NASHVILLE — It was an abrupt and disappointing end to a mayoralty for which many in Nashville had once harbored great hopes.
On Tuesday, Mayor Megan Barry brought her two-and-a-half year run as the city’s first female chief executive to a dramatic close, pleading guilty to a felony charge of theft of property and announcing her resignation. The move capped a turbulent five weeks in which she acknowledged having an affair with the head of her security detail, and faced persistent questions about whether she misspent taxpayer money.
Ms. Barry, 54, had wowed Nashville’s large contingent of liberal voters during a 2015 election with her support for gay rights and a promise to bring a world-class transit system to a city where rapid growth and a burgeoning reputation as a hub for young creatives have generated both excitement and anxiety.
But Ms. Barry’s wonkish policy goals were eclipsed by details of her affair with former Sgt. Robert Forrest Jr. of the Metro Nashville Police Department, who led the mayoral security detail before retiring in January. Mr. Forrest also pleaded guilty on Tuesday to the same charge as Ms. Barry’s.
A contrite but forthright Ms. Barry admitted the affair on Jan. 31. But questions lingered about the city business trips that the pair took, often alone, at taxpayer expense. More recently, reports surfaced of their numerous early-morning meetings in an S.U.V. in a city graveyard. And a special agent for the Tennessee Bureau of Investigation disclosed in court documents that the bureau had discovered nude photos of a woman on Mr. Forrest’s city email account. In the documents, the agent indicated a suspicion that the photos were of the mayor.
Nashvilleans have obsessed over the story in recent days. In a #MeToo era in which power dynamics and questions of workplace relationships have also been subject to fresh scrutiny and debate, some have puzzled over the ramifications of a married woman in a position of authority engaging in a consensual relationship with a subordinate.
For others, the news was also distressingly personal, coming months after the city rallied to help Ms. Barry mourn her 22-year-old son, who died of a drug overdose in July.
On Tuesday morning, a visibly shaken Ms. Barry read a prepared statement at City Hall, in a room packed with reporters. She spoke of an optimistic city that would continue its positive trajectory.
“It is a continued climb that I will watch, but I will watch as a private citizen,” she said. “And I will be tremendously proud nonetheless.”
Moments earlier, in a courtroom across the street, Ms. Barry had agreed to serve three years of probation and pay restitution to the city after pleading guilty to the theft charge.
In a court document, the Bureau of Investigation indicated that it was looking closely at the 26 out-of-town trips Ms. Barry had taken with Mr. Forrest since April 2016, which was roughly when the affair began. Ms. Barry and Mr. Forrest, who was also married at the time of the affair, were the sole travelers for 10 of the trips, according to the document.
As part of her probation, Ms. Barry was ordered to reimburse the local government $11,000 in “unlawful expenditures” used to pay Mr. Forrest’s travel expenses. She paid the restitution on Tuesday, prosecutors said.
Separately, Mr. Forrest also received three years of probation on Tuesday. According to prosecutors, Mr. Forrest must give back $45,000 that he was paid improperly “during times when he was not performing his duties.”
After the guilty pleas, Glenn Funk, the local prosecutor, met with agents from the bureau and told them they could close their investigation. If Ms. Barry and Mr. Forrest complete probation successfully, they can petition the court to have their criminal records expunged.
Vice Mayor David Briley was sworn in as mayor on Tuesday afternoon, providing what will likely be ideological continuity at City Hall. Like Ms. Barry, Mr. Briley is a Democrat and a known quantity in city politics, having served eight years on the consolidated city-county council.
Mr. Briley, the grandson of Beverly Briley, who served as mayor from 1963 to 1975, supports the multibillion-dollar public transit plan that might had been Ms. Barry’s signature achievement. Voters will consider the plan in a May referendum.
A Vanderbilt University poll last year showed that Ms. Barry enjoyed a 72 percent overall approval rate. A similar poll taken by Vanderbilt after her admission of the affair put her approval at 61 percent.
Many residents seemed willing to initially overlook the drama in her personal life, but there remained a lingering concern that the complications extended beyond questions of romance and into matters of public funds.
The editorial board of The Tennessean, the major local newspaper, called on her to resign in a Feb. 28 column, arguing that Ms. Barry, a former corporate ethics and compliance officer, had “arguably violated” an anti-corruption executive order she had signed in 2016. The Tennessee Tribune, a publication that focuses on African-American issues, called for her resignation on March 1.
