TIME movies

How to Be Single Casts Dakota Johnson, Leslie Mann, Dan Stevens, Rebel Wilson

Dakota Johnson
Dakota Johnson arrives at the 72nd annual Golden Globe Awards at the Beverly Hilton Hotel on Sunday, Jan. 11, 2015, in Beverly Hills, Calif John Shearer—John Shearer/Invision/AP

Much-anticipated romantic comedy slated for Valentine's Day release next year

New Line Cinema has entered negotiations with Rebel Wilson, Leslie Mann, Dakota Johnson and Dan Stevens to star in the upcoming romantic comedy How to Be Single.

The movie will reportedly explore topics like blind dating and casual sex to suggest that our lives are not defined by our relationships, but rather the single times in between, according to The Hollywood Reporter.

The 25-year-old Johnson is a rising star and the lead actress for the highly anticipated 50 Shades of Grey movie adaptation scheduled for release next month.

Wilson, 28, has starred in a number of comedy roles, most notably as Fat Amy in the Pitch Perfect movies and roommate Becky in the 2011 hit comedy Bridesmaids.

Comedic veteran Mann, 42, was last seen in the 2014 flick The Other Woman.

Fans of Downton Abbey will certainly recognized Stevens — the 32-year-old Englishman played the part of lawyer Matthew Crawley on the hit television drama.

How to Be Single, based off the novel written by Liz Tucillo, is slated to be released around Valentine’s Day 2016.

[The Hollywood Reporter]

TIME Television

Review: Parenthood‘s Finale Brings It All Back Home

Parenthood - Season 6
Colleen Hayes/NBC

We laughed, we cried. (Mostly, we cried.) And the finale returned to the theme of how family means letting go and holding on.

Spoilers for the series finale of Parenthood below:

I’ve had Apple TV in my living room for a couple years now. The box is connected to my whole Apple ecosystem of media–music, videos, and my iPhoto library, which dates back to around when my first child was born, in 2001. When I leave it paused for a certain number of minutes, and it turns on a screensaver of random iPhoto pictures: thirteen-odd years of Halloween baby costumes, snow days, vacations, first days of school, floating down my TV screen in an endless rain of nostalgia.

I’m a sentimental sap when it comes to my kids. So it is, perhaps, not the wisest screensaver setting for me to have. One minute I’ve paused a video to make a pot of popcorn on movie night, and the next–whammo!–I’m confronted with the freaking eternal march of time, the hastening countdown toward my babies’ leaving home, the knowledge that I and everyone I love will age and one day die. Next thing I know, I have to explain why I’m wiping my eyes while watching Guardians of the Galaxy.

I should change the setting, of course. But I don’t. Because what’s the alternative? Not looking at those pictures? Not poking at those memories? Not feeling–as Don Draper put it pitching the Carousel–the pain from an old wound? Forget it.

That to me sums up the whole push-pull of watching Parenthood over six years. Fans of the show joke about how much we expect the next episode to make us cry, like competitive eaters psyching ourselves up to try the world’s hottest salsa. (Last week’s episode–which for God’s sake included a mother and daughter singing “The Circle Game” after which a dying man holds his newborn grandchild—was like a Cry Monster that a mad scientist would build out of things that make people cry.) Yet we go back, because whatever pain we respond to in a family drama like this one is a good pain, a necessary pain, a pain the only thing worse than which is its absence.

That is the pain that the series finale, “May God Bless and Keep You Always,” delivered expertly, employing a golf bag worth of emotional irons to do it. If, as the Shakespearean truism goes, comedies end in marriage and tragedies in death, then dramedy ends in both, and then some. So on top of Sarah’s wedding (which we knew was coming) and Zeek’s death (which Parenthood telegraphed all season), we had a passel of other life transitions: an adoption (on top of Amber’s recent childbirth), career changes, a graduation.

There was a lot to service, unsurprisingly, and “God Bless” sometimes felt like a bride at a reception, obligated to greet guest after guest without time to settle in too long at any one table. And yet it managed to feel full rather than rushed. It did this in part by returning to Zeek, who knew–as he all but admitted in his chat with Hank, as his kids knew, as we knew–that the wedding was his unofficial goodbye.

