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Olympia Duca Kiss Dead: Oscar-winning actress 89 years old

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Olympia Duca Kiss Dead: Oscar-winning actress 89 years old


The death of the character actor Olympia Dukakis best known for his Oscar-winning supporting role in Norman Jewison’s’Moonstruck’ and the Wealthy Widow role in’Steel Magnolias’. 89 years old.

Dukakis’ brother Apollo Dukakis confirmed her death. Variety. Apollo Dukakis Facebook posts, Written: “My dear sister, Olympia Dukakis, passed away in New York this morning. After several months of poor health, she finally made peace with Louis.”

She turned 56 overnight thanks to winning an Oscar in the 1987 film’Moonstruck’, and she had a special comical ethnic charm throughout the film, Cher’s mother. The Washington Post selected Dukakis for compliment. Cher and Nicolas Cage are “backed by amazing support players, especially Olympia Dukakis. His role is expected to get the attention of the Oscars by Loretta’s world weary mother, Rose.”

After a lot of TV work, Dukakis was nominated for an Emmy Award in 1991 for the TV movie “Lucky Day”, second in 1998 in “Armistead Maupin’s More Tales of the City,” and third in 1999. The mini-series “Joan of Arc.”

When she won the Oscars for “Moonstruck” in 1988, she shouted out to her cousin Michael, and she campaigned for the president in her acceptance speech. Perhaps her Oscars were made before changing her fortune, Mike Nichol’s “Working Girl” was released later that year, and Dukakis regained a role he had regularly held for most of her career. She took 12th place for her role. HR Director.

But next year, in the baby comedy “Look Who’s Talking,” following John Travolta and Kirstie Alley, she described pregnant Ally’s mother as “Moonstruck”. Acted in a way that reminds me She returned to the sequel in 1990.

Herbert Ross’ 1989 hit “Steel Magnolias” starred Julia Roberts, Sally Field, Sally Field, Dolly Parton, Shirley MacLaine and Dukakis, and attracted women of all ages with an effective sensibility and a much more effective single line. However, Rolling Stone said: “For real fun, I use MacLaine as a town crank and Dukakis as a wealthy widow to distract her. It cannot be priced.”

The actor starred alongside Diane Rad and Ellen Bustin in the 1993 film’The Cemetery Club’ directed by Bill Duke. All three Jewish women are widowed for a year and have a strong will with the character of Dukakis who has to rebuild her life.

Dukakis was part of a glamorous, proud or greedy Greek choir in Woody Allen’s 1995 romantic comedy “Mighty Aphrodite,” where the chorus mentions the allen character’s affair. Also that year, she launched the emotional Richard Dreyfuss vehicle “Mr. Holland’s Opus” and as a homosexual mother in the AIDS drama “Jeffrey”.

The following year she took on a small role in the film “Jerusalem” by the Danish writer Bill Auguste’s spiritually based era. The actress took on a small but powerful role in the 2005 Father Son Road movie “Work About My People” starring Peter Folk and Paul Riser.

In 2006, Dukakis participated in the ensemble cast of “The Great New Wonderful”, a vignette series about New York City life for a year after the 9/11 attack, and Sarah Polley’s Alzheimer’s drama “Away From Duca Keith’s character is difficult Starring Julie Christie, who reveals a firm, realistic view of her husband, who is also a patient with Alzheimer’s.

She played the old grandmother role in Jon Kasdan’s’In the Land of Women’ starring Adam Brody, Kristen Stewart, and Meg Ryan. But even more interesting was the 2011 film “Cloudburst” by author and director Thomas Fitzgerald. Dukakis is a lesbian couple traveling to Canada to get married, starring with Brenda Fricker.. Variety “Dukakis surpasses the most memorable early turns as Stella, the old, irrepressible wife determined to release her lover.”

Her television productions include Anna Madrigal, the gorgeous hostess overseeing an apartment house in San Francisco, HBO’s 1993 “Armistead Maupin’s Urban Story”, and the 1998 sequel “Armistead Maupin’s More Tales of the City”. Emmy nomination; The third entry in 2001, “Further Tales of the City.”

