Ben Affleck No Longer Directing Batman

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Ben Affleck won’t be stepping behind the camera for the upcoming Batman stand-alone movie after all.

The actor had been set to both star in and helm the film, tentatively titled The Batman, but on Monday announced that he is exiting the director’s chair of the Warner Bros. project.

“There are certain characters who hold a special place in the hearts of millions,” Affleck said in a statement. “Performing this role demands focus, passion and the very best performance I can give. It has become clear that I cannot do both jobs to the level they require. Together with the studio, I have decided to find a partner in a director who will collaborate with me on this massive film. I am still in this, and we are making it, but we are currently looking for a director. I remain extremely committed to this project, and look forward to bringing this to life for fans around the world.”

The move has been in the works for several weeks now, according to a source.

“Warner Bros. fully supports Ben Affleck’s decision and remains committed to working with him to bring a standalone Batman picture to life,” the studio said in a statement.

Insiders say that Affleck and the studio came to a mutual decision that it would be best for the project if it was not helmed by someone with the split focus of being both the star and helmer.

Rumors of Affleck departing the director’s chair have swirled for a couple of months now, when he let on that the project was having script issues during press for Live by Night, the gangster movie he directed for Warners. The issues first came to light when author Bret Easton Ellis mentioned them during a November podcast. Affleck and execs have been unhappy regarding the script for weeks, according to sources.

One insider says that Live by Night‘s poor performance caused Affleck to rethink his approach to his projects after that film bombed recently, having taken in just $18.9 million globally to date.

No release date had been set for the Batman movie, which also is set to star Joe Manganiello as the villain Deathstroke. But the film has been seen as a key part of Warner Bros.’ DC strategy, so much so that it had been prioritized over a Justice League sequel.

So far, Affleck has played the Dark Knight in last year’s Batman v. Superman: Dawn of Justice and Suicide Squad. He next will appear in November’s DC superhero team-up movie Justice League.

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Charlie Sheen Bails On $1 Million Donation To Wounded Vets

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Charlie Sheen has wimped out on his big bucks pledge to donate $1 million to America’s wounded warriors!

“The money, Charlie said, was to come out of his profits from Anger Management,” spilled a source close to the former Two and A Half Men star.

“He made a great big show of the donation, but never actually gave them a red cent because the FX show never technically turned a profit.”
The incredibly generous gift would have gone towards an entertainment facility for injured troops in Bethesda, Md.

What’s more, the donation would have been the single largest contribution from an individual in the organization’s history.

At the time, Sheen’s career was in a death spiral after a number of drug-related incidents, and he was desperate to rehabilitate his image, insiders said.
“It’s an honor for me to be able to give back to these men and women of the military who have done so much for all of us!” Sheen declared in announcing the donation.

“They put their lives on the line for us every day, and I’m just happy that my work on Anger Management can bring a little bit of relief to the troops and their families.”

Sheen reportedly pledged to donate one percent of the profits from the FX comedy to the USO, with a guaranteed $1 million minimum.

The first installment of $250,000 was supposed to have been donated in a private ceremony, insiders said. And military officials were thrilled with the actor’s generosity.

“The USO would like to thank Charlie Sheen for his very generous $1 million donation to our Operation Enduring Care Campaign and his interest in helping us lift the spirits of those who have endured so much to protect the freedoms we enjoy daily,” said Gen. John I. Pray Jr., executive vice president and joint chief of staff for the U.S. Air Force.
“His support is greatly appreciated, especially from our wounded warriors and their families.”

Career-conscious Sheen also announced plans to donate money to several other charities, including Autism Speaks, [the diabetes charity] JDRF, and the Boys and Girls Club.

But he never coughed up the cash to those groups either, sources said.

At one time, Forbes named Sheen the highest-paid actor on TV, noting that he’d raked in $40 million between May 2010 and May 2011.

But, as Radar reported, the drug-troubled, HIV-positive train wreck had officially hit rock bottom — and moved back in with his parents, living in the Malibu guesthouse of Martin and Janet Sheen.

A rep for the USO did not return Radar’s call regarding Charlie’s pledge.

But a source said: “As usual, Charlie talked a lot but never followed through.”

