Tag Archives: Andersons

Krystal Anderson’s Husband Shares Lingering Questions Over Former Kansas City Chiefs Cheerleader’s Death – E! Online – E! NEWS

  1. Krystal Anderson’s Husband Shares Lingering Questions Over Former Kansas City Chiefs Cheerleader’s Death – E! Online E! NEWS
  2. Husband of Kansas City Chiefs Cheerleader Who Died of Sepsis After Stillbirth Speaks Out Against ‘One-Size-Fits-All’ Prenatal Care PEOPLE
  3. Hubby of Ex-Chiefs Cheerleader Speaks Out After Her Post-Stillbirth Sepsis Death The Daily Beast
  4. Husband of Kansas City Chiefs cheerleader who DIED at age 40 from sepsis caused by stillbirth lays bare his bi Daily Mail
  5. Husband of former cheerleader who died after stillbirth describes what happened before her death AOL

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Wes Anderson’s ‘Asteroid City’ Charms Cannes With Six-Minute Standing Ovation for Scarlett Johansson as Movie Star Visited by Aliens – Variety

  1. Wes Anderson’s ‘Asteroid City’ Charms Cannes With Six-Minute Standing Ovation for Scarlett Johansson as Movie Star Visited by Aliens Variety
  2. Asteroid City review – Wes Anderson’s 1950s sci-fi is an exhilarating triumph of pure style The Guardian
  3. Everyone’s Starstruck Over Scarlett Johansson in Stellar New Clips from Wes Anderson’s Asteroid City Yahoo Entertainment
  4. ‘Asteroid City’ Review: Wes Anderson’s New Film Is a Piece of 1950s Desert Americana That’s Visually Dazzling and Dramatically Inert Variety
  5. Wes Anderson’s Star-Studded Sci-Fi Asteroid City: New Clips Gizmodo
  6. View Full Coverage on Google News

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Pamela Anderson’s ex Jon Peters to leave her $10 million in his will

Pamela Anderson’s ex-husband Jon Peters plans on leaving her a very generous gift of $10 million when he dies, despite their union lasting less than two weeks.

“I will always love Pamela, always in my heart,” he told Variety. “As a matter of fact, I left her $10 million in my will. And she doesn’t even know that. Nobody knows that.”

“I’m just saying it for the first time with you,” the “Star is Born” producer added. “I probably shouldn’t be saying it. So that’s for her, whether she needs it or not.”

Peters, 77, first met the blonde bombshell, 55, at the Playboy Mansion, shortly after she’d arrived in LA from her small hometown in Canada. The movie honcho then began showering Anderson with pricey gifts.

“The doorbell would ring, and a chauffeur would bring me a little red box from Cartier, Ralph Lauren, Azzedine Alaïa,” the blonde bombshell writes in her upcoming memoir “Love, Pamela.”

Anderson met the producer at the Playboy mansion.
Ron Galella Collection via Getty

Peters even gifted her a Mercedes 420SL convertible.

The hairdresser-turned-producer eventually cajoled Anderson into moving into his Bel Air estate. But despite some mild flirting, Peters never seriously came on to the actress.

“He’d ask for head rubs and for me to tickle his neck, but no more than that,” she writes.

Peters showered Anderson with lavish gifts, including a Mercedes 420SL convertible.
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Eventually, thanks in part to some gentle prodding from her then-boyfriend Mario Van Peebles, the “Home Improvement” alum moved out of Peters’ fancy abode.

However, years later — and several marriages later — the two reunited and married in 2020, right before the COVID-19 pandemic began.

“He’s great and has been a huge influence on my life. I love him to death,” she shared.
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The union — which was not considered legal because the paperwork had never been filed — lasted 12 days. Though the nuptials were short-lived, Anderson told Variety that she has no hard feelings toward her ex.

“He’s great and has been a huge influence on my life. I love him to death,” she shared.

Peters’ generous attitude appears markedly different from when they first split in 2020.

Page Six exclusively reported that he claimed to have paid off significant debts racked up by the “broke” Playboy alum.

