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Tag Archives: Nicole Kidman
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Money Magazine 25 Rich Guys With Even Richer Wives By SERGEI KLEBNIKOV July 11, 2017 Rich guys are a dime a dozen these days—according to Forbes, 87 of the 100 richest Americans are male. But in some instances, they rank a distant second behind their spouses. Using calculations from Celebritynetworth.com, MONEY selected well-known celebrity couples in which the wives out-earn their husbands. The site uses a variety of sources to come up with a celebrity’s total value of assets held, including film or TV salaries, business investments, sponsorships, real estate deals, as well as any liabilities that can be found, before taking out a final estimate for taxes. “Women as an entertainment force or getting involved in business is becoming less rare, and this trend will continue,” says Brian Warner, founder and CEO of . “As more stories come out, they spawn hundreds of thousands of entrepreneurs and actresses who are earning way more.” Take a look below at the breakdown of rich guys… who have even richer wives.
Gisele Bündchen and Tom BradyGisele Bundchen and Tom Brady at Metropolitan Museum of Art on May 1, 2017 in New York City. Ron Galella—WireImage/Getty Images Year Married: 2009 Gisele Bündchen Net Worth: $360 Million Tom Brady Net Worth: $180 Million Brazilian supermodel and former Victoria’s Secret Angel Gisele Bündchen has walked catwalks and graced magazine covers across the globe over the span of her modeling career. Her non-apparel advertising campaigns include Nivea, Volkswagons do Brazil, and Apple Inc., among others. Also a successful businesswoman, she has launched her own line of designer sandals and also owns the Brazilian hotel Palladium Executive. Her husband, New England Patriots quarterback Tom Brady, has netted total cash earnings of almost $200 million, and his current annual salary is approximately $20.5 million. He recently signed a $41 million contract extension with the Patriots last season, which included a $28 million signing bonus. Much of his wealth is thanks to a wide variety of endorsement deals with brands such as Under Armour, Tag Heuer, UGG, and most recently signed this year: Aston Martin.
Kim Kardashian and Kanye WestKanye West and Kim Kardashian attend the Kanye West Yeezy Season 4 fashion show on September 7, 2016 in New York City. Jamie McCarthy—Getty Images/Yeezy Season 4 Year Married: 2014 Kim Kardashian Net Worth: $175 Million Kanye West Net Worth: $160 Million After rising to prominence on the reality show, Keeping Up With the Kardashians, Kim has seen her fame skyrocket over the last decade. As one of the most famous celebrities on the planet today and a media mogul, much of her wealth derives from her reality television salary, profits from mobile phone games, and expanding retail empire, not to mention various endorsements and appearance fees. Earning $45.5 million before taxes in the last year alone, Kim’s income was bolstered by her Kimoji app – which she has expanded into a line of Kim-based merchandise, Instagram sponsorships, a lipstick collection with Kylie Cosmetics, and a new kids clothing line launched with husband Kanye West. Her massively popular Kim Kardashian: Hollywood cellphone game with Glu Mobile also continues to make big bucks, and has generated nearly $200 million in revenue since June 2014. Kim recently announced the launch of her own makeup line, KKW Beauty. With well over 32 million albums sold and 21 Grammy awards to his name, Kanye West is one of the most influential names in the music industry. His most recent release last year, The Life of Pablo, became his eighth consecutive album to go platinum, and the first ever streaming-only record to do so. West is also a seasoned businessman – prior to joining forces with Adidas, Kanye created a successful line of Nike Air Yeezy sneakers. He has since designed his own fashion collection: Yeezy, which debuted at New York Fashion Week in 2015 and his success as a fashion designer has earned him a new deal with Adidas in 2016, worth substantially more than the original endorsement signed for $10 million.
