Latest news with #Landman
Daily Mail
9 hours ago
- Entertainment
- Daily Mail
Demi Moore fans are shocked to learn her REAL name... and how she grew up in a UFO town
Demi Moore is one of the biggest stars in Hollywood, especially now after her comeback that led to an Oscar nomination with her outstanding performance in The Substance. But the siren's image was not always so slick. The St Elmo's Fire actress was born with a very different name that did not quite have a ring to it: Demi Gene Guynes. Her last name changed to Moore after marrying musician Freddy Moore in 1979. And the Landman actress grew up far from the klieg lights of the movie industry: her hometown is Roswell, New Mexico, a city in the southeastern part of the state, known primarily for the alleged 1947 UFO incident. Earlier this year Demi told fans how to say her first name properly: Moore confirmed that she pronounces her name as 'Duh-mee' because it ' works better' with her last name. Her name has an interesting background. Her biological father, Air Force airman Charles Foster Harmon Sr., left her mother, who was only 18-years-old at the time, before Demi's birth. When Moore was three months old, her mother married Dan Guynes, a newspaper advertising salesman who often switched up his jobs; as a result, the family moved many times. Moore learned that Guynes was not her real father at age 13, when she discovered a marriage certificate and inquired about the circumstances since she 'saw my parents were married in February 1963. I was born in '62.' Moore said in 1991, 'My dad is Dan Guynes. He raised me. There is a man who would be considered my biological father who I don't really have a relationship with.' Her biological father Harmon died in 1997 from liver cancer in Texas. Demi and her mother shared plenty of drama: they became estranged in 1989, but reconciled shortly before Guynes death in 1998. When Demi was 14 she and her mom moved to West Hollywood, where she started modeling and taking acting classes. In 1979, three months before her 17th birthday, Moore wed Moore, and they divorced in 1985. That is how she became Demi Moore. Her career took off at a young age. Her first film was Choices (1981), then Parasite (1982), and next she was in the soap opera General Hospital. Following that came her famous Brat Pack phase. Moore recently said she felt 'a little terrified' when she was cast in General Hospital. The actress joined the cast of the hit soap opera in 1981, and the role proved to be a real turning point in her career. The Hollywood star told People: 'I think the first big moment that kind of gave me a little bit of encouragement of, wow, this could be possible, is when I got 'General Hospital' because it was a real job on a show that was successful for a soap opera. 'In fact, it was at a heightened state because Elizabeth Taylor had just been a guest on a soap opera.' Demi quickly became convinced that she had a long-term future in the entertainment industry. Demi - who became the world's highest-paid actress in the 90s - recalled: 'Literally, it was a month before my 19th birthday. And so it was like a real job where I was going to be paid and have an actual salary. Meaning that I didn't have to have another job. I could actually live by doing this thing that I loved and hoped I could do. So that was like the first moment to really kick it off.' Despite this, Demi still felt anxious about joining the cast of the hit TV show. Looking at a photo from a publicity shoot for General Hospital, Demi said: 'I got General Hospital a month before my 19th birthday, so I think I'm 19 years old. Super dolled up, heavy duty made up. 'You know, I just was so excited for all of it. But if I'm looking at this photo, I think I was probably a little terrified also.' In December, Demi revealed that she feels more 'liberated' than ever in her career. The actress has been working in Hollywood for decades, and Demi has now reached a place of 'radical acceptance' in her life. The movie star - who was married to Bruce Willis between 1987 and 2000 - told 'Extra': 'I think it's the most liberated that I feel. The place is of greater, or I would say, of radical acceptance.'
Los Angeles Times
4 days ago
- Business
- Los Angeles Times
The $8-billion Skydance-Paramount Global deal is finally closing. Now what?
