Tuesday, May 23, 2017

Zack Snyder Thanks Fans for 'Outpouring of Support' After Daughter's Death

An Alternative View Of The 'Batman V Superman: Dawn Of Justice' New York PremiereThe past 24 hours have been filled with heartbreaking news, but the silver lining has been the support and love from fans. "Justice League" director Zack Snyder's 20-year-old daughter Autumn took her own life in March, but that was just made public yesterday -- shortly before the world heard about the deaths at the Manchester Ariana Grande concert.

Pretty much everyone has spent the last day reaching out with thoughts, prayers, and condolences, but if you were one of the fans who took the time to sent love to Zack Snyder, rest assured that he received it, and he appreciated it.

Zack Snyder and his ex-wife Denise had four children, including Autumn. Snyder also had two children from a past relationship before marrying Deborah Snyder, with who he adopted two more children.

It was revealed yesterday that Zack would be stepping away from "Justice League" to be with his family, with Joss Whedon finishing up the film, which is in post-production and still scheduled for release on November 17.

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'Bachelorette' Rachel Denies Producer Pressure to Keep Lucas: 'They Couldn't Make Me Do Anything'

BACHELORETTE 13 - "Episode 1301" - Accomplished Texas attorney Rachel Lindsay takes a recess from the courtroom to start her search for happily ever after in the 13th edition of ABC's hit series, "The Bachelorette," premiering at a special time, MONDAY, MAY 22 (9:01-11:00 p.m. EDT), on The ABC Television Network. (ABC/Paul Hebert)RACHEL LINDSAY, LUCAS"The Bachelorette" fans are already mad at Rachel Lindsay for giving a premiere night rose to "Whaboom" Lucas instead of hot Marine/our early Bachelor 2018 choice Blake K, or literally anyone else. Anyone at all.

Lucas showed up in a "Whaboom" T-shirt and did that annoying face-wiggling "Whaaaaaboooooom" for Rachel right out of the limo. She didn't seem impressed, and the guys inside weren't impressed when Lucas did it a thousand more times, quickly dubbing him the "crazy" one. When Rachel gave Lucas her final rose, she didn't look thrilled about it. Many viewers were shocked by the choice, and -- cynical after so many seasons of "The Bachelor" and "The Bachelorette" -- assumed the producers asked her to keep Lucas around for drama.

"I think people are going to think that," Rachel told E! News after the May 22 premiere. "I am so opinionated and direct, they couldn't make me do anything."

So why did she keep Lucas over eight other guys?

"I said I wanted to be entertained the first night, and that he did!"


Rachel said she still doesn't really understand what "Whaboom" is, but she knows it's part of who Lucas is. She also tweeted this, which isn't exactly a glowing endorsement:

Blake K supporters replied to Rachel, demanding answers, and kept up their Bachelor/Bachelor in Paradise campaigns across Twitter. Sigh. We're still rooting for you, man!

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'Wonder Woman' & 'Spider-Man' Top Poll of Most Anticipated Summer Movies

If only DC and Marvel would cross the superhero aisle and team up, they'd have the perfect summer 2017 movie.

Fandango polled more than 10,000 moviegoers and asked them to name the movie they were most anticipating, from the list of titles coming out Memorial Day to Labor Day 2017. DC's "Wonder Woman," starring Gal Gadot, came in at No. 1, followed by Marvel's "Spider-Man: Homecoming," starring Tom Holland.

Don't worry, you're always No. 1 to Tony Stark, Underoos!

Here's the top 10 from Fandango's survey, including each movie's release date:

1. "Wonder Woman" (June 2)
2. "Spider-Man: Homecoming" (July 7)
3. "Pirates of the Caribbean: Dead Men Tell No Tales" (May 26)
4. "The Dark Tower" (August 4)
5. "Dunkirk" (July 21)
6. "Despicable Me 3" (June 30)
7. "War for the Planet of the Apes" (July 14)
8. "Transformers: The Last Knight" (June 21)
9. "The Mummy" (June 9)
10. "Baywatch" (May 25)

Two superheroes, several sequels, lots of franchise movies, some reboots, not much original material. And then there's "Dunkirk." Bless that Christopher Nolan.

"Wonder Woman" is the first woman-led film to top Fandango's summer movie survey, and they got reaction from director Patty Jenkins. Safe to say she's not mad!

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Why Johnny Depp Nixed a Female Villain for 'Pirates of the Caribbean 5'

Premiere Of Disney's And Jerry Bruckheimer Films' 'Pirates Of The Caribbean: Dead Men Tell No Tales'The guy who wrote the scripts for the first four "Pirates of the Caribbean" movies said his screenplay for the fifth movie, "Dead Men Tell No Tales," was rejected because Johnny Depp didn't want a female villain. Why such a specific rejection? For a rather odd reason. Then again, it's Johnny Depp, and Odd is his thing.

Terry Rossio is credited as a screenwriter on "The Curse of the Black Pearl," "Dead Man's Chest," "At World's End, and "On Stranger Tides." For the 2017 movie, "Pirates of the Caribbean: Dead Men Tell No Tales," which comes out Friday, May 26, he just has a story by/executive producer credit.

In a lengthy -- seriously, you've never seen anything so long -- blog post called Screenwriting Column 55, Rossio slid in a mention about his original "Pirates 5" villain, who was changed into Javier Bardem's Armando Salazar.

Here's that section (bold added for emphasis):

#27: World Creation Subject to Whim Destruction

The original title of this column was planned to be World Creation Subject to Whim Destruction. Which I think is a pretty accurate summation of the job of screenwriting in general.
In my career, Godzilla has already been mentioned. But check out the marvelously detailed four-part series Godzilla Unmade, by Keith Aiken, exploring the development and production of that film.
More recent examples: my television series Magical Law lapsed when Gore Verbinski decided to direct The Lone Ranger instead. Our theatrical feature Lightspeed was put on the back burner when Disney acquired the Star Wars franchise. My version of Dead Men Tell No Tales was set aside because it featured a female villain, and Johnny Depp was worried that would be redundant to Dark Shadows, which also featured a female villain.
Of course there is also the possibility that all those screenplays simply sucked. But usually when I go back to read a screenplay that wasn't produced, it holds up, often better than the film that was eventually produced. Sometimes it just takes a single decision by a single person, often just a whim, to destroy years of story creation and world-building.
Non-production has a thousand fathers, production only one.

Yeah, Rossio's "Pirates 5" script might've just sucked, but what a random reason for rejecting a villain. Not everything is or should be about gender, but when you reject a pitch specifically because of gender, there should at least be some solid reasoning behind it, beyond thinking it's "redundant" because some movie you made several years ago that few people probably remember also featured a woman wanting revenge.

As Dlisted put it:

"But starring in five movies as the same tired hobo pirate character swashbuckling against five male pirate-y villains isn't redundant? Got it.

Johnny is dumb for a multitude of reasons, but I'm going to focus on one. Johnny thinking people would compare a female villain in Pirates to Eva Green's female villain in Dark Shadows is too much. Dark Shadows came out in 2012. I saw it twice, and a female villain is literally the last thing I remember about Dark Shadows. I'm usually too busy remembering how dirty Tim Burton did the Dark Shadows legacy, and that unintentionally hilarious scene where Chloe Moretz turns into a teenage werewolf."

Johnny Depp hasn't said anything on this himself, we're taking the word of the movie's executive producer and past franchise screenwriter. But Rossio threw it into his long blog post almost as an aside, it's not like he seemed to be angling for attention. He probably thought no one would care. And plenty of people won't care.

Anyway, Javier Bardem is amazing, and any time you can get him, you're lucky, even if he often plays the same type of villain himself. It's totally not redundant!

"Pirates of the Caribbean: Dead Men Tell No Tales" opens May 26.

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Geoffrey Rush on Playing Captain Barbossa Though the 'Five-Chapter Saga' of 'Pirates of the Caribbean'

One of the greatest surprises in the new and good "Pirates of the Caribbean" movie, "Pirates of the Caribbean: Dead Men Tell No Tales," is how much meaty material Geoffrey Rush, who has played salty pirate Barbossa since the first film, gets. Barbossa, who has sparred gloriously with Johnny Depp's Jack Sparrow since the beginning, gets additional dimension in this fifth installment. (He also gets to tangle with Salazar, an evil, ghostly pirate played by Javier Bardem who is hell-bent on finding and killing Sparrow, something that Barbossa can sympathize with.) Barbossa has always been one of the more fluid characters in the franchise and where he goes here is a huge thrill.

Just as huge a thrill was getting to talk to Rush about the new movie, his thoughts on the entire franchise, and what it was like getting inserted into the original attraction.

Moviefone: When you made the first movie, did you ever think it'd be this huge franchise?