Reese Witherspoon and Jim TothActress Reese Witherspoon and Jim Toth, 89th Academy Awards, Oscars Vanity Fair Party, Beverly Hills, California, February 26, 2017. Danny Moloshok—Reuters Year Married: 2011 Reese Witherspoon Net Worth: $120 Million Jim Toth Net Worth: $4 Million Witherspoon has won audiences over with comedies like Election (1999) and Legally Blonde (2001), as well dramas like the Oscar-winning Walk the Line (2005), and more recently, Wild (2014). She has earned millions as the global brand ambassador for cosmetics company Avon. But it’s likely her production company Pacific Standard that has made her the most money — since 2012, it has produced hits such as Gone Girl (2014), Wild, Hot Pursuit (2015), and currently, HBO’s Big Little Lies. Witherspoon is married to Jim Toth, co-head of motion picture talent at Creative Artists Agency (CAA) in Los Angeles. Toth has built up his wealth by representing some of the leading actors and actresses in Hollywood like Matthew McConaughey, Robert Downey Jr. and Scarlett Johansson.
Sofia Vergara and Joe MangianelloActors Joe Manganiello and Sofia Vergara attend the 23rd Annual Screen Actors Guild Awards at The Shrine Expo Hall on January 29, 2017 in Los Angeles, California. Jeff Kravitz—FilmMagic/Getty Images Year Married: 2015 Sofia Vergara Net Worth: $120 Million Joe Mangianello Net Worth: $16 Million Sofia Vergara has consistently been the highest-paid actress on television in recent years, and in 2016 alone, the Columbian-born actress, model, and spokeswoman brought in $43 million, according to Forbes. Most famous for her role as Gloria on ABC’s hit sitcom Modern Family, she originally rose to prominence while co-hosting TV shows for Spanish-language television network Univisión in the late 1990s. Vergara has signed lucrative licensing deals with SharkNinja Coffee, Head & Shoulders, and Rooms To Go, among other brands, and her two perfume lines are among the top-selling celebrity fragrances worldwide. Her husband, Joe Mangianello, is best known for his breakout role on the HBO series True Blood (2010-2014) and his recurring role in the two Magic Mike movies. Beyond making several other notable film and television appearances, he is a published author – his successful fitness book, Evolution, was released in 2013.
Natalie Portman and Benjamin MillepiedChoreographer Benjamin Millepied and actor Natalie Portman attend The 23rd Annual Screen Actors Guild Awards at The Shrine Auditorium on January 29, 2017 in Los Angeles, California. 26592_012 Christopher Polk—Getty Images for TNT Year Married: 2016 Natalie Portman Net Worth: $60 Million Benjamin Millepied Net Worth: $900, 000 Israeli-born American actress Natalie Portman has cashed in through a very successful film career in which she has starred in a myriad of popular movies, most notably George Lucas’s Star Wars prequel trilogy (1999, 2002, 2005) and psychological thriller Black Swan (2010), which she won an Academy Award for her performance. Beyond acting, Portman has earned millions through an endorsement contract with Dior perfume line and make-up. Millepied, whom she met on the set of Black Swan, is a French dancer and choreographer who has performed at and choreographed numerous pieces for several well-known ballet and theater companies.
Julia Louis-Dreyfus and Brad Hall ...
