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  • Walter Mirisch, Oscar-winning producer, dead at 101

    Walter Mirisch, Oscar-winning producer, dead at 101

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    LOS ANGELES — Walter Mirisch, the astute and Oscar winning film producer who oversaw such classics as “Some Like It Hot,” “West Side Story” and “In the Heat of the Night,” has died of natural causes, the Academy of Motion Picture Arts and Sciences said Saturday. He was 101.

    Mirisch died on Friday in Los Angeles, according to a statement from the academy’s CEO Bill Kramer and its president Janet Yang.

    “Walter was a true visionary, both as a producer and as an industry leader,” they said, noting he had served as academy president and an academy governor for many years. “His passion for filmmaking and the Academy never wavered, and he remained a dear friend and advisor. We send our love and support to his family during this difficult time.”

    Mirisch received the best picture Academy Award for 1967’s “In the Heat of the Night,” and the company run by him and his brothers also produced the best-picture Oscar winners “The Apartment” and “West Side Story.”

    Born eight years before the first Academy Awards ceremony, he served as president of the Academy of Motion Picture Arts and Sciences from 1973 to 1977 and received two honorary Oscars, in 1978 and 1983, for his body of work and his humanitarian efforts.

    As a producer, Mirisch aggressively recruited top filmmakers such as Billy Wilder and Norman Jewison, then gave them freedom to craft the movies as they saw fit.

    “We offered these filmmakers what they needed,” he told the Los Angeles Times in 1983. “Billy could call me up and say, `I’d next like to do a picture about so-and-so’ — and that’s all we’d need to know. … We became, in effect, partners with our directors.”

    His company’s regular stable of directors included not only Wilder and Jewison, but Blake Edwards and John Sturges. The company also produced movies by John Ford, John Huston, William Wyler, George Roy Hill and Hal Ashby.

    Mirisch entered the movie business in his teens, advancing from usher to management jobs with a theater chain before going on to production work on low-budget action flicks and Westerns in the late 1940s.

    The company he founded in 1957 with his brother Marvin and half brother Harold was one of the most successful independent production outfits to arise from the old studio system as television cut into movie attendance.

    The Mirischs made a string of hits from the 1950s to the 1970s, among them “The Magnificent Seven,” “Fiddler on the Roof,” “The Great Escape,” “The Russians Are Coming, the Russians Are Coming,” “The Thomas Crown Affair,” “The Pink Panther” and its sequel, “A Shot in the Dark.”

    Their company started with a handful of Westerns before producing 1959’s “Some Like It Hot,” the Wilder comedy with Marilyn Monroe co-starring Jack Lemmon and Tony Curtis as cross-dressing musicians running from the mob.

    Mirisch was willing to take on unusual projects. A Harvard-trained business executive, he efficiently oversaw the commerce side of things, allowing his filmmakers to concentrate on their movies.

    Elmore Leonard — the crime novelist and screenwriter on two Mirisch productions, 1974’s “Mr. Majestyk” and the 1987 TV movie “Desperado” — dedicated his Hollywood satire “Get Shorty” to Mirisch, calling him “one of the good guys.”

    Mirisch was also among a handful of filmmakers Sidney Poitier acknowledged in his speech at the 2002 Academy Awards when he accepted an honorary Oscar for lifetime achievement.

    “Those filmmakers persevered, speaking through their art to the best in all of us,” said Poitier, who starred in Mirisch’s “In the Heat of the Night” and the sequel “They Call Me Mister Tibbs!”

    The Mirisch brothers adjusted their management style film by film, depending on the level of oversight they felt a director wanted or needed. In a 1972 interview in the journal “Films and Filming,” Mirisch said some directors worked well as their own producers, while others showed little interest beyond the actual filmmaking.

    “We’ve worked with brilliant directors and producer-directors, and I must say that the relationship with each of them has been entirely different,” he said.

    A team for most of their careers, the Mirisch brothers also worked in theater. Before joining the Allied Artists production company in the 1940s, Walter worked as a producer and later head of production and Harold and Marvin had administrative jobs.

    While at Allied, Walter produced both Westerns and a series of low-budget titles in the “Bomba the Jungle Boy” series that starred Johnny Sheffield, who had played Boy in the “Tarzan” movies of the 1940s.

    After his oldest brother, Harold, died in 1968, the surviving siblings continued their company with Marvin as chairman and Walter, the youngest brother, in charge of production. Marvin died in 2002.

    Walter Mirisch continued to produce theatrical movies into the 1980s. Although the quality and commercial success of his films generally declined, there were still some hits, including Oscar nominations and a Golden Globe for “Same Time Next Year.” Other films that came late in his career included “Midway,” “Gray Lady Down,” and the 1979 version of “Dracula.” He was also executive producer on a few television projects in the 1990s.

    Walter Mortimer Mirisch was born in New York City on Nov. 8, 1921. After studying at City College of New York, he earned a bachelor’s degree from the University of Wisconsin in Madison in 1942 and a graduate degree in business from Harvard in 1943.

    In 1947, Mirisch married Patricia Kahan, who preceded him in death. They had three children, Anne, Andrew and Lawrence.

    In lieu of flowers, the family requested donations to the Motion Picture and Television Fund (MPTF).

    A memorial service will be held at a future date.

    ___

    Former Associated Press writer David Germain contributed biographical information to this report from Los Angeles.

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  • ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

    ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

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    NEW YORK — NEW YORK (AP) — The gonzo R-rated horror comedy “Cocaine Bear” sniffed up $23.1 million in its opening weekend, according to studio estimates Sunday, while Marvel’s “Ant-Man and the Wasp: Quantumania” shrank unusually quickly in its second weekend.

    “Quantumania” was still No. 1 with an estimated $32.2 million in ticket sales in U.S. and Canadian theaters. But the “Ant-Man” sequel, hit with some of the worst reviews and audience scores of the Marvel Cinematic Universe, dropped a steep 69.7% in its second weekend. That’s the worst decline for an MCU film, falling faster than “Black Widow” (67.8%), a pandemic release that debuted simultaneously in homes.

    Instead, Universal Pictures’ “Cocaine Bear” rampaged through multiplexes, scoring notably above expectations. Made for about $35 million and directed by Elizabeth Banks, “Cocaine Bear” stirred up plenty of buzz just from its title and its made-to-go-viral trailer.

    “Cocaine Bear,” scripted by Jimmy Warden and produced by Phil Lord and Christopher Miller (“Spider-Man: Into the Spider-verse,” “The Lego Movie”), managed to turn a bizarre true-life tale into a tongue-in-cheek box office hit. It’s based on the real story of a 175-pound (79-kilogram) black bear who died in the Georgia mountains in 1985 after eating from a duffle bag of cocaine that had fallen from a smuggler’s plane. (The smuggler, a former Kentucky narcotics investigator, parachuted to his death in Tennessee.)

    The trailer for “Cocaine Bear,” which played ahead of the Super Bowl, was watched globally by more than 90 million, Universal said, and caught fire on social media. But transferring can-you-believe-that’s-a-real-movie buzz to the box office doesn’t always work. “Snakes on a Plane,” a movie many compared to “Cocaine Bear,” opened with $13.9 million in 2006.

    “Audiences discovered this very outrageous, hysterical comedy that our director Elizabeth Banks delivered,” said Jim Orr, Universal distribution chief. “The film absolutely delivers on its preposterous premise. People wanted to come out and have a good time at the theater.”

    “Cocaine Bear” managed to overperform despite mixed reviews from critics and a “B-” CinemaScore from audiences. Ticket buyers were 59% male, and 63% were aged 18-34. It added $5.3 million overseas. “Quantumania” is more easily outpacing “Cocaine Bear” internationally, where it added $46.4 million over the weekend.

    In just about the epitome of counterprogramming to “Cocaine Bear,” Lionsgate’s “Jesus Revolution” also debuted strongly. The film, likewise inspired by a true story, stars Kelsey Grammer as a California minister and Joel Courtney as youth minister, and dramatizes the movement of Christian hippies in the late ’60s and early ’70s. It launched with $15.5 million over the weekend and in advance screenings. Produced by the Kingdom Story Company, “Jesus Revolution” proved popular with Christian audiences, and early surpassed expectations. It earned an A+ CinemaScore.

    Next week should see a new champ at the box office, with the release of Michael B. Jordan’s “Creed III.”

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

    1. “Ant-Man and the Wasp: Quantumania,” $32.2 million

    2. “Cocaine Bear,” $23.1 million.

    3. “Jesus Revolution,” $15.5 million.

    4. “Avatar: The Way of Water,” $4.7 million.

    5. “Puss in Boots: The Last Wish,” $4.1 million.

    6. “Magic Mike’s Last Dance,” $3 million.

    7. “Knock at the Cabin,” $1.9 million.

    8. “80 for Brady,” $1.8 million.

    9. “Missing,” $1 million.