The “Baywatch” star and movie honcho’s 12-day marriage was never legalized.

The “Baywatch” star and movie honcho’s 12-day marriage was never legalized.


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The “Baywatch” star and movie honcho’s 12-day marriage was never legalized.


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He also said that he did not ask Anderson to marry him. Instead, she proposed to him via text.

“Needless to say that when she texted me that she wanted to get married, it was kind of a dream come true even though I was engaged to someone else and the lady was moving in,’’ Peters told us in an email.

Anderson also writes of her stormy marriage to Tommy Lee in her book.
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“I dropped everything for Pam. She had almost $200,000 in bills and no way to pay it so I paid it and this is the thanks I get. There’s no fool like an old fool,” he wrote.

Peters also claimed that he was the one to break things off because all of the press surrounding the union made him realize that, “I need a simple quiet life and not an international love affair.”

In her book, Anderson also opens up about some of her other past romances, including her tempestuous marriage to Motley Crüe rocker, Tommy Lee, and the fallout from their infamous sex tape.

The “Baywatch” star also has a Netflix documentary coming out next week.

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Ian Anderson’s start derailed by Angels’ five-run frame

ATLANTA — Somewhere in the midst of Ian Anderson allowing five first-inning runs during a 9-1 loss to the Angels on Sunday afternoon, the Braves gained further reason to add a starting pitcher before the Aug. 2 Trade Deadline. 

Atlanta hasn’t shown many weaknesses while posting an MLB-best 35-12 record since the start of June. But there has always seemed to be a need to add a starter to provide insurance in the event that rookie right-hander Spencer Strider fatigues or Anderson continues to struggle.  

Anderson created some optimism before the All-Star break and then he erased some of it as he yielded eight hits and seven runs to the Angels over just three innings. The 24-year-old hurler has a 5.31 ERA through 19 starts and he has now lasted four innings or fewer in four of his past eight starts.  

“It’s been tough all season,” Anderson said. “I’m just not performing the way I would like to. It’s probably the worst stretch of baseball I’ve had in my life.” 

Max Fried, Kyle Wright and Charlie Morton give the Braves three solid frontline starters. But as the reigning World Series champions prepare to defend their title, the uncertainty surrounding Anderson and Strider seems to be enough to add another starter to at least serve as insurance down the stretch.

Having depleted their farm system to gain Matt Olson from the A’s in March, the Braves likely won’t be in the market for Luis Castillo or Frankie Montas, who are arguably the top two starters available before Aug. 2. Atlanta also doesn’t need another frontline starter.

The Reds’ Tyler Mahle and the D-backs’ Merrill Kelly seem to be more likely targets for the Braves. Enhancing the desire to add a starting pitcher is the fact that teams no longer have the option to make a waiver deal after the Trade Deadline passes. So, Aug. 2 will be the last opportunity for teams to externally satisfy needs or wants.

Atlanta’s only intriguing internal option is left-hander Kyle Muller, who has posted a 2.25 ERA over his past eight starts for Triple-A Gwinnett. Muller issued six walks over 2 2/3 innings during his only big league start this year. But if external help isn’t available, the Braves may need to decide whether to give Muller another chance or to give him more time to develop in uninterrupted fashion.

With some scheduled off-days approaching, the Braves may give Strider some extra rest or possibly skip a start. But they do not plan on placing an innings limit on the top rookie hurler, who is already within 20 innings of the total he collected during his first professional season in 2021.

While the Braves can manage Strider’s workload, it’s not as easy to determine how to best right Anderson, who has proven himself while producing a 1.26 ERA through his first eight career postseason starts.

“I’ve seen what he can do,” manager Brian Snitker said. “I’ve got a lot of faith in him.”

Anderson combined for six innings while making his final two June starts against the Dodgers and Phillies. He then quieted concerns by pitching effectively in his next three starts, one against the Cardinals and two against the Nationals.

But those concerns arose yet again as he allowed five straight one-out hits, including Taylor Ward’s home run, during Sunday’s five-run first.

