Margot Robbie (“I, Tonya”) as actress Sharon Tate, who was eight and a half months pregnant when she was murdered by the Charles Manson Family.

Dakota Fanning (“The Alienist”) as Squeaky Fromme, a Manson disciple who later attempted to assassinate President Gerald Ford.

Damian Lewis (“Billions”) as actor Steve McQueen.

Nicholas Hammond, who played Friedrich in “The Sound of Music,” as director Sam Wannamaker.

Emile Hirsch (“Into the Wild”) plays celebrity hair stylist and Manson Family murder victim Jay Sebring (né Thomas Kummer).

Burt Reynolds as George Spahn, the aged California rancher who was persuaded to allow the Manson Family to live on his property

Without explanation, “Justice With Judge Jeanine” was replaced by a repeat episode of the documentary series “Scandalous,” about the 1991 rape trial of William Kennedy Smith.

Also Read: Rep Ilhan Omar Thanks Fox News After Network 'Strongly Condemns' Jeanine Pirro

President Donald Trump noted her absence from the air and called on Fox News to restore her show.

“Bring back @JudgeJeanine Pirro,” the president tweeted early Sunday. “The Radical Left Democrats, working closely with their beloved partner, the Fake News Media, is using every trick in the book to SILENCE a majority of our Country. They have all out campaigns against @FoxNews hosts who are doing too well.”

In a subsequent tweet, he added, “Fox must stay strong and fight back with vigor. Stop working soooo hard on being politically correct, which will only bring you down, and continue to fight for our Country. The losers all want what you have, don’t give it to them. Be strong & prosper, be weak & die! Stay true….

Bring back @JudgeJeanine Pirro. The Radical Left Democrats, working closely with their beloved partner, the Fake News Media, is using every trick in the book to SILENCE a majority of our Country. They have all out campaigns against @FoxNews hosts who are doing too well. Fox …..

— Donald J. Trump (@realDonaldTrump) March 17, 2019

….must stay strong and fight back with vigor. Stop working soooo hard on being politically correct, which will only bring you down, and continue to fight for our Country. The losers all want what you have, don’t give it to them. Be strong & prosper, be weak & die! Stay true….

— Donald J. Trump (@realDonaldTrump) March 17, 2019

Also Read: Fox News 'Strongly Condemns' Jeanine Pirro for Remarks on Rep. Ilhan Omar's Muslim Faith

On last Saturday’s show, Pirro sparked bipartisan outrage over her remarks about Omar, a first-term congresswoman from Minnesota who wears a hijab as part of her Muslim faith. “Is her adherence to this Islamic doctrine indicative of her adherence to Sharia law, which is antithetical to the U.S. Constitution?” Pirro asked.

After growing outcry, Fox News issued a statement condemning Pirro’s remarks. “We strongly condemn Jeanine Pirro’s comments about Rep. Ilhan Omar. They do not reflect those of the network and we have addressed the matter with her directly,” a network rep said.

At the time, the rep did not respond to requests to elaborate on how the matter was addressed or whether any disciplinary action would be taken.

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Asked in a Vogue magazine video interview if she wishes “there was a little more diversity represented,” Montag responds, “We don’t all look the same. I mean, Audrina has darker hair. I feel like Mischa has darker hair.”

See, they’re not all blondes so… diversity!

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Still, Montag acknowledges the narrow focus of the reality show’s depiction of the privileged life of Southern California young adults.

“But yeah, we’re California girls and it’s a group of friends, and that just happens to be the group that came together,” she continues. “But you know, that’s just the way the show was. I have other, very diverse friends that are not featured on the show.”

The original edition of “The Hills,” a spinoff of “Laguna Beach: The Real Orange County,” aired for six seasons on MTV from 2006 to 2010 and followed aspiring fashion industry figure Lauren Conrad, her housemate, Montag and their friends Patridge and Port.

Watch video of the Vogue interview below.

Heidi Montag‘s response to being asked about the lack of diversity on The Hills is precisely what you would expect pic.twitter.com/YFDXqHRuJI

— Gianluca Russo (@G_Russo1) March 6, 2019

MTV plans to roll out “The Hills: New Beginnings” this summer.

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Bill Maher ripped into Paul Manafort on Friday, joking in his “Real Time” opening monologue that the former Trump presidential campaign chair received “the white guy discount” when he was sentenced to 47 months in prison on Thursday.

“He got off pretty easy, the sentencing guidelines said he was supposed to get 19 to 24 years — he got four,” Maher noted. “I haven’t seen a Trump supporter get off that much since Robert Kraft went to that massage parlor in Florida.”

And Maher wasn’t done needling the former Trump operative who got caught up in special counsel Robert Mueller’s investigation. “I don’t know if Manafort has learned his lesson. His first question was, ‘Does the jumpsuit come in ostrich?'”

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Elsewhere in the monologue, Maher joked about Bill Shine, the former Fox News co-president who resigned this week as White House deputy chief of staff for communications.

“Bill Shine is Trump’s fifth — he’s had five communications directors,” Maher said. “This guy used to run Fox News, apparently he can’t get along with Trump either.”

Then he added, “He is going to be moving over to Trump’s campaign reelection headquarters, so he’s moving to Moscow.”

Surprisingly, Maher went light on jokes about President Trump and his flag-hugging performance at the Conservative Political Action Conference — though he did note the two hour, 20-minute running time of the president’s speech to the far-right group.

“There were kids born at the beginning of this speech, who by the end of it were dating R. Kelly,” Maher joked.

Watch the full monologue above.

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He had been battling Alzheimer’s disease since a diagnosis in 2007.

Brodien became a fixture on Chicago-area children’s TV for his work on “The Bozo Show,” which aired for more than 40 years until ending its long run in 2001.

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Wizzo became popular on the show for the catchphrase “Doody, doody, do.”

In addition to an Emmy Award, Brodien also received the Chicago TV Academy’s Silver Circle Hall of Fame.

According to WGN, he is survived by his wife, Mary, six children and stepchildren, and 14 grand and great-grandchildren.

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The stage version suggests a cunning prototype for the brilliant 2016 BBC TV series — whose six half-hour episodes offer a delicious one-night binge on Amazon Prime, by the way — while still standing on its own as a standalone showcase for Waller-Bridge.

The 33-year-old British actress and writer has emerged as a millennial avatar for a certain kind of dry-witted, straight-talking, sex-positive antiheroine. (She’s also the creator of the hit series “Killing Eve,” which provides another surfeit of satisfyingly complex, mold-breaking female roles.)

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But the character Fleabag is a singular creation, an updated version of Bridget Jones or Carrie Bradshaw who is both sharper-edged to the point of being abrasive as well as oddly more relatable. She’s the owner of a failed guinea-pig-themed cafe (and yes, there’s a story there) who is mourning the loss of her best friend and business partner, smarting at her sister’s more settled married life and generally stumbling through the ups-and-downs of twentysomething relationships.

She’s the sort of woman who shows up drunk at her father’s home in the wee hours of the night and declares, “I have a horrible feeling I’m a greedy, perverted, selfish, apathetic, cynical, depraved, mannish-looking, morally bankrupt woman who can’t even call herself a feminist.” (Dad, meanwhile, who married her godmother after the death of his first wife, is the sort who responds: “Well, you get all that from your mother.”)

What centers Waller-Bridge’s show is not only her razor-sharp wit, and her gift for narrative and comedic surprise, but also her performance. She sprinkles her monologue with the voices of other characters, delivered both by her and in offstage recordings, and she maintains a presence on stage that is rivetingly authentic in its bundle of contradictions — gawky and sexy, insecure and poised, old-fashioned (in its harkening-back to classic screwball comedies) and utterly modern.

Vicky Jones, a frequent collaborator, directs with well-timed precision.

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Waller-Bridge has a special gift for the pregnant pause, as when she prepares to deliver a sarcastic greeting to her sister.

“I can’t resist,” she confides — and then we watch as she reconsiders, more than once, whether she can (once again) be so cruel to her flesh-and-blood. (Spoiler alert: She can.)

For fans of the TV series, it’s fun to see how certain characters — like Olivia Colman’s hilariously solipsistic godmother-turned-stepmother — exist only in the periphery in the stage version, which runs just over an hour. Others, like her on-again-off-again boyfriend Harry, have been altered in ways both subtle and significant. Both versions work. Brilliantly.

And both work in part because Waller-Bridge never tries to over-explain her character’s complexity. We never learn her real name, or even the origin story behind that title nickname. Instead, we meet a vaguely unlikable woman who so desperately wants to be liked that she would embrace a seriously unflattering moniker, even treat it as a perverse badge of honor.

In that respect, “Fleabag” is a role model for insecure singeltons everywhere.

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The fantasy film, a sequel to 2014’s blockbuster “Maleficent,” had previously been set for May 29, 2020 in the height of the summer. The only studio release currently set for its new date is “The Hunt,” a politically-charged action-thriller from writer Damon Lindelof and director Craig Zobel being released by Universal Pictures and Blumhouse Productions.

“Pirates of the Caribbean: Dead Men Tell No Tales” director Joachim Ronning directs the film, in which Jolie reprises her role as the queen from the “Sleeping Beauty” fairy tale first seen in Disney’s 1959 animated film.

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Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville return from the first film, joined by newcomers Michelle Pfeiffer, Ed Skrein, Harris Dickinson and Chiwetel Ejiofor.

Joe Roth is producing the film. Linda Woolverton wrote the sequel script, with additional writing by Micah Fitzerman-Blue and Noah Harpster.

The original “Maleficent,” directed by Robert Stromberg, grossed $760 million worldwide.

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Back during the height of his popularity on the Fox primetime hit “Beverly Hills, 90210,” Luke Perry made a guest appearance on another show on the network, “The Simpsons” — as Krusty the Clown’s “worthless half-brother.”

In the 1993 episode, “Krusty Gets Kancelled,” Bart and Lisa try to help Krusty after his show gets the ax — and reach out to some of his celebrity pals, including Bette Midler and Perry, to host a telethon to revive the clown’s career.

Appearing shirtless as “Sideshow Luke Perry,” the young star manages to upstage Krusty’s balloon animal with an elaborate “19th-century carousel.”

Also Read: Luke Perry, 'Riverdale' and 'Beverly Hills, 90210' Star, Dies at 52

And Krusty, who has described Perry as “worthless” earlier in the episode (watch the clip below), imagines getting revenge by shooting Perry into a brick wall and mangling his good looks.

Perry died Monday at age 52 after suffering a massive stroke last week.

Perry, who was starring on The CW teen drama “Riverdale” as the father of lead character Archie (K.J. Apa), is best known for playing the brooding Dylan McKay on Fox’s ’90s teen drama “Beverly Hills, 90210” from 1990 to 1995 and again from 1998 to 2000.

His other notable small-screen credits include HBO prison drama “Oz,” the titular role on Showtime’s post-apocalyptic series “Jeremiah” and NBC’s short-lived ensemble drama “Windfall,” about a group of friends who win the lottery. He also had roles in “Body of Proof” and “John from Cincinnati.”

Watch his vocal cameo on the season 4 episode of “The Simpsons” above.

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Kristine Nielsen, a Tony-nominee for the comedy “Vanya and Sonia and Masha and Spike,” will step into Martin’s role in the Taylor Mac play, which will now begin preview performances on March 9. In addition, Tony winner Julie White (“Transformers,” “Nurse Jackie”) will join the company in Nielsen’s former role.

Three-time Tony Award-winner Nathan Lane stars in the show, which is still set for an official opening on April 11 at the Booth Theatre.

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George C. Wolfe is directing “Gary,” which is set in the year 400, just after the blood-soaked conclusion of William Shakespeare’s first tragedy, “Titus Andronicus,” during the fall of the Roman Empire when the country has been stolen by madmen.

Lane and Nielsen play two lowly servants charged with cleaning up the bodies.

“There is no greater company member than Andrea Martin, and we are heartsick to see her depart the production,” Rudin said in a statement. “We wish her the speediest recovery possible. We are very grateful to both Ms. Nielsen and Ms. White for stepping up and stepping in so swiftly.”

Martin, who won a Tony six years ago for her featured role in the musical revival “Pippin,” said in a statement, “I am heartbroken to have to leave the production and have tried to convince the doctor that my funny bone is stronger than my broken ribs. But regretfully I must follow the doctor’s orders. I love everyone involved in this beautiful play and will miss them profoundly. I will be cheering them on from the audience at the Booth Theatre.”

Morrissey to Begin Broadway Residency This May

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The singer-songwriter will play Broadway’s Lunt-Fontanne Theatre for seven performances, between May2-11, in what a statement called “an intimate yet exciting exploration of Morrissey’s expansive career from his early days to his upcoming new record ‘California Son.'”

Born Steven Patrick Morrissey in Manchester, England, the musician became an influential figure in British pop and indie rock with his distinctive baritone voice, his witty and thoughtful lyrics and his sexually ambiguous and anti-establishment public persona.

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The Broadway residency will happen in advance of the May 24 release of his new album, “California Son,” a collection of covers of 1960s and ’70s classics that follows last year’s release of his version of the Pretenders’ “Back on the Chain Gang.”

The new album includes Roy Orbison’s “It’s Over” as well as tunes by Joni Mitchell, Dionne Warwick, Bob Dylan and less well known artists such as early gay icon Jobriath and political activist Phil Ochs. The collection also boasts collaborations with alt-rock royalty including Billy Joe Armstrong (Green Day), Ed Droste (Grizzly Bear), Sameer Gadhia (Young the Giant).