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James L. Brooks Remembers Mary Tyler Moore

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“Let me start with Mary,” said James L. Brooks stepping up to the podium tonight at the Producers Guild Awards where the TV creator/filmmaker was receiving the Norman Lear Achievement Award.
“I promise you as a woman, she was everything you sensed. She had dignity, worth, legs, wit, she was intrinsically valiant, she was the woman who was at the center of the work and who never complained. She made grace contagious. Let’s have a hand for Mary.”
Prior to Brooks speech, a reel of his TV series played including Mary Tyler Moore’s “Thanks for being my family” speech to her coworkers on Mary Tyler Moore where they then engage in a huge, hysterical group hug. “It was Mary who wanted to say the goodbye speech,” said Brooks.
Brooks remembered Moore’s late husband, Grant Tinker who was the co-founder of MTM Enterprises which produced Mary Tyler Moore, Rhoda, and The Bob Newhart Show. “He was the mayor of Shang-ri-la, creating happy neurotics and supporting them at every turn.” He was a boss who was loved by his employees, but the real thing where the heart beats faster, and every interaction with the boss was a ‘Dear Diary’ moment.”
Brooks recalled the fearful moment when he was sent by MTM to pitch a roomful of CBS executives the idea of Mary Tyler Moore, a memory the creator referred to as “Now you’ve ever been in an accident? Where there’s a point in the calamity where everything is in slow motion?” Brooks said that the room hardly laughed and reminded him that according to audience research at the time, that the things which don’t resonate on TV were “divorce, men with mustaches and Jews, and he was looking at them when he said Jews.”
The executives ordered Tinker to fire Brooks’ team, but the MTM chief wouldn’t have it. He was such a mensch, he gave Brooks the rights for Taxi (based on magazine article) gratis when the TV creator left for Paramount TV because “he wanted to see what we could do with it.”
Brooks also praised late Paramount TV chief Gary Nardino who fought for Taxi to stay within its choice time period, as well as Barry Diller who greenlit Simpsons without a pilot script.
“It’s often our bosses who shape and color our lives and can send us along with new energy and resolve or terrorize us, sending us off crying,” said Brooks who praised TV as the standard entertainment format.
Exclaimed Brooks, “A TV series is the best job that gives you creativity, freedom, continuity. It’s still the place where executives lean forward when someone says ‘I have a crazy idea.’ The best jokes rule, and the script is king.”
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What Really Killed Steve McQueen

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Steve McQueen died on November 7, 1980 at 50 years old in a hospital in Mexico, but did cancer really kill the legendary actor?

Autopsy: The Last Hours of Steve McQuee nwill work to uncover the truth and expose the star’s mysterious death through examining extensive medical records.

“I’ll be unraveling the truth surrounding Steve McQueen’s death and attempting to reveal exactly what happened to this iconic star during the last months, days and hours of his life,” Forensic Pathologist Dr. Michael Hunter says in the documentary.

McQueen is known for his roles in The Great Escape, The Magnificent Seven and Bullitt. By the mid-1970s, he became the world’s highest paid movie stars.

The actor underwent cancer treatment at a hospital in Mexico before his death, which doctors called “quackery.”

Autopsy: The Last Hours of Steve McQueen airs on Saturday, January 28 at 8 ET/PT on REELZ.

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Mike Connors Passes Away At 91

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As the heroic good guy on the CBS action series, he was among the highest-paid TV actors in the early 1970s. He played basketball for John Wooden at UCLA.
Mike Connors, who took a punch as well as anyone while playing the good-guy private detective on the long-running Saturday night action series Mannix for CBS, has died. He was 91.

A former basketball player for legendary coach John Wooden at UCLA, Connors died Thursday, The Hollywood Reporter confirmed. No other details were immediately available.

Mannix, the last series from Lucille Ball and Desi Arnaz’s famed TV company Desilu Productions to air, ran for eight seasons from September 1967 until April 1975. Created by Richard Levinson and William Link and developed by executive producer Bruce Geller (Mission: Impossible), the hit show featured an electric theme from jazz great Lalo Schifrin and starred Connors as a noble Korean War veteran.

The first season of the series had Mannix employed at Intertect, a large Los Angeles detective agency run by Lew Wickersham (Joseph Campanella). But he wasn’t the corporate type, and starting with the second season, Mannix was on his own, working out of his home office at 17 Paseo Verde.