Anderson has posted a 6.62 ERA while producing an 18.2 percent strikeout rate and 12.9 percent walk rate over his past eight starts. He entered this stretch having posted a 4.53 ERA while producing a 19.6 percent strikeout rate and a 10.2 percent walk rate through his first 11 starts of the season.

Even while Anderson was pitching closer to a mediocre level through the season’s first two months, he wasn’t as effective as he was in 2021, when he produced a 3.58 ERA with a 23.2 percent strikeout rate and a 9.9 percent walk rate. Opponents have tallied a .355 on-base percentage against him this year, which easily trumps the .300 OBP surrendered last year.

Anderson entered the All-Star break feeling good about adjustments he had made to improve his fastball. But he didn’t get a single whiff with any of the 41 four-seamers he threw against the Angels. Opponents entered Saturday hitting .318 with a .288 Expected Batting Average against this pitch. Last year, they hit .216 with a .242 XBA against it.

“I know I’m not [a finished] product,” Anderson said. “I have a long way to go.”

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Ian Anderson’s early exit displays MLB’s problem with starting pitching

ATLANTA — Watching a blockbuster action movie on your phone. Driving a tightly tuned sports car with a donut spare tire. Listening to the Vienna Philharmonic on cheap headphones. Watching what has become of baseball and its starting pitching.

The thrill is gone.

We are kings of convenience. The Braves beat the Astros in World Series Game 3 Friday night, 2–0, in what might have been an all-time classic, what with a no-hitter in place through seven innings on a dank, Dickensian kind of evening. Instead, two runs scored. Eleven pitchers were used. No history was written. Unless you are into infamy.

This was the 47th regulation World Series game in which only one or two runs scored. It took the longest time (3:24) among all those without a bottom of the ninth.

There have been 681 World Series games played. This was the first one with so many pitchers and so few runs.

Braves manager Brian Snitker pulled his starting pitcher, Ian Anderson, after only five innings and 76 pitches with a World Series no-hitter in place. Anderson is not some back-of-the-rotation starter or opener. He is a gifted, ace-level pitcher who owns a postseason ERA of 1.26 in eight starts. In another time he would be Eddie Plank (1.32) or Madison Bumgarner (2.11), an October legend.

Baseball no longer allows such legends. Even a baseball lifer like Snitker, who is 66 years old and spent 28 years paying dues in the minors, knows how the game is played today. Snitker was not wrong to remove Anderson and hand the ball to A.J. Minter, and then to Luke Jackson and then to Tyler Matzek and then to Will Smith.

It’s just that the right way to play today is wrong for baseball’s tomorrow. Soon the players and owners will renew their usual squabble over economic issues as they attempt to reach a new collective bargaining agreement. Meanwhile, the true threat to baseball is the aesthetics of the game—pace of play, including the enormous influence of pitching changes on declining offense and length of games. It is the climate change issue of baseball.

Scott Taetsch/USA TODAY Sports

Once upon a time, starting pitchers were stars who drove interest and attendance. Shea Stadium attendance jumped when the morning newspaper said Dwight Gooden was pitching that night. But you don’t need to tell stories that go all the way back to Old Hoss Radbourn or Bob Gibson, Sandy Koufax and Jack Morris when you lament the loss of baseball’s leading men.

You need only go back to Stephen Strasburg in 2019. Exactly two years ago from Friday night, Strasburg took the ball into the ninth inning of World Series Game 6 for the Nationals. None of the last 20 World Series starters since then have thrown even seven innings.

It has happened that fast. The bull-penning of baseball jumped the shark last year when Tampa Bay manager Kevin Cash removed an effective Blake Snell just because the lineup turned over a third time. The Rays lost. Snitker removed Anderson at the same point—after two turns through the lineup. This time it worked, or else Snitker would have been Cashed.

“He still had it,” catcher Travis d’Arnaud says of Anderson. “He only went through the order two times and I don’t think [leadoff batter Jose] Altuve had a comfortable at-bat, neither did [Michael] Brantley, neither did [Alex] Bregman, neither did [Yordan] Alvarez … I don’t know what his pitch count was.”

