TIME celebrities

Harrison Ford’s Scalp and Facial Injuries Likely to ‘Heal Very Well’

Harrison Ford attends the 12th Annual Living Legends of Aviation Awards in Los Angeles on Jan. 16, 2015.
Rob Latour—AP Harrison Ford attends the 12th Annual Living Legends of Aviation Awards in Los Angeles on Jan. 16, 2015.

It will take about 2 to 3 weeks for the bruising and swelling to go down

Harrison Ford is likely to receive an encouraging prognosis for his scalp and facial injuries, says a top surgeon.

An eyewitness to Ford’s plane crash told PEOPLE that the 72-year-old star suffered a five- or six-inch gash about “the size of a pancake.”

Generally speaking, such lacerations would be repaired immediately with sutures of some sort upon the patient’s hospital admission.

“The principles are going to be the same for any type of traumatic accident like this,” says Dr. Anu Bajaj, vice chair of the American Society of Plastic Surgeons Public Education Committee. “You need to rule out any more serious injuries, whether it’s head injuries or spinal injuries, and once you do that you can focus on the more superficial injuries like the scalp and facial lacerations.”

With a complex laceration, “there are multiple layers of sutures,” says Dr. Bajaj, who has not treated Ford. “You may as a patient only see the sutures on the skin surface, but as a surgeon we also place sutures on a deeper layer which you aren’t able to see.”

The eyewitness told PEOPLE that the cut was clean and had minimal bleeding, which suggests “there are no jagged edges and so would just require closure,” says Dr. Bajaj.

Recovery time is generally faster on the face and scalp, which are vascular areas of the body and thus “you have more blood flow, which allows them to heal,” she adds.

As for scarring, “generally speaking, scars on the face will heal very well and fade with time. Scars on the scalp will also heal and become less noticeable because of hair growth,” says Dr. Bajaj.

If injuries are limited to lacerations on the face and scalp, patients are generally discharged after the repair. They would then return for removal of sutures and staples within five to seven days for the face and slightly longer for the scalp.

“Every patient is different,” says Dr. Bajaj. “Typically it will take about two to three weeks for the bruising and swelling to go down enough where it’s not so noticeable.”

This article originally appeared on People.com.

Read next: Listen to Harrison Ford’s Cockpit Audio Before Plane Crash

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TIME celebrities

Kelly Clarkson Did Date Justin Guarini, After All

FOX TV Network 2003 2004 UpFront Party - Arrivlas
Gregory Pace—FilmMagic Kelly Clarkson and Justin Guarini during FOX TV Network 2003 2004 UpFront Party - Arrivals at Ciprianis at Grand Central Station in New York.

The 'American Idol' competitors had a fling after the show ended

All of our 2002 dreams are coming true!

Kelly Clarkson has admitted that she and fellow American Idol finalist Justin Guarini used to date.

In a segment of Plead the Fifth on Watch What Happens Live on Thursday, the “Heartbeat” singer was asked to confirm whether she and Guarini really had a fling, as he claimed in his one-man show Lovesick.

“We didn’t date during Idol,” she confessed, “which, everybody thought we we dating, but we did date during … I feel like we weren’t dating during [From Justin to Kelly] but I feel like maybe we did.”

“So, you dated a little bit?” pressed host Andy Cohen.

“We did date a little bit,” Clarkson, 32, explained. “I think any two people who are thrown together that much would [date]. Guy, girl, just saying – ‘Timeless,’ put that song on from Justin to Kelly – you can’t fight it!”

Cohen also asked Clarkson whether she’d “still liken Miley Cyrus‘s singing to [that of] a pitchy stripper.” Cohen was referring to a 2013 Tweet in which she wrote, “Just saw a couple performances from the VMA’s last night. 2 words…. #pitchystrippers,” to which many assumed to be about Cyrus’s controversial performance alongside Robin Thicke.

“I never said Miley Cyrus!” Clarkson exclaimed. “The fact that I Tweeted ‘pitchy stripper’ and people thought ‘Miley Cyrus’ is not my problem. I’m just saying. … I never said Miley Cyrus.”