Among the many TV films starring Dukakis are HBO and BBC’s “The Last of the Blonde Bombshells” (2000), starring Judi Dench and Ian Holm and focusing on the reunion of a group of women who formed an orchestra in London during World War II. I got it. .

Dukakis was a regular series for the 2004 CBS sitcom “Center of the Universe” starring John Goodman and Jean Smart. She has also appeared as a guest on numerous TV series, providing voices in “Frasier” and “The Simpsons” and starring in “Numbers”. “Law and Order: SVU”, attorney; And the HBO detective comedy “Death from Boredom”.

Born in Lowell, Massachusetts, Dukakis graduated from Boston University and studied acting in Boston with Peter Kass.

Dukakis’ first experience on Broadway was an understudy of the original “The Aspern Papers” written by Michael Redgrave, based on the story of Henry James in 1962 and starring Maurice Evans and Wendy Hiller. Dukakis won Obie for off-Broadway work in Bertolt Brechlt’s “Man Equals Man” in 1963. She appeared on stage in the overnight “Abraham Cochrane” in 1964. She returned to Broadway in Peter Ustinov’s “Who’s Who in Hell” in 1974, but its execution was short too. In Andrew Bergman’s “Social Security” directed by Mike Nichols and starring Ron Silver, Marlo Thomas and Joanna Gleason, she was even more successful in her 1986-87 contest. In 2000 she starred on Broadway in the one-woman show “Rose,” which played in Miami Beach, an 80-year-old Jewish woman who talks with the audience of her life, including her experience in the Holocaust .

She debuted on TV in 1962 with an episode of “Doctors and Nurses” and the same year as “Dr. Kill Dare.” The actress made her big screen debut in 1964 with the short film “Twice a Man” 10 years after that. While she has played several small roles in the film, including “Death Wish.” Duca Keith played the mother of the Hoffman character in Peter Yeates’ 1969 film “John and Mary,” starring Dustin Hoffman and Mia Farrow. She also played a supporting role in “Made for Each Other” starring Renee Taylor and Joseph Bologna in 1971.

Dukakis was one of the stars of the 1974 film about the slaughter of students protesting the Greek regime, which writer and director Jules Dassin calls “rehearsals”. Many famous people, including Laurence Olivier, Arthur Miller, Melina Mercouri, Maximilian Schell, and Arthur Millet, took part in the film, but the regime collapsed when the film was completed and it was not publicly visible in the country until decades later. In 1975, the actress starred in the presentation “Great Performances” in Chekhov’s “The Seagull” production, starring Frank Langella, Blythe Danner and Lee Grant. She played supporting roles in Philip Kaufman’s “The Wanderers” in 1979 and Taylor Hackford’s “The Idolmaker” in 1980. But despite years of credit for film, television and stage, the actress became “Moonstruck” in 1987. I couldn’t break through until.

Much later, Dukakis taught master classes acting throughout the United States and elsewhere. In July 2020, the documentary feature film’Olympia’ about her life was released in the United States.

Dukakis was envied by her husband actor Louis Zorich, who died in 2018. She survived the actress, daughter Christina Zorich. And sons Peter and Stefan Zorich.





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Action, out-kick takeover highlights the craze for sports betting

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Action, out-kick takeover highlights the craze for sports betting


As the United States soon enters its fourth year as a country where sports betting takes place, Anymore With national bans, publishers with the sports betting industry are becoming increasingly attractive M&A candidates.

You can just look at last week’s deal making activity. Denmark-based sports betting media group Better Collective Consent to acquisition $240 million Action Network, Fox Announcement It took over the conservative sports news site Outkick for an undisclosed amount.

A little different, but still notable, the 5-year-old subscription-based sports site The Athletic, which publishes sports betting content on relevant tracks, is still looking for a merger partner, WSJ. Declaration Last Thursday. The sports pub is said to see NYT as a major candidate for a merger.