    10. “A Man Called Otto,” $850,000.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

    ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

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    NEW YORK — NEW YORK (AP) — The gonzo R-rated horror comedy “Cocaine Bear” sniffed up $23.1 million in its opening weekend, according to studio estimates Sunday, while Marvel’s “Ant-Man and the Wasp: Quantumania” shrank unusually quickly in its second weekend.

    “Quantumania” was still No. 1 with an estimated $32.2 million in ticket sales in U.S. and Canadian theaters. But the “Ant-Man” sequel, hit with some of the worst reviews and audience scores of the Marvel Cinematic Universe, dropped a steep 69.7% in its second weekend. That’s the worst decline for an MCU film, falling faster than “Black Widow” (67.8%), a pandemic release that debuted simultaneously in homes.

    Instead, Universal Pictures’ “Cocaine Bear” rampaged through multiplexes, scoring notably above expectations. Made for about $35 million and directed by Elizabeth Banks, “Cocaine Bear” stirred up plenty of buzz just from its title and its made-to-go-viral trailer.

    “Cocaine Bear,” scripted by Jimmy Warden and produced by Phil Lord and Christopher Miller (“Spider-Man: Into the Spider-verse,” “The Lego Movie”), managed to turn a bizarre true-life tale into a tongue-in-cheek box office hit. It’s based on the real story of a 175-pound (79-kilogram) black bear who died in the Georgia mountains in 1985 after eating from a duffle bag of cocaine that had fallen from a smuggler’s plane. (The smuggler, a former Kentucky narcotics investigator, parachuted to his death in Tennessee.)

    The trailer for “Cocaine Bear,” which played ahead of the Super Bowl, was watched globally by more than 90 million, Universal said, and caught fire on social media. But transferring can-you-believe-that’s-a-real-movie buzz to the box office doesn’t always work. “Snakes on a Plane,” a movie many compared to “Cocaine Bear,” opened with $13.9 million in 2006.

    “Audiences discovered this very outrageous, hysterical comedy that our director Elizabeth Banks delivered,” said Jim Orr, Universal distribution chief. “The film absolutely delivers on its preposterous premise. People wanted to come out and have a good time at the theater.”

    “Cocaine Bear” managed to overperform despite mixed reviews from critics and a “B-” CinemaScore from audiences. Ticket buyers were 59% male, and 63% were aged 18-34. It added $5.3 million overseas. “Quantumania” is more easily outpacing “Cocaine Bear” internationally, where it added $46.4 million over the weekend.

    In just about the epitome of counterprogramming to “Cocaine Bear,” Lionsgate’s “Jesus Revolution” also debuted strongly. The film, likewise inspired by a true story, stars Kelsey Grammer as a California minister and Joel Courtney as youth minister, and dramatizes the movement of Christian hippies in the late ’60s and early ’70s. It launched with $15.5 million over the weekend and in advance screenings. Produced by the Kingdom Story Company, “Jesus Revolution” proved popular with Christian audiences, and early surpassed expectations. It earned an A+ CinemaScore.

    Next week should see a new champ at the box office, with the release of Michael B. Jordan’s “Creed III.”

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

    1. “Ant-Man and the Wasp: Quantumania,” $32.2 million

    2. “Cocaine Bear,” $23.1 million.

    3. “Jesus Revolution,” $15.5 million.

    4. “Avatar: The Way of Water,” $4.7 million.

    5. “Puss in Boots: The Last Wish,” $4.1 million.

    6. “Magic Mike’s Last Dance,” $3 million.

    7. “Knock at the Cabin,” $1.9 million.

    8. “80 for Brady,” $1.8 million.

    9. “Missing,” $1 million.

    10. “A Man Called Otto,” $850,000.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

    ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

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    NEW YORK — NEW YORK (AP) — The gonzo R-rated horror comedy “Cocaine Bear” sniffed up $23.1 million in its opening weekend, according to studio estimates Sunday, while Marvel’s “Ant-Man and the Wasp: Quantumania” was quickly dwarfed in its second weekend.

    “Quantumania” was still No. 1 with an estimated $32.2 million in ticket sales in U.S. and Canadian theaters. But the “Ant-Man” sequel, hit with some of the worst reviews and audience scores of the Marvel Cinematic Universe, dropped a steep 69.7% in its second weekend. That’s the worst decline for an MCU film, falling faster than “Black Widow” (67.8%), a pandemic release that debuted simultaneously in homes.

    Instead, Universal Pictures’ “Cocaine Bear” rampaged through multiplexes, scoring notably above expectations. Made for about $35 million and directed by Elizabeth Banks, “Cocaine Bear” stirred up plenty of buzz just from its title and its made-to-go-viral trailer.

    “Cocaine Bear,” scripted by Jimmy Warden and produced by Phil Lord and Christopher Miller (“Spider-Man: Into the Spider-verse,” “The Lego Movie”), managed to turn a bizarre true-life tale into a tongue-in-cheek box office hit. It’s based on the real story of a 175-pound (79-kilogram) black bear who died in the Georgia mountains in 1985 after eating from a duffle bag of cocaine that had fallen from a smuggler’s plane. (The smuggler, a former Kentucky narcotics investigator, parachuted to his death in Tennessee.)

    The trailer for “Cocaine Bear,” which played ahead of the Super Bowl, was watched globally by more than 90 million, Universal said, and caught fire on social media. But transferring can-you-believe-that’s-a-real-movie buzz to the box office doesn’t always work. “Snakes on a Plane,” a movie many compared to “Cocaine Bear,” opened with $13.9 million in 2006.

    “Audiences discovered this very outrageous, hysterical comedy that our director Elizabeth Banks delivered,” said Jim Orr, Universal distribution chief. “The film absolutely delivers on its preposterous premise. People wanted to come out and have a good time at the theater.”

    “Cocaine Bear” managed to overperform despite mixed reviews from critics and a “B-” CinemaScore from audiences. Ticket buyers were 59% male, and 63% were aged 18-34. It added $5.3 million overseas. “Quantumania” is more easily outpacing “Cocaine Bear” internationally, where it added $46.4 million over the weekend.

    In just about the epitome of counterprogramming to “Cocaine Bear,” Lionsgate’s “Jesus Revolution” also debuted strongly. The film, likewise inspired by a true story, stars Kelsey Grammer as a California minister and Joel Courtney as youth minister, and dramatizes the movement of Christian hippies in the late ’60s and early ’70s. It launched with $15.5 million over the weekend and in advance screenings. Produced by the Kingdom Story Company, “Jesus Revolution” proved popular with Christian audiences, and early surpassed expectations. It earned an A+ CinemaScore.

    Next week should see a new champ at the box office, with the release of Michael B. Jordan’s “Creed III.”

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

    1. “Ant-Man and the Wasp: Quantumania,” $32.2 million

    2. “Cocaine Bear,” $23.1 million.

    3. “Jesus Revolution,” $15.5 million.

    4. “Avatar: The Way of Water,” $4.7 million.

    5. “Puss in Boots: The Last Wish,” $4.1 million.

    6. “Magic Mike’s Last Dance,” $3 million.

    7. “Knock at the Cabin,” $1.9 million.

    8. “80 for Brady,” $1.8 million.

    9. “Missing,” $1 million.

    10. “A Man Called Otto,” $850,000.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Cruise, “Everything Everywhere” honored at producers’ awards

    Cruise, “Everything Everywhere” honored at producers’ awards

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    BEVERLY HILLS, Calif. — BEVERLY HILLS, Calif. (AP) — Tom Cruise was honored for his nearly three decades of work as a producer, and “ Everything Everywhere All at Once ” solidified its status as the frontrunner for the best picture Oscar by taking the top prize at Saturday night’s Producers Guild of America Awards.

    “We love you! We love you!” another Oscar favorite and one of the film’s stars, Ke Huy Quan, shouted gleefully from the stage as Jonathan Wang and the other producers of the multiversal dramedy accepted the award for best theatrical motion picture.

    The award has proven to be perhaps the best indicator for what will win the top honor at the Oscars, with four of the past five and 11 of the past 14 PGA winners going on to win best picture.

    PGA wins by “ CODA ” last year and “ Nomadland ” in 2021 set each apart as frontrunners before winning best picture.

    The strong possibility of a big night at Sunday’s Screen Actors Guild Awards could further mark “Everything Everywhere” as the film to beat at the March 12 Academy Awards.

    Cruise the actor caused a stir inside and outside with his presence at the show at the Beverly Hilton in Beverly Hills, California, but his producing career beginning in 1996 with “Mission: Impossible” earned him the David O. Selznick Award at the PGAs, a life achievement honor previously bestowed on Steven Spielberg, Kevin Feige, Mary Parent and Brian Grazer.

    “My whole life I wanted to make movies,” said Cruise, wearing a tuxedo with his hair grown out to the length he wore it in “Mission: Impossible 2.” “I wanted to travel the world, and have adventure.”