Kudos here to Craig T. Nelson, who with Bonnie Bedelia has often been overshadowed in Parenthood‘s kid-focused stories, but served as the finale’s emotional home plate, modulating the emotion behind Zeek’s reserve. The story returned to him one by one, as he gave Sarah his blessing, assured Crosby that he could run the Luncheonette, invited Amber to live with him and Camille. (That invitation was an echo of Sarah’s homecoming way back in the series’ beginning.)

The other unifying thread of the episode was Max’s photography, which both gave his Asperger’s journey some resolution–suggesting, for his his doubt and his parents’ worry, that has has an independent, fulfilled future ahead of him–and gave the episode license to follow his camera at the wedding, taking in the sweep of the stories it needed to wrap up. Above all, it suggested that he’s finding a place in the world and in the family, but on his own terms; while Kristina can’t let go of her concerns–she still wants him to “be in the picture,” socializing at the reception–his way of doing that is by being the camera. “The photographer needs to disappear,” he says, and yet that’s precisely what allows him to find a way to be comfortably present.

And it’s an important job on this show. Photographs have always been thematically important in Parenthood: they float over the titles like an iPhoto screensaver; a family portrait introduces Hank in season 4; and we’re with Camille, looking over Max’s photos, when she discovers Zeek slumped in his chair. (A beautifully staged moment; we don’t discover Zeek’s body so much as we watch her discovering it.) Photos are the perfect metaphor for Parenthood‘s sensibility: we say that they “capture moments,” but of course they’re affecting precisely because we know they don’t really capture anything. The moments keep moving at their own pace until, as for Zeek, they run out.

Zeek dies, but, to go back to the Shakespearean definition, Parenthood is not a tragedy. For all the Bravermans’ problems, what happened is precisely what’s supposed to happen: You’re born, you grow, you love some people, you help each other along, you die. Like any family drama, Parenthood tells an old story, but it’s done it with thoughtful attention to a central question: What is a family for? What is a parent’s job?

Answer, here anyway: to support but not smother; to help your children be better but allow them to be themselves; to cherish your kids while working toward goodbye. And hopefully, to leave them with a network of people who are stronger together than individually, an idea captured in Parenthood‘s final sequence, that tear-jerking yet uplifting family baseball game.

Back when the series started in 2010, I wrote that Parenthood was in a way about “an almost utopian fantasy,” a tight-knit family, living close by one another, available for games, meals and babysitting. Over six seasons, Parenthood‘s many twisty plots, some more absorbing than others, proved that it wasn’t all that easy. But it was also unashamedly sentimental about an ideal of family as a team; each has to go to bat alone, but all are available to back each other up.

Ending Parenthood on the diamond was in retrospect the only choice that made sense, not only because Zeek loved baseball, but because it’s a game whose object is to leave home–and in the end, to come back.

TIME celebrities

Suge Knight Has Been Involved in a Deadly Hit-and-Run, Reports Say

Belvedere Ultra Lounge Day 4 At Club OPM
Music producer Suge Knight attends the Belvedere Ultra Lounge Day 4 At Club OPM on February 17, 2007 in Las Vegas, Nevada. Chad Buchanan—2007 Getty Images

The incident apparently took place on the set of a commercial in Compton, California

Suge Knight, the founder of Death Row Records, which launched the careers of several hip-hop stars of the 1990s, was involved in a hit-and-run incident on Thursday in which a man was killed, according to multiple reports.

The hip-hop mogul was reportedly on a set in Compton, Calif. on Thursday where there was a “vehicle versus pedestrian” collision, writes the Wrap, citing a statement from Los Angeles County Sheriff’s department.

TMZ reports that Knight’s lawyers are arranging for him to surrender to police.

Knight appeared to be on the set of a commercial that also included Ice Cube, Dr. Dre, and The Game. The three posed in a photo posted on Instagram Thursday and TMZ and other outlets say that set was the scene of Thursday’s accident.

The accident is the latest violent incident involving Knight, who in October was arrested for stealing a paparazzi photographer’s camera. In August, Knight was shot six-times at a pre-party for the MTV Video Music Awards hosted by Chris Brown.