In any case, if we’ve learned anything from Clarkson’s admission about Guarini (not to mention The Backstreet Boys‘ documentary Show ‘Em What You’re Made Of), it’s that good things come to those who wait for good gossip.

This article originally appeared on People.com.

Read Next: Kelly Clarkson: I Will Never Tell My Daughter about ‘From Justin to Kelly’

TIME movies

Review: It’s Nature vs. Torture in Neill Blomkamp’s Chappie

1251623 - Chappie
Columbia Sharlto Copley plays the voice of Chappie in Chappie

The director of the wondrous District 9 hatches a violent parenting parable starring a sci-fi robot that falls victim to the Jar Jar Jinx

Why did Neill Blomkamp decide to give the robot hero of his artsy-violent new sci-fi film the name Chappie? Because, as my brother Paul William Corliss Jr. could tell you, Chappie is an alternative nickname for a boy with the same name as his father — like Bud, Chip, Tad or Deuce.

The South African director’s movie, set in a grungy future Johannesburg, is also a descendent of his debut feature District 9, which in 2009 wowed the world of critics (like this one) and audiences ($211 million worldwide box office on a thrifty $30-million budget). An Apartheid parable disguised as a alien-settlement thriller, District 9 was both a wondrous achievement on its own and a promise of greater things from the 29-year-old Blomkamp.

It didn’t quite happen that way. He got lost in the political thickets with his second feature Elysium, an affectless tale of Obamacare in outer space that wasted the glamour of its stars, Matt Damon and Jodie Foster. Now Blomkamp, back home in Joburg, finds new ways to go off the cinematic rails with Chappie.

In the very near future — 2016 — the law is enforced by a team of “Scouts,” police robots created by techno-genius Deon Wilson (Slumdog Millionaire’s Dev Patel) for the TetraVaal company run by Michelle Bradley (Sigourney Weaver). When Michelle nixes his plan to extend the machines’ consciousness to human capacity, Deon steals a trashed robot, works his computer magic and, ta-daah! The creature comes to life with an infant’s readiness to assimilate experience and to become, perhaps, more human than human.

That was the phrase applied to the “replicants” from the 1982 Blade Runner, one of dozens of science fiction stories — Short Circuit, RoboCop, A.I.: Artificial Intelligence, ad almost infinitum — that Blomkamp and co-screenwriter Terri Tatchell (his wife) borrow from without managing to enrich their own story.

Chappie has the kernel of a good adventure in the interoffice rivalry of Neon and Vincent Moore (Hugh Jackman, in a rare pure-villain role), a TetraVaal employee who has proposed a rival force of huge, galumphing, man-operated tanks called Mooses. The bubbling of tension between the two men and their clashing views of policing — liberal vs. totalitarian — could inform a taut, brisk allegory punctuated by fabulous scenes of stuff blowing up and suppurating in the hallowed District 9 tradition.

Instead, Blomkamp handed over his picture to a couple of radically unappealing musicians: the tattoo-slathered Ninja (real name: Watkin Tudor Jones) and the grimy blond Yolandi ViSSer (Anri du Toit) of the South African rap-rave group Die Antwoord (Afrikaans for The Answer). Using their stage names as their character names in the film, and playing a pair of gangstas in urgent need of big money, they hijack Neon and compel him to let them tutor his inchoate robot to fulfill their criminal schemes. The movie wants to explore a nature vs. nurture scenario, but it’s closer to nature vs. torture.

In submitting Chappie (voiced and performed by Blomkamp regular Sharlto Copley) to a rough form of surrogate parenting, Ninja is the cruel, ignorant stepfather figure — “You gave me a retarded robot,” he shouts at Deon — who outfits the creature in bling and teaches it the hostile arts of tossing knives and ninja stars. Yolandi is the borderline-doting mother who gives the creature its name when she notes, “You’re a happy chappie.” And where is Deon, Chappie’s loving, protective maker? Oh, he goes back to work and leaves his charge in the care of these miscreants.

