TIME Hollywood

Amanda Peterson, the Star of Can’t Buy Me Love, Has Died at 43

Variety/Touchstone Pictures Amanda Peterson, pictured here at 16, in her breakout role in 'Can't Buy Me Love.'

She had been out of the public spotlight for some time

Amanda Peterson, the actress whose leading role in the 1987 comedy Can’t Buy Me Love briefly earned her status as a teen sensation, died on Sunday at the age of 43. TMZ broke the story on Monday afternoon, noting that the cause of death remained uncertain.

“She had some illness and a sleep apnea problem that may have contributed,” her father told TMZ.

Peterson had been out of the public spotlight for some time — her last acting job was in a widely neglected 1994 film — but for a few months after Can’t Buy Me Love came out in August 1987, she and costar Patrick Dempsey were the newest toasts of a Hollywood then bloated with teen stars. She was 16 at the time. Dempsey would earn relative acclaim in other film roles and as Dr. Derek Shepherd on Grey’s Anatomy; Peterson, meanwhile, only nabbed a few parts in minor movies in the wake of her fame.

Variety reports that she died at home in Greeley, Colorado, the small town about an hour north of Denver where she grew up. She is survived by her second husband and two children.

TIME movies

Watch Hollywood Blow Up London in the Trailer For London Has Fallen

This is a disaster movie, so Morgan Freeman is in the White House, of course

At this point, the canon of apocalypse cinema is predictable. The audience will witness one of four eschatological events — an alien invasion; a meteor strike; some implausible meteorological event; an epidemic that either kills people or turns them into zombies — that will seemingly only ravage the United States, where Morgan Freeman sits in the White House.

Should these catastrophes strike elsewhere, we witness them in brief scenes that serve only to preview what will soon come to America’s shores. These moments tend overwhelmingly to take place in Asia: recall the destruction of Shanghai in Armageddon, or that bizarre hail storm that manages to literally kill a Tokyo salaryman in The Day After Tomorrow.

London, one of the world’s largest cities, is usually spared. There was Threads, the BBC’s 1984 Cold War morality play about nuclear war, but that’s mostly it. Apparently eyeing this lapse as a problem, Hollywood will soon release London Has Fallen, the frankly titled sequel to 2013’s Olympus Has Fallen in which North Korean operatives blow up the White House.

In London Has Fallen, London falls, under circumstances not made entirely clear by its teaser trailer. We learn that the British Prime Minister has died, and that his funeral is “the most protected event on earth,” and then disaster happens. Chelsea Bridge blows up. The Queen’s Guard abandons its usual stoicism and begins shooting at an unspecified target. Westminster Abbey blows up. Morgan Freeman, reprising his role as U.S. Vice-President Allan Trumbull, watches aghast from the White House Situation Room.

The film is slated for a January 2016 release.

TIME movies

This Is Why ‘PG-13′ Is a Thing

Harrison Ford In 'Indiana Jones And The Temple Of Doom'
Paramount Pictures / Getty Images Harrison Ford in a scene from the film 'Indiana Jones And The Temple Of Doom', 1984

The movie rating was introduced on July 1, 1984

Movie-going teenagers of the United States, say “thank you” to Indiana Jones.

Before 1984, the line between movies for kids and movies for grown-ups was an all-or-nothing proposition. Everyone under the age of 16 was lumped together, kept from rated-R showings unless accompanied by a parent or guardian. And then came Indiana Jones and the Temple of Doom. The bloody blockbuster released that May was rated PG, much to the consternation of many parents. When Gremlins followed in June, it became clear that a movie might be neither adults-only nor kid-friendly–and the rating system needed a solution.

As TIME’s Richard Zoglin reported that June, the Hollywood establishment heard the complaints:

Last week the Motion Picture Association of America (M.P.A.A.) seemed close to making perhaps the most sweeping change in the rating system since it was established 16 years ago. Ready for unveiling is a new rating, known as PG13, that would prohibit children under 13 from being admitted unless accompanied by a parent or adult guardian. The rating would presumably be used in the future for movies like Indiana Jones that are deemed acceptable for teen-agers but potentially harmful to younger children.

The PG13 proposal has been endorsed by a number of studio chiefs and theater owners and by the chairman of the M.P.A.A. rating board. Even Spielberg, confessing in a TV interview that there were parts of Indiana Jones that he would not want a ten-year-old to see, advocated the creation of the new rating. The proposed change, however, has been opposed by M.P.A.A. President Jack Valenti. He argues that the current system is working well enough and that adding more classifications would cause more confusion. “Who is smart enough to say what is permissible for a 13-year-old and not for a twelve-year-old?”