Geoffrey Rush: Well, it's been 15 years ago. We started in September 2002. But I did read the screenplay and of course on the last page I get shot. So I thought, Well this has been a nice, big, bold swashbuckling [adventure]. Someone describes Barbossa before he enters as being "spat out from the mouth of hell." And I thought, I've got to bring something to that. I've got to make an entrance, which is of course the first confrontation with Elizabeth Swann. But you know I love the spirit of that film. When they first wrote the script Jerry Bruckheimer said, "There's an element missing. It's just another pirate movie." When they came up with the curse, with these pirates that you realize, by the moonlight, are undead. That gave it a really great quest to reverse the whole idea -- we had to put all the treasure back. I thought that was a nice spin on it.

After that, Gore Verbinski phoned me after the film was such a smash. We were very low down on the list for films that people were going to see that summer. People were very cynical like, Basing it on a theme park ride, that's going to be very interesting, isn't it? But it went gangbusters. And in that rare phenomenon, because he's such a remarkable actor, Johnny had been king of the indies with "What's Eating Gilbert Grape?" and "Edward Scissorhands," he's always created fantastic and rather magical types of characters, he got Oscar-nominated for Best Actor, which is a great triumph for a film that is primarily a comedy adventure film, which rarely get a look-in for that type of film.

When they decided to shoot 2 and 3 and make it a trilogy, I liked that the writers went very Wagnerian and looked at all the mythology and folklore and all of the fears of the pirate world, you know going over the edge of the waterfall and turning upside down and fighting the Kraken. I thought all of those set pieces were very imaginative and potent. Good to play in. And he said, "We're bringing you back with voodoo." It wasn't just movie magic, there was a great plotline with Tia Dalma who needed all the great pirate lords and it went global and Chow Yun-Fat was playing a new villain and Barbossa made a surprise entrance. And he seems to keep evolving. He was a politician getting the G20 of world pirates together for a big meeting.

Then I worked for King George II in the fourth film and now I'm a corporate CEO, a rather obscenely wealthy pirate with a vulgarity to his style. For all of his narcissism and vanity, there's a lot of self-delusion I think in Barbossa's brain, as to what his station is in life.

It's amazing how the character has changed from movie to movie. Do you always find new things to play in Barbossa?

Yeah. He's got those different types of personas that he gravitates towards because he is a control freak. So all of that has been very good. And in this last film they have planted something that obviously happened decades ago, because we're all much older. I didn't think Barbossa could get any crustier. He's the oldest pirate on the sea, which is fun to play because he probably has to be the most ruthless and the most lethal. Now he's got a wooden leg and a crutch which he could also fight with.But there's a new villain on the scene, Salazar. What was it like shooting with Javier Bardem?

He's great isn't he? Again, in that whole series of very, very good character actors who have jumped at the opportunity to be a big part of this five-chapter saga. We had Bill Nighy in there as Davy Jones, which I thought was a groundbreaking piece of cinematic magic, being able to create him as that underwater creature. And similarly, with Salazar, Javier treats the role very seriously.

I did a lot of press with him as we were touring through Shanghai and Paris and it was fascinating to hear him talk about what made him so vengeful and so mercenary, to have this dark obsession to annihilate every pirate on the face of the earth. And he said there was a code of honor in the Andalusian, Southern Spanish Naval world and for that to have been besmirched by a pirate has caused him over 25 years in purgatory in the Devil's Triangle, he's come back full of rage and full of pain. It's a very classical, very inventive and very imaginative actor's approach.

And you guys are so great together.

Well, it's the meeting of two villains, both of whom would really just like to wipe each other out in the first scene. But Barbossa's always got an ulterior motive and you find out Barbossa is in it for the big bonus of getting the trident of Poseidon himself. He also has to quickly talk his way out of not being killed by Salazar at any given moment. We talked about keeping that as knife's edge as we possibly could.

How much did you know about the ride before you signed onto the movie?

I had been on the ride maybe in the late '90s, when I was first shooting some stuff in America and my kids were quite young at the time. So we had been to Disneyland. The ride is an engineering marvel. I still can't quite understand how they get all the water levels right. You really get lost down there. You get drawn into a mesmerizing and rather enchanting world. It was all that great Animatronic stuff that Walt Disney invented in the 60s. I can't remember what year it was, maybe 10 years ago, no one wanted to tamper with what made the ride such a pleasurable experience for families to enjoy but I love that they managed to slip a bit of Jack Sparrow in and put Barbossa up on one of the boats.

How does that feel? Did you ever imagine you'd be in a Disney ride?

No. And I said to my agent, "Do I really get a good fee for this?" He said, "No, you do it for the pleasure and honor of being a part of the ride so that one day your great-grandkids will go there and go, 'That's great great-granddad Geoffrey.'" [Laughs]

"Pirates of the Caribbean: Dead Men Tell No Tales" opens everywhere Friday.

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Is That Jon Snow Reflected in New 'Game of Thrones' Season 7 Poster?

'Logan' Honest Trailer Calls in Deadpool For Colorful Commentary

The Honest Trailer for "Logan" gets an extra dose of honesty, courtesy of pal Deadpool!

Ryan Reynolds popped in as the foul-mouthed mutant merc for the Screen Junkies' "Deadpool" Honest Trailer and he makes another cameo in their 200th episode about the final Wolverine movie.

But as usual, Deadpool isn't one to play nice or cooperate. "Are you high? I'm not gonna s--- on 'Logan,'" the superhero says. "That film is a f---ing masterpiece. If Jackman doesn't get an Oscar nom, I'm setting every VHS copy of 'Crash' on fire."

In the months leading up to "Logan's" release, Reynolds and Jackman razzed each other and riffed about their characters through social media.

The Honest Trailer does its usual snarky routine, calling Patrick Stewart's Charles Xavier "The Nutty Professor" and Boyd Holbrook's Pierce "Steampunk Colonel Sanders."

Reynolds-as-Deadpool also came up with a great idea for a future movie.

"I do endorse ['Logan' director] James Mangold to make 'Old Man Deadpool' in 2038," he says. "Oh man, how good would that be? Just 90 minutes of Cable and I changing each other's ... space diapers."

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Elisabeth Moss to Play 'Typhoid Mary' in BBC America Miniseries

'Top Of The Lake: China Girl' Photocall - The 70th Annual Cannes Film FestivalElisabeth Moss has come down with a "Fever."

The "Handmaid's Tale" star is set to headline a BBC America miniseries about the infamous "Typhoid Mary," the nickname given to Irish immigrant Mary Mallon. She was the first known healthy carrier of typhoid fever.

"Fever" is based on Mary Beth Keane's novel of the same name, and follows Mary, a cook in 1900s New York City. She becomes vilified by tabloids and given her nickname after she unknowingly spread the disease to wealthy families that she worked for.

Moss optioned the rights to the book and will executive produce the series (just as she's done with "Handmaid's Tale). "Mad Men" writer Robin Veith and director Phil Morrison are also on board.

"I look forward to telling this story about one of the most infamous women in America, 'Typhoid Mary,' a woman whose true tale has never been told," Moss said in a statement.

"She was an immigrant in turn of the century New York, a time of huge change and progress in America. She was incredibly unique, stubborn, ambitious and in fierce denial of any wrongdoing until her death where she lived out her days imprisoned on an island just off of the Bronx in NY. She is incredibly complicated, something I seem to enjoy playing."

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The 57 Greatest Westerns Ever, Ranked

It's fitting that Clint Eastwood and John Wayne both have the same birthday week. (Wayne, who died in 1979, was born May 26, 1907, while Eastwood turns 85 on May 31). After all, these two all-American actors' careers span the history of that most American of movie genres, the western.

As a birthday present to Hollywood's biggest heroes of the Wild West, here are the top 57 westerns you need to see.

57. 'Meek's Cutoff' (2010)
Indie filmmaker Kelly Reichardt and her frequent leading lady, Michelle Williams, are the talents behind this sparse, docudrama about an 1845 wagon train whose Oregon Trail journey goes horribly awry. It's an intense story of survival that happens to note the marginalized role of women in the patriarchal Old West. Worth seeking out.

56. 'El Topo' (1970)
Alejandro Jodorowsky's surreal, psychedelic tale virtually invented both the acid western and the midnight-movie cult hit. The director himself plays the messianic title character, a mystical gunslinger who seems to anticipate the characters Clint Eastwood will play in "High Plains Drifter" and "Pale Rider." Imagine a Sergio Leone spaghetti western with the circus atmosphere of a Fellini movie, the surrealism of a Bunuel or David Lynch picture, and the transgressive outrage of an early John Waters movie, and you'll have an idea of what Jodorowsky accomplished here.

55. 'The Great Train Robbery' (1903)
Edwin S. Porter's pioneering film is one of the very first westerns. It ends with the famous, influential, still-shocking shot of a gunman aiming his pistol right at the viewer and opening fire.

54. 'Way Out West' (1937)
In one of the earliest western spoofs, Laurel and Hardy are tasked with delivering a mine deed to an heiress, a task they screw up epically and hilariously.

