Peter Greene, a character actor best known for his role as the iconic villain Zed in “Pulp Fiction,” has died. He was 60.He died in his home in New York City, his manager, Gregg Edwards, confirmed on Friday. His cause of death was not immediately released.”He was just a terrific guy,” said Edwards. “Arguably one of the greatest character actors on the planet; Has worked with everybody.”Born in Montclair, New Jersey, Greene landed some of his first leading roles in “Laws of Gravity” in 1992 and “Clean, Shaven” in 1993, according to IMDb.In 1994, he played the memorable villain in Quentin Tarantino’s “Pulp Fiction.” That same year, he played another leading villain opposite Jim Carrey and Cameron Diaz in “The Mask.”Greene was working on two projects when he died, including a documentary about the federal government’s withdrawal of funding from the U.S. Agency for International Development, according to Edwards.”We’ve been friends for over a decade,” said Edwards. “Just the nicest man.”
NEW YORK —
Peter Greene, a character actor best known for his role as the iconic villain Zed in “Pulp Fiction,” has died. He was 60.
He died in his home in New York City, his manager, Gregg Edwards, confirmed on Friday. His cause of death was not immediately released.
“He was just a terrific guy,” said Edwards. “Arguably one of the greatest character actors on the planet; Has worked with everybody.”
Born in Montclair, New Jersey, Greene landed some of his first leading roles in “Laws of Gravity” in 1992 and “Clean, Shaven” in 1993, according to IMDb.
In 1994, he played the memorable villain in Quentin Tarantino’s “Pulp Fiction.” That same year, he played another leading villain opposite Jim Carrey and Cameron Diaz in “The Mask.”
Greene was working on two projects when he died, including a documentary about the federal government’s withdrawal of funding from the U.S. Agency for International Development, according to Edwards.
“We’ve been friends for over a decade,” said Edwards. “Just the nicest man.”
Carrey’s casting came after he earned the approval of Theodore Geisel’s widow, Audrey. “I met with Audrey and told her how much Dr. Seuss meant to me growing up and how important it was to pay homage to that. Suddenly, I ended up doing the Grinch for her across the table, actually doing the face. I didn’t have any makeup on. I just gave her one of those, ‘I musst find a way to stop Christmas from coming,’” Carrey recalled the in-the-moment choice to channel Boris Karloff and his own gritted-teeth sneer.
While there were versions of the script already in place, Carrey’s take on the character informed rewrites during preparation in collaboration with Seinfeld writers Alec Berg, Jeff Schaffer, and David Mandel (the minds behind the key party scene).
Schaffer said of the story development, “Jim was going to be in this suit that was super hot with these green eye contacts that were going to cause him so much pain. He’s like, ‘I’m not going to be able to improvise when I’m in this suit.’” With that in mind, they came up with iconic scenes like the Grinch’s to-do list. That’s not a Seuss creation, but it’s now a beloved part of the live-action Christmas film.
And indeed, physically becoming the Grinch was torture for Carrey, but something the actor was deeply committed to once he and famed FX artist Rick Baker found the look they wanted—even if the studio initially wanted Carrey to be a more recognizable version of himself. Baker got around that by leaking the details to a writer for Ain’t It Cool News, an influential movie site at the time.
“I said, ‘Listen, Universal wants to paint Jim Carrey green. I feel it’s a major mistake. I did a test on myself of what I think it should look like. Can you somehow say that you saw this test and that Universal is making a major mistake and they don’t know what the fuck they’re talking about?’ And he did,” Baker said. “And it was outrageous responses from everybody. ‘What the hell is wrong with these people at Universal? I don’t want to see green Jim Carrey. I want to see a Grinch!’”
Howard added, “Jim was insistent on the look. Some things made him pretty uncomfortable, but he was determined. There was no compromise of the look that he would embrace.” He and producer Brian Grazer suggested digital green eyes, which Carrey rejected in favor of the bulbous contact lenses to make him a living Seuss creation.
“It was something that I asked for that I can’t blame on anyone but myself. You’ve got to be careful what you ask for,” Carrey said. “The first day in makeup took eight hours. And I went into the trailer and asked Ron and Brian to come in, and I told them that I wouldn’t be able to do the movie and I was quitting.”
Of course, Carrey ended up sticking around, and the rest is holiday-movie history. “I did appreciate, even as tortured as [Carrey] felt, if he didn’t think he gave a performance that he wanted, he would do another take and another take,” Baker said. “He was fantastic in the film, and I don’t think anybody would’ve been better. I just wish it was a little easier to deal with him.”
Twenty-five years later, Carrey’s Grinch endures. And as Howard revealed to Vulture, “We’ve fleetingly toyed with the notion of another Grinch. I have a take that Jim gets a kick out of, and the guys would come back and write it. None of us are sure we want to really go there again.”
He added, “But the one thing is I’ve been able to say to Jim, ‘You might have to wear the suit, but you wouldn’t have to wear the makeup, and certainly not the contact lenses.’ We would still have exactly the same look because we have so much film to work with of him in the makeup that we could solve that digitally.”
PALM SPRINGS, Calif. (AP) — Udo Kier, the German actor whose icy gaze and strange, scene-stealing screen presence made him a favorite of filmmakers including Andy Warhol, Gus Van Sant and Lars von Trier, has died at 81.
His partner, artist Delbert McBride, told Variety that Kier died on Sunday in Palm Springs, California.
A longtime arthouse favorite, Kier also had an unlikely run as a character actor in Hollywood blockbusters including “Ace Ventura: Pet Detective” with Jim Carrey.
Actors Helmut Berger and Udo Kier, photographed during the shooting of the film “The Fifth Commandment,” Dec. 1, 1977. (Horst Ossinger/dpa via AP, File)
Actors Helmut Berger and Udo Kier, photographed during the shooting of the film “The Fifth Commandment,” Dec. 1, 1977. (Horst Ossinger/dpa via AP, File)
The most recent of Kier’s more than 200 credits in a nearly 60-year career was this year’s Brazilian political thriller “The Secret Agent,” which could vie for Oscars and other major awards in the coming season.
Kier had his breakout as the star of two films produced by Warhol and directed by Paul Morrissey: 1973’s “Flesh for Frankenstein” and 1974’s “Blood for Dracula.”
Actor Udo Kier attends a news conference for the film ‘Daughter Of Mine’ during the 68th edition of the International Film Festival Berlin, Berlinale, in Berlin, Feb. 18, 2018. (AP Photo/Markus Schreiber, File)
Actor Udo Kier attends a news conference for the film ‘Daughter Of Mine’ during the 68th edition of the International Film Festival Berlin, Berlinale, in Berlin, Feb. 18, 2018. (AP Photo/Markus Schreiber, File)
German director Rainer Werner Fassbinder put Kier in several films later in the decade, including “The Stationmaster’s Wife” and “The Third Generation.”
Kier was introduced to many American moviegoers through Van Sant’s 1991 film “My Own Private Idaho,” starring River Phoenix and Keanu Reeves. Madonna, a fan of that film, invited Kier to appear in photos for her 1992 culture-shaking book “Sex,” and in the video for her song “Deeper and Deeper.”