It was on this day, July 1, in 1984, that Valenti announced that PG-13 was a go. The first PG-13 movie, Red Dawn, arrived in theaters that August.

Read the full story, here in the TIME Vault: Gremlins in the Ratings System

TIME celebrities

Ben Affleck and Jennifer Garner Split Up

People broke the news

Bennifer is no more, People magazine has exclusively learned.

Ben Affleck and Jennifer Garner announced their divorce Tuesday, just one day after their 10-year anniversary. “After much thought and careful consideration, we have made the difficult decision to divorce,” the power couple told People in a statement.

Affleck and Garner met on the set of the film Daredevil in 2003, and now have three kids: Violet, 9, Serafina, 6, and Samuel, 3. The Oscar-winning actor and director famously raised eyebrows in 2013 when he described his marriage as “work” when accepting the Best Picture Oscar for Argo.

Read more at People.com

TIME celebrities

A Rap Crew Says Shia LaBeouf Ripped Off Their Verses in That Freestyle Video

This is far from the first time the movie star has been accused of copying the work of others

You know that video of Shia LaBeouf rapping? The one that went viral Sunday, where the Transformers star is shirtless and spitting what appears to be some pretty smooth freestyle while surrounded by admirers?

So does Pri the Honeydark. The MC and music producer, who is part of a rap collective called the Anomolies, took to Instagram late Sunday to accuse LaBeouf of cribbing from her group’s 1999 song, “Perfectionist,” USA Today reports.

“You can’t rip songs from my Anomolies crew, recite them in freestyle as your own, then not expect to be called out by ACTUAL MCs!… This is straight disrespect to lyricism,” she wrote.

Entertainment Weekly cites the verse “rare commodity/the quality is what it’s got to be/and my philosophy/ is much farther than what your eyes can see” as having been lifted from the Anomolies track.

To be fair, at no point in the freestyle video does LaBeouf present the rap as his own.

But this is far from the first time the movie star has been accused of copying the work of others. He most notoriously was found to have adapted his directorial debut—a short film called Howard Cantour.com— from Daniel Clowes’ graphic novel Justin M. Damiano without permission or attribution. He then apologized on Twitter by apparently copying and pasting what a four-year-old entry in a Yahoo! Answers forum entitled “Why did Picasso say ‘good artists copy but great artists steal?'”

As for whether there’s any plagiarism going on in this instance, we’ll let you be the judge of that.

[USA Today]

TIME celebrity

Rose McGowan Fired By Agent After Public Hollywood Sexism Comment

Rose McGowan at SiriusXM Studios in New York City on June 23, 2015.
Robin Marchant—Getty Images Rose McGowan at SiriusXM Studios in New York City on June 23, 2015.

"You can't be fired from your own mind"

Rose McGowan didn’t appreciate a recent audition request asking that she wear a revealing outfit— “form fitting tank that shows off cleavage (push-up bras encouraged).” She took her disgust public,tweeted the news, revealed that the audition was for an Adam Sandler movie, and reiterated and clarified her complaint to EW.

Wednesday night, McGowan tweeted that she had been fired by her “wussy acting agent” due to her comments.

“I’m not trying to vilify Adam Sander,” the actress told EW in her recent interview. “I was offended by the stupidity more than anything. I was offended by the fact that went through so many people’s hands and nobody red flagged it. This is normal to so many people. It was probably even a girl that had to type it up. It’s institutionally okay.”

In that same interview to promote her directorial debut Dawn, which premiered earlier this year at the Sundance Film Festival, McGowan spoke openly about her experience as a woman in the industry. She revealed that “when I did my first film, I was told by my agent that I would need to have long hair so men in this town would want to f— me and hire me. That was said to a 17 year old.”

McGowan’s reps did not immediately respond to EW’s request for comment. Listen to McGowan talk about the tweets in an interview with EW Live on SiriusXM ch. 105 below.

This article originally appeared on EW.com


Grateful Dead Tickets Once Priced in the Thousands Now Sell for $19

C. Flanigan—FilmMagic/Getty Images Bassist Phil Lesh and Guitarist Bob Weir of The Dead perform at the Shoreline Amphitheatre on May 10, 2009 in Mountain View, California.

What a long strange trip it's been for reunion tour ticket prices.