53. 'The Professionals' (1966)
Lee Marvin and Burt Lancaster star in this twisty, noir-like tale of four mercenaries hired to rescue a rancher's kidnapped wife, only to find more than they bargained for once they find her. It's the "Out of the Past" of westerns.

52. 'One-Eyed Jacks' (1961)
The only movie Marlon Brando ever directed is a gritty, Freudian, dreamlike gloss on the Pat Garrett/Billy the Kid legend. Brando stars as a young outlaw, whose much older partner (frequent Brando co-star Karl Malden) has abandoned and betrayed him and gone straight. Brando the storyteller plays up the Oedipal tensions as the two men head toward the inevitable showdown.

51. 'Silverado' (1985)
The western had been essentially dormant as a genre for a decade when Lawrence Kasdan tried to revive it with this deliberate throwback to the classics. A disparate quartet of cowboys, including Kevin Kline and an unusually animated Kevin Costner unite against a corrupt sheriff (Brian Dennehy). Any western that can find room to cast John Cleese, Linda Hunt, and Jeff Goldblum is, by definition, going to be pretty fascinating.

50. 'Johnny Guitar' (1954)
Sterling Hayden plays the title troubadour, but Nicholas Ray's unique, lurid western is all about the women. Joan Crawford is the saloon-keeper with a past, and Mercedes McCambridge is the bitter local who bears a murderous grudge against her.

49. 'El Mariachi (1992)'
Robert Rodriguez' debut film, famously made for just $6,000, is a brilliantly staged spaghetti-western homage about an aspiring troubadour (Carlos Gallardo) in a picturesque village who gets mixed up in a bloody crime war and becomes a lethal gunslinger instead . Rodriguez had a bigger budget and bigger stars (Antonio Banderas, Salma Hayek) in the two sequels ("Desperado" and "Once Upon a Time in Mexico"), but this one is still the most fun.

48. 'The Big Country' (1958)
Gregory Peck stars in this sweeping saga as a tenderfoot from Maryland who becomes embroiled in a feud between two powerful ranching families. Charlton Heston co-stars as a rowdy ranch hand and romantic rival (they both love Carroll Baker), and it's a treat to watch these two masters of the clenched-jaw school of Hollywood movie acting confront each other.

47. 'Jeremiah Johnson' (1972)
Sydney Pollack's based-in-fact drama stars Robert Redford as a fur trapper in the Rockies. Like Pollack and Redford's later "Out of Africa," it's the story of an immigrant who's a bit out of his depth dealing with the difficulties of the local terrain, the climate, and an uneasy coexistence with the natives. The scenery is stunning; it's no wonder Redford fell in love with Utah.

46. 'The Gunfighter' (1950)
Gregory Peck is Jimmy Ringo, a fast-draw artist who tries to settle down and enjoy a peaceful life. But he can't escape his reputation and is sought out by enemies and young gunslingers trying to make a name for themselves by challenging him. One of the finer examples of this familiar plot.

45. 'The Long Riders' (1980)
The gimmick in Walter Hill's account of the James-Younger gang is that all the characters who were brothers are played by real-life brothers. (Theres the Carradines, the Quaids, the Keaches, and the Guests.) The gimmick works surprisingly well; it makes the history among these outlaws seem a lot more personal.

44. 'The Shootist' (1976)
John Wayne gets a fitting sendoff in his last movie. Playing an old gunslinger dying of cancer, and feeling out of place in the 20th century (it's 1901), he tries to live out his last days in peace and even courts a pretty widow (Lauren Bacall) whose teenage son (Ron Howard) idolizes the old man. But, of course, his past catches up to him -- giving Wayne a chance to go out in a blaze of glory.

43. 'Little Big Man' (1970)
Arthur Penn's movie is the revisionist western to end all revisionist westerns. Dustin Hoffman plays Jack Crabb, a 121-year-old white man who recalls a youth spent living among the Sioux and becoming the only white man to survive Custer's Last Stand. You can read it as an anti-Vietnam War allegory, or just as a colorful story that upends everything you thought you knew about the Old West.

42. 'Pat Garrett and Billy the Kid' (1973)
Sam Peckinpah's take on the notorious outlaw's pursuit by his former friend was a countercultural allegory back then. Today, it's just a poetic and terribly sad western with top performances by James Coburn (as Garrett), Kris Kristofferson (as Billy), and Slim Pickens as an aging gunfighter. His death scene -- wordless, drawn out, and scored to Bob Dylan's "Knockin' on Heaven's Door" -- is one of the most haunting and tragic in any western. (Dylan also made his acting debut in the film.)

41. 'Dead Man' (1995)
Jim Jarmusch's unique western is a surreal nightmare. Johnny Depp plays a meek city slicker who receives a fatal bullet wound when mistaken for a gunslinger. Accompanied by a grumbling Indian named Nobody (Gary Farmer), the slowly dying man travels further west, on a quest for spiritual release, through increasingly violent country, until he becomes the bloody desperado everyone thinks he is. Shot in deliberately grainy black-and-white, with a jangly score by Neil Young, it's a black-comic journey into the heart of darkness.

40. 'Rango' (2011)
Johnny Depp stars in this clever animated western spoof. He plays a chameleon who stumbles into a dry desert town populated by anthropomorphic critters, and he's enlisted to drive off some predatory outlaws. With explicit nods to "High Noon," "Chinatown," and Clint Eastwood's spaghetti westerns, "Rango" is a film full of sly references that kids won't get but adults will appreciate.

39. 'Dances With Wolves' (1990)
Kevin Costner won Best Picture and Best Director for his revisionist epic, in which he plays an army lieutenant who comes to respect a tribe of plains Indians so much that he goes native and tries to protect them from his former comrades. It's a sad, sweeping story -- but not without its thrills, like the stirring buffalo hunt sequence.

38. 'Seven Men From Now' (1956)
Director Budd Boetticher made a series of gritty, dark westerns with star Randolph Scott that, like Anthony Mann's work with James Stewart, belies the convention that 1950s westerns were simple black-hat-white-hat morality plays. Here, Scott is a lawman who leaves a bloody trail of revenge on his search for the robbers who killed his wife.

37. 'Winchester '73' (1950)
Anthony Mann made several westerns in the 1950s that revealed a darker, more violent side of James Stewart that must have shocked fans of his aw-shucks persona. This first collaboration is the best. Stewart plays a man bent on avenging his father's death, who tracks a stolen rifle through several owners on his way to finding the killer.

36. 'The Ox-Bow Incident' (1943)
Henry Fonda stars in this stark, compact (just 75 minutes) morality tale about mob justice, playing a cowboy who stumbles onto a lynch mob bent on killing three men who may not actually be guilty. Nominated for a Best Picture Oscar, the film was an inspiration for Fonda's later classic, the jury room drama "12 Angry Men."

35. 'Lone Star' (1996)
In John Sayles' modern-day western, Chris Cooper is a Texas border-town sheriff laboring under the shadow of his late, legendary lawman father (played in flashback by Matthew McConaughey). Probing a 40-year-old murder mystery that involved his father, while also rekindling a romance with an old sweetheart (Elizabeth Pena), he finds out more than he wanted to know about the truth behind his father's legend. The film is a sprawling allegory about life on the border, the way old myths continue to shape our lives, and the uneasy coexistence of many different peoples in the new West.

34. 'Lonely Are the Brave' (1962)
Kirk Douglas' favorites among his own movies. He's a modern-day cowboy and drifter, one who's not at home with the rules, technology, or enclosed spaces of the 20th century. He tries to bust a pal out of jail, but when the friend won't leave, he breaks out himself on a doomed, existential quest for a kind of freedom that's no longer possible in the New West.

33. 'Open Range' (2003)
Best known for its sweeping anamorphic vistas and very grounded approach to shootouts, Kevin Costner both directs and stars in this underrated Western about two cattleman (Costner and Robert Duvall) who find both trouble and purpose when they cross paths with a ruthless land baron (a sinister Michael Gambon). The tense, climatic gunfight -- depicting cowboys as real people who miss and sometimes fumble with their guns -- is a high point, as are Costner's understated direction and performance.

32. 'High Plains Drifter' (1973)
Clint Eastwood's darkest role finds him playing another man with no name (or maybe the same one as before) who offers his protection services to a town awaiting an outlaw onslaught. But his security comes at a price that's more than the town bargained for. Is he an angel, a demon, or just a man with a vindictive sense of humor? Funny, nasty, and bleak.

31. 'The Outlaw Josey Wales' (1976)
One of Clint Eastwood's favorites among hiss own films is this saga of a farmer and Confederate soldier on a long odyssey of revenge against the Union fighters who killed his family, a quest that continues well after the Civil War has already ended. It's a film whose stature has only grown with time.

30. 'Brokeback Mountain' (2005)
Western notions of masculinity are re-examined in Ang Lee's stately tearjerker about a ranch hand (Heath Ledger) and a rodeo rider (Jake Gyllenhaal) who fall in love. Lee's elegant direction and Ledger's laconic performance all but dare viewers to find a reason to consider these two cowboys less than manly just because of who they love.