The City Council voted last month to create a special committee to investigate the trips. On Tuesday, Councilman John Cooper, a frequent critic of Ms. Barry’s policies, said the committee would probably continue its inquiry, focusing on the way city expenses are handled.
“I do think that, as much of a complicated tragedy as this is as a personal story, Nashville will survive this,” Mr. Cooper said.
At the Hotel Indigo, a short walk from City Hall, news of Ms. Barry’s fate traveled fast. Casey Rauscher, 30, a valet parking attendant, said that he thought Ms. Barry had done good work as mayor, making sure the city’s growth was “positive growth.”
But he also said she was right to step down. “I don’t think you should be able to steal in political office and get away with it,” he said.
PARIS — The excuses are there, the mitigating circumstances and the shallow solaces, for those determined to find them.
Maybe it would all have been different had Neymar been here, and not in Brazil, resting and recovering from surgery on his foot. Maybe he would have been able to inspire Paris Saint-Germain to victory against Real Madrid on home turf, even if he proved unable to do so three weeks ago in hostile territory.
Maybe if Marco Verratti had been able to control his temper, rather than charging at the German referee Felix Brych, his face bright with fury, simply because he had not been afforded a free kick, P.S.G. might have been able to mount a stirring comeback. A few minutes after Verratti was sent off, after all, Edinson Cavani scored, offering his team a scintilla of hope. With 10 men, that was all it could be; with 11, P.S.G. would have been a more imposing proposition.
And maybe, most of all, it is all just a matter of luck, anyway. That P.S.G. simply cannot make that final leap onto the grandest stage of all, into the semifinals and final of the Champions League, has become an article of faith. This year will be no different after it was beaten by Real Madrid on Tuesday, by 2-1 on the night and by 5-2 over two legs.
Real Madrid are rolling in the Champions League ... again.
PSG disappointed ... again.
But it is worth considering the teams that have stymied P.S.G.’s ambitions along the way. It has been eliminated in the quarterfinals four times in the last six seasons, twice by Barcelona, and once each (narrowly) by Chelsea and Manchester City. The last two years, it has fallen in the round of 16 against Barcelona and Real Madrid. It is hardly being brought to its knees by minnows.
Indeed, in December, when the pairings for the last 16 of this tournament were confirmed, P.S.G. might have drawn Basel, or F.C. Porto, or Sevilla; had it done so, it would surely be in the quarterfinals today. Instead, it was forced to play the team that has won three of the last four Champions League titles, that seems to excel in this competition by sheer force of personality alone. Fortune, once again, was not on P.S.G.’s side.
But none of that should disguise quite how callow, how dismal, P.S.G.’s elimination was. This is a team that has been constructed, at almost unimaginable cost, to win the Champions League. As its coach, Unai Emery, said Tuesday, losing to Real Madrid is no embarrassment. “It is a team of champions,” he said.
He did not say that losing like this is, or should be. P.S.G., a team that cost half a billion dollars, did not rage against its fate. It did not hurl all it had at Real’s defense, ending the game breathless and broken, fighting for pride, if nothing else. It simply accepted — as soon as Cristiano Ronaldo scored, as he always does in the Champions League — that, once again, it was going to fall short.Photo
Emery’s players slowed almost to walking pace. Their passing, hardly sharp at any point in the evening, grew increasingly lazy, wayward. They were careless. They were aimless. They wandered around, as if in a daze. It is one thing not to be able to execute a plan. It is quite another not to seem to care what the plan is, or was.
They were waiting for what they had decided was inevitable, for the blissful release of Brych’s whistle, for the chance to return to what they do best: beating French teams with a fraction of their budget by six- and seven-goal margins. That is where this team really comes into its own.
This defeat — just like all those defeats in the last six years — does, at least, provide some answers. We now know, for example, that Emery, whose contract would have automatically renewed if he had guided his team to the semifinals, will not be its manager next year.
Or is it time to look at the problem from another angle, to assume that perhaps success in soccer does not simply come from accumulating as much talent as possible and seeing what happens?
What stood out on this most chastising of evenings was not some technical deficiency. Real Madrid did not win because it had better players. It won because of its character, its strength of mind, what its coach, Zinedine Zidane, described as a “trust in what we are doing.”
