TIME movies

Tina Fey and Amy Poehler To Star As Partying Sisters in The Nest

US-ENTERTAINMENT-FILM-GOLDEN GLOBES
Tina Fey (L) and Amy Poehler arrive on the red carpet for the Golden Globe awards on January 12, 2014 in Beverly Hills, California. FREDERIC J. BROWN--Getty Images

First, they starred together in SNL. Then came Baby Mama, and the Golden Globes. Now, the comedy stars and real-life friends are due to reunite onscreen as sisters in an upcoming comedy

Good news or the best news? Six years after they starred together in Baby Mama, Amy Poehler and Tina Fey are set to reunite on the big screen. Deadline reports that Poehler is in final talks to join Fey in Universal’s upcoming sister comedy The Nest.

The film will see the Golden Globe hosts — and real-life friends — starring as “thirtysomething sisters who come home to find their parents’ house has been put up for sale.” The two then spend one last weekend in their childhood home, where hijinks ensue. Fey is producing the project along with Jay Roach (who worked on the Meet The Parents films), and Poehler will also serve as an executive producer.

And the news keeps getting better: Pitch Perfect director Jason Moore is slated to direct The Nest, and the screenplay was written by longtime Saturday Night Live writer Paula Pell.

[Deadline]

TIME Professional Wrestling

WWE Legend ‘The Ultimate Warrior’ Dead at 54

After making multiple appearances at WWE events over the weekend, and only 24 hours after appearing on Monday Night Raw, Jim Hellwig — a.k.a. the Ultimate Warrior — died at a hotel in Arizona late on Tuesday

Days after being inducted into the World Wrestling Entertainment’s (WWE) Hall of Fame, Jim Hellwig, who will be forever immortalized under his stage name the Ultimate Warrior, died late on Tuesday night after collapsing at a hotel in Arizona. He was 54 years old.

“WWE is shocked and deeply saddened to learn of the passing of one of the most iconic WWE superstars ever, the Ultimate Warrior,” read a press release posted on the promotion’s website late on Tuesday night.

No details on the cause of death have been released.

The Ultimate Warrior’s popularity in the wide world of wrestling lasted from the late 1980s up through the mid-1990s, peaking when he defeated archrival Hulk Hogan in 1990 at WrestleMania VI for the WWF championship.

The Warrior will be remembered most for his high-octane, dead-sprint entrances to the ring to one of the greatest walk-in tracks in the history of professional wrestling, and for delivering unbridled, surrealist prefight monologues reminiscent of equal parts Colonel Kurtz and Nietzsche in themes and imagery. His fights were often brief and lacked technical finesse, but the energy he brought to the ring was unmatched.

In the mid-1990s, the Warrior fell out with WWE and faded through multiple promotions before announcing semiretirement at the end of the decade. In 2005, the WWE released the DVD, The Self Destruction of the Ultimate Warrior, featuring interviews with multiple wrestlers and promoters; however, Hellwig’s first-person views on his fall from grace were notably absent.

Despite the bitter relations between Hellwig and the WWE, the Ultimate Warrior was inducted into the promotion’s Hall of Fame last weekend and appeared at WrestleMania XXX in New Orleans and on Monday Night Raw the following evening, where he delivered one last haunting monologue.

“Every man’s heart one day beats its final beat. His lungs breathe a final breath,” said Hellwig. “And if what that man did in his life makes the blood pulse through the body of others, and makes them bleed deeper and something larger than life, then his essence, his spirit, will be immortalized.”

TIME movies

Star Trek’s Kate Mulgrew Says She Was Duped on Film Narration

Kate Mulgrew
Eugene Gologursky—WireImage/Getty Images

"I was a voice for hire, and a misinformed one," says Mulgrew, famous as Star Trek: Voyager's Captain Kathryn Janeway. She narrates an upcoming documentary that argues that Earth is the center of the universe and the sun rotates around it

One would think that actress Kate Mulgrew knows a lot about the universe from her time as a Starfleet ship captain in the science-fiction series Star Trek: Voyager.