After finally getting approval from the Federal Communications Commission, Skydance Media is just weeks away from completing its $8-billion merger with Paramount Global, leading to sweeping changes for some of the most iconic media brands. CBS, MTV Networks and Paramount Pictures are all bracing for upheaval when Larry Ellison and his son, David, take the keys from Paramount Global controlling shareholder Shari Redstone. The long-running ownership saga has played out while the rules of the media industry have been upended by streaming and, more recently, a White House unafraid to use its muscle to silence critics. Skydance and its backer, RedBird Capital Partners, have promised investors that it will find $2 billion in cost savings, which means further belt-tightening and layoffs. 'This will be the most dramatic change to the organization since its inception,' said one longtime CBS insider who was not authorized to comment publicly. Here is what Wall Street and the media industry will be watching for once the deal closes on Aug. 7: Last year, Paramount+ added 10 million new subscribers to reach 77.5 million. Its subscriber count is now 79 million, thanks also to NFL programming, CBS shows such as 'NCIS' and original hits including '1923,' 'Landman,' 'Lioness' and 'Tulsa King.' Paramount has projected full-year U.S. profitability for Paramount+ this year, making it one of the fastest subscription services to get there. But its relatively scant resources and thinner slate has made it difficult to truly compete with Netflix and the other biggest players. One potential solution: partnering with a rival streamer to increase its reach. 'Questions around the long-term scalability of Parmamount+ continue to loom large,' analyst firm MoffettNathanson noted in a report Friday. 'Will the new management team pursue external partnerships as a viable path forward?' Ellison and his team have suggested that they will bring a tech-focused sensibility to Paramount. Technological prowess would help Paramount+ improve its user interface and recommendation process, which insiders acknowledge is currently underwhelming. As expected, the architect of Paramount+ original series strategy, Paramount Global co-CEO Chris McCarthy, will leave when the deal closes. Analysts also want to see Skydance will increase investment in film and TV franchises to revive assets that have been constrained by Paramount's debt. While Skydance will get a robust library of films and TV shows, it will also be faced with the slow-melting iceberg that is broadcast and cable TV, which continues to lose viewers. Streaming has surpassed broadcast and cable as the leading source of video consumption just as Skydance takes over CBS and Paramount Global's array of channels that include MTV, BET and Comedy Central. Doug Creutz, an analyst for TD Cowen, believes the merged company should consider spinning off traditional TV businesses, similar to what Warner Bros. Discovery and Comcast are doing with their cable channels. Whether that will happen remains to be seen. 'There is a clear opportunity to improve Paramount's growth profile by letting those assets go,' Creutz wrote Friday. 'On the other hand, we suspect the Ellisons did not purchase Paramount in order to break it up for parts.' A test of Skydance's commitment to broadcast may come if the FCC relaxes TV station ownership rules, which would likely lead to consolidation. CBS News' '60 Minutes' received a vote of confidence with the naming of Tanya Simon, a respected veteran insider to take over as executive producer. She was the choice of the program's strong-willed correspondents. Simon's appointment is expected to provide stability following the departure of longtime showrunner Bill Owens, who was forced out amid the push for a $16-million settlement over President Trump's lawsuit claiming the program deceptively edited an interview with former Vice President Kamala Harris to make her look better to voters. '60 Minutes' remained tough in its White House coverage as negotiations went on. The question is whether that approach will continue with new owners. Larry Ellison has a friendly relationship with the president, and the new owners agreed to appoint an ombudsman to oversee news coverage. Getting it right matters from a business perspective too, as '60 Minutes' remains the most profitable program on CBS. With Simon in place, new management is expected to address other areas of the news division that can use improvement. The network's revamp of the 'CBS Evening News' has been a disappointment in the ratings and will likely see some changes. In the longer term, there has been chatter that Skydance may set its sights on acquiring CNN from Warner Bros. Discovery and combining it with the broadcast news operation, an idea that has been considered numerous times over the last few decades. CBS canceled 'The Late Show With Stephen Colbert,' upsetting his fans, progressive Democratic legislators and other late-night hosts who make their living lampooning President Trump. The network said it was strictly a business decision, as the younger viewers who made late-night TV monstrously lucrative for decades are no longer showing up. The timing of the move made the company look as if it were capitulating to Trump, who long had the host on his enemies list. But Colbert will remain on the air through May. The show has already been sold to advertisers for next season. The