Morrissey’s show follows Bruce Springsteen’s recent residency at Broadway’s Walter Kerr Theatre, where he performed a reflective, conversational show for 14 months that finished last December. The Boss won a special Tony Award for “Springsteen on Broadway.”

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Police in Dunmow, Essex, said they were “called to concerns for the welfare of a man” but that he was”pronounced dead at the scene.” Cause of death is awaiting a coroner’s report but the police statement noted, “The death is not being treated as suspicious.”

The band had just completed an Australian tour on its new album, “No Tourists,” and was due to launch a U.S. tour in May.

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Flint, who initially joined The Prodigy as a dancer, became the band’s lead singer and performed on No. 1 singles such as “Firestarter” and “Breathe.”

With his spiky shock of hair and eyeliner-enhanced stare, he became a dynamic frontman of the group.

The deliberately in-your-face black-and-white video for the 1996 hit “Firestarter” — which focused on a headbanging Flint singing “I’m the bitch you hated / filth infatuated” — was banned by the BBC after parental complaints, according to The Guardian.

Tributes to Flint soon flooded the internet.

“RIP Keith. Burn bright up there,” wrote Paul Arthurs, the guitarist and founding member of Oasis.

Devastated to hear Keith Flint has passed away. The greatest front man to a band that has inspired me for as long as I can remember. A fire starter that will be missed forever. His legend will live on. ???????????? RIP pic.twitter.com/usShksHDpn

— Wilkinson (@WilkinsonUK) March 4, 2019

RIP Keith. Burn bright up there. X

— Paul Arthurs. (@BoneheadsPage) March 4, 2019

Oh gosh, so sad to hear about Keith Flint, he was always great fun to be around and very kind to Tom and I when we first started doing shows together..great man.

— ed simons (@eddychemical) March 4, 2019

RIP Keith Flint. Very sad to hear the news that he’s passed away. I wouldn’t do what I do without him and The Prodigy in my life. A huge inspiration to me and many others ???? pic.twitter.com/gXb8cHJGbW

— Friction (@friction) March 4, 2019

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Her agency APA told TheWrap that Helmond passed away on Feb. 23 of Alzheimer’s complications in her home in Los Angeles.

Across her five decades on TV, Helmond is perhaps best known for playing the ditzy matriarch Jessica Tate opposite Billy Crystal and Robert Guillaume on ABC’s soap opera sitcom “Soap.” She was nominated for four Emmys for the part and won a Golden Globe in 1981.

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She went on to played the sexy and wise Mona Robinson opposite Tony Danza and Judith Light on “Who’s the Boss?,” which earned her two more Emmy nominations and another Golden Globe. In 2002, she was nominated for an Emmy as a guest actor on “Everybody Loves Raymond.” Her other TV credits included ABC’s “Coach,” A&E’s “The Glades” and HBO’s “True Blood.”

In film, Helmond was a frequent collaborator of Terry Gilliam, starring in his “Time Bandits,” “Brazil” and “Fear and Loathing in Las Vegas.” She more recently provided a voice in Pixar’s trilogy of “Cars” films,” and she also starred in Alfred Hitchcock’s “Family Plot” and Garry Marshall’s “Overboard.”

Helmond also had a lucrative career on stage, and she was nominated for a Best Supporting or Featured Actress Tony Award for her Broadway performance in Eugene O’Neill’s “The Great God Brown.” Her other Broadway performances included “Private Lives,” “Don Juan” and “Mixed Emotions.”

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Born Katherine Marie Helmond on July 5, 1929, in Galveston, Texas, Helmond’s first love was the theater, and spent seven years performing at the Hartford Stage Company and Trinity Repertory Theater. After winning the Drama Critics Award for her Off-Broadway performance in the Pulitzer Prize-winning play, “The House of Blue Leaves” by John Guare, Helmond followed the production to Los Angeles, where she was eventually discovered by talent scouts and landed her first television role guest-starring in an episode of “Gunsmoke.”

Helmond met her husband of 57 years, David Christian, at The Hampton Playhouse Summer Stock Theater, where he was the set designer and she was the leading lady. They wed in 1962 and remained happily married until her death.

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In a 2011 interview with The Philadelphia Inquirer, Helmond attributed her long, continuous and successful career to her childhood.

“I went to Catholic school. Do as you’re told; don’t ask questions and you will be illuminated,” she said. “I listened; I paid attention, and I sat quietly in my chair until they pointed at me. Then I got up and did what I was expected to do. When I got to be an old girl, I was still a good little girl.”

A memorial for family and friends to celebrate her extraordinary life and career is currently being planned for the near future.

Judith Light and Alyssa Milano, who played her daughter and teen-aged granddaughter, respectively, on “Who’s the Boss?,” shared their condolences.

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“Katherine Helmond was a remarkable human being and an extraordinary artist; generous, gracious, charming and profoundly funny. She taught me so much about life and inspired me indelibly by watching her work. Katherine was a gift to our business and to the world, and will be deeply missed.”

– Judith Light

Katherine Helmond has passed away.

My beautiful, kind, funny, gracious, compassionate, rock. You were an instrumental part of my life. You taught me to hold my head above the marsh! You taught me to do anything for a laugh! What an example you were!

Rest In Peace, Katherine. pic.twitter.com/HNIH0Ty6MN

— Alyssa Milano (@Alyssa_Milano) March 1, 2019

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Indeed, Farber’s production calls to mind Samuel Beckett, both in its embrace of poetical abstraction and in its physical look. Susan Hilferty‘s set design, with its dirt-strewn floor and barren tree stage right, could easily hold a production of “Waiting for Godot.”

But Fugard’s play is deadly serious — there is none of the clowning or slapstick of “Godot” — and Farber takes a similarly sober approach to the material: Sahr Ngaujah’s Boesman and Zainab Jah’s Lena enter the theater through the audience, weighed down by boxes and sacks and pans representing all the possessions they managed to take with them, until they deposit themselves in the barren mudflats of the stage.

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Like Vladimir and Estragon, they are given to bickering — after many years together, and shared tragedies like lost children, they know what buttons to push with each other.

But there is a darker edge here, as Fugard does not depict his title characters as saintly victims of an unjust system. We learn early on that Boesman regularly beats Lena — we see her bruises — and that she too is not above provoking his jealousy and rages in ways that put him in jeopardy in a racist society.

Like many a survivor of domestic violence, she feels both bound to her oppressor and wanting to challenge him. As they are setting up camp, Lena calls over an older black tribesman (Thomas Silcott), whose Xhosa-language speeches she doesn’t even understand — and invites him to stay with them, offering her own share of food.

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Jah and Ngaujah are fully committed to these roles, and they don’t let anyone off the hook — not each other and not the audience, whom they stare down at several points in the intermissionless production, even during the curtain call.

At one point, Lena speaks of a dog she once had. “I called him Dog,” she says, “another pair of eyes, something to see you.” The old tribesman plays a similar role for her — as do we in the audience. It’s as if she needs someone to bear witness, to validate her identity.

“Boesman and Lena” initially may have been staged as an indictment of South Africa’s treatment of its nonwhite citizens. But over time, it has grown into a searing look at how institutional racism can sour our very humanity.

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Spike Lee accepted his career-first competitive Oscar on Sunday night with a rousing speech that President Trump slammed as “racist” Monday morning.

The director, who shared the Best Adapted Screenplay prize for his film “BlackKklansman,” bounded onto the stage of the Dolby Theatre to deliver a characteristically political speech that noted the U.S. legacy of slavery and genocide of native people and ended with a call for people to vote in 2020.

Even though Lee did not mention Trump by name, the president lashed out on Monday via Twitter: “Be nice if Spike Lee could read his notes, or better yet not have to use notes at all, when doing his racist hit on your President, who has done more for African Americans (Criminal Justice Reform, Lowest Unemployment numbers in History, Tax Cuts,etc.) than almost any other Pres!”

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After dropping an F-bomb that got bleeped during the live telecast — “Do not turn that motherf—ing clock on,” Lee shouted — Lee read a prepared statement from a yellow sheet of paper:

The word today is “irony.” The date, the 24th. The month, February, which also happens to be the shortest month of the year, which also happens to be Black History month. The year, 2019. The year, 1619. History. Her story. 1619. 2019. 400 years.

Four hundred years. Our ancestors were stolen from Mother Africa and bought to Jamestown, Virginia, enslaved. Our ancestors worked the land from can’t see in the morning to can’t see at night. My grandmother, Zimmie Shelton Retha, who lived to be 100 years young, who was a Spelman College graduate even though her mother was a slave. My grandmother who saved 50 years of Social Security checks to put her first grandchild — she called me “Spikie-poo” — she put me through Morehouse College and NYU grad film. NYU!

Before the world tonight, I give praise to our ancestors who have built this country into what it is today along with the genocide of its native people. We all connect with our ancestors. We will have love and wisdom regained, we will regain our humanity. It will be a powerful moment. The 2020 presidential election is around the corner. Let’s all mobilize. Let’s all be on the right side of history. Make the moral choice between love versus hate. Let’s do the right thing! You know I had to get that in there.

Watch the video above.

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Richard Rodgers, composer (1902-1979)

Emmy: Outstanding Achievement in Original Music Composed, “Winston Churchill: The Valiant Years” (1962)
Grammy: Best Show Album, “The Sound of Music” (1960); Best Original Cast Show Album, “No Strings” (1962)
Oscar: Best Song, “It Might As Well Be Spring” from “State Fair” (1945)
Tony: three for “South Pacific” (1950); one each for “The King and I” (1952), “The Sound of Music” (1960) and “No Strings” (1962)

Helen Hayes, actress (1900 – 1993)

Emmy: Best Actress, “Schlitz Playhouse of Stars: Not a Chance” (1953)
Grammy: Best Spoken Word Recording, “Great American Documents” (1977)
Oscar: Best Actress, “The Sin of Madelon Claudet (1932); Best Supporting Actress, “Airport” (1970)
Tony: Best Actress in a Drama, “Happy Birthday” (1947); Best Actress in a Drama, “Time Remembered” (1958)

Rita Moreno (1931 -)

Emmy: Supporting Actress, Variety or Music, “The Muppet Show” (1977); Lead Actress for Single Appearance in a Comedy or Drama, “The Rockford Files” (1978)
Grammy: Best Recording for Children, “The Electric Compan” (1972)Oscar: Best Supporting Actress, “West Side Story” (1961)
Tony: Best Supporting Actress in a Play, “The Ritz” (1975)

John Gielgud (1904 – 2000)

Emmy: Best Actor in a Miniseries or Special, “Summer’s Lease (1991)
Grammy: Best Spoken World Album, “Ages of Man” (1979)
Oscar: Best Supporting Actor, “Arthur” (1981)
Tony: Outstanding Foreign Company, “The Importance of Being Earnest” (1948); Best Director of a Drama, “Big Fish, Little Fish” (1961)

Audrey Hepburn (1929 – 1993)

Emmy: Best Individual Achievement, Informational Programming, “Gardens of the World With Audrey Hepburn” (1993)
Grammy, Best Spoken Word Album for Children, “Audrey Hepburn’s Enchanted Tales” (1994)Oscar: Best Actress, “Roman Holiday” (1953)
Tony: Best Actress in a Drama, “Ondine” (1954)

Marvin Hamlisch (1944-2012)

Emmy: Four awards, two for work on “Barbra: The Concert” (1995) and one each for “AFI’s 100 Years… 100 Movies” (1999) and “Timeless: Live in Concert” (2001)
Grammy: Four awards in 1974, including Best New Artist, Song of the Year (“The Way We Were”), Best Album of the Original Score (“The Way We Were”) and Best Pop Instrumental Performance (“The Entertainer”)
Oscar: Best Original Dramatic Score and Best Song, “The Way We Were” (1973) and Best Adapted Score, “The Sting” (1973)
Tony: Best Musical Score, “A Chorus Line” (1976)

Jonathan Tunick (1938 – )

Emmy: Music Direction, “Night of 100 Stars” (1982)
Grammy: Best Instrumental Arrangement Accompanying Vocals, Cleo Laine’s “No One Is Alone” (1988)Oscar: Best Adapted Score, “A Little Night Music” (1977)
Tony: Best Orchestrations, “Titanic” (1977)

Mel Brooks (1926 – )

Emmy: Best Writing in Variety, “The Sid Caesar, Imogene Coca, Carl Reiner, Howard Morris Special” (1967); three awards for Best Guest Actor in a Comedy, “Mad About You” (1997-99)
Grammy: Best Spoken Comedy Album, “The 2000 Year Old Man in the Year 2000” (1998); Best Long-Form Music Video, “Recording ‘The Producers'” (2002); Best Musical Show Album, “The Producers” (2002)
Oscar: Best Original Screenplay, “The Producers” (1968)
Tony: Best Musical, Original Score and Book of a Musical, “The Producers” (2001)

Mike Nichols (1931 – 2014)

Emmy: Best Director of Miniseries, Movie or Special, “Wit” (2001); Best Made for Television Movie, “Wit” (2001); Best Directing of Miniseries, Movie or Special, “Angels in America” (2004); Best Miniseries, “Angels in America” (2004)
Grammy: Best Comedy Performance, “An Evening With Mike Nichols and Elaine May” (1961)
Oscar: Best Director, “The Graduate” (1967)
Tony: Best Director of a Play, “Barefoot in the Park” (1964), “Luv” and “The Odd Couple” (1965), “Plaza Suite” (1968), “The Prisoner of Second Avenue” (1972), “The Real Thing” (1984), “Death of a Salesman” (2012); Best Musical, “Annie” (1977); Best Play, “The Real Thing” (1984); Best Director of a Musical, “Monty Python’s Spamalot” (2005)

