Demi Lovato Devastated Over Dog’s Death 1 Year After Singer’s Near-Fatal Overdose

Demi Lovato Devastated Over Dog’s Death 1 Year After Singer’s Near-Fatal Overdose_5d30bff9ae133.jpeg

Nearly one year after a drug overdose nearly killed her, Demi Lovato has again been left reeling following the death of her beloved dog.

“She lost her dog Bailey about a month ago, and she’s gone dark on social media since then,” a source exclusively told


The pet’s death was preceded by Buddy’s passing, another of Lovato’s pooches. A coyote killed the poor dog in the backyard of her house in July 2015.

To compound Lovato’s current grief, she is also quickly approaching the July 24 anniversary of her near-fatal overdose last summer.

Now, a source told Radar, Lovato, 26, has been “isolating herself from the outside world.”

“She is living with her mom, and her mom is worried, but she would never let anything happen to her daughter on her watch,” the source said.

To top off this trying time in her life, Lovato’s also attempting not to let it get to her that her ex-boyfriend Wilmer Valderrama, 39, has gotten into a new relationship with 28-year-old model Amanda Pacheco.

“Demi isn’t loving Wilmer being in love with his new girlfriend, because it just reminds her of what she lost,” said the source, who noted that “this whole year has continued to be a loss for her.”

Happy Death Day Director Shoots Down Rumors of Third Film


In 2017, Happy Death Day became a surprising success, exploring a character who was murdered, only to relive the day leading up to her death endlessly in hopes of putting together clues that revealed her killer. The film took in more than $125 million on a reported budget of $5 million, scoring 72 percent positive reviews according to aggregator site Rotten Tomatoes. Earlier this year, Happy Death Day 2U continued the character’s journey, earning 67 percent positive reviews, though only earned $64 million worldwide on a reported $9 million budget. Sadly, the sequel’s underwhelming performance seems to have dashed the series’ hope for a third film, with director Christopher Landon debunking reports that the sequel was being developed.

happy death day 3 christopher landon

“Since I keep reading stuff about it, I’ll say it loud: THERE IS NO HAPPY DEATH DAY 3 IN DEVELOPMENT,” the filmmaker shared on Twitter. “It’s just a rumor…unless [Netflix] wants to pony-up and finish this trilogy, it just ain’t happening.”

Sadly, these comments echo what producer Jason Blum revealed earlier this year. When a fan asked the producer on Twitter the likelihood of a third film, Blum replied, “Not very but not impossible.”

What will make these details so frustrating for fans is that the first film didn’t immediately imply that there were more adventures to come, as opposed to the events of the second film, which had a post-credits scene that set the wheels in motion for what we could expect in a third film.

“Oh, I have more than an idea,” Landon shared with Entertainment Weekly about working on another sequel. “I always imagined this as a trilogy, so I have the third movie, but it’s just a question of whether this one does well. I would love to make the third one. I think it’s a really bonkers, fun idea.”

He added, “There’s a big clue already in [Happy Death Day 2U]. There’s an end credit sequence, so people who stick around, they’ll see that. But, beyond that, mum’s the word right now.”

Jessica Rothe leads the returning cast of Happy Death Day 2U. This time, our hero Tree Gelbman (Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead.

A new film would likely have seen Rothe return, though the actress claims she doesn’t know the direction the third film would take.

“Chris has mentioned it very briefly, but I truly know nothing about it,” Rothe admitted. “The only thing I do know is, like with the sequel, Chris will surprise, and amaze, and shock us with whatever turn this franchise takes if there is a third film. I don’t think anyone could have expected the sequel could have been what it is, just in terms of how zany, and crazy, and wonderful, yet emotionally grounded the story is. So, I can only imagine what must be going on in his brain right now.”

Happy Death Day 2U is out now on home video.

Are you disappointed that we won’t get a third film? Let us know in the comments below or hit up @TheWolfman on Twitter to talk all things horror and Star Wars!


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In this latest episode do a full on San Diego Comic Con 2019 preview with our predictions for Marvel Studios’ next movies (including the recently announced Thor 4), what Netflix will bring with The Witcher and we go over the record breaking number of Emmy nominations Game of Thrones got! Make sure to subscribe now to never miss an episode!

Keegan-Michael Key is Ready for Key & Peele Movie, Would Star in Jordan’s Films


Keegan-Michael Key is one of the many celebrities lending their voice to the upcoming live-action remake of The Lion King, playing Kamari. Recently,’s Brandon Davis had the opportunity to speak with Key and ask him about his longtime partnership with Jordan Peele. Before Peele was knowing for revamping the horror genre with Get Out and Us, he was teaming up with Key for various comedy projects, including their Comedy Central sketch series, Key & Peele. The duo also recently reunited to voice Ducky and Bunny in Toy Story 4.

“Would you ever want to work with him in one of his movies or anything like that?,” Davis asked.

