in the house, he pulled a gun from his night stand and told her not to move or “say anything,” adding expletives, the document states.The trial brief says that Masterson raped a second woman, identified only as Christina B., who had been in a relationship with him and had lived with him for six years.In November 2001, the document says, she awoke to Masterson “having sex with her” and told him to stop. “I fought back,” she said, according to the document. “I tried pushing him off me and saying, ‘No, I don’t want to have sex with you.’” She also pulled his hair, and he hit her, the document states.In December 2001, she had one or two glasses of wine at a restaurant with Masterson and woke up naked in her bed the next morning, feeling that it hurt to sit down or go to the bathroom, the brief states. She said she went downstairs and confronted Masterson, and he acknowledged having sex with her while she was unconscious, the document states.The brief says that Masterson raped a third woman, identified only as N. Trout, who occasionally saw him at parties and gatherings and, like him, was in the Celebrity Centre branch of Scientology.Sometime between October and December of 2003, she went to his house, where he handed her a glass of wine and told her to take off her clothes and get in his hot tub, where “everything started becoming blank,” the brief states. He assaulted her in the shower and on a bed, the document states. She told him, “No, I don’t want to do this,” according to the document.How is the Church of Scientology involved?The trial has involved accusations by two of the women that the Church of Scientology, to which they and Masterson belonged, discouraged them from reporting the rapes to law enforcement.After seeking the church’s permission, verbally and in writing, to report the rape, Jen B. received a written response from the church’s international chief justice that cited a 1965 policy letter regarding “suppressive acts,” the brief states.To her, the response signaled that if she were to report a fellow Scientologist to the police, “I would be declared a suppressive person, and I would be out of my family and friends and everything I have,” the brief states. Still, she reported the rape to law enforcement in June 2004, the document states.The woman identified as Christina B. said that when she reported the rape to the church’s “ethics officer” or “master at arms,” the officer told her, “You can’t rape someone that you’re in a relationship with” and “Don’t say that word again,” the document states.The officer showed her “policies and things in the Ethics Book about high crimes in Scientology.” One of them was “reporting another Scientologist to law enforcement,” she said, according to the brief.She understood that, if she went to the police, “the church would have ultimately destroyed” her and declared her a “suppressive person,” the document states.The woman identified as N. Trout told her mother and best friend about the rape, but not the church, the brief states.“If you have a legal situation with another member of the church, you may not handle it externally from the church, and it’s very explicit,” she said, according to the brief. She added that she “felt sufficiently intimidated by the repercussions.”What does the church say?The church has strongly denied that it pressures victims. It has accused prosecutors of injecting Scientology into the trial and misrepresenting its doctrines and beliefs “to stir up passion and prejudice in the uninformed,” it said in an emailed statement on Oct. 21.“The church does not discourage anyone from reporting any alleged crime nor tell anyone not to report any alleged criminal conduct,” it said in the statement. “The church has no policy prohibiting or discouraging members from reporting criminal conduct of Scientologists, or of anyone, to law enforcement. Quite the opposite. Church policy explicitly demands Scientologists abide by all laws of the land.” What does Masterson say?A lawyer representing Masterson said in a statement in 2020 that the actor was innocent and that Masterson and his wife were in “complete shock” that the “nearly 20-year-old allegations” had resulted in charges. “The people who know Mr. Masterson know his character and know the allegations to be false,” the lawyer, Tom Mesereau, said.Philip Cohen, who is representing Masterson in the trial, has sought to limit discussion of Scientology in court, telling the judge last month that it would unfairly bias the jury and force the defense to fight a “war on two fronts,” The Los Angeles Times reported.But the judge, Charlaine F. Olmedo of California Superior Court in Los Angeles County, found that Scientology was relevant to the case, and that the women could testify about their belief that church policy discouraged them from reporting the accusations to law enforcement, The Times reported. 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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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      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