It is clear why digital sports betting content is increasing in value. More states legalizing sports betting will help drive new readers to gambling content entities (e.g. The Action Network). Then you have a larger pool that could potentially generate affiliate commissions (by recommending bettors to the sportsbook).

As the legalization of sports betting increases, the number of US consumers willing to pay monthly subscriptions to sports betting content has increased.

21 states and DC as of May 7th permit Single game sports betting through retail and/or online sportsbooks according to the American Games Association (AGA).

Legalized sports betting has long encouraged trading in the media space. Thin size What is likely to support this interest in the illegal gambling market is the fact that the pandemic has not completely undermined the growth of legalized sports betting.

Seven of the 11 states that offered legitimate sports betting in 2019 and 2020 saw a year-over-year increase (YoY) from last year’s bets under the AGA.

Meanwhile, online gambling advertising spending on local TV commercials has reached nearly $155 million in the first quarter of this year from around $11 million in early 2019. Nielsen.

This momentum has already emerged before last week through the media company-sports betting corporation partnership. DraftKings acheive VSiN, a Las Vegas-based sports betting media company, launched in late March, and Dish Network and DraftKings earlier this month. partner A deal that allows certain Dish viewers to start betting on the TV screen.

These deals are based on the idea that legitimate U.S. sports betting activity will continue to grow in the future. However, this growth in gambling can be better tracked by things like gambling app usage and betting amount rather than linear TV sports viewership.

For example, the average audience for NBA and NHL games declined 27% and 8% between 2019 and 2021, respectively, VIP analysis Recently melt.

While big matches are broadcast nationwide, the downgrade shouldn’t be associated too much with sports betting as betting is not legal in all states. However, the decline still means that legalized bets may not be the rating savior. Some hoped Can it be.

Meanwhile, a recent VIP analysis of Sensor Tower data showed that usage of the nation’s largest sports betting app surged during AFC/NFC Championship Week and Super Bowl Week.

Perhaps that’s why we’ve seen more sports leagues accept sports betting lately. View UFC-DraftKings in March deal and Recent statement NFL Commissioner Roger Goodell described sports bettors.

Leagues and sportsbooks will become more common as more states legalize sports betting. By 2023, up to 37 states can offer legalized sports betting. project Eilers & Krejcik.

However, a notable obstacle to accelerating sports betting activity is ensuring convenience by doing things like activating mobile betting in states where betting is legal.

Despite this seemingly obvious path to boosting gambling revenue, lawmakers in certain states may oppose making sports betting as widely accessible as possible. Contribute to Gambling addiction Among young adults.

The future for the US sports betting environment is one of the main focuses: Variety Intelligence Platform’s latest white paper “Sports Betting”. This white paper is VIP’s third in-depth sports betting focused survey that analyzes the impact of sports betting legalization and how media companies capitalize.

Read the full text of the special report





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Julia Louis-Dreyfus on Missing Playing Selina Meyer in’Veep’

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Julia Louis-Dreyfus on Missing Playing Selina Meyer in'Veep'


Julia Louis-Dreyfus is one of six creative leaders in comedy. VarietyThe power of women in 2021. Click here for more information.

For 30 years, Julia Louis-Dreyfus has created an Emmy-winning character, a landmark of women in popular culture. Her Elaine Benes from “Seinfeld” is your terrible old friend. Her Selina Meyer in “Veep” definitely to be. Louis-Dreyfus was a political activist, especially as Joe Biden’s deputy ahead of the 2020 elections. “It surprised me,” she said in a recent Zoom interview. And as of January 2020, she has earned the status of a tycoon by signing a multi-year overall contract with Apple. Under the terms of the contract she will of course produce, but most of them are looking for great material for herself, she says. In both comedy and drama, the latter has done less over the years. “A great idea isn’t a simple fruit. I’m like one of those pigs looking for truffles,” he adds with a smile.

