TIME Books

Game of Thrones Author George R.R. Martin to Live Stream Discussion at 92nd Street Y

"Game of Thrones" Autograph Signing - Comic-Con International 2014
George R.R. Martin signs autographs during the 2014 Comic-Con International Convention. Tiffany Rose—Getty Images

You can probably guess what he'll be talking about

George R.R. Martin will be speaking at the 92nd Street Y in New York City for his lone U.S. appearance to promote The World of Ice and Fire, an illustrated history of the Seven Kingdoms. (This is not to be confused with The Winds of Winter, the next book in the A Song of Ice and Fire series.) The event, which will be live-streamed at http://www.92Y.org/livecast, takes place on October 26, where “the prolific author [will] discuss the political machinations and sordid relationships that set into motion the ‘present-day’ struggles of the Starks, Lannisters, Baratheons and Targaryens.”

Hey, it’s not a new novel or new episode of Game of Thrones, but it’s better than nothing. If you happen to be in the New York area, you can buy tickets to the event for $100 at http://www.92Y.org.

TIME movies

Seth Green: The Identical Is Not a Movie About Elvis

Seth Green in The Identical
Seth Green in The Identical

It's a story of rock, religion and family — not the King himself

He’s got jet-black hair, a booming voice and a Graceland-like estate — but Drexel Hemsley, the fictional rock-and-roll star in The Identical, now in theaters, is no Elvis Presley. Rather, the film takes a footnote from Presley’s biography — that he had an identical twin who died at birth — and turns it into the movie’s central hypothetical: While Drexel becomes a national celebrity, what if an unknown but equally talented twin were also trying to make his own way in the world?

“I’ve had a lot of people approach me and say, ‘Oh, I didn’t know you were such an Elvis fan,’” says Seth Green, who plays the best friend of Ryan Wade, the other twin and the film’s protagonist. “This movie just uses the notion of Elvis’ twin brother dying at birth to tell a story about nature-versus-nurture and the life you chose versus the life people choose for you. Even if you don’t like Elvis, or have never heard Elvis, or have a physical and mental aversion to Elvis, that’s not what this movie is.”

Real-life Elvis impersonator Blake Rayne plays both brothers in the film, but he spends most of his screen time as Ryan Wade, who grows up the son of a strict preacher (Ray Liotta) after his cash-strapped birth parents give him up in a secret adoption. But while Wade wrestles with heavy questions about identity and finding his calling, as the trusty sidekick and bandmate Dino, Green gets to be the eternal goofball.

“This guy is a career indulger,” Green says. “This is the guy that’s living the hardest life: the guy that’s always smiling, the guy that’s always drinking, always smoking, always womanizing. He’s a rolling stone. The only thing he’s on this earth to do is play the drums. As a result, I got to be in a really good mood the whole time.”

It wasn’t hard to be cheerful for Green, who spent a few weeks filming in Nashville, hanging out behind a drum kit, practicing a southern accent and donning long hair and a beard as the film’s timeline moves into the 1960s. “I practiced playing the songs specifically as opposed to playing the drums,” says Green, who grew up a fan of the era’s music. “I approached it like dance choreography — I’d put my hand on it here, or put my foot here on this note, and it made it a lot easier to wrap my head around it.”

And though he found his calling very early, beginning his acting career as a child, Green, now 40, says the musical movie’s message struck a chord — literally. “I was lucky enough to have my parents’ support at a really young age, and lucky enough to have certainty of my own purpose, and that made it very difficult to talk to anyone who didn’t take that seriously,” he says. “I can really relate to the character feeling like everything around him says, ‘Go in this direction,’ but he knows in his gut to go another.”

TIME Video Games

See How Kevin Spacey Helped Rewrite Call of Duty: Advanced Warfare

Kevin Spacey was Sledgehammer Games' pick to play PMC autocrat Jonathan Irons, but the House of Cards actor helped the studio retool the character's story, too.

Call of Duty: Advanced Warfare is Kevin Spacey’s first video game, though not the first time he’s played an imperious political-minded villain with designs on power that radically impact American democracy (as far as we can tell from the game’s trailers, anyway).

Spacey’s involvement with the game wasn’t an afterthought: Sledgehammer Games co-founders Glen Schofield and Michael Condrey had him in mind for the role of private military company lead Jonathan Irons before he’d so much as heard of the project.