host has remained unrelenting in his mockery of Trump. The season premiere of 'South Park' only upped the ante. The animated series made references to the '60 Minutes' deal, showed Trump in bed with the devil and aired its own version of a Trump-mandated PSA, showing a naked president with talking genitalia. There is no question both shows will test the patience of the new owners. Pulling Colbert off or censoring the 'South Park' creators, who just received a $1.5-billion deal to continue their show and move its library to Paramount+, would lead to a far greater backlash than what has been seen so far. Any attempt to curtail their voices will send a negative message to creative types who consider working with the company's movie and TV operations going forward. Over the last few years, Paramount Pictures — home of franchises such as 'Transformers' and 'Mission: Impossible' — has ranked either fifth or fourth at the domestic box office. So far this year, the lone major movie studio still located in Hollywood proper has accounted for about 7% of ticket sales in the U.S. and Canada, according to box office website the Numbers. Since the pandemic, the company has enjoyed a number of major hits, including 'Top Gun: Maverick' and 'Sonic the Hedgehog 3.' It has also had some solid singles and doubles, including 'Bob Marley: One Love.' But overall, the more-than-century-old studio has struggled from underinvestment in its intellectual property and movie brands. The latest 'Mission: Impossible' starring Tom Cruise — the eighth and purportedly last in the series — grossed $589 million globally but cost $300 million to $400 million to make, not including marketing costs. Paramount's latest effort, an animated 'Smurfs' reboot, sputtered at the box office. Next up: a reboot of 'The Naked Gun.' The unit's leader, Brian Robbins (also head of Nickelodeon at Paramount Global), is expected to leave the studio, though he has not officially announced his plans. David Ellison is a movie fan and is expected to take a particular interest in the operation, with plans to put Skydance's chief creative officer, Dana Goldberg, in charge of film at Paramount. Skydance has worked with Paramount on movies before, producing 'Maverick' and the 'Missions: Impossible' films A transfer of ownership means the NFL can reopen its long-term deal with CBS, which has a Sunday package of games, the AFC Championship Game and two Super Bowls. The NFL is the lifeblood of broadcast television, providing a vast majority of the year's most-watched programs. Without the NFL, CBS would face tremendous challenges in getting fees from pay TV operators who carry its stations. Revenue from affiliates who pay the network for its programming would also dramatically decline. Although the NFL is known for taking a pound of flesh at every opportunity, NFL Commissioner Roger Goodell has signaled he will give careful consideration before making any changes. 'We've had a long relationship with CBS for decades and we also have a relationship outside of that with Skydance,' Goodell told CNBC earlier this month. 'We have a two-year period to make that decision. I don't see that happening, but we have the option and it's something we're going to look at.' The NFL could wait until 2029 when it has the option to open up the contract with all of its media partners. The new media deal for the NBA — $76 billion over 11 years — has the NFL believing its pact is underpriced. Times staff writer Meg James contributed to this report.
The Guardian
5 days ago
- Sport
- The Guardian
Stokes and Archer: Bowling dream team combine to show England what could be
Earlier this year Harry Kane spoke about how he somehow managed to be constantly criticised even as he approached the extraordinary landmark of 400 career goals. 'It's like when Ronaldo and Messi were throwing these crazy numbers out there and the next season they'd score 40 goals instead of 50 and it was like they were having a bad season,' he said. 'People take it for granted and maybe a little bit with England as well … people just expect it so it's not spoken about so much. Maybe people just get a little bit bored of what you do.' For each of the past 11 seasons Kane has played at least 30 games and scored at least 20 goals, and perhaps this is how players are punished for consistency of performance and fitness. Because the opposite is also true: when players appear only rarely, when they play at a level that is seldom seen, well, that simply demands to be relished. Nothing is more cherished than the ephemeral. Nobody wishes on a static star. As India's first innings approached its conclusion at Old Trafford two very good bowlers were bowling very well. This is Test cricket, featuring two of the world's top four teams, and nothing about that is or should be unusual. But this was Jofra Archer and Ben Stokes operating in partnership, and that is. Six months ago these scenes were a distant fantasy. Stokes was in the early days of his recuperation from yet another operation, after bowling himself beyond breaking point in New Zealand at the end of last year. Archer was a player in semi-permanent convalescence, nearing the fourth anniversary of his last Test and with his one subsequent first-class game, in which he bowled what so many and for so long thought would be his final 18 red-ball overs, just a few months more recent. These are players who can only yearn for the luxury