Whoopi Goldberg (1955 – )

Emmy: Best Special Class Special, “Beyond Tara: The Extraordinary Life of Hattie McDaniel” (2002); Best Talk Show Host, “The View” (2009)
Grammy: Best Comedy Recording, “Whoopi Goldberg: Original Broadway Show Recording” (1985)
Oscar: Best Supporting Actress, “Ghost” (1990)
Tony: Best Musical, “Thoroughly Modern Millie” (2002)

Scott Rudin (1958 – )

Emmy: Best Children’s Program, “He Makes Me Feel Like Dancin'” (1984)
Grammy: Best Musical Theater Album, “The Book of Mormon” (2012)
Oscar: Best Picture, “No Country for Old Men” (2007)
Tony: 12 awards, for producing musicals “Passion” (1994) and “The Book of Mormon” (2012) and the plays “Copenhagen” (2000), “Doubt” (2005), “The History Boys” (2006), “God of Carnage” (2009), “Fences” (2010), “Death of a Salesman” (2012), “The Curious Incident of the Dog in the Night-Time” (2015), “Skylight” (2015), “The Humans” (2016) and “A View From the Bridge” (2016)

Robert Lopez (1975 – )

Emmy: Best Music Direction and Composition, “Wonder Pets” (2008, 2010)
Grammy: Best Musical Theater Album, “The Book of Mormon” (2012); Best Compilation Soundtrack, “Frozen” (2015), Best Song for Visual Media, “Let It Go” from “Frozen” (2015)
Oscar: Best Original Song, “Let It Go” from “Frozen” (2014)
Tony: Best Score, “Avenue Q” (2004); Best Score and Best Book of a Musical, “The Book of Mormon” (2011)

Regina King and Mahershala Ali won the two supporting actor categories, for “If Beale Street Could Talk” and “Green Book,” respectively.

And writer-director Spike Lee earned his career-first competitive Oscar for co-writing “BlackKklansman” — his co-writers include another African American winner, Kevin Willmott.

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In addition, “Black Panther” costume designer Ruth Carter and production designer Hannah Beachler became the first black winners in their categories — as did Peter Ramsey, one of five winners for “Spider-Man: Into the Spider-Verse” as Best Animated Feature.

The previous record for black Oscar winners was set in 2016, when five black artists won: supporting actors Viola Davis for “Fences” and Mahershala Ali for “Moonlight;” documentary feature director-producer Ezra Edelman for “O.J.: Made in America;” and screenwriters Barry Jenkins and Tarell Alvin McCraney for “Moonlight.”

This year’s record comes just three years after the Academy failed to nominate a single nonwhite actor in any category, a snub that prompted the #OscarsSoWhite movement and a good deal of industry soul-searching — and a movement to expand and diversify the membership of the organization.

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A record-shattering list of 928 were invited to join the Academy last year — following 683 new members in 2016, and then a new-record 774 members in 2017.

It was the third year of a concerted effort by the Academy to identify and invite more women and nonwhite members to join the organization. Over the preceding two years, more than 1,400 people had been offered membership, with 42 percent of those being women and 35 percent non-white. (Obviously, some fell into both categories.)

In 2016, during the height of the #OscarsSoWhite protests, then-Academy president Cheryl Boone Isaacs vowed that the organization would double the number of women and non-white members by 2020.

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Greg P. Russell (16 nominations) 

Veteran sound mixer Greg P. Russell earned his first nomination for 1989’s “Black Rain.” He almost earned a 17th nomination, for 2016’s “13 Hours,” but his nomination was rescinded after he “violated Academy campaign regulations that prohibit telephone lobbying.”

Roland Anderson (15) 

The longtime art director picked up his first nomination for “A Farewell to Arms” in 1934 — and then lost for such classics as 1961’s “Breakfast at Tiffany’s” and 1963’s “Come Blow Your Horn.”

Alex North (15) 

Composer Alex North was recognized with an honorary Oscar in 1986 — but he never won despite scoring such classics as “A Streetcar Named Desire,” “Cleopatra” and “Spartacus.”

Roger Deakins (14) 

Cinematographer Roger Deakins earned the first of 14 nominations for 1994’s “The Shawshank Redemption” — and even earned two nods in 2007 for Best Picture winner “No Country for Old Men” as well as “The Assassination of Jesse James by the Coward Robert Ford.”

Loren L. Ryder (14) 

Veteran sound engineer Loren L. Ryder picked up nominations for his sound work on classics like “Double Indemnity,” “The War of the Worlds” and “Rear Window” — but never won a competitive Oscar. However, he did win eight non-competitive honors from the Academy, including honorary prizes and technical achievement awards.

Thomas Newman (14)  

The composer earned two nominations in 1995, for “Little Women” and “The Shawshank Redemption.” His most recent nod: 2016’s “Passengers.”

George J. Folsey (13) 

The cinematographer earned an unlucky 13 nominations for such movies as 1944’s “Meet Me in St. Louis” and 1954’s “Seven Brides for Seven Brothers” — but came up short each time.

Federico Fellini (12) 

The beloved Italian director received an honorary Oscar in 1993 but was passed over a dozen times for both his direction and screenplays.

Rick Kline (11) 

The veteran sound mixer earned 11 nominations for such hits as “Terms of Endearment,” “Top Gun” and “Air Force One.”

Anna Behlmer (10) 

Behlmer is a 10-time nominee for sound mixing such films as “Braveheart,” “L.A. Confidential” and 2009’s “Star Trek.”

Walter Lantz (10)

The veteran animator was best known for Woody Woodpecker but he was forever the bridesmaid at the Oscars — until collecting an honorary award in 1979.

Walter Scharf (10)

The composer earned 10 nominations over the years for films like “Funny Girl” and “Willy Wonka and the Chocolate Factory” but never took home an Oscar.

The previous record came in both 2007 and 2015, when women earned a total of 12 statuettes, including for the two actress categories.

And it comes after just six women earned Oscars at last year’s ceremony, compared with 33 male winners. That’s little more than 15 percent. It was the lowest number of female winners since 2012’s show (the 85th annual Academy Awards), when only four women brought home statuettes.

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In addition to Regina King, who won Best Supporting Actress for her role in “If Beale Street Could Talk,” and Best Actress winner Olivia Colman, for “The Favourite,” the following women earned Oscars on Sunday:

• Ruth Carter, costume design for “Black Panther”
• Elizabeth Chai Vasarhelyi and Shannon Dill, documentary feature for “Free Solo” (shared with Jimmy Chin and Evan Hayes)
  
• Rayka Zehtabchi and Melissa Berton, documentary short for “Period. End of Sentence.”
• Kate Biscoe and Patricia DeHaney, makeup and hairstyling for “Vice” (shared with Greg Cannom)
• Hannah Beachler, costume design for “Black Panther” (shared with Jay Hart)
• Domee Shi and Becky Neiman-Cobb, animated short for “Bao”
• Jaime Ray Newman, live-action short for “Skin” (shared with Guy Nattiv)
• Nina Hartstone, sound editing for “Bohemian Rhapsody” (shared with John Warhurst)
• Lady Gaga, original song for “Shallow” from “A Star Is Born” (shared with Mark Ronson, Anthony Rossomando and Andrew Wyatt)

Women accounted for 27.5 percent of all the Oscar nominees this year, a slight uptick from last year’s record-setting year, in which only 26.8 percent of the nominations went to women.

Of the 225 individuals nominated this year in the 24 competitive categories, 62 women were named, based on a tally from TheWrap. That’s compared to just 57 of 213 individual nominees in 2018 (26.8 percent), and 48 of 211 in 2017 (22.7 percent).

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A select group of entertainers can round out their trophy cases with a competitive win from the Academy of Motion Pictures Arts and Sciences.

Harry Belafonte (1927 – )

Emmy: Performance in a Variety or Musical Program or Series, “The Revlon Revue” (1960).

Grammys (2): Folk Performance, “Swing Dat Hammer” (1960); Folk Recording, “An Evening With Belafonte/Makeba” (1965).

Tony: Supporting Actor in a Musical, “John Murray Anderson’s Almanac” (1954).

Leonard Bernstein (1918-1990) 

Emmy: 7 individual wins, including for “Omnibus” (1957 and 1958); “Leonard Bernstein and the New York Philharmonic” (1961); “New York Philharmonic Young People’s Concerts” (1965); “Beethoven’s Birthday” (1972); and “Carnegie Hall: The Grand Reopening” (1987).

Grammy: 16 wins, most for best classical album.

Tony: Best Musical, “Wonderful Town” (1953).

Jerry Bock
Martin Charnin
Cy Coleman
Fred Ebb

Cynthia Erivo (1987 – ) 

Daytime Emmy: On-Camera Musical Performance in a Daytime Program, “Today” (2017).

Grammy: Musical Theater Album, “The Color Purple” (2016).

Tony: Actress in a Musical, “The Color Purple” (2016). EGOT

Anne Garefino (1959 – ) 

Emmys (5): Animated Program (producing), “South Park” (2005, 2007, 2008, 2009 and 2013).

Grammy: Musical Theater Album, “The Book Of Mormon” (2011).

Tony: Musical (producing), “The Book of Mormon” (2011).

Julie Harris (1925-2013) 

Emmys (3): Single Performance by an Actress, “Little Moon of Alban” (1959); Single Performance by an Actress, “Victoria Regina” (1962); Voiceover Performance, “Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony” (2000).

Grammy: Spoken Word Recording, “The Belle Of Amherst” (1977).

Tonys (5): Actress in a Play, “I Am a Camera” (1952), “The Lark” (1956), “Forty Carats” (1969), “The Last of Mrs. Lincoln” (1973) and “The Belle of Amherst” (1977). EGOT

James Earl Jones (1931 – ) 

Emmys (2): Actor in a Drama Series, “Gabriel’s Fire” (1991); Supporting Actor in a Miniseries or Special, “Heat Wave” (1991).

Grammy: Spoken Word Recording, “Great American Documents” (1976).

Tonys (2): Actor in a Play, “The Great White Hope” (1969) and “Fences” (1987).

Quincy Jones (1933 – )

Emmy: Music Composition for a Series Original Dramatic Score, “Roots” (1977).

Grammy: 27 wins, including Record of the Year, “Beat It” (1983) and “We Are the World” (1985); Album of the Year, “Back on the Block” (1990).

Tony: Musical Revival (producing), “The Color Purple” (2016).

John Kander

Cyndi Lauper (1953 – ) 

Emmy: Guest Actress in a Comedy Series, “Mad About You” (2005).

Grammys (2): Best New Artist (1984); Musical Theater Album, “Kinky Boots” (2013).

Tony: Score, “Kinky Boots” (2013).

Audra McDonald (1970 – )

Emmy: Special Class Program, “Live From Lincoln Center” (2015).

Grammys (2): Classical Album and Opera Recording, “Weill: Rise and Fall of the City of Mahagonny” (2008).

Tonys (6): Featured Actress in a Musical, “Carousel” (1994); Featured Actress in a Play, “Master Class” (1996); Featured Actress in a Musical, “Ragtime” (1998); Featured Actress in a Play, “A Raisin in the Sun” (2004); Actress in a Musical, “The Gershwins’ Porgy and Bess” (2012); Actress in a Play, “Lady Day at Emerson’s Bar & Grill” (2014).

Bette Midler (1945 – )

Emmys (3): Special – Comedy, Variety or Music, “Bette Midler Ol’ Red Hair Is Back” (1978); Performance in a Variety or Music Program, “Bette Midler: Diva Las Vegas” (1997) and “The Tonight Show” (1992).

Grammy (3): Best New Artist (1973); Best Female Pop Vocal Performance,
“The Rose” (1980); Record of the Year, “Wind Beneath My Wings” (1989).

Tony: Actress in a Musical, “Hello, Dolly!” (2017).

Lin-Manuel Miranda (1980 – )

Emmy: Original Music and Lyrics, “67th Annual Tony Awards” (2014).

Grammys (2): Best Musical Theater Album, “In the Heights” (2008) and “Hamilton” (2017).

Tonys (3): Score, “In the Heights” (2008) and “Hamilton” (2016); Musical, “Hamilton” (2016).

Cynthia Nixon (1966 – ) EGOT

Emmys (2): Supporting Actress in a Comedy Series, “Sex and the City” (2004); Guest Actress in a Drama Series, “Law & Order: Special Victims Unit” (2008).

Grammy: Spoken Word Album, “An Inconvenient Truth” (2008) .

Tonys (2): Actress in a Play, “Rabbit Hole” (2006); Featured Actress in a Play, “Lillian Hellman’s The Little Foxes” (2017).

Trey Parker
Marc Shaiman
Bill Sherman
Matt Stone
Charles Strouse

Lily Tomlin (1939 – )

Emmys (6): Writing in a Comedy-Variety or Music Special, “Lily” (1974) and The Lily Tomlin Special (1976) and “The Paul Simon Special” (1978); Variety, Music or Comedy Program, “Lily” (1974) and “Lily: Sold Out” (1981); Voiceover Performance, “An Apology to Elephants” (2013).

Grammy: Comedy Recording, “This Is a Recording” (1971)

Tony: Actress in a Play, “The Search for Signs of Intelligent Life in the Universe” (1986).