Mannix drove several hot automobiles during the series’ run (some souped up by George Barris), including a 1969 Dodge Dart, a 1970 Plymouth Barracuda convertible and a 1974 Dodge Challenger. He was often seen bailing out of these cars when the brakes were tampered with — that is, when he wasn’t getting beaten up or shot at by the bad guys. (By one count, Mannix was shot 17 times and knocked unconscious 55 times on the show.) His athleticism and striking dark looks were perfect for the role.

Though Mannix was criticized for being excessively violent when it aired, Connors said in a 1997 interview with the Los Angeles Times that the series was tame by modern-day standards.

“We did have car chases and fights,” he recalled, “but when you compare them to shows that are on now, we were very, very low-keyed.”

For all the physical abuse, the broad-shouldered Connors became one of the highest-paid stars on television, earning $40,000 an episode at the height of the show’s ratings run. (He sued CBS and Paramount in May 2011, claiming he was never paid royalties on the show and was owed millions of dollars.)

Connors received four Emmy nominations from 1970-73 and six Golden Globe noms from 1970-75 but won just once, picking up a trophy from the Hollywood Foreign Press Association in 1970. The only Emmy the show ever received was given that year to Gail Fisher, who played Peggy Fair, Mannix’s prim and steady secretary (she was widow of a cop killed in the line of duty). Fisher was one of the first African-American actresses to have a regular series role on TV.

“I loved the show, I loved doing it, and it had no negatives as far as I was concerned,” Connors said during a 2014 interview.

“The show itself started a whole new era of detective shows, because this wasn’t the usual cynical private eye a la Humphrey Bogart. It was more a show about an all-around normal human being. The character of Joe Mannix could be taken advantage of by a pretty face, he could shed a tear on an emotional level, he was very close to his father and his family, so he was more a normal personality with normal behavior. I think that’s a part of why the show was so successful.”

Two other producers on the show, Ivan Goff and Ben Roberts, were veteran movie screenwriters whose work included White Heat (1949), starring James Cagney.

The Armenian-American actor also was recognizable for three other series: Tightrope (1959-60), in which he starred as an undercover agent infiltrating organized crime; Today’s FBI (1981-82), in which he played an FBI supervisor; and the syndicated series Crimes of the Century (1989), which he hosted. He played Robert Mitchum’s wartime comrade in the 1988-89 miniseries War and Remembrance.

Born Krekor Ohanian in Fresno, Calif., on Aug. 15, 1925, Connors served in the Army Air Force during World War II, then came to Westwood on a basketball scholarship. While aiming for law school, he developed a passion for acting and appeared in several plays. He was encouraged by Oscar-winning writer-director William Wellman (A Star Is Born), who spotted him while he played for the Bruins.

At one point, he was represented by future James Bond producer Cubby Broccoli.

Connors got his professional start in 1952 in an RKO release, Sudden Fear, as Touch Connors (Touch had been his nickname at UCLA). He continued in small roles for a number of years, with turns in Island in the Sky (1953), starring John Wayne, and as a herder in The Ten Commandments (1956) with Charlton Heston.

He made his TV debut in 1954 with a role on Ford Theatre and continued with numerous small roles while gaining recognition as a heavy in such Westerns as Gunsmoke, Maverick, Wagon Train and Cimarron City.

He changed his name to Mike Connors in 1958 and appeared in such movies as Live Fast, Die Young (1958) and Situation Hopeless … But Not Serious (1965), which starred Alec Guinness. He landed one of his best early movie roles in the 1966 remake of Stagecoach, playing the cardsharp.

Throughout his career, which spanned nearly 50 years, Connors made numerous guest-star appearances on such shows as The Life and Legend of Wyatt Earp, The Millionaire, The Untouchables, The Fall Guy, The Love Boat, Walker, Texas Ranger, Murder, She Wrote, Burke’s Law, The Commish, Diagnosis Murder (where he returned as Joe Mannix) and, in 2007, Two and a Half Men.

He voiced the character Chipacles in Disney’s animated series Hercules.

Other film credits included Sudden Fear (1952) opposite Joan Crawford; Too Scared to Scream (1985), which he also produced; Avalanche Express (1979); James Dean: Race With Destiny (1997), as studio head Jack Warner; and Gideon (1999).

