Zsa Zsa Gabor, Famous for Being a Celebrity, Dies at 99





Courtesy of Photofest Zsa Zsa Gabor


The socialite had a small part in 'Touch of Evil' but was renowned for her extravagant Hollywood lifestyle, many marriages and penchant for calling everyone "dahling."

by Duane Byrge , Mike BarnesZsa Zsa
Gabor, the actress who worked little but wed often and gained fame for her glamorous, outlandish persona and extravagant Hollywood lifestyle, has died. She was 99.

Gabor, who paved the way for the likes of modern-day socialites Paris Hilton and Kim Kardashian, died at her home Sunday afternoon, Ed Lozzi, a publicist for Gabor, confirmed to CBS LA. She had battled serious health issues since she fell out of bed, broke her left hip and underwent hip-replacement surgery in July 2010. Months later, her right leg was amputated above the knee to prevent the spread of gangrene.

Wed nine times, the 1936 Miss Hungary contestant made a career joking about her many marriages and luxurious needs. With her diamonds, furs and sense of privilege, she cultivated a comic image of an Old World gold digger and exuded a blond swagger.

Gabor’s former spouses included such well-heeled gents as hotel magnate Conrad Hilton and Oscar-winning actor and bon vivant George Sanders, who later married her sister Magda.

She was the mother of actress Francesca Hilton, who died of a heart attack in 2015.

Although A Touch of Evil, she was more recognized for her outlandish persona, extravagant lifestyle and penchant for calling everyone “dahling.”

“I don’t remember anybody’s name,” she once said. “How do you think the ‘dahling’ thing got started?

Gabor embodied the Hollywood concept of “celebrity”: A headline-grabbing, spotlight-attracting Bel Air resident regularly in the public eye not because of any unique accomplishment but simply for “being.”

“Every age has its Madame Pompadour, its Lady Hamilton, its Queen of Sheba, it’s Cleopatra, and I wouldn’t be surprised if history singles out Zsa Zsa as its 20th century prototype of this exclusive coterie,” Sanders wrote in his 1992 autobiography Memoirs of a Professional Cad.

Magda, who died in 1997, and Gabor’s other sister, Eva, who died in 1995, also were celebrated beauties, though Magda generally shunned the public eye. Eva co-starred with Eddie Albert in the 1965-71 CBS comedy Green Acres, playing scatter-brained city-slicker wife Lisa Douglas.

Zsa Zsa Gabor’s haughty grandeur wore thin on occasion: In 1989, she was convicted of slapping a Beverly Hills policeman and sentenced to 72 hours in jail and perform community service. In 2002, she was involved in a serious car accident on Sunset Boulevard as the passenger in a car driven by her hairdresser.

In addition to her celebrity status, Gabor was author of 1970’s How to Catch a Man, considered a how-to guide for gold diggers. Gabor’s zingy humor came to light unexpectedly on an early live TV show where she dismissed a compliment on her gaudy diamonds with, “Oh, Dahling, zese are just my vorking diamonds.”

Her straight-faced, diva-style quips made her a popular talk-show guest in the 1970s and ‘80s; in particular, Merv Griffin delighted in plumbing the depths of her shallowness. When queried by the mock-serious host about her housekeeping, she retorted: “I am a marvelous housekeeper. Every time I leave a man, I keep his house.”

Her zingy humor unexpectedly had come to light on an early live TV show on which she dismissed a compliment on her gaudy diamonds with, “Oh, dahling, zese are just my vorking diamonds.”

Gabor was game for spoofing her own image: She appeared in one of David Letterman’s Late Night gags, accompanying the baseball-capped host to suburban New Jersey, where they appeared on doorsteps with Gabor asking the stunned housewives if she could come in and take a look at the shoes in their closets.

‘Rogue One’ Aims For $155M Weekend; ‘Collateral Beauty’ Still Ugly – Sunday





Rogue One: A Star Wars Story is now looking to punch the hyperspace button toward a $155M weekend opening after a $46.25M Saturday, which is down 35% from the pic’s $71M Friday (including $29M previews). That’s the Sunday morning estimate from Disney. That figure was the 12th best opening day ever and second-best for December after Force Awakens’ all-time high of $119.1M.
 
Today is a wild card for Rogue One. There’s fewer schools out on Monday (48% per Disney’s watch) than a year ago (77%), and the Gareth Edwards-directed prequel could ease -17% today from yesterday.  By comparison, Episode VII‘s declined -11% between its first Saturday and Sunday. 

However, there’s talk that the film is already on a roll, and could swell well north of $155M — wow. 

One sharp non-Disney box office analyst this morning predicts that Rogue One is headed to $575M-$600M. Titanic, the third highest grossing pic stateside of all-time, made $600.7M before its re-releases.
Remember, this year is set to break a record at the domestic B.O., beating last year’s $11B. 

ComScore shows that after this weekend, we’re at $10.6B before we hit the uber-lucrative holiday frame, 4% ahead of last years $10.2B at the same point in time for Jan. 1-Dec. 18. Interestingly enough, at $210M this wasn’t the highest grossing weekend of 2016, rather it was Easter weekend with Batman v. Superman which raked in a total ticket sales number of $252.3M.


Rogue One‘s percent hold between Friday and Saturday bests the -43% ease over the same time frame for Force Awakens. We always knew Rogue One wouldn’t be Force Awakens, but even if the prequel’s opening is -37% from the J.J. Abrams-directed sequel,  it’s still phenomenal business for this time of year, and the fun part will be watching this pic conquer throughout the holiday.
 
Disney’s marketing timeline for Rogue One was very different from Force Awakens, and intentionally so.  Initially, we saw the first trailer for Force Awakens more than a year in advance over Thanksgiving 2014. Partly, Disney did not want to confuse audiences in regards to Rogue One‘s connection to Force Awakens. It’s why they opted not to drop a trailer with Force Awakens and waited close to four months after that giant calmed down before they unveiled a Rogue One trailer on Good Morning America April 7. The launch drew 77M global views and was further bolstered by an in-theater trailer drop on Captain America: Civil War‘s opening weekend during the first frame of May.
 
But another reason why Rogue One had a different rollout for its promotions during the course of the calendar was because “with the standalone movie, part of the conceit was to create a way in for the uninitiated in Star Wars. We wanted to tee this up as an event. And a response like this shows that Rogue One is part of this unbelievable brand,” says Disney domestic distribution chief Dave Hollis.
 
Hollis gave a big shoutout to Disney marketing architects Ricky Strauss, president of marketing, and Asad Ayaz, EVP marketing Walt Disney studios and their “global marketing team for the ages.” 

They’re the guys who marshal the individual departments from creative to social to media and have catapulted Disney to $7 billion at the worldwide B.O.

Star Wars Celebration
StarWars.com
On July 16 a Star Wars Celebration panel in London was live-streamed globally and featured the teaser poster debut, an exclusive behind-the-scenes featurette, and the full principal cast (Felicity Jones, Diego Luna, Riz Ahmed, Forest Whitaker, Mads Mikkelsen, Alan Tudyk, Donnie Yen, Jiang Wen, Ben Mendelsohn) on stage with director Gareth Edwards, Kathleen Kennedy, Kiri Hart, and John Knoll, moderated by Force Awakens star Gwendoline Christie. This event truly expanded a spotlight on the film, revealing more details about this fresh crop of characters.


There was a Rio Olympics stunt with a five-day multi-channel integration across multiple day-parts and events with custom TV creative, co-branded spots with day-of event footage. The payoff poster debuted on The Star Wars Show on Oct. 12 with trailer dropping Oct. 13 on GMA, supported across ESPN, Univision, and ABC News, and debuting in theaters with Doctor Strange. There were major media hits across Thanksgiving Weekend, leading to a Cyber Monday ticketing blitz across Fandango, YouTube, Flixster, IMDb, VEVO, Yahoo Movies, NFL, The Voice, Gotham, Twitter and more, with ticket sellers and exhibitors offering special packages and generating the second highest presales for any movie ever except for The Force Awakens. Twitter supported with creation of a Death Star emoji.

rogue-one-nissan

Extensive synergy support across Disney, including ESPN SportsCenter takeover throughout December and unprecedented segment during College Football Games (Dec. 2-3) that featured fighter jets flyovers, Epcot’s Spaceship Earth at Orlando’s Disney World being turned into the Death Star (Dec. 5) with Mads Mikkelsen in attendance. This was live-streamed on Disney Parks blog and other Star Wars and Walt Disney Studios social channels. Major Rogue 

One promotional partners included Gillette, Duracell, Nissan, Verizon, General Mills, and Uber; digital partnerships included Google, Twitter, Facebook.
 
At $19M, Rogue One is the second biggest December opening for Imax theaters ever, and the best to date in 2016. That figure reps over 12% of the pic’s weekend ticket sales. The large format provider had to add 2AM showtimes across the country to meet demand. Rogue One easily slots into the top 5 best all-time Imax opening weekends ever. Per screen was $47K with Imax auditoriums represented in four of the top five grossing theatres and eight of the top 10.
 
550 premium large format Rogue One screens  drew an estimated $17.9M; the second highest of all-time for the format behind Force Awakens, and repping 12% of the total weekend gross. Cinemark XD led all exhibitors with an estimated PLF gross of $3.7M for FSS (its 4th highest all time and 2nd highest for December) and a 21% share of all PLFs.

Fox News Channel Crowned 2016’s Most Watched Basic Cable Network






Fueled by mostly nonstop coverage of Donald Trump’s nose-thumbing race to the White House, FNC locked up the wins both in primetime and in total day, and every hour on the network’s lineup logged double-digit jumps compared to 2015. Fox News bagged its biggest audiences ever both in primetime and in total day with 2.4 million and 1.4 million viewers, respectively.

USA Network tried to get out ahead of FNC’s celebration with its own announcement, boasting it would end 2016 as the No. 1 entertainment cable network in total viewers for an 11th straight year. 

But mostly, entertainment cable networks just could not come up with scripted storylines as as gob-smacking and ratings-getting as the endless material churned out daily for the cable news networks – and, mostly particularly for FNC viewers – as did real estate developer turned reality star turned GOP hijacker Donald Trump.

Adding to FNC’s victory-lap fun, the network closes out 2016 as the fifth-most-watched primetime in all of television, behind only Big Four broadcasters networks NBC, CBS, ABC and Fox, in order. 

FNC noted in particular that it beat ESPN, which ranked sixth for the year, also besting USA — though, of course, ESPN is a “sports” network not an “entertainment” net.

It goes without saying FNC logged larger crowds than its cable news competitors in overall audience; it also bested them in the key news 25-54 demo. Maybe more surprising to some: The network’s The O’Reilly Factor is the No. 1 ranked cable news program for the year, in overall audience, among 25-54 year olds – and with 18-49 year olds.

Among cable news programs, FNC secured 14 of the top 15 programs in total viewers. Bill O’Reilly’s 3.3M viewers edged out No. 2 ranked The Kelly Factor’s 2.7M. While on her book cum contract-ending-soon tour of the media landscape, Megyn Kelly has claimed hers is the No. 1 news program on cable, explaining O’Reilly’s program is an “opinion” show. Nielsen does not make that distinction; where Nielsen comes from, The O’Reilly Factor is filed under: Megyn Kelly’s Lead-In.

FNC also landed seven of the top 10 cable news programs for the year in adults 25-54. Here too, O’Reilly is tops, and Kelly followed, with Sean Hannity ranked No. 3. In addition to FNC colleagues, joining them in the news demo’s Top 10 list also are CNN’s Anderson Cooper and Don Lemon vehicles, and MSNBC’s Rachel Maddow.

FNC also has seven of the top 10 programs in the younger 18-49 demo, with O’Reilly, Kelly and Hannity taking the top 3, in that order.