Monday, June 27, 2016
KimT.com The Stepford Wives (1975) vs. The Stepford Wives (2004) By Mike Bunge Published: June 26, 2016, 8:07 am The battle of the sexes has been going on since there have been sexes, but only in real life.Â In movies, the battle was over a long, long, long time ago and men won.Â Big time.Â Both in front of the camera, where male movie stars make far more than their female counterparts or marginal male stars get role after role while more famous women struggle to get cast as their girlfriends, and behind the camera, where men make most of the films and most of the decisions about what films get made, Hollywood is one of the most testosterone-drenched environments in the world.Â And that many of those men talk about how they care so much about climate change or gay marriage doesnâ€™t change the fact that the silver screen is a manâ€™s world, baby. But every so often, motion pictures are made about women and their view of things.Â Usually men are still making them, but they do get made and the men making them want to wring as much money as they can out of the audience who wants to see estrogen-oriented cinema, so you have to think theyâ€™d want to make them as good as they can be.Â So when you see a movie about women that was made by men, youâ€™re seeing inside the minds of those men.Â Youâ€™re seeing their view of women, their understanding of what women think and want and their best guess at how to connect with both. Spoiler Alert:Â They really, really, really, really arenâ€™t.So, as this edition of KIMTâ€™s Weekend Remake Throwdown pits â€œThe Stepford Wivesâ€ (1975) vs. â€œThe Stepford Wivesâ€ (2004), weâ€™ll examine whether men are seeing women any more clearly or are any more intuitive about the stories women want to see. Theyâ€™ve replaced their wives, you see, with robots.Â Beautiful, subservient robots whose only concerns are cleaning the house and servicing their husbands.Â Robots who have no opinions, no desires, no thoughts except whatever their husbandsâ€¦their mastersâ€¦give them.Joanna and Bobbie begin to notice that all the other women in Stepford, except another who just moved to town (Tina Louise), are more than a little weird.Â They seem passive, like theyâ€™re in a trance.Â They have no interests outside their homes and their families.Â And when the women talk, itâ€™s as if theyâ€™re starring in a commercial about household cleaners or other domestic products.Â Then Joanna and Bobbieâ€™s only normal friend starts to act that way.Â And then Bobbie starts to act that way.Â A terrified Joanna tries to escape with her children before it happens to her, but finds itâ€™s not easy to avoid the fate planned for her by the men of Stepford. As I mentioned, the last half hour of â€œThe Stepford Wivesâ€ (1975) is genuinely scary and disturbing, largely held together by the performances of Katherine Ross and Patrick Oâ€™Neal as the delightfully creepy head of the Stepford Menâ€™s Association.Â This is a suspense flick where everything is building up to the shocking climax and it pays off amazingly well.Â The viewer is confronted with pure, unadulterated misogyny and imagery that is unforgettable.Â Itâ€™s great filmmaking, but the reason why â€œThe Stepford Wivesâ€ (1975) has long been regarded as a cult classic instead of just a classic is because that incredible conclusion is preceded by a narrative that is both dated and dull.Â This film has so very little going on for so very long that it would be almost unwatchable today, except for the on screen charisma of Ross and Paula Prentiss.Â They make you care about Joanna and Bobbie and wondering about whatâ€™s going to happen to them is the only thing that will keep you engaged through 90some minutes of mysteries so banal theyâ€™d put a meth addict to sleep and plot twists so lethargic they make a sloth look like an Olympic sprinter.Â Now, it all works exquisitely to set up and provide the ending with its thematic and emotional punch, so I canâ€™t castigate the filmmakers.Â They knew what they were doing and did it well.Â What theyâ€™re doing has simply been left far behind by evermore complex and energetic storytelling.Â Itâ€™s like comparing the special effects of a 1940s sci-fi serial to the 3D CGI wizardry of the 21stcentury.Â No matter how good it was back then, it no longer meets even our lowest expectations. For all that, the last half hour of the movie is so powerful that it burned its way into the public consciousness.Â â€œStepford wifeâ€ became one of those phrases that everyone knew even if they never saw the film.Â Which means the only surprising thing about â€œThe Stepford Wivesâ€ (2005) is that it took them so very long to do a remake.Â And boy, they should have waited a lot longer. â€œThe Stepford Wivesâ€ (2005) is by no means the worst film I have ever seen.Â I have viewed motion pictures so horrendous, I would not show them to my worst enemy.Â But it is one of the awfulest remakes ever because it is not only an example of stunningly incompetent filmmaking but it is a complete and utter bastardization of the original concept.Â The 1975 original is about men who hate and fear women so much they canâ€™t abide their existence as human beings.Â The 2005 remake is a comedy.Â And not even an attempt at satire or sophisticated dark humor.Â Itâ€™s a broad, slapsticky effort thatâ€™s only a half-step above fart and poop jokes. In the 2004 version, Joanna Eberhart (Nicole Kidman) is a high-powered TV executive who gets fired when her latest reality show so thoroughly destroys the life of a contestant that he goes on a shooting spree.Â This unfeeling, narcissistic monster of a woman is packed off to Stepford Connecticut by her long-suffering shlub of a husband (Matthew Broderick). Â Theyâ€™re welcomed by their relentlessly enthusiastic real estate agent, Claire Wellington (Glenn Close), and things basically play out the same from there except instead of being subversive of suspenseful, itâ€™s all a joke.Â The only major differences are the remake spending a lot more time on Joannaâ€™s husband and his induction into the wife-replacing scheme and a happy ending stapled onto to all, because Heaven forbid anyone leave a movie theater with something besides a mindless smile on their puss. It canâ€™t decide if the wives are being replaced by robots or the women are having mind-control implants put in their brains. Iâ€™m not kidding.Â They couldnâ€™t be bothered to keep that consistent.There are almost no words to describe the disaster that is â€œThe Stepford Wivesâ€ (2005).Â Imagine if the Hindenburg had crashed into an orphanage on the same day the orphans were all being given three-legged puppies.Â But hereâ€™s my best effort at telling you whatâ€™s wrong with this remake.