Sophy Holland for Variety

Surprisingly, Louis-Dreyfus appeared in Disney Plus’s’The Falcon and the Winter Soldier’ ​​as Contessa Valentina Allegra de Fontaine, a Marvel comic book super villain often known as Madame Hydra. It was the strict secret that ignited the Internet, which sparked enthusiastic speculation about the future of Louis-Dreyfus’ high-heeled (and high-heeled) character. no It was made to walk” was the first line to steal her scene. Will the audience be able to see Louis-Dreyfus in “Black Widow” in the Marvel-Disney Plus series “Secret Invasion”? Or is it possible to see the symbolic character elsewhere where it can logically appear? Under the complete Marvel confidentiality agreement, she only said, “I always wanted to do Contessa and the Marvel Cinematic Universe made it possible.” No, she can’t provide more detailed information.

Since March of last year, Louis-Dreyfus has been “in motion” with a focus on family well-being. Particularly focused on keeping her 92-year-old mother-in-law “safe and happy”. She reads a lot with an eye for development and enjoyment, and every week at the CAA, she meets with team members who “try to find tireless material” for her. She is the French spy thriller “The Bureau” (“Oh, my God, it was so Good”) To inspire her, she relied on the New York Times Cooking app to cook countless dinners (“Lord Jesus, do I love this app”). If reading, cooking, and watching TV sound like regular COVID-closing activities, the year of Louis-Dreyfus included campaigns and fundraising for Biden, Democrats denying votes, and the Georgia US Senate Finals “full-time part-time job,” she said. “I think the Republican Party has lost its mind. This is no longer Reagan’s party.”

Breast cancer survivor Louis-Dreyfus was diagnosed in September 2017 when she tried to start filming the last season of “Veep,” which she pushed until the end of treatment. Her decisive response to the COVID treatment was “immediately”. . “Oh,” she remembers thinking. “I could see this get me.”

“I had no arrogance about this. When you face your death in the way that cancer takes you there-I strangely found the same plague.”

Experienced with cancer changed Louis-Dreyfus’ perspective, and now at the age of 60, she is rethinking the rest of her life. What I want to do with my 34-year-old husband, Brad Hall (“Travel”), and where she wants — she says “near my kids” about her son (now in her 20s). But what she calls “life is short” doesn’t apply to her work. By the way, she was vaccinated and is ready to resume. “I’m just thinking about a project with real meat in the bones,” she says. “Here’s a pretty high standard.”

Asked if he would potentially rethink his past role, Louis-Dreyfus said, “Do you know who I miss? I miss playing Selina Meyer.” Yes, “actor, writer, crew-everyone” was lost. She speaks of the HBO comedy that ended in 2019 after seven seasons. But most of the time she misses how “interesting” Selina is. “It was so inexperienced in her damn mind to play that character. It’s just freed! It was all about her self, and she had no interest in other humans.”

The series finale of “Veep” ended at Selina’s funeral. But if she wants to get the gang back together, there are certainly decades between me. Will it?

“Yes! Doing more’Veep’ will be a great joy,” says Louis-Dreyfus, “and who knows, we will someday.”


Styling: Cristina Ehrlich/The Only Agency; Makeup: Fiona Stiles/ A-Frame Agency; Hair: Aviva Perea/A-Frame Agency/R+Co Bleu; Lead image, dress: Monique Lhuillier; Bra: Agent Provocateur; Shoes: Aquazzura; Jewelry: Irene Neuwirth; Cover, top, vest and pants: Zimmerman; Rings: Ana Khouri and Irene Neuwirth</code?





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Maya Rudolph, Burnout, Beyoncé and comedy career

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Maya Rudolph, Burnout, Beyoncé and comedy career


Maya Rudolph is one of six creative leaders in the comedy segment. VarietyThe power of women in 2021. Click here for more information.