Dick Van Dyke (1925 -)

Emmys (4): Actor in a Comedy Series, “The Dick Van Dyke Show” (1964, 1965 and 1966); Comedy-Variety or Music Series, “Van Dyke and Company” (1977).

Grammy: Recording for Children, “Mary Poppins” (1964).

Tony: Featured Actor in a Musical, “Bye, Bye Birdie” (1961).

James Whitmore

Lee Daniels, “Precious” (2009) • Eighteen years passed before a second African American filmmaker was recognized: Lee Daniels, for his gritty portrait of a young woman seeking to overcome a childhood of poverty and abuse. In another Oscar first, Kathryn Bigelow became the first female director to win the Oscar, for “The Hurt Locker.”

Steve McQueen, “12 Years a Slave” (2013) • British director Steve McQueen gritty drama about American slavery picked up nine nominations, including one for his directing. But the film won Best Picture (and McQueen earned a statuette as a producer, he lost the directing prize to “Gravity” filmmaker Alfonso Cuaron.

Barry Jenkins, “Moonlight” (2016) • Jenkins’ underdog indie pulled off a major upset, beating front-runner “La La Land” for Best Picture. But Damien Chazelle claimed the directing prize for the modern-day musical. (Jenkins did take home the statuette for Best Adapted Screenplay.)

Jordan Peele, “Get Out” (2017) • Peele became the latest actor-turned-filmmaker to earn a Best Director nod, for his feature filmmaking debut.

One of Donen’s sons confirmed the news on Saturday to Chicago Tribune film critic Michael Phillips. A rep for Donen did not immediately respond to a request for comment.

Donen helped reinvent the big-screen musical, with a series of hits that included 1954’s “Seven Brides for Seven Brothers,” 1957’s “The Pajama Game,” 1958’s “Damn Yankees!”  and 1957’s “Funny Face,” with Audrey Hepburn and Fred Astaire.

Not only did he integrate song, dance and story in a way that enlivened MGM musicals of the era, but he was also a technical innovator in an era before CGI, as in the memorable scene in 1950’s “Royal Wedding” when Fred Astaire seemed to dance on the walls and ceiling while singing “You’re All the World to Me.”

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After breaking off his MGM contract in the late 1950s, Donen ventured into non-musical rom-coms like “Indiscreet” (1958), “Charade” (1963) and “Two for the Road” (1967) — frequently with some combination of favored stars like Audrey Hepburn and Cary Grant.

Despite receiving an honorary Oscar in 1998 for “a body of work marked by grace, elegance, wit and visual innovation,” he never received so much as a nomination for any of his films.

A native of South Carolina, Donen studied dance as a boy and moved to New York City at around age 16 to pursue a career on the stage.

While performing on Broadway for the legendary director George Abbott, Donen befriended a young Gene Kelly, whom he followed to Hollywood to co-direct the seminal dance-heavy musicals “On the Town” (1949) and “Singin’ in the Rain” (1952), which is regarded as one of the best Hollywood movies of all time.

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“Sound was still a fairly new thing when I came into movies,” Donen told, Vanity Fair in a 2013 interview. “And the reason musicals happened is because of sound. They could put music in the picture! That’s how it all began.”

By the 1980s, Donen’s box office clout had diminished with forays into sci-fi like 1980’s “Saturn 3.” His last big-screen feature was the crass R-rated 1984 comedy “Blame It on Rio” starring Michael Caine and a young Demi Moore.

He also directed a musical sequence in the 1980s series “Moonlighting” as well as the video for the 1986 Lionel Richie hit “Dancing on the Ceiling.”

Confirmed by one of his sons this morning: Director Stanley Donen has died at 94. With Gene Kelly he brought ON THE TOWN and SINGIN’ IN THE RAIN into the world; on his own, 7 BRIDES, CHARADE and TWO FOR THE ROAD. A huge, often neglected talent. #StanleyDonen

— Michael Phillips (@phillipstribune) February 23, 2019

For the record: An earlier version of this story had an incorrect version of the title “Saturn 3.”

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“Can’t Stop the Music” (1980) 

The Golden Raspberry Awards got their start by recognizing this musical comedy, a justly mocked quasi-biopic of the Village People.

Rotten Tomatoes score: 8 percent

“Mommie Dearest” (1981) 

Faye Dunaway goes full camp as Joan Crawford in a docudrama whose comedy was often unintentional.

Rotten Tomatoes score: 53 percent

“Inchon” (1982) 

This bloated, over-budget Korean war film starring Laurence Olivier as Gen. Douglas MacArthur was an epic turkey.

Rotten Tomatoes score: 0 percent

“The Lonely Lady” (1983)

Pia Zadora followed her mysterious (and widely mocked in retrospect) Golden Globe win for “Butterfly” with this adaptation of a trashy Harold Robbins novel about a schoolgirl/wannabe screenwriter.

Rotten Tomatoes score: 0 percent

“Bolero” (1984)

Bo Derek ditches her “10” cornrows to play a British finishing school grad who embarks on a world tour to find the right guy to strip her of her virginity.

Rotten Tomatoes score: 0 percent

“Rambo: First Blood Part II” (1985) 

Sylvester Stallone revives his much-lampooned Reagan-era superhero as a Vietnam vet who returns to action to help free American POWs, pretty much single-handedly.

Rotten Tomatoes score: 34 percent

TIE: “Howard the Duck” and “Under the Cherry Moon” (1986) 

The Razzies took a whack at two misfires, one about the watered-down comic-book character Howard the Duck (Rotten Tomato score: 13 percent); and the other Prince’s self-indulgent musical follow-up to “Purple Rain” (RT score: 34 percent).

“Leonard Part 6” (1987)

At the height of his “Cosby Show” fame, Bill Cosby starred in this big-screen misfire of a spy spoof.

Rotten Tomatoes score: 9 percent

“Cocktail” (1988) 

Razzies love to take big stars down a peg, as when Tom Cruise followed “Top Gun” with this risible romantic drama about a hotshot bartender.

Rotten Tomatoes score: 5 percent

“Star Trek V: The Final Frontier” (1989) 

The lowest-ranked of all the “Star Trek” films is this intergalactic train wreck that also marked the directing debut of William Shatner.

Rotten Tomatoes score: 22 percent

TIE: “The Adventures of Ford Fairlane” and “Ghosts Can’t Do It” (1990) 

Andrew Dice Clay’s movie debut as a “rock ‘n’ roll detective” proved a lemon (Rotten Tomatoes score: 22 percent); while Bo Derek’s fantasy rom-com is probably best remembered for a Donald Trump cameo that earned the future POTUS the Razzie for Worst Supporting Actor (no RT score).

“Hudson Hawk” (1991) 

Bruce Willis made his first splash at the Razzies with this big-budget flop about a thief who’s forced to pull one last heist.

Rotten Tomatoes score: 26 percent

“Shining Through” (1992) 

Roger Ebert called this WWII-set drama, starring Melanie Griffith as a fluent German speaker who goes to work for a lawyer (Michael Douglas) who’s secretly in the OSS, “such an insult to the intelligence.”

Rotten Tomatoes score: 44 percent

“Indecent Proposal” (1993) 

Filmgoers mostly rejected Adrian Lyne’s melodrama, about a billionaire (Robert Redford) who offers $1 million to a cash-strapped couple (Demi Moore and Woody Harrelson) if the wife will sleep with him.

Rotten Tomatoes score: 35 percent

“Color of Night” (1994)

Bruce Willis found his way back into the Razzie winners circle for this tawdry erotic thriller.

Rotten Tomatoes score: 21 percent

“Showgirls” (1995) 

Paul Verhoeven’s notorious bomb about an aspiring Vegas dancer has developed a so-bad-it’s-fun reputation as a cult classic.

Rotten Tomatoes score: 22 percent

“Striptease” (1996) 

Demi Moore returns! This time as an exotic dancer at a bar called the Eager Beaver in a laughably bad thriller.

Rotten Tomatoes score: 12 percent

“The Postman” (1997)

Kevin Costner’s sophomore directing effort — after Oscar winner “Dances With Wolves” — is a post-apocalyptic thriller and mega-flop.

Rotten Tomatoes score: 9 percent

“An Alan Smithee Film: Burn Hollywood Burn” (1998)

This would-be Hollywood send-up follows a director named Alan Smithee — the name that directors slap on movies they disown. But the production was such a mess that real-life director Arthur Hiller opted to remove his name from this turkey.

Rotten Tomatoes score: 8 percent

“Wild Wild West” (1999)  

Will Smith followed back-to-back hits “Independence Day,” “Men in Black” and “Enemy of the People” with this big-budget bomb.

Rotten Tomatoes score: 17 percent

“Battlefield Earth” (2000) 

Xenu help us! This notorious box office bomb, based on a sci-fi novel by Scientology founder L. Ron Hubbard, starred A-list Scientologist John Travolta — who also sunk millions of his own into the project.

Rotten Tomatoes score: 3 percent

“Freddy Got Fingered” (2001)

MTV alum Tom Green directed and starred in a gross-out comedy that failed to generate much in box office grosses — though it did find a second life on DVD.

Rotten Tomatoes score: 11 percent

“Swept Away” (2002) 

Guy Ritchie directed then-wife Madonna in this water-logged rom-com — that washed up with a total of five Razzies.

Rotten Tomatoes score: 5 percent

“Gigli” (2003) 

Another starry big-screen romance (starring then real-life couple Ben Affleck and Jennifer Lopez) failed spectacularly. Even the title became a late-night punchline.

Rotten Tomatoes score: 6 percent

“Catwoman” (2004) 

Halle Berry accepted her Worst Actress Razzie in person, clutching her Oscar for “Monster’s Ball,” and thanked the film’s studio, Warner Bros.: “Thank you for putting me in a piece of s—, god-awful movie.”

Rotten Tomatoes score: 9 percent

“Dirty Love” (2005) 

Jenny McCarthy took her toilet humor to the big screen in this critical and commercial dud.

Rotten Tomatoes score: 7 percent

“Basic Instinct 2” (2006)

Sometimes the second time isn’t the charm with Sharon Stone’s long-delayed sequel to her hit erotic thriller.

Rotten Tomatoes score: 7 percent

“I Know Who Killed Me” (2007)

Since she played twins in this lame serial killer thriller, Lindsay Lohan was awarded two Razzie Awards as Worst Actress — in addition to the film picking up Worst Picture.

Rotten Tomatoes score: 7 percent

“The Love Guru” (2008) 

“Austin Powers” star Mike Myers later joked about this stumble, in reference to Sony pulling “The Interview” over threats from North Korea: “If you really want to put a bomb in a theater, do what I did: Put in ‘The Love Guru.'”

Rotten Tomatoes score: 14 percent

“Transformers: Revenge of the Fallen” (2009) 

Michael Bay’s “Transformers” franchise has never been a critical darling, but the second film in the series took a major drubbing.

Rotten Tomatoes score: 19 percent

“The Last Airbender” (2010)

M. Night Shyamalan’s live-action version of the beloved Nickelodeon animated series drew the enmity of fans — and even the show’s original creators.

Rotten Tomatoes score: 5 percent

“Jack and Jill” (2011) 

The Adam Sandler comedy picked up Razzie nominations in all 10 categories — including the star as both Worst Actor and Worst Actress — and swept every single one.

Rotten Tomatoes score: 3 percent

“The Twilight Saga: Breaking Dawn – Part 2” (2012)

The final film in the insanely popular teen fantasy-romance franchise picked up seven Razzie Awards, including Worst Picture.

Rotten Tomatoes score: 49 percent

“Movie 43” (2013) 

The R-rated anthology comedy, loaded with 14 sketches trying to out-shock each other, was dubbed “the ‘Citizen Kane’ of awful” by Richard Roeper.

Rotten Tomatoes score: 4 percent

“Saving Christmas” (2014) 

Kirk Cameron’s faith-based comedy got a lump of coal from critics, with the New York Times calling the star’s performance “so forced you half-expect the camera to pull back to reveal hostage takers.”

Rotten Tomatoes score: 0 percent

TIE: “Fantastic Four” and “Fifty Shades of Grey” (2015) 

Josh Trank’s reboot of the Marvel comic-book series was an epic misfire (Rotten Tomatoes score: 9 percent); and the first adaptation of E.L. James’ erotic trilogy went over like a wet blanket with critics (RT: 25 percent).

“Hillary’s America: The Secret History of the Democratic Party” (2016)

Dinesh D’Souza’s film was billed as a nonfiction takedown of Democrat Hillary Clinton, but critics were quick to find fault.

Rotten Tomatoes score: 4 percent

“The Emoji Movie” (2017) 

TheWrap’s Alonso Duralde summed up the response to this animated dud as “a soul-crushing disaster because it lacks humor, wit, ideas, visual style, compelling performances, a point of view or any other distinguishing characteristic that would make it anything but a complete waste of your time.”

Rotten Tomatoes score: 8 percent

“How does a fat boy from nowhere get to be a song man?” The first trailer for Dexter Fletcher’s Elton John biopic “Rocketman” hit on Thursday, and teased the celebrated music star’s life story.

Taron Egerton plays John, who changed his name from the decidedly grandfatherly Reginald Dwight and took the advice to “Buy yourself something flashy.”

Jamie Bell co-stars as Elton’s longtime lyricist and writing partner Bernie Taupin, Richard Madden as Elton’s first manager, John Reid, and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.

Also Read: Taron Egerton Sings Elton John's 'Tiny Dancer' in New 'Rocketman' Teaser (Video)

Paramount describes the movie as an epic musical fantasy telling the incredible human story of Elton John’s breakthrough years.

