Publishers Weekly Best-Sellers

The Free Press WV

Publishers Weekly best-sellers for week ending June 18, 2017:


1. “Camino Island” by John Grisham (Doubleday)

2. “Tom Clancy: Point of Contact” by Mike Maden (G.P. Putnam’s Sons)

3. “Into the Water” by Paula Hawkins (Riverhead)

4. “Dragon Teeth” by Michael Crichton (Harper)

5. “Come Sundown” by Nora Roberts (St. Martin’s Press)

6. “The Identicals” by Elin Hilderbrand (Little, Brown)

7. “Nighthawk” by Clive Cussler and Graham Brown (G.P. Putnam’s Sons)

8. “No Middle Name” by Lee Child (Delacorte)

9. “Love Story” by Karen Kingsbury (Howard Books)

10. “The Fix” by David Baldacci (Grand Central Publishing)

11. “16th Seduction” by by James Patterson and Maxine Paetro (Little, Brown)

12. “Testimony” by Scott Turow (Grand Central Publishing)

13. “A Gentleman in Moscow” by Amor Towles (Viking)

14. “Same Beach, Next Year” by Dorothea Benton (Frank)

15. “The Ministry of Utmost Happiness” by Arundhati Roy (Knopf)


1. “Understanding Trump” by Newt Gingrich (Center Street)

2. “Al Franken, Giant of the Senate” by Al Franken (Twelve)

3. “Astrophysics for People in a Hurry” Neil deGrasse Tyson (Norton)

4. “Make Your Bed” by William H. McRaven (Grand Central Publishing)

5. “Bill O’Reilly’s Legends and Lies: The Civil War” by David Fisher (Holt)

6. “I Can’t Make This Up: Life Lessons” by Kevin Hart with Neil Strauss ( Atria/37ink)

7. “Theft By Finding: Diaries” by David Sedaris (Little, Brown)

8. “Hillbilly Elegy” by J.D. Vance (Harper)

9. “Option B” by Sheryl Sandberg and Adam Grant (Grand Central Publishing)

10. “The Subtle Art of Not Giving a F*ck” by Mark Manson (HarperOne)

11. “Hunger” by Roxane Gay (Harper)

12. “Hue’ 1068” by Mark Bowden (Atlantic Monthly)

13. “Believe Me” by Eddie Izzard (Blue Rider)

14. “Killers of the Flower Moon” by David Grann (Doubleday)

15. “The American Spirit” by David McCullough (Simon & Schuster)


1. “See Me” by Nicholas Sparks (Vision)

2. “Night School” by Lee Child (Delacorte)

3. “Home” by Harlan Coben (Dutton)

4. “Rushing Waters” by Danielle Steel (Delacorte)

5. “15th Affair” by Patterson/Paetro (Grand Central Publishing)

6. “Foreign Agent” by Brad Thor (Pocket)

7. “Curious Minds” by Janet Evanovich and Phoef Sutton (Bantam)

8. “A Cold Creek Secret” by RaeAnne Thayne (Harlequin)

9. “Orchard Valley Brides” by Debbie Macomber (Mira)

10. “Dying Breath” by Heather Graham (Harlequin MIRA)

11. “The Girl with the Make-Believe Husband” by Julia Quinn (Avon)

12. “The Girl in the Spider’s Web” by David Lagercrantz (Black Lizard)

13. “Shadow Reaper” by Christine Feehan (Berkley)

14. “The Bitter Season” by Tami Hoag (Dutton)

15. “The Emperor’s Revenge” by Cussler/Morrison (G.P. Putnam’s Sons)


1. “The Woman in Cabin 10” by Ruth Ware (Gallery/Scout Press)

2. “Lilac Girls” by Martha Hall Kelly (Ballantine)

3. “All the Light We Cannot See” by Anthony Doerr (Scribner)

4. “The Nightingale” by Kristin Hannah (St. Martin’s Griffin)

5. “The Couple Next Door” by Sahri Lapena (Penguin)

6. “Cross the Line” by James Patterson (Grand Central Publishing)

7. “All the Missing Girls” by Megan Miranda (Simon & Schuster)