[The Wrap]

TIME celebrities

Is Bruce Jenner About to Get His Own Show?

13th Annual Michael Jordan Celebrity Invitational Gala At ARIA Resort & Casino
Bruce Jenner attends the 13th annual Michael Jordan Celebrity Invitational gala at the ARIA Resort & Casino in Las Vegas on April 4, 2014 Ethan Miller—Getty Images

Bruce Jenner‘s reality show career may be far from over.

PEOPLE has confirmed reports that say the Olympian-turned-reality star, whose changing appearance has been the source of growing speculation, is preparing a docu-series for E! that chronicles his life away from soon-to-be ex-wife Kris Jenner.

“Bruce has been filming his new life,” one production source tells PEOPLE. “His film crew have been told to keep everything hush-hush.”

A spokeswoman for E!, which is home to Jenner’s long-time reality show Keeping Up with Kardashians, declined to comment on the reports, which suggest the reality series will focus on Jenner’s personal “journey.” But Kim Kardashian seemed to hint that her dad may soon have something to share about his personal life.

While speaking to ET about her upcoming Super Bowl commercial, Kardashian said that Jenner “is the happiest I’ve ever seen him” and “when the time is right, he’ll talk about whatever he wants to talk about.”

“I will say that I think Bruce should tell his story his way,” Kardashian continued. “I think everyone goes through things in life, and I think that story and what Bruce is going through, I think he’ll share whenever the time is right.”

PEOPLE has confirmed that Jenner had been trying to shop his own reality show that was supposed to focus on his sons and his life in Malibu, but no one was interested.

Jenner, meanwhile, will appear in the 10th season of KUWTK that will return in the spring.

—With reporting from AILI NAHAS and PERNILLA CEDENHEIM

This article originally appeared on PEOPLE.com

TIME Television

Eddie Murphy Says He’s Returning to SNL After 30 Years

Spike TV's  "Eddie Murphy: One Night Only" - Arrivals
Eddie Murphy arrives at Saban Theatre in Beverly Hills on Nov. 3, 2012 Gabriel Olsen—FilmMagic

It’s been more than 30 years since Eddie Murphy has appeared on ‘Saturday Night Live,’ but the comedian confirmed his return to Studio 8H for the show’s 40th anniversary special.

Murphy broke the news in a phone interview with News One Now. “It just never worked out where the timing was right for me to do it,” Murphy said, explaining his three-decade absence. “They’re having a 40th anniversary. … I’m going to that. And that will be the first time I’ve been back since I left.”

Murphy last stepped foot on the ‘SNL’ stage on Dec. 15, 1984 as a host, 10 months after ending his stint as a cast member …

Read the rest of the story from our partners at NBC News

TIME celebrities

Sean Penn Says Marriage to Charlize Theron Would Be His ‘First’

Actors Sean Penn and Charlize Theron arrive at the 4th Annual Sean Penn & Friends HELP HAITI HOME Gala Benefiting J/P Haitian Relief Organization at Montage Hotel on Jan. 10, 2015 in Los Angeles.
Actors Sean Penn and Charlize Theron arrive at the 4th Annual Sean Penn & Friends HELP HAITI HOME Gala Benefiting J/P Haitian Relief Organization at Montage Hotel on Jan. 10, 2015 in Los Angeles. Valerie Macon—Getty Images

Despite earlier unions with Madonna and Robin Wright

Despite two high-profile marriages to Madonna and House of Cards actress Robin Wright, Sean Penn, who is in a relationship with Charlize Theron, says he would consider his next marriage his first.

“You say I’ve been married twice before, but I’ve been married under circumstances where I was less informed than I am today,” he said in the March issue of Esquire U.K.. “So I wouldn’t even consider it a third marriage, I’d consider it a first marriage on its own terms if I got married again.”

The Oscar winner was with Madonna from 1985 to 1989 and Wright from 1996 to 2010. While he says he remains “very friendly” with Madonna, Penn didn’t go in to as much detail regarding Wright, whom he shares two children – Dylan, 23, and Hopper, 21.

“I would say that I’m on extremely good terms with the children I share with my second ex-wife,” he said, adding that the divorce process is never easy. “You kick and bite about the other person.”