    Cruise talked about making his film debut in 1981’s “Taps” at age 18 and how producer Stanley Jaffe let him in on every part of the process.

    “I was certain this was something I wanted to do for the rest of my life,” he said.

    Cruise thanked Jerry Bruckheimer, producer of the original 1986 “Top Gun” and his producing partner on last year’s “Top Gun: Maverick,” which also was nominated for the top PGA award and is up for the best picture Oscar.

    “You opened the door for me,” Cruise told Bruckheimer. “You welcomed me in and I will be grateful forever.”

    Since the first “Mission: Impossible,” Cruise has regularly been a producer on the films in which he has starred, including “Vanilla Sky,” “The Last Samurai,” “Jack Reacher” and the other five films in the “Mission: Impossible” franchise.

    He paid tribute in his acceptance to many other mentors and partners including Spielberg and former Paramount CEO Sherry Lansing, who presented the award.

    “You’ve all enabled me the adventurous life that I wanted,” he said.

    Cruise gave a closing shout-out to “all the audiences, for whom I work first and foremost, thank you for letting me entertain you.”

    Other movies honored by the PGA included “Navalny,” which won for best documentary feature, “Guillermo del Toro’s Pinocchio,” which took best animated film, and “Till,” which won the Stanley Kramer Award honoring a production or producer that illuminates and raises public awareness of important social issues.

    In the PGA’s television categories, “The Bear” won for best comedy, “The White Lotus” won for best drama, “Lizzo’s Watch Out For The Big Grrrls” won for best reality or competition series, “Stanley Tucci: Searching for Italy” won for non-fiction series, “The Dropout” won best limited series and “Weird: The Al Yankovic Story” won best TV movie.

    Mindy Kaling received the Norman Lear Achievement Award in Television for her work producing shows including “The Mindy Project,” “The Sex Lives of College Girls,” “Never Have I Ever,” “Velma” and “The Office.”

    “I’m a child of immigrants and that unexpectedly became my secret weapon,” Kaling said.

    B.J. Novak, her former “Office” co-writer and co-star, presented Kaling with the award, saying she “cared about characters other people hadn’t cared about enough to put on TV, and they cared about things that other people on TV hadn’t cared about.”

    ___

    Follow AP Entertainment Writer Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton

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  • Angela Bassett, ‘Wakanda Forever’ top NAACP Image Awards

    Angela Bassett, ‘Wakanda Forever’ top NAACP Image Awards

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    Angela Bassett won entertainer of the year at Saturday’s NAACP Image Awards on a night that also saw her take home a television acting trophy for “9-1-1.”

    ByThe Associated Press

    February 25, 2023, 11:00 PM

    PASADENA, Calif. — Angela Bassett won entertainer of the year at Saturday’s NAACP Image Awards on a night that also saw her take home an acting trophy for the television series “9-1-1.”

    The Bassett-led Marvel superhero sequel “Black Panther: Wakanda Forever” won best motion picture at the ceremony, which was broadcast live on BET from Pasadena, California.

    Viola Davis won outstanding actress for the action epic “The Woman King,” a project she championed and starred in. Will Smith won for the slavery drama “Emancipation,” his first release since last year’s Academy Awards, where he slapped comedian Chris Rock on stage before winning his first best actor trophy.

    “I never want to not be brave enough as a woman, as a Black woman, as an artist,” Davis said, referencing a quote from her character in the film, which she called her magnum opus. “I thank everyone who was involved with ‘The Woman King’ because that was just nothing but high-octane bravery.”

    “Abbott Elementary” won for outstanding comedy series. Creator and series star Quinta Brunson invited her costars onstage and praised shows like “black-ish” for paving the way for her series.

    The 54 NAACP Image Awards were presented Saturday in Pasadena, California, with Queen Latifah hosting. Serena Williams received the Jackie Robinson Sports award, which recognizes individuals in sports for high achievement in athletics along with their pursuit of social justice, civil rights and community involvement.

    The ceremony, which honors entertainers, athletes and writers of color, was hosted by Queen Latifah. Special honorees included Dwyane Wade and Gabrielle Union and civil rights attorney Ben Crump.

    ___

    For more coverage of Hollywood’s awards season, visit: https://apnews.com/hub/awards-season

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  • Angela Bassett, ‘Wakanda Forever’ top NAACP Image Awards

    Angela Bassett, ‘Wakanda Forever’ top NAACP Image Awards

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    Angela Bassett won entertainer of the year at Saturday’s NAACP Image Awards on a night that also saw her take home a television acting trophy for “9-1-1.”

    ByThe Associated Press

    February 25, 2023, 11:00 PM

    PASADENA, Calif. — Angela Bassett won entertainer of the year at Saturday’s NAACP Image Awards on a night that also saw her take home an acting trophy for the television series “9-1-1.”

    The Bassett-led Marvel superhero sequel “Black Panther: Wakanda Forever” won best motion picture at the ceremony, which was broadcast live on BET from Pasadena, California.

    Viola Davis won outstanding actress for the action epic “The Woman King,” a project she championed and starred in. Will Smith won for the slavery drama “Emancipation,” his first release since last year’s Academy Awards, where he slapped comedian Chris Rock on stage before winning his first best actor trophy.

    “I never want to not be brave enough as a woman, as a Black woman, as an artist,” Davis said, referencing a quote from her character in the film, which she called her magnum opus. “I thank everyone who was involved with ‘The Woman King’ because that was just nothing but high-octane bravery.”

    “Abbott Elementary” won for outstanding comedy series. Creator and series star Quinta Brunson invited her costars onstage and praised shows like “black-ish” for paving the way for her series.

    The 54 NAACP Image Awards were presented Saturday in Pasadena, California, with Queen Latifah hosting. Serena Williams received the Jackie Robinson Sports award, which recognizes individuals in sports for high achievement in athletics along with their pursuit of social justice, civil rights and community involvement.

    The ceremony, which honors entertainers, athletes and writers of color, was hosted by Queen Latifah. Special honorees included Dwyane Wade and Gabrielle Union and civil rights attorney Ben Crump.

    ___

    For more coverage of Hollywood’s awards season, visit: https://apnews.com/hub/awards-season

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  • Warner Bros. Discovery sues Paramount over ‘South Park’ deal

    Warner Bros. Discovery sues Paramount over ‘South Park’ deal

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    NEW YORK — Warner Bros. Discovery Inc. is suing Paramount Global, saying its competitor aired new episodes of the popular animated comedy series “South Park” after Warner paid for exclusive rights.

    Warner says it signed a contract in 2019 paying more than $500 million for the rights to existing and new episodes of the irreverent show, according to a lawsuit filed Friday in New York State Supreme Court.

    HBO Max, Warner’s streaming platform, was scheduled to receive the first episodes of a new “South Park” season in 2020. But the company was informed the pandemic halted production, the lawsuit says.

    In spite of Warner’s exclusive rights to the show until 2025, the company alleges South Park Digital Studios, which produces the shows and is named as a defendant in the lawsuit, offered two pandemic-themed specials to Paramount, which aired them in September 2020 and March 2021.

    The lawsuit claims the pandemic specials should have been offered to Warner under the initial contract. The move, called “verbal trickery” in the lawsuit, drove the show’s fans to the competing Paramount platform. Nearly all South Park episodes premiere on Comedy Central, one of Paramount’s cable channels, the lawsuit says.

    Show creators Matt Stone and Trey Parker, who launched the show in 1997 and oversee the franchise, were not named in the lawsuit.

    Gaining streaming rights to “South Park” is a competitive process because of the potentially lucrative market attracting more subscribers, advertisers and a loyal fan base that Warner’s lawsuit says consists mostly of young adults.

    The 24-page court filing also cites a $900 million deal in 2021 between a Paramount subsidiary and South Park Digital Studios for exclusive content on the Paramount Plus streaming service, which launched the same year.

    Warner claims the deal was a deliberate “scheme” between Paramount, its subsidiary MTV Entertainment Studios and South Park Digital Studios to “divert as much of the new South Park content as possible to Paramount Plus in order to boost that nascent streaming platform.”

    Warner paid $1,687,500 per episode and alleges it has not yet received all episodes covered by the contract, resulting in damages of more than $200 million.

    Paramount Global did not immediately respond to emails from The Associated Press seeking comment on the lawsuit.

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  • Richard Belzer, stand-up comic and TV detective, dies at 78

    Richard Belzer, stand-up comic and TV detective, dies at 78

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    NEW YORK — Richard Belzer, the longtime stand-up comedian who became one of TV’s most indelible detectives as John Munch in “Homicide: Life on the Street” and “Law & Order: SVU,” has died. He was 78.

    Belzer died Sunday at his home in Beaulieu-sur-Mer, in southern France, his longtime friend Bill Scheft said. Scheft, a writer who had been working on a documentary about Belzer, said there was no known cause of death, but that Belzer had been dealing with circulatory and respiratory issues. The actor Henry Winkler, Belzer’s cousin, tweeted, “Rest in peace Richard.”