29. 'Tombstone' (1993)
This isn't the most accurate account of the O.K. Corral gunfight, but it's the most sheerly entertaining, thanks largely to smart casting. Michael Biehn and Powers Boothe are fine villains, Kurt Russell makes a surprisingly good Wyatt Earp, Sam Elliott should be in every western, and Val Kilmer gives the performance of his career as Doc Holliday, a rogue who can get away with anything because he has nothing left to lose. Kudos to whoever groomed the luxuriant mustaches; they're some of the best facial hair in any movie ever.

28. 'Django Unchained' (2012)
Quentin Tarantino's inevitable spaghetti-western homage turned out to be an epic, brutal tale of two bounty hunters (Jamie Foxx and Oscar-winner Christoph Waltz) who target the horrifically cruel plantation owner (Leonardo DiCaprio) who once enslaved Foxx's Django and still has Django's wife (Kerry Washington). Tarantino meant the tale as a corrective to "Birth of a Nation" and a century of cinema that failed to depict American slavery as the absolute horror it was. But since it's Tarantino, it's also a headlong rush of violent adventure.

27. 'True Grit' (2010)
With all due respect to the 1969 original that won John Wayne his only Oscar, the recent Coen brothers remake starring Jeff Bridges as grizzled, one-eyed bounty hunter Rooster Cogburn is the richer film. (It's also more faithful to Charles Portis' novel.) By rights, Bridges should own the movie, but he shares it with Matt Damon's peevish young Texas ranger and all but gives it away to Hailee Steinfeld, as the revenge-driven teen who hires Cogburn to track her father's killer. Even though her longing for vengeance costs her a lifetime of pain, she demonstrates as much true grit as anyone in the movie.

26. 'Destry Rides Again' (1939)
George Marshall's western is almost ridiculously entertaining. James Stewart, in a sly performance, plays a lawman who's reluctant to use his gun, even though he's an expert sharpshooter. Marlene Dietrich (in the performance that Madeline Kahn spoofs in "Blazing Saddles") is the saloon singer who catches his eye. Comedy, music, and all the action you could want.

25. 'My Darling Clementine' (1946)
John Ford's climactic staging of the shootout at the O.K. corral is reportedly very accurate. The movie that precedes that moment is mostly hogwash, but it's well-made hogwash, with Henry Fonda playing Wyatt Earp as the reluctant gunfighter forced to strap on his holster once again, and a shockingly frail Victor Mature as a dying Doc Holliday.

24. 'Fort Apache' (1948)
The first film in John Ford's cavalry trilogy features John Wayne and Henry Fonda clashing as commanders of a garrison under siege. Like the two movies that followed ("She Wore a Yellow Ribbon" and "Rio Grande"), its a fascinating study in styles of leadership and management, as well as a crackling adventure.

23. '3:10 to Yuma' (2007)
James Mangold's remake of the old Glenn Ford-Van Heflin western is actually better than the original. Christian Bale plays the Heflin role of a desperate farmer who agrees to take on the lucrative but hazardous job of escorting a captured criminal (Russell Crowe, in the Ford part) to the train that will take him to prison, with both men aware that the outlaw's gang will stop at nothing to free him. Bale, Crowe, and Mangold turn this simple obstacle course into something epic.

22. 'Ride the High Country' (1962)
Sam Peckinpah's first masterpiece, and Randolph Scott's swan song, is this elegiac western about two aging gunslingers (Scott and Joel McCrea) who have a falling out over the opportunity for one last big score. Like many later revisionist westerns, including several of Peckinpah's own films, this one bears the sense of loss of an old order defined by rules, giving way to a new cruelty where anything goes.

21. 'The Assassination of Jesse James by the Coward Robert Ford' (2007)
This unjustly overlooked recent western takes a modern look at the Jesse James legend. Brad Pitt plays the outlaw as a man painfully self-conscious about his own fame. Casey Affleck plays Ford as a frustrated celebrity stalker, one who turns against his idol when his idol worship goes unrequited.

20. 'No Country for Old Men' (2007)
It takes place in the recent past, but the Coen brothers' Best Picture-winning adaptation of Cormac McCarthy's novel qualifies as a modern-day western. Josh Brolin is the Texan who stumbles onto a fortune, Javier Bardem (who also won an Oscar) is the implacable desperado who tracks him down, and Tommy Lee Jones is the lawman overwhelmed by evil he can't comprehend. Like many westerns, this one laments the passing of the old ways, to be replaced by a new, even more ruthless kind of savagery.

19. 'McCabe and Mrs. Miller' (1971)
Gambler Warren Beatty teams up with madam Julie Christie to open a brothel in a remote frontier town, and all goes well until the big businessmen move in on them. Robert Altman's countercultural parable, complete with a mournful Leonard Cohen soundtrack, doesn't look like any other western, thanks to the snowbound visuals, gorgeously photographed by Vilmos Zsigmond.

18. 'Blazing Saddles' (1974)
Mel Brooks' spoof remains the best western comedy of all time. For all the movie's daring humor (the bean scene!) and racial commentary (Richard Pryor co-wrote the script), it also works as a classic western, one that borrows plot elements from "Rio Bravo" and "Destry Rides Again," with shout-outs to "High Noon," "The Treasure of the Sierra Madre," and Randolph Scott.

17. 'She Wore a Yellow Ribbon' (1949)
John Ford's second movie in his Cavalry trilogy (and the only one of the three that's in glorious Technicolor) stars John Wayne as a retiring commander who takes on one last mission, escorting two women to safety while trying to forestall an Indian uprising. Of course, nothing is ever that easy. Ford turns the story into an unforgettable drama of loyalty and regret.

16. 'Lonesome Dove' (1988)
Yes, it was a TV mini-series, not a theatrical film, but it was so good that it deserves a place on this list. Larry McMurtry's tale of two Texas Rangers (Robert Duvall and Tommy Lee Jones) leading a 2,500-mile cattle drive is a classic tale of friendship, adventure, and loss. Anjelica Huston, Diane Lane, and Danny Glover round out an all-star cast.

15. 'Butch Cassidy and the Sundance Kid' (1969)
Like Sam Peckinpah's "The Wild Bunch" the same year, it's easy to see this film about outlaws who draw the wrath of the government in two different countries as a parable of the counterculture vs. the establishment But mostly, it's a fun buddy movie (and an influential one, the first of its kind), one that coasts largely on the immense charm and charisma of the Paul Newman-Robert Redford pairing.

14. 'The Man Who Shot Liberty Valance' (1962)
One of John Ford's final westerns takes a look at the mythmaking he and other western storytellers had been practicing all these years. James Stewart is the city-slicker senator who made his reputation with the killing of the title outlaw (a scary Lee Marvin), and John Wayne is a typical Wayne man of action, one whose ease with violence helps create a civilized society that has no place for a man like himself.

13. 'The Treasure of the Sierra Madre' (1948)
It takes place in Mexico, but it feels like a western -- there's gold prospecting, bandits, murder, and greed. Humphrey Bogart's never been more hard-boiled. John Huston directed his father Walter to a Supporting Actor Oscar as the old prospector who should have known better.

12. 'Red River' (1948)
John Wayne offers a shockingly intense portrayal of obsession as a cowboy leading a lengthy cattle drive through dangerous territory. In his starmaking role, Montgomery Clift is his adopted son, who rebels against Wayne's martinet ways. It's another Howard Hawks movie that explores different varieties of masculinity, and one of the best.

11. 'High Noon' (1952)
Gary Cooper won an Oscar as the marshal who tries and fails to recruit locals to help him defend the town against outlaws who are due to arrive on the midday train. Fred Zinnemann's meticulous direction allows the film to unfold in real time. But the real trick in the script by Carl Foreman, himself a victim of the Hollywood blacklist, is that it can be read as either an anti-communist allegory or an anti McCarthyist allegory. Seen today, stripped of its politics, it's just a terrifically suspenseful thriller and a statement against the dangers of conformity.

10. 'The Magnificent Seven' (1960)
John Sturges' wildly successful transposition of Akira Kurosawa's "Seven Samurai" to a western setting stars Yul Brynner, Steve McQueen, and Charles Bronson as mercenaries who agree to defend a Mexican town from a bandit (Eli Wallach) and his gang. The film made McQueen a movie star and embedded Elmer Bernstein's rousing theme music in everyone's DNA; even if you haven't seen the film, you know the melody.

9. 'Shane' (1953)
George Stevens' majestic western looks like a cliche today, but only because it launched so many of them. It's the archetypal movie about a retired gunslinger (Alan Ladd) who wants nothing more than to be a farmhand for homesteader Van Heflin, his wife (Jean Arthur), and their impressionable boy (Brandon de Wilde). But Shane is forced back into action to defend his adopted family against evil (in the form of hired gun Jack Palance). There's a lot going on here, most of it unspoken, from the history of range wars between farmers and ranchers, to Shane's unintentional displacement of Heflin in the affections of the wife and the son. It's also a gorgeously shot film, with Oscar-winning cinematography. By the time the film's over, you'll be echoing de Wilde's admiring child, begging Shane to come back.

