TIME celebrities

Actress Jayne Meadows Dies at 95

Jayne Meadows, an actress who took turns on the stage, small screen and silver screen, died on April 26 of natural causes at her home in Encino, Calif., her son Bill Allen confirmed to the Associated Press. She was 95.

Meadows made her Broadway debut as Jayne Cotter in Spring Again, a 1941 comedy led by the legendary producer and director Guthrie McClintic. But her Broadway career didn’t peak until 1958 with The Gazebo, a whodunit set on Long Island, in which she co-starred with Walter Slezak. Her final appearance on Broadway was in a 1978 revival of the George S. Kaufman and Moss Hart comedy Once In A Lifetime.

Meadows was nominated for three Emmys during her time on television for her roles on the series Meeting Of Minds, St. Elsewhere and High Society. She appeared on several long-running TV series including Hawaii Five-O, The Love Boat and Fantasy Island. During her four years on PBS’ Meeting Of Minds she played historical figures like Elizabeth Barrett Browning and Marie Antoinette. She also appeared on NBC’s dramatic series Sisters with her own sister, Audrey Meadows, and was a longtime panelist on CBS’ I’ve Got A Secret.

During her film career Meadows appeared alongside many a famous face with parts in Undercurrent with Katharine Hepburn, David and Bathsheba with Gregory Peck, Enchantment with David Niven and Song of the Thin Man with William Powell and Myrna Loy.

“She was not only an extraordinarily gifted actress who could move audiences from laughter to tears and back again all in one scene, but she was the greatest storyteller I have ever known and I will miss her endlessly fascinating and frequently hilarious anecdotes about her life and the many brilliantly talented people she worked with and befriended along the way. She was also the most loving mother and grandmother I could ever imagine, seeing only the best in all her family members and giving us all confidence that we had value to offer the world and should take risks because we could do no wrong in her eyes. ​She will be sorely missed and never forgotten,” Bill Allen said in a statement to Variety.

Meadows was born in China to missionary parents. She had lived in the San Fernando Valley since 1959, after moving there with her husband, creator of the Tonight Show and original host, Steve Allen.

This article originally appeared on EW.com

TIME celebrities

Nikki Reed and Ian Somerhalder Tie the Knot

CA: The 2015 InStyle and Warner Brothers Golden Globe Awards After Party
Daniel Torok—AP Nikki Reed and Ian Somerhalder at the InStyle and Warner Bros. Golden Globe Awards after party held at the Beverly Hilton in Los Angeles on Jan. 11, 2015

In a match made in vampire heaven, Nikki Reed has officially tied the knot with Ian Somerhalder.

The Twilight alum, 26, married the Vampire Diaries star, 36, Sunday in Malibu, California, PEOPLE has confirmed.

In images from the wedding ceremony, which happened at Topanga Canyon, the couple can be seen holding tight to each other as they stare into the horizon. The bride wore an elegant Claire Pettibone fishtail gown with lace sleeves, while the groom looked dapper in an all-white suit.

“Nikki was a delight to design for, and I wish the beautiful couple every happiness,” Pettibone said in a statement.

“Most beautiful morning ever,” Somerhalder Tweeted on the couple’s wedding day.

The nuptials cap off an affectionate year for the couple, who were first spotted together last July.

The animal-loving duo adopted a horse they named Eagle a month later, shortly after they publicly packed on the PDA at Comic-Con.

The passion has seemingly not stopped for the couple, who were spotted making out at Coachella earlier this month after getting engaged in January.

However, the pair make it clear their relationship extends far beyond infatuation.

“What’s actually, I think, nurtured this long friendship that we’ve had is that we are passionate about similar things,” Reed told reporters in February before Somerhalder presented her an award for her work with animals.

She also said they literally wake up in the morning and discuss how to make the world a better place.

“We do wake up in the morning and talk about those things,” she says.

Even better? She says they never fight – except about one teensy thing.

“He thinks his eyes are ocean blue and I think they’re aqua,” she said at the event.

The couple aren’t the only ones who think their relationship is special. Somerhalder’s Vampire Diaries costar Kat Graham recently told PEOPLE the duo are “literally perfect.”

“I haven’t met two people that were more of soul mates than those guys,” she says.

“They literally are perfect – from their Humane Society work together to them wanting to make the world a better place,” Graham added. “I mean, it’s really exciting when you see two people come together that are amazing.”