Kier credited Van Sant with getting him a U.S. work permit and a Screen Actors Guild card.
Those documents allowed him to bring his arresting presence to several Hollywood films of the 1990s, including “Armageddon,” “Blade,” “Barb Wire” and “Johnny Mnemonic.”
Actors Udo Kier, center, and Babara Colen, right, pose for photographers upon arrival at the premiere of the film “Bacurau” at the 72nd international film festival, Cannes, southern France, May 15, 2019. (AP Photo/Petros Giannakouris, File)
Actors Udo Kier, center, and Babara Colen, right, pose for photographers upon arrival at the premiere of the film “Bacurau” at the 72nd international film festival, Cannes, southern France, May 15, 2019. (AP Photo/Petros Giannakouris, File)
He was a constant collaborator with von Trier, starring in the Danish director’s television series “The Kingdom” and appearing in the films “Dancer in the Dark,” “Dogville” and “Melancholia.”
Kier was born Udo Kierspe in Cologne, Germany, in 1944, as Allied forces bombed the city during World War II.
Actors Stellan Skarsgard, back, and Udo Kier pose for photographs with fans upon arrival at the premiere of the film “The Painted Bird” at the 76th edition of the Venice Film Festival, Venice, Italy, Tuesday, Sept. 3, 2019. (Photo by Arthur Mola/Invision/AP, File)
Actors Stellan Skarsgard, back, and Udo Kier pose for photographs with fans upon arrival at the premiere of the film “The Painted Bird” at the 76th edition of the Venice Film Festival, Venice, Italy, Tuesday, Sept. 3, 2019. (Photo by Arthur Mola/Invision/AP, File)
He moved at age 18 to London, where he was discovered at a coffee bar by singer and future filmmaker Michael Sarne.
“I liked the attention, so I became an actor,” Kier told Variety last year.
People noticing him for his striking presence and approaching him became a lifelong pattern.
“I have never asked a director, ‘I would like to work with you,’” he said.
Kier had lived in the Palm Springs area since the early 1990s, and was a regular and frequent party host at its annual film festival.
NEW YORK (AP) — Sally Kirkland, a one-time model who became a regular on stage, film and TV, best known for sharing the screen with Paul Newman and Robert Redford in “The Sting” and her Oscar-nominated title role in the 1987 movie “Anna,” has died. She was 84.
Her representative, Michael Greene, said Kirkland died Tuesday morning at a hospice in Palm Springs, California.
Friends established a GoFundMe account this fall for her medical care. They said she had fractured four bones in her neck, right wrist and left hip. While recovering, she also developed infections, requiring hospitalization and rehab.
“She was funny, feisty, vulnerable and self deprecating,” actor Jennifer Tilly, who co-starred with Kirkland in “Sallywood,” wrote on X. “She never wanted anyone to say she was gone. ‘Don’t say Sally died, say Sally passed on into the spirits.’ Safe passage beautiful lady.”
Kirkland acted in such films as “The Way We Were” with Barbra Streisand, “Revenge” with Kevin Costner, “Cold Feet” with Keith Carradine and Tom Waits, Ron Howard’s “EDtv,” Oliver Stone’s “JFK,” “Heatwave” with Cicely Tyson, “High Stakes” with Kathy Bates, “Bruce Almighty” with Jim Carrey and the 1991 TV movie “The Haunted,” about a family dealing with paranormal activity. She had a cameo in Mel Brooks’ “Blazing Saddles.”
Michael Douglas, left, and Sally Kirkland appear with their awards for best actor for “Wall Street” and best actress for “Anna,” at the 45th Annual Golden Globe Awards in Beverly Hills, Calif., on Jan. 24, 1988. (AP Photo/Reed Saxon, File)
Michael Douglas, left, and Sally Kirkland appear with their awards for best actor for “Wall Street” and best actress for “Anna,” at the 45th Annual Golden Globe Awards in Beverly Hills, Calif., on Jan. 24, 1988. (AP Photo/Reed Saxon, File)
Her biggest role was in 1987’s “Anna” as a fading Czech movie star remaking her life in the United States and mentoring to a younger actor, Paulina Porizkova. Kirkland won a Golden Globe and earned an Oscar nomination along with Cher in “Moonstruck,” Glenn Close in “Fatal Attraction, Holly Hunter in “Broadcast News” and Meryl Streep in “Ironweed.”
“Kirkland is one of those performers whose talent has been an open secret to her fellow actors but something of a mystery to the general public,” The Los Angeles Times critic wrote in her review. “There should be no confusion about her identity after this blazing comet of a performance.”
Kirkland’s small-screen acting credits include stints on “Criminal Minds,” “Roseanne,” “Head Case” and she was a series regular on the TV shows “Valley of the Dolls” and “Charlie’s Angels.”
Born in New York City, Kirkland’s mother was a fashion editor at Vogue and Life magazine who encouraged her daughter to start modeling at age 5. Kirkland graduated from the American Academy of Dramatic Arts and studied with Philip Burton, Richard Burton’s mentor, and Lee Strasberg, the master of the Method school of acting. An early breakout was appearing in Andy Warhol’s “13 Most Beautiful Women” in 1964. She appeared naked as a kidnapped rape victim in Terrence McNally’s off-Broadway “Sweet Eros.”
Sally Kirkland arrives at the Multicultural Motion Picture Association annual Oscar week luncheon in Beverly Hills, Calif., on Feb. 22, 2008. (AP Photo/Matt Sayles, File)
Sally Kirkland arrives at the Multicultural Motion Picture Association annual Oscar week luncheon in Beverly Hills, Calif., on Feb. 22, 2008. (AP Photo/Matt Sayles, File)
Some of her early roles were Shakespeare, including the lovesick Helena in “A Midsummer Night’s Dream” for New York Shakespeare Festival producer Joseph Papp and Miranda in an off-Broadway production of “The Tempest.”
“I don’t think any actor can really call him or herself an actor unless he or she puts in time with Shakespeare,” she told the Los Angeles Times in 1991. “It shows up, it always shows up in the work, at some point, whether it’s just not being able to have breath control, or not being able to appreciate language as poetry and music, or not having the power that Shakespeare automatically instills you with when you take on one of his characters.”
Kirkland was a member of several New Age groups, taught Insight Transformational Seminars and was a longtime member of the affiliated Church of the Movement of Spiritual Inner Awareness, whose followers believe in soul transcendence.
She reached a career nadir while riding nude on a pig in the 1969 film “Futz,” which a Guardian reviewer dubbed the worst film he had ever seen. “It was about a man who fell in love with a pig, and even by the dismal standards of the era, it was dismal,” he wrote.
Kirkland volunteered for people with AIDS, cancer and heart disease, fed homeless people via the American Red Cross, participated in telethons for hospices and was an advocate for prisoners, especially young people.
The actors union SAG-AFTRA called her “a fearless performer whose artistry and advocacy spanned more than six decades,” adding that as “a true mentor and champion for actors, her generosity and spirit will continue to inspire.”
The Truman Show star Jim Carrey will be feted with an Honorary César at the 51st César Ceremony in Paris in February 2026.