Seventy-six.

“Either way,” d’Arnaud says. “I trust our bullpen, so either way is good.”

If this is not the postseason that killed starting pitching it is the one that made it less interesting. The NFL thrives because of quarterbacks. The league constantly changes its rules to cater to their health and the completion rate of passes, which facilitates comebacks—the true appeal of sports—and turns the quarterbacks into stars.

Baseball has taken the stars that starting pitchers used to be and turned them into game managers. Their task: just don’t lose the game. Here are the lagging vital signs from this postseason:

• Starters are 13—20 in 34 games while averaging 3.97 innings per start.

• Starters have thrown 100 pitches only three times out of 68 starts.

• Relief pitchers account for 62% of the wins and 55% of the innings.

•The pitching duel is dead. Not once in 34 games has each starter pitched seven innings.

Let’s be clear again: Snitker managed correctly in Game 3. It’s not his job to worry about aesthetics. It is his job to win. The problem is not the managers. It is the relief pitchers. There are too many who are too good. Pitching labs have figured out that spin and velocity can be taught and crafted.

Take Phil Maton, for instance. He went undrafted out of high school and undrafted after three years at Louisiana Tech. The Padres finally drafted him in the 20th round in 2015 as a college senior. Maton had always been taught to keep his fastball down. Upon being drafted, the Padres sent him to their short season team, the Tri-City Dust Devils in Pasco, Wash. That’s where he heard about spin rate for the first time. The Dust Devils measured his fastball with TrackMan technology. They found this 20th round pick who was told to keep his fastball down had major league spin rate.

“Throw your fastball high in the zone,” said the pitching coach there, Nelson Cruz.

Maton promptly rocketed up the system, reaching the big leagues two years after getting drafted in the 20th round. The Padres traded him to Cleveland, which traded him to the Astros this year. His fastball generates the third-highest whiff rate in baseball, even at 91.5 mph.

These Maton stories are happening with every team on every level every year. The inventory is what has changed baseball. Managers were once reluctant to go to more than two or three arms deep in their bullpen with a lead. Now they happily go five or six deep.

Bullpens kill starting pitching legends, and they kill comebacks. The team that scores first is 3–0 in this World Series and 27–7 in the postseason. Score first and you win almost 80% of the time in this new postseason world. Where is the drama in that?

Offense disappears when the best arms form their late-inning relay race. Batters in this World Series are hitting .182 after the sixth inning.

Two years ago, Anderson stays in the game, and phones everywhere buzz with news that he has a chance to join Don Larsen as the only pitchers to throw a World Series no-hitter. TV sets that had been off are turned on. This time Snitker would have none of it.

The Astros had looked bewildered by Anderson’s changeup. In the fourth, Anderson tripled up on his changeup to Michael Brantley. Even though Brantley saw three in a row in nearly the same location, he swung and missed on the third for a strikeout. Anderson obtained nine of his 15 outs on the changeup.

In his career, which began last year (he is technically still a rookie), Anderson has allowed a .157 batting average on his changeup. If you take all the pitchers and all the pitches they have thrown over the past two years (minimum 1,000 pitches, postseason included), Anderson’s changeup is the fourth-toughest pitch to hit in MLB, behind only the curves of Framber Valdez (.128) and Charlie Morton (.148) and the splitter of Kevin Gausman (.130).

Brett Davis/USA TODAY Sports

Most impressively, would-be October legend Anderson has held hitters on his changeup in his postseason career to an .074 batting average.

“Yeah, I knew I had good stuff,” Anderson says. “[Martin] Maldonado hit that ball up the middle [for a groundout], but other than that there wasn’t much hard contact.”

I ask Anderson, “You had a no-hitter in the World Series—with 76 pitches. Honestly, how did you feel to be taken out?”

“I did fight it,” he says.

To what level did you fight it?