“Well, we’re doing another movie together. I mean, Toy Story, that’s for Pixar. That’s a one-off for them,” Key replied. “But we’re doing a movie right now together, stop-motion animation film with Henry Selick, who did James and the Giant Peach and Nightmare Before Christmas, and Coraline. He’s a genius. It’s called Wendell and Wild, based off of a graphic novel, and we’re doing that. But, depending on the script, I would love to be in what I would now call a traditional Jordan Peele film.”

The actor added, “But I’m certainly not adverse to us doing a Key and Peele film. Maybe a dramatic Key and Peele film of some ilk. I’m not sure what that would be, but of course, I’d love to work with Jordan.”

During the interview, Key also brought back his beloved role of “anger translator,” Luther:

In addition to Key, the new version of The Lion King stars Donald Glover, Beyoncé Knowles-Carter, Chiwetel Ejiofor, Seth Rogen, Billy Eichner, John Oliver, John Kani, Eric Andre, Florence Kasumba, Alfre Woodard, and James Earl Jones. Recently, Jon Favreau shared his reasoning behind making the new movie:

“The whole reason for all of this is to make an animated film feel live-action — to have a real crew come in, interface with an animated film, and make all the camera decisions that you would on set, instead of somebody sitting at a keyboard programming in the camera moves,” Favreau explained.

The Lion King hits theaters everywhere on July 19th.


Have you subscribed to ComicBook Nation, the official Podcast of yet? Check it out by clicking here or listen below.

In this latest episode do a full on San Diego Comic Con 2019 preview with our predictions for Marvel Studios’ next movies (including the recently announced Thor 4), what Netflix will bring with The Witcher and we go over the record breaking number of Emmy nominations Game of Thrones got! Make sure to subscribe now to never miss an episode!

Blair Witch Project Star Michael C. Williams Reflects on the Grueling Shoot and the Film’s Aftermath


Throughout the ’90s, horror’s most prominent figures had appeared in so many films that they became less like terrifying threats and more like cartoon characters, with the state of the genre being relatively lackluster. Filmmakers Eduardo Sanchez and Daniel Myrick were inspired to make a frightening experience that would strike fear in the hearts of audiences in ways that hadn’t happened in years, leading to the creation of The Blair Witch Project. While Sanchez and Myrick were the clear masterminds behind the whole premise, the effectiveness of the film rests largely on the film’s cast and their improvisational skills, with Heather Donahue, Joshua Leonard, and Michael C. Williams helping make the film a groundbreaking endeavor.

The film focused on a group of documentary filmmakers who get lost in the Maryland woods while investigating the legendary Blair Witch, only for supernatural occurrences to unfold, causing strife between them while searching for an escape. Sanchez and Myrick had an overall concept for the directions the story would go, with the directors offering daily clues to the actors about their characters and situations, allowing the cast to organically improvise a majority of their exchanges. Not only was the film itself an achievement, but the marketing campaign’s insistence that this footage was merely found in the woods caused a cultural sensation, leading audiences to investigate what really happened to these characters.

In honor of the film’s 20th anniversary, caught up with Williams to discuss the filmmaking process, the film’s success, and how the experience impacted his life.

Slide 1 of 9Exciting Opportunity The auditioning process was far from traditional, as you weren’t only hired for your acting abilities, but the role also required improvisation and strenuous activity. What initially drew you to the project?

Michael C. Williams: I had gone to SUNY New Paltz and was trained as an actor, I went to school for theater. I was just looking for a job, to be quite honest. Now I am a fan of horror, and have been, but not a big, big fan. It’s not my passion, like I know it is for a lot of people. But certainly, mainly, I’m looking for employment at that time in my life.

Not necessarily being a big horror fan, how were you convinced to commit to such an ambitious project?

In the ad in Backstage magazine, which was basically the ad for the open call, it said, “Camping, hiking, and improvisational feature film.” You knew you would be outdoors, you would be improvising, and I love all of that. I love the outdoors. And I was trained in improvising scenes. Anytime we did scene work where I went to school, we would obviously do the script, but we would also have to improvise every scene we did, and work in improvisation a lot. So, for me, it was like an exciting venue, artistic, challenging venue, to try and get a job. And so the open call notice was exciting and enticing to me. It probably turned some people away.

And then when we got to the audition itself, there were more signs of, “Hey, this is a production that will likely cause you some discomfort, as you will be camping for a number of days in the woods, and we want to make sure before you audition that you would be okay with taking this job.” And actually, for me, it was even more enticing at that point, because I thought, “Wow, that sounds like something totally unique that nobody’s done before,” so as I heard more about it, the more excited I got.

Slide 2 of 9Compelling Co-Stars

Not only would you be forced to improvise, but you had to really click with your co-stars to help sell the concept. What was the collaborative process like between you, Heather, and Joshua? How did you establish your dynamic?