But her “expertise” (and, perhaps, sanity?) was thrown into question when her voice was heard narrating a trailer for The Principle, an upcoming documentary that argues for geocentrism, the belief that the sun (as well as the rest of the universe) revolves around Earth.

On Tuesday, the actress took to Facebook to offer an explanation on how she became involved in the film: essentially, she was duped.

In the trailer, Mulgrew tells audiences, “Everything we think we know about our universe is wrong.” Ironically, it now seems she feels every thing she says in the film is wrong.

Mulgrew is not the first person to express regret for involvement in the film. Physicist Lawrence Krauss, who is also featured in the docu, said in an article for Slate that the film took statements he made out of context.

The Principle, which is due out later this year, is directed by Katheryne Thomas and produced by Robert Sungenis, who questions the Holocaust in addition to the order of the universe.

Star Trek: Voyager ran on UPN from 1995 to 2001.

TIME Music Festivals

Kanye West, Tom Petty, Macklemore to Headline Outside Lands 2014

Pascal Le Segretain—Getty Images

Tickets for San Francisco’s gourmet, outdoor music festival Outside Lands -- which is in its seventh year -- go on sale this Thursday. The Killers, Tiësto and Macklemore & Ryan Lewis have also been added to the lineup for August

With festival season in full swing, Outside Lands revealed its 2014 lineup Tuesday, and festival-goers are bound to be excited. Kanye West, Tom Petty & The Heartbreakers, The Killers, Tiësto and Macklemore & Ryan Lewis will headline the event, which goes down Aug. 8 to Aug. 10 in San Francisco’s Golden Gate Park.

Other notable performers include Arctic Monkeys, Death Cab for Cutie, Disclosure and Cut Copy.

The annual festival, which began in 2008 and bills itself as the “world’s only gourmet music festival,” will also give attendees a chance to try a wide range of foods, wines and beers from gourmet vendors.

Tickets go on sale Thursday, and a portion of ticket sales proceeds will benefit the city’s Recreation and Parks Department. Check out the full lineup here.

TIME celebrities

Courtney Love’s Bittersweet Twitter Update

International Press Academy Satellite Awards
Vincent Sandoval—Getty Images

The rocker and former wife of the late Kurt Cobain was the first celebrity to be sued for defamation over her tweets. On Tuesday, she got both good news and bad on the status of both cases

You win some, you lose some.

Courtney Love’s colorful Twitter antics have landed her a $96,000 fine for alleged defamation on the same day that she won a victory in another Twitter defamation case.

The rocker and former wife of the late Kurt Cobain was the first celebrity to be sued over tweets after she allegedly defamed fashion designer Dawn Simorangkir in 140-character jabs in 2009, and ended up settling the case for nearly $450,000. But Love only paid $350,000 of that settlement.

Shortly after Simorangkir’s lawsuit was filed, attorney Rhonda Holmes sued Love for malicious tweets, but Love won the case in a trailblazing trial that wrangled with First Amendment questions. A judge decided Tuesday that Holmes was a limited-purpose public figure and Love did not show actual malice, reports the Hollywood Reporter.

But on Tuesday, Love was ordered by a court to pay the remaining $95,714.20 from her settlement with Simorangkir. So far, the fast-tweeting rockstar is one for one.

[THR]

TIME Television

Game of Thrones Renewed For Two More Seasons

HBO

HBO said it would renew the popular fantasy drama for a fifth and sixth season, after the fourth season premiere drew in the show’s biggest audience thus far of 6.6 million viewers. It is the most watched show on the channel since The Sopranos finale

HBO announced that its fan favorite Game of Thrones has been renewed for fifth and sixth seasons Tuesday.

Considering the fantasy drama’s extreme popularity, this decision is a no-brainer for studio execs. Sunday’s premiere not only knocked out HBO Go, but it drew in the show’s biggest audience thus far of 6.6 million viewers. That makes it the most watched show on HBO since The Sopranos 2007 finale.