8. 'Once Upon a Time in the West' (1968)
After his "Dollars" trilogy, Sergio Leone brought his spaghetti-western sensibility to Hollywood, with striking results. In this epic about a beautiful widow (Claudia Cardinale) trying to hold out against ruthless railroad barons, Henry Fonda plays against type as a cold-blooded killer, while Charles Bronson has a starmaking performance as a mysterious, harmonica-playing hero.

7. 'Rio Bravo' (1959)
Howard Hawks and John Wayne felt that "High Noon" merited a response, a story where at least some townsfolk are brave enough come to the marshal's aid when outlaws threaten the town. But Wayne's allies here are few and unlikely -- a drunk (Dean Martin), a frail oldtimer (Walter Brennan), and a cocky kid (Ricky Nelson). As in any Hawks movie, the emphasis is as much on male bonding as it is on adventure. Dino even gets to croon a couple tunes. Still, this is as satisfying as any western ever made.

6. 'The Wild Bunch' (1969)
Sam Peckinpah's most notorious and influential revisionist western is this one, about a group of tough-guy aging outlaws (including William Holden, Ernest Borgnine, Warren Oates, and Ben Johnson), feeling out of place in the newly-civilized West, who head to Mexico for one last adventure. The movie's final bloodbath, choreographed like a ballet as bullets tear bodies apart in slow motion and send blood flying, is Peckinpah's signature moment as a director, his grand statement on change in the old West, and a sequence that has been the template for the presentation of movie violence for nearly half a century now.

5. 'A Fistful of Dollars' (1964)
Here's the movie that changed westerns forever. It popularized the spaghetti western (so-called because it was directed by an Italian and shot in Europe, giving it an otherworldly, surreal quality that homegrown westerns lacked), demonstrated a cynicism about frontier morality that was new to the genre, and made a movie star out of TV cowpoke Clint Eastwood. The plot, in which Eastwood's gunslinger exploits the blood feud between two powerful families for his own ends, comes from Akira Kurosawa's "Yojimbo." In his first film as the iconic, poncho-clad, cigarillo-smoking Man With No Name, Eastwood has already perfected the squint and the soft-spoken delivery that will carry him through the rest of his long and celebrated career.

4. 'The Good, the Bad and the Ugly' (1966)
In the final movie of Sergio Leone's "Dollars" trilogy, the title refers to the characters played by Clint Eastwood, Lee Van Cleef, and Eli Wallach, respectively. But nobody in the film is all that good; Eastwood's Man With No Name may be a little more honorable than the others, but that's all. The three men compete over a stash of gold, leading to the epic three-way standoff at the film's climax. Ennio Morricone adds to the agonizingly ominous atmosphere with the most iconic instrumental score in western movie history.

3. 'Unforgiven' (1992)
Clint Eastwood's Best Picture winner is also his farewell to the genre that made him famous. It's an unflinching look at the true costs of the violence usually valorized in westerns -- and indeed, throughout American culture. Eastwood plays a reformed outlaw, failing at supporting his family through honest work. He straps on guns again to chase a bounty on a couple of cowboys who disfigured a prostitute.

Lending the whole enterprise some gravitas is a cast of fellow old-timers -- Morgan Freeman as Eastwood's old partner in crime, Richard Harris as an arrogant English-born gunslinger, and an Oscar-winning Gene Hackman as a town sheriff who doesn't mind resorting to violence to keep the peace. No one comes out of this situation unscathed; the violence leaves everyone either dead or damned. Even the viewer is implicated; you'll get the cathartic, climactic bloodshed you crave -- but you'll feel squeamish for wanting it and enjoying it.

2. 'Stagecoach' (1939)
Here's the movie that made John Wayne a star and John Ford the king of all western directors. Wayne's a young gunslinger eager to prove himself, and one of several passengers from diverse walks of life on a stagecoach traveling through hostile Apache territory. Ford makes his first great use here of the majestic scenery of his beloved Monument Valley, and stuntman Yakima Canutt stages some of the most hair-raising stunt work and chase shots in film history.

1. 'The Searchers' (1956)
Anyone who thinks John Wayne played the same, simple, white-hatted hero in every film needs to see this movie that demonstrates not just his range as an actor but also how willing he was to make himself unlikable. As a man who spends years on an obsessive quest to find a niece (Natalie Wood) kidnapped by Comanches, he's an unredeemable racist, one who seems as apt to kill the girl for going native as to bring her safely home.

Besides being an indisputably great movie, it's also an incalculably influential one, a film that hints at the revisionist westerns to come and that served as a one-movie film school for directors like Coppola, Scorsese, and Spielberg. The final shot alone, with Wayne framed in the doorway of a home he feels banished from, has been stolen countless times by Ford's admirers.

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First Look at Penelope Cruz as Donatella Versace in 'American Crime Story'

Penelope Cruz Presents Carpisa at Italian Embassy in MadridPenelope Cruz, is that you under that blonde wig?

The first image of the actress as designer Donatella Versace in "The Assassination of Gianni Versace: American Crime Story" debuted at Entertainment Weekly.

Cruz is sporting Donatella's famous long, platinum blonde hair and a hot pink satin gown, as well as sky-high stilettos. She's lounging by the pool at Villa Casa Casuarina, Gianni's Miami mansion, and flanked by two very ripped guys wearing barely-there swim briefs. Part of the show was filmed at the villa, which is now a restaurant and suites.

"The Assassination of Gianni Versace" follows the FX anthology series' Emmy-winning "People v. O.J. Simpson." It stars Edgar Ramirez as Gianni, Ricky Martin as Gianni's longtime partner Antonio D'Amico, and Darren Criss as killer Andrew Cunanan. It's expected to air sometime in 2018.

"American Crime Story" is also working on Season 3, which is set during and after Hurricane Katrina and stars Annette Bening, Matthew Broderick, and Dennis Quaid.

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What's Leaving Netflix in June 2017

Been meaning to binge "Private Practice" or "CSI: NY"? Better get on that, because those are some of the titles leaving Netflix streaming in June.

Also going bye-bye: "Honey, I Shrunk The Kids" (1989), "This Is Spinal Tap" (1984), and "The Blair Witch Project" (1999).

Here's everything leaving Netflix in June:

Leaving June 1
"D2: The Mighty Ducks" (1994)
"Honey, I Shrunk The Kids" (1989)
"Heterosexual Jill" (2013)
"House of Wax" (2005)
"Kidnapped "(2010)
"Knuckleball!" (2012)
"Las mágicas historias de Plim Plim": Season 1 (2014)
"L'Auberge Espagnole" (2002)
"Serendipity" (2001)
"The Black Power Mixtape 1967-1975" (2011)
"The Blair Witch Project" (1999)
"The Good Guys": Season 1 (2010)
"The Hustler" (1961)
"The Little Rascals" 1994)
"The Prince & Me" (2004)
"The Teacher Who Defied Hitler" (2013)
"The Three Musketeers" (2011)
"The Way of The Dragon" (1972)
"This Is Spinal Tap" (1984)
"Two Step" (2014)
"We Are The Giant" (2014)

Leaving June 6
"Private Practice": Seasons 1 – 6

Leaving June 8
"Xenia" (2014)

Leaving June 9
"4:44: Last Day on Earth" (2011)
"Farewell Herr Schwarz" (2014)
"Free The Nipple" (2014)
"Remote Area Medical" (2013)
"Secrets: The Sphinx" (2013)
"Tough Being Loved by Jerks" (2008)

Leaving June 14
"Bob The Builder": Season 1 (2015)
"Boys Of Abu Ghraib" (2014)

Leaving June 15
"The Lazarus Project" (2008)

Leaving June 16
"Jane Eyre" (2011)

Leaving June 19
"Daddy's Home" (2014)
"Grand Piano" (2013)
"The Right Kind of Wrong" (2013)

Leaving June 23
"Jimmy Goes to Nollywood" (2015)

Leaving June 24
"Agent F.O.X." (2014)
"Breath of The Gods" (2013)
"Dragon Guardians" (2013)

Leaving June 29
"CSI: NY": Seasons 1 - 8

Leaving June 30
"Killer Couples": Season 1 (2009)
"Killer in The Family": Season 1 (2009)
"Murder Files": Season 1 (2013)
"Murder on The Social Network" (2011)
"My Online Bride" (2014)

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New on Netflix: June 2017

Tilda Swinton as Lucy Mirando and An Seo Hyun as Mija in OKJA.June on Netflix means the long-awaited return of "Orange is the New Black," as well as the debut of new '80s women wrestlers comedy "GLOW" starring Alison Brie.

Also new: "Okja," the latest film from "Snowpiercer" director Bong Joon Ho, which just debuted at Cannes to a four-minute ovation. It stars Tilda Swinton and Jake Gyllenhaal in a fantastical tale about a young girl who befriends a giant creature. There's also original movie "Shimmer Lake," a thriller told backwards a la "Memento."