This is just one of many plot implausibilities that occupy the movie’s middle hour and test the audience’s threshold of pain. Finally Blomkamp remembers that he has secured the services of Hugh Jackman, an actual movie star, and summons him to grace a climax that makes no more sense than the rest of Chappie but does have some redeeming explosions.

A few good things. First, there’s a scene set in the Ponte City Apartments (now called the Vodacom building), a 54-story cylinder that Blomkamp briefly transforms into Ninja’s own Thunderdome. That’s about it. On the weird side, the movie takes place in South Africa’s largest city, with a teeming multiracial population; yet it has fewer roles for black actors than Disney’s new live-action Cinderella. Blomkamp has reimposed Apartheid on his own movie.

The Chappie robot, designed without a face that could convey emotion to the viewer, tries to make up in chattiness what it lacks in winsomeness. “I can’t shoot peoples,” he protests to Ninja, in a moment that underlines the creature’s similarity to a certain bumbling Gungan from The Phantom Menace. Chappie might have been an E.T. or a WALL•E, but he falls victim to what even George Lucas might recognize as the Jar Jar Jinx.

Incidentally, the nickname for a boy with his grandfather’s name but not his father’s is Skip. Which is what Neill Blomkamp admirers, and my brother Paul Jr., should do with Chappie.

TIME movies

Remembering Albert Maysles, A Filmmaker Unafraid to Probe Darkness

"Made In NY" Awards Ceremony
John Lamparski—WireImage/Getty Images Albert Maysles attends the "Made In NY" Awards Ceremony at Weylin B. Seymour's on Nov. 10, 2014 in Brooklyn, New York.

The late filmmaker was best-known for Grey Gardens

Albert Maysles, one-half of the filmmaking team known as the Maysles brothers, has died at the age of 88. With his brother David, Maysles became particularly well-known for directing Grey Gardens, a 1976 documentary about the lives of two of Jacqueline Kennedy Onassis’s relatives, living in a squalid mansion.

Grey Gardens has become a camp classic for “Little Edie,” Onassis’s first cousin, and her idiosyncratic speech patterns and fashions. But the film is, perhaps like all great camp, touched by real darkness; there’s a sense of palpable terror in the socialites’ withdrawal from the world. Before Gardens was Gimme Shelter, the 1970 concert documentary (directed with Charlotte Zwerin) that went far beyond valorizing the Rolling Stones. It, more than perhaps any other document, conveyed the apocalyptic mood of the early 1970s through its footage of the Altamont disaster. Salesman, the duo’s look at the lives of traveling Bible vendors, pursued an interest in the lives of these men to a painful place as raw, in its way, as Arthur Miller’s Death of a Salesman.

In recent years, after David Maysles’s 1987 death, Albert had stayed productive; his latest documentary, Iris, about the nonagenarian style icon Iris Apfel, played at the New York Film Festival last fall. He will be remembered for his willingness to take subjects farther than was comfortable, to, through sheer observation with no fripperies, deliver discomfiting, frank dispatches from various corners of the American experience.

TIME movies

Watch Owen Wilson Run for His Life in the No Escape Trailer

The movie tells the story of an American businessman trying to escape a coup with his family

It’s clear from the trailer that Owen Wilson’s next movie is no Wes Anderson film. No Escape tells the story of an American businessman who has moved his family to Southeast Asia, but must try to get them all out alive after a violent coup erupts. Lake Bell plays his wife, while Pierce Brosnan plays a government operative who tries to help.

No Escape hits theaters in Sept. 2, 2015.


Look at This Crazy $825 Avengers Iron Man Toy

Iron Man Hulkbuster Avengers Toy

There's a stunning Iron Man Hulkmaster figure coming next year

Hot Toys has been slowly unveiling its stunning, upcoming Iron Man Hulkbuster figure from Avengers: Age of Ultron—and fans just got their biggest surprise yet.