Itâ€™s version of Joanna is an unlikeable ass.
Itâ€™s version of Bobbie (Bette Midler) is an unlikeable ass.
Thereâ€™s a gay couple in the remake and one of the guys is supposed to be funny because heâ€™s a sassy homosexual.
Thereâ€™s a Stepford dog.
In the original, Joannaâ€™s husband moves them to Stepford because he knows about the conspiracy and wants to be part of it. In the remake, he moves them to Stepford at random without knowing anything about it.
29 years later and the remake is even whiter than the original.
When one of the gay guys has his husband Stepfordized, it isnâ€™t to make him a submissive servant. It turns him into a straight laced conservative who, far from submissive, becomes a candidate for state senate.Â But if thatâ€™s the kind of guy he wanted to be married to, WHY DIDNâ€™T HE JUST MARRY THAT KIND OF GUY?Â And why is his Stepford spouse running for political office?Â Wouldnâ€™t the gay Republican want a Stepford spouse to support him as he ran for state senate?
Jon Lovitz is in it.
The remake expects the viewer to believe that when Joanna was Stepfordized, that no one other than her husband observed the process.
Joannaâ€™s husband foils the Stepford conspiracy by randomly pressing buttons on a computer screen until the women revert back to normal. You could get away with that kind of technical ignorance in 1975 but who in 2004 was supposed to accept reversing a computer program by mashing buttons?
Joannaâ€™s husband turns out to be the hero of the story. Yes, they took a parable about misogyny and made a dude the hero.Â Itâ€™s a manâ€™s world, baby.
It has a fashion sense thatâ€™s worse than the original, which is saying a lot if youâ€™ve seen what people wore back in the 70s. The women in 2004 are all wearing hats like theyâ€™re at the Kentucky Derby.
The men in the remake are simultaneously supposed to be losers who couldnâ€™t handle being married to super successful women and super successful businessmen themselves who had the brains and resources to pull off this Stepford scam. Itâ€™s like no one involved in the production actually read the entire screenplay.
The two most dramatic scenes in the remake are burdened with more talking than a 36 hour U.S. Senate filibuster. If you showed those scenes to Quentin Tarantino and Kevin Smith, they would both say â€œMan, you really should have cut some of that dialog.â€
Director Frank Oz included a scene of Bette Midler running toward the camera. No one should ever have to watch Bette Midler run.
The remake openly endorses the fears of every man whoâ€™s worried that women and homosexuals are taking over the culture and undercutting their masculinity. It doesnâ€™t just endorse it.Â It celebrates it.