Recent recipients of the award – meted out by France’s Académie des Arts et Techniques du Cinéma with the support of the ceremony’s broadcast partner Canal+ – have included Julia Roberts (2025), Christopher Nolan (2024), David Fincher (2023) Cate Blanchett (2022), Robert Redford (2019) and George Clooney (2017).
Born in Canada, Jim Carrey first made a name for himself on the stand-up comedy scene and then on television, notably in In Living Color.
He broke onto the big screen in 1994 with a trio of hit films, Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber, becoming the first actor to star in three box office topping films in a single year.
Carrey then cemented his reputation with critically-acclaimed performances in The Truman Show, Eternal Sunshine of the Spotless Mind, and Man on the Moon, winning two Golden Globe awards for Best Actor.
The actor was made a Knight (Chevalier) in France’s National Order of Arts and Letters (Ordre des Arts et des Lettres) in 2010 by French Culture Minister Frédéric Mitterrand for his significant contributions to art and film.
He has also been honored with the Charlie Chaplin Award at the BAFTA Britannia Awards for his work in comedy films like Liar Liar, Bruce Almighty, and How the Grinch Stole Christmas, among many others.
More recent credits have included the Sonic the Hedgehog franchise as well as the Showtime series Kidding, in which he played a famous children’s television icon, struggling to retain his sanity as his family falls apart.
Carrey was also the subject of the Emmy-nominated documentary Jim & Andy: The Great Beyond, and has also branched into writing with his novel Memoirs and Misinformation.
“His work, on screen and off, reminds audiences that cinema can do more than entertain: it can challenge, move, and even enlighten; that creativity and artistry need not be contained to just one medium. His journey embodies an unrelenting boldness, constantly pushing the boundaries of performance and art,” the César Academy said in the statement announcing the honor.
The 51st César Ceremony will take place in the Olympia Theatre in Paris on February 27, 2026.
After months of growing anticipation, the trailer for Sonic The Hedgehog 3 finally dropped and wastes no time showing formidable new villain Shadow the Hedgehog (played by the impossibly cool Keanu Reeves) beating the rings out of our favorite hedgehog, Knuckles, and Tails–uh oh!
Source: Paramount Pictures
Completely outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and saving the planet. Whew, good luck!
Source: Paramount Pictures
Check out the buzzy trailer below:
For months, fans speculated on whether Keanu Reeves would actually be joining the franchise after loud whispers circulated across the internet.
But now, with him wreaking havoc in the Sonicverse, the hype surrounding the film couldn’t be more apparent as we head into Hollywood’s holiday season.
To build on the momentum, Paramount projected images promoting the trailer release on buildings across the globe.
Source: Paramount Pictures
Source: Paramount Pictures
Source: Paramount Pictures
Directed by Jeff Fowler, the buzzy threequel boasts an all-star ensemble cast including Jim Carrey, James Marsden, Tika Sumpter, Idris Elba, Natasha Rothwell, Shemar Moore, Adam Pally, and newcomers Alyla Browne and Krysten Ritter.
Primed to become one of 2024’s biggest box office hits, Sonic 3 is “probably the most exciting thing that we’ve done in the franchise” according to Producer Toby Ascher who serves as Showrunner on Paramount+’s Knuckles series.
In an interview with GamesRadar+, he confirmed that the upcoming blockbuster is taking ‘a lot’ from classic Sonic Adventure 2 video game.
“It’s going to be this giant, fun, incredible movie that obviously takes a lot from Sonic Adventure 2 and some of the games that I know the core Sonic Team grew up loving,” Ascher told the outlet.
Sonic The Hedgehog 3 zooms into theaters Dec. 18, 2024.
Although it’s easy to shit on Sex and the City in the present, there are occasional moments in the show when one realizes how truly visionary it was for its time. You know, going to a tantric sex workshop and vaguely acknowledging white privilege while you’re getting a pedicure—things like that. But one thing Sex and the City rarely gets credit for is providing the kernel of the idea for Eternal Sunshine of the Spotless Mind. This occurred in season four of the series; specifically, episode six: “Time and Punishment” (the same episode where Charlotte York [Kristin Davis] was shamed for having “free time” instead of working). Which aired three years before Eternal Sunshine… was released in 2004.
But back in July of 2001, when “Time and Punishment” first aired, Carrie Bradshaw (Sarah Jessica Parker) had the sudden “revelation” that cheating on Aidan Shaw (John Corbett) back in mid-season three was the worst mistake of her life—or at least her romantic life (which, in truth, embodies one hundred percent of Carrie’s existence). Therefore, narcissist that she is, Carrie obviously believes it’s within her power to get him back…just because she decides on a whim that’s what she wants. And apparently, she’s not wrong in her assumption, wearing Aidan down with her seduction methods (however stalker-y) until he concedes that, sure, he wants to get back together.
But before that glorious (for Carrie) moment, Bradshaw gives us one of her signature voiceover “insights” from the column de la semaine she’s writing, ruminating on a person’s inability to forgive if they can’t really forget. So it is that she tell us: “Later that day, I got to thinking about relationships and partial lobotomies. Two seemingly different ideas that might be perfect together, like chocolate and peanut butter. Think how much easier it would all be if there was some swift surgical procedure to whisk away all the ugly memories and mistakes and leave only the fun trips and special holidays.” Yes, Carrie is perfectly describing what Charlie Kaufman would call “Lacuna Inc.” in Eternal Sunshine of the Spotless Mind. Minus the part where even the fun trips and special holidays are remembered. For, in Carrie’s ideal version of relationship memory erasure, you still at least remember the person existed in your life prior to the “procedure.”
Kaufman and Michel Gondry did that concept one better by making it key for all traces of the person to be forgotten. Even though it only set up someone like Clementine Kruczynski (Kate Winslet) and Joel Barish (Jim Carrey) for the trap of gravitating right back toward the person they ended up finding toxic in the first place. Which is also something that Zoë Kravitz’s Blink Twice addresses in a more ominous way. But what Eternal Sunshine of the Spotless Mind prefers to do is position the inevitable “re-attraction” between two people who were already unable to make it work before as something with a more hopeful tinge. Not just more hopeful than what Blink Twice does with the concept, but also with what ends up happening to Carrie and Aidan by the end of season four (hint: total emotional catastrophe/an even more painful breakup than the first time around).
However, before the reasons for their first breakup are proven yet again (and tenfold), to conclude her thoughts on the matter of “forgiving and forgetting,” Carrie adds, “But until that day arrives, what to do? Rely on the same old needlepoint philosophy of ‘forgive and forget’? And even if a couple can manage the forgiveness, has any[one] ever really conquered the forgetness? Can you ever really forgive, if you can’t forget?” In Eternal Sunshine of the Spotless Mind, there’s no need to forgive because all has been forgotten.
As for setting up the premise for “Time and Punishment,” the episode that precedes it, “Baby, Talk Is Cheap,” also refers to the “unforgettability” (therefore, unforgivability) of what Carrie did to Aidan. An egregious sin he feels obliged to remind her of when she has the gall to come to his door late at night and plead her case for getting back together. None of her “logic” trumps the fact that, as Aidan screams, “You broke my heart!” But Carrie sees that only as a “minor detail” when presenting him with the “argument,” “Look, I know that you’re probably scared and I would be too, but it’s different now. Things are different. I-I’m different.” She then tries to prove it by taking a pack of cigarettes out of her purse and declaring, “Cigarettes, gone.” Of course, if they were really “gone,” they wouldn’t have been in her purse in the first place.