It was a pretty quick turnaround between the auditions. During the audition process, I think they started with about 1,000 actors, between New York, Chicago, and Florida. And, in New York, there were certainly hundreds of us at the first open call. And the next weekend, there were 50, and the next weekend there were 25, or however they broke it down. So as we got further into the process, you started to get to know some of the people that you were improvising with, like Josh and Heather, not knowing we would ultimately get the part. I want to say Josh and Heather were already cast, and I was the last to be cast, with one more guy, it was so obvious that it was going back and forth, their decision between me and this one more guy.

So only in the sense that I got to know them a little bit during the auditions, and then we didn’t see each other for probably a month, and the next thing you know, we’re on a bus going down to Maryland, and talking about filmmaking and acting and careers. And then we only had two days together before we really started shooting, and we were pretty much separated, learning our equipment, and then we just got into shooting, and we became, rather than Joshua, Heather, and Michael, we just became Josh, Heather, and Mike, and off we went.

Slide 3 of 9Complete Confidence
the blair witch project joshua leonard camera man
(Photo: Facebook/ FX Vestiges)

While the improvising and outdoor setting was something that drew you to the film and you were prepared for them, once you were actually shooting the film, were there points where you second-guessed what you signed on for? Were there doubts that things would come together?

No, I never felt that way. I always felt like we were doing something unique. I thought it was so well planned out by the directors and producers. It was so obvious that they had put months of effort into mapping out stations, the fact that we were using a GPS, which I had never heard of until that point in my life. The fact that we knew they were shadowing us, and that we were getting fresh batteries, and we were getting notes, based on the performances of the day before, because they would stay up overnight and watch the tapes from that day. They were really invested in it, but they seemed, and are, very intelligent folks, so you just felt like it was actually almost reverse of what you’re saying, it was almost like every day felt like, “Wow, this is really cool, I’m really excited about this process, let’s make this as authentic as possible. They’re so invested in us and in the process, that I want to be just as invested, and give them everything I have.”

Cut to, like I saw a rough cut of it, and I was like, “Oh, that’s not very good.” The editing was also exceptional as well. It took them a very long time to go from when we left to the woods to what they ultimately wound up with, that the audiences saw, and I think that was a pretty painstaking process. But when I first saw some footage, I said, “Wow, that’s interesting, it just doesn’t work, because it’s too long, or there’s too much of this or too much of that, it just seems jagged and rough.”

Of course, I’m not a filmmaker, so a rough cut is a rough cut, but that was the only moment I was like, “Oh, maybe it wasn’t so great.” And then it turned into, I couldn’t be happier with it. And obviously, it was a lot of right place, right time, too, because it was the dawn of the internet, really the dawn of reading what you saw on the internet and believing it, before we knew about fake news and all this. It was the dawn of reality television. Like, Survivor was that first year. It was also the time in our lives where video cameras became super accessible to every family. So the media was being utilized by families.

So it was all of these things happening at once, it was very fortuitous for us, very serendipitous, as well as just the effort we put into it.

It’s also almost frustrating to a degree that, while the film served as this cultural revolution, there’s no way that the franchise could manage to capture those added elements ever again.

I feel luckier than I do proud. I’m certainly proud of the work, but certainly feel fortunate and blessed that some how, some way, I stepped in shit and came out smelling like roses. That’s an old line.

Slide 4 of 9Pivotal Moment

You might have been a little disheartened when you saw a rough cut of the film, but Eduardo previously explained that it was the moment in which your character admits he kicked a map into the river that engaged with him in a surprising way and gave him confidence that the process would work.

That was the freedom that they built for us, because that was not in any notes, that was not something they wanted, they didn’t direct me to do that through their notes, that was just sheerly out of the moment, and out of the belief in the circumstances, and out of being free to make choices as an actor. And also out of the fact that they didn’t see me kick the damn thing into the creek, which was amazing, and I remember looking up at them, like, “Well, you know, suck on that,” and they’re both still arguing, and they don’t realize that I did it, so I’m like, “You know what? I’m not even going to tell them I did it.” Just to see how far I can take this.

Again, serendipitous, fortuitous, if they had been watching me in that moment kick the map, it’s a whole different thing.

Has Eduardo ever revealed to you how effective that moment was for him?

You know, he’s told me that it was a special moment, but so much has been made of that scene over the last 20 years, that I don’t know when we ever first talked about it. It’s nice to hear, to be certain, maybe we’ve had that conversation, I’m not sure, but between being the map guy, and being the guy in the corner, there’s been so much conversation around that, which is another thing that I feel fortunate about. So I don’t know our specific conversations about it, but I’m glad to hear that it had an impact on him.




Slide 5 of 9Creating Characters

While some actors take a method approach to bringing characters to life, fully embracing everything about their identity in their actual lives, the three of you had to go the opposite route and essentially craft characters inspired by your own personas, to a degree. Do you remember much of the mental process of finding the balance between playing a version of yourself, while also exaggerating facets of your identity to create a more engaging story?