Monday, February 8, 2016
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Sunday, January 24, 2016
Tuesday, June 23, 2015
Bette Midler: The Stepford Wives – Facts And Trivia The film had an infamously troubled production, with reports of clashes between director Frank Oz and stars Nicole Kidman and Bette Midler. In later interviews, Kidman, Matthew Broderick, and producer Scott Rudin all expressed regret for being part of this movie. Kidman reportedly almost left the project, dissatisfied with the script rewrites. Oz has reported regrets over his involvement, admitting that he feels he made too many mistakes, cared too much about what the studios, audiences, and producers wanted, and ultimately delivered a substandard project. Heavily re-edited and re-written following test screenings, with new scenes shot and others deleted. The attempts to cater to audience tastes backfired as the new edits and scenes created continuity errors and major story problems. Nicole Kidman accepted the role in this film when she heard she would be working with Frank Oz – she is a huge fan of Miss Piggy and it is the closest she’d get to “working with her”. Tim Burton was attached to direct at one point. When Walter enters the lab where Stepford Wives are transformed. He’s referred to as “Member 1956”. This is the same number he punches in the front-door code to allow Joanna to leave. Director Frank Oz considered the idea of filming cameos with actresses Katharine Ross and Paula Prentiss, who appeared in the original film. He voted against the idea, citing that it would disrupt the credibility of the film. Based on test screenings, Nicole Kidman had to stop filming The Interpreter (2005) for a few days to do a little extra shooting. The location used for the rotunda of the Men’s Club was the same one used in the original film. Walter Kresby (Matthew Broderick) makes reference to “The Wind Beneath My Wings“, a popular song made famous by Bette Midler, who appears in the movie. Siblings John Cusack and Joan Cusack were originally cast as Walter Eberhart and Bobbie Markowe respectively, but had to drop out of the film for family reasons. During post-production, in March 2004, a new scene was filmed: this scene showed Manhattan business women on their way to work, in congested Manhattan morning traffic. This was intended to be the “new” opening scene of the movie, directly preceding the Network Affiliate scene. This scene was later completely scratched from the film, before the official June 2004 release in theatres. The theatrical trailer includes snippets of scenes not used in the final film, like Bette Midler’s character having some “technical” problems and saying “Good Bye” over and over again. Bette Midler’s character wears a T-shirt of the British hard-rock band Deep Purple (the Mk II line-up) that depicts their “Perfect Strangers” album & tour of 1984/5. Several scenes and some sub-plots were deleted and/or added to the film based on audience test reactions: – The scene where Faith Hill‘s character breaks down at the square dance ran a few seconds longer. – There was originally a scene of Walter contemplating whether or not he should go through with turning Joanna into a Stepford Wife, and the other husbands try to convince him that she’ll be happy that way. – Filmed but deleted was an extravagant extended version of the scene between Bobbie and Joanna when Joanna finds out that Bobbie has been turned into a Stepford Wife. After Bobbie tells Joanna all of her shortcomings, Joanna stabs Bobbie above the breast with a butcher knife. Bobbie goes haywire, and sets about performing a number of household tasks in the manner of the old Tex Avery cartoons, with Bobbie’s finger turning into a vacuum cleaner, her tongue into a squeegee and her head exploding off of her shoulders while demonstrating what an orgasm is like for a Stepford Wife. The scene concludes with Bobbie opening her breasts to reveal a built-in cooler and offering Joanna a beer. It was the biggest FX sequence in the film, but was cut out despite great expense and months of work by computer artists. This was done because preview audiences felt it was “too much”. It can be found as a deleted scene on the DVD. – An extended scene of Walter in the basement of the men’s club deactivating the Stepford program, and displays indicate that the women’s real brains have been transplanted into robot bodies. At the end of the sequence Faith Hill’s character shoots her hand out of her arm on a long robotic tether and holds her husband up in the air. – The original ending of the movie was an extension of the scene where Glenn Close kisses Christopher Walken‘s head. When she kisses it, the electricity throws Close up in the air, where she levitates, as in the old Tex Avery cartoons, and her shoes explode off of her feet and fly up against a wall and all of her hair stands on end. She falls down next to Walken’s head, which briefly comes alive and croaks, “Good night. Thank you for visiting Stepford,” while Joanna and Walter look on and the camera pulls back for the fade-out. When Bobbie, Joanna, and Roger are in Bobbie’s house, the show on the television is Cartoon Network’s Harvey Birdman, Attorney at Law (2000). Reunites Matthew Broderick with his “Biloxi Blues” (1988) co-star Christopher Walken. . Mostly filmed in the town of Darien in Connecticut
Kevin Spacey impersonating Christopher Walken auditioning for Han Solo ...