8. “On Tyranny” by Timothy Snyder (Crown/Duggan)

9. “Commonwealth” by Ann Patchett (Harper Perennial)

10. “The Official SAT Study Guide, 2018 ed. (College Board)

11. “The Wrong Side of Goodbye” by Michael Connelly (Grand Central Publishing)

12. “Before the Fall” by Noah Hawley (Grand Central Publishing)

13. “The Handmaid’s Tale” (TV tie-in) by Margaret Atwood (Anchor)

14. “The Nest” by Cynthia D’Aprix Sweeney (Ecco)

15. “No Is Not Enough” by Naomi Klein (Haymarket)

In Arts & Entertainment….

The Free Press WV

►  Cosby to Lecture on How to Avoid Sex Assault Allegations

Bill Cosby wants to get back to work, his spokespeople said Wednesday on Good Day Alabama, and one of his first plans is to host a series of town halls starting in July to educate young people. About what, exactly? Sexual assault. “Laws are changing. The statute of limitations for victims of sexual assault are being extended,“ said Ebonee Benson, per a video clip obtained by TMZ. “So this is why people need to be educated on, a brush against a shoulder, you know, anything at this point can be considered sexual assault and it’s a good thing to be educated about the laws.“

Added Andrew Wyatt, “This issue can affect any young person, especially young athletes of today. And they need to know what they’re facing. When they’re hanging out and partying, when they’re doing certain things they shouldn’t be doing. And it also affects, you know, married men.“ Also in Cosby news, a second juror came forward Thursday, telling WPXI that the jury was truly deadlocked, with votes typically coming down along 7-5 or 5-7 lines during deliberations. That assertion is at odds with the words of another juror who said there were only two holdouts.

►  Shannen Doherty Shows Off New Hair After Cancer Remission

Shannen Doherty’s hair is growing back following chemotherapy for breast cancer, and the actress has been showing it off on Instagram. “I think my husband and I are morphing into each other….. #twins #curlyhairdontcare,“ she said in one recent post highlighting the similarity of her locks and those of her husband, Kurt Iswarienko. Doherty announced two months ago that her cancer is in remission, People reports. “As every single one of my fellow cancer family knows, the next five years is crucial,“ she wrote at the time. “Reoccurrences happen all the time. ... So with a heart that is certainly lighter, I wait.“

►  Can Kumail Nanjiani’s love story save the romantic comedy?

Kumail Nanjiani and Emily Gordon made tweaks here and there to the autobiographical “The Big Sick,“ a romantic comedy based on their own extraordinary romance. But the most unbelievable things are 100-percent true.

Their relationship did, as in the film, evolve as Nanjiani’s Pakistani-American family was trying to arrange his marriage. Their lives together were irrevocably altered when an illness forced Emily into a medically induced coma. And — most unlikely of all — Nanjiani did grow up idolizing Hugh Grant and styling his hair like him.

“And you still kind of think that’s the ideal hair to have as a human being,“ Gordon, gently chiding her husband and co-writer, said in a recent interview alongside Nanjiani.

“It’s gorgeous,“ Nanjiani retorts, proudly unapologetic. “He was like my ideal of a man.“ (Here Gordon cackles) “He still is. The first best-man speech in ‘Four Weddings,‘ when I look back, so much of my stand-up was aping the Hugh Grant delivery. I love that movie.“

In “The Big Sick” Nanjiani has filtered his undying love of rom-coms (particularly the Hugh Grant-Richard Curtis variety) through his own improbable experience in love. The film, directed by Michael Showalter and produced by Judd Apatow, has already been hailed as one of the year’s best. Amazon plunked down $12 million for “The Big Sick” (in theaters Friday) after its lauded Sundance Film Festival premiere in January.

“The Big Sick” is a refreshing anomaly for many reasons. It’s a tenderly personal film in the midst of the brutal blockbuster season. It’s a major release starring a Pakistani-American actor (Nanjiani, famous to many for his role on “Silicon Valley”). And it’s, by far, the most exciting romantic comedy to come along in years — a rare shot-in-the-arm for a moribund genre, one nearly left for dead after too many conventional mediocrities.