P.S.G. does not have that, and it showed. In the moments after Ronaldo’s goal just after halftime, when all seemed lost, it had nothing to fall back on, and so it fell apart instead.
P.S.G. can make excuses. It can hope for its luck to turn. It can spend more money; it can always spend more money. Maybe that will work, this time. But maybe it will not, and we will all be back here next year, too, asking the same questions, and getting the same empty answers.
On what would have been his 91st birthday, Google Doodle is celebrating Gabriel GarcĂa Márquez, or “Gabo,” as the man once called “the greatest Colombian who ever lived” was affectionately known.
In GarcĂa Márquez’s novels angels fall to Earth and become carnival attractions, magic carpets fly and priests levitate. The Colombian author defined the genre of magical realism, in which the mundane and the fantastic occur with equal plausibility. He said he was inspired by the unbelievability of Latin American history — an illusory Eldorado plagued by conquistadors, despots and revolutions.
“We have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable,” he said in his acceptance speech for the Nobel Prize in Literature, which he won in 1982.
Born in Aracataca, Colombia On March 6, 1927, he was raised by his maternal grandparents. He attributed his gift for storytelling to his grandfather, a hero of the Thousand Days War, when Liberal generals revolted against the ruling Conservatives. GarcĂa Márquez attributed his fascination with the supernatural to his grandmother’s belief in ghosts, omen and portents.
He showed a passion for writing early on, and studied journalism, as well as law to please his father, at the Universidad Nacional de Colombia in Bogota. After bloody riots and the assassination of a popular presidential candidate led to the closure of his university in 1948, GarcĂa Márquez quit school to become a journalist.
“I’ve always been convinced that my true profession is that of a journalist. What I didn’t like about journalism before were the working conditions,” he told the Paris Review in 1981.
After more than a decade as a reporter, columnist, foreign correspondent and editor, during which he covered, and by some accounts assisted, in the coup in Venezuela in 1958, GarcĂa Márquez moved his family to Mexico City and launched into his career as a novelist. In 1967, he published One Hundred Years of Solitude, which catapulted his literary career to an international stage. The book became a touchstone for magical realism, and a defining moment for literature in the 20th century. GarcĂa Márquez went on to pen more than 25 books, including short-story collections, non-fiction works and screenplays.
Throughout his life, GarcĂa Márquez, a committed Leftist, remained politically active, considering himself a writer of the revolution. He kindled a close, storied friendship with Cuban leader Fidel Castro, and vocally opposed right-wing leaders like Chile’s General Augusto Pinochet. GarcĂa Márquez became a Nobel laureate even before he wrote some of his other prominent works, including Love in the Time of Cholera and Of Love and Other Demons.
Tuesday’s Google Doodle depicts the colorful Amazonian jungle and the magical city of Macondo, brought to live in A Hundred Years of Solitude. Entwined in the Doodle are aspects from GarcĂa Márquez’s book, such as the city of mirrors, mysterious gypsies and fish made of pure gold.
LOS ANGELES — The 90th Academy Awards ceremony skittered between the serious and the silly on Sunday night, taking time both to acknowledge #MeToo and to hand out hot dogs at an adjacent movie theater, but the show ultimately emerged as a powerful call for inclusion and diversity in Hollywood.
Guillermo del Toro’s outcast parable, “The Shape of Water,” was honored as best picture, and Mr. del Toro won the best director Oscar. Jordan Peele collected the best original screenplay award for “Get Out,” a movie centered on racism in the liberal white suburbs. And Frances McDormand, winning best actress for her portryal of a mother seeking justice for her murdered daughter in “Three Billboards Outside Ebbing, Missouri,” made a dramatic stand for gender equality in Hollywood.
She thanked “every single person in this building” and her sister before asking the female nominees in the room to stand. “Look around,” she said. “We all have stories to tell and projects we need financing.” Expected wins by Oldman and McDormand.
Ms. McDormand’s win was expected, as was Gary Oldman’s (“Darkest Hour”) for best actor.
“If I fall over, pick me up, because I’ve got some things to say,” Ms. McDormand said.
Ms. McDormand finished with, “I have two words to say: inclusion rider,” a reference to a practice by which stars add a clause to film contracts that insists on diversity on both sides of the camera.
Jodie Foster, appearing on crutches and joking that the reason was run-in with Meryl Streep, presented best actress with Jennifer Lawrence, in lieu of last year’s best-actor winner, