Nancy Meyers Reacts With Surprise to News of 'The Holiday' Limited Series
On August 1, it was reported that Nancy Meyers's 2006 film The Holiday was in development as a limited series for Apple TV+ by Deadline. But it looks like Meyers had no idea about the new show and was quick to comment on the production in an Instagram Story.
Sharing a screenshot of a report on The Holiday series, Meyers wrote over it, 'News to me. Imagine my surprise when I opened Instagram and this was the first post I saw.'
Here's everything we know about the project so far.
In the original film, two women trade homes in the U.K. countryside and Los Angeles after struggling with their personal lives. Amanda Woods is a Hollywood trailer editor who ends her engagement and Iris is a newspaper columnist stuck in a rut. After trading spaces, Amanda meets Iris's widower brother, Graham, and surprises herself by reconnecting emotionally to love. Iris meets Amanda's neighbor, Arthur, a forgotten Hollywood icon, and then meets a film composer named Miles; both men help her transform.
The series will likely be some version of Meyers's original story, keeping 'the setup of the movie about a single American and single British woman living very different lives who swap their houses for the holidays and find love in the process.'
The original cast included Cameron Diaz, Kate Winslet, Jude Law, and Jack Black, but Deadline stated the show will feature 'new characters,' and thus new actors. But maybe we can hope for a cameo?
Krissie Ducker is serving as the writer and executive producer for The Holiday series, along with comedian Rob Delaney as a consultant on the script.
Not yet.
This post will be updated.
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Chicago Tribune
5 minutes ago
- Chicago Tribune
Editorial: So long, Lolla kids. Hope you had fun.
After a slow start, we've come to regard Lollapalooza with affection. The kids who flock to Chicago (more than 100,000 per day this year, reportedly) are a fun crew, their destination instantly recognizable from their sparkly, skimpy attire wherever we encountered them in the city this weekend (usually peering into their phones, trying to find their Ubers). And, of course, they spend a lot of money around town, especially in and around Chicago's Loop, which needs their support. We'd expect the economic impact of the festival this year to be somewhere around $500 million, if not more. Over the years, Lollapalooza has turned into a good Chicago citizen and, with apologies to Coachella, which has a broader cultural mandate, has become North America's equivalent of Glastonbury, the massive outdoor British festival, which makes news in the entertainment business every year, often by slating such things as final farewells from the likes of Elton John and Rod Stewart, the pairings of iconic artists and young artists showing respect for previous generations. We saw some of that last phenomenon this year at Lolla, when young, female headliners such as Gracie Abrams brought out Robyn, Olivia Rodrigo introduced Weezer and Sabrina Carpenter surprised attendees with Earth, Wind & Fire, a retro band that also happens to be playing Ravinia on Thursday night. We hope that, for all our mutual benefits, Lolla keeps its focus on those deft kinds of surprises. The Chicago Police Department tells us that this year's festival went off without any significant trouble, beyond what you might reasonably expect when that many humans gather in one place. There were only 12 total arrests over the four nights, which is minimal; zero tickets issued (not a typo) and 42 ambulance reports, which is way down from previous years (in 2021, for example, there were 102 transports). The cooler weather likely helped, but this is all good news. It could well be that the disruptions caused to downtown residents by the now-departed NASCAR, which actually involved city streets and resulted in lengthy closures, has made us better appreciate Lollapalooza, which mostly confines itself to established festival grounds. We also always appreciate the effort to bring in local food operations, such as Fatso's Last Stand and the family-owned Bacci Pizzeria. And we heard from out-of-towners who were impressed with this year's drone show — especially how well it framed the real Willis Tower, if you had the right angle. Better yet, the aftershows at venues all over town were hopping this past weekend, from the Salt Shed to Radius and from Schubas Tavern to Lincoln Hall. Past concerns about the big event locking up acts with exclusive deals in protected territory haven't entirely gone away, but with this many people at so successful a festival, it's now clear that the smaller venues in Chicago generally have decided it's better to join the four-night party than stand against it. The Department of Cultural Affairs and Special Events could do more to use the Lolla base for the benefit of the whole city and get attendees to stay for a week or more. Still, much as we often detail Chicago's problems in this space, we also know that its gorgeous skyline can seduce a young visitor like nowhere else in the Midwest. Huge benefits accrue, not just in terms of tourism but when it comes to attracting new residents, when young pop stars with tens of millions of followers post love letters to our town, as when Carpenter posted 'thank you, Chicago. Wow.' Carpenter also made specific reference to Chicago in her set, mimicking a Chicago news station. Rodrigo found her way to Wrigley Field this weekend and we heard tell of a certain young Chicago Cubs star present at Lollapalooza, too. Simply put, this was a weekend for the spotlight to find a way through the haze and shine on the beauty, action and artistry of a Chicago summer. Glastonbury is taking the year off in 2026 to allow the natural land to recover. Thanks to our urban setting and the hard work of those who tend to its grounds, Lollapalooza does not have that problem. It'll be back — and we're happy about that.