Connors, who was married for more than 65 years to the former Mary Lou Willey, was active in charitable organizations, including Operation Missing Persons, an educational program to promote awareness of the neurological disorder dystonia. He also served as a spokesperson for the National Alliance for the Mentally Ill.
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Mary Tyler Moore Passes Away At 80

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TV icon Mary Tyler Moore died on Wednesday after being hospitalized in Connecticut, her rep confirmed to The Huffington Post. She was 80.

“Today, beloved icon, Mary Tyler Moore, passed away at the age of 80 in the company of friends and her loving husband of over 33 years, Dr. S. Robert Levine. A groundbreaking actress, producer, and passionate advocate for the Juvenile Diabetes Research Foundation, Mary will be remembered as a fearless visionary who turned the world on with her smile,” her rep Mara Buxbaum told The Huffington Post in a statement.

Moore, who was born in Brooklyn, New York, in 1936 and grew up in Los Angeles, rose to international fame starring on the 1960s sitcom “The Dick Van Dyke Show.” She later starred on the beloved 1970s sitcom “The Mary Tyler Moore Show,” which is one of the first shows to feature a never-married, working woman as its central character. Moore played single, 30-year-old TV news producer Mary Richards.
The show, which featured Moore’s character asking for equal pay to her male co-worker and going on the pill, became a paradigm of the women’s liberation movement and is credited with inspiring women to break the mold confining them as wives and homemakers.

“I think Mary Tyler Moore has probably had more influence on my career than any other single person or force,” Oprah Winfrey said in a recent PBS documentary celebrating the actress.

When asked in a 2002 CNN interview if her character on “The Mary

Tyler Moore Show” was a feminist, Moore didn’t hesitate.

“She wasn’t aggressive about it, but she surely was,” she said. “The writers never forgot that. They had her in situations where she had to deal with it.”

The real-life Mary commanded just as much respect. Her namesake show came to fruition in 1970, when she and her former husband Grant Tinker co-founded production company MTM Enterprises and successfully pitched the show to CBS. In its seven-season run, “The Mary Tyler Moore Show” held the record for most Emmys won ― 29 ― until “Frasier” broke it in 2002.

“First and foremost Mary was a businesswoman and she ran her series beautifully,” friend and “The Mary Tyler Moore Show” director Alan Rafkin recalled in his autobiography. “She was the boss, and although you weren’t always wedded to doing things exactly her way, you never forgot for a second that she was in charge.”

After the show, Moore continued her acting career and earned an Oscar nomination for Best Actress for her portrayal of a mother grieving the loss of her son in 1980’s “Ordinary People.” She most recently appeared in “Hot In Cleveland,” alongside her “Mary Tyler Moore Show” co-star Valerie Harper.
She became an outspoken advocate for animal rights, founding Broadway Barks 15, an annual homeless cat and dog adoption event in New York City, and has fought for legislation to protect farm animals from inhumane suffering.

“I would like to be remembered as somebody who made a difference in the lives of animals,” she said in a 1997 interview for the Archive of American television.

Moore, who was diagnosed with type 1 diabetes at age 33 and suffered near blindness resulting from the disease in recent years, has also been a longtime advocate for researching cures for diabetes and served as the international chairman of the Juvenile Diabetes Research Foundation. She published a memoir on the subject, Growing Up Again: Life, Loves, and Oh Yeah, Diabetes, in 2009.

She was preceded in death by her son, Richard, in 1980 and is survived by her husband, Robert Levine.
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Dan Aykroyd Writes Touching Tribute To Carrie Fisher

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Dan Aykroyd opened up about his love for the late Carrie Fisher in a letter he penned for a recent issue of London’s Empire magazine.

Fisher and Aykroyd met when she hosted Saturday Night Live in 1978, and they fell in love while working together on 1980’s Blues Brothers.

“Carrie embraced my friends and I was embraced in warmly human and Hollywood-glamorous emotional comfort, elegance and excitement,” Aykroyd wrote. “Debbie [Reynolds] would cook for us and Carrie’s tech-wizard brother Todd would take me on high-intensity cruises in muscle cars and on motorcycles through Beverly Hills with great young people, Jose Ferrer and Donna Ebsen.”