    For more than two decades and across 10 series — even including appearances on “30 Rock” and “Arrested Development” — Belzer played the wise-cracking, acerbic homicide detective prone to conspiracy theories. Belzer first played Munch on a 1993 episode of “Homicide” and last played him in 2016 on “Law & Order: SVU.”

    Belzer never auditioned for the role. After hearing him on “The Howard Stern Show,” executive producer Barry Levinson brought the comedian in to read for the part.

    “I would never be a detective. But if I were, that’s how I’d be,” Belzer once said. “They write to all my paranoia and anti-establishment dissidence and conspiracy theories. So it’s been a lot of fun for me. A dream, really.”

    From that unlikely beginning, Belzer’s Munch would become one of television’s longest-running characters and a sunglasses-wearing presence on the small screen for more than two decades. In 2008, Belzer published the novel “I Am Not a Cop!” with Michael Ian Black. He also helped write several books on conspiracy theories, about things like President John F. Kennedy’s assassination and Malaysia Airlines Flight 370.

    “He made me laugh a billion times,” his longtime friend and fellow stand-up Richard Lewis said Sunday on Twitter.

    Born in Bridgeport, Connecticut, Belzer was drawn to comedy, he said, during an abusive childhood in which his mother would beat him and his older brother, Len. He would do impressions of his childhood idol, Jerry Lewis. “My kitchen was the toughest room I ever worked,” Belzer told People magazine in 1993.

    After being expelled from Dean Junior College in Massachusetts, Belzer embarked on a life of stand-up in New York in 1972. At Catch a Rising Star, Belzer became a regular performer and an emcee. He made his big-screen debut in Ken Shapiro’s 1974 film “The Groove Tube,” a TV satire co-starring Chevy Chase, a film that grew out of the comedy group Channel One that Belzer was a part of.

    Before “Saturday Night Live” changed the comedy scene in New York, Belzer performed with John Belushi, Gilda Radner, Bill Murray and others on the National Lampoon Radio Hour. In 1975, he became the warm-up comic for the newly launched “SNL.” While many cast members quickly became famous, Belzer’s roles were mostly smaller cameos. He later said “SNL” creator Lorne Michaels reneged on a promise to work him into the show.

    But Belzer became one of the era’s top stand-ups. He was known especially for his biting, cynical attitude and his witty, sometime combative banter with the audience. As one of the most influential comedians of the ’70s, Belzer was a master of crowd work.

    “My style evolved from dealing with drunken people at twelve, one, two in the morning and trying to be like an alchemist and get the lead of their lives and turn it into golden jokes,” Belzer told Terry Gross on “Fresh Air.”

    Belzer would later write an irreverent self-help book titled “How to Be a Stand-Up Comic” with advice on things like how to to apologize to Frank Sinatra when you made fun of him onstage or how to deal with hecklers. One of his favorite lines was: “I have a microphone. You have a beer. God has a plan and you’re not in on it.”

    Belzer often played a stand-up comic in film, including in 1980s’ “Fame” and 1983’s “Scarface.” He had small roles here and there, including in “Night Shift” in 1982, and “Fletch Lives” in 1989. But Munch would change Belzer’s career.

    As ”Homicide” co-creator Tom Fontana said, “Munch was the spice in these dishes,” Belzer told the AV Club. “Munch was based on a real guy in Baltimore who was a star detective, in a way. He would come onto grisly murder scenes, start doing one-liners, because someone had to break the tension. So Munch served a very important function. Not only was he a dissident who said what was on his mind, he kind of had the gallows humor that’s needed in a homicide squad.”

    When “Homicide” wrapped in early 1999, Munch called Dick Wolf to see if the character could join another NBC series, “Law & Order,” where Munch had popped up in a few previous episodes. Wolf already had his leads for “Law & Order,” but he wanted Belzer to star in a spinoff. That fall, “Law & Order: SVU” premiered, with Belzer starring alongside Mariska Hargitay and Christopher Meloni in a storyline written as though Munch had transferred from Baltimore to New York.

    “Richard Belzer’s Detective John Munch is one of television’s iconic characters,” Wolf said in a statement.

    “I first worked with Richard on the ‘Law & Order’/‘Homicide’ crossover and loved the character so much,” Wolf said. “I wanted to make him one of the original characters on ‘SVU.’ The rest is history. Richard brought humor and joy into all our lives, was the consummate professional and we will all miss him very much.”

    Belzer is survived by his third wife, the actress Harlee McBride, whom he married in 1985. For the past 20 years, they lived mostly in France, in homes he purchased partially from the proceeds of a lawsuit with Hulk Hogan. In 1985, Belzer had Hogan as a guest on his cable TV talk show “Hot Properties” to perform a chin-lock on him. Belzer passed out, hit his head and sued Hogan for $5 million. They settled out of court. ___

    This story has been corrected to reflect that Belzer died in Beaulieu-sur-Mer, France, not Bozouls, as Scheft originally told The Hollywood Reporter.

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  • ‘All Quiet’ leads as stars, royalty attend UK film awards

    ‘All Quiet’ leads as stars, royalty attend UK film awards

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    LONDON — Hollywood stars and U.K. royalty converged on London’s Royal Festival Hall on Sunday for the British Academy Film Awards, where German-language antiwar drama “All Quiet on the Western Front” leads the pack of nominees.

    The visceral depiction of life and death in the World War I trenches was up for 14 awards, including best picture. It received a handful of early awards for best adapted screenplay, cinematography, sound, score and a film not in English.

    Irish tragicomedy “The Banshees of Inisherin“ and madcap metaverse romp “Everything Everywhere All at Once” have 10 nominations each.

    “Banshees” started the night with two wins. Kerry Condon won the best supporting actress trophy, and Barry Keoghan was named best supporting actor. It also took the prize for best original screenplay.

    Actor Richard E. Grant hosted the ceremony, walking onstage in a luxurious white cape after a jokey introductory film that saw him taking advice from Steve Martin and pulling up to the concert hall in the Batmobile.

    Joking about the infamous altercation between Will Smith and Chris Rock at last year’s Oscars, Grant said, “Nobody on my watch gets slapped tonight. Except on the back.”

    “West Side Story” star Ariana DeBose opened the show by performing “Sisters are Doin’ it for Themselves,” with an added rap shoutout to some of the nominated women, including Cate Blanchett, Viola Davis and Michelle Yeoh.

    Guests and presenters walking the red carpet on the south bank of the River Thames included Colin Farrell, Ana de Armas, Eddie Redmayne, Brian Cox, Florence Pugh, Catherine Zeta-Jones, Cynthia Erivo, Julianne Moore and Lily James. Many wore blue ribbons in support of refugees and displaced people.

    Heir to the throne Prince William, who is president of Britain’s film and television academy, was in the audience alongside his wife Kate, Princess of Wales.

    Helen Mirren paid tribute to William’s grandmother, Queen Elizabeth II, who died in September. Mirren, who portrayed the late monarch onscreen in “The Queen” and onstage in “The Audience,” called Elizabeth “the nation’s leading lady.”

    The prizes — officially the EE BAFTA Film Awards — are Britain’s equivalent of Hollywood’s Academy Awards and will be watched closely for hints of who may win at the Oscars on March 12.

    Last month’s BAFTA nominations announcement helped propel the somber, Netflix-backed “All Quiet” into an awards-season favorite. Its tally of nominations is a joint record for a film not in the English language, equaling the 14 for “Crouching Tiger, Hidden Dragon” in 2001.

    “All Quiet,” “Banshees” and “Everything Everywhere” are all best-picture contenders at the Oscars, where “Everything Everywhere” has a leading 11 nominations.

    Martin McDonagh’s “Banshees,” the bleakly comic story of a friendship gone sour, has BAFTA nominations including best picture, best director and best actor, for Farrell. Nominations for “Everything Everywhere” include nods for co-directors Daniel Kwan and Daniel Scheinert — known jointly as “the Daniels” — and a best-actress nomination for Yeoh.

    Baz Lurhmann’s flamboyant musical biopic “Elvis” is up for nine awards, including best picture.

    The BAFTA best-picture nominees are “All Quiet on the Western Front,” “The Banshees of Inisherin,” “Elvis,” “Everything Everywhere All at Once” and Todd Field’s symphonic psychodrama “Tár.”

    The 10 nominees for outstanding British film, a separate category, include Charlotte Wells’ 1990s family drama “Aftersun,” Sam Mendes’ semi-autobiographical “Empire of Light” and Sophie Hyde’s smart sex comedy “Good Luck to You, Leo Grande.”

    Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white.

    This year there are 11 female directors up for awards across all categories, including documentary and animated films. But just one of the main best-director nominees is female: Gina Prince-Bythewood for “The Woman King.” The other nominees are “All Quiet” director Edward Berger, McDonagh for “Banshees,” Kwan/Scheinert for “Everything Everywhere”, Field for “Tár” and Korean filmmaker Park Chan-wook, for “Decision to Leave.”