of being taken for granted. And on an otherwise leaden Mancunian afternoon – clouds that eventually broke the moment England's openers strapped on their pads – Archer glided through his overs, Stokes flowed once again through the refreshed bowling action that has allowed him to illuminate the summer, and not one person present considered it. At Lord's in the third game of the series they provided limited proof of concept, in very particular circumstances. Archer needed to do little more for his Test return to be considered a success than to be in one piece when it ended. Stokes concentrated his efforts at the end of the game and with a week off to look forward to; once it concluded he spent most of the next four days in bed and said his major achievement in that time was watching the entire nine hours and eight minutes of the Paramount series Landman. 'Bowling to win a Test match for your country on day five, if that doesn't get you going I don't know what would,' he said. Well, as it turned out, bowling to moderately improve your team's position on day two. England went into the game with four seamers: Chris Woakes and Brydon Carse were expected to shoulder much of the burden, with Stokes and Archer to make big impacts in short bursts. But here were Stokes and Archer doing both jobs at once, making big impacts while shouldering much of the burden, each of them across the second day bowling at least twice as many overs as either of the others, and sharing all the wickets between them. Sign up to The Spin Subscribe to our cricket newsletter for our writers' thoughts on the biggest stories and a review of the week's action after newsletter promotion England's time in the field was split neatly in three. Archer and Woakes, who was hugely unfortunate to end the innings with just one wicket, bowled 12 overs as a pair at the start of the day, a period when India's batters led an extremely cautious and often charmed existence: sometimes they left the ball, sometimes the ball left them. Ravindra Jadeja was the only wicket to fall, edging to slip during an outstanding opening over from Archer. Stokes and the atypically disappointing Carse shared the next 10 before rain forced an early lunch, Shardul Thakur excellently caught by Ben Duckett along the way. It was after the resumption that Stokes and Archer clicked: 9.1 overs, four wickets, all over. One can only guess what kind of impact the two of them might combine to have for England over the next couple of years, but if we have learned anything about them it is that it would be best not to try. All that is certain is that for an hour or so here, a period of Test cricket superficially like so many others was rendered exceptional only by the appreciation that what we were seeing might never again be seen, and that it would be wise to luxuriate in this fact while we could. A period where two players who for so long could only be paired in the imagination turned into a dream team.
Yahoo
18-07-2025
- Entertainment
- Yahoo
Taylor Sheridan's 6 Shows Were Snubbed: Why Do Emmy Voters Hate His Dramas?
It wasn't like nobody tried. Major-name actors starring on at least two Taylor Sheridan shows recently made the rounds at 'for your consideration' press events in the lead up to this year's Emmy nominations. More from The Hollywood Reporter Cristin Milioti, First-Time Emmy Nominee for 'The Penguin,' is "Ready to Get in There Again" Critics' Conversation: 2025 Emmy Nominations Take a Typically Shallow Dive Into TV's Best Harrison Ford, Aimee Lou Wood and Cooper Koch Among First-Time Emmy Nominees in Acting Categories Yet, once again, when the nominations were read Tuesday morning, the prolific hitmaker's eligible dramas — all six of them — were shut out of the major categories. This includes the debut season of Landman, which Paramount+ had high hopes might break Sheridan's Emmy curse. A few series picked up a nod or two for below-the-line departments — Tulsa King and Lioness received nominations for best stunts, and 1923 was nominated for production design and costumes. While hit series Landman, Mayor of Kingstown and the final season of Yellowstone didn't receive anything at all. This outcome comes despite Sheridan's dramas starring actors who are highly respected in the industry, such as Helen Mirren, Harrison Ford and Billy Bob Thornton — all of whom gamely put themselves out there during campaign season. But 1923's Ford was left out in the cold despite being nominated for his other show (Apple TV+'s comedy Shrinking), and Landman star Thornton was snubbed despite receiving a Golden Globe nomination. The snubs are ironic as Sheridan has stunned the industry for his ability to attract A-list talent. But getting those actors recognition during awards season has proved an uphill battle. (Yellowstone star Kevin Costner did win a Golden Globe, at least, before he quit the show, and David Oyelowo was nominated for a Golden Globe for Bass Reeves.) So what is going on here? There are a few suspicions, sources say. The first is that Sheridan is known for writing dramas that appeal to America's heartland, while many of the nominated shows are titles that likely appeal to the coasts and blue cities (such as The Studio, Hacks, The Bear and Severance). Calling Sheridan shows 'Red State' is over simplifying things — his heroes tend to be fiercely pro-environment, for instance. But sometimes Sheridan expresses political ideas via his