Fisher and her mother, Debbie Reynolds, died a day apart last month. Fisher was 60. Reynolds was 84.

Aykroyd remembered the whirlwind relationship and how serious it got between the two of them.

“While in Chicago we obtained blood tests for compatibility from an East Indian female doctor,” he wrote. “Contemplating marriage, I gave Carrie a sapphire ring and subsequently in the romance she gave me a Donald Roller Wilson oil painting of a monkey in a blue dress next to a tiny floating pencil, which I kept for years until it began to frighten my children.”

The Ghosbusters creator closed by reminiscing about his and Fisher’s final romantic weekend together, before she went back to musician Paul Simon, with whom she was also in love at the time.

“The next morning she asked me to drive her to the airport and she flew to New York,” Aykroyd wrote. “Architectural reservations notwithstanding, Carrie wasn’t shallow, we had a great time. She was also in love with Paul Simon. She married him but I hope she kept my ring.”
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Ewan McGregor Scraps UK Talk Show Visit Over Piers Morgan

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Shortly before he was due to appear on ITV’s Good Morning Britain today, Ewan McGregor pulled out of the interview, citing comments made about this weekend’s Women’s March by host Piers Morgan. A supporter of President Donald Trump, Morgan yesterday on the program described some of the women who marched as “rabid feminists” and said he didn’t “see the point of the march(es)” which he called “generic” and “vacuous.”

On Twitter this morning, McGregor, who is out promoting Trainspotting sequel T2: Trainspotting, wrote, “Was going on Good Morning Britain, didn’t realise Piers Morgan was host. Won’t go on with him after his comments about #WomensMarch.”

On his Twitter account (whose timeline photo is of he and Trump), Morgan responded by saying McGregor is “just an actor after all.”

Morgan also tweeted he expected McGregor was reacting to his Monday column in the Daily Mail in which he called himself “a feminist,” but decried comments made by Madonna on Saturday saying, “I can’t abide the feminazis, the radical, extreme feminists like Madonna.”

On Tuesday, Morgan took to the middle-market UK tabloid to launch a vicious attack on the McGregor where he referred to the actor as “unprofessional” and “disingenuous.”

“An actor who had contractually agreed to appear on a TV show to promote his new film pulls out at the last minute because he doesn’t like the political opinion of one of the presenters,” said Morgan.

Morgan said that after scrolling through McGregor’s Twitter feed, it “revealed a man absolutely enraged by both Donald Trump’s ascent to the presidency, and by Britain’s decision to leave the European Union.” He added: “His fury at the latter may strike some as slightly disingenuous given that McGregor himself quit the EU years ago to go and live the life of a pampered millionaire movie star in Hollywood. But I’ll leave others to decide whether that is hypocritical or not.”

The presenter continued his tirade by taking a swipe at celebrities who take the podium to make “political statements that remain unchallenged,” which he says was “typified by Meryl Streep’s extraordinarily pompous and elitist anti-Trump speech at the recent Golden Globes.”

Morgan even suggested that those who voted for Trump or for Brexit to “now boycott his movies” before criticizing McGregor for being “paedophile-loving” due to the fact he worked on Roman Polanski’s film The Ghostwriter.

A spokesperson for Good Morning Britain told the BBC today that McGregor “came into GMB this morning to be interviewed about his new film but decided not to go ahead with it.”

Per the Guardian, Morgan said on the telecast this morning, “Sorry that Ewan McGregor’s not here. He couldn’t bear the thought of being on the sofa with me because he doesn’t agree with me about the women’s march… I have to agree with what an actor thinks about a particular issue because they’re actors. And as we know actors’ views are more important than anybody else’s.”

McGregor’s daughters had marched on Saturday.

The long-awaited Trainspotting sequel reunites director Danny Boyle with McGregor, Robert Carlyle, Jonny Lee Miller and Ewen Bremner. The world premiere was held earlier this week in Edinburgh with the UK release coming Friday via Sony.

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Oscars: ‘La La Land’ Ties Record With 14 Nominations

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Oscar nominations were announced Tuesday morning.

La La Land leads with 14 noms, tying the record previously set by All About Eve in 1950 and Titanic in 1997.

Other top nominees include Arrival and Moonlight (with eight apiece), Hacksaw Ridge, Lion and Manchester by the Sea (with six apiece) and Fences and Hell or High Water (with four apiece).