It was certainly a process that you go through with two other people that has connected us for life, for better or for worse. Josh, Heather, and I have a special bond that’s some kind of kinship, some kind of brotherhood. Like being on the island in Lost, that would be how I would define our relationship, based on what we all went through together. And not only what we filmed, but also, what we went through together as a byproduct of the sensationalism of the film, and of the popularity of the film, and of the questioning of whether or not we were acting, and the questioning of our professional ability. And it goes a little deeper than the question you’re asking, but you know, first of all, to shoot it was exhausting, and I don’t know that I, at my age, I could do what I did at that age, because it was just so much energy, and you fed off of each other, and even the stuff that was ugly, you had to be okay with it being ugly, because otherwise you’re not telling the truth in the moment. And that whole film is about telling the truth in the moment.

Now, of course, we knew that this was a movie, we knew that there were filmmakers hiding in camouflage 20 yards from us, sometimes we even saw them and talked to them. We knew that there were joggers waking up, and while we woke up, running through the parks that we were in sometimes. And there were airplanes going overhead, and we crossed streets, and things like that. But, you have to let those things go, you have to not face those things, and actually really believe that you’re lost out there. And you have to really believe that you’re lost together, and forget about the reality of it, and create your own false reality, which I think we did pretty successfully.

So it was a really special thing, to be able to do that with those two.

Slide 6 of 9Mounting Tensions

One of the more frightening moments, possibly even more than the supernatural events, is the scene in which you are arguing with Heather and it feels like you could snap and physically attack her. While traditional films might shy away from scenes featuring a man attack a woman, all gender roles drop in that moment and you see two people who are desperate to survive, breaking down into a more primal state. Do you remember what that day was like while shooting?

It’s interesting, because you could never, honestly, I don’t know that you could authentically shoot that scene had it been scripted, or if you were on a set, if you hadn’t gone through the process of the first number of days, because that takes place later in the film. Or, if they said, “Hey, let’s shoot this out of sequence, let’s shoot that scene again, or shoot that scene on day two rather than day six,” or whatever it was. It’s all this raw emotion that you’re going through together, and you build that level of trust. There was never any actual feeling that I would hurt her, or actually feeling that she would be hurt, if you were to talk to her, I’m sure. But, it certainly feels that way when you watch it, and honestly when I recently watched it at the Florida Film Festival, on the big screen again, and it’s really almost hard for me to watch, that scene, because I feel like I would never do that in my life to somebody, and never have, obviously. Because it’s such a weak moment in a person’s life, especially a man and a woman thing. But, we were able to do it, and I don’t think there was ever any processes other than, we would stop the scene, and say, “How you doing? You okay?” And give each other a hug, and like, “Really good work,” and, “You sure you’re feeling safe.”

I’m sure we had those conversations. I know we do, because that’s how I was trained as an actor. Any time you’re physical or abusive with scenes, you have to stop and ask that person, “Are you sure you’re okay? Is this all right?” So I know we did that stuff, but you can’t get as authentic as that, probably in any other experience. So what we called method filmmaking, was really about the filmmaking and the acting, two worlds colliding, and that trust was built because of the dynamic, and the backdrop that the filmmakers created for us.

Slide 7 of 9Freaky Finale
blair witch project mike williams facing corner standing
(Photo: Facebook/Movie Barf)

You mention that you’re known as the “Standing in the Corner Guy,” as you’re in the final shot standing in the corner, which connects to the legend of the Blair Witch. Given the film’s subtleties, that sequence catalyzed everything that the film had been hinting at, making for a horrifying sequence. What were the specifics of shooting that sequence and the process of bringing it to life?

The evening of, we got notes in our canisters, obviously Josh is gone, so it’s just Heather and I, and my note said, and by the way, we had just for that afternoon, we got into a car, out of Seneca Creek State Park, and they drove us to another location, which was another forest, state park kind of a thing. Oh, Patapsco State Park is where we went. And Heather and I are in the back of this car, thinking, “Why are we moving? This whole movie takes place in the woods. What location is it that is so special that we need to be moving?”

You’re kind of wondering what’s going to happen. And you know it’s the last day of production. You know it’s the last night you’re going to shoot. So we set up this tent, and we get these notes, and my note says, “When you hear a noise, follow it, and follow it all the way out until Heather joins you, and then once Heather’s with you, run all the way down, leaving Heather behind.” And that note made me very nervous, because I assumed it was a hill, because we had been in the woods for eight days. Never in my wildest dreams did I think it would be a house, and obviously that’s why they changed locations on us, because there was a house in these abandoned woods.

So, I had to radio Ed, “Hey Ed, I don’t understand the note,” and he said, “Mike, trust me, just trust me.” And I said, “But I don’t want to screw it up, it’s the end of the film.”