Even with his rocky experience with divorce, the actor remains positive about potentially walking down the aisle again – now that he has Theron, 39, by his side.

“Yes, I’d get married again,” the actor, 54, told Esquire.

Penn admitted he’s surprised to be in love again. “It could seem too late,” he said of his romance with Theron, 39. “But to run into somebody now who you care about is a much more passionate, deeper, truer and – God! – a much happier feeling. It’s a lot more romantic and a lot more fulfilling to be in a relationship and to think you’re a good person within it.”

Penn and Theron began dating over a year ago, and have remained quiet amid constant speculation that they are engaged.

This article originally appeared on People.com

TIME

The Americans Showrunners on That Shocking Death From Season 3’s Premiere

Joel Fields and Joe Weisberg on why the reaction to the graphic scene reminded them of their responsibility as writers

Spoilers for the Season 3 premiere ahead

The Americans returned with a bang on FX last night. The first episode of the third season ended with Russian operative Annalise being strangled to death while having sex with Yousaf, a foreign intelligence operative, and her target. Fellow spy Philip enters the room too late to save her but then begins brokering a deal with Yousaf to cover up the incident. It was a reminder to audiences that the plot about Russian spies hiding in 1980s America continues to pack a punch. But it was also a reminder to the writers of the real impact of their fictional show.

Before the premiere, several secret screenings of the episode were held around the country. Showrunners Joel Fields and Joe Weisberg monitored the reaction to these events on Twitter and noticed that several people were tweeting about a certain screening where a few men in the audience began laughing during the horrific death scene. The inappropriate reaction ruined the screening for many.

“Then a couple people tweeted that after the screening, some women in the audience really took the guys to task for laughing during that scene,” Weisberg explains to TIME. “It was a really interesting reminder to us as writers of what powerful material we’re trafficking in. People have reactions after watching it—maybe some of those people aren’t mature enough to watch it. I’m not trying to shame the guys who were laughing, but maybe because someone told them off, it was a chance for them to learn from that experience.”

In short, he concludes: “These aren’t just dumb TV shows. It means something to people.”

Fields added that they look at sex and violence on the show as a way to reveal something about their characters and deepen their stories, not as a ploy. “The greatest surprise in that scene is what develops between Philip and Yousaf when Philip comes into that room,” Fields says. “They both brought such pain and realism to that loss that they were both responsible for.”

The creators say Philip and Elizabeth will continue to face even stickier situations this season. That’s bad news for the Russian spies, but great news for viewers.

Read Next: The Americans Puts Mother (and Father) Russia to the Test

TIME Music

Why Taylor Swift Drama Is The Real Story of Katy Perry’s Halftime Show

Katy Perry attends the 'Fashion Los Angeles Awards' Show on Jan. 22, 2015 in West Hollywood, California.
Katy Perry attends the 'Fashion Los Angeles Awards' Show on Jan. 22, 2015 in West Hollywood, California. Charley Gallay—Getty Images/2015 Charley Gallay

The public isn't focusing on her singing

The media has been abuzz with excitement for Super Bowl Sunday, and, more specifically, the halftime show.

This year, pop singer Katy Perry has snagged the coveted halftime performance slot, which, if the game sets another viewership record, will equate to playing for an audience of more than 112 million people. Rumors are flying back and forth about Perry and the upcoming show, as is to be expected with such a high-profile performance–but with one important difference.

Instead of focusing on her singing, the public is focusing on who she might sing about.

Ever since country-turned-pop star Taylor Swift revealed the inspiration of her new song “Bad Blood,” which describes a feud between her and a fellow female artist who she refused to name, speculation was thrown in all directions about the woman in question. Swift accused her of “sabotaging her area tour” and stealing dancers out from under her.

“She did something so horrible,” Swift told Rolling Stone. “I was like, ‘Oh, we’re just straight-up enemies.’”

Soon after, Perry tweeted, “Watch out for the Regina George in sheep’s clothing,” which confirmed the public’s suspicion that Perry and Swift were the women with “bad blood” between them.

Now that Perry will have America’s attention for 12 solid minutes, the media is expecting a rebuttal. And besides a headline here or there about her many costume changes and special guests, that’s all anyone can talk about. HollywoodLife.com writes, “Now that Taylor has taken over the music scene with huge success from1989, Katy wants to ‘show she is the biggest female act,’ while performing at the 2015 Super Bowl.” “Katy Perry Wants To Get Back At Taylor Swift During The Super Bowl,” reads a Refinery29 headline.

The problem isn’t so much that they’re fighting in the first place, but rather that the public is feeding into this notion that women can’t revel in each others successes–they have to compete against each other. From rappers Nicki Minaj and Lil’ Kim to directors Jane Campion and Kathryn Bigelow, we constantly pit powerful women against each other, which encourages a culture in which women are made to feel like they can’t be allies.

This internalized female competitiveness is socially driven, not biologically. As Sarah MacDonald of Feminspire puts it, “Why are little girls told that if a girl is mean to them, they should avoid her, but if a boy is mean to her, it means he likes her?” And as the girl grows up, she’s surrounded by shows such as “The Real Housewives of….” and “Bad Girls Club,” which completely revolve around watching women fight.

According to Julie Frechette of Worcester State University, “this pattern of pitting women against each other for their personal and professional choices exemplifies the feminine-feminist conflict at the core of media stories about women’s identity and search for fulfillment in the realms of work, sex, and motherhood.” As women consider being prized by others (especially men) as their ultimate goal, they feel as though they need to compete against each other in order to win.

In terms of the media’s coverage of this year’s Super Bowl, this sexism is apparent when compared to the coverage of a male artist . If you look at the headlines surrounding Bruno Mars’ halftime performance last year, they are devoid of gossip or talk about Mars’ personal life. Instead, they have to do with his career.

“Bruno Mars Isn’t a Superstar Like Other Super Bowl Alumni, and That’s Why He’s the Perfect Choice,” said Adweek, praising his talent and ‘70s influences later in the article.

“Bruno Mars Super Bowl Music: What Songs Will The Artist Perform?” wrote Examiner.com. The only thing approaching scandal seemed to be Bruno Mars’ fear of the New Jersey cold.

The fact that Perry’s feud with Swift seems to be more important than her performance shows a fundamental lack of respect for Perry’s work and achievements as an artist. But the fact that the two singers have taken whatever disagreements they may or may not have to social media and interviews certainly doesn’t help. As women in positions of power, they both have a unique opportunity to change the conversation and be models of female empowerment. Hopefully, Perry will take the high road on Sunday and show those 112 million people that she is more than a gossip column.

This article originally appeared on FindTheBest.

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TIME celebrities

Kanye West: ‘I’m a Better Human’ Because of Kim Kardashian

He also said he sees a lot of himself in his daughter

Marriage and fatherhood have made Kanye West think about more than himself and his art – and that’s made him a better person, he says.

“I’ve definitely learned how to compromise more,” the rapper, 37, told Ellen DeGeneres about being married to Kim Kardashian, 34. “And I’ve learned how to shut up more. And yeah, I think I’m a better human being because of her and because of my daughter [North].”

West still has lofty visions for his work, of course, and wants to be “brave for what I want to do for humanity, but also to be more protective of myself for my family, too.”

He also said he sees a lot of himself in his daughter – particularly when she gets frustrated.

“I think I was going through my version of my terrible twos,” he says of his sometime difficult younger years as an artist and businessman. “My daughter, she wants to express herself, and she just doesn’t have the words for it. And, for me, there were so many things I wanted to do with film and clothing, and I just didn’t have the words or the resources.”

Life as a family man has been such a positive experience for him that it’s no surprise West and Kardashian are looking to grow their family sooner rather than later.

“Yeah, we’re trying,” he says on the topic of having more kids.

How many does he want in all? “I just want whatever Kim wants,” West says. To which Ellen replies with a laugh: “Wow, that’s a good answer, whether it’s true or not.”

This article originally appeared on People.com.