For the year, through December 13, here are cable news stats:

Primetime:
FNC: 2.439M total viewers; 485K A25-54
CNN: 1.275M total viewers; 431,000 A25-54
MSNBC: 1.092M total viewers; 273K A25-54

Total Day:
FNC: 1.394M total viewers; 281K A25-54
CNN: 761K  total viewers; 235K A25-54
MSNBC: 608K total viewers; 154K A25-54

Rocky goes to Washington! Trump taps Sylvester Stallone for top 'arts' role


By Ben Ashford
Donald Trump has drawn ‘first blood’ in the search for his incoming administration's senior arts role - by tapping up Rambo legend Sylvester Stallone. 

Sources have told DailyMail.com the president-elect sees Hollywood icon Stallone as the perfect choice to make art great again. 

The likely position would be Chairman of the National Endowment for the Arts, a federal agency that doles out funds to aspiring artists and creative projects. 

If Stallone is formally offered that job, his appointment will have to be approved by Congress.

While Stallone is positively disposed to the idea, It is not known whether Stallone will accept the gig. He has spoken previously of his admiration for Trump - and of his interest in entering politics. 

'It's been widely and wrongly assumed that a Trump Presidency will be hostile to the arts,' a source told DailyMail.com. 'But Mr Trump feels this sort of A-list appointment is precisely the shot in the arm that the industry needs.' 

Stallone, 70 - best known for his roles as John Rambo and Rocky Balboa - backed John McCain’s presidential run in 2008 but he is not a registered Republican.

However the movie action man described Trump as 'bigger than life' in a recent interview, though he stopped short of endorsing his Presidency. 'I love Donald Trump,' he told Variety Magazine. 'He’s a great Dickensian character. You know what I mean? 'There are certain people like Arnold, Babe Ruth, that are bigger than life. But I don’t know how that translates to running the world.'

Stallone was nominated for an Oscar for reprising his role as Rocky in Creed last year
Stallone was nominated for an Oscar for reprising his role as Rocky in Creed last year.

Stallone also hinted at a career in politics in the same interview, saying he was interested in following in the footsteps of Hollywood star-turned pol Arnold Schwarzenegger. 

'I said to my wife, "What do you think?" Stallone recalled. 'She said, "Are you crazy?'"

Formed in 1965, The National Endowment for the Arts is an independent federal agency that funds, promotes, and supports everything from museums and opera to folk music, dance and design. Its current head, the artist and philanthropist Jane Chu, heads a 14-strong board who can draw upon an annual budget of around $146,200,000. 

Folks at the NEA was none too happy about getting booted out of the Old Post Office Building to make way for the Trump Hotel. 

Stallone's last major contribution to the arts was the 2015 Rocky spin-off Creed which grossed $174 million at the box office. 

The musclebound actor was also forced to deny reports of his own death in September when a hoax began circulating wildly on social media. Stallone proved he wasn't down for the count by going online to share a picture of himself with boxer pal Sergey Kovalev.
 

'The Honeymooners' Reboot in the Works at CBS


CBS/Photofest
 PT by Lesley Goldberg
'Muppets' alum Bob Kushell is attached to pen the script for the reboot of the Jackie Gleason starrer.
CBS is going "straight to the moon."

The network has put in development a modern-day reboot of one of television's most iconic comedies: The Honeymooners.

The multicamera comedy hails from Bob Kushell, who will pen the script and executive produce the CBS Television Studios comedy. The new take centers on two couples — best friends and neighbors like the original — who contend with a new dynamic when one couple remarries after divorcing four years earlier.

Kushell, the well-liked showrunner who most recently developed ABC's Muppets reboot, will executive produce alongside Carl Beverly, Sarah Timberman, Eric and Kim Tannenbaum as well as Jeff Greenstein (Mom, Will & Grace, Desperate Housewives, Friends).

The Honeymooners expands CBS' relationship with CBS Television Studios-based Beverly and Timberman as well as the Tannenbaums, who together exec produce the network's reboot of another comedy classic: The Odd Couple.