In the game, Irons leads Atlas, the world’s most powerful PMC by the mid-21st-century. After a global terrorist attack cripples the world’s nations, Irons sours on the U.S.’s ability to promulgate democracy, and, Caesar-like, takes matters into his own hands. You play as Jack Mitchell, an ex-Marine working for Atlas, eventually (we’re assuming) having to grapple with the implications of Irons’ turn toward despotism.

In TIME’s video interview with Sledgehammers’ Schofield and Condrey (above), the studio heads explain how Spacey became much more than just their dream pick to play Irons, and how he helped them retool the character to “really [elevate] the story.”

TIME Video Games

Watch Call of Duty: Advanced Warfare’s Weapons Compared With Today’s

Sledgehammer Games' upcoming take on Activision's bestselling military-themed shooter franchise isn't science fiction, say its creators.

Swarms of insectile drones swirling like a black river through the sky. Soldiers who can leap dozens of feet in the air and thunder down unharmed. Lobbed grenades that pause at the apex of their arcs like giant hornets before diving to discharge their deadly payloads.

Call of Duty: Advanced Warfare looks like a blockbuster science fiction movie–Verhoeven’s Starship Troopers without the aliens–but its creators say the game’s pedigree is grounded decidedly in science fact.

Call it speculative fiction then, a semantic distinction that writers like Margaret Atwood find helpful to distinguish between improbable tales of galaxy-gallivanting starships or time-traveling police boxes, and other more speculative stories, parables or potboilers that deal with near-future scenarios extrapolated from existing cultural or technological developments.

That’s not Lost‘s smoke monster you’re seeing in one of the more arresting video touts for Call of Duty: Advanced Warfare; it’s weaponry “based on designs that we can see or know is going to happen very shortly,” says Sledgehammer Games’ CEO Glen Schofield.

TIME spoke with Schofield and studio co-founder Michael Condrey recently about the technology employed in the studio’s upcoming military-themed shooter. See for yourself in the video interview above just how close we are today to the sort of tricked-out weaponry you’ll get to play with when the game ships for PC, PlayStation and Xbox consoles on November 4.

TIME Television

Boardwalk Empire Boss Terence Winter on the Fate of Nucky Thompson

Steve Buscemi as Nucky Thompson in Season 5 of Boardwalk Empire
Steve Buscemi as Nucky Thompson in Season 5 of Boardwalk Empire Macall B. Polay—HBO

The long-running HBO drama's showrunner talks what to expect from the new season

After four seasons and 48 episodes, the HBO drama Boardwalk Empire will be wrapping its run with an eight-episode final season. Coinciding with the show’s conclusion, Boardwalk will also jump forward seven years to 1931 — and to the repeal of Prohibition. Simultaneously, the show will also be flashing back to earlier points in the life of Nucky Thompson (Steve Buscemi).

TIME spoke with showrunner Terence Winter about the Atlantic City drama’s jump in time, stories that went untold and the discrepancy between the fates of Nucky and Tony Soprano:

TIME: When did you know you wanted to flash forward to 1931 and what went into making that decision?

Terence Winter: We’d always intended to bookend the show with the end of Prohibition. Of course, the pilot took place on the night that Prohibition was enacted, so we knew that certainly if not the literal end of prohibition then toward the end of Prohibition would be where we wanted to finish up. ‘31 became really attractive to us because it was the year that Al Capone went to jail, it was the year that Lucky Luciano formed the Commission, which was the governing body of the mafia. It was very apparent by ‘31 that Prohibition was sort of dead in the water with the Depression setting in. After the crash of ‘29, ‘31 was the point where everyone started to feel the effects of that, even around the world. It was pretty clear to people that this was not a problem that was going anywhere soon, so ‘31 just offered so many differently possibilities creatively, so that’s where we chose to land.

At the same as you’re flashing forward to ‘31. you’re also flashing back to 1884. Was that something that you always wanted to do from the beginning?

We’d always talked about it, but we’d never settled on it—the idea of exploring Nucky’s past and linking it to the end of the series was really interesting to us. We had talked about his childhood before and the events that shaped him, but it’s so much more powerful to see it. It’s one thing to have it in exposition, but to actually be able to see young Nucky and his parents and Eli as a child, and actually experience what he went through and his first encounters with the Commodore and things like that was too irresistible. Also, to see the development of the city. You see the boardwalk in 1884 was just one hotel and a couple ramshackle buildings along the beach. In later episodes, we jump ahead to 1897, so you’ll see Nucky as a young man and you’ll see the city continue to grow. You’ll see a young Gillian, you’ll meet other people who have had really pivotal roles in Nucky’s life, so it’s been a gift to be able to explore the show through those different prisms.