Nonetheless, Carrie continues to insist that this “new” her was clearly not responsible for the actions of the old her and, thus, shouldn’t be punished by being denied another chance. She assures Aidan, “Seriously, all bad habits gone. This is a whole new thing because I miss you. And I’ve missed you.” As though her desire for him alone should be enough for him to want to forget about all the pain she caused him. And when Aidan screams the aforementioned line at her audacity, Carrie displays the kind of immaturity and embarrassing behavior she’s known for by simply running away instead of staying to face the firing squad, as it were.
Ultimately, though, she gets what she wants: for Aidan to submit to her. Granted, not without an initial bout of passive aggressive behavior in “Time and Punishment” that finally prompts Carrie to say of the co-worker he’s been openly flirting with, “Why don’t you just fuck her, then we can both be bad.” When he comes to her door at the end of the episode, Carrie tells him, “I know that you can’t forget what happened, but I hope that you can forgive me.” But she was onto something before in her column—the idea that no true forgiveness can be attained without forgetting. Ergo, her wish for a Lacuna Inc.-like enterprise that wouldn’t “exist” until three years later…perhaps after Kaufman caught sight of Carrie’s column. And while Carrie might not have been the first to wish for this form of a “relationship lobotomy,” she was the only one to say it out loud in such a crystallized way before Eternal Sunshine… came along to perfect the notion.
Romy Schneider once said, “Memories are the best things in life, I think.” But are they, really, if some of them serve only as a brutal, triggering source of trauma? In both Eternal Sunshine of the Spotless Mind and Blink Twice, that’s the main type of memory being dealt with, therefore suppressed. But while one is a “rom-com” (Charlie Kaufman-style), the other is a horrifying thriller with a #MeToo slant. Both, however, do center on “the necessity” of memory erasure as it pertains to the relationship between men and women.
Eternal Sunshine of the Spotless Mind, of course, is much “lighter” by comparison. Even though, in its time and its place, it was considered just as “bleak” as it was “quirky.” It’s also more hyper-focused on one relationship in particular, in contrast to Blink Twice speaking to the overall power dynamics between men and women as it relates to sex rather than “romance.” More to the point, the power dynamics between rich men and “regular” women. In Michel Gondry and Charlie Kaufman’s narrative, the main “sufferers” (or beneficiaries, depending on one’s own personal views) of select memory loss are Clementine Kruczynski (Kate Winslet) and Joel Barish (Jim Carrey). But it is the former who “brings it on both of them,” as she’s the one to initially enlist the memory-erasing services of Lacuna Inc., run by Dr. Howard Mierzwiak (Tom Wilkinson). Joel merely follows suit after comprehending what she’s done, deciding that she shouldn’t be the only person in the relationship permitted the luxury of forgetting about all that they shared together. Good and bad.
So it is that he, too, undergoes the procedure, briefed on the ins and out of it by Mary Svevo (Kirsten Dunst), the receptionist at Lacuna, and Dr. Mierzwiak before opting to excise Clementine from his brain as well (in a scene later to be repurposed by Ariana Grande for the “we can’t be friends [wait for your love]” video). Of course, this isn’t to say he’s not extremely hurt by her “whimsical” decision to “remove” him. Alas, by way of explanation, Dr. Mierzwiak can only offer, “She wanted to move on. We provide that possibility.” One can imagine that Slater King (Channing Tatum) tells himself something similar about his own nefarious operation on a private island that might as well be referred to as Little Saint James (a.k.a. the former “Epstein Island”).
Sex and the City, incidentally, provided something of a precursor to the Eternal Sunshine of the Spotless Mind “idea kernel” (de facto, the Blink Twice one) in the form of the season four episode, “Time and Punishment.” This due to Carrie’s (Sarah Jessica Parker) theme for her column of the week being whether or not you can ever really forgive someone if you can’t forget what they did (to you). The answer, in both Eternal Sunshine… and Blink Twice, seems to be a resounding no. Though, in the former, there appears to be a greater chance for redemption even after the couple remembers everything that happened between them (and still decides to give it another shot). This courtesy of Mary, who not only unveils the truth to all of Lacuna’s clients (or “patients”), but also unearths her own bitter truth vis-à-vis memory erasure: Howard did it to her (per her request) after the two had an affair. And yet, just as it is for Frida (Naomi Ackie) in Blink Twice, it’s as though we are doomed to repeat the same behavior/gravitate toward the same toxic person regardless of whether the slate (a.k.a. the mind) is wiped clean or not.
In Blink Twice, Zoë Kravitz’s directorial debut (which she co-wrote with E.T. Feigenbaum), that gravitation proves to be much more harmful for Frida, who drags her best friend, Jess (Alia Shawkat), along for the ride after infiltrating Slater’s fancy benefit dinner for his requisite “foundation.” Although the two are initially working the party as cater waiters, Frida has them both switch into gowns (which scream “trying too hard” while still looking embarrassingly cheap). Naturally, Slater invites them to accompany him and his entourage back to the island where he’s been sequestered in order to “work on himself” as part of a grand performance of a public apology for “bad behavior” past (there’s no need to get specific about what that might have entailed, for there’s a whole range of bad behavior [typically, sexual abuse/harassment-related] that female viewers can easily imagine for themselves). Though, usually, if one is truly working on themselves, they do so by not buying a private island to retreat to. By actually trying to exist in and adapt to the world around them, rather than creating an entirely new one that fits their own “needs.” But that’s the thing: Slater and his ilk don’t want to adapt, don’t want to acknowledge that things have changed and so, too, must their old ways. Instead, they’ve set up a “paradise” for themselves that happens to be every woman’s hell.
The only requirement to keep them there? Scrubbing any memories they have of being sexually assaulted every night on the island. In lieu of Lacuna, Slater needs only a perfume called Desideria, conveniently crafted from a flower that’s only found on that particular island. It’s, in many ways, a slightly more implausible method for making someone forget a traumatic experience than all-out memory erasure through a “scientific procedure” like Lacuna’s. But, for Kravitz’s purposes, it works. Those purposes extend not only to holding up a mirror to the ongoing and new-fangled ways that men, even post-#MeToo, still manage to behave like barbarians, but also to the ways in which women “self-protect” by conveniently “removing” memories that are too painful to deal with, especially when it comes to men and their egregious comportment. This, in part, is why the Desideria is so effective. There’s a sense that the women of the island are only too ready to forget/ignore what horrors befell them the previous night.
In the abovementioned Sex and the City episode, there’s a scene at the end where Carrie repeats (seven times) to Aidan (John Corbett), “You have to forgive me” in different “Oscar-worthy” manners. Just as Slater repeats, “I’m sorry” in different dramatic ways until he then askes Frida if she forgives him yet. Seeing (and expecting) that she definitely doesn’t, it only serves to prove his point that, no, you cannot forgive without forgetting (though, to be fair/in this case, maybe just don’t act like women owe you unfettered access to their bodies/treat them like disposable objects designed solely for your amusement and there won’t be any need to forgive).
