Duane 'Dog' Chapman Says He Should Have Died Before Late Wife Beth - PopCulture.com

Duane "Dog the Bounty Hunter" Chapman says he apologized to his children for not dying before wife Beth Chapman. The reality television personality recently opened up about how he and his children have been dealing with the matriarch's passing at the age of 51 following a battle with throat and lung cancer.

Along with Chapman, Beth is survived by kids Dominic, 34, Cecily, 26, Bonnie, 20, and Gary, 18.

Chapman opened up to PEOPLE earlier this week about how the family is coping two months after Beth's death.

"Each one copes differently, there is a few that really barely making it," Chapman said. "We don't know what to do. We haven't read, we weren't prepared. I lost my mother first, and when my mom passed away, I'm like, 'I wish dad would have died first', you know, because I love my mummy. So I went to them and said, 'I'm so sorry that I didn't die first and mum did.'"

"And they were like, 'Yeah dad, why?' So I was like, 'Oh my God, I know what that feels like, I should've been the one. The guy goes first,'" he added.

Chapman also opened about how the change in dynamics with his kids, with him having total on the role of strict parent in Beth's absence.

"So that's hard for them... And I guess I'm the softy of the group, because I never wanted to punish. I said, 'Your mom is gonna get you if you don't do that.' So now I gotta be the one that does that, and I don’t like that and they don’t either," he told the outlet.

The Chapman family has been opening up to press about Beth's final days as they prepare for the premiere of new series, Dog's Most Wanted. Bonnie spoke with SurvivorNet about her mother's final moments of consciousness.

"My dad goes over and over and over what happened because he can't get it out of his head," Bonnie said in mid-August. "She quite literally choked on her cancer."

"My mom was naked in the bathroom and told my dad to look at her," she continued. "And he goes, 'I am looking at you.' And she goes, 'No, look at me.’ And then she was standing there and she started gasping."

0comments

"And my sister came into the room, and they called 911 immediately," Bonnie added “And that was the last moment that we really saw her completely conscious."

Dog's Most Wanted is set to chronicle Beth's final months as she and Dog track down some of the country's most sought-after criminals. The series will premiere Wednesday at 9 p.m. ET on WGN America.

-----

Wait wait! Have you subscribed to GroupChat, PopCulture.com's official reality tv podcast yet? Check it out by clicking here or listen below.

Listen as the the GroupChat crew locks in Episode 2 talking about 'Bachelor' frontrunners, some serious 'Teen Mom 2', Javi drama, the VMAs and how amazing Missy Elliot is, and some awesome 'RHOBH' news! Don't miss an episode and join in on the conversation with #GroupChat. Make sure to tap the subscribe button now so you don't ever miss an episode!

Let's block ads! (Why?)

https://popculture.com/reality-tv/2019/09/01/duane-dog-chapman-says-he-should-have-died-before-late-wife-beth/

2019-09-01 02:53:00Z
CBMibmh0dHBzOi8vcG9wY3VsdHVyZS5jb20vcmVhbGl0eS10di8yMDE5LzA5LzAxL2R1YW5lLWRvZy1jaGFwbWFuLXNheXMtaGUtc2hvdWxkLWhhdmUtZGllZC1iZWZvcmUtbGF0ZS13aWZlLWJldGgv0gFyaHR0cHM6Ly9wb3BjdWx0dXJlLmNvbS9yZWFsaXR5LXR2L2FtcC8yMDE5LzA5LzAxL2R1YW5lLWRvZy1jaGFwbWFuLXNheXMtaGUtc2hvdWxkLWhhdmUtZGllZC1iZWZvcmUtbGF0ZS13aWZlLWJldGgv

Remembering Emmy-winning actress Valerie Harper - CBS This Morning

Let's block ads! (Why?)

https://www.youtube.com/watch?v=NwM2XHxwm08

2019-08-31 11:55:36Z
CCAiC053TTJYSHh3bTA4mAEB

Missy Elliott: Iconology EP | Review - Pitchfork

In the decade-plus since her last album, Missy Elliott has been trapped in a cycle of returns and retreats. Albums have been teased, then coming soon, then renamed, and later scrapped. Singles have been released and choreographed but then left at sea, never followed-up or built upon. Though Missy has remained an active producer, songwriter, and guest artist, it’s hard not to think of those efforts as busywork. When she rapped, “Thought I fell off, I ain’t quite finished,” on 2012’s single “9th Inning,” it felt like a Freudian slip more than a threat. Released the weekend before her receipt of the VMAs’ Michael Jackson Video Vanguard award, Iconology confirms what’s long been implied by these recurring starts and stops: Missy Elliott is no longer the future.