Not long ago, tickets to this summer’s much-anticipated Grateful Dead reunion shows were averaging $2,000 apiece, and some sellers were asking more than $100,000 for three-day passes to the event. Fast-forward to late June, however, and it’s easy enough to buy a ticket for this upcoming weekend’s shows for less than the cost of a concert T-shirt.

The madness kicked off in early 2015, when the Grateful Dead announced it would play a few 50th anniversary reunion shows this summer featuring the “core four” members of the band plus special guests including Phish’s Trey Anastasio. Originally, the plan was for a grand total of three final “Fare Thee Well” shows only at Chicago’s Soldier Field, the last venue Jerry Garcia played with the Dead shortly before he died of a heart attack in 1995.

When tickets went on sale via Ticketmaster in February, some 500,000 people tried to purchase seats online at face values of between $59.50 to $199.50. All the tickets that were then available sold out almost immediately, and then scalpers took advantage of sky-high demand and very limited supply by asking—and often, it seems, getting—per-ticket prices that could have bought a handful of old VW vans. One seller listed a three-day pass for $116,000 on the secondary market, while at least one buyer paid $13,000 for a single ticket to the final show on Sunday, July 5.

Within a few weeks, the Dead announced a pair of “warm-up” shows on its home turf in northern California, at Levi’s Stadium in Santa Clara on June 27-28. At first, it was assumed that hotel and ticket prices for both locations would soar, as would demand for the shows on pay-per-view TV.

Based on the latest ticket prices on the secondary market, quite the opposite is true, at least for the California shows. Over the weekend, the local NBC affiliate reported that Grateful Dead tickets for the show on Saturday, June 27, at Levi’s Stadium were being resold for $35 online, while tickets for Sunday were going for as little as $27.

As of Monday afternoon, sellers were listing tickets on the secondary resale site StubHub priced starting at $30 for the Saturday show in California. Ticket prices were listed from a mere $20.33 for the show on Sunday, June 28. On Tuesday morning, prices for the Santa Clara shows dropped yet again, down to $27.25 for Saturday and just $19 per ticket for Sunday. That’s with all taxes and fees included, mind you.

Prices for the shows in Chicago have retreated as well, though not quite so low. Tickets could be had for $200 apiece for each of the shows on Friday, Saturday, and Sunday (July 3-5), while three-day passes were listed starting at just under $600. That’s not cheap by any means. But it’s quite a deal compared to $116,000.

Read next: Here Are 4 of the Grateful Dead’s Best Shows Ever

TIME movies

Jurassic World Is About to Devour This Massive Movie Record

Sorry, Furious 7

Dinosaur thriller Jurassic World followed up its record-setting opening with another strong weekend at the box office, leaving the film on the precipice of setting a record for cutting the quickest path to $1 billion in ticket sales.

Distributed by Comcast’s Universal, Jurassic World last week roared to more than $500 million in global box office gross in its first few days of release — the most ever for a film’s opening weekend. The film’s domestic gross fell off by more than 50% this past weekend, but that was less than was expected and not enough to knock the thriller from atop the weekend’s box-office rankings.

As it stands, Jurassic World finished its second weekend with $981 million in global box-office gross in less than two weeks in theaters, according to Box Office Mojo. At that pace, the film will cross the $1 billion threshold on Thursday, after 13 days in theaters, according to Variety. That would break the record for the fastest film to reach $1 billion in ticket sales, surpassing Furious 7‘s previous record of 17 days, set earlier this year.

Whenever it does cross top $1 billion in global ticket sales, Jurassic World would be the 22nd film to ever do so (joining 1993’s Jurassic Park, among others). Jurassic World now has $398 million in domestic ticket sales, but the majority of the film’s box-office gross has come from overseas markets, including $167 million in China.

The massive success of films like Jurassic World and Furious 7 have helped set up a Hollywood rebound after the movie industry suffered a down year in 2014, when total gross dipped more than 5% (thanks, in part, to a poor summer blockbuster season).

Compared to last year at this time, Hollywood’s total box-office haul is up by more than 6%. And there are more big blockbusters coming down the road that should continue to make money for the industry, including Minions (opening next month) and the highly-anticipated Star Wars: The Force Awakens, which opens in December.