“I was just holding on to his hand pretty tight in that handshake,” Anderson says, “You have to trust those [bullpen] guys. Those guys are so good.”

Specialization is the name of the game. Minter this postseason has allowed a .100 batting average on his cutter (0-for-3 in Game 3). Jackson has the most movement on any slider in the game (0-for-3 in Game 3). Matzek has allowed one hit on his slider since June 24 (0-for-1 in Game 3). Smith has allowed a .188 batting average on his two breaking pitches (0-for-2 in Game 3).

Sorry, once Anderson was lifted, the idea of a no-hitter lost its appeal. A combined no-hitter is to baseball fame what “Four Dogs Playing Poker” is to the art world: quirky, but there’s no prestige in ownership.

On Thursday, the animal rights group PETA released a statement, on behalf of the cow kingdom, advocating the banishment of the term “bullpen.” PETA, in apparent all seriousness, suggested “arm barn” as a replacement. We could go to “Kings of Convenience” to refer to relievers if it wasn’t already the property of a Norwegian indie folk-pop duo. Kings of Convenience released an album in 2009 called “Declaration of Dependence.” When it comes to how managers treat relief pitching, that can also stand as the title of this postseason

More MLB Coverage:

• How Does Atlanta Handle Its Pitching Going Forward?
• Jose Altuve Snaps His Slump With the Help of a Playoff Legend
• The Braves Shut Down Baseball’s Best Offense to Earn World Series Edge
• Why Does MLB Still Allow Synchronized, Team-Sanctioned Racism in Atlanta?



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Tom Hanks to Appear in Wes Anderson’s Next Feature (Exclusive) – The Hollywood Reporter

Tom Hanks is going twee.

The Oscar winner will appear in Wes Anderson’s next movie, which is expected to shoot in Spain. It is unclear the exact size of his role, but sources tell THR it is small and could be cameo-like in nature. This marks the first time Hanks will appear in an Anderson production, which has already set several of the filmmaker’s regular players.

Adrian Brody, Bill Murray and Tilda Swinton will appear in the project, which Anderson is writing and directing. Plot details for the film are tucked away in the pocket of a tasteful tweed blazer.

Anderson will soon release The French Dispatch via Searchlight Picture on Oct. 22, following a Cannes debut. Brody, Murray and Swinton star in the film, along with Frances McDormand, Timothee Chalamet, Elisabeth Moss, Willem Dafoe and Jeffrey Wright, among others.

Hanks, who was last seen in News of the World, will next be onscreen in Amblin’s sci-fi feature Finch, which will be released on Apple TV+. Also upcoming is Baz Luhrman’s Elvis Presley musical movie and Robert Zemeckis’ Pinocchio, where he will play Geppetto. He is repped by CAA.



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The French Dispatch review – Wes Anderson’s ode to print journalism is a periodic delight | Cannes 2021

No one is more spoofed than Wes Anderson: his savant mannerisms, sonorous voiceovers and detailed rectilinear compositions are now so familiar that certain quarters of YouTube have become overrun with Anderson pasticheurs, like Elvis impersonators in Vegas. And with this over-familiarity has come a bit of a backlash – a feeling that Wes Anderson is a tiresome undergraduate taste.

His new film, The French Dispatch, long delayed by Covid, has on the strength of the extensively picked-apart trailer, been condemned as more of the same. To which I can only say … sure, yes, more fun, more buoyancy, more elegance, more marvellously eccentric invention, more originality. It might not be at the very zenith of what he can achieve but for sheer moment-by-moment pleasure, and for laughs, this is a treat.

The French Dispatch is a riff on and tribute to the New Yorker magazine, with its legendary roster of writers, famed insistence on standards, collegiate office culture, distinctive cartoons and typographic layout, metropolitan sophistication targeted at a general American readership – in fact, I wonder why we haven’t noticed the New Yorker as an Anderson influence before now.

The French Dispatch itself is supposed to be a special feuilleton-type supplement in a fictional Kansas newspaper, a guide to the intellectual life of France produced in the magazine’s late 60s heyday by a gallery of brilliant American expatriates in the imagined provincial French town of Ennui-Sur-Blasé – although that name is the one moment where the comedy gets a little too broad.