There is nothing rapped or sung on this EP that is not beholden to Missy’s past. “Throw It Back” is a tepid nostalgia trip that does little to hide its lack of inspiration. Retracing her steps, Missy recycles tired rhyme schemes and stuffs her verses with dry nods to her hits. Her allusions to her glory days are so artless and undercooked that they could be Genius annotations: “Missy still got ’em losing control/And every night is still ladies’ night.”

The production, courtesy of Timbaland, Missy, and Atlanta producers Wili Hendrix and Michael Aristotle, is a toss-up. The drum programming on “Throw It Back” and “Cool Off” is shifty and colorful, but painfully quantized. As Missy raps in staccato lockstep with the beats, the lack of bounce becomes grating. The doo-wop sway of “Why I Still Love You” fits Missy’s vocals well, but it’s damning that the a capella sounds better than the full song. The sole outlier, “DripDemeanor,” is groovy and indulgent; at one point background coos bleed into a guitar and harmonica melody that’s peppered with what sounds like hiccups. Paired with Sum1’s sultry crooning, the result is weird and charming and sensuous—but then Missy starts rapping.

There’s nothing insightful or fun about Missy looking back rather than ahead, especially when she’s already released two compilation records during her hiatus. The focus on iconography is frustrating in its neglect of Missy’s extensive influence throughout the past decade (Missy’s genes can be found in Tierra Whack, Tyler, the Creator, Azealia Banks, M.I.A., FKA twigs, J. Cole, among many others) and her lauded accomplishments (earlier this year she was the first woman rapper inducted into the Songwriters Hall of Fame, and the third rapper, period). Missy invited listeners to view her body on her terms; she condensed emotions into the perfect onomatopoeia; she befriended and supported the artists around her. Iconology could have tapped into all these dimensions. Instead, it settles for the safe and familiar. Throw it back.

Let's block ads! (Why?)

https://pitchfork.com/reviews/albums/missy-elliott-iconology-ep/

2019-08-31 05:00:00Z
52780367768328

Judy Review | Movie - Empire

Movies:

Actors:

1968. With her ex-husband Sid Luft (Rufus Sewell) demanding custody of her children and struggling to pay a $4 million tax bill, fragile Hollywood legend Judy Garland (Renée Zellweger) takes up a sold-out residency at London’s Talk Of The Town nightclub. Can she keep it together so the show can go on?

---

There is an image around halfway through _Judy_ that captures Judy Garland (Zellweger) slumped in her dressing room, head bowed, cigarette burning in hand, surrounded by wall-to-wall flowers, a depleted Garland before literal garlands. It’s a moment that gets to the heart of the last days of Garland’s life, the difference between the private and the public, despair and sadness crystallised against a rose-coloured world-view. It’s something Rupert Goold’s film doesn’t quite manage again. For, despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

Like last year’s much better _Stan & Ollie_ (it shares a character in showbiz impresario Bernard Delfont), Tom Edge’s screenplay examines Garland through the prism of a late-in-life UK engagement peppered with flashbacks to key moments in her early years as a child star. After a talk-y start in Los Angeles (Gemma-Leah Devereux is a dead spit for Liza Minnelli), things pick up when Garland arrives in London, refuses to rehearse then knocks ‘By Myself’ out of the park. Garland is paired with an assistant-cum-minder, Ros (Jessie Buckley, using a fraction of her talents), and the subsequent uphill struggle to get Garland stage-ready is entertaining. We see glimpses of other areas of Garland’s life — a brutal TV interview about her children, her lover Mickey Deans (Finn Wittrock) surprising her in London — but it’s in the theatre where ‘Judy’ impresses most.