This is the first marriage for Somerhalder and the second for Reed, who revealed her split from American Idol musician Paul McDonald in March of last year.

This article originally appeared on PEOPLE.com

TIME Television

Dancing With the Stars Watch: Top 7 Dance Through the Ages

Dance off, pants on

Welcome back to Dancing With the Stars, where each week we are getting ever closer to sending someone home with a Mirror Ball Trophy to squish onto their mantelpiece. While this week was supposed to be topped off with a dramatic double elimination, Derek Hough ruined all our fun by getting injured during rehearsals, breaking his toe and spraining his ankle. Since Sasha Farber is stepping in for him on the dance floor this week, the producers didn’t think it would be fair to potentially cut them. Instead, one couple is leaving, and one couple will earn immunity from elimination.

Not content to just make the couples learn one routine, the producers force the remaining couples to compete in a dance-off to earn extra judges’ points in an effort to increase their overall score. At the end of the night, one couple will be sent home.

Here’s what happened on this week’s Dancing With the Stars:

Riker Lynch and Allison Holker: Before taking to the dance floor for a 1920s-themed quickstep, Riker just happened to mention that Len Goodman had not yet given out a 10 this season. He then delivered a high-speed routine tailor-made to appeal to Len. At the end of the dance, Len was pleased, but it was Bruno Tonioli who called Riker the “twinkletoes of the field of dreams,” which is probably Bruno’s highest PG-rated compliment. While the rest of the judges thought the routine was solid, but not outstanding, Len dutifully delivered his first 10 of the season. 37/40

Chris Soules and Witney Carson: At this point, even Chris is probably shocked to still be in the competition. Is this the furthest that a Bachelor has made it on Dancing With the Stars? After last week’s “breakthrough,” Chris is faced with the challenge of a 1940s foxtrot, where he is playing a sailor on shore leave. Chris continued his upward mobility, and the judges applauded his slow-steady progress, which was presumably inspired by the story of that man who drove to Iowa on a tractor. 31/40

Rumer Willis and Val Chmerkovskiy: Rumer’s dad, a.k.a. Bruce Willis, happened to stop by her rehearsal space and remind voters that he was in Die Hard and could easily ruin your next Christmas party if you don’t vote for his daughter. Well, he didn’t actually say that, but it was heavily implied. For their jive, they went to a hop in a hair salon in the 1950s. The judges liked the routine, but thought Rumer has lost some of her sparkle and want her to have it back. It seems like a case where she set the bar too high too early in the competition. 35/40

Noah Galloway and Sharna Burgess: Amy Purdy, a Dancing With the Stars runner-up and double below-the-knee amputee, stopped by Noah’s dressing room to give him a pep talk and remind him that all of this was doable. (Although Amy did admit that she was “lucky” because she still has her knees, which made dancing easier, which is just further proof of how incredible these two individuals are.) Sharna choreographed a solid 1970s-themed jazz routine complete with eyebrow-raising hip thrusts that had Carrie Ann Inaba on her feet with arms in the air, and Erin Andrews grinning wickedly throughout their postdance interview. 36/40

Robert Herjavec and Kym Johnson: Kym did not have an easy job choreographing a 1980s-themed Argentine tango, but she pulled it off a routine set to a weird, sultry, slowed down version of Cameo’s “Word Up.” Len said the duo was up and down like a game of Chutes and Ladders, and this week, they were up. Carrie Ann enjoyed the routine, but thought Robert still hadn’t mastered the timing and was distracted by Kym’s womanliness or something. 31/40

Nastia Liukin and Sasha Farber: While Derek was sidelined by his injuries, he still managed to insert himself into the dance by busting a move from the seat of the subway car they built on stage while Sasha did the heavy lifting. The routine was a “modern Charleston” set to Andy Grammer’s updated honkytonk song “Honey, I’m Good,” and as Julianne Hough said, they killed it. Carrie Ann came out to give Nastia a hug for her hard work, especially with a new partner. 38/40

Willow Shields and Mark Ballas: Once again, Mark has decided to choreograph for his inner child, choreographing this week’s “futuristic jazz” routine to MGMT’s “Electric Feel” dressed as ninja warriors. The number was dynamic and intricate, or in Bruno speak, it had a “mystic, hypnotic quality.” Carrie Ann gave her entire critique in Japanese, because she can, but probably said that the overarching lesson of this season is that Mark’s ideal partner is a 14-year-old girl. 37/40

Dance Off, Round One, Riker and Allison vs. Willow and Mark: Bruno said it was like trying to choose between “chocolate and vanilla” with their fast-paced salsa routines. While Twitter loved Riker, the judges loved Willow’s moves and they unanimously gave Willow and Mark the win and the extra points.