Game Of Thrones is a phenomenon like no other,” HBO programming president Michael Lombardo said in a statement. “[Creators] David Benioff and D.B. Weiss, along with their talented collaborators, continue to surpass themselves, and we look forward to more of their dazzling storytelling.”

Now we only have to hope that the television series doesn’t catch up with creator George R. R. Martin’s books. He’s at five and the series has currently covered just over two and a half volumes. Get writing, George!

TIME Music

Hear the Roots’ “When the People Cheer”: The First Single Off Their New Album

The Roots Def Jam Recordings

Their new album is due out May 13 on Def Jam

In between singing the Frozen soundtrack with Idina Menzel, performing “We Can’t Stop” with Miley Cyrus and completing the rest of their Tonight Show with Jimmy Fallon duties, The Roots have somehow managed to make a brand-new album. The ominously titled And Then You Shoot Your Cousin is due out May 13 on Def Jam Records, as confirmed via Instagram by Questlove.

Band member Black Thought described the band’s forthcoming 11th album in an interview with XXL: “It’s conceptual; it’s another concept album in the spirit of undun, but it’s not just about just one kind of character, we create quite a few different characters in this record. It’s satire, but in that satire it’s an analysis of some of the stereotypes perpetuated in–not only the hip-hop community, but in the community.”

The first single, “When the People Cheer,” helps explain how the band is incorporating that heady concept into the albums’ tracks. The song starts out with a nursery rhyme and then quickly veers into darker territory with heavy lyrics.

Listen here:

MORE: 10 Questions for Questlove

MORE: The Roots of The Roots: Everything You Need to Know About Jimmy Fallon’s Band

TIME celebrity

Paul Rudd Ran Around New York City Asking If People Would Sleep With Him For a Dollar

Most people said yes, obviously

In a new episode of his comedy game show Billy on the Street, Billy Eichner dragged Paul Rudd through Manhattan asking pedestrians if, for one dollar, they’d sleep with the handsome, notoriously ageless actor.

Most people say yes, because obviously. Some people say no, but they’re probably lying. Others get really excited and think that they’re actually going to get to sleep with Paul Rudd. Watch this emotional roller coaster ride above.

TIME movies

Mom in the Movies: How Disney Killed Off Mothers, and Pixar Liberated Them

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Pixar/Disney

In classic animated features like Dumbo and Bambi, mothers were often an endangered species (and in the case of Frozen, still are). It took a half-century before Pixar showed moms who could be strong (The Incredibles) and, well, hairy (Brave)

How many mothers have emerged from a family trip to a Disney movie and been obliged to explain the facts of death to their sobbing young? A conservative estimate: the tens of millions, since the studio’s first animated feature, Snow White and the Seven Dwarfs premiered in 1937. Innocent parents might have thought that a musical cartoon version of a fairy tale would be a child’s ideal introduction to movie magic. Yet Walt Disney taught moral lessons in the most useful way: by scaring the poop out of the little ones.

As kids watched Snow White succumb to the poison apple proffered by the witch who was also her stepmother, they literally stained the seats of movie palaces with the first rush of primal anguish. Disney features, especially the early ones, were horror movies with cute critters, Greek tragedies with a hummable chorus. Forcing children to confront the loss of home, parent, friends and fondest pets, these films imposed shock therapy on four-year-olds. That psychic jolt could last a lifetime — or at least until the toddlers grew up and subjected their own children to the very same animated ordeals that they had undergone at the same age.

Those first Disney classics defined childhood as an unrelenting series of nightmares. In a backstory that suggests a palace murder spree as lurid as Hamlet Act Five, Princess Snow White (voiced by Adriana Casselotti) has been orphaned, with the dead King and Queen replaced by a stepmother (Lucille La Verne) who forces the dauphine into scullery-maid servitude. As vain as she is vindictive, the new Queen reacts to her talking mirror’s news that she is no longer “the fairest of them all” by ordering a huntsman to kill Snow White. The girl can survive only by fleeing her home and depending on the kindness of seven small strangers, for whom she cooks, cleans up and enforces cheerful discipline — becoming, in essence, the dwarfs’ doting mother.