There are so many rich characters in the show who you have to juggle — how concerned were you that the introduction of the flashbacks would make that job even more difficult?

I love these characters so much, and in some way it feels like there’s never enough time — they could each have their own separate series, it’s just all so fascinating to me. But it really is Nucky’s story, and at the end of the day, exploring Nucky Thompson’s psyche and the events that shaped his life took precedence over everything else — seeing his childhood and the things that made him the man he became was really the story that we wanted to tell.

How did the fact that Season 5 ended up being the final season affect your plans? Were there certain plot points that you had intended to explore that you didn’t have a chance to?

A little bit. Not enough to get us to lobby that we absolutely needed to continue beyond it. It started to become apparent to us in the middle of Season 4 that whether or not we were conscious of it, we were winding down. Nucky’s story was sort of heading toward conclusion, and for me as a showrunner and a storyteller, the worst thing is to feel you’re treading water or you’re just keeping a show on the air for the sake of keeping it on. It’s not the network TV model where we have to hit a certain number of episodes to be syndicated — that doesn’t exist anymore. It’s really the truest form of storytelling: when you’re done telling the story, you can be done. And HBO has given us that luxury. Into Season 4, it started to feel like we might be heading toward a conclusion for this character, and even though there were things in the gangster world that were attractive — the St. Valentine’s Day massacre, continuing to track the rise of Al Capone, Arnold Rothstein’s ultimate demise and fall — they weren’t enough for me to say, “Okay, well we really to keep the series on longer than it should be just to see those points.” Ultimately it was a little bit of a trade-off because I knew we wouldn’t be able to deeply explore those things, but you feel the effects of them even in 1931. When you come back, Al Capone is a superstar. By 1931, he’s being interviewed by Variety, which is a thing that really happened. Some of that dialogue was verbatim from the interview… [it's] just mind-boggling. This guy started as a street thug, and now he’s a worldwide celebrity. For those reasons, it ended up balancing out and I felt it was worth skipping ahead and referencing those things in dialogue.

Have there been any characters or stories that you’ve come across or explored a bit where you’ve said to yourself, “I’d love to dig into this a bit, but there’s just no time or I don’t know how we’d fit this into our universe?”

Early on in the Capone research, turned out he had three brothers — there was Frank, Ralph and another one whose name escapes me. Frank and Ralph of course we’ve met, we know what happened to Frank and Ralph became integrated into the Capone organization, but the third brother, the white sheep of the family, left the nest, moves from New York and out to the West, changed his name and became a sheriff. His name was “Two-Gun Hart,” and he basically spent the Prohibition years tracking down and arresting bootleggers. This story was so weird and outlandish, that we kept saying, “God, can we work this in somehow?” And partly, I’d say, “This is the kind of thing I’d see on TV and wouldn’t believe, because it’s so crazy that I couldn’t believe it even though it’s true and you can look it up.” This guy, basically he’d come home once a year to visit his family and then he’d go back out West. He had this whole cowboy thing, a complete secret identity. He’s out there arresting bootleggers, meanwhile his brother is the biggest bootlegger in the entire country. And we played around with that, thinking about how we could work it in and ultimately decided not to. If we’d had more real-estate, story-wise, I think that would have been a really fun story to tell but there’s so much explaining to do, I don’t know how we’d work that in.

Even though there may not be any plans at all for this, if you had to pick someone to spin off into their own show, is there someone you think would be especially intriguing?

Chalky White was a fascinating character, that whole North Side was always interesting to me. Luciano and Lansky of course, Capone could have been his own series — all these people. Cuba, also fascinating time and place. Any one of these people could have had their own series.

Changing topics — there’s been so much Sopranos discussion of late, particularly about Tony Soprano’s final moments. Did you ever have any thoughts about that? [Ed. Note: Winter was a an executive producer and writer on The Sopranos — credited with 25 episodes, more than anyone other than Chase.]