“I would love it to have a comeback,“ Nanjiani said of the rom-com. “They would need to be different from the glut of rom-coms we had in the early 2000s. It would be good to see new, different versions of it.“

Lest anyone doubt his rom-com ardor, Nanjiani’s conversation is punctuated by titles like “My Best Friend’s Wedding,“ ‘'Sleepless in Seattle” and, repeatedly, his beloved “Four Weddings and a Funeral.“ Apatow recently introduced Nanjiani to its writer-director, Curtis, who gave him a few signed frames from “Four Weddings.“ ‘'Kumail was as excited as a man could be,“ said Apatow.

Nanjiani, 39, grew up immersed in American pop culture. He moved to the U.S. at age 18 to go to Iowa’s Grinnell College. He returned last month to give a commencement address where he encouraged graduates to “have sex with an immigrant.“ (“We’re going through a really tough time right now,“ he joked, “and it would just be really great for morale.“)

He and Gordon (who’s played by Zoe Kazan in the film) met in Chicago, where Nanjiani was a few years into his then-nascent, still nerve-rattled standup career and Gordon was a practicing therapist. As in the film, their first encounter was at one of his performances. “He said, ‘Is Pakistan in the house’ and I woo-hoo’ed, helpfully,“ Gordon recalls. When the two officially met two nights later, Nanjiani was drawn to Gordon’s confidence and Gordon “liked the way his brain worked on stage” — like an early bit of Nanjiani’s about the first deer that ate psychedelic mushrooms.

Apatow heard Nanjiani tell his story of meeting Gordon, and the subsequent coma, while the two were on Pete Holmes’ podcast about five years ago.

“It really was a strange, wonderful romantic comedy story. I thought: ‘Nobody has a great story like this. This sounds like a movie.‘ I sent Kumail and Emily off to start writing and we worked really hard at it for years,“ said Apatow. “Everything I do is hoping to be in the universe of ‘Terms of Endearment.‘ We usually don’t come close but I think this is as close as we’ve ever come.“

Think of the modern romantic comedy and you’re likely to picture Meg Ryan or Julia Roberts or Kate Hudson. It is, Nanjiani grants, “probably the whitest genre.“ And that’s one reason why “The Big Sick” points the rom-com in a new direction. Many of the funniest and natural scenes in the film are of Nanjiani sitting around the dinner table with his Pakistani family. (Anupam Kher and Zenobia Shroff play his parents; Ray Romano and Holly Hunter play Emily’s parents.) In one scene, Nanjiani watches YouTube videos on his phone while he’s supposed to be praying.

It adds up to a rarely seen snapshot of Muslim life in America, at a time when American openness to immigrants is severely challenged. Nanjiani is glad they made the film “before all the anti-immigration sentiment became so explicit.“

“We just wanted to make a movie about family and love,“ said Nanjiani. “We’re very, very lucky because I think we would have had pressure to make a statement with it. The movie is coming out in a very different context than it was made. I like that it humanizes a group of people that are generally seen in a very specific way in American pop culture.“

Gordon has her own issues with romantic comedy conventions. She once did a workshop on how their formulas and expectations are ruining our love lives: overselling the bold romantic gesture and falsifying the synchronicity of two people falling in love.

Alternatively fueled and stalled by cultural differences and an ill-timed coma, their relationship contained no such prescribed beats. But by the end, they were in love. Imbued with a new awareness of life’s fragility after the health scare, they moved to New York and got married. Nanjiani, with Gordon’s help, grew into his own as a performer, and they went on to write “The Big Sick.“

“We weren’t afraid of failing so much anymore,“ said Gordon. Nanjiani concurs. “We just kind of went for it.“

►  Republicans counting on Trump’s legal team

Donald Trump probably doesn’t think he has had an adequate spokesperson since the days of “John Miller.“ But his legal team – composed of very real and accomplished people – seems to be coming together nicely. No matter how Democrats try to spin it, there was no collusion between the Trump campaign and Russia. And if Trump would quit talking about it, it would be that much easier for his lawyers and allies to substantiate the fact that there was also no obstruction of justice.