    Leading actress contenders are Yeoh; Blanchett for “Tár”: Viola Davis for “The Woman King”; Danielle Deadwyler for “Till”; Ana de Armas for “Blonde” and Emma Thompson for “Good Luck to You, Leo Grande.”

    Blanchett said it had been “an extraordinary year for female performers. To be counted among them is really special.”

    The best-actor category pits Farrell against Austin Butler for “Elvis”; Brendan Fraser for “The Whale”; Daryl McCormack for “Good Luck to You, Leo Grande,” Paul Mescal for “Aftersun” and Bill Nighy for “Living.”

    This is a strong year for Irish actors at the BAFTAs, with McCormack also up for the BAFTA Rising Star award, and Condon, Keoghan, Farrell and Brendan Gleeson all getting acting nominations for “Banshees.”

    McCormack hailed the event as “the Irish BAFTAs.”

    “It is a small country, but to see the talent that comes out of it is quite amazing,” he said.

    Three-time Oscar winner Sandy Powell became the first costume designer to be awarded the academy’s top honor, the BAFTA fellowship.

    The harsh world outside showbiz intruded on the awards when Bulgarian journalist Christo Grozev, who works for investigative website Bellingcat, said he had been “banned” from the awards because of a risk to public security. Grozev is featuref in “Navalny,” a film about jailed Russian opposition politician Alexei Navalny that won the best documentary BAFTA.

    The Metropolitan Police said it would not comment “on the safety of an individual or the advice they may have been given.” But the force noted that “some journalists face the hostile intentions of foreign states whilst in the U.K.”

    Jamie Lee Curtis, a supporting actress nominee for “Everything Everywhere,” said the chance awards season provides to celebrate cinema was more important than who wins.

    “It’s a moment of celebration in the midst of everything,” Curtis told The Associated Press on the red carpet. “It’s hard out there. Everywhere. All at once. All the time.”

    ___

    Associated Press writer Hilary Fox contributed to this report.

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  • ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

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    NEW YORK (AP) — While TV writers Casey Johnson and David Windsor were winding down the emotional roller coaster series “This Is Us,” they had another project waiting to soar — one with ghosts.

    Their new “Not Dead Yet,” about a newspaper obituary writer haunted by the subjects she is writing about, lands on ABC this week, less than a year after viewers bid goodbye to “This Is Us” characters Randall, Kate and Kevin.

    “With the end of that show, it was a lot about death. And here we were at the same time giving birth to this other baby,” said Windsor. “It was sort of a nice cycle of life.”

    In “Not Dead Yet,” airing Wednesday, Gina Rodriguez plays Nell, a newly single reporter who returns to her California newspaper 10 years after she quit to follow a love interest to London. Things have changed for everyone.

    She lands on the obituary desk — “Everyone has a story. It’s your job to find it,” she is told — and in the pilot is soon visited by the ghost of her first story. It does not go well.

    “No, uh-uh, I do not see dead people,” she tells the spirit. “This has just got to be the chili cheese fries and the cake and the five cocktails and maybe the half gummy I ate.” To which the ghost deadpans: “Go easy there, Keith Richards.”

    The use of a new ghost each week allows Nell to explore other lives and experiences, and they, in turn, help advise a women who admits she’s a mess, someone who drinks a little too much and wears bathing suit bottoms when she runs out of clean underwear.

    “There’s two things about the people who’ve passed away,” says Johnson. “What can they bring up in Nell’s life that she can explore and what can she learn from this person’s life that’s specific to them. So it’s just kind of this rich territory.”

    Some of the ghosts Nell meets include a jingle writer who teaches Nell about one-hit wonders, a hard-charging success coach who reveals not all advice is useful and a social media influencer who brings up hurt memories of high school. It airs while another spirt-filled comedy — CBS’ “Ghosts” — has begun its second season.

    “Not Dead Yet” co-stars Hannah Simone from “New Girl” as Nell’s best friend, “Superstore” alumna Lauren Ash as her chilly boss, “Cleopatra Jones” star Angela Gibbs as a new friend and “As We See It” star Rick Glassman as her roommate.

    Guest star ghosts over the first series include Martin Mull, Ed Begley Jr., Mo Collins, Deborah S. Craig, Telma Hopkins, Don Lake, Rhea Perlman, Paula Pell, Tony Plana and Julia Sweeney.

    Johnson and Windsor, who created and executive produced “The Real O’Neals,” were coming off a three-year run as co-executive producers of “This Is Us” and based their new series on a book by Alexandra Potter. They managed to get the series filmed before Rodriguez gave birth.

    Both writers had mourned the recent passing of a parent and found themselves missing their loved ones and wishing they still had their guidance.

    “It was almost wish fulfillment thinking like, ‘Wow, what would happen if we could talk to them? What would happen if we could seek them out and and get their advice?’” said Windsor.

    Johnson and Windsor had primarily done comedies before “This Is Us” but they always tried to give their shows a dramatic, emotional heart. “Not Dead Yet” has elements of both.

    “We were wondering if there was a way to kind of meld the two worlds,” said Johnson. “Can we do a comedy that has hard jokes and is a lot of fun, but then also goes for these really emotional, real moments? To us as writers, that was a really exciting experiment and we were really thrilled that ABC was on board.”

    “Not Dead Yet” is also a workplace show, one that makes fun of co-workers who bring large salads to work and the cliques that form, like the adult jocks and the forever nerds.

    Johnson notes that leading a TV show mirrors a lot of office culture and offers plenty to mine: “We’re in a writers’ room with bad fluorescent lights and dried up Sharpies and lunches out of plastic containers,” she said, laughing.

    They said that when writing episodes there were times when the notion of the ghost came first and other times the idea for Nell to explore something in her life dictated the arrival of a certain ghost.

    For the episode when Nell confronts a nemesis from high school — guest actor Brittany Snow plays her perfectly as a conceited adult social influencer — the writers started with a past bully.

    “We knew we wanted to tell that story because we thought that was so unique and potentially funny,” said Johnson. “We didn’t yet know what story we wanted to tell for Nell. So the ghost came first. And then we found the story that we wanted to do. But I think in other instances, it’s come a different way.”

    The writing duo have many more ghosts on tap. Windsor said the writers room has about 100 cards of potential dead people. “We just can’t wait to tell them all. Hopefully we get the second, third, fourth season to do it.”

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

    ABC’s ‘Not Dead Yet’ is a comedy with a weekly ghost story

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    NEW YORK — While TV writers Casey Johnson and David Windsor were winding down the emotional roller coaster series “This Is Us,” they had another project waiting to soar — one with ghosts.

    Their new “Not Dead Yet,” about a newspaper obituary writer haunted by the subjects she is writing about, lands on ABC this week, less than a year after viewers bid goodbye to “This Is Us” characters Randall, Kate and Kevin.

    “With the end of that show, it was a lot about death. And here we were at the same time giving birth to this other baby,” said Windsor. “It was sort of a nice cycle of life.”

    In “Not Dead Yet,” airing Wednesday, Gina Rodriguez plays Nell, a newly single reporter who returns to her California newspaper 10 years after she quit to follow a love interest to London. Things have changed for everyone.

    She lands on the obituary desk — “Everyone has a story. It’s your job to find it,” she is told — and in the pilot is soon visited by the ghost of her first story. It does not go well.

    “No, uh-uh, I do not see dead people,” she tells the spirit. “This has just got to be the chili cheese fries and the cake and the five cocktails and maybe the half gummy I ate.” To which the ghost deadpans: “Go easy there, Keith Richards.”

    The use of a new ghost each week allows Nell to explore other lives and experiences, and they, in turn, help advise a women who admits she’s a mess, someone who drinks a little too much and wears bathing suit bottoms when she runs out of clean underwear.

    “There’s two things about the people who’ve passed away,” says Johnson. “What can they bring up in Nell’s life that she can explore and what can she learn from this person’s life that’s specific to them. So it’s just kind of this rich territory.”

    Some of the ghosts Nell meets include a jingle writer who teaches Nell about one-hit wonders, a hard-charging success coach who reveals not all advice is useful and a social media influencer who brings up hurt memories of high school. It airs while another spirt-filled comedy — CBS’ “Ghosts” — has begun its second season.

    “Not Dead Yet” co-stars Hannah Simone from “New Girl” as Nell’s best friend, “Superstore” alumna Lauren Ash as her chilly boss, “Cleopatra Jones” star Angela Gibbs as a new friend and “As We See It” star Rick Glassman as her roommate.

    Guest star ghosts over the first series include Martin Mull, Ed Begley Jr., Mo Collins, Deborah S. Craig, Telma Hopkins, Don Lake, Rhea Perlman, Paula Pell, Tony Plana and Julia Sweeney.