Dance Off, Round Two, Noah and Sharna vs. Robert and Kym: Both couples delivered solid, if not particularly inspiring cha-cha routines, and when they faced the judges, Tom Bergeron helpfully reminded everyone that if there is a tie, Len, as head judge, gets the deciding vote. Naturally that announcement was followed by a tie between the four judges. Len gave the round to Noah and Sharna.

Dance Off, Round Three, Chris and Witney vs. Rumer and Val: Both couples delivered smooth foxtrots, but despite Chris’ best efforts and breakthroughs, he was outclassed on the dance floor and knew it. No surprise when Rumer and Val won the face off unanimously and added two points to their already high score.

Who Went Home: When the hosts announced that both Robert and Chris were safe, it was clear that something was awry. Sure enough, despite consistently high scores, Willow was sent home. While she’s been very mature on the dance floor, she is only 14 years old and burst into tears at the news. Tom had no choice but to put aside his hosting duties long enough to give Willow a dad hug in her time of need.

TIME Television

Lifetime Is Making an ‘Unauthorized’ Full House TV Movie

It'll go behind the scenes of the sitcom

Craving even more Full House? You got it, dude.

Hot on the heels of Netflix’s reboot, Lifetime is developing a TV movie that goes behind the scenes of the beloved sitcom, according to The Hollywood Reporter.

The Unauthorized Full House Story will reportedly chronicle the cast’s lives off-screen, from good times to bad.

Lifetime must have a penchant for ’90s nostalgia: The network aired The Unauthorized Saved by the Bell Story last fall.

As for Fuller House, Candace Cameron Bure, Andrea Barber, John Stamosand Jodie Sweetin have all signed on – but it remains a mystery whether Mary-Kate and Ashley Olsen will take a break from their fashion careers to play an adult Michelle Tanner

One thing’s for sure: everywhere you look, everywhere you go, there’s another Full House project in the making.

This article originally appeared on People.com

TIME baltimore

The Wire Creator Calls for End to Violence in Baltimore

A man walks past a burning police vehicle in Baltimore on April 27, 2015.
Patrick Semansky—AP A man walks past a burning police vehicle in Baltimore on April 27, 2015.

After clashes erupted following Freddie Gray's funeral

The creator of The Wire, the acclaimed HBO crime-drama that was set in Baltimore and aired from 2002-2008, called on Monday for an end to violence that erupted after funeral services for Freddie Gray, whose death following an injury in police custody has become the latest rallying cry for law enforcement reforms.

“The anger and the selfishness and the brutality of those claiming the right to violence in Freddie Gray’s name needs to cease,” David Simon, a former Baltimore Sun police reporter, wrote on his website, where he also engaged with commenters.

Read more: State of Emergency Is Declared in Baltimore After Violent Clashes

Maryland Governor Larry Hogan declared a state of emergency Monday after 15 police officers were injured following violent clashes with demonstrators described by police as “lawless.” The confrontations occurred in the hours after funeral services for Gray, who died April 19 following the arrest one week earlier.

“There was real power and potential in the peaceful protests that spoke in Mr. Gray’s name initially, and there was real unity at his homegoing today,” Simon continues. “But this, now, in the streets, is an affront to that man’s memory and a dimunition [SIC] of the absolute moral lesson that underlies his unnecessary death.”

Read the rest of Simon’s statement here.

TIME Music

Hear Johnny Cash’s Biggest Hits Played on Beer Bottles

Four men in black conjure the spirit of the Man in Black

When Johnny Cash sang about liquor, his drink of choice was whiskey. But the latest Cash covers to hit the Internet employ a different alcoholic beverage to get the sound just right: beer. More specifically, beer bottles.

The Bottle Boys, who have covered everyone from Michael Jackson to Sebastian from The Little Mermaid, apply its unique talents this time to Cash’s “Folsom Prison Blues” and “Ring of Fire.” The result is more Señor-Frogs-beachside-happy-hour than Man-in-Black-gritty, but the simultaneous feats the group pulls off merit applause. As the Bottle Boys wrote in a statement accompanying the video, “The multitasking was quite challenging in the beginning. But we don’t play bottles because it is easy, but because it is hard!”