TIME Hollywood

15 Entertainers Who Were Labeled Communist in the Red Channels List

On June 22, 1950, these authors, actors and musicians were branded enemies to America

In Hollywood in the 1940s and ‘50s, a rumor of Communist sympathies was enough to end a person’s career—or at least to force it into an undesired hiatus. The creation of blacklists beginning in the late 1940s left many entertainers barred from performing in certain venues or in TV, radio and film. The Red Channels pamphlet, published on June 22, 1950, served to expand and enhance the existing mechanisms of the blacklists.

The 151 people listed by the right-wing journal Counterattack included actors, authors, musicians and journalists. Some had already been blacklisted, while for others the accusations were new. The fates of those named depended on whether they cooperated with the House Un-American Activities Committee (which many did not) and whether the accusations were ultimately substantiated. Some, like Judy Holliday, endured a period of unemployment before resuming their careers. For others, like actor John Garfield, the list spelled the end of their careers.

Liz Ronk, who edited this gallery, is the Photo Editor for LIFE.com. Follow her on Twitter @lizabethronk.

TIME Culture

Why I Won’t Wear War Paint and Feathers in a Movie Again

Zocalo Public Square is a not-for-profit Ideas Exchange that blends live events and humanities journalism.

As a Navajo actor, I've learned where Hollywood likes to stick its 'Indian' roles—and where to find real Native American creativity onscreen

At some point, every Native American actor comes to a career crossroads and has to answer the question: Do I participate in stereotyping or maintain my cultural integrity?

As a Navajo man, I answered that question early in my acting career. Fresh out of Yale with a bachelor’s degree in film studies, I moved to Albuquerque in 2010 when the New Mexican film industry was booming. To build up my resume, I took on parts in various short films—including one memorable role as an “Indian” shaman.

Acting parts for Native Americans are few and far between, so I felt I couldn’t say no to the gig. But as I climbed into the feathered costume and began to apply “war paint” to my face, I began to feel very uncomfortable. Even though I’m not of a Plains tribe (as of 2013, the number of federally recognized tribes in the U.S. was 566), I knew that this kind of regalia was not meant for casual, every-day wear. For many tribes, including mine, feathers are sacred.

Looking at myself in the mirror in full costume, I felt shameful for mocking my spirituality. I promised myself I’d never play “Indian” again—and since then have turned down several auditions for big budget films.

Last month, 12 Native American actors walked off the set of Adam Sandler’s forthcoming comedy, The Ridiculous Six. A few days later, Indian Country Media Today leaked several pages from the script, which features jokes depicting Native Americans as dirty, animalistic backdrops.

The film’s producer, Netflix, was quick to defend Sandler’s jokes as “a broad satire of Western movies and the stereotypes they popularized…” In actuality, however, these jokes aren’t anything novel or creative. They’re uninspired facsimiles of old stereotypes that stem from late 19th-century Wild West Shows.

Starting in 1883 with Buffalo Bill, these shows toured the United States to display their “tamed” wild Indians in extravagant rodeo performances. Many prototypes of Native American stereotypes (such as living in teepees, hunting for buffalo, scalping enemies, wearing feathered regalia, and having a savage demeanor) gestated in these vaudevillian theatrics.

Often, Native Americans in Wild West shows reenacted crippling defeats such as the Wounded Knee Massacre. These shows celebrated the conquest of the West and the decimation of the Native American population, but for the Native American actors who participated in them, they were also a means of earning money for their families.

In 1913, director Thomas Ince hired Native Americans who had performed in those traveling shows to work at his film production studio in Santa Ynez Canyon near Santa Monica. He also recruited several Sioux people from the Pine Ridge Reservation in South Dakota. In exchange for room and board, the actors were cast in Ince’s films or loaned out to other directors.

During that decade, white directors like Ince, Cecil B. DeMille, and D.W. Griffith laid the foundation for the Western narrative in Hollywood by borrowing heavily from Wild West shows. In Griffith’s The Battle of Elderbusch Gulch (1913), an unspecified tribe of savage “Indians” celebrated their annual “feast of dogs” before raiding a nearby white establishment.

Silver-screen tales about defeating Native American tribes proved to be hugely popular, so Hollywood churned them out. In most Westerns, white cowboys represent the shining future, whereas “Indians” are the dimming past. Cowboys are logical. “Indians” are irrational. Together, cowboys and Indians are the ego and the id of Anglo-Saxon identity.

But even though Western movies were brimming with stereotypical “Indian” roles, making a living in the film industry was difficult for Native American actors, many of whom left reservations after World War II to work in L.A. In Reimagining Indian Country, Nicolas Rosenthal writes about how the more prominent, higher-paying “Indian Chief” roles went to non-Native American actors, while Native Americans were stuck in the background—and paid a lower rate than other actors in the same supporting parts.