    Johnson and Windsor, who created and executive produced “The Real O’Neals,” were coming off a three-year run as co-executive producers of “This Is Us” and based their new series on a book by Alexandra Potter. They managed to get the series filmed before Rodriguez gave birth.

    Both writers had mourned the recent passing of a parent and found themselves missing their loved ones and wishing they still had their guidance.

    “It was almost wish fulfillment thinking like, ‘Wow, what would happen if we could talk to them? What would happen if we could seek them out and and get their advice?’” said Windsor.

    Johnson and Windsor had primarily done comedies before “This Is Us” but they always tried to give their shows a dramatic, emotional heart. “Not Dead Yet” has elements of both.

    “We were wondering if there was a way to kind of meld the two worlds,” said Johnson. “Can we do a comedy that has hard jokes and is a lot of fun, but then also goes for these really emotional, real moments? To us as writers, that was a really exciting experiment and we were really thrilled that ABC was on board.”

    “Not Dead Yet” is also a workplace show, one that makes fun of co-workers who bring large salads to work and the cliques that form, like the adult jocks and the forever nerds.

    Johnson notes that leading a TV show mirrors a lot of office culture and offers plenty to mine: “We’re in a writers’ room with bad fluorescent lights and dried up Sharpies and lunches out of plastic containers,” she said, laughing.

    They said that when writing episodes there were times when the notion of the ghost came first and other times the idea for Nell to explore something in her life dictated the arrival of a certain ghost.

    For the episode when Nell confronts a nemesis from high school — guest actor Brittany Snow plays her perfectly as a conceited adult social influencer — the writers started with a past bully.

    “We knew we wanted to tell that story because we thought that was so unique and potentially funny,” said Johnson. “We didn’t yet know what story we wanted to tell for Nell. So the ghost came first. And then we found the story that we wanted to do. But I think in other instances, it’s come a different way.”

    The writing duo have many more ghosts on tap. Windsor said the writers room has about 100 cards of potential dead people. “We just can’t wait to tell them all. Hopefully we get the second, third, fourth season to do it.”

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ‘Knock at the Cabin’ knocks off ‘Avatar’ at the box office

    ‘Knock at the Cabin’ knocks off ‘Avatar’ at the box office

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    NEW YORK — For the first time in almost two months, the box office doesn’t belong to blue people.

    After seven weeks as the top film in theaters, “Avatar: The Way of Water” was finally knocked out of the No. 1 spot by the M. Night Shyamalan thriller “Knock at the Cabin” and the octogenarian comedy “80 for Brady.”

    “Knock at the Cabin,” a home invasion horror film with an apocalyptic riff, dethroned James Cameron’s 3-D sci-fi epic with $14.2 million in ticket sales at U.S. and Canadian theaters, according to studio estimates Sunday. The Universal Pictures release stars Dave Bautista as one of four strangers who approach a family vacationing in a rural cabin.

    The opening for “Knock at the Cabin” came up shy of some of Shyamalan’s recent releases. His last film, 2021’s “Old,” about a beach that rapidly ages those who visit it, launched with $16.9 million and ultimately collected $90.1 million worldwide. His 2019 film “Glass,” the third installment in the director’s “Unbreakable” trilogy, opened with $40.3 million on its way to grossing $247 million globally. Every other film directed by Shyamalan has opened higher than “Knock at the Cabin.”

    But “Knock at the Cabin” still marks Shyamalan’s seventh film as director to open No. 1. With a modest budget of $20 million, “Knock at the Cabin” should easily turn a profit. The film, which drew mostly positive reviews from critics (68% on Rotten Tomatoes), added another $7 million internationally.

    Taking second place was “80 for Brady,” a comedy about four friends (Jane Fonda, Lily Tomlin, Rita Moreno and Sally Field) who take a trip to the 2017 Super Bowl. It opened with an estimated $12.5 million. Shortly after announcing his retirement from football (again), Tom Brady attended the film’s premiere.

    Paramount Pictures employed a unique strategy in releasing “80 for Brady.” While many films have sought to capitalize on higher ticket prices through large-format or 3-D screenings or surge pricing, which films like “The Batman” have tried, Paramount went the other direction on “80 for Brady.” The studio partnered with exhibitors, including the largest chains, to play “80 for Brady” at matinee prices to help lure its largely older audience. (Half of ticket buyers were over the age of 55.)

    It seemed to work. At a time when comedies have struggled mightily in theaters, “80 for Brady” (with a production budget of $28 million) had one of the best openings for a live-action comedy in years. Discount pricing is to continue for the rest of the film’s run.

    “Avatar: The Way of Water” slide to third with $10.8 million domestically in its eighth weekend. The film’s No. 1 streak matched the run of 2009’s “Avatar.” In the last four decades, only those two by Cameron and his “Titanic” (1997) have had such sustained reigns atop the box office.

    “The Way of Water” continues to perform especially strongly overseas, where its $27.9 million this weekend pushed its overall total to $2.17 billion worldwide. That puts it at fourth highest gross of all-time; Cameron — with two “Avatar” films and “Titanic” — now accounts for three of the top four.

    “BTS: Yet to Come in Cinemas” took in $5.1 million to land in fifth place. The BTS concert film is drawn from their October 2022 performance in Busan, South Korea — a send-off show before the group began a two-year hiatus. It opened in 1,111 locations.

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

    1. “Knock at the Cabin,” $14.2 million.

    2. “80 for Brady,” $12.5 million.

    3. “Avatar: The Way of Water,” $10.8 million.

    4. “Puss in Boots: The Last Wish,” $8 million.

    5. “BTS: Yet to Come in Cinemas,” $5.1 million.

    6. “A Man Called Otto,” $4.2 million.

    7. “M3gan,” $3.8 million.

    8. “Missing,” $3.7 million.

    9. “The Chosen Season 3 Finale,” $3.6 million.

    10. “Pathaan,” $2.8 million.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • ‘Knock at the Cabin’ knocks off ‘Avatar’ at the box office

    ‘Knock at the Cabin’ knocks off ‘Avatar’ at the box office

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    NEW YORK — For the first time in almost two months, the box office doesn’t belong to blue people.

    After seven weeks as the top film in theaters, “Avatar: The Way of Water” was finally knocked out of the No. 1 spot by the M. Night Shyamalan thriller “Knock at the Cabin” and the octogenarian comedy “80 for Brady.”

    “Knock at the Cabin,” a home invasion horror film with an apocalyptic riff, dethroned James Cameron’s 3-D sci-fi epic with $14.2 million in ticket sales at U.S. and Canadian theaters, according to studio estimates Sunday. The Universal Pictures release stars Dave Bautista as one of four strangers who approach a family vacationing in a rural cabin.

    The opening for “Knock at the Cabin” came up shy of some of Shyamalan’s recent releases. His last film, 2021’s “Old,” about a beach that rapidly ages those who visit it, launched with $16.9 million and ultimately collected $90.1 million worldwide. His 2019 film “Glass,” the third installment in the director’s “Unbreakable” trilogy, opened with $40.3 million on its way to grossing $247 million globally. Every other film directed by Shyamalan has opened higher than “Knock at the Cabin.”

    But “Knock at the Cabin” still marks Shyamalan’s seventh film as director to open No. 1. With a modest budget of $20 million, “Knock at the Cabin” should easily turn a profit. The film, which drew mostly positive reviews from critics (68% on Rotten Tomatoes), added another $7 million internationally.

    Taking second place was “80 for Brady,” a comedy about four friends (Jane Fonda, Lily Tomlin, Rita Moreno and Sally Field) who take a trip to the 2017 Super Bowl. It opened with an estimated $12.5 million. Shortly after announcing his retirement from football (again), Tom Brady attended the film’s premiere.

    Paramount Pictures employed a unique strategy in releasing “80 for Brady.” While many films have sought to capitalize on higher ticket prices through large-format or 3-D screenings or surge pricing, which films like “The Batman” have tried, Paramount went the other direction on “80 for Brady.” The studio partnered with exhibitors, including the largest chains, to play “80 for Brady” at matinee prices to help lure its largely older audience. (Half of ticket buyers were over the age of 55.)

    It seemed to work. At a time when comedies have struggled mightily in theaters, “80 for Brady” (with a production budget of $28 million) had one of the best openings for a live-action comedy in years. Discount pricing is to continue for the rest of the film’s run.

    “Avatar: The Way of Water” slide to third with $10.8 million domestically in its eighth weekend. The film’s No. 1 streak matched the run of 2009’s “Avatar.” In the last four decades, only those two by Cameron and his “Titanic” (1997) have had such sustained reigns atop the box office.

    “The Way of Water” continues to perform especially strongly overseas, where its $27.9 million this weekend pushed its overall total to $2.17 billion worldwide. That puts it at fourth highest gross of all-time; Cameron — with two “Avatar” films and “Titanic” — now accounts for three of the top four.