And you'll also be able to catch up with last year's family film's "Trolls" and "Moana."

Here's everything being added to Netflix streaming in June:

Available June 1
"1 Night" (2016)
"13 Going on 30" (2004)
"Amor.com (Love.com)
"Arrow": Season 5 (2016)
"Burlesque" (2017)
"Catfight" (2016)
"Catwoman" (2004)
"Chingo Bling: They Can't Deport Us All
"Days of Grace" (2011)
"Devil's Bride" (2016)
"Full Metal Jacket" (1987)
"How The Grinch Stole Christmas" (2000)
"Intersection": Season 2 (2016)
"Kardashian: The Man Who Saved OJ Simpson" (2016)
"Little Boxes" (2016)
"Mutant Busters": Season 2 (2016)
"My Left Foot" (1989)
"Off Camera with Sam Jones:" Series 3 (2015)
"Playing It Cool" (2014)
"Rounders" (1998)
"Spring (Primavera)" (2016)
"The 100": Season 4 (2016)
"The Ant Bully" (2006)
"The Bucket List" (2007)
"The Queen" (2006)
"The Sixth Sense" (1999)
"Vice" (2015)
"West Coast Customs": Season 3 (2013)
"Yarn" (2016)
"Young Frankenstein" (1974)
"Zodiac" (2007)

Available June 2
"Comedy Bang! Bang!": Season 5, Part 2 (2016)
"Flaked": Season 2 (Netflix Original)
"Inspector Gadget": Season 3 (Netflix Original)
"Los Últimos de Filipinas" (2016)
"Lucid Dream: (Netflix Original Film)
"Saving Banksy" (2014)
"The Homecoming:" Collection (2015)

Available June 3
"Acapulco La Vida Va" (2017)
"Blue Gold: American Jeans" (2017)
"Headshot" (2016)
"Three" (2016)
"Tunnel" (2016)
"War on Everyone" (2016)

Available June 4
"TURN: Washington's Spies": Season 3 (2016)

Available June 5
"Suite Française" (2014)

Available June 7
"Disturbing The Peace" (2016)
"Dreamworks' Trolls" (2016)

Available June 9
"My Only Love Song": Season 1 (Netflix Original)
"Orange Is The New Black": Season 5 (Netflix Original)
"Shimmer Lake (Netflix Original Film)

Available June 10
"Black Snow (Nieve Negra)" (2017)
"Daughters of The Dust" (1991)
"Havenhurst" (2017)
"Sword Master" (2016)

Available June 13
"Oh, Hello On Broadway (Netflix Original)

Available June 14
"Quantico": Season 2 (2016)

Available June 15
"Marco Luque: Tamo Junto (Netflix Original)
"Marvel's Agents of S.H.I.E.L.D.": Season 4 (2016)
"Mr. Gaga: A True Story of Love and Dance" (2015)

Available June 16
"Aquarius": Season 2" (2016)
"Counterpunch (Netflix Original)
"El Chapo": Season 1" (2017)
"The Ranch: Part 3 (Netflix Original)
"World of Winx": Season 2 (Netflix Original)

Available June 17
"Grey's Anatomy": Season 13 (2016)
"Scandal": Season 6 (2016)
"The Stanford Prison Experiment" (2015)

Available June 18
"Shooter": Season 1 (2016)

Available June 20
"Amar Akbar & Tony" (2015)
"Disney's Moana" (2016)
"Rory Scovel Tries Stand-Up For The First Time (Netflix Original)

Available June 21
"Baby Daddy": Season 6" (2017)
"Young & Hungry": Season 5" (2017)

Available June 23
"American Anarchist" (2016)
"Free Rein": Season 1 (Netflix Original)
"GLOW": Season 1 (Netflix Original)
"Nobody Speak: Trials of The Free Press: (Netflix Original)
"You Get Me (Netflix Original Film)

Available June 26
"No Escape" (2015)

Available June 27
"Chris D'Elia: Man on Fire (Netflix Original)

Available June 28
"Okja" (Netflix Original Film)

Available June 30
"Chef & My Fridge: Collection" (2014)
"Gypsy": Season 1 (Netflix Original)
"It's Only The End of The World" (2016)
"Little Witch Academia": Season 1 (Netflix Original)
"The Weekend" (2016)

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'Game of Thrones' Season 7 Will Have Faster Pace: It's 'Much Quicker'

Don't blink while watching "Game of Thrones" season 7 — you might miss something! The drama is seriously ramping up the pace of the action, as writers and cast members told Entertainment Weekly.

"I'm like, 'Already? Now?! What?!'" Nikolaj Coster-Waldau (Jaime Lannister) said of reading season 7 scripts.

"I feel like I'd been lulled into a different pace," he continued. "Everything happened quicker than I'm used to ... a lot of things that normally take a season now take one episode."

Kit Harington, who plays Jon Snow, agreed. "This season is really different than any other season because it's accelerating toward the end, a lot of stuff collides and happens much much quicker than you're used to seeing on 'Thrones' ... it's so different than what everybody is used to. It's quite exciting."

And the breakneck speed isn't due to the shorter season length, which is seven episodes rather than the usual 10.

"Things are moving faster because in the world of these characters the war that they've been waiting for is upon them," showrunner Dan Weiss said. "The conflicts that have been building the past six years are upon them and those facts give them a sense of urgency that makes [the characters] move faster."

Check out brand-new photos from "Game of Thrones" season 7, which premieres July 16 on HBO.

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'Chicago Justice' Officially Canceled By NBC After 1 Season

The world of "One Chicago" is getting a little smaller.

NBC has canceled "Chicago Justice," the latest spinoff in Dick Wolf's franchise, after just one season. The drama was not on the list of renewals during the network's upfront presentation and its future seemed bleak. "Chicago Fire," "Chicago P.D." and "Chicago Med" all received renewals.

All of the "One Chicago" shows post decent ratings, and the original "Chicago Fire" is NBC's second-highest rated drama after freshman breakout "This Is Us."

"Chicago Justice" actually fared better in the ratings than two dramas that were renewed, "Shades of Blue" and "Taken." But it's likely that money played a role in "Justice" getting canned. None of the "One Chicago" shows have been sold into syndication yet.

"Chicago Justice" starred Philip Winchester, Carl Weathers, Jon Seda, Joelle Carter and Monica Barbaro. It's possible that Seda could return to "P.D." or any of the other characters somehow integrated into the other shows.

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'Moana' Star Auli'i Cravhalo on Her New Show, Singing for Millions, and Surviving the Oscars

NBCUniversal Upfront Events - Season 2017How far will "Moana" star Auli'i Cravalho go?

After giving voice to an instant animated icon, singing for an audience of movie stars and millions of viewers at the Academy Awards, grabbing a role on a new TV show and now performing the National Anthem at PBS's National Memorial Day Concert on May 28, a safe bet would be pretty far: she's still only 16 years old.

The Hawaiian-born singer and actress heads to the West Lawn of the U.S. Capitol on Sunday to join in the annual televised Memorial Day celebration honoring the service and sacrifices of America's military and their families, where she'll make her first public performance of "The Star-Spangled Banner."

As she prepped for tackling one of the most enduring -- and notoriously challenging -- songs in American history, Cravahlo joined Moviefone to chat about what the opportunity means to her, her upcoming TV series "Rise," memories of that crazy Oscar night and getting through her math exams in the middle of it all.

Moviefone: This is a very specifically challenging song for any singer to undertake. Tell me what you're thinking as you prepare to sing the National Anthem.

Auli'I Cravalho: It is a challenging song. There's no doubt about it. There's a lot behind it. There's a lot of emotion that needs to be portrayed. Besides the emotion, there's also some crazy pitches in there that you've also got to nail. So I'm working very hard on it, and my heart's in the right place, and I'm excited to perform.

Have you ever performed it publicly before?

No, I have not. My mom is a member of the public, but she's the only person I've ever sung it for. So she doesn't really count. This will be the first.

I'm sure she was an appreciative audience! You've been getting more and more experience singing in front of larger and larger audiences, both in front of you, and via television. What has the experience has been like, getting these really high-profile gigs?

Each one of them never ceases to give me butterflies or crazy nerves. All of these amazing performances have helped me developed in new ways that I never thought possible, and I will tell you that I am nervous for Memorial Day, even now, but I will persevere, and I will get through it.

Each event has taught me so much about myself, and about how to conquer my nerves, and each one has its own significance. Memorial Day is no different. I have had so many family members who have served, and are currently serving as well. So it's going to be an amazing event, there's no doubt about it.

What does it mean to you to be able to honor those who have served the country, and to have an opportunity to creatively express your own sense of patriotism?

It means so, so much. I have grown up on an island all my life. Even though I have been miles and miles away from our capital, I have never once doubted how important, and how honored, and how privileged I am to be an American citizen. To be able to sing the National Anthem at our nation's capitol, at 16 years of age, I could not be more honored. I know that I am making my family proud, so I'm just thrilled.