My takeaway was maybe it did, maybe it didn’t and the bluepoint was it didn’t really matter. At some point, you’re somewhere, and someone’s going to come out of a men’s room. And when you’re Tony Soprano, sooner or later — as Tony himself said, “When you’re one of these guys, you end up in prison or dead.” Very few of them retire and die in bed. If it didn’t happen that night, sooner or later it would have. When you’re a gangster, even going out for ice cream with your family is fraught with paranoia. And that’s basically what I took away from it.

Might it be safe to say that the ending for Boardwalk is not quite as ambiguous?

Yeah, I would not call it ambiguous [laughs].

TIME Television

REVIEW: Boardwalk vs. Empire: Can HBO’s Gangster Chronicle Bring Its Two Sides Together?

HBO

Boardwalk Empire's marginal characters have been its been most interesting. Its final season tries to make gangster-businessman Nucky just as compelling.

Boardwalk Empire debuted in 2010 with the promise of being HBO’s next great, big series. Well, it was big at least. It had a healthy budget that showed on screen. It was art-directed with a museum curator’s touch. It was (mostly) impeccably cast. It had a vast sweep of locations–at this point, I half-expect “New Jersey,” “Havana,” “Chicago” &c to spiral up from a map a la Game of Thrones–and created and added characters faster than it could kill them.

The result was a serial so sprawling that it could seem more like an anthology. In broad terms, the characters and stories fell into two groups. There were the drawn-from-history marquee names–gangland icons like Al Capone, Lucky Luciano and Arnold Rothstein, as well as figures from J. Edgar Hoover to Eddie Cantor. And there were the fictional or semi-fictional inventions–bigshots and little people, existing at the margins–immigrants and African Americans, suffragists and hustlers. It mashed up a boldface-name version of 1920s history with a populist, little-guy version: the Empire vs. the Boardwalk.

But the show, which begins its final season Sept. 7, also had a fulcrum connecting the two halves. Steve Buscemi’s Nucky Thompson, fittingly, was both a historical figure and not one, having been based loosely on New Jersey boss Enoch “Nucky” Johnson. Just as Jimmy Darmody once called Nucky “half a gangster,” he also had a foot each in the show’s docudrama half and its people’s history half.

The Empire half of Boardwalk Empire was a big part of its initial appeal: on the home of The Sopranos, here was a top-shelf, certified reconstruction of the birth of the actual mob. It checked all the boxes. Stephen Graham made Capone volatile and human, and Michael Stuhlbarg was mesmerizing as the abstemious chessmaster Rothstein. The aesthetics, even after Martin Scorsese stepped away from the camera, were appropriately whiskey-amber and grand. But most of the historical characters have always felt constricted by real-life fidelity and the show’s self-conscious use of them. (In the new season, a famous figure acterally gets a speech ending, “…then I say they don’t know _______!,” revealing his name like a punchline in a Paul Harvey “The Rest of the Story.”)

The Boardwalk half was more interesting, even when it got less attention. Decent, tragic killer Richard Harrow (Jack Huston), his half-face-mask a reminder of the surreal, mechanistic violence of the Great War. Chalky White (Michael K. White), who became de facto leader of black Atlantic City but could feel out of place in his own house, among the children he hoped to raise to a better, legitimate life. Margaret Schroeder (Kelly Macdonald), the activist immigrant whose first instincts about Nucky proved right. And Jimmy Darmody (Michael Pitt), whose falling out with father figure Nucky gave the show an Oedipal (at one point literally) charge that the show never completely recovered from losing when he was killed off.

When the show committed to its gritty, marginal Boardwalk side, it was splendid: the season four arc pitting Chalky against heroin lord and Black Nationalist Valentin Narcisse (Jeffrey Wright) was the show’s best. When it threw the balance to the gangland excesses of its Empire side, it floundered: season three, which pitted Nucky against cartoonish big bad Gyp Rosetti (Bobby Cannavale) was its worst.

Not that the show was ever badly made or amateurish–not even close. If anything, it was too professional; that is, it was exactly what you would expect from a big-budget cable gangland drama, and not a thing more. One more show about old-timey men behaving badly needs more than execution (and executions) to be great: it needs an idea. The Knick, now on Cinemax, is a reconsidered kind of period piece, with specific ideas about the social and technological changes it’s covering. Deadwood, on HBO, was about not just a mining camp but about how community and law arise out of anarchy. What was Boardwalk Empire about? It was about, well, gangsters.