The film, scripted by Lee Hall, follows the fantastical journey of transformation from shy piano prodigy Reginald Dwight into international superstar Elton John. This inspirational story — set to Elton John’s most beloved songs and performed by Egerton — tells the universally relatable story of how a small-town boy became one of the most iconic figures in pop culture.

Matthew Vaughn, David Furnish, Adam Bohling, David Reid produced. Elton John, Steve Hamilton Shaw, Michael Gracey, Claudia Schiffer and Brian Oliver executive produced.

“Rocketman” hits theaters on May 31.

Watch the trailer above.

Taron Egerton Sings Elton John's 'Tiny Dancer' in New 'Rocketman' Teaser (Video)

Taron Egerton Takes to the Piano as Elton John in 'Rocketman' First Trailer (Video)

See Taron Egerton as Bedazzled Elton John in 'Rocketman' First Look

In his big-screen debut, Sidney Poitier makes a memorable impression as a pioneering African American physician who runs afoul of a racist thug (Richard Widmark) whose brother died in his care.

“Blackboard Jungle” (1955) 

In this melodrama, the first Hollywood feature to include rock songs, Glenn Ford plays a new teacher at a troubled inner-city school where Poitier is music-loving rebel.

“The Defiant Ones” (1958)

Poitier starred opposite Tony Curtis in Stanley Kramer’s Oscar-winning drama about two escaped convicts who — since they are still chained together — reluctantly agree to cooperate despite their differences.

“A Raisin in the Sun” (1961)

Reunited with much of the cast of the 1960 Broadway production of Lorraine Hansberry’s play, Poitier plays the ambitious young Chicago man squabbling with his family over how best to spend their late father’s insurance money.

“Lilies of the Field” (1963)

Poitier plays a former G.I. who agrees to build a church for a group of East German nuns in the Arizona desert — and becomes the first African American to win the Oscar for Best Actor.

“A Patch of Blue” (1965) 

Poitier’s Gordon Ralfe falls for a poor blind white girl (Elizabeth Hartman) in this drama — which won an Oscar for Shelley Winters as the girl’s shrewishly racist mother.

“In the Heat of the Night” (1967)

In perhaps his signature role, Poitier commands the screen in Norman Jewison’s Best Picture winner as a Philadelphia police detective drawn into a murder investigation in Mississippi — at first as a suspect and then as unofficial sleuth.

“In the Heat of the Night” (1967)

In perhaps his signature role, Poitier commands the screen in Norman Jewison’s Best Picture winner as a Philadelphia police detective drawn into a murder investigation in Mississippi — at first as a suspect and then as unofficial sleuth.

“Guess Who’s Coming to Dinner” (1967)

A supposedly liberal couple played by Hollywood legends Spencer Tracy and Katharine Hepburn are startled to see meet their daughter’s fiancé: a widowed doctor played by Poitier with endless patience and good will.

“To Sir, With Love” (1967)

In his third big-screen hit that year, Poitier does a role reversal from his “Blackboard Jungle” days — this time going behind the teacher’s desk at an inner-city London school.

“Stir Crazy” (1980)

Poitier turned to directing in the ’70s, first on projects like “Buck and the Preacher” and “Uptown Saturday Night” where he also starred. But in this comedy hit, the first by a black director to gross more than $100 million, he stays behind the camera. Gene Wilder and Richard Pryor play Hollywood wannabes who end up in prison after being framed for bank robbery.

Robert Johnson (May 8, 1911 – August 16, 1938)

The American blues legend made the Mississippi Delta style famous, but his premature death near Greenwood, Mississippi, remains as mysterious as much of his short life.

Jimi Hendrix (November 27, 1942 – September 18, 1970)

The rock guitarist died in London of asphyxiation while intoxicated on barbituates.

Brian Jones (28 February 1942 – 3 July 1969)

The founder and original leader of the Rolling Stones drowned in the swimming pool of his home in East Sussex, England.

Janis Joplin (January 19, 1943 – October 4, 1970) 

The blues singer died of a heroin overdose at the Landmark Motor Hotel in Hollywood.

Jim Morrison (December 8, 1943 – July 3, 1971)

The singer, songwriter and frontman for The Doors was found in the bathtub of a Paris apartment, apparently from an accidental heroin overdose.

Jim Morrison (December 8, 1943 – July 3, 1971)

The singer, songwriter and frontman for The Doors was found in the bathtub of a Paris apartment, apparently from an accidental heroin overdose.

Ron “Pigpen” McKernan (September 8, 1945 – March 8, 1973)

A founding member of the Grateful Dead, McKiernan died of a gastrointestinal hemorrhage at his home in Corte Madera, California.

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988)

The American graphic artist famous for graffiti-inspired paintings died of a heroin overdose in his Manhattan studio.

Kurt Cobain (February 20, 1967 – April 5, 1994)

The singer-songwriter and frontman for the grunge band Nirvana died of a self-inflicted shotgun wound to the head.

Jonathan Brandis (April 13, 1976 – November 12, 2003)

A child actor best known for the NBC sci-fi series “SeaQuest DSV” committed suicide in his L.A. apartment building.

Amy Winehouse (September 14,  1983 – 23 July 23, 2011) 

The British R&B and soul singer, who had long battled an addiction to drugs and alcohol, died of alcohol poisoning at her London home.

Anton Yelchin (March 11, 1989 – June 19, 2016)

The actor best known for playing Pavel Chekov in the big-screen “Star Trek” reboots, died in an accidental car accident at his L.A. home.

Richey James Edwards (December 1967, – 1 February 1995)

The Welsh guitarist and lyricist for the Manic Street Preachers missed a flight for a U.S. promotional tour on February 1, 1995 and he functionally disappeared near the Wales-England border soon after that. In 2008, he was declared “presumed dead.”

Rudy Lewis (August 23, 1936 – May 20, 1964)

The R&B singer for the Drifters sang lead on such hits as “Some Kind of Wonderful,” “Up On The Roof” and “On Broadway.” He was found dead in a Harlem hotel room of a suspected drug overdose.

So it’s puzzling that Off Broadway’s Signature Theatre this season has chosen to revive two of Nottage’s more ephemeral comedies, first “Fabulation, or the Re-Education of Undine” and now “By the Way, Meet Vera Stark.”

It’s not that there aren’t serious issues of race and media representation embedded in “Vera Stark,” which centers on a maid who becomes an early black film star in golden-age Hollywood, but director Kamilah Forbes’ production manages to exacerbate this over-long show’s weaknesses.

Also Read: 'Sea Wall/A Life' Theater Review: Jake Gyllenhaal and Tom Sturridge Go Solo Together

What Nottage has written as satire instead comes off as farce, and scenes meant to send up both outdated performance styles and modern-day academics turn them into broad caricatures that even the director of a Tyler Perry sitcom would ask to tone down a few notches. (Warner Miller, as a foot-stomping and wildly gesticulating professor, is a particular offender.)

Jessica Frances Dukes is appealing but slight as Vera, a character modeled on both Theresa Harris and Hattie McDaniel, who became the first African American to win an Oscar for her role as Mammy in 1939’s “Gone With the Wind.”

Jenni Barber has the hauteur as Gloria Mitchell, the white movie star whom Vera has known from childhood who is both her employer and, later, co-star.

Also Read: 'Switzerland' Theater Review: Patricia Highsmith Takes Another Shot at Ripley

But except in the forward-jumping and highly meta second act, when they re-create a joint interview on a 1970s TV show after their Hollywood careers have petered out, neither manages to ground their performance in a way that feels true to the era, to the medium in which they’re working or to the thrust of the play and its message about the perhaps necessary compromises artists must make just to get work.

And alas, neither holds up to Jo Bonney’s original production, staged just eight years ago at Second Stage, which starred an actual movie star, Sanaa Lathan, as Vera, playing opposite the remarkable Stephanie J. Block.

“Vera Stark” has some timely things to say about the challenges facing black artists in classic Hollywood — but it presents a tonal challenge to even the most talented companies that this production can’t quite meet.

'Sea Wall/A Life' Theater Review: Jake Gyllenhaal and Tom Sturridge Go Solo Together

'Switzerland' Theater Review: Patricia Highsmith Takes Another Shot at Ripley

'Mies Julie' Theater Review: August Strindberg Tragedy Reimagined in South Africa

Chanel, which he had led since 1983, announced the news of his passing.

The German-born designer was both influential, with his fashions trickling down from his runway shows to mass retailers, and prolific. In addition to his work for Chanel, he also oversaw the LVMH-owned label Fendi as well as his own self-named label.

Also Read: The Devil Won't Wear Chanel: Meryl Streep Rips Karl Lagerfeld for 'Lie' About Oscar Dress

“When I took on Chanel, it was a sleeping beauty — not even a beautiful one,” he said in the 2007 documentary “Lagerfeld Confidential.” ”She snored.”

But he soon made his mark, both with his designs and provocative stunts such as hiring strippers and a porn star for a 1983 runway show. He was an unapologetic supporter of fur in fashion, provoking enmity from animal-rights groups like PETA.

And he maintained a reputation for snark, with a longtime public spat with French designer Yves Saint Laurent until his 2008 death, as well as pointed barbs at such figures as Heidi Klum (“insignificant”), the singer Adele (“a little too fat”) and Pippa Middleton (“she should only show her back”).

Also Read: Kim Kardashian's Robbery Was Her Own Fault, Karl Lagerfeld Suggests

He could also direct his caustic wit toward the masses, with such memorable lines as “Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants.”

Lagerfeld, who had long been open about his homosexuality, became a recognizable figure in fashion for his unique personal style — black sunglasses, 19th-century-style high-collared shirts, Chromes Hearts rings and a shock of white hair often pulled back into a ponytail.

Tributes quickly poured in from others in the fashion world.

Also Read: Hollywood's Notable Deaths of 2019 (Photos)

“Karl your genius touched so many lives,” Donatella Versace wrote on Instagram.

“The end of an era,” noted the model Iman.

View this post on Instagram

Karl your genius touched the lives of so many, especially Gianni and I. We will never forget your incredible talent and endless inspiration. We were always learning from you.

A post shared by Donatella Versace (@donatella_versace) on Feb 19, 2019 at 3:51am PST

The end of an era! RIP Karl Lagerfeld #KarlLagerfeld pic.twitter.com/gU6emIyL28

— Iman Abdulmajid (@The_Real_IMAN) February 19, 2019

View this post on Instagram

So incredibly sad to hear this. Karl was a genius and always so kind and generous to me both personally and professionally. RIP ????x vb

A post shared by Victoria Beckham (@victoriabeckham) on Feb 19, 2019 at 4:04am PST

Hollywood's Notable Deaths of 2019 (Photos)

The Devil Won't Wear Chanel: Meryl Streep Rips Karl Lagerfeld for 'Lie' About Oscar Dress

Kim Kardashian's Robbery Was Her Own Fault, Karl Lagerfeld Suggests

Ciccone 2005 Madonna Chardonnay (Leelanau Peninsula, Michigan)

Wine Enthusiast Rating: 82 points

“This wine is as intense as its namesake, the singer Madonna,” Wine Enthusiast wrote in 2009. “Not coincidentally, it is made by her father.”

Dave Matthews’ Dreaming Tree 2011 Cabernet Sauvignon (North Coast, California)

Wine Enthusiast Rating: 82 points

“This is a dry red wine exuding bell pepper and oak that was made in large quantities in partnership with musician Dave Matthews,” the site’s critic wrote.

Dan Aykroyd Wines 2007 Discovery Series Chardonnay (Sonoma County)

Wine Enthusiast Rating: 83 points

“Tart and jammy, with acidic, one-dimensional flavors of pineapples, vanilla and butterscotch,” the site writes.

Jeff Gordon 2011 Cabernet Sauvignon (Napa Valley)

Wine Enthusiast Rating: 83 points

“This is a thin, unfussy wine that imparts bell pepper and asparagus in a sea of green flavor,” the site’s critic writes.

Mike Ditka 2011 The Icon Cabernet Sauvignon (Napa Valley)

Wine Enthusiast Rating: 85 points

“Not overly structured, it’ll please tough guys who like their wine to be easily quaffable,” the Wine Enthusiast critic writes.

Fergie’s Ferguson Crest 2013 Viognier (Santa Ynez Valley)

Wine Enthusiast Rating: 87 points

“From pop music star Fergie, this wine shows dainty aromas of lemon-lime soda, red apple and honey,” the site’s critic writes.

Château de Tigné 2014 Gerard Depardieu Pinot Noir (Vin de France)

Wine Enthusiast Rating: 87 points

“With its attractive red-fruit flavors, this is a light, perfumed wine,” the site’s reviewer writes.

Mario Andretti’s Andretti 2012 Montona Super Tuscan Reserve Cabernet Sauvignon-Sangiovese (Napa Valley)

Wine Enthusiast Rating: 87 points

The celebrated race-car driver has been a longtime winemaker. “Dusty, chalky tannin and earth provide character to this blend,” Wine Enthusiast wrote.

Sting’s Il Palagio 2012 Sister Moon Red (Toscana, Italy)

Wine Enthusiast Rating: 88 points

“The polished palate shows mature red plum, tobacco and vanilla,” Wine Enthusiast wrote in 2017 of the latest Tuscan blend from the veteran British rock star.

Lorraine Bracco’s Bracco 2013 La Mont-Brach White (Collio)

Wine Enthusiast Rating: 89 points

“The tense, tangy palate offers white peach, citrus zest, fennel and mineral,” the site writes.