TIME movies

Watch the Teenage Spawn of Disney Villains in the Trailer for Descendants

"They're at their best when doing their worst"

If you’ve ever wondered if evil skips a generation, the trailer for the Disney Channel’s forthcoming TV movie Descendants would suggest that it doesn’t. The movie features the spawn of four of Disney’s most heinous villains: Sleeping Beauty’s Maleficent (Kristen Chenoweth), Snow White’s Evil Queen (Kathy Najimy), Aladdin’s Jafar (Maz Jobrani) and 101 Dalmatians’ Cruella de Vil (Wendy Raquel Robinson).

In the TV movie, the wicked offspring — Mal, Evie, Jay and Carlos — leave the rough-and-tumble streets of the island prison they call home to attend a fancy prep school with abundant opportunities to wreak havoc. They’re like the kids skipping class and smoking cigarettes in your average high school parking lot, but minus the cigarettes (this is Disney), instead using hair dye, leather and magic spells to signify their rebellion.

But these teens have a choice: to carry on the legacy of evil they’ve inherited, or to forsake their birthright and do good. What ever will they choose? The suspense is killing us.

TIME movies

This Video Puts All the Studio Ghibli Easter Eggs in One Incredible Supercut

Including Easter eggs from My Neighbor Totoro and Howl's Moving Castle

Hayao Miyazaki is a master animator, but he’s also a master of guerrilla marketing. A new video from YouTube channel Movie Munchies shows how Miyazaki subtly snuck the name of his animation studio, Studio Ghibli, into his films, including on a bus billboard in Kiki’s Delivery Service and multiple times into Porco Rosso.

Miyazaki also planted little reminders — or Easter eggs — of his past work into his films, which until now, were only there for eagle-eyed fans and repeat viewers. Examples of Miyazaki playing homage to his past work include a Jiji the Cat pillow in a bedroom in Spirited Away, a Castle in the Sky character walking down the street in Howl’s Moving Castle and a Totoro book on the shelf in the library in Whispers of the Heart. He even managed to take a page out of Alfred Hitchcock’s and Stan Lee’s books and inject a little caricature of himself into the films.

TIME Theater

Finding Neverland and The Visit: Two Broadway Musicals to Savor

"Finding Neverland" Broadway Opening Night - Arrivals & Curtain Call
Getty Images (2) Left: The cast of Finding Neverland takes a bow on April 15, 2015 in New York City. Right: The cast of The Visit takes a bow on April 23, 2015 in New York City.

After long, troubled voyages to Broadway, both shows have provided a happy ending to the season

The troubled history of Finding Neverland, the new Broadway musical about author J.M. Barrie and the writing of Peter Pan, is one of those juicy backstage stories that theater insiders love. Producer Harvey Weinstein, the independent film mogul overseeing his first Broadway musical, scrapped one earlier version of the show, replaced the entire creative team, complained about the critics and fought with his own publicists — all before the show finally opened on Broadway two weeks ago.

But is it possible to ignore the backstage soap opera and actually look at what’s onstage? Audiences apparently can, since they’ve been flocking to the show in near sellout numbers. As for the critics? Not so much. The mostly negative reviews seem to be more a judgment on Weinstein and his shenanigans than on the musical itself. Because what I saw onstage, at Broadway’s Lunt-Fontane Theater, is a surprisingly enjoyable show.

To appreciate the sheer craft involved in pulling it off, you need to compare it to the rather treacly, Oscar-nominated 2004 movie on which it’s based. Rare for one of these screen-to-stage transfers, the musical improves on the movie in almost every way. Matthew Morrison, recently of the TV show Glee, is more convincing and relatable as Barrie than the moony and mercurial Johnny Depp in the film. Kelsey Grammer has a firmer fix on the character of Barrie’s gruff producer (and better comic timing) than Dustin Hoffman. The stage version is less saccharine and less dragged out; we’re spared all those endless shots of Kate Winslet gazing beatifically at Barrie and her boys, whose game-playing supposedly inspired him to create the famous children’s story. It strikes me as the very model of a modern family musical: briskly told, brightly staged, with a score (by British rocker Gary Barlow) as tuneful as one could expect from a show set in turn-of-the-century London that’s not by Gilbert and Sullivan.