As a child, Maya Rudolph created a makeshift stage to satisfy her performance itching, setting a girl’s musical in the living room as a child and playing, believing in the empty corners of her mother’s recording studio. But about 40 years later, she has become truly overwhelming with so many platforms to choose from.

“Before I thought about quarantine, I felt very exhausted,” she admits. “I’ve been doing weirdly well in the middle of the renovation work and I think I’m still there. I am not ashamed to admit that I want to go a little slower.”

Prior to the pandemic, Rudolph received a firm reservation. She once again starred “SNL” in the role of then Senator Kamala Harris, and who played Goofy’s Almighty Jury in “The Good Place”, she was voted one of the show’s most memorable guest stars. . Her flexible voice has become commonplace in the wide animation world. Particularly in Netflix’s “Big Mouth” portraying a delightful and filthy “hormone monster”, demonstrating her ability to change a single phrase (eg “bubble bath”). As a sweet dessert (eg “bwuuuuhbble bayaaaath”).

Sophy Holland for Variety

All three of these roles were nominated for Rudolf Emmy and won the first two titles in 2020. (The only reason she lost a third was because she was nominated twice in the same category.) But the constant flow of duty exhausted and burned her. As often as possible, with her own passion for being part of as much work as possible. “I was saying’yes’ to everything,” she sighed. “It took a toll and I was tired.” So when the opportunity came for her to brake, she thankfully did so.

At her home in Los Angeles a week after hosting the second “SNL”, Rudolph is contemplating this potential turning point in her life and career. “What makes me feel happy, what makes me unhappy, and how do I set those boundaries?” She explains. On a macro level, it could mean she does fewer projects, even if she loves everyone involved. On a smaller and more immediate level it could mean wearing what she wants.

“Hills and I are already out, but now we have gone a different way. It’s okay for me,” laughs Rudolph. “And I no longer have a waist. My thighs haven’t seen my trouser legs for a year. I will be Elaine Stritch and wear a shirt.”

With Zoom, Rudolph already seems to be completely satisfied with this spirit. Her peculiar voice has been turned down from 11 o’clock, she blinks into the zoom camera through her clean glasses, and her puppy Daisy is curling her knees. And while her floral coveralls aren’t the crunchy white button-downs that Stritch became famous for, Rudolph is inspired by brass broads like her for sticking to herself, but the expectations are cursed.

Take Rudolph’s comedy idol Madeleine Kahn. She is a funny woman full of power, arm-to-arm with impeccable charm along with the ability to make every line stand out. Grown up with the Mel Brooks movie, Rudolph will watch in awe how Kahn surpasses everyone else as a film noir heroine coming up from a clean Cadillac in a hasty empress, weary wife, and matching jumpsuit. As Rudolph put it, you didn’t have to know exactly what Kahn mimicked in order to know that Rudolph was “a beautiful woman who does a pleasant job.” Later, as she got to know more comedians like Catherine O’Hara, Gilda Radner and Jan Hooks, she realized that this comedian’s niche was her ideal. “I’ve been seeing these glamorous and hilarious women I’ve ever wanted to be, whether I’m enlightened or not, and that’s the ultimate combination of perfection for me,” she says. “They can do anything.”

And once again, Rudolph has partially turned into a less compelling comedy, such as many of the scenes from “The Bridesmaid” that made the movie so striking 10 (!) years ago. While her infamous “Poop on the street“The moments were mostly stressful. you Get on your knees in a wedding dress across the crowded lane. She fondly remembers the setting of everyone who sweats from food poisoning before all hell is released. “What’s coming, everyone knows they have to hide it, and it’s constantly scattered on everyone in the multi-level intimidation stage. It was a really fun slow burn,” she recalls with a laugh. (Along with “the bridesmaid”, most of all, Rudolph remembers laughing.)