The movie is a kind of short story anthology, taking place in a postmodern Clochemerle, based on the long-read reportage performances of its superstar writers, who almost all have some personal, and indeed sexual, involvement with what is going on, quite against dull ideas about journalistic neutrality.

The proprietor and editor is the diffident, avuncular yet authoritative Arthur Howitzer Jr, played by Bill Murray, a figure clearly based on Harold Ross – but also, perhaps, the late Robert B Silvers of the New York Review of Books.

Tilda Swinton is art critic JKL Berensen, who tells the story of the convicted murderer Moses Rosenthaler (Benicio Del Toro) for whom prison guard Simone (Léa Seydoux) acts as nude model and muse. Frances McDormand is Lucinda Krementz, a writer who does a deep-dive into Ennui-Sur-Blasé’s roiling student revolutionary scene, and winds up having an affair with its Che-ish young leader Zeffirelli (Timothée Chalamet)

Benicio Del Toro, centre, with Léa Seydoux in The French Dispatch. Photograph: 2020 Twentieth Century Fox Film Corporation

And Jeffrey Wright gives a wonderfully poised performance as food writer Roebuck Wright – like James Baldwin, a gay man of colour – who recounts in a television interview (a framing device accorded to no one else) his attempt to interview the special police chief Lieutenant Nescafier (Stephen Park), whose job is to provide special food for les flics, and Roebuck’s subsequent eyewitness account of the kidnapping of the son of the commissaire (Mathieu Amalric). And, of course, the repertory cast includes many other big names in cameo.

Mr Howitzer can be a stern taskmaster – he fires a copy boy simply for presuming to tell him the print deadline is approaching – but he has only two maxims: no crying and try to make it seem you wrote it that way on purpose. Maybe those are Anderson’s watchwords as well – unsentimentality and deliberation. But in fact there is a strange wash of melancholy by the closing credits, as the magazine closes and we are semi-seriously invited to feel sad at the end of a non-existent publication.

How does the New Yorker feel about the implication that it’s an offbeat thing of the past? I can’t imagine. But there is certainly much enjoyment to be found in Anderson’s amazing visuals, like those of his near-namesake, Roy Andersson. There are too many examples to pick out, but I loved the pinball machine, called “Modern Physics”, the cod French pop star called “Tip-Top” voiced by Jarvis Cocker, and the extraordinary split-screen “then and now” tableaux showing how parts of Ennui-Sur-Blasé have changed since the 19th century. The French Dispatch is very funny: I am grabbing it off the newsstand.

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Alec Baldwin amused by Gillian Anderson’s dual accents

Alec Baldwin has something to say about Gillian Anderson using her American accent while accepting a Golden Globe Sunday for “The Crown” — a move apparently confusing for fans of her British work.

“Switching accents? That sounds … fascinating,” Baldwin, 62, tweeted Wednesday.

He was just one of many discussing Anderson’s normal Yank voice, with some hardly able to believe that the 52-year-old Chicago native and former “X-Files” star was even American.

“Just had my mind blown discovering @GillianA doesn’t actually have an English accent in real life,” wrote one fan, with another adding, “I feel so uncomfortable knowing Gillian Anderson is American and not British.”

Anderson had a lot of time to hone her Brit accent, as she spent several years living in London, and has said in the past that she often slips back and forth between accents.

“Even on the phone, my accent will change,” she told British newspaper The Telegraph in 2009.

Baldwin’s decision to bring up Anderson’s accent is possibly an attempt by the actor to slyly defend his wife Hilaria Baldwin.

The 37-year-old mother of six was called out in December for her fluctuating Spanish accent shortly before she admitted to her real name was Hillary. She was also raised in Boston, as opposed to Mallorca, Spain, as she deliberately led people to believe.

More recently, the couple shocked the public as they welcomed child number six just five months after a son, Eduardo, joined their brood.



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