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  • Harrison Ford inspires cast in new comedy ‘Shrinking’

    Harrison Ford inspires cast in new comedy ‘Shrinking’

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    By BROOKE LEFFERTS

    January 27, 2023 GMT

    NEW YORK (AP) — When Bill Lawrence was developing his new Apple TV+ comedy ”Shrinking,” he introduced one character in the pilot script as a “Harrison Ford-type” — but never dreamed he would get the real deal.

    Although the showrunner has had comedy success working with big names and executive-producing hits like “Scrubs,” “Cougar Town” and “Ted Lasso,” nabbing a huge movie star like Ford seemed unrealistic. But he decided to take a shot and send Ford the script.

    He was gobsmacked when the “Indiana Jones” actor liked the story and eventually agreed to play the part of a tough therapist who works with star Jason Segel in a mental health practice.

    “If he had not shown up on set, I would not have been shocked,” Lawrence told the Associated Press in a recent interview. “But he showed up. He’s lovely, he’s inspiring. He’s 80 years old and still challenging himself.”

    For “Shrinking” — which starts streaming Friday — Lawrence teamed with Segel and writer Brett Goldstein (also Roy Kent in “Ted Lasso” ) to help create and write the show. They had the lofty goal of making a comedy about grief, set it in an office shared by therapists and starring Segel, Ford, Jessica Williams, and Christa Miller.

    Segel plays a character whose wife dies suddenly, leaving the father of a teen daughter lost and willing to ignore his ethics to start telling his patients what he really thinks. Ford’s character is a curmudgeonly colleague and mentor who delivers zingers with restrained glee.

    Lawrence calls working with Ford a “career highlight,” and says there’s only one downside.

    “Everybody’s terrified of … telling him to do anything,” Lawrence said with a laugh. “But he’s so much fun to work with. Every scene gets ruined — at least one take — by me or one of the actors in the middle of it going ‘It’s Harrison Ford!’ It’s crazy.”

    Goldstein — who isn’t acting in this show but serves as another executive producer — describes Ford as “dream casting” and says they still don’t know how they got him.

    “He really loved the scripts and related to a lot of the aspects of the character,” Goldstein said. “We talked to him a lot about character, and it was so easy that … I feel like I should have had to complete a series of Herculean tasks to get him, you know what I mean?”

    Segel appreciated how Ford “breaks through the awe really quickly so that you can get down to work.”

    “One of the things that’s really cool about Harrison Ford is that he considers himself a tradesman, like a craftsman. He was a carpenter and now he’s an actor,” Segel said. “His job is to come in and build these scenes and you’re his partner in that.”

    Williams — who plays another therapist — shares witty banter with Ford in many scenes and says it was “surreal” to work with the acting legend she watched in movies as a kid. She says it took about a week to remain present and get used to his face staring at her.

    “He is delightful, charming, nice, giving. And he’s magic to watch, honestly.” Williams said. “You just watch him do some takes and … he’s got the glimmer in his eye. He’s got the thing. And it’s really inspiring to see someone that’s like over 80 hitting his marks and staying so sharp while also, you know, really caring about the work.”

    Goldstein agrees that Ford never made the cast feel like he needed special treatment.

    “He’s as wonderful and amazing as ever,” Goldstein said. “But he’s also a very generous actor and he is part of this ensemble. It’s not like he takes over. He fits into this world. He plays the character, he disappears into it. He’s a brilliant actor.”

    Williams says working on the show was fun because of the cast chemistry, and the license to ad lib at times to make scenes funnier felt “very fulfilling.”

    One of the secrets to a successful show, especially in comedy — according to Lawrence — is if the cast gets along and is friendly, even outside of the show: “We try to put together groups of people that have similar voices and that interact really well,” Lawrence said.

    “If you see a lack of chemistry behind the camera, even when the cameras aren’t rolling,” he said, “if it’s a show about a family or a dysfunctional family or people who are supposed to care about each other, it won’t work.”

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  • George Santos Tried To Roast Comedians, And It Went About As Well As You’d Expect

    George Santos Tried To Roast Comedians, And It Went About As Well As You’d Expect

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    Of all the chaos surrounding Rep. George Santos (R-N.Y.) right now, apparently he isn’t happy with portrayals of him on late-night television.

    Under multiple investigations for lying extensively about his background to get elected, the New York Republican on Monday directed his attention at comedians who have, predictably, gone to town with the wild scandal that just keeps giving.

    “I have now been enshrined in late night TV history with all these impersonations, but they are all TERRIBLE so far,” Santos tweeted. “Jon Lovitz is supposed to be one of the greatest comedians of all time and that was embarrassing— for him not me! These comedians need to step their game up.”

    Since his election, Santos has been caught out over an ever-growing list of falsehoods about his life, including misrepresenting his mother’s death, saying his grandparents fled the Holocaust, lying about attending college and pretending to have Jewish heritage. To add to the mess, he’s also been accused of campaign finance violations, scamming a disabled veteran over his dying dog and having a secret past as a drag performer called Kitara in Brazil. (Santos has denied those allegations.)

    As such, with fodder aplenty, Jimmy Fallon, Jimmy Kimmel and Stephen Colbert’s shows have all brought on comics to play the lawmaker, as did “Saturday Night Live.” One “SNL” alum, Jon Lovitz, took on the role on “The Tonight Show.”

    Santos’ bizarre Twitter gripe (and immense failure to read the room) earned him an additional roasting:

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  • A lion roars on Broadway as box office hauls reveal winners

    A lion roars on Broadway as box office hauls reveal winners

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    NEW YORK — It was feast or famine at the Broadway box office as 2022 wound down, with eye-popping revenue for popular shows — including a staggering new Broadway record for “The Lion King” — not lifting all strugglers.

    Twenty-one of the 33 shows available broke the $1 million mark for the week ending Sunday, and “The Lion King” made history with the biggest haul ever — an astonishing $4,315,264 over nine performances for a 25-year-old show with no stars. It took the crown from “Hamilton, the first Broadway show to crack $4 million, which it did with eight performances at the end of 2018.

    “The Music Man” was close behind with two high-wattage stars in Sutton Foster and Hugh Jackman — $3,971,531 over nine shows — followed by “Wicked” with $3,152,679. The top average ticket price went to “The Music Man” with $285.80, just about a dollar more than “The Lion King.”

    All shows bar one — “A Christmas Carol” — saw their numbers grow over the week ending Sunday. However, the usual bump was barely evident for “Topdog/Underdog,” with just $345,567 over eight shows, and “Ohio State Murders” pulling in just $311,893 to a half-empty theater over nine performances despite the presence of six-time Tony Award winner Audra McDonald. A revival of the Pulitzer Prize-winning dark comedy “Between Riverside and Crazy” starring the rapper Common pulled in just $260,085.

    Box office numbers had been treacherous for new works even before the holidays — early closing notices were posted for shows like “Almost Famous,” “KPOP,” “A Strange Loop” and “Ain’t No Mo’.” The Broadway stalwart “The Phantom of the Opera” previously announced it would close in 2023 after 35 years. That announcement was met with a ticket spike.

    The data is a reminder that Broadway has not fully rebounded from the pandemic, which wiped out live theater for 18 months and dried up its lifeblood — tourism.

    Tom Kirdahy, a veteran producer behind the current starry revival of “The Piano Lesson” and the upcoming “New York, New York,” said audiences are steadily coming back and could be back to normal by spring.

    “It’s very clear that buying patterns are different, but it’s equally clear that audiences are craving good work, and I think the challenge is to remind people that New York is actually a safe place to be and that theaters are safe places to be,” he said.

    The 33 shows running on Broadway grossed $51,912,862 last week, the biggest seven-day period since the last week of 2019, when the box office earned $55,765,408. The holiday period is especially rough on performers and crew members who are usually asked to staff extra performances.

    While January and February are among the bitterest months on Broadway, many producers were popping champagne after the latest numbers. The 26-year-old revival of the musical “Chicago” earned its biggest weekly total with $1,299,404 and “The Piano Lesson” starring Samuel L. Jackson, John David Washington and Danielle Brooks became the highest-grossing August Wilson play on Broadway in history last week.

    The Lea Michele-led revival of “Funny Girl” set a new box office record at the August Wilson Theatre with $2,405,901. And the new musical “& Juliet” broke the box office record at the Stephen Sondheim Theatre, grossing $1,639,788 for nine performances. “Harry Potter and the Cursed Child” broke the house record at the Lyric Theatre, grossing $2,671,191 for its eight-performance week.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • A lion roars on Broadway as box office hauls reveal winners

    A lion roars on Broadway as box office hauls reveal winners

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    NEW YORK — It was feast or famine at the Broadway box office as 2022 wound down, with eye-popping revenue for popular shows — including a staggering new Broadway record for “The Lion King” — not lifting all strugglers.

    Twenty-one of the 33 shows available broke the $1 million mark for the week ending Sunday, and “The Lion King” made history with the biggest haul ever — an astonishing $4,315,264 over nine performances for a 25-year-old show with no stars. It took the crown from “Hamilton, the first Broadway show to crack $4 million, which it did with eight performances at the end of 2018.