Thus, he considers himself in the right (or at least that he “had no choice”) for doing what he did in order to get what he wanted out of her and the other women he lures to the island with his charm (and, of course, the allure of his wealth). In Eternal Sunshine of the Spotless Mind, there is also a belief, on Clementine’s part, in being “in the right” for willingly expunging her own memories without any man needing to do it for her. In this sense, one might say that Eternal Sunshine of the Spotless Mind is all about the importance of agency in having certain aspects of your memories erased for the sake of self-preservation.
It’s safe to say that, of all the pop stars working today (apart from, of course, Madonna), Ariana Grande is the one most blatantly enamored of postmodernism—wherein no distinction exists between high and low art, and references galore are placed in a “pastiche blender.” Even more than her contemporaries, Lana Del Rey and Taylor Swift, Grande is the most obvious in how she’ll take a piece of pop culture and “reinterpret” it. Though perhaps some would say she’s merely recreating it, shot-for-shot, à la Gus Van Sant with Psycho. That much can practically be said of the video for her second single from Eternal Sunshine, “we can’t be friends (wait for your love).” This following her other pastiche-drenched video for “yes, and?,” which is a knockoff of Paula Abdul’s “Cold Hearted” video.
As with “yes, and?,” Christian Breslauer also directed “we can’t be friends (wait for your love),” marking their second collaboration. Perhaps they didn’t end up working together sooner due to Grande’s long-standing devotion to Hannah Lux Davis, who has brought us so many Grande music videos over the years, including “Bang Bang,” “Love Me Harder,” “Focus,” “Into You,” “Side to Side,” “breathin,” “thank u, next” (also filled with movie-related pastiche), “7 rings,” “break up with your girlfriend, i’m bored,” “boyfriend” and “Don’t Call Me Angel.”
But “we can’t be friends (wait for your love)” has a different vibe from all of those aforementioned light-hearted videos (of which, even “breathin” was more light-hearted than this). Suffused with the kind of melancholia and restraint that comes in the wake of a breakup, Grande and Breslauer take what Michel Gondry and Charlie Kaufman did in Eternal Sunshine of the Spotless Mind and distill it down to four minutes and forty-three seconds (something Kaufman would likely be horrified by). Starting with Grande being in the waiting room of “Brighter Days Inc.” (dumbed down from the more “esoteric” company name in Eternal Sunshine of the Spotless Mind, Lacuna Inc.—lacuna meaning “an unfilled space; a gap”), Grande’s penchant for pastiche might even extend to the 2004 (also when Eternal Sunshine of the Spotless Mind was released) video for Gwen Stefani’s “What You Waiting For?” In it, Stefani also finds her in a dubious, nondescript waiting room filling out a form filled with odd questions (e.g., “Do you like the smell of gasoline?”). Except it isn’t to help erase her memory, but rather, “be inspired” a.k.a. get rid of her writer’s block. Grande doesn’t tend to have any issues with that, especially when she’s in her “after a breakup/new relationship” phase.
Riffing on Clementine Kruczynski’s (Kate Winslet) look, Grande sits in the waiting room of Brighter Days Inc.—an air of uncertainty about her—styled in a fur-trim coat, tights with knee-high boots (featuring a 70s-esque flower pattern) and a flower flourish drawn in white around her eye. This particular detail gives more Katy Perry than Clementine vibes (especially in the former’s hippie-dippy “Never Really Over” video), but it’s part of Grande’s own spin on the character. Which now also incorporates some version of herself thanks to her recent experience of wanting to erase the memory of a botched relationship. Namely, the one that resulted in her two-year marriage to Dalton Gomez. Hence, like Joel Barish (Jim Carrey, who Grande is a well-known fan of), we see Grande-as-“Peaches” (a none too subtle allusion to Clementine) filling out a form that basically denies Brighter Days Inc. any legal responsibility for what might happen after the procedure—including a lingering and barely dormant sense of regret.
So it is that we see “Peaches” checking the “Yes” box under the statement, “You have given extensive thought behind your decision and give Brighter Days Inc. the exclusive permission to remove this person completely from your memory.” Clementine herself, of course, didn’t give much extensive thought to it, later telling Joel, “You know me, I’m impulsive.” Peaches is likely the same way, simply wanting to rid herself of the pain that comes from remembering a failed relationship. Thus, despite seeing the anxiousness radiating from her as she resolves to go through with the decision, Peaches knows that it’s “for the best.”
Watching the “technicians” remove key mementos of the relationship from the box she brought in (the same way the patients in Eternal Sunshine of the Spotless Mind do), viewers soon see the wall of the “operating room” open up behind her (kind of the way the wall opens up behind Miley Cyrus in the “Used To Be Young” video) to reveal the first memory to be scraped. The one that relates to the tiny teddy bear in the box. A bear plucked from what the Brits (and Arctic Monkeys) call a teddy picker by Grande’s ex, played by Evan Peters…who is labeled simply as “Lover” where credited (how Swiftian). The memory then starts to black-out around her (the same way it does for Joel just as he’s remembering all the “good stuff” he loved about being with Clementine). Startled by the abyssal nature of the process, this is the moment where the lyrics, “Me and my truth, we sit in silence/Mmm, baby girl it’s just me and you.” And as the very “Dancing On My Own” by Robyn beat swells again, the blackness around her is replaced by another memory, one in which Lover’s back is turned to her in bed. While she sits up in the place next to him, it’s as though the two are at the point in their relationship where things have become strained, and words have lost all meaning.
From this memory, Grande runs out to open the door, leading her into a snow-filled landscape where “Brighter Days” of them making snow angels together exist. This being Grande’s version of Joel and Clementine lying on the ice of the frozen-over Charles River (though, in actuality, that scene was filmed in Yorktown Heights). A “cut” is then made by way of a sheet falling over the scene to transition us from Peaches lying on the snow to Peaches lying in bed with Lover (side note: the sheets’ pattern gives off a decidedly “hospital bed” feel—maybe an unwitting allusion to how love makes you crazy). And in the same way that Clementine is literally yanked away from Joel while they’re lying on the ice together, so, too, is Lover while he and Peaches are looking at each other with the same loving fondness in bed.
In the next scene, Breslauer cuts to the memory box again, as a technician picks up a framed photo of the two arranged in “Samantha Baker (Molly Ringwald) and Jake Ryan (Michael Schoeffling) pose” with a cake between them, exactly as it was in John Hughes’ Sixteen Candles. It is at this moment that viewers might realize Grande is incapable of sticking to just one movie as a visual reference point (even with “34+35,” she couldn’t “only” refer to Austin Powers with her fembot aesthetic….there had to be a Frankenstein premise as well)—something we saw at a peak in “thank u, next.” A video that, although it wields Mean Girls as its primary inspiration, also sees fit to devolve into nods to Bring It On, Legally Blonde and 13 Going on 30.