The original Honeymooners starred Jackie Gleason (as Ralph Kramden), Audrey Meadows (Alice), Art Carney (Ed) and Joyce Randolph (Trixie). It was based on a recurring 1950s sketch that originally aired on the DuMont network's Cavalcade of Stars and eventually on CBS' The Jackie Gleason Show.  
The Honeymooners debuted as a half-hour series in 1955, becoming the No. 2 show in the country during its freshman run. The series wrapped after only 39 episodes in 1956. Creator, producer and star Gleason revived the series sporadically until 1978. The classic sitcom ranks as one of the first U.S. TV series to portray working-class married couples in a gritty setting — with episodes largely taking place in the families' rundown Brooklyn apartment building. (Repeats of The Honeymooners currently air on MeTV.)

The CBS project marks the latest revival of The Honeymooners. A feature film version, from Paramount Pictures and starring Cedric the Entertainer, Gabrielle  Union, Mike Epps and Regina Hall, debuted in 2005 to poor reviews and a disappointing boxoffice.  

The Honeymooners reboot comes as family comedies continue to remain in high demand this development season as broadcast networks look for more inclusive, broad-skewing fare that appeals to underserved audiences. For its part, Netflix in January will debut a new take on Norman Lear's sitcom classic One Day at a Time, with the iconic producer attached.

Reboots continue to remain in high demand as broadcast, cable and streaming outlets look for proven IP in a bid to cut through a cluttered scripted landscape that is quickly approaching 500 original series. Key to the remakes is having the original producers involved in some capacity as more studios look to monetize their existing libraries. (Given the network aired and distributed the original that much is true for The Honeymooners.)

Already in the works this season are reboots of Car Wash (ABC), Sneakers (NBC), Enemy of the State (ABC), Dynasty (The CW), War of the Worlds (MTV), Magnum P.I. (ABC), The Lost Boys (CW), Varsity Blues (CMT), The Departed (Amazon), Let the Right One In (TNT) and L.A. Law, among many others.

Kushell, whose credits include 3rd Rock From the Sun, The Simpsons and Samantha Who, is repped by Hansen Jacobson. Greenstein is with CAA and Jackoway Tyerman; the Tannenbaums are with CAA; and Timberman-Beverly is also with CAA and Hansen Jacobson.

Alan Thicke Dead at 69

TMZ-
TV icon Alan Thicke has died ... TMZ has learned.

We're told Alan had a heart attack while he was playing hockey with his 19-year-old son, Carter. He was transported to Providence St. Joseph's Medical Center around noon Tuesday, and pronounced dead there.

Law enforcement sources tell us ... a company that recovers organs was contacted, so some of Thicke's organs could be donated.

He's survived by his 3 sons -- Robin, Brennan and Carter ... and his wife, Tanya.

Alan played hockey regularly at a rink in Burbank. We're told he and Carter were on the ice around 11 AM when he started having chest pain, then got nauseous and vomited. The ambulance picked him up around 11:30 and took him to the hospital.

Alan also hosted game shows, talk shows, and wrote several famous TV show theme songs for "Diff'rent Strokes," "Wheel of Fortune" as well as "The Facts of Life."

He was 69.


CNN-
(CNN)The role of psychiatrist and father Jason Seaver on "Growing Pains" was the best gig Alan Thicke almost didn't get.

The TV star recounted the story of his casting on the sitcom in a 2011 interview.

When ABC sought out to fill roles on "Growing Pains" in the early 1980s, he explained, the network first looked at a few emerging young actors. Thicke was one. Another? Bruce Willis.
 
"So I guess there would've been a chance that I would have been in 'Moonlighting' and Bruce Willis would have been [the family's] dad," he said.
 
In hindsight, it's hard to imagine anyone other than Thicke, who died Tuesday, in Jason Seaver's shoes. 
 
Seaver debuted as it was becoming more common to see men on TV breaking gender norms. On the show, the mild-mannered dad worked from home so his wife could return to her demanding job as a reporter.
 
"Growing Pains" premiered in 1985, a year after "Who's the Boss" and "Charles in Charge," two shows in which male characters filled domestic roles previously only portrayed by female characters. TV was finally catching up with the real world.
 