But Boardwalk Empire was too good to completely write off. Its biggest asset has been its willingness to make a big ask of its audience: patience. Season after season would begin seeming diffuse and disjointed, but the story threads would tie together, more or less, by season’s end. (Last season’s weaving the climax of the Chalky-Narcisse feud with Harrow’s end was lyrically heartbreaking.)

So credit due to Boardwalk, and producer Terence Winter, for refusing to abuse its audience’s patience; rather than slaughter, rinse, repeat for several more seasons, Winter decided that the show had just about told its story. And judging from the first three episodes, the final season is setting itself the task of bringing everything together, with only eight episodes to do it.

We’ve time-jumped forward to 1931: where we began on the eve of Prohibition, it’s now the eve of repeal. While I won’t spoil where every character is now (Wikipedia can provide the service for the real-life principals), Nucky is in Cuba, rum on his mind and the chance to go legit when alcohol does in his sights. At the same time, the series time-jumps backwards to 1884, in recurrent flashbacks to young Nucky’s early apprenticeship with the Commodore.

The first episode, “Golden Days for Boys and Girls,” is elegantly constructed; it takes its name from a morally didactic periodical for children, yet it shows Nucky’s education in exactly the opposite principles. (At one point, the younger Commodore scolds him for “think[ing] you were going to get something for being honest.”)

But as the device continues into the second episode, and the third, it seems like a risk. It’s natural for Boardwalk Empire to focus its last season on its star, but–as admirable as Buscemi’s restraint is in playing the ghostly gangster–Nucky’s strength has always been bringing out the more interesting characters around him. The other, surviving characters return to the series gradually. (How in God’s name has someone not killed Mickey Doyle?) But they’re scattered as far as ever; Chicago, in particular, still feels like its own planet, as entertaining as it still is to see Van Alden (the human pressure-cooker Michael Shannon) eternally abused and beset by morons. There’s a lot of thread here, and less time than usual to knit. In the first three hours anyway, there’s too much Empire, too little Boardwalk.

Of course, as any Prohibition entrepreneur knows, risk equals opportunity. If the final season can make Nucky into its most interesting figure, it might give the series, it retrospect, answers it’s been lacking. Who is Nucky Thompson? What does he represent? Is he a distinctive creation in the end, or one more antihero going after a last score, a Walter Pale White? If Boardwalk Empire has earned skepticism, its best moments have also earned it eight more hours of attention. Maybe, just maybe, its last act can show us what Nucky has beneath his lapel flower, besides a giant bankroll.

TIME Television

Watch Conan O’Brien’s Moving Tribute to Joan Rivers

“She was so outrageous”

After hearing news of Joan Rivers’ death Thursday, late-night host Conan O’Brien reminisced about the influence the comic icon had on American culture when he was a child.

“Joan Rivers would fill in for Johnny Carson and when she did it was an event,” O’Brien said. “Everybody in the country would talk about it the next day. Media is so fractured now. There’s so many thousands of different shows and people competing for attention, it’s hard to explain to people today what an event that was.”

Rivers died Thursday at 81 due to complications following throat surgery. Her career as a comedian spanned six decades and paved a fresh path for female comics in an era when the comedy scene was even more dominated by men than it is today.

“At that time she was so, so outrageous. Her comedy felt so out of the bounds and people were just blown away.”

On The Late Show, fellow late-night host David Letterman called Rivers “indefatigable” for her famously unrelenting work ethic.

“Here’s a woman, a real pioneer for other women looking for careers in stand-up comedy,” he said. “And talk about guts — she would come out here and sit in this chair and say some things that were unbelievable.”

TIME Music

Deadmau5 Clashes With Disney Over Ears Trademark

South West Four 2014 - Day 2
Deadmau5 performs on stage at South West Four Festival 2014 on Aug. 24, 2014, in London Joseph Okpako—WireImage/Getty Images

Disney says his mouse-head logo is too similar to Mickey Mouse and will damage the company’s brand

A battle between a musical mouse and a magical mouse is under way, as Canadian electronic artist deadmau5 countered an attempt by Disney to shut down his application to the U.S. Patent and Trademark Office.