Do you remember the very first song that you performed in front of a decent-sized audience?

I don't even remember the name of the song. Everyone knows the song, except no one really knows it. It's like "Red is the color of an apple, orange is the color of an orange ..." [NOTE: "The Rainbow Song," from "Barney & Friends"] Like, that one.

I'm pretty sure I stopped at yellow, because I had stage fright, and I was in a local pizza joint, because they said, if there was a rainbow, and you sang the song, you get a free slice of pizza. Needless to say, my mom had to buy me the slice of pizza because I couldn't finish the song. But I do believe that was the first song I ever sang in public. Thank you for bringing back that memory for me, Scott!

Tell me about your experience singing at the Oscars. You got rave reviews for your performance. It was an interesting and unusual evening all around. What was that experience like for you?

That was incredible. I will never, ever forget that performance. For the days after the performance, I really couldn't forget it because whenever I would lay down, the back of my head was throbbing because I had a lump from the guy who decided to hit me on the back of the head with a pole. I will never forget that performance! I know that there will be a lot of flags at Memorial Day, so I'm preparing myself for that as well.

I was so thrilled. I remember seeing so many celebrities in the crowd, and realizing that, you know what, yes, they're amazing, but they're all people. So I'm going to give my performance as if there's no one in the audience, because the only person in the audience that's really, truly special, besides Lin-Manuel Miranda and Dwayne Johnson, is my mom. So technically, I was just performing the Oscars for my mom. There will be a lot more people to perform to for Memorial Day.

With that said, did you get to meet anybody throughout the course of the night that was special to you that was kind of a pinch-me-I'm-dreaming sort of moment?

I got to meet Katy Perry. I saw Adrien Brody from a distance. And Meryl Streep was, like, in the front row while I was performing. If I didn't have a better control over my stomach, I could have, like, legitimately projectile vomited on her -- but I didn't. Whew! But she was close enough to do that.

"Moana" has been embraced by so many people, and you've been out in lots of situations where you've gotten to meet fans. Tell me what that experience, being a part of this immediate sort of global family that loved that movie, has been like for you.

It's been so amazing for me. I have grown up in Hawaii all my life, and the fact that "Moana" is a Polynesian influence, that was incredible for me. This is kind of the first of its kind where we've seen a Polynesian heroine that's strong, that is empowered, that's empowering to those who watch it.

I think that really spanned across so many people, which is why so many people have loved it for its music, for Lin-Manuel Miranda and Mark Mancina and Opetaia [Foa'i] and the music team, as well as the characters themselves, how they're relatable, and the storyline as well: figuring out what you want to do, and listening to that quiet voice, and pursuing it as well.

It's been amazing coming home and getting hugs and leis from my family members who are so proud of the film and proud of me. There's nothing that I wanted more than to have my family members, and to have my island, and my island family really proud of me. So I'm so grateful.

Do you hope that as you continue in different acting roles that you get the opportunity to tell more stories about people in the Polynesian culture, whether they be traditional stories like "Moana," or contemporary stories about people today?

I think the reason I want to be an actress is because I get to be a part of that storytelling process. The stories that wouldn't usually be heard. Like I was saying, I'm just so proud to be a part of "Rise," because it tells a story of real people, as well as "Moana." "Moana" was about a young teenager figuring out who she was. So I'm just so happy with what I've been a part of.

That's why I wanted to act, because I get to tell these stories, so yes, more stories inspired by Polynesia, and more stories in general that speak of real people, I'm excited to be a part of.

You're definitely going to be telling more stories because you got a nice good news this week with the pickup of "Rise."


Tell me why that project felt right for you, and what you're going to be doing on the show.

I fell in love with "Rise" the first time that I read the script. I auditioned for it, and I don't audition for many because I don't really know how to do auditions, if I'm honest. So I was really excited for "Rise" because it felt so real.

It's inspired by the book "Drama High" by Michael Sokolove. It's about a working class town, and my character comes from a single parent home. I get all of those things. I get going to high school, and trying to be popular, and yet be true to yourself. Just the normal things that high schoolers go through. I'm 16. Believe me, I get it!

The fact is that "Rise" isn't a picture perfect show either. It's written by an incredible staff who want to tell a story that's true. So that's why it felt so important to me. I also get to perform on there, and sing my little heart out. So there's a lot of elements that I'm really proud of.

Have you had a chance to go to Disneyland or Disney World since the world discovered "Moana"?

No, no I haven't actually. I haven't even been able to spend very much time home. I'm on Oahu now, and I'm in my room, and after this, I will actually be prepping for my math exam, my trigonometry exam, so I don't have much time to go to Disneyland. I've never been to Disney World. Hopefully, Moana will be able to see the Moana in the park! I haven't met her yet, but I heard that she's wonderful, and I'm excited for the day that we meet.

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'Spider-Man' Star Tom Holland Lands Another Franchise With 'Uncharted'

Tom HollandTom Holland will soon be juggling franchises: The star of "Spider-Man: Homecoming" is attached to star in the big-screen adaptation of the first-person-shooter video game "Uncharted."

Deadline reports that Holland will play a young version of treasure hunter Nathan Drake in the movie, with Shawn Levy ("Stranger Things," "Real Steel") directing.

Drake, supposedly a descendant of famous explorer Sir Frances Drake, searches for mythical treasures, much like Indiana Jones and Lara Croft. In the games, he has sought El Dorado and Marco Polo's lost fleet.

The movie will be based on Drake's first encounter with debt-ridden, cigar-chomping mentor Victor "Sully" Sullivan, who has yet to be cast.

Early reaction is mixed, with some fans of the game saying they'd prefer Nathan Fillion or "Legion" star Dan Stevens for the role.

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Michaela Watkins Takes 'Casual' in Bold New Directions for Season 3

US-ENTERTAINMENT-HULU-UPFRONTThere's nothing casual happening in Michaela Watkins's career.

As the actress/writer's critically lauded streaming series "Casual" returns for a surprising third season on Hulu -- surprising in that the final episode of the second season appeared to satisfyingly tie up the show's central storylines -- she remains one of Hollywood's consistent go-to talents: she maintains a unique, multi-character recurring role on Amazon's "Transparent," is an in-demand TV guest actor with recent appearances on "Speechless," "Nobodies" and "Angie Tribeca," and has a busy slate of film work as well in movies like the recent "How to Be a Latin Lover" and the upcoming Will Ferrell/Amy Poehler comedy "The House."

Somewhere in there Watkins found a few spare moments to sit down with Moviefone to discuss the return of "Casual" and take a look at the unique, diverse creative run she's been enjoying.

Moviefone: With this show, you get this spectacular and potentially series-ending Season 2 finale that brought every bit of emotion out of you and the viewers -- and then you get another season. What was your immediate thought once you knew you were coming back?

Michaela Watkins: That's a great question. It was multi-fold: I felt like one of those things, remember when "Enlightened" ended after two seasons? It was like, "That's a bummer." I thought that was a really quality show, but it told a great story in two seasons.

I know that that third season could have been really interesting to see, what does this character do in success? So we've killed off the patriarch of the family. But I've seen the scripts coming -- also Tommy [Dewey] and I are writing part of the scripts this year, so we've been in the writers' room.

It's so interesting. It really goes into a completely, "What happens after Val and Alex are no longer living under the same roof?" Second season they were under the same roof, but they couldn't have been further apart. Then what happens in the third season when they are apart? What is the intimacy there?

While the second season was really about friendship, everybody trying to find friendship, I think the third season really, ironically, is about family, everybody searching for family, in whatever machination that can be. Family means something different to everybody, so it's really interesting. It's really staying in the pocket of what the show is, but also bringing a totally new storyline, new information -- and none of it feels out of character.

Did you get a sense there was a freeing nature from the way Season 2 concluded that opened up all these possibilities? Or was there a struggle at first to figure out where to go?

It was always [series creator] Zander [Lehman's] deep plan that, if there were three seasons, where this would go. So it's not like they all were scrambling going, "Oh sh*t, what do I do? We've completed the story. Now what?" So luckily, there's a lot of meat on that bone.

I think they know where everybody goes. It's how they get there is what the writers' room is, essentially. It's breaking out how are we going to go to where we want them to go emotionally? But that's the fun part, is figuring out the day-to-day within these characters' lives. Who do they meet? What does that inform? And then how do they handle it?

What do you like about having a voice in where Valerie goes? More so than if you were just coming in to play the role, but you get to be behind the scenes and contributing to it as well?

Always keeping in mind to be very respectful of the fact that, no matter what, this is Zander's show. It's his vision. He knows exactly the chord that the show is doing. Nothing goes in a direction that he's not completely comfortable with. So that's the first layer.

The second is, it's just fun to be in the room with Tommy as well, because we're writing it together. The third season, we know these characters so well that I think it was fun for the other writers to be able to have somebody who is going to eventually be playing them, knows intimately what they would do.