Past Oscar winners and nominees Jennifer Hudson, Brie Larson, Emmanuel Lubezki, Jason Reitman and Ken Watanabe joined Academy president Cheryl Boone Isaacs in presenting the 24 categories for the 89th Academy Awards.

The 2017 Academy Awards will be hosted by Jimmy Kimmel and take place at the Dolby Theatre at Hollywood & Highland Center in Hollywood. ABC will broadcast the show live on Sunday, Feb. 26, starting at 5:30 p.m. PT.

Best Picture

Arrival (Produced by Shawn Levy, Dan Levine, Aaron Ryder and David Linde)

Fences (Produced by Scott Rudin, Denzel Washington and Todd Black)

Hacksaw Ridge (Produced by Bill Mechanic and David Permut)

Hell or High Water (Produced by Carla Hacken and Julie Yorn)

Hidden Figures (Produced by Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi)

La La Land (Produced by Fred Berger, Jordan Horowitz and Marc Platt)

Lion (Produced by Emile Sherman, Iain Canning and Angie Fielder)

Manchester by the Sea (Produced by Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck and Kevin J. Walsh)

Moonlight (Produced by Adele Romanski, Dede Gardner and Jeremy Kleiner)

Best Director

Denis Villeneuve (Arrival)

Mel Gibson (Hacksaw Ridge)

Damien Chazelle (La La Land)

Kenneth Lonergan (Manchester by the Sea)

Barry Jenkins (Moonlight)

Best Actor

Casey Affleck (Manchester by the Sea)

Andrew Garfield (Hacksaw Ridge)

Ryan Gosling (La La Land)

Viggo Mortensen (Captain Fantastic)

Denzel Washington (Fences)

Best Actress

Isabelle Huppert (Elle)

Ruth Negga (Loving)

Natalie Portman (Jackie)

Emma Stone (La La Land)

Meryl Streep (Florence Foster Jenkins)

Best Supporting Actor

Mahershala Ali (Moonlight)

Jeff Bridges (Hell or High Water)

Lucas Hedges (Manchester by the Sea)

Dev Patel (Lion)

Michael Shannon (Nocturnal Animals)

Best Supporting Actress

Viola Davis (Fences)

Naomie Harris (Moonlight)

Nicole Kidman (Lion)

Octavia Spencer (Hidden Figures)

Michelle Williams (Manchester by the Sea)

Best Adapted Screenplay

Arrival (Eric Heisserer)

Fences (August Wilson)

Hidden Figures (Allison Schroeder, Theodore Melfi)

Lion (Luke Davies)

Moonlight (Barry Jenkins; Story by Tarell Alvin McCraney)

Best Original Screenplay

Hell or High Water (Taylor Sheridan)

La La Land (Damien Chazelle)

The Lobster (Yorgos Lanthimos, Efthymis Filippou)

Manchester by the Sea (Kenneth Lonergan)

20th Century Women (Mike Mills)

Best Animated Feature

Kubo and the Two Strings (Travis Knight and Arianne Sutner)

Moana (John Musker, Ron Clements and Osnat Shurer)

My Life as a Zucchini (Claude Barras and Max Karli)

The Red Turtle (Michael Dudok de Wit and Toshio Suzuki)

Zootopia (Byron Howard, Rich Moore and Clark Spencer)

Best Documentary Feature

Fire at Sea (Gianfranco Rosi and Donatella Palermo)

I Am Not Your Negro (Raoul Peck, Remi Grellety and Hebert Peck)

Life, Animated (Roger Ross Williams and Julie Goldman)

O.J.: Made in America (Ezra Edelman and Caroline Waterlow)

13th (Ava DuVernay, Spencer Averick and Howard Barish)

Best Foreign-Language Film

Land of Mine (Denmark)

A Man Called Ove (Sweden)

The Salesman (Iran)

Tanna (Australia)

Toni Erdmann (Germany)

Best Cinematography

Arrival (Bradford Young)

La La Land (Linus Sandgren)

Lion (Greig Fraser)

Moonlight (James Laxton)

Silence (Rodrigo Prieto)

Best Film Editing

Arrival (Joe Walker)

Hacksaw Ridge (John Gilbert)

Hell or High Water (Jake Roberts)