While it’s unclear if Lover is doing this Sixteen Candles homage deliberately because he knows how much Peaches adores the movie or it’s simply another instance of Grande incorporating a pop culture reference apropos of nothing (which is understandable, as many women and gay men’s minds function that way), the point is that Lover disappears from the picture just as they lean into kiss one another over the birthday candles (something that was just as stressful to watch in Sixteen Candles for those fearing a fire hazard). Sitting there alone as the lyric, “So for now, it’s only me/And maybe that’s all I need” plays, Grande blows out the candles before we see the map of her brain again. In the style of Joel freaking out when the “eraser guys” manage to find Clementine hidden within a memory of his childhood (a suggestion made by Clementine so that he could hold onto her in some way even after the process), Grande starts panicking and crying before the computer flashes a sign that reads, “Relinking.”
In another memory still, we see Grande on the couch with Lover as he presents her with a necklace that then turns into a dog collar before Lover himself is transformed into a dog (for, as Birds of Prey taught us, dogs are the animals women are most likely to replace men with). This is where Grande takes the most liberties with her reinterpretation of the movie, for it seems that Brighter Days Inc. isn’t just capable of erasing memories, but also reworking them entirely. As such, the interior decor around her continues to, let’s say, shapeshift, while the TV in front of her plays back the memories one last time before we see Peaches shaking hands with the doctor and nurse for doing their job, the procedure now over.
The image of the box of memories, teddy bear and all, being incinerated then leads into Peaches walking down a street with a new boyfriend and passing Lover with his new girlfriend, neither party registering any kind of recognition. And just like that, Peaches forgets all about her pain. Just as viewers might forget all about the original Eternal Sunshine of the Spotless Mind. But that’s what pastiche is about: subverting collective memories for the sake of consumption.
In the past couple of years, some variation on a meme that goes, “The older I get, the more I understand why the Grinch wanted to live alone with his dog” has cropped up every Christmas. This sudden “empathy” for the green creature is not only an about-face from perceptions past, but a clear sign that humanity has become so insufferable that there’s finally some vindication for misanthropes and why they might be “that way.” Which is to say, contemptuous of all human contact. Of course, the Whos aren’t human, but, for the Grinch’s purposes of hiding in a “cozy” (or heinous, as the Grinch calls it) lair on Mount Crumpit, they’re equivalent enough for inspiring his hikikomori existence.
Although it used to be the case that the Grinch was a prime example of how not to be, he has become something of a hero to the masses. Particularly the post-Covid masses who, of late, might be missing the excuse that lockdowns gave to avoid all social contact (oh, how quickly people can romanticize something they hated once it’s in the past). Despite the Grinch not being anything remotely human, he has, before this recent meme, typically been held up as an exemplar of what humans should avoid “aspiring to” at all costs. In fact, his trusty dog, Max, is the one whose heart seems big enough for the both of them, what with the Grinch’s heart being “two sizes too small.” And, besides, how could it not be when he was simply reflecting back the love he received. Or rather, did not. At least according to the 2000 version of the film, directed by Ron Howard.
In contrast to the original (and classic) animated film (you know, the one Kevin McCallister [Macaulay Culkin] watches in Home Alone 2: Lost in New York), the live action edition presents the (formerly) villainous (turned heroic) Grinch with a backstory that “explains” his current state of curmudgeonliness. In effect, it set the precedent for the later ongoing trend of giving villains “origin stories” that (supposedly) shed light on how/why they became “evil” (e.g., Maleficent and the Joker). Except that the Grinch was never really evil, per se—or “rotten,” as the famed song about him likes to tout. He was simply a misanthrope. And, in 1957, when Dr. Seuss’ original publication, How the Grinch Stole Christmas!, was released, there was nothing more menacing or “dangerous” to American society. By 2000, when Ron Howard’s adaptation (written by Jeffrey Price and Peter S. Seaman), it seemed that was destined to remain true, as Bush conservatism took hold of the nation again. Taking even more hold after the 9/11 attacks of 2001. And so, to be a “grinch” a.k.a. people-hater was not exactly chic; instead, considered “unpatriotic.” A sign of being “off.” Worse still, one of the “enemies.”
But the Grinch suddenly falling into fashion at a time when misanthropy has arguably been more accepted and embraced than ever (largely thanks to the driving force that is the internet), well, that’s no coincidence. His moment to shine, as it were, has arrived in an era of extreme dissatisfaction with and mistrust in humanity as a whole. Hence, the resonance to more and more humans when they hear the Grinch utter, from the cold comfort of his cave, “I’ll tell ya Max, I don’t know why I ever leave this place. I’ve got all the company I’ll ever need right here.” He points to himself, and then proceeds to engage in a “conversation” wherein his words echo back to him from the walls.
The Grinch’s resentment of more “socially acceptable” misanthropes posing as jolly “givers” prompts him to seethe, “Talk about a recluse! [Santa] only comes out once a year and he never catches any flak for it! Probably lives up there to avoid the taxes.” And yet, in the end, the message of How the Grinch Stole Christmas! is that you, too, can become a socially acceptable misanthrope. Soften yourself around the edges to become more palatable. Conform more willingly to the warm-and-fuzziness expected of you despite inhabiting a world so unapologetically cruel. Founded on a system that’s designed to harden you and make you immune to anything resembling empathy. And yet, that very system can continue to create docile soldiers by releasing content that has the type of self-awareness of How the Grinch Stole Christmas!, which acknowledges that misanthropy is to be expected, to some degree, but that, in the end, we should all go back to loving our fellow man who fucks us over on a daily basis.
Even from the outset of Howard’s How the Grinch Stole Christmas!, there is an immediate foreshadowing of the Grinch’s eventual surrender to being “one with humanity.” Or “Whomanity,” if you prefer. That glimmer arrives when he says, with menace and malice in his voice, “I guess I could use a little…social interaction” just before going out to wreak undercover havoc on Whoville. But that line is ultimately designed to emphasize the idea that, yes, humans are social creatures who will wither and die on the vine of existence without enough socialization. And, in the Grinch’s case, he was really only made to feel so isolated because of the early ostracism he experienced as an “othered” child. Which is why, while on that undercover outing to wreak havoc, of course, even then, his “teddy bear stylings” flicker in and out, as he ends up “saving” Cindy Lou Who (Taylor Momsen, before she was Jenny Humphrey) after placing her in the mail sorter himself. It is only the Grinch’s true conscience, Max, who stops him by pulling violently on his cloak to keep him from leaving the mail room without rescuing her. So it is that the Grinch unwittingly stumbles upon someone who “believes in” him. Someone who, for the narrative’s sake, has to be a child…because they’re the only ones with a shred of enough innocence not to be so jaded.
Thus, How the Grinch Stole Christmas!, like another beloved Christmas story, A Christmas Carol, wants to reinforce the trope that misanthropes aren’t all “bad,” they just need the right person (or scenario) to “draw them out.” The ultimate fallacy in that statement being that it’s bad to despise humans in the first place. But it’s become less and less taboo to do so in an open manner. Case in point, the recent adaptation of Leave the World Behind, during which Julia Roberts as Amanda Sandford declares from the outset of the film, “I fucking hate people.” By the end, however, she experiences her own kind of “Grinch transformation” when she tells Ruth (Myha’la), the girl she’s been “saddled with” for the end of the world, “I know I say I hate people, but I’d do anything to have them back.”