Drew Barrymore’s Barrymore 2015 Pinot Grigio (California)

Wine Enthusiast Rating: 89 points

“Apple peels, squeezed lime, rain on cement, jicama and Asian-pear aromas show on the crisp yet rounded nose of this bottling by actress Drew Barrymore,” the site writes.

Francis Coppola 2014 Black Label Claret Diamond Collection Cabernet Sauvignon (California)

Wine Enthusiast Rating: 90 points

“This is a big, beefy wine that smells smoky and black-cherry-like and tastes full, bold and firmly tannic,” the site writes.

TwentyFour by Charles Woodson 2009 Cabernet Sauvignon (Calistoga)

Wine Enthusiast Rating: 90 points

“As intense and strapping as a Hall of Fame cornerback, this Cabernet is ripe in dark cherry, vanilla and milk chocolate, the tannins mouthfillingly sweet,” Wine Enthusiast wrote in 2014.

John Lasseter’s Lasseter 2013 Chemin de Fer Red (Sonoma Valley)

Wine Enthusiast Rating: 91 points

The magazine’s critic writes of “The Toy Story” director’s wine: “Smoky, charred oak and spicy acidity wrap around lush blackberry, cherry and tar, with plenty of grip to show on the finish.”

Brad Pitt and Angelina Jolie’s Château Miraval 2015 Rosé (Côtes de Provence)

Wine Enthusiast Rating: 91 points

The former Hollywood It couple bought the French estate in 2011 in partnership with the Perrin family of Château Beaucastel in Châteauneuf-du-Pape — and the estate denied reports of a sale in 2017 despite their divorce.  Wine Enthusiast writes, “Happily, it is also a very fine wine, perfectly balanced between crisp fruit and acidity.”

Nigel Lythgoe’s Villa San Juliette 2014 Reserve Grenache (Paso Robles)

Wine Enthusiast Rating: 91 points

Wine Enthusiast critic waxes on about the “So You Think You Can Dance” judge’s new vintage: “It’s floral, full-bodied and multi-layered on the palate.”

Jim Nantz’s The Calling 2014 Fox Den Vineyard Pinot Noir (Russian River Valley, California)

Wine Enthusiast Rating: 91 points

The veteran CBS sportscaster has been making wine with partner Peter Deutch for years, and Wine Enthusiast called this bottle “ripe and full bodied.”

Drew Bledsoe’s Doubleback 2013 Cabernet Sauvignon (Walla Walla Valley, Washington)

Wine Enthusiast Rating: 92 points

Former NFL quarterback Drew Bledsoe planted his first vineyard in his native Washington in 2007 and he won high praise for his 2013 cab: “Alluring aromas of cassis, earth, spice, vanilla and flowers are followed by a structured palate.”

Emilio Estevez’s Casa Dumetz 2014 Thompson Grenache (Santa Barbara County)

Wine Enthusiast Rating: 92 points

“This bottling shows very fresh cherry juice and dried roses as well as inviting splashes of Dr. Pepper, kola nut and sarsaparilla on the nose,” the site writes.

Wayne Gretzky Estates 2012 No. 99 Icewine Cabernet Franc (Niagara Peninsula)

Wine Enthusiast Rating: 92 points

“Medium cherry in color with notes of raspberry jam, wet stone, mint and cherry,” the site writes.

Sam Neill’s Two Paddocks 2015 The Fusilier Proprietor’s Reserve Pinot Noir (Central Otago, New Zealand)

Wine Enthusiast Rating: 92 points

“The 2015s from proprietor Sam Neill (yes, the actor) are a big step up from the 2014s,” the site’s reviewer writes.

Kyle MacLachlan’s Pursued by Bear 2012 Cabernet Sauvignon (Columbia Valley, Washington)

Wine Enthusiast Rating: 93 points

“It provides plenty of immediate appeal but will only benefit from some time in the cellar,” Wine Enthusiast critic writes of the “Twin Peaks” star’s latest.

Boz Scaggs’ Scaggs Vineyard 2008 Montage G-S-M (Mount Veeder, Napa Valley)

Wine Enthusiast Rating: 95 points

Here’s a surprise from the R&B singer-songwriter: A rave from Wine Enthusiast in 2011 for his “extraordinarily decadent Mourvèdre, Grenache and Syrah blend, currently among the best in California.”

He died at his home in Zurich on Friday after a diagnosis of colon cancer, his agent told France 24.

In his long career, Ganz appeared in more than 80 films and TV movies, mostly in Europe. He starred as a hit man opposite Dennis Hopper in Wenders’ 1977 film noir “The American Friend,” and then reteamed with the director a decade later for “Wings of Desire,” playing an angel sent to earth to comfort dying humans, who begins to long for humanity for himself.

Also Read: Hollywood's Notable Deaths of 2019 (Photos)

In Werner Herzog’s 1979 “Nosferatu the Vampyre,” Ganz played the human Jonathan Harker to Klaus Kinski’s otherworldly Dracula. And he starred as a Venice cafe worker who romances a housewife in Silvio Soldoni’s 2000 film “Bread and Tulips,” for which he won a Donatello Award for Best Actor.

But Ganz may be most famous for his portrayal of Hitler in Oliver Hirschbiegel’s Oscar-nominated 2004 drama “Downfall,” in which he alternated between fury and despair as the German fuhrer during his last days in a bunker.

Also Read: Cannes Review: Pope Francis Documentary Is a Modest Film About a Bold Man

Clips from his performance delivering an angry tirade became one of the most-viewed internet memes just as social media platforms were spreading worldwide.

Other notable credits include 1974’s “The Boys From Brazil,” Jonathan Demme’s 2004 remake of “The Manchurian Candidate” and Stephen Daldry’s 2008 Oscar winner “The Reader” with Kate Winslet and Barbet Schroeder’s 2017 drama “Amnesia.”

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Hollywood's Notable Deaths of 2019 (Photos)

That puts it smack up against Warner Bros.’ pricey monster mashup, “Godzilla vs. Kong,” as well as Paramount’s kiddie-skewing latest “The SpongeBob Movie.”

Justin Lin is attached to direct the ninth (and tenth) installment in the fast-moving franchise, with Jordana Brewster, a.k.a. Mia Toretto, also returning to the series opposite her onscreen brother (Vin Diesel). Mia was last seen in “Furious 7,” retiring from the family business to start a family with Brian O’Connor, played by the late Paul Walker.

Also Read: 'Hobbs and Shaw': Dwayne Johnson Gets Back in Driver's Seat in First Trailer (Video)

The new “Furious” squares off against another pricey studio franchise: “Godzilla vs. Kong,” the fourth installment of the Legendary and Warner Bros. cinematic universe, which Adam Wingard will direct.

Demian Bichir, Alexander Skarsgard and Brian Tyree Henry have signed on to star in the new film, which follows this May’s “Godzilla: King of the Monsters,” with Kyle Chandler, Vera Farmiga and Millie Bobby Brown.

“Godzilla” brought in $529 million globally after it was released in 2014. “Kong: Skull Island” was released March 10, 2017, and grossed more than $565 million worldwide.

Also Read: All 8 'Fast & Furious' Movies, Ranked Worst to Best (Photos)

Meanwhile, the eight “Fast & Furious” films have collectively grossed more than $5 billion worldwide. “Hobbs & Shaw,” a spinoff film from director David Leitch starring series regulars Dwayne Johnson and Jason Statham, drives into theaters on Aug. 2.

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Roman Reigns to Play Dwayne Johnson's Brother in 'Hobbs and Shaw'

1960: Bobby Darin • Also nominated: Edd Byrnes; Johnny Restivo; Mark Murphy; Mavis Rivers

1961: Bob Newhart • Also nominated: Joanie Sommers; Leontyne Price; Miriam Makeba; The Brothers Four

1962: Peter Nero • Also nominated: Ann-Margret; Dick Gregory; The Lettermen; Timi Yuro

1963: Robert Goulet • Also nominated: Allan Sherman; Peter, Paul and Mary; The Four Seasons; The New Christy Minstrels; Vaughn Meader

1964: The Swingle Singers • Also nominated: John Gary; Trini Lopez; The J’s with Jamie; Vikki Carr

1965: The Beatles • Also nominated: The Beatles
Antonio Carlos Jobim; Astrud Gilberto; Morgana King; Petula Clark

1966: Tom Jones •
Also nominated: Glenn Yarbrough; Herman’s Hermits; Horst Jankowski; Marilyn Maye; Sonny & Cher; The Byrds

1968: Bobbie Gentry • Also nominated: Harpers Bizarre; Jefferson Airplane; Lana Cantrell; The 5th Dimension

1969: José Feliciano • Also nominated: Cream; Gary Puckett & The Union Gap; Jeannie C. Riley; O. C. Smith

1970: Crosby, Stills & Nash • Also nominated: Chicago; Led Zeppelin; Oliver; The Neon Philharmonic

1971: The Carpenters • Also nominated: Anne Murray; Elton John; Melba Moore; The Partridge Family

1972: Carly Simon • Also nominated: Bill Withers; Chase; Emerson, Lake & Palmer; Hamilton, Joe Frank & Reynolds

1973: America • Also nominated: Eagles; Harry Chapin; John Prine; Loggins and Messina

The Eagles were robbed!

1974: Bette Midler • Also nominated: Barry White; Eumir Deodato; Marie Osmond; Maureen McGovern

Bette over Barry White? Interesting…

1975: Marvin Hamlisch • Also nominated: Bad Company; David Essex; Graham Central Station; Johnny Bristol; Phoebe Snow

Another old-fashioned choice.

1976: Natalie Cole • Also nominated: Amazing Rhythm Aces; Brecker Brothers; KC and the Sunshine Band; Morris Albert

Unforgettable.

1977: Starland Vocal Band • Also nominated: Boston; Dr. Buzzard’s Original Savannah Band; The Brothers Johnson; Wild Cherry

Who?

1978: Debby Boone • Also nominated: Andy Gibb; Foreigner; Shaun Cassidy; Stephen Bishop

Another boring, safe choice that snubs legends like Gibb and Foreigner. Doesn’t feel like the first time the Grammys have gone the wrong way.

1979: A Taste of Honey • Also nominated: Chris Rea; Elvis Costello; The Cars; Toto

Really?! You pass over Elvis Costello and The Cars for the “Boogie Oogie Oogie” duo?

1980: Rickie Lee Jones • Also nominated: Dire Straits; Robin Williams; The Blues Brothers; The Knack

1981: Christopher Cross • Also nominated: Amy Holland; Irene Cara; Robbie Dupree; The Pretenders

The “Sailing” guy bests the Pretenders? Take me away.

1982: Sheena Easton • Also nominated: Adam and the Ants; James Ingram; Luther Vandross; The Go-Go’s

Love Sheena, but Luther and the G0-Gos made a bigger impact.

1983: Men at Work • Also nominated: Asia; Jennifer Holliday; Stray Cats; The Human League

1984: Culture Club • Also nominated: Big Country; Eurythmics; Men Without Hats; Musical Youth

Boy George vs. Annie Lennox.

1985: Cyndi Lauper • Also nominated: Corey Hart; Frankie Goes to Hollywood; Sheila E.; The Judds

The Grammys got this one right.

1986: Sade • Also nominated: A-ha; Freddie Jackson; Katrina and the Waves; Julian Lennon

1987: Bruce Hornsby and the Range • Also nominated: Glass Tiger; Nu Shooz; Simply Red; Timbuk3

1988: Jody Watley • Also nominated: Breakfast Club; Cutting Crew; Terence Trent D’Arby; Swing Out Sister

1989: Tracy Chapman • Also nominated: Rick Astley; Take 6; Toni Childs; Vanessa L. Williams

At least the Grammys didn’t Rick-roll Tracy Chapman.

1990: [Milli Vanilli] • Also nomianted: Indigo Girls; Neneh Cherry; Soul II Soul; Tone Lōc

Granted, the Grammys rescinded the award after the pop duo Milli Vanilli were exposed as lip-syncers of other vocalists. But the fact that they beat great artists like Indigo Girls and Tone Lōc in the first place is embarrassing.

1991: Mariah Carey • Also nominated: Lisa Stansfield; The Black Crowes; The Kentucky Headhunters; Wilson Phillips

One year after the Milli Vanilli debacle, Grammy voters got it right.

1992: Marc Cohn • Also nominated: Boyz II Men; C+C Music Factory; Color Me Badd; Seal

Another vanilla choice in a year in which Boys II Men and Seal were both contenders.

1993: Arrested Development • Also nominated: Billy Ray Cyrus; Jon Secada; Kris Kross; Sophie B. Hawkins

1994: Toni Braxton • Also nominated: Belly; Blind Melon; Digable Planets; SWV

1995: Sheryl Crow • Also nominated: Ace of Base; Counting Crows; Crash Test Dummies; Green Day

Green Day gets no love.

1996: Hootie & the Blowfish • Also nominated: Alanis Morissette; Brandy; Joan Osborne; Shania Twain

Guess Darius Rucker’s band name didn’t effectively warn Grammy voters that it would not withstand the test of time.

1997: LeAnn Rimes • Also nominated: Garbage; Jewel; No Doubt; The Tony Rich Project

1998: Paula Cole • Also nominated: Erykah Badu; Fiona Apple; Hanson; Puff Daddy

I don’t wanna wait… for my career to be outshone.

1999: Lauryn Hill • Also nominated: Andrea Bocelli; Backstreet Boys; Dixie Chicks; Natalie Imbruglia

What a really strong year for new artists.