Trump’s longtime lawyer Marc Kasowitz has a deep, personal relationship with the president. The legal team also consists of John Dowd, a savvy, big-league professional who knows how to work in Washington and represent clients in high-profile cases, as well as Jay Sekulow, a reassuring television presence who can help keep conservative constituencies by Trump’s side over the next several months.

Allowing for first-time jitters, Sekulow seems to be hitting mostly the right tone. He is no Lanny Davis – the infamous special counsel who defended President Bill Clinton during the Monica Lewinsky days – but then again, Sekulow’s client is innocent. He should have the easier job.

Anyway, an important component of Trump’s legal strategy is to maintain message discipline. But message discipline and restraint are not Trump’s specialty. Assuming no one can rein in Trump’s tweets, it will be up to his legal team to stick to the facts, remain surefooted, defend against the left’s most egregious attacks and clean up after material leaks – all the while avoiding the temptation to take the bait and engage with the media in day-to-day combat.

There is such a thing as having too many lawyers. But this team seems to be about the right size and have the right mix of relationships and skills. What remains to be seen is whether Trump will make their lives easier or more difficult.

So, what does Trump really need from his legal team? I hope he wants the same things that he needs. Specifically, he needs to ride out the reported investigation into possible obstruction of justice and put any suggestion of collusion behind him. But Trump, being Trump, will likely want to have a knife fight in which his enemies, imagined or real, are dispatched in a dramatic fashion.

It will be up to his lawyers to not indulge him in this fantasy. Even though Trump is innocent, with reckless words and deceitful tweets, he could sink his presidency into the quicksand of high crimes and misdemeanors that could change the course of history.

Trump’s lawyers must walk a delicate line, coordinating every word they say. We no longer live in a world where lawyers have the luxury of ignoring the media. There are simply too many outlets with too large an appetite for content.

When Haley Barbour and I started our firm as a law firm more than 25 years ago, the media strategy we recommended to our clients was always simple. Hide from the media. But now, as a lobbying/PR firm, we have a great deal of client matters that involve multiple law firms and constant media management.

One truism I have learned over the years is that clients never tell you everything and they often do not act how you want them to. From here, Trump looks just like that kind of client – times 10.

As a client, Trump will likely keep his legal team off balance and unsure of what will happen next. He can help his case at one moment and just as easily harm it at another.

There is no chance Trump will miraculously change his ways. His legal team will have to practice extraordinary patience and skill.

Republicans everywhere are counting on Trump’s legal team to come through. If it doesn’t, the consequences of failure could set back the party for decades.

►  Review: ‘Baby Driver’ is a toe-tapping, engine-revving jolt

There’s nothing like an epic getaway chase to kick a movie into high gear, and the first five minutes of “Baby Driver “ are pure movie magic.

A driver named Baby (Ansel Elgort) sits coolly in a car — black Ray-Ban style shades on his face, earbud headphones in place and a jacket that’s, fittingly, somewhere between Ferris Bueller and Han Solo. His tough-looking passengers (Jon Hamm, Eiza Gonzalez and Jon Bernthal) exit with comical menace, assault weapons in hand. Baby sits back, cranks up “Bellbottoms” by the Jon Spencer Blues Explosion and air guitars his way through the sequence while the others rob a bank and exit in a hurry. That’s when things really get going as Baby steps on the gas and maneuvers away from the cops with heart-pounding, exhilarating polish. It’s a car chase for the ages.

It should be no surprise then that what comes after doesn’t quite live up to that initial jolt of adrenaline. Nor should it, really — it would be brutal to sustain something like that for the duration of a film (and we already have “Mad Max: Fury Road”).

Director and writer Edgar Wright crafts a slick, stylish and wholly original action epic with “Baby Driver,“ which is both as good as anything you’re bound to see in theaters this summer and a bit of a drop-off from the incredibly high bar that Wright has proven himself capable of hitting.

It’s about an outlaw kid with a good heart who’s at a crossroads. Some youthful indiscretions in Atlanta put Baby in debt to a big-time criminal orchestrator, Doc, played by a perfectly over-the-top Kevin Spacey. Baby’s been doing the dirty work of driving Doc’s baddies ever since. Will he stay bad, opt for a life on the straight and narrow, or is it too late to even make a decision?