    “The Music Man” was close behind with two high-wattage stars in Sutton Foster and Hugh Jackman — $3,971,531 over nine shows — followed by “Wicked” with $3,152,679. The top average ticket price went to “The Music Man” with $285.80, just about a dollar more than “The Lion King.”

    All shows bar one — “A Christmas Carol” — saw their numbers grow over the week ending Sunday. However, the usual bump was barely evident for “Topdog/Underdog,” with just $345,567 over eight shows, and “Ohio State Murders” pulling in just $311,893 to a half-empty theater over nine performances despite the presence of six-time Tony Award winner Audra McDonald. A revival of the Pulitzer Prize-winning dark comedy “Between Riverside and Crazy” starring the rapper Common pulled in just $260,085.

    Box office numbers had been treacherous for new works even before the holidays — early closing notices were posted for shows like “Almost Famous,” “KPOP,” “A Strange Loop” and “Ain’t No Mo’.” The Broadway stalwart “The Phantom of the Opera” previously announced it would close in 2023 after 35 years. That announcement was met with a ticket spike.

    The data is a reminder that Broadway has not fully rebounded from the pandemic, which wiped out live theater for 18 months and dried up its lifeblood — tourism.

    Tom Kirdahy, a veteran producer behind the current starry revival of “The Piano Lesson” and the upcoming “New York, New York,” said audiences are steadily coming back and could be back to normal by spring.

    “It’s very clear that buying patterns are different, but it’s equally clear that audiences are craving good work, and I think the challenge is to remind people that New York is actually a safe place to be and that theaters are safe places to be,” he said.

    The 33 shows running on Broadway grossed $51,912,862 last week, the biggest seven-day period since the last week of 2019, when the box office earned $55,765,408. The holiday period is especially rough on performers and crew members who are usually asked to staff extra performances.

    While January and February are among the bitterest months on Broadway, many producers were popping champagne after the latest numbers. The 26-year-old revival of the musical “Chicago” earned its biggest weekly total with $1,299,404 and “The Piano Lesson” starring Samuel L. Jackson, John David Washington and Danielle Brooks became the highest-grossing August Wilson play on Broadway in history last week.

    The Lea Michele-led revival of “Funny Girl” set a new box office record at the August Wilson Theatre with $2,405,901. And the new musical “& Juliet” broke the box office record at the Stephen Sondheim Theatre, grossing $1,639,788 for nine performances. “Harry Potter and the Cursed Child” broke the house record at the Lyric Theatre, grossing $2,671,191 for its eight-performance week.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Kelly Monteith, US comedian also popular in UK, dead at 80

    Kelly Monteith, US comedian also popular in UK, dead at 80

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    Kelly Monteith, a U.S.-born comedian whose observational humor and satirical sketches also brought him a wide following in Britain, has died

    LOS ANGELES — Kelly Monteith, a U.S.-born comedian whose observational humor and satirical sketches also brought him a wide following in Britain, has died at age 80.

    His death was confirmed Tuesday by Marlise Boland, executive producer of the Anglophile Channel, which he often worked with. Boland said Monteith died Sunday in Los Angeles. He had suffered a stroke in 2021 and also battled aphasia.

    Monteith was a St. Louis native who built enough of an audience to appear in the 1970s on the “Tonight” show with Johnny Carson, a major platform for rising young comics. He was also popular on British talk shows and received an offer from the BBC for his own program, “Kelly Monteith,” which ran from 1979-84.

    Monteith combined jokes about everyday life, from hospitals and restaurants to people’s mindless habit of saying “thank you” in casual encounters, to spoofs of old movies. He was also known for “breaking the fourth wall,” allowing his audience to see him in his dressing room before and after a show.

    In 1983, he was among the entertainers at the Royal Variety Performance for Queen Elizabeth II. His other credits included guest appearances on the TV shows “The Love Boat” and “Love American Style” and the comedy album “Lettuce Be Cool,” released in 1984. More recently, he looked back on his career as producer of “Kelly Monteith’s BBC Memories” and co-host of “Brit Flix with Kelly, Paul and Two-Buck Chuck.”

    Monteith is survived by two children whom he had with his ex-wife, Caroline Alexander.

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  • Movies, music and TV helped Pelé to even more stardom

    Movies, music and TV helped Pelé to even more stardom

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    SAO PAULO — Whether or not Pelé scored almost 1,300 goals in his professional soccer career, all of his biographers agree that the three-time World Cup champion wrote more than 100 songs and sold more than 100,000 copies of one of his albums.

    He was also in the movies, notably in the World War II film “Victory,” and was one of the stars of a Brazilian comedy that brought more than 3.6 million people to the theaters in the South American nation.

    Pelé, whose full name was Edson Arantes do Nascimento, died Thursday with cancer at a hospital in Sao Paulo. He was 82.

    Pelé’s success on the soccer field made him a sports icon, but he added to that with many performances as an actor and singer.

    MOVIES

    “King Pelé” (O Rei Pelé, 1962)

    Pelé’s first big-screen moment came in a movie directed by Carlos Hugo Christensen in the same year he won his second World Cup title. The narrative starts at Pelé’s native city of Tres Coracoes, talks about his move to the Sao Paulo countryside city of Bauru and then on to Santos, where he becomes a global star.

    “Victory” (1981)

    Directed by John Huston, it was the movie Pelé said he had most fun doing. He played Cpl. Luis Fernandes, a soldier from Trinidad.

    The plot involves prisoners of war preparing to face a German team in Nazi-occupied Paris amid their attempt to escape. At the time with the New York Cosmos, Pelé had the chance play with very different teammates — actors Sylvester Stallone and Michael Caine.

    “If I had to give myself a grade as an actor it would be a 10,” Pelé jokingly said in several interviews after “Victory.”

    He also told friends that the original script had Stallone in position to score the winning goal with a bicycle kick, but the American actor did not have the skills to do it, so he was placed as a goalkeeper instead. Former England captain Bobby Moore is also in the film, along with several other professional soccer players.

    “Victory,” known as “Escape to Victory” in many places, made almost $28 million at the box office.

    “The Clumsies and the King of Soccer” (Os Trapalhões e o Rei do Futebol, 1986)

    This was an association between two of Brazil’s most popular brands at the time — a recently retired Pelé and a Three Stooges-like group of comedians who were widely popular for their TV program Os Trapalhões (The Clumsies). The movie’s opening was three days before the 1986 World Cup final in which Argentina, led by Diego Maradona, beat Germany 3-2. It took millions to the cinema in Brazil that year.

    Pelé played the role of a sports reporter named Nascimento who replaced the injured goalkeeper of a team named Independência Futebol Clube and scored the winning goal of a match with a goal kick.

    Pelé also took part in documentaries, including “This is Pelé” (1974), “Pelé Eterno” (2004) and “Cine Pelé” (2011).

    TELEVISION

    Brazilians are almost as obsessed with soap operas as they are with soccer, and Pelé had many cameos. Most of his appearances were on TV Globo’s soap operas, which are often exported to the rest of the world.

    Author Ivani Ribeiro was the first to bring him to TV soap operas. She cast Pelé in a show named “Os Estranhos” (The Strangers), in which he played the role of a famous writer who lived on an island and had extraterrestrial friends.

    Pelé’s last famous appearance in a soap opera came in 2002 in “O Clone” (The Clone), which was popular in dozens of other countries. He played himself and sang the song “Em Busca do Penta” (Seeking the Fifth). The lyrics were about Brazil winning the World Cup again. Three months later, Brazil won the World Cup for the fifth time.

    MUSIC

    “Peléginga” was his biggest hit. Recorded with a choir and an orchestra, the samba album included 12 songs written by Pelé and was released in 2006.

    Three years later, the Brazilian star wanted to record another album for international audiences and invited U2 singer Bono to share the vocals on one of the tracks. The Irishman was on tour with his band, however, and the project was abandoned.

    Pelé also recorded a record with Brazilian diva Elis Regina and released an album that was produced by Grammy-winning singer-songwriter Sergio Mendes.

    COMICS

    Pelé has also been a character in widely popular comic books in Brazil. Cartoonist Mauricio de Sousa and Pelé, who was playing for New York Cosmos at the time, reached a deal in 1976 for the publication of children’s stories in comic book format.

    At first, Pelé didn’t like the childlike features of Pelezinho. Sousa said in several interviews the player wanted to be portrayed as a strong child athlete. The cartoonist then made a suggestion that he should ask his children what they thought. Both kids loved it.

    Sousa used several stories from Pelé’s childhood in Pelezinho plots. The comic books were published regularly from 1977-86, and after that on special occasions. The latest was in 2013 as Brazil hosted the Confederations Cup, a warm-up tournament for the following year’s World Cup in the country.

    ———

    AP sports: https://apnews.com/hub/sports and https://twitter.com/AP—Sports

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