The 21-in. figure, a super-detailed 1:6 scale of Marvel’s superhero, has a removable helmet that reveals a tiny Iron Man Mark XLIII bust with LED light-up eyes and an arc reactor on his chest, according to Hot Toys’ Facebook page, which posted pictures revealing the bust Friday.

And that’s not it: There are a total of 16 LED light-up areas located in the eyes, chest, repulsor palms, back, and legs, according to the toymaker, renowned for the level of detail in their figures. There are also more than 30 points of articulations (i.e. joints), and the figure’s metallic red, gold and silver armor even has a weathering effect.

The figure is scheduled for an early 2016 release at a price of $825.

TIME movies

Toy Story 4 Will Be a Love Story, Not a Sequel

Toy Story

Pixar's president says the movie won't focus as much on the humans this time

The next installment of Toy Story will not be a direct sequel to the third film, and will instead focus on a love story.

Pixar President Jim Morris told Disney Latino’s blog that Toy Story 4is not a continuation of the end of the story of Toy Story 3,” which sees Andy’s toys dropped off a little girl’s house for her to enjoy while he goes off to college. This time, Morris says, “It will be a romantic comedy. It will not focus much on the interaction between the characters and children.” With Tom Hanks as the voice of Woody, maybe Meg Ryan can sign on to recreate their rom-com magic in toy form.

The third film in the franchise grossed $1.1 billion, according to The Hollywood Reporter. Toy Story 4 is due to hit theaters June 16, 2017.

Disney Latino

TIME Video Games

The 5 Biggest Video Game Announcements You Missed This Week

Sony Project Morpheus
Sony Sony Project Morpheus

New game-streaming hardware, virtual reality headsets and more

The Game Developers Conference currently transpiring in San Francisco wraps up Friday, meaning all the major announcements have already dropped. If you missed the show or didn’t catch all the news, here’s a recap of the highlights.

Valve showed Steam Link, a $50 box that’ll stream your PC gaming library to any TV

Steam Link, due in November, was arguably the show’s biggest tech revelation — especially if you’re a PC gamer, because it means that for a trifling $50, you can pipe games from Valve’s Steam library to any screen in your house essentially lag-free.

Valve’s Steam is the de facto way to play games on a PC, with a digital library of nearly 4,000 titles and membership topping 100 million. The company—otherwise known for first-person blockbusters like Portal, Half-Life 2 and Counter-Strike—has been making a protracted bid to capture a more substantial share of a pie traditionally dominated by console-makers like Sony, Microsoft and Nintendo. And for another $50, you can add the company’s forthcoming PC-Steam Controller (also due in November) to the party.

Nvidia unveiled its first set-top media box, the Shield

Not to be confused with the $250 Shield Portable, a gamepad with a flip-screen that Nvidia launched mid-2013, Nvidia’s Shield hopes to fill a gap somewhere between a Roku or Apple TV and a high-end games console or PC.

It’ll output 4K video content (when/where available), play last-gen console games like Crysis 3 and Borderlands: The Pre-Sequel natively, stream upcoming triple-A games from Nvidia’s GRID service and let you stream games locally from your PC just like Valve’s Steam Link.

The only catch: it’ll cost $200, which means Nvidia has to lure a demographic that may or may not exist or materialize once the Shield arrives this May.


HTC and Valve announced a virtual reality headset

I know, “Not another one.” But that’s where we are with virtual reality in 2015: everyone’s jockeying for air time. HTC and Valve’s take is called the HTC Vive (HTC leading, Valve consulting), and pairs wand-like, handheld controllers with a fairly standard-looking, fully wraparound headset that plugs into your PC and outputs 1080p visuals to each eye.

The wrinkle: the headset tracks where you are in a much larger space, so you can move around instead of standing in place, assuming they figure out how to make the headset wireless (and, you know, put you in a room without trip hazards). Will the Vive include a little speaker that goes “Beep! Beep! Beep! Beep!” like the warning system in a vehicle when you get too close to a wall?