Los Angeles Times
5 minutes ago
- Los Angeles Times
A Graceland discovery inspired Peter Guralnick's myth-busting biography of Colonel Tom Parker
As the author of multiple books about Elvis Presley — including his magisterial 1994 biography 'Last Train to Memphis' and its 1999 sequel, 'Careless Love' — Peter Guralnick has interviewed hundreds of subjects and combed through a tall mountain of archival material in his quest for the truth about the most consequential American musical artist of the post World-War II era. But as it turned out there was more material, far more than Guralnick could squeeze into his Elvis biographies, and that material is the basis for his latest deep dive, 'The Colonel and the King.' A visit to the Graceland archive shortly after the publication of 'Last Train to Memphis' revealed a trove of correspondence written by Presley's manager Colonel Tom Parker, the rotund, blustery operator that shepherded the musician's career from the mid-1950s until shortly before his death in 1977. A cursory sift through the material revealed tens of thousands of letters tracing in minute detail the inner workings of Elvis business, from publicity campaigns to the finer points of his recording and movie contracts. These missives exploded the myths around a man who has for decades been derided as a cynical and unscrupulous opportunist that cheapened Presley's legacy while enriching himself at his client's expense. 'I read the letters and thought, 'Oh my God, this is nothing like the person that has been portrayed,'' says Guralnick from his Massachusetts home. What Guralnick found was a scrupulously honest businessman in love with what he called 'the wonderful world of show business' and the art of the handshake deal, in thrall to his star client's talent and willing to do whatever was necessary to keep him front and center. Guralnick's new book is the story of an immigrant scrapper who became a kingmaker with his unerring instinct for the main chance. The first half of the book is Guralnick's narrative; the second half contains a generous selection of Parker letters. Born Andreas Cornelis van Kuijk in Holland, Elvis' manager-to be-dropped out of school at 12. 'His uncle owned a small circus,' Guralnick notes. 'He did every sort of job, like how to site the tent so it would have the maximum visual impact. He knew how to water the elephants, he studied the acrobats.' After a few false starts, he stowed away in 1929 on a ship bound for New Jersey, adopting the name Tom Parker shortly after reaching American soil. There was an Army stint in Hawaii, some odd jobs, and then he found what he loved: the itinerant world of the traveling carnival. At home in this milieu, Parker mastered the art of grassroots promotion, of pulling in large crowds by plastering the town with loud, hyperbolic placards. 'In the world of the carnival and the circus, nobody questioned your pedigree,' says Guralnick. 'Your handshake was your word, and everyone trusted and supported each other.' Parker scouted talent and took them on as clients. By the time he witnessed Elvis performing at the Louisiana Hayride in the summer of 1955, he had already enjoyed big success with singers Hank Snow and Eddy Arnold and had adopted the Colonel moniker. Elvis, he sensed, was different. 'He sees in Elvis someone without limits, a great creative artist with great drive,' says Guralnick, 'and Parker was prepared to throw over all of what he had achieved with Arnold and Snow in order to cultivate this untested talent. And he put everything he had into it.' Even a cursory reading of Parker's voluminous correspondence reveals a man not prone to passing over even the smallest detail in order to please his client. Working with a small staff of loyalists including his trusted associate Tom Diskin, Parker oversaw every aspect of Elvis' business, from meals to publicity to hotel accommodations. Work was play, it consumed his life, and this is exactly how he liked it. 'It is of course these funny letters and my feeling that One must enjoy his work or grow stale keeps me on the go,' he wrote to his friend Paul Wilder in a 1957 letter. He was a tireless proselytizer for his star client. Shortly after signing Elvis to a management deal, he immediately set about convincing the William Morris Agency of the greatness of his charge, writing to agent Harry Kalcheim that Elvis 'has the same type of personality, and talents along the line of James Dean,' and that 'if you ever follow one of my hunches, follow up on this one and you won't go wrong.' Elvis, for his part, deeply appreciated Parker's enthusiasm and loyalty. 'Believe me when I say I will stick with you thru thick and thin and do everything I can to uphold your faith in me,' Presley wrote to Parker in November 1955, shortly after he had secured a recording contract with RCA. 'I love you like a father.' 'Parker defended Elvis against every single entity with which he was dealing,' says Guralnick. 'RCA wanted to turn him into a mainstream artist, like a crooner, and Colonel wouldn't allow that to happen. When Kalsheim asked Parker to rein in Elvis, because he was too wild on stage, Parker refused.' 'The Colonel and the King' debunks some of the most stubborn myths about Parker, refuting the notion that Parker destroyed Elvis' career by force-feeding awful material down his throat. While Parker was a hawk when it came to contract negotiations, he had no say in any artistic decisions and fended off record and film executives with designs on grabbing Elvis' ear. 'He completely removed himself from Elvis' creative life,' says Guralnick. 'It was a partnership of equals, but Parker didn't get involved in that aspect of Elvis' career.' For many Elvis fans of long standing, Parker's hands-off approach as revealed in his letters will be hard to square with the singer's enlistment in the Army in 1958 and his subsequent posting to Germany, which, so the conventional wisdom tells us, killed the first vital phase of his career and kick-started the descent into awful Hollywood movies that effectively turned this erstwhile force of nature into a B-movie hack. Parker endorsed Elvis' Army move — his client wasn't about to be a draft dodger — but the decision to push Elvis into movies was a bilateral strategy that both men agreed was the best way to generate income at a time when Presley was reeling from his mother's death and fretting about money — as was Parker. 'It was actually financial and psychological,' says Guralnick about the left turn that changed Presley's career. 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Ten years later, he was brought back into 'Elvisland' by Priscilla Presley and Elvis Presley Enterprises President Jack Soden, coordinating an Elvis festival at the Las Vegas Hilton and selling all of his memorabilia to the estate. But he never regained his standing at the top of the Elvis hierarchy, much to his dismay. In assessing Parker's legacy, Guralnick thinks that it all comes down to 'the great music he helped Elvis bring to the world — not through any musical contributions of his own, obviously, but by creating the conditions necessary to ensure Elvis' creative independence from the start. Not to mention all the joy he himself delivered and derived from what he always liked to call the Wonderful World of Show Business.'
Los Angeles Times
5 minutes ago
- Los Angeles Times
Queen Camilla is ready for more ‘Slow Horses.' And Gary Oldman is happy to oblige
Sir Gary Oldman — he received a British knighthood in King Charles' June birthday honors list — appears on Zoom at his home in Palm Springs in front of a display of his own black-and-white photographs. 'I do all sorts of photography, but I also do 19th century wet plate,' he says. 'I just like the process. I don't do digital, I do film. I like the developing.' Oldman's been 'doing film' of the silver-screen sort since the 1980s, but the phenomenal global success of London-based spy thriller 'Slow Horses,' which returns for its fifth season on Apple TV+ next month, has changed everything for the Oscar winner (2017's 'Darkest Hour'). Emmy-nominated as lead actor in a drama series for the second consecutive year for his turn as slovenly Jackson Lamb, leader of an out-of-favor group of spies nicknamed the Slow Horses, Oldman could not be more thrilled. In fact, it's virtually impossible to tell whether he's more psyched about 'Slow Horses' or being knighted. Either way, he's full of the joys of his very hot summer. 'Big sky, big mountain and 102 here at the moment,' he beams. He finds L.A. too chilly now. 'I'm thrilled with it,' he grins of his knighthood, 'and no, I wasn't angling for it. I mean, I've done some stuff for charity over the years, and I would like to think I'm a good export, an ambassador of Britain. I have a green card, but I don't have American citizenship. I'm still a British subject.' He's thrilled too about his Emmy nomination, but less enamored of relentless questions about 'how you pull the rabbit out of the hat.' 'Can't it just be a bloody mystery? Why do we have to sort of take it all apart?' he asks. 'I think half of the time I make it up. I don't know, I just do. It's like you have a facility for something. It's like asking a tennis player, 'How do you return the ball?' 'I've just been able to do it since I was 12.' I don't look up videos of Peter O'Toole talking about acting.' Oldman notes he moved to Hollywood 'completely by accident' because he 'wanted to go to the place where they were making films so I could practice.' Film, he did, ad infinitum, particularly enjoying the spy genre in 'Tinker Tailor Soldier Spy,' which garnered him his first Oscar nomination as lead actor in 2012, long before Jackson Lamb appeared on his radar. It appears 'Slow Horses' might satisfy part of his creative itch for some years to come. Season 6 is already in the can, and Season 7 is due to start filming this fall. 'It is something I could just do. Can I see an end? I don't know,' he says. 'I love the people and the show and the character. But it's nothing to do with that. Apple write the checks and have been generous in their check-writing. I mean, how do you feel? Do you think people would eventually just get fed up with it?' I demur, along with members of the British royal family apparently. 'The Queen [Camilla] said to me, 'Are there any more?' I'm led to believe that they like 'Slow Horses.' And in Palm Springs of all places, I'll go to the hardware store or the supermarket and people will come up to me and say, 'When's 'Slow Horses' coming back?'' His facility for the simple stuff does, however, fail him occasionally. 'Yes, suddenly you can't walk in a room. Or get out of a car. I've walked into a room my entire life. I've got out of so many cars I couldn't count and now, yeah, even just raising a cup. It's the funniest thing, it will trip you up.' To date, he has not forgotten how to eat, which is fortunate given Lamb's gargantuan appetite and Oldman's impatience with eating scenes where actors push their food around. 'I remember the noodles scene in Season 2, and you know Lamb is an eater; I'm always eating in the show, and you can't fake it. So one morning I ate 17 or 18 bowls of noodles and then it was, 'OK, we're gonna break for lunch, can I get you anything?'' Oldman's most recent 'charity work' was his pro bono four-week run this spring of Samuel Beckett's one-man play 'Krapp's Last Tape' at York Theatre Royal, scene of his professional stage debut in 1979 and his first U.K. stage appearance in 37 years. 'I kind of got kidnapped by film and with all the other life experiences — kids, divorce, marriage, divorce, sobriety,' he says. 'You turn around and think, 'When did I last do a play?' And I thought, 'I'd really like to do it, let me put my toe back in the water.'' He wondered, 'Well, will anyone come? Is anyone interested? I was worried whether we'd fill 700 or 800 seats, and then the day they announced the tickets, their computer crashed.' There's that huge smile again, one suggesting he still can't quite believe it. Unsurprisingly, he doesn't waste time worrying too much about his place in the Hollywood pantheon. 'Maybe there are people somewhere in an executive office sitting around saying, 'What about Gary Oldman for this role?' and 'No, he's unavailable because he's doing the show.' But I like what 'Slow Horses' has afforded me over the last few years. I get some downtime, I got to do theater, I've got my photography and other things, rather than thinking about this or that film and 'they want you but they don't know if they can go this year.' 'I feel so privileged, so bloody lucky that at 67 years old, I'm in a show of this caliber, that people have really actually embraced. I'm so very, very blessed, and it's also nice to know that you're going to be working. Yeah, it's nice to be in regular employment.'