He said, “I promise, you won’t screw it up, you’ll understand when you see it, and that’s it, I can’t talk to you anymore, get off the radio.”

So, I go to sleep, wake up, and the noise I hear is Josh’s voice, on a boombox. It’s clear that somebody’s carrying a boombox through the woods. I follow the voice, the scene unfolds, Heather’s trying to keep up with me, I know I’m trying to get ahead of her. When you hear me say, “Oh shit, it’s a house,” which by the way is not on the Blu-ray version for some weird reason, I don’t like the Blu-ray cut at all, so if you’re watching any film, you should watch the original version. There’s too many little differences that I don’t like. But the most authentic line I think I deliver in the entire film is, “Oh shit, it’s a house.” And that’s because I realize, in that moment, I go, “Oh shit, it’s a house.” And Heather’s behind me.

And I go in the house, I see the staircase, I go up and see the hand prints and all that, and she finally gets up there with me, and that’s why I leave her, just based on the note, I run as fast as I can downstairs, and I don’t want to go down there, but I do. As soon as I turn the corner, actually what happens, is Gregg Hale is the producer, he grabs me, and brings me to the floor, in like a slow wrestling move, and that’s where the camera drops.

And he hits me pretty good. He doesn’t hit me super hard, and not super soft, but enough to jostle that camera down to the ground. And he whispers in my ear, “Go stand in the corner, go stand in the corner, go stand in the corner, it’s not over yet.” So I get up, and I’m disoriented, and I go stand in the corner, with my head is cocked to the side for some reason, and Heather comes down screaming, and the rest is history.

Now, little known fact is, what happened originally on the first night, on the last night, is Gregg decks me, and as he decks me, my hand hits the off button of the video camera. So, all of the sound that you hear in that scene is from the microphone from the video camera, because the DAT wasn’t set up, so if you remember, Heather’s carrying the 16 millimeter black and white, I’ve got the video camera, all the sound you hear is from the video camera. So when my finger hits the off button, she’s screaming and comes down the stairs, and hits me with the 16 millimeter. However, all the audio is lost, because I hit the button. So we have to go back the next night, and reshoot the scene, so that we could pick up all the audio.

So Heather’s screams, the shot of me in the corner on the 16 is the first night we did it, but all of Heather’s screaming is from the second night, and I think that’s sort of fascinating, because she had to recreate that scene, and that level of terror on a second occasion, after having been out of the woods for a day.

The other thing about Heather is, you know, to me she’s clearly the anchor of the film, and there’s no way the film doesn’t work if people don’t buy into Heather’s character, and her character gets a bad rap, because she’s tough, and you know, she’s so consistent, and so demanding, and if she’s not, we will just turn the camera off and tell her to shut up, and then she listens to us, she does and there’s no film.

So she was the face of the movie, she was the tough character to love, and the audience responded to her negatively because she wasn’t listening to us, but if she did listen to us, again, all the cameras would have been turned off, so she had a little bit of a tough racket. And she deserves the most credit for making this film successful, as far as the acting, if you ask me.

Slide 8 of 9Changing Perspective

The rough cut of the film might have been a disappointment, so when did you realize just how effective the film was and how it would captivate the culture?

Oh, I didn’t know that. I don’t think I ever knew that. There was no moment. The only thing I can tell you is the exciting moment was when we got into Sundance, and that felt really validating and rewarding and exciting.

Although, there’s that, and then there is, actually, a moment when we’re outside of the Angelika Theater in New York, where it opens, and there’s a line of people that have been camped out for a day, in tents on the sidewalk of New York City, and a long line of people waiting to see this film. So I guess when I saw that, I went, “Well this is really special. This is something else, this is something very different.” Certainly after that, it just snowballed, and it just feels surreal, the entire process of that. So, maybe that was more of an identifying moment, actually.

Given the fate of your character, obviously it’s difficult to consider ever returning to the franchise, but do you see opportunities in which you’d like to get involved in the series’ future? Did you feel an ownership over the franchise?

You know, it’s interesting, because I sort of left the industry, even though I did do a little gig on CBS last summer. But, I work in a school now, I’m a school professional, I’m a school counselor, and I changed careers almost 10 years ago, and I love what I do, I’m helping kids, and trying to make a difference, a little bit, any way I can. And I had some help growing up, so it’s nice to give back.

So to me, it’s not like I’m really actively seeking work, although sometimes I’m able to get it, and I’ll take it if it’s an opportune time, when there’s no school happening. But with that said, I would say that the family and the deep connections with the people I worked with on Blair, I feel like we have this special, we were on the island of Lost bond. To work with them again on a passion project, something different, some offspring of Blair, I would absolutely jump at the chance, and love to work with them again.

As long as it was right for the film, because it does have some legacy to it. I think there is a lot for them to explore, there’s no question about it.

You speak about meeting people who have a deep connection to the film, do any of the younger students you work with recognize you from the film?