Thrust into her own extreme circumstances that force her heart to become “three sizes bigger” after it’s already too late for such revelations, Ruth is the one to inform her, “As awful as people might be, nothing’s gonna change the fact that we are all we’ve got.” But that’s really not true if you have a dog like the Grinch’s. As time goes on, and the meme about finally understanding the Grinch continues to hold water with more and more people (in short, as misanthropy becomes more “mainstream”), it bears remarking that the reason for such comprehension is that the “collective veil” regarding so-called humanity seems to keep being pulled further and further back to the point that, indeed, why wouldn’t we all want to hide in a cave by ourselves with a dog who loves and understands unconditionally? No matter how inherently rotten his owner might be.
Twenty-three years ago, Jim Carrey gave an iconic performance as the Grinch. This week, folks online have been speculating a part two to the Christmas classic.
But the How The Grinch Stole Christmas actor is shutting those talks down. According to PEOPLE, a rep for Jim Carrey says he won’t be returning to the Whoville world in the near future.
“There is no truth to Jim reprising his role as the Grinch in a sequel toThe Grinch,” the rep told PEOPLE.
Talks of Carrey going green-face again began amid reports from outlets like The Daily Mail. On Nov. 21, DM cited Giant Freaking Robot as the source for the sequel news. GFR’s website lists the story as an “exclusive” published 10 months ago using “trusted and proven sources.”
Meanwhile, a spokesperson for Universal Pictures — the studio behind the 2000 film — has not responded to a request for comment from PEOPLE. So, whether part two is on its way or not remains unclear.
For those who don’t know, the film was based on a book by children’s author Dr. Seuss’s and published in 1957.
Jim Carrey Revealed Plans To Retire Last Year
It’s not too much of a surprise that Jim Carrey doesn’t have filming Grinch on his schedule. For one, the actor is not a fan of sequels. This is a sentiment he reportedly expressed to CinemaBlend in 2017.
“I find sequels are a function of commerce for the most part. At least the two I’ve done, they were characters I enjoyed doing, but I did find myself almost parroting myself at that point. When you put 10 years between you and the last time you did it, suddenly you’re going, ‘How did I do that again?’… So, you’re imitating your original inspiration. It was super fun with Jeff, but I’m not a crazy sequel guy.”
Last year, Jim Carrey broke his own rule when he reprised his role as Doctor Eggman in Sonic the Hedgehog 2. However, he also told Access Hollywood he’s “probably” retiring from acting and is “fairly serious” about it — unless a ‘golden script’ lands in his lap.
“It depends,” Jim said. “If the angels bring some sort of script that’s written in gold ink, that says to me that it’s going to be really important for people to see, I might continue down the road. But I’m taking a break.”
Peep his full comments below.
As for us Grinch fans, it looks like we’ll have to settle for the animated version, Dr. Seuss’ The Grinch, Illumination and Universal Studios delivered in 2018!
Zany and prolific actor Nicolas “Nic” Cage is coming to the asymmetrical survival-horror game Dead By Daylight on July 25. If you know anything about him, you’d expect his voice lines to be unhinged as hell. Well, they’re so unhinged that people on TikTok are marveling at Cage’s dedication to his latest role.
The Top 10 Most-Played Games On Steam Deck: June 2023 Edition
After leaking earlier this year, developer Behaviour Interactive confirmed that the Cageman would join the game as a Survivor during Summer Game Fest with a reveal trailer. Survivors are one of the many playable characters in the 4v1 asymmetrical horror sim that are laser-focused on getting the hell away from the Killers that hang players on meathooks so they can sacrifice them to an otherworldly entity. Yikes.
At the time, we didn’t get any real idea of how Cage would play his Survivor, though he said it was a “heightened, exaggerated version of a film actor” of the same name. That means it’s wacky and wild, right? Well, yes, but IDK if you’re at all prepared for just how bonkers Cage’s voice lines are in this game. Strap in.
OK, what’s going on? He’s screaming his lungs out, babbling like Jim Carrey in Ace Ventura or something, and singing the infamous Halloween tune as if he’s in an ‘80s hair metal band. Nic Cage also apparently has 185 voice lines in the game. And the one that absolutely takes me out, aside from him doing the Halloween theme, is his character shouting “I’m Nic Fucking Cage” several times. I’d love for him to burst onto a movie scene with this line, just one time.
Nicolas Cage’s silly, and effective, Dead by Daylight perks
According to folks who have opted into the public test build (PTB) of the game through Steam, Nic Cage is the “best Survivor” because of his perks. Not only are they hilarious, but they seem to be pretty effective and offer a chance to drastically change the meta, which can quite often feel a bit stale.
One perk, Scene Partner, activates whenever Cage is within the Killer’s Terror Radius—he’ll comically scream before giving players a chance to see the Killer’s outline for a few seconds. There’s a chance he’ll ridiculously scream again, giving them a longer look at wherever the Killer may be lurking.
Then there’s Plot Twist, an active ability that basically lets players fake their own death—they’ll enter into the “dying state” but won’t leave a trail of blood or let out any whimpers to alert the Killer to their location. Recovering from that fake dying state will fully heal you and temporarily boost your movement speed.
Dramaturgy will turn Cage’s run into a Looney Tunes-esque knee-high canter, increasing movement speed and then randomly enacting one of several effects that could either help or hurt your game (you could be exposed to the Killer, or randomly gain a rare item).
Dead By Daylight streamer SpookyLoopz uploaded a YouTube video on July 5 demonstrating Nic Cage’s character in full. He’s got some pretty funny lore, with the character believing the Dead By Daylight world is part of some film script, and even funnier in-game animations, such as his scream.
SpookyLoopz
“That is Nicolas Cage,” SpookyLoopz said. “The man, the myth, the legend—the first celebrity we’ve ever gotten in [Dead By Daylight]. Super, duper excited for the [character]. […] He’s easily the funniest survivor in the game.”
In a press release announcing Nic Cage’s introduction to Dead By Daylight’s PTB, Behaviour Interactive head of partnerships Mathieu Côté hyped the actor.
“To say we are thrilled to have Nicolas Cage join the gaming world for the first time with Dead by Daylight is an understatement,” said Côté. “Mr. Cage recorded all his voice lines and was involved every step of the way; his dedication to his craft and professionalism is unmatched. We feel very privileged to have him and to our players: you’re in for a treat!”
Behaviour Interactive is also working with Atomic Monster and Blumhouse to turn the game into a film. Maybe the IRL actor will make an appearance in the movie? That would be a pretty meta crossover.
9,160 days after it premiered, the screenwriter of “The Truman Show” has revealed the film’s original ending.
In the 1998 film, Jim Carrey portrays an insurance salesman named Truman Burbank who discovers his idyllic life on Seahaven Island has been entirely faked ― and broadcast on live television for the viewing pleasure of the masses since he was born.
In an interview for its 25th anniversary, screenwriter Andrew Niccol told The Hollywood Reporter that Carrey ad-libbed the film’s most memorable line and that the story was initially set in a major metropolis. He also revealed that his original script was far bleaker than the finished product.
“I did envisage something darker,” Niccol told the outlet. “In the original script, there was an innocent passenger attacked on the subway as a way to test Truman’s courage, and Truman had a platonic relationship with a prostitute who he dressed as Sylvia.”