2000: Christina Aguilera • Also nominated: Britney Spears; Kid Rock; Macy Gray; Susan Tedeschi

Xtina beat Britney!?

2001: Shelby Lynne • Also nominated: Brad Paisley; Jill Scott; Papa Roach; Sisqó

Lynne wins on her sixth studio album — and beats future country superstar Brad Paisley?

2002: Alicia Keys • Also nominated: David Gray; India.Arie’ Linkin Park; Nelly Furtado

2003: Norah Jones • Also nominated: Ashanti; Avril Lavigne; John Mayer; Michelle Branch

Whatever happened to Norah Jones?

2004: Evanescence • Also nominated: 50 Cent; Fountains of Wayne; Heather Headley; Sean Paul

2005: Maroon 5 • Also nominated: Gretchen; Wilson; Los Lonely Boys; Joss Stone; Kanye West

It’s a wonder Yeezy didn’t storm the stage to demand a recount.

2006: John Legend • Also nominated: Ciara; Fall Out Boy; Keane; Sugarland

2007: Carrie Underwood • Also nominated: Chris Brown; Corinne Bailey Rae; Imogen Heap; James Blunt

2008: Amy Winehouse • Also nominated: Feist; Ledisi; Paramore; Taylor Swift

Sorry, TSwift. Hard to argue with this choice of a gone-too-soon legend.

2009: Adele • Also nominated: Duffy, Jonas Brothers, Jazmine Sullivan, Lady Antebellum

2010: Zac Brown Band • Also nominated: Keri Hilson, MGMT, Silversun Pickups, The Ting Tings

2011: Esperanza Spalding • Also nominated: Drake, Florence and the Machine, Justin Bieber, Mumford & Sons

Another head-scratcher.

2012: Bon Iver • Also nominated: J. Cole, Nicki Minaj, Skrillex, The Band Perry

2013: Fun • Also nominated: Alabama Shakes, Hunter Hayes, Frank Ocean, The Lumineers

Does anyone even remember Fun?

2014: Macklemore & Ryan Lewis • Also nominated: Ed Sheeran, James Blake, Kacey Musgraves, Kendrick Lamar

2015: Sam Smith • Also nominated: Bastille, Brandy Clark, Haim, Iggy Azalea

2016: Meghan Trainor  • Also nominated: Courtney Barnett, James Bay, Tori Kelly, Sam Hunt

2017: Chance the Rapper •  Also nominated: Kelsea Ballerini, The Chainsmokers, Maren Morris, Anderson Paak

2018: Alessia Cara • Also nominated: Khalid; Lil Uzi Vert; Julia Michaels; SZA

Gambino’s hit single “This Is America” took home Record and Song of the Year — the first rap song to ever win that songwriting honor at the Grammys — as well as rap/sung performance and music video. But Donald Glover, who performs music under the Gambino handle, was not present to collect the honors.

Musgraves earned both Album of the Year and best country album for “Golden Hour,” along with recognition for country solo performance (“Butterflies”) and country song (“Space Cowboys”).

Pop star Lady Gaga won three Grammys, including Best Pop Solo Performance for “Joanne (Where Do You Think You’re Goin’?)” and two more for her hit duo “Shallow” with “A Star Is Born” co-star Bradley Cooper (Best Song Written for a Visual Medium and Best Pop Duo/Group Performance).

Roots performer Brandi Carlile also took home three awards, for Best Americana Album (“By the Way, I Forgive You”) and best American Roots performance and song for her soaring song “The Joke.”

Also Read: 26 Stars Who Only Need a Grammy to EGOT, From Liza Minnelli to Al Pacino (Photos)

British singer Dua Lipa (“New Rules,” “One Kiss”) surprised in the competitive Best New Artist category, and former Soundgarden frontman Chris Cornell was recognized posthumously for Best Rock Performance for “When Bad Does Good,” released after his 2017 death.

Ariana Grande, who last week canceled a planned appearance on the show, earned her career-first Grammy Award for Best Pop Vocal Album for “Sweetener.”

Alicia Keys hosted this year’s ceremony, which took place at Los Angeles’ Staples Center.

Also Read: Ariana Grande Fires Back at Grammys Producer Over Canceled Performance: 'Now You're Lying About Me'

Here are the winners in all the categories:

ALBUM OF THE YEAR 

“Invasion of Privacy,” Cardi B

“By the Way, I Forgive You,” Brandi Carlile

“Scorpion,” Drake

“H.E.R.,” H.E.R.

“Beerbongs & Bentleys,” Post Malone

“Dirty Computer,” Janelle Monáe

“Golden Hour,” Kacey Musgraves **WINNER

“Black Panther: The Album, Music From And Inspired By,” Various Artists

SONG OF THE YEAR

“All The Stars,” Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA)

“Boo’d Up,” Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai)

“God’s Plan,” Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake)

“In My Blood,” Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes)

“The Joke,” Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)

“The Middle,” Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey)

“Shallow,” Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper)

“This Is America,” Donald Glover & Ludwig Goransson, songwriters (Childish Gambino) **WINNER

RECORD OF THE YEAR

“I Like It,” Cardi B, Bad Bunny & J Balvin

“The Joke,” Brandi Carlile

“This Is America,” Childish Gambino **WINNER

“God’s Plan,” Drake

“Shallow,” Lady Gaga & Bradley Cooper

“All The Stars,” Kendrick Lamar & SZA

“Rockstar,” Post Malone Featuring 21 Savage

“The Middle,” Zedd, Maren Morris & Grey

Also Read: All 58 Grammy Best New Artist Winners, From The Beatles to Adele to Milli Vanilli (Photos)

BEST NEW ARTIST

Chloe x Halle

Luke Combs

Greta Van Fleet

H.E.R.

Dua Lipa **WINNER

Margo Price

Bebe Rexha

Jorja Smith

Best Pop Duo/Group Performance

“Fall in Line,” Christina Aguilera featuring Demi Lovato

“Don’t Go Breaking My Heart,” Backstreet Boys

“‘S Wonderful,” Tony Bennett & Diana Krall

“Shallow,” Lady Gaga & Bradley Cooper **WINNER

“Girls Like You,” Maroon 5 featuring Cardi B

“Say Something,” Justin Timberlake featuring Chris Stapleton

“The Middle,” Zedd, Maren Morris & Grey

BEST RAP ALBUM

“Invasion of Privacy,” Cardi B **WINNER

“Swimming,” Mac Miller

“Victory Lap,” Nipsey Hussle

“Daytona,” Pusha T

“Astroworld,” Travis Scott

BEST RAP SONG

“God’s Plan,” Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) **WINNER

“King’s Dead,” Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future & James Blake)

“Lucky You,” R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas)

“Sicko Mode,” Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee)

“Win,” K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

Also Read: The Grammy Awards 2019: The Hottest Music Parties in Tinseltown (Photos)

BEST COUNTRY ALBUM

“Unapologetically,” Kelsea Ballerini

“Port Saint Joe,” Brothers Osborne

“Girl Going Nowhere,” Ashley McBryde

“Golden Hour,” Kacey Musgraves **WINNER

“From a Room: Volume 2,” Chris Stapleton

BEST R&B ALBUM

“Sex & Cigarettes,” Toni Braxton

“Good Thing,” Leon Bridges

“Honestly,” Lalah Hathaway

“H.E.R.,” H.E.R. **WINNER

“Gumbo Unplugged (Live),” PJ Morton

Also Read: Grammy Nominations Give Women the Votes - Except for Those Beyoncé and Taylor Swift Snubs

Best Alternative Music Album

“Colors” — Beck

Best Americana Album

“By the Way, I Forgive You” — Brandi Carlile

Best Song Written for Visual Media

“Shallow” — Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt, songwriters (Lady Gaga and Bradley Cooper)

Best Remixed Recording

“Walking Away (Mura Masa remix)” — Alex Crossan, remixer

Best Immersive Audio Album

“Eye in the Sky – 35th Anniversary Edition” — Alan Parsons, surround mix engineer; Dave Donnelly, P.J. Olsson and Alan Parsons, surround mastering engineers; Alan Parsons, surround producer

Best Contemporary Instrumental Album

“Steve Gadd Band” — Steve Gadd

Band Best Gospel Performance/Song

“Never Alone” — Tori Kelly featuring Kirk Franklin; Kirk Franklin and Victoria Kelly, songwriters

Best Contemporary Christian Music Performance/Song

“You Say” — Lauren Daigle; Lauren Daigle, Jason Ingram and Paul Mabury, songwriters

Best Gospel Album

“Hiding Place” — Tori Kelly

Best Contemporary Christian Music Album

“Look Up Child” — Lauren Daigle

Best Roots Gospel Album

“Unexpected” — Jason Crabb

Best World Music Album

“Freedom” — Soweto Gospel Choir

Best Compilation Soundtrack for Visual Media

“The Greatest Showman” — Hugh Jackman (and Various Artists); Alex Lacamoire, Benj Pasek, Justin Paul and Greg Wells, compilation producers

Best Score Soundtrack for Visual Media

“Black Panther” — Ludwig Göransson, composer

Best New Age Album

“Opium Moon” — Opium Moon

Best American Roots Performance

“The Joke” — Brandi Carlile

Ariana Grande Fires Back at Grammys Producer Over Canceled Performance: 'Now You're Lying About Me'

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Disney unleashed a surprise in the middle of Sunday’s Grammy Awards: a TV spot for its upcoming live-action remake of “Aladdin” with the first full look at Will Smith’s Genie.

“You really don’t know who I am?” Smith’s very blue Genie tells Mena Massoud’s Aladdin at the end of the one-minute clip in a role first voiced by Robin Williams in the studio’s 1992 animated hit. “Genies, wishes, lamp — none of that ringing a bell?”

The new live-action “Aladdin” stars Massoud as a charming street rat who meets the courageous and self-determined Princess Jasmine (Naomi Scott) and a fast-talking Genie who may be the key to their future.

Also Read: Relax, Everyone - Will Smith Says His 'Aladdin' Genie Is 'Gonna Be Blue'

Guy Ritchie directs from a script by John August and Ritchie.

The film also stars Marwan Kenzari as Jafar, the powerful sorcerer; Navid Negahban as the Sultan concerned with his daughter’s future; Nasim Pedrad as Dalia, Princess Jasmine’s free-spirited best friend and confidante; Billy Magnussen as the handsome and arrogant suitor Prince Anders; and Numan Acar as Hakim, Jafar’s right-hand man and captain of the palace guards.

The film is produced by Dan Lin and Jonathan Eirich with Marc Platt and Kevin De La Noy serving as executive producers.

Also Read: 'Aladdin' Writer Terry Rossio Apologizes for 'Insensitive and Ignorant' Use of N-Word on Twitter

Alan Menken provides the score, which includes new recordings of the original songs written by Menken and lyricists Howard Ashman and Tim Rice and two new songs written by Menken and “La La Land” songwriters Benj Pasek and Justin Paul.

The movie hits theaters May 24.

Watch the new footage below.

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But around the time of that production, the Johannesburg-born director and playwright Yaël Farber came up with an ingenious solution — to reset the play in modern-day South Africa, where the clash of historic white privilege and newly liberated black recrimination add exciting new elements to the story.

“Mies Julie,” which opened Sunday at Off Broadway’s Classic Stage Company (in repertory with Strindberg’s “The Dance of Death”), makes a strong case for Strindberg’s enduring relevance — despite a tragically uneven production under Shariffa Ali’s direction.

Also Read: 'The Dance of Death' Theater Review: August Strindberg's Toxic Marriage Revisited

The imbalance stems not just from the two mismatched lovers — the haughty Boer heiress Julie (Elise Kibler) and John, the black family servant with whom she’s grown up on her family’s Karoo plantation estate (James Udom). It also comes from the two stars themselves: Kibler seems ill at ease, like a little girl trying on her mother’s clothes, and her accent wanders the globe, sometimes within the same line; Udom, meanwhile, delivers a more confident performance that is both physical and vulnerable, though he can transition between subservient and dominant too abruptly.

Indeed, one shortcoming of Farber’s 75-minute, intermissionless staging is that doesn’t allow either the cast or theatergoers a break to absorb the shifting power dynamics between the central couple — particularly after their decidedly raw hook-up on the kitchen table.

Also Read: 'The Light' Theater Review: The Battle of the Sexes in the Post-Brett Kavanaugh Era

Still, Farber’s transformation of Christine from Jean’s fellow kitchen worker and fiancée into the ambitious young man’s mother is ingenious. We first meet this matriarchal figure before the action even begins, scrubbing the tiled kitchen floor. And as played by Patrice Johnson Chevannes with forthright gravitas, Christine helps to anchor the proceedings by making her family’s history on this land palpable.

Palpable too is another Farber addition to the text: an ancestral ghost (Vinie Burrows) who occasionally wanders the grounds to embody the country’s sad legacy of apartheid. Julie’s Boer family may have cultivated the land for generations, but there are older claimants, and John now has both a spiritual and flesh-and-blood reason for his reluctance to just take flight.

Also Read: 'True West' Broadway Review: Ethan Hawke Soars, Paul Dano Flits in Sam Shepard Drama

Farber can be a little obvious in drawing political lessons here. “You think my body is your restitution?” Julie tells John after their one-night stand. “My womb, your land grab?”

But her approach breathes new life into a story whose conflicts and power dynamics can seem anachronistic and even dated. It’s just a shame that this wobbly production exacerbates some of its shortcomings.