She grew up with a keen eye for what makes performers great. Especially because of her childhood, she saw her mother, singer Minnie Riperton, dazzle the crowd on tour. She wanted to do the same, seeing musicians break through sets with wit and wit. “And then I see something fun like a movie or a comedian and I think I want to be that way too,” she adds. “It wasn’t really visible to understand what it was, but it was a bit of a magical trait.” She came to worship the indescribable connection between music and comedy: the two creative forces that define her life. “Oddly enough, it’s the same language,” she explains. “If you do both well, you can’t really learn. Whether you are good to them or not.”

Rudolph will have a musical comedy opportunity like never before with his role as the juicy villain in “Disenchanted”, the highly anticipated sequel to Disney’s “Enchanted”. Amy Adams appears as a wide-eyed princess sailing modern New York. In a follow-up call the day after reading the table, Rudolph erupted about the lively “school play” atmosphere of the film and the delicious delights of acting as a villain in a “Dynasty” class camp. (“It’s really dramatic!”)

“If it was 15 years ago and someone asked me if I wanted to be a bad person, I would have answered’Oh, I don’t know’,” she says. “But I’ve found that the funniest thing I can do over the years is when you play The Most.” She also talked about how happy it was to find out that director Adam Shankman approached her for her role and knew exactly why he wanted her. “It’s great to be in a job where I feel like I can tell myself a lot of what I’ve done, so I don’t have to explain who I am or what I do.”

As anyone who has seen her performance for a while will know, Rudolph’s comedy is musical in nature. Whether it’s Beyoncé, Bronx mom, or a dizzying game show host, all of her characters talk to a contagious and uniquely bizarre guy while Rudolph’s wraps up her lines. In particular, her Beyonce impression was almost second nature. Rudolph, an avid fan, says when Beyonce’s time to imitate himself “when talking about a friend, and when speaking, speak in their voices what they said.”

Rudolph’s technique of distorting a word into a cascade of surprisingly strange sounds is second to none. She doesn’t have to make funny jokes. So, it’s not surprising to learn that Rudolph is the most comfortable in the voiceover booth. She has been able to experiment since serving the “SNL” on the commentary she needed that week. “Perhaps what I feel most about is not the camera or the musician, but a mix of the two,” she mutters. It’s also thrilling that she can step out of her body and be anything without limits. In “Big Mouth”, for example, she describes everything from hormonal monsters to school principals to dirty pillows. “It really feels like a free place,” she says of her prolific voiceover work. “You are not limited to anything made up of males, females, humans, animals, monsters, etc. It’s a place I feel very comfortable with.”

It is inevitable that Rudolph spends his life as a comedy and as a person contradicting the categorization. “Neither white, nor black, not mixed, but a special mix of my own Jews, big nosed mottled… I have always identified myself as being very unique and not belonging to any club.” She says. Although scrutiny has gone under her skin, now she reminds herself that other people’s attempts to label herself say more about herself than she does. “People really try to figure out who you are and what you are. them It’s comfortable.” She claims to be as powerful as the power that can be gained through conversation. “It has nothing to do with me.”

And that’s also where she ultimately comes to the old question of what it’s like to be a woman in a comedy. She harassed her in “SNL” and reappeared when “The Bridesmaid” dared to notice a funny woman who didn’t have a qualifying round. Very few men). When asked if the conversation has changed at all since then, she is on the lookout in a way that makes it clear how many times she had to go down the path she was truly frustrating. “As opposed to systematically thinking about my gender to be fun or not, I feel it’s my duty to keep doing what I do my best,” Rudolph shrugs. “I don’t care about that stuff.”

As Daisy climbs from her lap, Rudolph sighs and adjusts her glasses. It seems as if she’s making sure she can see enough of the next point. “It’s fun, because the moment you step into the conversation, you feel that the conversation can exist. This remaining conversation won’t die.” She rolls her eyes, pokes her eyebrows and releases the ghost of a smile. “Actually we had a great party and someone came in and said,’Wait, this is Girls‘party!’ And it’s like’uh, what are you talking about? It’s just a party. ‘”

The problem of women’s power in 2020 Variety I spoke with several women in the entertainment industry who use their voices for a worthy cause. Click here for more information.


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