It depends. Some kids are like, “Oh yeah that’s cool, I’ve heard of that,” and just today, honestly, I had a group of kids, and one of them has seen the movie like 10 times, it’s one of his favorite movies, he talks about it all the time, and he’s asking me all kinds of questions about it. So it just depends on who it is. And certainly the parents are right around my age, so they all remember, and they all tell me where they were, and what they were doing.

It’s one of those movies, it’s an event movie, you remember exactly what was happening in your life when you saw it. It’s fascinating to me. It’s not just some movie that you remember seeing, because they remember driving down the dark road, or going home, or the lights were off, or I was camping, or they remember all that stuff. It’s really neat to hear everybody’s stories.

Slide 9 of 9Lasting Legacy

When you look back on the experience, what’s your biggest takeaway from everything? Is it those friendships you made, life lessons, industry awareness? What does the film represent?

The biggest impact is that we’re all part of something that people want to talk about 20 years later. And we really have no good reason to be here. It’s very humbling. And, certainly, the relationships that have been made, and watching people’s families grow, and it’s just been a very humbling, and a gratitude producing experience for me.

Is there anything else that you’re working on that fans can be on the look out for?

I’m writing a book about the experience. The working title of the book is “Escaping the Most Famous Corner in Hollywood: How I Survived the Blair Witch.”

My wife and I run a little acting studio on the side of my day job, a little acting studio called “MCW Acting Studio.”

Is there any sort of timeline on when to expect the book?

I’m about halfway through it, and it’s been that way for a little while, I’ve got to get my ass in gear. The book is really more about the experience of shooting it and the story that we’re talking about, and then it’s about the aftermath of the film, because there’s definitely a down period of “What the hell just happened and where’s this going?” And it was a very, very intense experience, Blair Witch. It was like getting married and having kids and losing my father are three major events in my life, that shape who I am, and I would say Blair Witch is the fourth major event.


You can keep up with Michael C. Williams’ various projects by heading to MCW Acting Studio’s official website.

Plus-Size Model Tess Holliday Makes Splash On Malibu Beach In Colorful Swimsuit

Plus-Size Model Tess Holliday Makes Splash On Malibu Beach In Colorful Swimsuit_5d2f6e7d36125.jpeg

Plus-size model Tess Holliday hit the beach in Malibu, Calif., sporting a floral swimsuit on July 16.

Holliday, who is 5’3” and a size 22, has been a vocal advocate for diversity when it comes to showcasing different body types in the fashion industry — and the 34-year-old model puts her money where her mouth is. 

“I choose to wear designers and clothes from people that I like what they’re doing — because if you’re not supporting people like that, then they’re not gonna be around,” she has said. 

“I like to buy clothes from people that actually give a s**t about my body and about plus bodies,” added Holliday, whose real name is Ryan Hoven. “That makes me happy.”

Scroll through’s gallery to see photos of Holliday frolicking on the beach!

Into the Badlands and Batman Begins Actor Karl Shiels Dies at 47


Karl Shiels, an Irish-born actor whose work includes Batman Begins and Into the Badlands, has passed away at the age of 47. Shiels’ publicist, Lisa Richards, confirmed to the Irish outlet RTE, that the actor died on Sunday, July 14th.

“We are deeply shocked and saddened to learn of the sudden passing of our client and friend Karl Shiels, yesterday,” the statement read. “Karl was a uniquely talented individual, simultaneously intense, light-hearted, funny, sharp-witted, outspoken and intensely powerful as an actor, director and artistic director of the Theatre Upstairs – where he was such a support and mentor for young writers, actors and directors – and of his own company Semper Fi before that.

“Karl was a remarkable force in Irish theatre and hugely loved and respected by all who worked with him.” the statement continued. “Our hearts are broken but today our thoughts are with his partner Laura and his family, his children and their mother Dearbhla and his many close friends among whom we count ourselves lucky to have been for so many years.”

Shiels played Declan, the Regent of Baron Quinn, throughout six episodes of Into the Badlands. He also is credited as “Arkham Thug #3” in 2005’s Batman Begins. He also appeared in episodes of Peaky Blinders and The Tudors.

For Irish fans, Shiels is perhaps best known for his role as Robbie Quinn in the soap opera Fair City. Shiels has been a part of the series since 2014, and appeared in the show’s most recent episode.

Our thoughts are with Shiels’ family, friends, and fans at this time.


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Invisible Man Reboot Director Shares Behind-the-Scenes Photo to Confirm Shooting Has Begun


In 1933, horror fans were given The Invisible Man, an adaptation of H.G. Wells’ novel of the same name. Claude Rains starred as a man who uncovered the secret to invisibility, yet never figured out how to return himself to his normal state, ultimately going insane as he pursued a life of crime. While other Universal Monsters have regularly earned remakes, the character has yet to officially be revived, despite multiple films delivering audiences similar premises. After a reboot was announced earlier this year, writer/director Leigh Whannell took to social media to announce that production on the film is officially underway.