To their young consumers, the Disney cartoon masterpieces sent mixed signals. Snow White must leave home to live; but when the puppet hero in Pinocchio (1940) goes AWOL from his creator and father-figure Gepetto, a Faginesque kidnapper named Stromboli tells the wooden boy, “When you grow too old, you will make good firewood.” In Snow White, a huntsman saves the heroine; but midway through Bambi (1942) —perhaps the most shocking moment in any Disney fable — another man with a rifle mistakes the deer’s mother for disposable game. One creature’s mother is another’s lunch.

(FIND: Bambi among the 25 all-TIME Best Horror Movies)

Indeed, among the most endangered of all Disney denizens were mothers — a fact that should have terrified the kids sitting next to their own moms in a darkened movie house. (Keep holding her hand, little one, to make sure she’s still alive.) A young boy or girl was naturally invested in the adventures of the movies’ young heroes or heroines, and would infer that their mothers were his or her mother. So what happens? Bambi’s mother dies in an act of random violence. In Dumbo (1941), the circus elephant Mrs. Jumbo is the loving single mom of her baby Jumbo Jr., who has been derisively nicknamed because of his outsize ears. When a boy at one performance cruelly pulls on Dumbo’s ears, Mrs. J. stomps forward to protect him and inadvertently causes a stampede. She is consigned to a madhouse, and her child to a life of pachyderm vagabondage in the company of a helpful mouse and some jive-talking crows.

The Disney animators’ rules on adult females: mothers are perfect but imperiled; stepmothers are wicked and occasionally homicidal; godmothers are sweet things with magical powers. Recall that the aristocratic widower father in Cinderella (1950) unwisely thought the girl needed maternal guidance and married the haughty Lady Tremaine. When the disposable dad dies, Tremaine and her gawky daughters Anastasia and Drizella treat Cinderella like a despised menial. The stepmother’s dictatorship finds its liberating equal in the Fairy Godmother’s magic. Say “Bibbidi-Bobbidi-Boo,” and a pumpkin is transformed into a royal coach and the girl’s rags into a silver blue dress, with glass slippers to catch a Prince’s eye and heart.

(GALLERY: 13 Disney Princesses and the Actresses Who Voiced Them)

Fairy godmothers, like the Witches of Oz, can be benign or malign. In Sleeping Beauty (1959), the blessings of three kindly fairies can barely hold off the curse of the evil Maleficent (voiced by the same actress, Eleanor Audley, who had played Lady Tremaine) on the princess Briar Rose. That 1959 film was the last animated fairy tale produced by Disney before Walt’s death in 1966.

A generation later, in the animation “Renaissance” under Jeffrey Katzenberg, the studio would return to fable territory with The Little Mermaid (1989) and Beauty and the Beast (1991), both of whose heroines had fathers but no mothers. The female protagonists of two other Disney Renaissance features, the 1995 Pocahontas and the 1998 Mulan, also have to do without mothers, though Pocahontas does have a Grandmother Willow — a talking tree that croaks advice and warnings.

(READ: Corliss’s review of Beauty and the Beast)

More recent Disney animated features based on Grimm stories, The Princess and the Frog (2009) and the “Rapunzel” adaptation known as Tangled (2010), outfitted their leading ladies with a full complement of parents; Oprah Winfrey voiced the role of the frog-princess’s mom. Disney also modernized Hans Christian Andersen’s story “The Snow Queen” into the worldwide 2013 hit Frozen, a story of princess liberation that, in the grand Disney tradition, killed off both parents early on.