The uphill struggle to get Garland stage-ready is entertained.

The film is less surefooted when it comes to dealing with Garland’s past. Interspersed in the ’60s timeline are flashbacks to young Judy in ’30s Hollywood, being ugly-shamed on the set of The Wizard Of Oz by Louis B. Mayer, denied a French fry at lunch with Mickey Rooney to control her weight, and an act of rebellion as she jumps in a tank at a manufactured birthday party staged two months before the actual date. Yet the correlation between Judy’s brutal management by Mayer and her later-in-life troubles feels simplistic, psychoanalysis 101 that undercuts any attempts at complexity. Equally banal is a plot thread back in London involving Garland and two gay fans (Andy Nyman, Daniel Cerqueira) that feels entirely engineered to pay homage to Garland’s status as a gay icon rather than offer any sense of convincing organic drama.

It’s a small film that never successfully evokes the scale of old-school Hollywood — the LA sequences feel very stage-bound — or the louche London of the ’60s. Zellweger goes some way to etching Judy’s loss — there’s a touching late-on moment when Judy phones home to daughter Lorna (Bella Ramsey) — and goes for broke on stage, barnstorming her way through ‘The Trolley Song’ or smouldering on ‘Come Rain Or Come Shine’. Yet the film really stumbles in its big climax, pulling a cheap trick, parlaying one of Hollywood’s saddest, most tragic stories into a feel-good moment. Garland — and Zellweger — deserved so much more.

Judy is an enjoyable, sincere attempt to present a multi-faceted portrait of a Hollywood legend, bolstered by a strong Renée Zellweger. Yet it never really finds the subtleties and depths to make it compelling and the ‘inspirational’ ending diminishes a sad, complex life.

Movies:

Actors:

Let's block ads! (Why?)

https://www.empireonline.com/movies/reviews/judy/

2019-08-31 04:49:34Z
52780369026951

Post Malone Drops New Song "Circles" - XXL - XXLMAG.COM

On Friday (Aug. 30), Post Malone released the new song he previously debuted during his performance at the Bud Light Dive Bar Tour in New York. The song, “Circles,” is a pop-driven jam in the same vein as his previous smash hit “Better Now.”

Over some guitar chords and a foot-tapping beat, Post reflects on a relationship that keeps him and his lover running in circles on the Frank Dukes and Louis Bell-produced track.

"Seasons change and our love went cold/Feed the flame 'cause we can't let it go," he sings. "Run away but we're running in circles/Run away, run away/I dare you to do something/I'm waiting on you again, so I don't take the blame/Run away but we're running in circles/Run away, run away."

Post’s new song comes after he announced to his fans at a Wyoming concert on July 26 that he has completed his new album.

"I have some pretty fuckin' awesome news, and the reason my voice is kinda fucked is because I was in the studio for the last three days and we just finished up the new album, and I think it's gonna be pretty goddamn out of sight," the 24-year-old artist said in a video taken by a concertgoer.

Earlier this week, he revealed the title of the new LP as Hollywood's Bleeding and shared the quickly-approaching release date. The new album will follow his 2018 LP Beerbongs & Bentleys. Posty will be hitting the road on The Runaway Tour starting Sept. 14.

Listen to Post Malone's new song "Circles" below.

Read 10 Wild Stories That Took Place During Hip-Hop Tours

Let's block ads! (Why?)

https://www.xxlmag.com/rap-music/new-music/2019/08/post-malone-new-song-circles/

2019-08-30 04:05:00Z
52780368109394

Kirsten Dunst bemoans that she's 'never been recognized in my industry' - USA TODAY

Maeve McDermott USA TODAY

Published 9:14 AM EDT Aug 29, 2019

Kirsten Dunst hasn't felt the love from Hollywood over the course of her career, she revealed in a candid interview with SiriusXM's "In-Depth With Larry Flick."

Promoting her new Showtime series "On Becoming a God in Central Florida," Dunst began the conversation when Flick asked her about the times she's felt the impact of her storytelling, only for Dunst to respond that she's "never felt that power."

"Of the things that people like, remember when 'Marie Antoinette,' y'all panned it?" she asked. "And now you all love it. 'Drop Dead Gorgeous?' Panned, now you all love it."