In 1926, several Native American actors created the War Paint Club, to provide support to Native American actors looking for work in L.A. and to encourage filmmakers to cast them in the “Indian Chief” roles. The War Paint Club also demanded that film companies pay Native American actors the same rate as non-Native American actors. They organized public powwows in the hopes of dispelling negative stereotypes perpetuated by Westerns.

The War Paint Club evolved into the Indian Actor’s Association in 1936, led by Luther Standing Bear, William Eagleshirt, and Richard Thunderbird. That in turn was later absorbed into the Screen Actors’ Guild in the early 1940s.

During the American Indian Movement of the 60s and 70s, television news channels broadcasted Wes Studi’s occupation of Wounded Knee, and a wider United States audience was exposed to the actual conditions of reservation life.

Around the same time, the “Indian” stereotype evolved from reactionary savage to the romantic victims of manifest destiny — from the vicious and blood thirsty Geronimo seen in Stagecoach (1939) to the Geronimo who fights to protect his tribe seen in Geronimo (1962).

This softening trend grew, as Native American actors assumed more prominent (if still rather one-note) roles, as with Will Sampson in One Flew Over the Cuckoo’s Nest (1975), Graham Green in Dances with Wolves (1990), and Russell Means in The Last of the Mohicans (1992).

Outside of the Hollywood system, Native American artists continually wrote, produced, directed and acted in their own short film productions. In 1909, James Young Deer, of the Nanticoke tribe, began his directing career with The Falling Arrow. In 1966, several Navajos near Pine Springs, Arizona, participated in an anthropological study that produced several short films known collectively as Navajos Film Themselves. Victor Masayesva, Jr. directed Weaving in 1981.

Starting with Chris Eyre’s Smoke Signals in 1998, Native American filmmakers began producing feature length movies on par with the Hollywood production system. In Canada, Zacharias Kunuk brought an Inuit legend to life with Atanarjuat: The Fast Runner (2001), while Georgina Lightning explored the horror genre with Older Than America (2008). Director Neil Diamond explored the birth of the Hollywood “Indian” stereotype in the documentary Reel Injun (2009). Jeff Barnaby released his visceral Rhymes for Young Ghouls (2013). And Sterlin Harjo examined the Muscogee-Creek hymns in his documentary, This May Be The Last Time (2014). Just to name a few.

Meanwhile, the Hollywood mainstream has cranked out a fledging resurgence of Westerns with (mostly panned) movies such as Cowboys & Aliens (2011) and The Lone Ranger (2013). In these projects, Native American actors have been restricted to background roles—which brings us back to some of what’s wrong with The Ridiculous Six.

I have personally experienced the level of ignorance that results from one’s only exposure to a culture being what one sees in movies. During my orientation week freshman year in 2006, many of my classmates, when they discovered my Navajo heritage, seemed to think I lived in a teepee and hunted buffalo in the plains on horseback. (For the record, Navajos are primarily farmers and shepherds. Our traditional houses, hogans, are used mainly for ceremonial purposes. We drive cars to get to places. So, no.)

Further, they wanted to know why I didn’t wear any feathers or have long, black hair. I was shocked by how little my fellow students knew about Native Americans, and how much they based their perception of me and my heritage on what they had seen in westerns.

The most troubling aspect of The Ridiculous Six is how the script depicts Native American women as promiscuous, by using names such as “Sits-On-Face.” This may be presented in a spirit of levity for an audience that appreciates fart jokes as much as Sandler, but it undermines the dire circumstances of Native American women, who experience high levels of sexual assault and violence.

In all likelihood, of course, Sandler’s team wasn’t aware of these disturbing statistics when they began writing The Ridiculous Six. But their ignorance isn’t an excuse. Such carelessness with racist, sexist jokes can establish misperceptions that are hazardous in real life to real people.

Brian Young is a Navajo filmmaker currently living in Albuquerque, New Mexico. Among his projects are two short animated films (Lady and the Eagle and Rainbow Bird) and Yeego Nitl’aa’, an exercise video series narrated in Navajo. He wrote this for Thinking L.A., a partnership of UCLA and Zócalo Public Square.

TIME Ideas hosts the world's leading voices, providing commentary and expertise on the most compelling events in news, society, and culture. We welcome outside contributions. To submit a piece, email ideas@time.com.

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