Sony’s Project Morpheus is coming…by mid-2016

Sony’s take on virtual reality was kind-of-sort-of supposed to arrive in 2015 (chalk that up more to wishful thinking on the part of the press). Thus there was some predictable sighing and hand-wringing when the company announced Project Morpheus, a VR headset for the PlayStation 4 and PS Vita, will now arrive in the first half of 2016.

Hey, at least Morpheus has a release timeframe. That’s more than Facebook/Oculus (Oculus VR), HTC/Valve (HTC Vive) and Razer (OSVR) can say (to be fair, the Oculus-powered Samsung Gear VR is reportedly coming by the end of 2015).

Sony’s PlayStation 4 has sold over 20 million units

At last check (in early January), Sony said it sold 18.5 million units through December 2014. At GDC this week, it bumped that figure to 20 million units sold through February 2015, still shy of the PlayStation 4’s one-and-a-half year anniversary. Rebutting gloomy analyst predictions about this generation of console gaming, the PS4 is the fastest selling video games console in history.

TIME Music

How Carly Rae Jepsen Got the Coolest People in Music to Work on Her New Album

Carly Rae Jepsen
Matthew Welch Carly Rae Jepsen

The "Call Me Maybe" singer talks to TIME about her new album's 1980s pop inspirations and her hip collaborators

What does it take to follow up a song like “Call Me Maybe,” the pop culture phenomenon from Carly Rae Jepsen that went platinum in more than a dozen countries and inspired endless covers, parodies and celebrity lip-dubs in 2012? The 29-year-old Canadian pop star has spent more than two years trying to figure that out. Even her manager, Scooter Braun, the man responsible for bringing Justin Bieber to the masses, told her she couldn’t release new music unless it matched the song that made her famous.

“I definitely felt the pressure,” Jepsen says at her record label’s office on a snowy day in New York. “I would find myself in sessions where people would be like, ‘What are we going to do next?’ When enough people say that to you, you think, ‘Yeah, this is kind of scary.’”

To answer the question on everyone’s mind, a workaholic Jepsen threw herself into recording its follow-up, which has become one of the summer’s most anticipated albums — among bubblegum-pop addicts and indie-music bloggers alike (though these days there’s plenty of overlap), thanks to the acclaimed musicians she’s enlisted.

Jepsen, who returned earlier this week with the buoyant “I Really Like You,” says the follow-up to 2012’s underrated Kiss is the result of her “lovingly stalking” her favorite writers and producers. When she wasn’t booking sessions before and after her performances in the title role of the Broadway musical Cinderella, she was recording song ideas as voice memos on her phone at all hours of the day. “I worked my ass off,” she says. “I was knocking on Tegan and Sara’s door myself, reaching out to artists I love and sending them personal emails: ‘Hey, my name’s Carly, I want to try something a little different. Want to get in a session this week?’”

One of those collaborators was Caleb Shreve, whose work with Canadian band the Zolas Jepsen greatly admired; Shreve, in turn, introduced Jepsen to Tegan and Sara, whose own Sara Quin had actually co-written a track on Jepsen’s last album (“Sweetie”) with Jack Antonoff, another returning collaborator. “I was very nervous because I’m a huge fan,” Jepsen says of getting in the same room with the sister duo for the first time. “We write in different ways, but it sort of complimented each other.” (Their big tip? Learn GarageBand. “Tegan keeps being like, ‘You need to learn how to do this,’ because I’ll be humming something that I did at 4 a.m,” Jepsen says. “I’m a little more old-school.”)

Jepsen logged studio time with Swedish powerhouse Max Martin, Vampire Weekend’s Rostam Batmanglij and Greg Kurstin, who produced the bulk of Tegan and Sara’s Heartthrob as well as recent records from Lily Allen and Sia. As a big fan of Solange’s True EP and Sky Ferreira’s Night Time, My Time, Jepsen also reached out to their respective producers, Dev Hynes (aka Blood Orange) and Ariel Rechtshaid (who’s worked with Charli XCX and Haim). “I was sincerely just going for things that I loved,” she says, wary of skeptics who may think she’s making calculated moves to court the hipster crowd. “Making pop music doesn’t mean that I just listen to pop music.”