We meet Baby two jobs away from being in the clear. To outsiders, he’s an odd duck. He doesn’t say much, ever, and he always has a pair of headphones in his ears. But this isn’t just any aloof millennial. The headphones and omnipresent soundtrack are there for a reason: Baby’s got tinnitus and the music helps drown out the “hum in the drum” as Doc explains in his quick clipped paperback noir way.

The only people he engages with are his guardian, Joseph (CJ Jones), who is wheelchair-bound and deaf and whom Baby takes care of, and the waitress of Baby’s dreams, Debora (Lily James), whom he meets when she breezes into the throwback diner singing Carla Thomas’ “B-A-B-Y” to herself. They talk and flirt and fall for each other and wax poetic about heading west on I-20 in a car they can’t afford with plans they don’t have. It’s then that you know things have to start going downhill for our getaway driver.

With freedom in sight, his cool is cracking, and things really go sideways when he gets paired up with Bats (a manic Jamie Foxx), who is as crazy as name suggests, on a few runs

Elgort is pretty charming as Baby — which is a tough part to get right. Young Harrison Ford looks aside, Elgort has an ineffable charisma that’s there even when he’s listening to music.

“Baby Driver” is a swerve into seriousness for Wright, who has given us some of the most gleefully witty genre send-ups of this century, and it is missing some of that crackling Simon Pegg humor. Also, James, a terrific actress, is reduced to a cartoonish approximation of “the girl” who’s only there to give our hero something to care about. Or perhaps that’s the bigger point of “Baby Driver.“ In this underground world, no one is “real” — they’re all slick coats of paint and simulated cool, right down to the carefully calculated soundtrack. But what more do you want from an action pic?

“Baby Driver,“ a Sony Pictures release, is rated R by the Motion Picture Association of America for “violence and language throughout.“ Running time: 113 minutes. Three stars out of four.

‘Transformers: The Last Knight’ Debuts to a Franchise Low

The Free Press WV

The hulking machines of “Transformers” are no longer box-office behemoths in North America. But they’re still big in China.

Michael Bay’s “Transformers: The Last Knight,“ the fifth installment in the Hasbro series, scored a franchise-low domestic debut with an estimated $43.5 million in ticket sales over the weekend and a five-day total of $69.1 million since opening Wednesday. All previous “Transformers” sequels opened with $97 million-plus.

But Paramount Pictures’ “The Last Knight,“ the second “Transformers” movie to star Mark Wahlberg, still showed its might overseas. It took in $196.2 million internationally, including an impressive $123.4 million in China.

Future business will tell whether those grosses are enough to cover a hugely expensive movie: $217 million to make, plus nearly as much to market. Studios reap a smaller percentage of ticket sales from Chinese theaters. And reviews – though never much of a factor in “Transformers” land – were worse for “The Last Knight” than the earlier films. Audiences gave this one a B-plus CinemaScore.

Yet “Transformers” has been increasingly skewing international. The previous film, 2014’s “Age of Extinction,“ made $858.6 million of its $1.1 billion global haul abroad.

“Transformers’ is built for a global audience,“ said Kyle Davies, president of distribution for Paramount. “You really have to consider how we did in the overall and it was really strong overseas and in China. That’s how we treat ‘Transformers’: It’s a global property. So we’re hopeful that we’re going to get to a good place.“

“Wonder Woman” and “Cars 3” tied for second place, both with $25.2 million. Nearly a month after opening, Patty Jenkins’ “Wonder Woman” continues to be a major draw. In four weeks, it has surpassed $300 million domestically. And at $652.9 million globally, it’s the highest grossing film directed by a woman, not accounting for inflation.

In limited release Kumail Nanjiani’s acclaimed romantic comedy “The Big Sick” landed the best per-screen average of the year. It opened in five theaters, grossing an average of $87,000 from each. Amazon plunked down $12 million for the Judd Apatow-produced Sundance Film Festival hit. Lionsgate is handling the theatrical release.