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They seem trapped in a claustrophobic stew of their own making — one that has chased away both their school-aged children and all of the domestic help. But theirs is a tricky relationship to play on stage, as evidenced in a new revival at Off Broadway’s Classic Stage Company that never seems to find its footing or the right tone. (The show plays in repertory with a new production of Strindberg’s “Mies Julie.”)

Richard Topol’s Edgar is the captain of an isolated garrison off the coast of Sweden whose imperious attitude has made him wildly unpopular, including with his own wife, a former actress (Cassie Beck). Her sole companion seems to be her husband — until the arrival of her decidedly more successful cousin and former lover, Gustav (Christopher Innvar), who almost instantly diagnoses their relationship: “hate and love forged together in the foundry of hell.”

Also Read: 'Mies Julie' Theater Review: August Strindberg Tragedy Reimagined in South Africa

Conor McPherson has adapted Strindberg’s play in plain-spoken English which makes the most of the play’s barbed Scandinavian wit. But the challenge for director Victoria Clark is the same that has plagued all who tackle this tricky story: Do you play it for tragedy or comedy, melodrama or farce?

Except for a few moments of stylized choreography between scenes to suggest the “dance” that is about to unfold, Clark’s cast leans toward naturalism. This deprives the play of some of its comedic power, alas, and it leads Beck to underplay Alice’s theatricality. She is a former actress, after all, but you seldom see that spark of play-acting for either her husband or for Gustav, her one realistic avenue of escape.

Nor do you fully understand what keeps Alice bound to a marriage she describes as “our long miserable mistake.” She tries to explain it to Kurt at one point: “We are bound by some evil force. Something only death may dissolve. So we wait for death.”

Also Read: 'The Light' Theater Review: The Battle of the Sexes in the Post-Brett Kavanaugh Era

This is a level of abstraction that makes “The Dance of Death” a tricky play to pull off — how do you dramatize an “evil force” that keeps the central characters rooted to a relationship that is obviously rotten for them both? Even Ian McKellen and Helen Mirren struggled in a 2001 Broadway revival.

Despite their best efforts, Clark and her talented cast aren’t able to resolve this play’s many contradictions. But there are pleasures to be found in the twisted pas de deux between two lovers who may be better matched than they would ever care to admit.

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Miller, an Army veteran and star athlete at USC who played for the Los Angeles Rams, came to the company by way of his wife, Diane Disney, the daughter of company founder Walt Disney.

He served as a producer on 1960s and ’70s films like “Son of Flubber,” “That Darn Cat!” “Pete’s Dragon” and “Escape to Witch Mountain” — and helped drive the innovative computer animation in the 1982 sci-fi thriller “Tron.”

Also Read: Disney's Animated 'Hercules' to Flex as Stage Musical This Summer

In 1978, he was named president of Walt Disney Productions and then promoted to CEO in 1983. He led the creation of Walt Disney Home Video, Touchstone Pictures and The Disney Channel but was ousted the following year by the company’s board in favor of a triumvirate of leaders in Michael Eisner, Frank Wells and Jeffrey Katzenberg.

Most recently, Miller served as president of the board of directors at The Walt Disney Family Museum and owner of Silverado Vineyards which he founded with Diane Disney Miller, who died in 2013.

“Everyone at The Walt Disney Company is deeply saddened by the passing of Ron Miller,” current Disney chairman and CEO Bob Iger said in a statement. “His life and legacy are inextricably linked with our Company and the Disney family because he was such a vital part of both, as our CEO and Walt’s son-in-law.

“Few people had Ron’s understanding of our history, or a deeper appreciation and respect for our company, and he shared it generously with anyone who wanted to know more,” he said. “I was fortunate to have known him, and even luckier to have called him a friend. My thoughts and prayers are with his family.”

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• Jack Albertson
  
• Anne Bancroft
  
• Ingrid Bergman (1915-1982)Emmy: Single Performance by an Actress, “Startime” (1960); Actress in Limited Series or Special, “A Woman Called Golda” (1982).Oscar: Actress, “Gaslight” (1944); Actress, “Anastasia” (1956); Supporting Actress, “Murder on the Orient Express” (1974).Tony: Actress (Dramatic), “Joan of Lorraine” (1947).^{No Grammys to EGOT.}
  
• Shirley Booth
  
• Ralph Burns
• Ellen Burstyn
• Viola Davis (1965 – )  Emmy: Actress in a Drama Series, “How to Get Away With Murder” (2015).Oscar: Actress, “Fences” (2016).Tony: Featured Actress in a Play, “King Hedley II” (2001); Actress in a Play, “Fences” (2010).No Grammys for EGOT.
• Melvyn Douglas
  
• Bob Fosse
  
• Jeremy Irons (1948 – )
  Emmy: Voiceover Performance, “The Great War and the Shaping of the 20th Century” (1997); Outstanding Supporting Actor in a Miniseries or a Movie, “Elizabeth I” (2006); Narrator, “Big Cat Week” (2014).Oscar: Actor, “Reversal of Fortune” (1990).Tony: Actor in a Play, “The Real Thing” (1984).^{No Grammys to EGOT.}
  
• Jessica Lange (1949 – )
  Emmy: Actress in a Miniseries or a Movie, “Grey Gardens” (2009); “American Horror Story” (2012 and 2014).Oscar: Supporting Actress, “Tootsie” (1982); Actress, “Blue Sky” (1994).Tony: Actress, “Long Day’s Journey Into Night” (2016).
• Frances McDormand (1957 – )
  Emmy: 2 prizes for  producing and starring in Limited Series or a Movie, “Olive Kitteridge” (2015)Oscar: Actress, “Fargo” (1996)Tony: Actress in a Play, “Good People” (2011).
• Liza Minnelli (1946 – )
  Emmy: Single Program – Variety and Popular Music, “Liza With a Z” (1973).Oscar: Actress, “Cabaret” (1973)Tony: Actress in a Musical, “Flora, the Red Menace” (1965); Actress, “The Act” (1978).^{No Grammys to EGOT.}
• Helen Mirren (1945 – )
  Emmy: Actress in a Miniseries or a Special, “Prime Suspect” (1996); Actress in a Miniseries or a Movie, “The Passion of Ayn Rand” (1999); Actress in a Miniseries or a Movie, “Elizabeth I” (2006); Lead Actress in a Miniseries or Movie, “Prime Suspect: The Final Act” (2007).Oscar: Actress, “The Queen” (2006).Tony: Actress in a Play, “The Audience” (2015).
• Thomas Mitchell
  
• Al Pacino (1940 -)  Emmy: Actor in a Miniseries or a Movie, “Angels in America” (2004) and “You Don’t Know Jack” (2010).Oscar: Actor, “Scent of a Woman” (1992)Tony: Supporting Actor in a Play, “Does a Tiger Wear a Necktie?” (1969); Actor, “The Basic Training of Pavlo Hummel” (1979).
• Christopher Plummer (1929 – )
  Emmy: Actor in a Limited Series,
  “Arthur Hailey’s the Moneychangers” (1977); Voiceover Performance, “Madeline” (1994).Oscar: Supporting Actor, “The Beginners” (2011)Tony: Actor in a Musical, “Cyrano” (1974); Actor in a Play, “Barrymore” (1997). 
• Vanessa Redgrave
• Jason Robards
  
• Geoffrey Rush (1951 – ) Emmy: Actor in a Miniseries or a Movie,
  “The Life and Death of Peter Sellers” (2005).Oscar: Actor, “Shine” (1996)Tony: Actor in a Play, “Exit the King” (2009).
• Paul Scofield
  
• Maggie Smith
• Maureen Stapleton
  
• Jessica Tandy
  
• Tony Walton

Currently in postproduction, the film tells the story of Prine, who broke through with an album he wrote as a mailman in the Chicago suburbs, and went on to create some of the strangest, funniest, most surreal and most enduring songs of our time, including “Angel From Montgomery.”

Fuhrer and Patrick Doyle co-wrote the film, which Doyle also produced. RadicalMedia is a production partner on the film, which will be released theatrically.

Also Read: David Crosby Documentary 'Remember My Name' Acquired By Sony Pictures Classics

The filmmakers followed Prine as he prepared to release his first album of new songs in 13 years, tracking his appearances at Radio City Music Hall and the Songwriters Hall of Fame. The film includes interviews with Prine’s friends and peers, including young songwriters he helped shape, such as Sturgill Simpson, Jason Isbell and Margo Price.

“Zachary Fuhrer and Patrick Doyle are beautifully capturing the story of one of the world’s most original musicians,” Sony Classics execs said in a statement. “We are thrilled to give fans the opportunity to discover John Prine more intimately through this remarkable film.”

“Patrick and I can’t think of a better partner than Sony Pictures Classics for our film,” Fuhrer said in a statement. “As John’s band members like to say, ‘There are two types of people: those who love John Prine and those who haven’t heard of him yet.’ John’s philosophy on life — finding comedy in tragedy — is the heart of the film; his stories a daily reminder that there’s always a way to laugh at your own misfortune.”

Also Read: 11 Best Documentaries of 2018, From 'Minding the Gap' to 'Monrovia, Indiana' (Photos)

The art-house division last month acquired another music documentary, “David Crosby: Remember My Name,” following its premiere at the Sundance Film Festival.

Bianca Grimshaw of Gray Krauss Sandler Des Rochers LLP repped the filmmakers in the deal.

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“Elizabeth Warren would bring a whole new meaning to Commander in ‘Chief,'” the former “West Wing” and “Parks and Recreation” star wrote on Saturday — before deleting the tweet after online outcry, including from many fellow Hollywood figures.

“It was a joke and some peeps got upset, and that’s never my intention,” Lowe wrote in a follow-up tweet late Saturday. “On the GOOD side: I just got to use the Oxford comma!”

(Note to the actor: The Oxford comma actually refers to a comma used at the end of a written list of at least three items, as in the comma before the and here: Larry, Curly, and Moe.)

I deleted my Elizabeth Warren tweet. It was a joke and some peeps got upset, and that’s never my intention. On the GOOD side: I just got to use the Oxford comma!

— Rob Lowe (@RobLowe) February 10, 2019

Also Read: Rob Lowe Heads to Britain for ITV Crime Drama 'Wild Bill'

However, the actor faced serious backlash for the original tweet — particularly from fellow left-leaning stars in Hollywood.

“What a raw blow!” “Star Wars” actor Mark Hamill tweeted.

“That’s not funny,” added Vincent D’Onofrio added.

Former sitcom star Valerie Bertinelli tweeted, “Don’t. Jesus.”

Don’t. Jesus.

— Valerie Bertinelli (@Wolfiesmom) February 10, 2019

What a raw blow!

— Mark Hamill (@HamillHimself) February 10, 2019

That's not funny.

— Vincent D'Onofrio (@vincentdonofrio) February 10, 2019

Just when I was liking Rob Lowe after his moving comments about being his mom’s caretaker—he takes a page from Trump. Ick. You shouldn’t do this: https://t.co/TUgmoMNn8B

— Soledad O'Brien (@soledadobrien) February 9, 2019

Also Read: 2020 Presidential Contenders: Everyone Who's Challenging Donald Trump So Far (Photos)

Warren, a Massachusetts Democrat who announced her 2020 presidential candidacy on Saturday, has come under fire for past claims of Native American heritage.

She apologized to the Cherokee nation last Tuesday for releasing a DNA test last year that showed she had a relative who was Native American 6-10 generations ago, the Washington Post reported. The Post also dug up Warren’s 1986 registration card from the Texas State Bar in which she identified her race as “American Indian.”

In his own tweet on Saturday, President Trump repeated his mocking reference to Warren as “Pocahontas” while welcoming her to the 2020 race.

“See you on the campaign TRAIL, Liz,” he added, which some online took as a reference to the forced relocation of Native Americans in the 19th century dubbed the Trail of Tears.

Today Elizabeth Warren, sometimes referred to by me as Pocahontas, joined the race for President. Will she run as our first Native American presidential candidate, or has she decided that after 32 years, this is not playing so well anymore? See you on the campaign TRAIL, Liz!

— Donald J. Trump (@realDonaldTrump) February 9, 2019

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In three filings with the California Secretary of State dated October 30, 2018, Moonves is listed as the sole manager of ventures that are focused on “entertainment services,” “film and television production” and “streaming services and distribution.”

According to the New York Times, which first reported the news, Moonves has set himself up in a 10th-floor office at 9000 Sunset Boulevard in West Hollywood.

Also Read: Les Moonves to Pursue Arbitration for $120 Million Severance Denied by CBS

A rep for Moonves did not immediately respond to a request for comment.

CBS, which fired Moonves for cause in December after an investigation into multiple accusations of sexual misconduct, is believed to be footing the bill for his new offices, according to the terms of his exit deal.

The company and its longtime boss are still locked in a bitter legal dispute over his $120 million severance package. Last month, CBS announced that Moonves would be pursuing arbitration to challenge the company’s rescinding of his golden parachute.

Also Read: Cedric the Entertainer Talks 'Aftermath' of Les Moonves Scandal, Including CBS 'Group Seminars'

The investigation into Moonves — who was ousted in September, after multiple women came forward with sexual misconduct accusations — concluded Dec. 17, with the CBS board announcing at that time that the former chairman and CEO would “not receive any severance payment.”

Moonves was accused of sexual misconduct by six women in a New Yorker article written by Ronan Farrow last July. Six more women came forward in September. Moonves resigned as CEO of CBS in September, following a two-month investigation, but has denied all of the accusations.

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