So it was really fun and different in any other writing capacity I've ever been in, where I had felt like I knew the characters so well. I can sit with all of them and think, what would they do? What would they do? You essentially know. Now, do I like that better than showing up and having a script that tells you what happens? I don't know. Because the truth is like, I love the surprise of cracking that script and seeing where my character goes.

Do these characters continue to grow? Do they evolve? What happens when they evolve enough that they don't really, does that kill storyline? And the truth is, it doesn't, because we're who we are. We come to the world with so many issues, and triggers, and things like that. And how we perceive, how we evolve, is all part of our becoming. So while we may be improving, improvement is not an axis up. It's going to be up and down, and up and down, and sometimes you really screw up. It's great to see them screw up in their evolution.

Nobody evolves at the same pace. So if you're in a good place, other people around you may not be.

Exactly. You might be having a killer year because you just finally realized that you don't have to date an asshole. But you have a friend who's, like, dating a married man, and they're still working that out.

Tell me about the joys of being on the cutting edge of the way people are consuming their entertainment now. Have you felt any sort of difference in that aspect, both with this job and with "Transparent"?

I love streaming, just in general. I think it's been the best thing for me and my sensibility, and what I like to do. Just because, whether it's something as broad as "Wet Hot American Summer," or as like visceral as "Transparent," or as thoughtful and relevant as "Casual," it feels like it's such a unique way to get to tell story, and for people to take it in. They don't miss it.

With network, I feel like if you didn't get on that train early, then it's gone, and there's going to be another show soon. But with streaming, they live there, and they stay there, and people can come to it and find it eventually.

I know I'm somebody who needs to hear something 100 times before I finally act on it, and I'm just starting to watch "Black Mirror," and I'm like, "What? This show! I'm running out and telling everybody. Everybody's like, yeah "Duh." I'm going, "But--!" "Yeah, we know."

Tell me about the opportunities that "Transparent" has given you, because that's got to feel pretty special, creatively, for you, in the way that they use you in particular.

It's funny, because it uses me in a very strange way. The first season I played someone close to my age, but in a '90s flashback. In the second season, it was somebody older than me, but in 1930s Berlin. The third season, it was somebody in their 60s or something, and it was still here in California.

So it's a fun range, and only Jill Soloway, I feel, has the chutzpah, if you will, to sort of run with her instincts in that way. Everybody does, believe me. Zander does. But I'm just saying, because that show can really push boundaries, I feel like she's somebody who has the room and the ability, because of the nature of that show, to really say, what happens? What happens if? What happens if we shoot in Israel? What happens if we do this? What happens if we have a flashback about that? I just don't think she has that thing that says, "You probably shouldn't ..."

Do you have any insight as to why you got that opportunity with "Transparent"? Why Jill said, "I'm going to bring her back in these different ways."

I don't know. Jill decided early on. When I first met her, she said, "I think you might be my muse." And I don't know why. Like I said, she's somebody who when she has a gut feeling, she runs with it. And I have learned that when she has a gut feeling, it's always best to listen to it. So I say yes to everything she has me do, no matter how potentially embarrassing and humiliating it might be. Eventually, now it's really paying off.

Especially in the last few years, you've been getting all these great opportunities in so many different styles of shows and different types of characters. Did you worry at any point that you had to make a choice between comedy, like straight up comedy, or would you be able to indulge your dramatic side? Was there any trepidation about being pigeonholed?

When "Casual" came about and I auditioned for it, and I found out I got it, I was so thrilled, because it was exactly what I wanted to do next. It was like the exact thing I wanted. I love all the work I do, the opportunities, and those are all wonderful, and I get to do some really fun roles. But that's it. They're fun roles that sort of pop in, give some information, and then the story continues, and then they leave. I felt like I really want to chew the meat. I just really want to get to know somebody in a consistent way.

I love coming in and changing character, costume, and face, and age, and all those things. That's fun. I've come from improv and sketch comedy as well, and theater. But I really never -- other than "Trophy Wife," which was a very short-lived show, "SNL" was a sketch show -- I never got to really sustain one character, who's got a depth of field like Valerie does. This is a dream come true for me.

It's also considered a comedy, but I guess we can call it a dramedy. It's a challenge because I know I have to pull back on the jokes. I know a funny reading of whatever it is, but that's not the character. That's not the tone of the show. That's not the intention. And the challenge more is, don't be funny on this line. This is who they are. This is how they live. Not everything I say I do as a joke.

More so than Valerie, certainly. I'm a sillier person than she is. Valerie has a sense of humor, it's just not what she leads with. To really commit to that character, I have to commit to that, too. Sometimes I'm like, "I know what the funny version is, but I can't do it. I can't do it." I know what it is, but I can't do it.

Who are the people who inspired you? The actors and comedians that you took inspiration from.

You know who really inspires me a ton? I used to recur on her show, "New Adventures of Old Christine": Julia Louis-Dreyfus. I said to myself, "If I ever had my own show, that's exactly how I'm going comport myself and run it." I had a show that I co-wrote with my friend Damon [Jones], co-created, called "Benched" on USA. I always had Julia in my head as somebody who's just like a hard worker, super warm, and capable, and made everybody feel valued, and respected, and all those things.

She's somebody that I always think about, because I love her. I respect her so much. I find her so inspiring. I think she's so funny. She's so her. She's so uniquely herself. I don't see her apologizing for that, ever, or playing small. And she's also not putting on airs and fluffing up. She's just her, completely her, and I just love her.

Give me your bucket list of things you still want to do in your career.

Okay. I'll tell you right now: I want to do like a big floofy -- it's a word, "floofy" -- big budget period piece biopic. Of like, ideally, Lucille Ball. Really, anybody. I want to do like a full-tilt period drama. Pre-'50s. Anything beyond. I don't care if it's medieval times. I don't care. I love Edwardian. That would be fun. You know what would be great? A Jane Austen film!

If you come to our set, it's so homey and delicious. I actually love our set, because it's like an alternate reality, but one I know well. But it would be fun though to go into the full regalia. I'd love to do "Downton Abbey." I know it's done, but still. Let's do it.

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Vanity Fair Unveils 4 'Star Wars: The Last Jedi' Covers, Teases New Character Rose Tico

Bet you can't wait to get your hands on the "Star Wars: The Last Jedi" issue of Vanity Fair.

The magazine features four collectible covers: The late Carrie Fisher looking regal as Leia; Rey (Daisy Ridley) and Luke (Mark Hamill); Resistance fighters Cameron Poe (Oscar Isaac), Finn (John Boyega) and new character Rose Tico (Kelly Marie Tran); and First Order villains Captain Phasma (Gwendoline Christie), Kylo Ren (Adam Driver), and General Hux (Domhnall Gleeson). Among those not pictured: Franchise newcomers Benicio Del Toro and Laura Dern.

More on Rose Tico: Per the magazine, she's a Resistance maintenance worker and has the most screen time of any newcomer in "Episode VIII." Tran is a relative unknown, but her previous credits include the Netflix romcom "XoXo" and the web series "Ladies Like Us."

It's the first time we see Phasma with her helmet off, although that's no guarantee we'll also see her face in the film. Driver tells Vanity Fair that Kylo Ren's wounds "go much deeper" than the dramatic new scar on his face.

Vanity Fair will release more details from the cover story Wednesday. As for the magazine itself, you can pick that up on newsstands in New York and Los Angeles on May 31, and nationally on June 6. Or you can buy each cover individually for $6.99 plus shipping.

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James Bond Star Roger Moore Dies At 89

Roger MooreWe're sad to report that Roger Moore, who was the second actor to play James Bond, has died at age 89.

Variety reports that the actor died in Switzerland after a short battle with cancer.

His family announced the news on Twitter, saying, "It is with the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated."

Moore took over the iconic role from original James Bond star, Sean Connery. He played Bond seven times: in the voodoo-themed "Live and Let Die" (1973), opposite Christopher Lee in "The Man With the Golden Gun" (1974), followed by "The Spy Who Loved Me" (1977), and "Moonraker" (1978), which sent Bond into outer space.

He headlined the franchise into the '80s with "For Your Eyes Only" (1981), "Octopussy" (1983), and his final turn as Bond in "A View to a Kill" (1985).

Moore made his film debut in the 1954 Elizabeth Taylor film "The Last Time I saw Paris" as a tennis pro.

Prior to landing the role of James Bond, he played Simon Templar, another dashing man of action in the British series "The Saint."

He sent up his image as Bond in the Cuba Gooding Jr. comedy "Boat Trip" (2002) and the 2004 animated short "The Fly Who Loved Me."

You may also remember him in "Cannonball Run," the Spice Girls movie "Spice World," and from a guest turn in the ABC spy series "Alias."

The actor was knighted in 1999. He penned the memoirs "My Word Is My Bond" (2008), "Bond on Bond" (2012), and "One Lucky Bastard" (2014). He toured recently with the one-man show "An Evening With Roger Moore."

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