(SEE AND HEAR: a mashup of Frozen’s Oscar-winning “Let It Go” sung in 25 languages)

Tangled weaves the tale of a classic Disney princess — whose destiny is to come of age, triumph over adversity and, in general, woman up — with a very contemporary obsession: looking young by any means necessary. Re-enter that old reliable Disney villainess, the wicked witch. When Gothel (Donna Murphy) discovers that the 70-foot tresses of young Rapunzel (Mandy Moore) somehow bring eternal youth, or at least chic middle age, to an old crone, she swans around the kingdom while keeping her victim locked in a tower from infancy to her 18th birthday. Gothel could be many modern American parents who think that confining their teens in enforced preadolescence may make them feel younger too. Of course Gothel is a stepmother figure; Rapunzel’s real mother and father are virtuous, fretful and mostly absent.

(READ: A review of Disney’s ripping Rapunzel)

The Princess and the Frog and Tangled restored a smidge of equilibrium to the animated films of the preceding decade, when the major producers of CGI cartoons paid little attention to female characters and their offspring. DreamWorks movies (the Shrek and Madagascar series) are usually vaudeville capers. The Ice Age pictures from Fox/Blue Sky relocate the Road movies of Bob Hope and Bing Crosby into a prehistoric winterland. Universal’s Despicable Me tandem touches on parenthood, but only from the viewpoint of a single dad who would like to believe he’s a supervillain.

Pixar, which stole Disney’s hand-drawn thunder by launching the first CGI animated feature, Toy Story, in 1995, usually ignored the themes of boy-girl and mother-child in favor of stories about bonding buddies: the Toy Story, Cars and Monsters, Inc. franchises, and A Bug’s Life, Ratatouille, WALL•E and Up. Only two Pixar features so far have boasted strong mothers. In The Incredibles (2004), the superheroine Helen, aka Elastigirl (Holly Hunter), is able to raise three precocious kids while teaming with husband Bob, alias Mr. Incredible, to save the world.

(READ: A credible mom in The Incredibles)

And in 2012 Pixar finally devoted an entire feature to the mother-daughter perplex. Brave (codirected by Brenda Chapman, the studio’s first female director) took the classic Disney formula — a rebellious princess battles an imperious queen and is beset by magic spells — and gave it a beguiling twist. This time, the woman who makes the heroine’s life miserable is not her stepmother but her own mom.

In ancient Scotland, Merida (Kelly Macdonald) is a lass as wild as her curly red mane. An expert in archery, like The Hunger Games’ Katniss, Merida feels closer to the bear-hunting machismo of her father, King Fergus (Billy Connolly), than to the civilizing demands of her mother Elinor (Emma Thompson). She’s both a tomboy and a sullen teen who responds to her mother’s every request by whining, in two harsh syllables, “Mah-ahm!” When urged to choose a suitable beau for a husband, Merida screams, “I hope you die!” at the woman who gave her life. The Queen doesn’t die, but she is transformed into a bear — part regal Elinor, part huge, clumsy creature.

Richard Corliss’ new book, Mom in the Movies Simon & Schuster

 

(READ: Corliss’s review of Brave)

Kids have often thought of their parents as monsters, and when Brave turns into My Mother the Bear, it taps both maternal helplessness and the love a child feels for any wounded creature. In this Beauty and the Beast, the sympathetic beast is a mom. Now isn’t that beautiful?

Richard Corliss’ book Mom in the Movies: The Iconic Screen Mothers You Love (And a Few You Love to Hate), published by Simon & Schuster, is out now.

TIME Television

VIDEO: Jillian Michaels Wants Out of The Biggest Loser

Just months after a controversial season 15 finale, Jillian Michaels is ready to leave the show

The Biggest Loser is about to lose more than just unwanted pounds — the show will be losing trainer Jillian Michaels as well, according to PEOPLE.

“She is deeply concerned about the direction the show has been taking,” said the source. Michaels is reportedly unhappy with multiple aspects of the show, ranging from how she herself has been portrayed to the controversial weight loss of winner Rachel Frederickson from last season’s finale.

This wouldn’t be the first time Michaels has left the show; the trainer opted out after season 11 but was back again by season 14.

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