Jason Seaver was hands-on at home. He was even a father figure to Luke (Leonardo DiCaprio), a troubled and semi-homeless teen who spent a lot of time at the Seavers' house.
 
When son Mike (Kirk Cameron) came home after curfew and revealed to his father that he'd turned down cocaine at a party, his dad expressed not anger but pride. And when Luke poured out the contents of the Seavers' liquor cabinet because he was afraid drinking would cause them to act like his alcoholic stepfather, the Seavers didn't reprimand the young boy -- they invited him to live with them.
 
And when his wife considered turning down a once-in-a-lifetime career opportunity in Washington, D.C., Jason told her the job was too good to refuse. 
 
The series ended with the family packing up their home and moving to the nation's capital.
 
Jason Seaver was a TV dad for a new generation who also ranked among the all-time greats -- the Mike Bradys, the Ward Cleavers and the Steven Keatons.
 
It wasn't just his advice, his understanding tone or his cheesy jokes. It was that he cared enough to be there for all of it -- rain or shine.
 
There are few "Growing Pains" fans who won't fondly remember "sharin' the laughter and love" with Thicke.

Disney, Fox Win Bid to Shut Sanitized Streaming Service


by Edvard Pettersson 
Walt Disney Co., 21st Century Fox Inc. and Time Warner Inc. units won a court order shutting down a Utah-based video-streaming business that lets subscribers pay $1 to watch Hollywood movies stripped of nudity, violence and profanity.

A federal judge on Monday granted the movie studios’ request to halt VidAngel Inc.’s services while a lawsuit continues over whether the company’s business model is, as the studios alleges, an “end run” around copyright protections.

U.S. District Judge Andre Birotte Jr. in Los Angeles said in his order granting a preliminary injunction that the studios, which also include Disney’s Lucasfilm unit, have shown they’re likely to win on the merits of their claims and that they will be irreparably harmed if VidAngel is allowed to continue infringing their rights while the lawsuit is being decided.

“Hollywood studios have followed a repeated pattern in their decades-long campaign to put movie filtering services out of business by seeking a shut-down decision in trial court,” VidAngel Chief Executive Officer Neal Harmon said in an e-mailed statement. “We will aggressively pursue an appeal and take this case to a higher level where we have always believed we will ultimately prevail.”

Kelly Klaus, a lawyer for the studios, had no comment on the ruling.

The studios claim VidAngel operates as an unlicensed video-on-demand service. The company buys DVD and Blue-ray disc copies of newly released titles which it purports to sell to its customers, the studios said. But instead of shipping the physical discs, VidAngel “rips” one disc to create a master-copy that can be filtered according to a customer’s preferences and streamed to their home, according to the studios. The customer can then “sell” the movie back after watching it.

Star Wars

This system allowed VidAngel to offer the latest Star Wars movie for $1 a day before it was available from licensed video-on-demand services, Disney Enterprises said in the complaint filed June 9 with Warner Bros Entertainment and Twentieth Century Fox Film that VidAngel subscribers can watch movies with only minimal filtering if they choose to, the studios claim.

“VidAngel flaunts its interference with exclusive windows as a competitive advantage over authorized services by expressly promoting titles that are available on VidAngel but ‘NOT on Netflix,’" the studios said. "VidAngel’s unrestrained conduct thus threatens the legitimate online distribution market."

VidAngel contends its business model is legal under the Family Movie Act, a 2005 law that authorizes for-profit companies to stream lawfully obtained movies for home viewing with objectionable content filtered out. Disney and the other major studios opposed this law that was directly intended to prevent studios from using litigation to block parental filtering they disliked, according to VidAngel.

The company was started by four Mormon brothers who made a name for themselves with their “Girls Don’t Poop” advertisement for a toilet spray, which has generated 38 million hits on YouTube, and “This Unicorn Changed the Way I Poop” ad for a toilet stool, which had 28 million YouTube hits.

The case is Disney Enterprises Inc. v. VidAngel Inc., 16-cv-04109, U.S. District Court, Central District of California (Los Angeles).