"For me, I feel like a lot of things I do people like later," she said. "And also, I've never been recognized in my industry. I've never been nominated for anything. Maybe like, twice for a Golden Globe when I was little and one for 'Fargo.'

"I always feel like nobody, I don't know, maybe they just think I'm the girl from 'Bring It On,'" she continued. "I just feel like, what did I do? I'm so chill, maybe I don't play the game enough, I don't know." 

Kirsten Dunst wants to do another Marvel movie: 'That'd pay for my kid's college!'

Kirsten Dunst says working is 'easier' than being a SAHM. Here's what the research says

Dunst has earned two Golden Globe nominations, for 1994's "Interview with the Vampire and the TV series "Fargo," which also earned her an Emmy nomination, as well as the Cannes Film Festival Award for best actress for "Melancholia."

"I know that all you have is your work at the end of the day, and that's all people really care about," she finished. "And I'm intelligent to know that and have perspective. But sometimes you're like, 'Mmm, it'd be nice to be recognized by your peers.'"

Let's block ads! (Why?)

https://www.usatoday.com/story/entertainment/celebrities/2019/08/29/kirsten-dunst-says-shes-never-been-recognized-my-industry/2149272001/

2019-08-29 12:11:00Z
CAIiEPxogzz8zV2iAWrwZElYyHYqGQgEKhAIACoHCAowjsP7CjCSpPQCML-HtgY

Final 'Joker' Trailer Leaves Me Feeling Conflicted - The Mary Sue

The final trailer for director Todd Phillips’ Joker is out, and it’s a film that I’m looking forward to covering. Yes, despite it all, including the fact that I think it is unnecessary because we have perfected the Joker, I am curious to see the vision that Phillips has put together, especially with Joaquin Phoenix playing the titular character. So, here we go to watch the trailer!

Oh, angry Black woman at the very beginning. How avant-garde.

When early images of the film were coming out and I realized that it was taking place in the ’80s, it really seemed to channel the ’80s New York crime wave aesthetic. That makes sense, since Gotham is supposed to be a fictional mirror of New York/New Jersey. At the same time, watching this trailer, I couldn’t help seeing the character of Arthur Fleck in this film feeling a lot like Bernhard Goetz, the 1982 New York Subway shooter.

I don’t think the trailer looks terrible, or that this movie is inherently unwatchable because of the optics of it in today’s society. Despite the fact that I think movies should be careful in how they choose to portray violence, I don’t think that movies about violence inherently cause people to act violently. I grew up watching movies about angry white men my whole life, and I’m not a violent person. But, then again, I don’t see myself reflected in the struggles of cynical, disenfranchised white male characters, nor do I look at characters like the Joker as cathartic avatars of my own frustration.

In 2012, when a shooter in tactical clothing committed a mass shooting in Aurora, Colorado during a screening of The Dark Knight, he did so with his hair dyed orange. During the trial, it was said that his actions had been caused due to his dissatisfaction with life and finding work, as well as health issues. Again, I don’t think the shooter committed these atrocities because of the Joker—that takes away too much responsibility from these terrorists—but the character of the Joker has been elevated in a way that feeds into a vicious cycle that is uncomfortable.

People take comfort in that nihilism, in that idea that chaos is fair, the idea that all that stands between good men and bad men is “one bad day.” And although plenty of stress is put on the fact that those ideas will not win in the end, when you put them at the forefront—when you constantly promote the idea in art, because it is seen as deeper or more intrinsically real, with no balance—it does a disservice to the power of art.

I think Joker looks interesting. I’m excited to see a comic book movie in this sort of arthouse style. I think there’s merit in telling stories about chaos, but I think those stories have to be balanced out with heroes. I think a serious, introspective Joker movie without Batman, without some real emotional balance, just seems incomplete. But the movie isn’t out yet, so maybe that hope is there in the end.

We’ll find out when Joker hits theaters this October.

(image: Screengrab)

Want more stories like this? Become a subscriber and support the site!

—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—

Let's block ads! (Why?)

https://www.themarysue.com/final-joker-trailer-conflicted/

2019-08-28 18:40:39Z
52780366497346