Recorded one of my fav songs today with – @devhynes and @arielrechtshaid

A photo posted by Carly Rae Jepsen (@carlyraejepsen) on

Experimentation was a big priority for Jepsen, who felt rushed to complete Kiss in the wake of “Call Me Maybe” blowing up. Though she’s proud of the album — and she should be, thanks to delectable dance-pop numbers like “Turn Me Up” and “Tiny Little Bows” — there was little room for error during the two months she had to make it. Jepsen was rarely in the same city for very long while promoting her breakout hit, and most of what she recorded had no choice but to go on the album.

Despite its more relaxed pace, however, the new record’s sound and subject matter pick up not far from where Kiss left off. Lyrically, “I Really Like You” adds to the growing collection of heart-fluttering, hand-holding crush songs she accumulated on Kiss, something Jepsen realizes has become her specialty.

“If I were to think back to what excites me in my personal life, it’s the beginnings,” says Jepsen, who tried to “age up” the verses with some sexual tension in order to keep the exuberant hook (courtesy of the Cardigans’ Peter Svensson) from sounding childish. “I think I do really get off on that — that spark and that flirtation. With ‘I Really Like You,’ you don’t really know the person well enough to be in love, and that’s part of the infatuation — you’ve imagined all the best things. I’ve found myself in that position a few times.”

Jepsen’s concern with coming off as saccharine also informed the song’s music video, which features an unexpected guest star — Tom Hanks. She rejected more than a dozen video treatments because they were too sincere or literal. “I told Scooter I was really into Wes Anderson films and wanted some dark humor,” Jepsen says. Braun was relaying Jepsen’s vision to Hanks over dinner one night — the two men are close friends — when the actor volunteered himself. “He’s so charming — I don’t think he realizes he’s Tom Hanks,” Jepsen says of their frigid shoot out in the streets of Manhattan. (The two first met before at Braun’s wedding reception, when a hummingbird got caught in one of the tents; Hanks tried to use a broom handle to free a path for the bird, but an oblivious Jepsen just saw a man going in for the kill; she ran over to intervene. “I grabbed his arm and was like, ‘Don’t hurt the bird!’ He turns around and I was like, ‘Tom Hanks!’”)

Musically, the new record further explores the 1980s pop sound Jepsen only touched on with Kiss — as if fans couldn’t tell from the retro drum beat pumping underneath “I Really Like You.” Jepsen was inspired to pursue that direction after catching a Cyndi Lauper concert in Japan, and she compares “All That,” a joint Hynes and Rechtshaid collaboration that she calls one of her favorites, to classic Prince. Jepsen estimates she’s worked on more than 250 songs for the album, and she’s planning on whittling her top 22 down to a lean 11 in the coming days.

“One of my favorite memories of this album is Dev and me in my SoHo apartment,” Jepsen remembers. “He was playing on keys. It was so my magical idea of New York. I was just singing and, half an hour later, we’d written this song together. We looked at each other like, ‘That was so crazy, I don’t even remember doing that!’ Those are the passion moments. This is what I’m in it for.”

Read next: You’re Going to Really Really Really Like Carly Rae Jepsen’s New Song

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TIME celebrities

Listen to Harrison Ford’s Cockpit Audio Before Plane Crash

The actor tells the air tower he has engine failure and asks for permission to land

Audio has emerged of Harrison Ford’s communication with an air traffic controller, moments before the actor’s vintage fighter plane crashed on a golf course.

The recording begins with Ford calling out to the air tower right after taking off that he has an engine failure and wants to return to the runway right away. The controller responds that Ford is clear to land on the runway he came from, though he wasn’t able to navigate back to that point. Another pilot then calls in that he is ready to land, and the controller tells him to circle away from the airport in order to give Ford more time to land if he can.

Ford is reportedly in stable condition and expected to make a full recovery.

The actor, who will reprise his role as Han Solo in this year’s Star Wars sequel, is an experienced pilot. His flying hobby was the subject of a short documentary, Harrison Ford: Just Another Pilot, in 2002.

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