“Looks like Disney officially just filed in opposition of my trademark…lawyer up mickey,” deadmau5, whose real name is Joel Zimmerman, tweeted to his 2.95 million followers earlier this week. This was right after Disney filed a 171-page document preventing the artist from getting a trademark for the mouse-shaped LED helmet he wears during his live shows, and uses as his logo.

The Sydney Morning Herald reported that Disney presented the patent office with a side-by-side comparison of his logo and its own three-circle Mickey logo, emphasizing the cartoon mouse’s popularity.

The mau5head, as it is called, is already patented in over 30 countries, but Disney took legal action after Zimmerman filed for a U.S. trademark last June.

Deadmau5’s lawyer, Dina LaPolt, said her client would not be “bullied” by the U.S. corporation.

“Given that the mau5head and other identifying deadmau5 trademarks have been used in the US and around the world for almost a decade, we wonder why Disney is only now coming after deadmau5,” she said in a statement.

In yet another twist, deadmau5’s lawyers have hit Disney with a cease-and-desist notice for using his iconic track Ghosts ’n’ Stuff without his permission, according to a series of tweets from the artist himself.

TIME Basketball

Shaquille O’Neal Applies to Join Reserve Police Force in Florida

Shaquille O'Neal
Television personality and former professional basketball player Shaquille O'Neal leaves the Sirius XM Studios in New York City on Aug. 11, 2014. Ray Tamarra—GC Images/Getty Images

Would-be criminals, prepare for the Shaq Attack

Retired NBA star and very tall man-about-town Shaquille O’Neal has applied to be a reserve police officer in Doral, Fla.

O’Neal, who is 7 ft. 1 in., will now have to clear a background check, as well as pass Florida’s officer-certification exam, before joining the department in Doral, about 13 miles west of Miami. The test will assess the three-time All-Star Game MVP’s physical and psychological fitness, city spokeswoman Christina Baguer told the Miami Herald.

The doorframe-filling O’Neal will “have to do everything else to be certified by the Florida Department of Law Enforcement, just like any of our other officers, reserve or not reserve,” said Baguer.

The tests are unlikely to pose a problem, even though “Manny Shaq-iaou” once told the New York Times that “I don’t need to work out.”

In fact, the 42-year-old — who has played for the Miami Heat, Boston Celtics and L.A. Lakers, among others — has passed the exam before, doing a stint as a reserve police officer in Miami Beach.

O’Neal wrote on his previous August 2004 application that his special skills included “laptop computer, binnochulars, master of surveillance.” He also denied having any “savings or checking accounts, any investments, or an automobile,” according to a 2011 feature in the Miami New Times.

In 2011, O’Neal also told the New York Times that he was considering a formal police career and “running for undersheriff in Lake County, Fla.” That is until local journalists pointed out that the job is appointed, not elected.

TIME celebrities

Forget About the Groundhog, Sept. 5 Is ‘Bill Murray Day’

29th Annual Rock And Roll Hall Of Fame Induction Ceremony - Inside
Actor Bill Murray attends the 29th Annual Rock And Roll Hall Of Fame Induction Ceremony at Barclays Center of Brooklyn on April 10, 2014 in New York City. Theo Wargo — WireImage/Getty Images

Toronto Film Festival dedicates a day to the veteran actor’s career

Bill Murray will take part in a celebration of himself on Friday, as the Toronto Film Festival announced that Sept. 5 would be commemorated as “Bill Murray Day.”

Events planned for the day include screenings of his iconic movies such as Ghostbusters and Groundhog Day followed by the world premiere of his latest film, St. Vincent, according to the Hollywood Reporter. The tribute to the iconic comedian and actor will also feature a Bill Murray costume contest in the evening.

Murray, who rarely gives interviews, will participate in a Q&A after the St. Vincent premiere. The movie will be released by New York City film studio the Weinstein Co. (TWC) and also stars Melissa McCarthy, Chris O’Dowd and Naomi Watts.

“Bill Murray has undeniably earned his status as an acting and comedic icon,” TWC co-chairman Harvey Weinstein told the Reporter. “He’s a true one-of-a-kind. Toronto’s celebration dedicated to the man is well-deserved, and we are immensely excited that he’ll be there in the flesh to celebrate with us and his huge legion of fans.”

Murray will be joined by his Ghostbusters director Ivan Reitman and Scrooged writer Mitch Glazer, among others friends and former co-stars.

[The Hollywood Reporter]

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