The filmmaker shared a photo of the film’s first slate while joking, “Any recommendations for things to do in Sydney? No? Okay, I think I’ll just go shoot a movie then. STARTING TODAY.”

The first major confirmed cast member was The Handmaid’s Tale‘s Elisabeth Moss, leading to speculation that the new film could be gender-flipping the film’s concept. Earlier this week, however, The Haunting of Hill House star Oliver Jackson-Cohen was confirmed to be starring as the titular character, yet the film was previously described as focusing more on Moss’ character than the Invisible Man himself.

The new film follows Cecilia (Moss), who receives the news of her abusive ex-boyfriend’s suicide. She begins to re-build her life for the better. However, her sense of reality is put into question when she begins to suspect her deceased lover is not actually dead. Storm Reid will also star in the film.

Following her casting, Moss teased how the upcoming endeavor will follow a slightly different narrative than the original novel.

“I haven’t gotten into what I’m allowed to say, yet. I’m pretty sure I can say that I’m not ‘The Invisible Man,’” Moss confirmed with The Hollywood Reporter. “That would be weird. It’s a little bit of a different take on it. Part of the reason why I wanted to do it is I actually felt like it was a really feminist story of female empowerment and a victim kind of overcoming something. I don’t even know what I’m allowed to say about it! I’m not The Invisible Man, but there is an Invisible Man — if that makes any sense.”

Stay tuned for details on Invisible Man, which lands in theaters on March 13, 2020.

Are you looking forward to the new film? Let us know in the comments below or hit up @TheWolfman on Twitter to talk all things horror and Star Wars!


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Star Wars: The Rise of Skywalker Star Daisy Ridley Addresses the “Vicious” Social Media Fans


Daisy Ridley made her debut in the Star Wars saga with Star Wars: The Force Awakens, as she became the central figure of the sequel trilogy and explored her quest to become a Jedi. While most fans of the series appreciated a female character taking the series’ spotlight, other fans flooded social media with hateful remarks about the character. Ridley herself ultimately deactivated her social media accounts, yet she’s still fully aware of the toxicity that runs rampant on various services. The actress recently opened up about how disheartening it is to see the hard work of everyone involved with bringing the series to life getting completely trashed on social media.

“It’s great that people are expressive of their views. But this is people’s jobs. People worked really, really hard on that thing,” Ridley admitted to Bustle. “I think there’s a way of having a discussion that isn’t so vicious.”

Ridley noted that social media has given users a false sense of importance, pointing out, “Because if you’ve got however many followers, and you write something that you think is, like, so deep, and a hundred people like it, it’s constant reinforcement.”

While deactivating her social media accounts might have cut down on the harassment she has to endure, she revealed a recent interaction in which someone was seemingly emboldened to voice their negative opinions directly to Ridley’s face.

“I was at my friend’s birthday,” the actress detailed. “And one of her friends, who I barely know, was like, ‘Hey, really liked the first Star Wars. Didn’t really like the second one,’ and I thought, ‘That’s rude, dude! That’s my job!'”

Ridley is understandably defensive of her Star Wars films, yet she doesn’t feel that the films should be immune to criticism. While she doesn’t think fans should be as vicious on social media, she understands that these attitudes are sparked by how passionate fans are of the series and that their objections are fair.

“I wasn’t surprised, no,” Ridley shared with USA Today when asked about the backlash to Star Wars: The Last Jedi. “It’s just a different thing. Everyone’s going to have an opinion now anyway on the internet, but I also think it’s fair. If people hold something incredibly dear and think they know how it should be and it’s not like that, it’s fair for people to think they were done wrong. It doesn’t mean they were – ultimately, [writer/director] Rian [Johnson]’s a filmmaker and one person can’t dictate how a film is supposed to be – but freedom of expression, sure.”

Fans can next see Ridley in Star Wars: The Rise of Skywalker on December 20th.

What do you think of the actress’ remarks? Let us know in the comments below or hit up @TheWolfman on Twitter to talk all things Star Wars and horror!


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John Kani’s Heartfelt Hope for Families Watching The Lion King


Sitting across from John Kani is something special. The actor has a presence about him which offers a vibrant sense of someone wise, something very much worth listening to, the moment he starts talking. The South African accent makes it all that much more magical but the man has so many life experiences accompanying his impressive acting resumé that it’s easy to get lost in his words. The actor will next be on the big screen for The Lion King, lending his voice to the remade edition of Rafiki, a character who carries the metaphorical torch of hope when Simba flees the Pridelands. In speaking to, Kani hopes that audiences takes away a lesson from The Lion King similar to the one which Simba learns in its narrative.