Tuesday, July 2, 2013
Huffington Post Brush With Greatness: Bette, Broadway and Bloomingdales By Rachel Braun Scherl Posted: 07/01/2013 12:31 pm The other night I saw, I’ll Eat You Last, the one-woman show starring Bette Midler. In the 90-minute monologue, Bette Midler brilliantly portrays the spirit, the grit and the brashness of legendary Hollywood agent, Sue Mengers. Ms. Mengers, agent to the biggest stars of the ’70s could make or break a star and a career. While I had heard of her, I really went to the show to see Bette Midler. I have always loved Bette (we are on a pretend first name basis) since my sister introduced me to her music when I was a teenager. The Divine Miss M could and still does grab an audience and bring them in. I actually think of us as friends or as Wendy Williams would say, “a friend in my head.” Our “friendship” grew over the years for two main reasons — first, Beaches, the unforgettable female friendship movie, always effective for a good cry. And secondly, and maybe even more importantly, a boy I had a secret crush on in college used to call me, “Bette” across the quad, because he said I reminded him of Bette. Let me just be clear, to my dismay, we actually share very few traits in common. While we both have red hair (and hers is blonde right now) and a somewhat booming voice. I am at least 5 inches taller. And unlike Bette, I haven’t recorded 13 albums, had hit singles, starred in movies, won Golden Globes, Emmy’s, Grammy’s, an honorary Tony and Oscar nominations, appeared on Seinfeld, or headlined a show in Vegas. I can barely carry a tune let alone a song or movie. So anyway, the other night as we are waiting for the show to start, I spot Nicole Kidman, the Hollywood star (and Bette’s co-star in the 2004 Stepford Wives), and her husband, Keith Urban. Nicole glided into the theather in all of her regal elegance, ethereal beauty, flawless skin, model figure, really high heels, tenderly holding her handsome, stylish, talented husband’s hand. They were all smiles, warmly greeting the people they knew sitting near them. And all of the sudden, my synapses connected. As I sat reminiscing about Bette and reveling in my brush with celebrity greatness (okay I was about 10 rows behind her), I remembered my Nicole Kidman moment in a Bloomingdales in New Jersey at least 15 years ago. No, Nicole Kidman wasn’t behind me returning some bedding. As I stood in line (I was at most 32 at the time of this event) behind 2 much older women (I was at most 32 at the time of this event), let’s say late ’70s, who were very sweet and chatty. I remember one of the women admired my pants suit and then said a sentence that will live in my mind forever… drum roll please: “Does anyone tell you that you remind them of Nicole Kidman.” I took a big gulping breath to make sure that I didn’t pass out. And just in case you think I have lost touch with reality, I answered back, “I can’t imagine what on my person reminds you of Nicole Kidman, but I will never forget you.” We said goodbye, and I did what any person who looks nothing like Nicole Kidman (not even in her wildest dreams) does when someone says something like that. I immediately called my sister and repeated the whole story. We laughed about the absurdity of the comparison between this magnificent creature and myself. And then, my older sister gave me the kind of supportive words and sage advice that one would expect from an older sister as she said, and I quote, “Oh, I totally get it. You both have teeth.” And there you have it, ladies and gentlemen (listen for sound of deflating self-esteem in the background). I would love to say that I met Nicole that night (that she saw some of herself in my face as we met), that I went backstage with her to meet Bette, told them my tales from long ago, and we all made plans to have lunch after the July 4th holiday weekend. But ’twas not to be. On a beautiful summer night in late June 2013, with Bette, Broadway and Bloomies on my mind, I headed out of the theater back to my non-celebrity life. Curtain falls. The end.
Friday, December 7, 2012
Thursday, June 21, 2012