Much credit goes to James Graham’s script, which is witty, efficient and mostly dry-eyed. Director Diane Paulus’s staging is slick and inventive, but never over the top. As Barrie watches the boys bounce on a bed, they are borne aloft by stagehands in dreamy slow-motion (no tacky wires here). A stuffy dinner party, attended by Barrie and the boys, suddenly breaks into a spirited fantasy interlude, a production number that captures the kid-at-heart awakening of Barrie better than anything in the movie. Mia Michaels’ choreography avoids traditional Broadway chorus lines, acrobatics and ballet pretensions for clever, tightly synchronized, character-driven group movement, and it is winning.

Yes, the story still inspires some qualms (a brief bit of dialogue raises intimations of pedophilia), and there’s some heavy-handed comedy business involving the huffy stage actors who are forced to play kids and dogs in Barrie’s new children’s play. (Plus one offhand, out-of-character reference to Grammer’s old TV series Cheers that has been treated by the guardians of Broadway purity as if it were grounds for federal prosecution.) But these are trivial flaws in a show that displays a lot of poise and professionalism, and deserves a long run.

The Visit, a musical version of Friedrich Durrenmatt’s great 1956 play, is another show that arrives on Broadway with plenty of backstage baggage. One of the last collaborations between songwriters John Kander and the late Fred Ebb (Cabaret, Chicago), the show was originally staged in Chicago in 2001, has been tinkered with and restaged several times, and has survived to make its Broadway debut thanks largely to one salutary constant: its star, 82-year-old Broadway legend Chita Rivera.

She plays Clare Zachanassian, the world’s richest woman, who returns to her impoverished home town with a strange retinue: a tuxedoed butler, two blind eunuchs and an empty coffin. She has come back to see the lover (Roger Rees) who once jilted her, and to calmly offer the town a way out of its economic misery: she will pay $10 billion if they will murder him.

Clearly, we are not in Oklahoma! territory here. Durrenmatt’s play is a product of the postwar experimental European theater tradition — an allegorical, anti-realistic style, a touch of absurdism and a bleak, unsentimental view of the human predicament. The play is a parable of greed and revenge and conformity — and perhaps Nazi Germany too. (Durrenmatt was a Swiss who wrote in German.) Though embellished by Kander and Ebb’s sweet, deceptively simple, oom-pah-pah songs, it is the darkest musical I think I have ever seen on Broadway.

But it is a stunner. Terrence McNally’s clear, spare adaptation is almost as good as his musical masterpiece, Ragtime. Director John Doyle has pared down the version I saw in 2008 at Virginia’s Signature Theater, perhaps skimping a bit too much on the town’s evolving reaction to Clare’s shocking proposal. But he gives the show an intensity you rarely see in a Broadway musical. Set in a decrepit railway station, relentlessly gray except for the dabs of yellow as the townspeople begin to eye their possible riches, the show hits a peak in the unsettling anti-production number “Yellow Shoes,” as bright and chilling as a blast of winter ice.

Rivera is commanding as Clare, looking regal (“That’s not beauty,” says one of the townspeople; “that’s money”), her throaty voice still strong, betraying no fragility despite using a cane (the character has an artificial leg, along with other replacement body parts). She deserves the raves she is winning, but that shouldn’t obscure the achievement of this brave, uncompromising slice of Broadway misanthropy.

TIME celebrity

Nicki Minaj Performed at a Very Lucky Kid’s Bar Mitzvah

She sang 'Super Bass' and also offered some life advice

Most Jewish kids see their Bar Mitzvahs as an opportunity to eat pigs in blankets, dance to “Build Me Up Buttercup” and hand out basketball shorts declaring “Ben’s Bar Mitzvah was a slam dunk!” But one lucky 13-year-old boy named Matt had a slightly different kind of Bar Mitzvah, because Nicki Minaj performed at his reception.

All we know is his name is Matt, and Nicki posted a photo with him on Instagram:

With my new boy toy at his Bar Mitzvah. Hi Matt! 😩😊 Mazel Tov! ❤️

A photo posted by Nicki Minaj (@nickiminaj) on

Sadly, video footage is scarce, but here’s a glimpse at Nicki performing “Super Bass.”

Nicki also set aside some time to offer life lessons to the blossoming young adults in attendance:

Now everybody else’s Bar and Bat Mitzvahs are going to seem just so mediocre compared to this.

Read next: Did Nicki Minaj Just Get Engaged to Meek Mill?

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