TIME Television

Viola Davis Says Filming How To Get Away With Murder Sex Scenes Should Be Uncomfortable

VIOLA DAVIS
Viola Davis stars as Professor Annalise Keating in How to Get Away With Murder Craig Sjodin—ABC

The actress teases what's in store for the show, which returns tonight

Thursday nights are finally fun again. After several weeks of winter hiatus, the Shonda Rhimes trifecta—How to Get Away With Murder, Scandal and Grey’s Anatomy—returns tonight with brand new episodes, and a little extra bling. For actress Viola Davis, the latest How to Get Away With Murder will be the first episode to air since she won the SAG Award for Outstanding Performance by a Female Actor in a Drama Series earlier this week.

TIME spoke with Davis earlier this year about her hacker-thriller Blackhat, but we couldn’t get away with not asking her about what makes her hit TV show so groundbreaking.

TIME: This show has been praised for changing the way we see sex on television. How does that feel?
Viola Davis: Oh, I love it! As an actor, I try to draw from life because life is my biggest inspiration. It’s so full of contradictions. When you draw from life, that’s when you get the biggest a-ha moments, because who people are in their private lives are sometimes not ever reflected on TV and film. The biggest a-ha moment was when I was given a role that’s described as sexy, strong, and I decided to look like a real woman—not kind of the prototypical sexy woman that you usually see on television. I wanted to be that sexy woman who took her mask off at night, the sexy woman who was not a size two, the sexy woman who looked like me and walked like me and had my skin tone. I thought that’s probably the most progressive decision that I’ve made, and I’m so happy that people have acknowledged it and are tuning in.

What do viewers not understand about what it’s like actually filming those scenes?
The fact that they’re uncomfortable—and they should be uncomfortable. Ultimately, you’re being private in public. How many people have a camera in their bedroom at night? The reason that we can do what we do in private is because we know we’re not being watched. On TV, you’re being watched. It’s one of the biggest lessons you learn when you are in acting school: how to be uninhibited. That’s what people don’t understand, and that’s why I wanted to take my wig off, my makeup off. I felt like that would be the ultimate courageous thing that I could possibly do. Most of the time when I’m watching TV, I feel there’s some awareness by the artist and the people making TV that they’re being watched. I wanted to do it with the understanding that I’m not being watched. I felt that would be the most progressive decision I could make, and obviously it was.

Empire drew almost 10 million viewers when it premiered, a number that both How to Get Away With Murder and Black-ish previously hit. With black actors leading so many breakouts shows, is this the tipping point for minority casting opportunities?
I hope so. I’m going to believe that it is because America is changing. I don’t think you can even look at a bus stop nowadays without seeing a caucasian blond woman with her afro’d brown-skinned baby. Art needs to begin to reflect life. It can no longer be homogenized. We are now in the 21st century. I’m going to believe this is the landscape of television now. I’m going to believe that people are going to be tuned into it. It’s just not just black actors or black-themed storylines, it’s just human-being storylines with people of color in them. I think it’s here to stay.

What’s the most surprising thing you’ve learned about the law after working on this show?
That it’s not just black and white and right or wrong. It’s something that I think my character says at one point: “You have to defend people who you know are guilty.” That’s the surprising thing about criminal defense attorneys. You have to lie to yourself. That’s the justice system. That’s the bottom line. I understand that when people tune in they want to see characters that are likeable, they want to see right or wrong, they want to see black or white, but life in the law is very, very, very grey. Everybody deserves a fair and equal trial, even the people who are on the wrong side. That’s the system that we’ve created. That’s the most surprising element—the real complexities of it. And the real complexities of people within the justice system and people who are in life, too. At the end of the day, the lawyer hangs up the lawyer hat and they become a person. And they’re messy!

Do you think you would have been a good lawyer if you hadn’t become an actress?
No, I would have made a horrific lawyer.

Why?
I’m way too sensitive!

So you’re saying you can’t get away with murder now?
Definitely not. I’m one of those people that has a really horrific poker face. I’m a person who, if I find $5 on the street, I’m going to run around for the next 20 minutes trying to find the person who owns the five dollars—and I’ll keep it for the next two years to see if anyone shows up to claim it. That’s me!

What can you tease about the show’s return?
I think that it will surprise you in simple ways. I think it will be touching in unusual ways. And I think it will still be salacious and intriguing. And look out for Miss Tyson—look out for the force that is Miss Cecily Tyson.

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