“The role of the elders within each and every community,” is something which Kani thinks is too often overlooked in today’s society. “We tend to ship our parents as soon as they retire into some retirement home in Florida, and have people who are caregivers, and nurses, and managers of these homes to take care of them,” Kani said. “We’ve robbed the present generation of the handing over of the legacy, and the stories, and the history of our people or your particular family.”

There are metaphors for these real life roles throughout The Lion King.

“The role that is played by the presence of Mufasa, before he dies, and the presence of Rafiki is like a historian who is charged as a custodian of the culture of this pride of lions, and the legacy of Mufasa,” Kani says. “You even believe that Rafiki was there when Mufasa was born. He was the one who inaugurated Mufasa as head of the Pride, as he did with Simba, as he will do to continue generations down until he walks into the sunset after presenting Simba’s son who is now heir to the throne of the lion Pride kingdom.”

In particular, he hopes that conversations will spawn from this movie amongst families. “It’s something African audience, or an audience anywhere would realize that we need to talk to our children,” Kani said. “We need to tell them who we are. Sometimes children get disappointed with us about we were not as successful as Bill Gates. We didn’t become president, though we didn’t want to be president. Not with the kind of presidents we have now.
I sat there last night and I thought, ‘I think Mufasa was Nelson Mandela?’ Do you think after Nelson Mandela we start with Scar?”

Coming from a true African heritage, Kani can use real life experiences to prepare for roles like Rafiki and T’Chaka in Black Panther. “The only reference in my life is my life, and it’s my life experience. It’s my environment. It’s my community. I’ve not made that for books,” Kani said. “I started to get my doctorate, not to be called ‘doctor.’ Those are just little things you get to get recognition. But in real life I suck and suckle from the people within my community. I remember the words of my grandmother who died at 102. I remember my great mother, Grand Brika, who died at the age of 106. They talked to us all the time. And my grandmother even lied to me. She said there was royalty. She said that my great-great-great grandfather was the king of the outer Thembu. I didn’t realize it was preparing me for the onslaught of the dehumanizing system called Apartheid so that I don’t get lost, or lose the battle for my own dignity and humanity.”

For Kani, The Lion King is something deeper than a movie, and it may have the lasting impact he hopes to see, being the remake of one of the most popular animated films Disney has ever released.

The Lion King hits theaters on July 18.


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Chris Evans Brings Back His Captain America Beard in Netflix’s The Red Sea Diving Resort Trailer


After spending the last eight or so years saving the world as Captain American in the Marvel Cinematic Universe, Chris Evans may be putting down the shield, but he’s not walking away from the heroic roles. Netflix has dropped the trailer for the upcoming film The Red Sea Diving Resort, featuring Evans as well as his now-infamous beard.

In the film Evans stars as Mossad agent Ari Kidron who, along with other undercover agents set up shop in a deserted holiday retreat — the Red Sea Diving Resort in Sudan — and use it as a front from which to smuggle Ethiopian refugees out of the war-ravaged county to safety in Israel. You can check out the trailer in the video above.

The film is based on real events that took place from around the end of the 1970s and went through the 1980s, a story that writer and director Gideon Raff told USA Today is a story “of great courage and sacrifice.”

“During the day, the agents would entertain hotel guests, tourists and divers from all over the world. Then at night, they would go out into very dangerous areas and risk their lives in order to help the Ethiopians,” Raff said. “The story of Ethiopian Jews’ journey to Israel is one of great courage and sacrifice.”

While the story is set in the 1980s Raff explained that it’s as relevant now as ever.

“The story is as timely now as it was then,” Raff said. “The plight of refugees is in the news every minute, every day. Their struggles to reach a safe harbor and give their children a better future has never been more relevant than today.”

The Red Sea Diving Resort also stars Michael Kenneth Williams, Haley Bennett, Greg Kinnear, and Ben Kingsley in addition to Evans. As for Evans’ beard, Raff explained that the facial hair that has become something of a social-media sensation was a storytelling decision for the film.

“The story happens in the ’80s Abundant hair was in fashion,” Raff said. “Whether on your face or chest, the more the merrier. We had fun with mustaches, beards, all of it. As for Chris, he is appealing with or without, but his beard helped convey the character of agents who went undercover in the field for months at a time. I love his look in the movie.”

You can check out the official description of The Red Sea Diving Resort below.

Inspired by remarkable true life rescue missions, THE RED SEA DIVING RESORT is the incredible story of a group of international agents and brave Ethiopians who in the early 80s used a deserted holiday retreat in Sudan as a front to smuggle thousands of refugees to Israel. The undercover team carrying out this mission is led by the charismatic Ari Levinson (Chris Evans) and courageous local Kabede Bimro (Michael Kenneth Williams). The prestigious cast also includes Haley Bennett, Alessandro Nivola, Michiel Huisman, Chris Chalk, Greg Kinnear and Ben Kingsley.

The Red Sea Diving Resort debuts on Netflix July 31st.


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