Sofia Coppola’s “The Beguiled” wasn’t far behind. In four theaters, it earned a per-screen average of $60,136. The Focus Features release, starring Nicole Kidman, Kirsten Dunst and Colin Farrell, is a remake of Don Siegel’s 1972 Civil War-era gothic thriller about a wounded Union soldier taken in by a Southern all-girls school. At the Cannes Film Festival last month, Coppola won best director, becoming only the second woman to do so.

Both “The Big Sick” and “The Beguiled” expand nationwide in the coming weeks.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Where available, the latest international numbers also are included.

1. “Transformers: The Last Knight,“ $ 45.3 million ($196.2 million international).

2. (Tie) “Wonder Woman,“ $25.2 million ($20.5 million international).

2. (Tie) “Cars 3,“ $25.2 million ($11.9 million international).

4. “47 Meters Down,“ $7.4 million.

5. “All Eyez On Me,“ $5.9 million ($1.1 million international).

6. “The Mummy,“ $5.8 million ($16.5 million international).

7. “Pirates of the Caribbean: Dead Men Tell No Tales,“ $5.2 million ($8.3 million international).

8. “Rough Night,“ $4.7 million ($2 million international).

9. “Captain Underpants: The First Epic Movie,“ $4.3 million ($1 million international).

10. “Guardians of the Galaxy Vol. 2,“ $3 million.

Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore:

1. “Transformers: The Last Knight,“ $196.2 million.

2. “Wonder Woman,“ $20.5 million.

3. “The Mummy,“ $16.5 million.

4. “Cars 3,“ $11.9 million.

5. “Baywatch,“ $10.3 million.

6. “Pirates of the Caribbean: Dead Men Tell No Tales,“ $8.3 million.

7. “Despicable Me 3,“ $7.2 million.

8. “Everything, Everything,“ $2.8 million.

9. “77 Heartbreaks,“ $2.5 million.

10. “Alien: Covenant,“ $2.3 million.

In Arts & Entertainment….

The Free Press WV

►  10 Best Horror Movies Ever

Like to be scared? Paste has a great resource for you in the form of a list of the 100 best horror films of all time. The site has several “horror geeks” on staff and has done more than a few horror-related lists—but never a single definitive ranking, until now. The full ranking includes classics, indies, mainstream, and foreign films dating from 1922 to 2017. The top 10:

  1. The Exorcist, 1973, directed by William Friedkin: Sure, it’s “a bit of a safe pick, but then you wrestle with whether any other film on this list is more disturbing, more influential or just plain scarier than this movie, and there simply isn’t one.“
  2. The Shining, 1980, Stanley Kubrick: “A journey into the heart of visually and sonically inspired terror that few films have ever come close to replicating.“
  3. Alien, 1979, Ridley Scott: This “ode to claustrophobia leaves little room to breathe, cramming its blue collar archetypes through spaces much too small to sustain any sort of sanity, and much too unforgiving to survive.“
  4. Psycho, 1960, Alfred Hitchcock: “Five decades and change is a long time for a movie’s influence to continue reverberating throughout popular culture, but here we are.“
  5. The Thing, 1982, John Carpenter: “An artifact of big-budget ’80s horror purity.“
  6. Let the Right One In, 2008, Tomas Alfredson: When it comes to vampire films, this is “the full package.“
  7. Jaws, 1975, Steven Spielberg: It includes “one of the great, scream-inducing moments in cinema history.“
  8. Dawn of the Dead, 1978, George A. Romero: “Often cited as the all-time greatest zombie film,“ and it is truly difficult for any others to compete.
  9. The Innocents, 1961, Jack Clayton: Based on Henry James’ Turn of the Screw, this is “one of the greatest of all gothic chillers.“
  10. An American Werewolf in London, 1981, John Landis: “Still the best werewolf movie of all time.“

Click for THE FULL LIST.

►  Alleged Superhero Pay Gap Has Internet Up in Arms

Elle dropped a Hollywood bombshell Tuesday: Gal Gadot made a piddly $300,000 for Wonder Woman while Henry Cavill got a staggering $14 million for Man of Steel. This striking example of the gender pay gap sent shock waves through Twitter despite being, in the words of one inside source, “ridiculous.“ According to the Hollywood Reporter, the figures cited in Elle were “cobbled together” from multiple publications and weren’t comparing the same things. Vanity Fair explains the $300,000 figure is Gadot’s pre-negotiated base salary, while Cavill’s reported payday would have included post-release bonuses. Still, no one can verify Cavill ever got anything close to $14 million. One source says of the figure: “It certainly isn’t for one picture. That’s insane.”