La La Land (Tom Cross)

Moonlight (Joi McMillon, Nat Sanders)

Best Costume Design

Allied (Joanna Johnston)

Fantastic Beasts and Where to Find Them (Colleen Atwood)

Florence Foster Jenkins (Consolata Boyle)

Jackie (Madeline Fontaine)

La La Land (Mary Zophres)

Best Makeup & Hairstyling

A Man Called Ove (Eva von Bahr and Love Larson)

Star Trek Beyond (Joel Harlow and Richard Alonzo)

Suicide Squad (Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson)

Best Original Score

Jackie (Mica Levi)

La La Land (Justin Hurwitz)

Lion (Dustin O’Halloran and Hauschka)

Moonlight (Nicholas Britell)

Passengers (Thomas Newman)

Best Original Song

“Audition (The Fools Who Dream),” from La La Land (Music by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul)

“Can’t Stop the Feeling,” from Trolls (Music and lyrics by Justin Timberlake, Max Martin and Karl Johan Schuster)

“City of Stars,” from La La Land (Music by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul)

“The Empty Chair,” from Jim: The James Foley Story (Music and lyrics by J. Ralph and Sting)

“How Far I’ll Go,” from Moana (Music and lyrics by Lin-Manuel Miranda)

Best Production Design

Arrival (Production design: Patrice Vermette; Set decoration: Paul Hotte)

Fantastic Beasts and Where to Find Them (Production design: Stuart Craig; Set decoration: Anna Pinnock)

Hail, Caesar! (Production design: Jess Gonchor; Set decoration: Nancy Haigh)

La La Land (Production design: David Wasco; Set decoration: Sandy Reynolds-Wasco)

Passengers (Production design: Guy Hendrix Dyas; Set decoration: Gene Serdena)

Best Sound Editing

Arrival (Sylvain Bellemare)

Deepwater Horizon (Wylie Stateman and Renée Tondelli)

Hacksaw Ridge (Robert Mackenzie and Andy Wright)

La La Land (Ai-Ling Lee and Mildred Iatrou Morgan)

Sully (Alan Robert Murray and Bub Asman)

Best Sound Mixing

Arrival (Bernard Gariepy Strobl and Claude La Haye)

Hacksaw Ridge (Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace)

La La Land (Andy Nelson, Ai-Ling Lee and Steve A. Morrow)

Rogue One: A Star Wars Story (David Parker, Christopher Scarabosio and Stuart Wilson)

13 Hours: The Secret Soldiers of Benghazi (Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth)

Best Visual Effects

Deepwater Horizon (Craig Hammack, Jason Snell, Jason Billington and Burt Dalton)

Doctor Strange (Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould)

The Jungle Book (Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon)

Kubo and the Two Strings (Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff)

Rogue One: A Star Wars Story (John Knoll, Mohen Leo, Hal Hickel and Neil Corbould)

Best Animated Short

Blind Vaysha (Theodore Ushev)

Borrowed Time (Andrew Coats and Lou Hamou-Lhadj)

Pear Cider and Cigarettes (Robert Valley and Cara Speller)

Pearl (Patrick Osborne)

Piper (Alan Barillaro and Marc Sondheimer)

Best Documentary Short

Extremis (Dan Krauss)

4.1 Miles (Daphne Matziaraki)

Joe’s Violin (Kahane Cooperman and Raphaela Neihausen)

Watani: My Homeland (Marcel Mettelsiefen and Stephen Ellis)

The White Helmets (Orlando von Einsiedel and Joanna Natasegara)

Best Live-Action Short

La Femme et le TGV (Timo von Gunten and Giacun Caduff)

Silent Nights (Aske Bang and Kim Magnusson)

Sing (Kristof Deak and Anna Udvardy)

Timecode (Juanjo Gimenez)

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Alec Baldwin To Host ‘Saturday Night Live’ On Feb. 11

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Alec Baldwin has been appearing as now-President Donald Trump on “Saturday Night Live” for quite a while, but only in the capacity of a guest. On Feb. 11, NBC says, he’ll return again as host.

This will be Baldwin’s 17th time delivering the monologue from the stage at Studio 8H, giving him a new record for most times hosting the show. Ed Sheeran will be the musical guest for the occasion.

Presented by The Griper – E.Cowan

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