lead characters in viral moments that bolster his dramas' conservative reputation (such as Yellowstone's John Dutton lecturing a vegan protester, or Thornton's oil company fixer Tommy Norris blasting green energy efforts). At the same time, Sheridan's shows should be popular enough to penetrate even among Emmy voters — Landman earned higher ratings than of the shows nominated for best drama. And while Sheridan's writing can sometimes be a bit on the nose, even garish, for Television Academy voter taste, there is no denying the performances in his series are often extremely strong and worthy of consideration. Another theory as to why Sheridan's shows get snubbed is that Paramount+ — having launched just four years ago — is still a relative newcomer to the awards season game. Fairly or no, a network's prestige aura can matter and Paramount+ is mostly seen as the streamer that does Star Trek shows and, well, Taylor Sheridan shows. It seems that if 1923 was on HBO, it might be seen differently. (This perception can also change quickly — once Hulu launched The Handmaid's Tale and Prime Video launched The Marvelous Mrs. Maisel, for example, the respective streamers became regular members of the Emmy club.) And finally, there's the reason you've been thinking: that Taylor Sheridan shows struggle during awards season because industry insiders don't particularly like Taylor Sheridan. The famously independent-minded and opinionated showrunner left Los Angeles years ago and now resides at his mammoth 270,000-acre Texas ranch. He writes his shows and remains almost entirely behind the scenes. Sheridan certainly doesn't participate in Emmy politicking — the very idea seems antithetical to his nature. And the times he has spoken out have often led to some backlash. It's impossible not to respect what he's accomplished — and continues to accomplish — but that doesn't mean the industry has to like him. We'll never know if Landman would have gotten nominations if, say, John Wells was the showrunner. But it's easy to believe the show's odds would have been higher. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
USA Today
17-07-2025
- Entertainment
- USA Today
Samuel L. Jackson heads 'NOLA King' spinoff, joining these icons in Taylor Sheridan universe
Taylor Sheridan is expanding the "Tulsa King" empire with Samuel L. Jackson tapped to lead the new series "NOLA King," set in New Orleans. Jackson, 76, the star of "Pulp Fiction" and the Marvel Comic Universe, headlines his first TV series with the first "Tulsa King" spinoff for Paramount+. Jackson's character, Russell Lee Washington Jr., will be introduced in Season 3 of "Tulsa King" with Sylvester Stallone, slated for September. "NOLA King" follows Washington (Jackson), who befriended Tulsa mob boss Dwight Manfredi (Stallone) during a 10-year stint in federal prison. Washington is sent to Tulsa by New York's Renzetti crime family to take out Manfredi. Washington changes his mind, "inspired by what Dwight created in Tulsa and impressed with the possibilities of second chances," Paramount+ says in its announcement. "Washington returns to New Orleans, the home he abandoned 45 years prior, to rekindle his relationship with his family, friends, and to take control of the city he left behind." The TV role marks another iconic senior actor finding new life – and action – in the Taylor Sheridan TV universe that has included Stallone, Kevin Costner, Harrison Ford, Helen Mirren, Billy Bob Thornton and Demi Moore. Here are some venerable colleagues Jackson joins: Sylvester Stallone leads his own crime family in 'Tulsa King' Stallone, who celebrated his 79th birthday on July 6, has a hit "Tulsa King" series as the gruff-but-lovable New York mobster in Oklahoma. Season 3 kicks off in September. Kevin Costner led 'Yellowstone' as patriarch John Dutton Costner, 70, rejuvenated his career playing patriarch John Dutton in "Yellowstone." The actor joined the neo-Western series for its first season in 2018. Dutton survived almost every assassination attempt until the character was killed off in Season 5 following a prolonged dispute between Sheridan and Costner. Harrison Ford starred in '1923' as Jacob Dutton Ford, 83, starred as John Dutton's ancestor Jacob Dutton for two seasons in the "Yellowstone" prequel series "1923." Helen Mirren starred in '1923' as Cara Dutton Oscar winner and "The Queen" star Mirren, 79, starred as Cara Dutton for two seasons of "1923." The loyal, shotgun-firing Cara was the rock for husband Jacob Dutton (Ford). Billy Bob Thornton has struck oil with 'Landman' Thornton, 69, has a hit with "Landman," playing oil company fixer Tommy Norris. "Landman" Season 2 premieres on Paramount+ in November. Demi Moore and Jon Hamm were a 'Landman' power couple Moore, 62, stars as Cami Miller, the wife of Texas oil titan Monty Miller (Jon Hamm, 54) in "Landman." Monty died in the Season 1 finale, setting Cami up for bigger responsibilities, and a bigger Season 2 role. Sam Elliott has led '1883' and is set for 'Landman' Sam Elliott, 80, has starred in Western classics like 'The Quick and the Dead' and 'Tombstone." The veteran actor returned to lead a Westward-bound wagon train as Shea Brennan in the 2021 "Yellowstone" prequel series "1883." Elliott joins "Landman" in an unspecified role for Season 2. Nicole Kidman stars in 'Lioness' Nicole Kidman, 58, has starred as CIA supervisor Kaitlyn Meade for two seasons of "Lioness."