Actors leading their first big blockbuster typically get something more in line with Gadot’s reported base salary. Chris Hemsworth made $150,000 for Thor, Adam Driver got $500,000 or so for Star Wars: The Force Awakens, and Chris Evans is said to have made about what Gadot did for his first outing as Captain America. In fact, sources say that an “apples to apples comparison” between contracts for Gadot and Cavill show she made the same, if not slightly more, upfront as her fellow DC hero. And with the success of Wonder Woman, bonuses and contract re-negotiations should soon kick in. Elle updated its original story, adding: “Although the pay gap persists in Hollywood, this example is not adequately supported by the information available.“

►  Cameron Douglas Caught With Pot in System

Cameron Douglas is skating on thin ice: He was allegedly caught with marijuana in his system in April when he showed up to his probation officers’ office for a random drug test, the New York Post reports, citing court papers. Michael Douglas’ 38-year-old son, who was released into a halfway house last year after spending seven years behind bars on drug offenses, has recently been living in his own apartment, and it seems he won’t be losing his freedom just yet: His probation officers told a judge “relapse is part of the recovery process” and said Douglas should be given another chance, remaining “in the community to see how he responds to setbacks.“

At the same court hearing, Douglas’ lawyer said his client suffers from post-traumatic stress disorder related to his prison stay, and that he is seeing a psychiatrist to deal with it. Douglas himself said he struggled to adjust after prison but that life on the outside is going well; he has a job reading scripts at a production company and is taking acting classes. “This hiccup is unfortunate, but I don’t see it happening again,“ he told the judge. The judge agreed with the probation officers’ recommendation to increase the amount of regular drug testing and drug searches Douglas is subject to.

►  Chris Cornell’s Final Music Video Released

Chris Cornell’s final music video, filmed before the singer died in May, was released Tuesday. The video for “The Promise” was released to coincide with World Refugee Day, the AP reports. Eric Esrailian, who produced the video, said Cornell filmed the video in Brooklyn shortly before he died at age 52. Esrailian added that the Soundgarden and Audioslave frontman wanted the video to be released on World Refugee Day. Cornell and his family toured refugee camps in Greece in April, and there they decided that the Chris and Vicky Cornell Foundation would focus its efforts on child refugees.

►  Man Behind ‘Most Paralyzing Rap Lyric Ever’ Dead at 42

Prodigy, one half of iconic rap duo Mobb Deep, died Tuesday in Las Vegas. He was 42. Born Albert Johnson, the rapper was hospitalized after a weekend performance “for complications caused by sickle cell anemia,“ a disease he’d battled since birth, his publicist says in a statement. An official cause of death is not known, reports NPR. More:

►  Daniel Day-Lewis Is Retiring From Acting

Daniel Day-Lewis is retiring from acting, the Guardian reports. The 60-year-old actor’s final role will be a fashion drama from director Paul Thomas Anderson scheduled for release in December. No reason was given for Day-Lewis’ pending retirement, which was announced Tuesday. “He is immensely grateful to all of his collaborators and audiences over the many years,“ spokesperson Leslee Dart tells Variety. “This is a private decision and neither he nor his representatives will make any further comment on this subject.“ Day-Lewis’ film resume includes My Left Foot, Last of the Mohicans, The Age of Innocence, There Will Be Blood, Gangs of New York, and Lincoln.

Day-Lewis—known for taking years between roles and his intense dedication, including staying in character off-screen—is the only person to win three best actor Oscars. He was nominated for two more. This isn’t the first time Day-Lewis has stepped away from acting. He quit to be a shoemaker’s apprentice in Italy in the 1990s before Martin Scorsese got him to come back for Gangs of New York. The Hollywood Reporter notes he also quit stage acting mid-performance in 1989. Day-Lewis once said: “In every actor’s life, there is a moment when they ask themselves, ‘Is it really seemly for me still to be doing this?‘“

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