The character Sylvia (Natascha McElhone) is cast in Truman’s show as a potential love interest but goes off-script and nudges him toward self-discovery. Niccol said the pair’s moonlit beach dates nearly didn’t happen, however, as director Peter Weir changed the setting entirely from the original draft.
“I always thought the premise was bullet-proof, and even though the original draft is set in an alternate version of New York City — if you can fake it there, you can fake it anywhere — I was happy to embrace Peter’s more idyllic, small-town take on a counterfeit world,” he said.
Carrey was famously making comedies like “Dumb and Dumber,” the “Ace Ventura” franchise and “The Mask” at the time. Niccol said Carrey “originally ad-libbed” Truman’s catchphrase ― “Good morning! And if I don’t see you, good afternoon, good evening and good night.”
The film was originally set in New York City and saw Truman fall in love with a prostitute.
Archive Photos via Getty Images
Carrey has pondered what a sequel might look like and noted in a 2020 interview with Collider that “everybody has their own little Truman Show world.” The actor told the outlet that “there’s something to be had there.”
“I often think, and am asked about, what would have happened to Truman when he goes outside the wall,” he told Collider. “It took me a while to realize that basically, he was alone out there, too, because everybody went back inside. They all wanted to be in the dome.”
“The Truman Show” and its depiction of reality TV, which stunned critics and audiences alike, was certainly prescient — despite real-life series like “Big Brother” or “The Real World” already drawing in millions of viewers in the late 1990s.
Niccol’s script explored in satisfying detail what it would take for thousands of cast and crew members to simulate real life for one unwitting victim. The film’s iconic ending of a man discovering his gilded cage, meanwhile, almost took viewers much further.
“There was a lot of debate about how the mechanics of the set worked,” Niccol told the Reporter. “There was even a version where we followed Truman through the sky, and he encountered a studio tour and a souvenir store all devoted to him.”
“In the end, Peter made the right decision to end it when he left the set.”
The estate is on over two acres of landscaped and planted gardens
Daniel Dahler for Sotheby’s International Realty
The Hollywood legend’s Brentwood home, located on two private and serene acres, encompasses 12,704 square feet of contemporary living space, with five bedrooms, six full and three partial bathrooms. It is now offered for sale for $28,900,000.
The entry makes for privacy
Daniel Dahler for Sotheby’s International Realty
Represented by Janelle Friedman of Sotheby’s International Realty – Santa Monica – Venice Brokerage, the sprawling, mostly one-story ranch house is a one-of-a-kind magical sanctuary. For the first time on the market in almost 30 years, this meticulously maintained celebrity estate is set behind more than 280 feet of hedged frontage, right in the heart of one of the most desirable neighborhoods in Los Angeles. The classic facade leads to contemporary interiors, which are lofty, inviting, and flooded with natural light, while floors of polished brick and handsome hardwood lend a grounding organic feel to the bright and airy spaces.
The house and grounds are beautifully kept
Daniel Dahler for Sotheby’s International Realty
Crowned by striking pitched beamed ceilings with skylights, the living, dining, and family rooms have fireplaces and verdant views, and are welcoming spaces for small or large gatherings. Numerous glass doors open to a large courtyard patio for quintessential California indoor-outdoor living and entertaining. The chef’s kitchen, with ample cabinetry and superior appliances, boasts a convenient indoor BBQ. Wrapped with windows, the circular breakfast room overlooks gorgeous flowering pear trees. The spacious owner’s suite is a restful retreat with sitting area and fireplace, sunny bay window, and private covered balcony overlooking the property. The richly hued wood-paneled bath has a cozy fireplace, soaking tub, and privacy leaded-glass windows.
The chef’s kitchen
Daniel Dahler for Sotheby’s International Realty
The home includes a large gym and a home office, and the secondary bedrooms all have ensuite baths.
The rooms are spacious and light-filled
Daniel Dahler for Sotheby’s International Realty
A special feature is the custom art deco theater, furnished with mohair covered sofas, burled wood columns, a snack area and a lavish marble bathroom.
The theater is especially comfortable
Daniel Dahler for Sotheby’s International Realty
The over two-acre lot is planted with majestic mature trees. It is as beautifully furnished as the interior of the house, including a north-south championship tennis court, gazebo, waterfall pool and spa. The pool house has a bar, fireplace and separate infrared sauna and steam room. There are entertaining patios, large grassy areas, a designated vegetable garden, plus meandering paths leading to a peaceful yoga and meditation platform.
This tranquil property is unlike any other. With over 12,000′ of sophisticated living spaces, this estate is still a true home retaining its heart and charm.
Every year, the Academy Awards come along to grace a handful of nominated actors with a golden statue. But let’s face it. Hollywood is teeming with talent, and just because you’ve risen to A-lister status doesn’t mean you’re automatically guaranteed an Oscar. In fact, over the years, there have been plenty of seasoned actors who have experienced tremendous success in the movie and television industry — but they’ve never won an Academy Award. While it may be hard to believe based on their impressive careers, these celebrities have never gone home with that coveted award.
Why is that, exactly? Well, it’s pretty obvious that there are several different factors that go into selecting a winner for Best Actor or Best Actress. Like pretty much every other art form, reception to a performance is subjective. What might be one person’s idea of “best” is another person’s “very good.” And, even if everyone’s performances were all considered equal in terms of quality, there still has to be one winner.
Some actors — such as Leonardo DiCaprio, for instance — spend years delivering memorable performance after memorable performance, only to be passed over continuously by the Academy. DiCaprio finally broke this cycle with his ambitious performance as frontiersman Hugh Glass in the 2015 film The Revenant, which won him the Oscar for Best Actor. While some famous actors go their whole careers without ever achieving that milestone, it doesn’t mean they aren’t deserving. Sometimes, the timing just isn’t right. Here are 12 actors who have surprisingly never won an Oscar.
12 Actors Who Have Surprisingly Never Won An Oscar
These great actors have given unforgettable performances in classic films. None of them have won an Academy Award.
It’s hard to always predict which movies are going to live on as classics. While you might assume something like Star Wars was always destined for greatness, the truth is that you never really know which movies are bound to become pop culture touchstones. The actors in these movies don’t know, either — what starts off as a one-time movie deal might turn into a lucrative franchise run. In other cases, a movie sequel or reboot may lie dormant for several years, and when it finally does happen? Those actors prepare to return to a role they haven’t touched in decades.
Since Hollywood can be so unpredictable, it’s never quite clear what the future holds for a movie franchise. In some situations, a franchise completely starts fresh with new characters. This creates the opportunity for the original actors to come back and make a cameo. There are some movies, however, where those original actors serve as the leads of that sequel — a good example would be Jim Carrey and Jeff Daniels as Harry and Lloyd in 2014’s Dumb and Dumber To. There’s something undeniably special about seeing an actor reappear as a certain character so many years — even though they may look a bit older, they still bring the same energy to the table.
For some performers, one iconic role becomes the gift that keeps on giving. No matter how much time goes by, that character will always be a defining part of their career. These actors returned to their roles decades after their first appearance on screen.
13 Actors Who Returned To Iconic Roles Decades Later
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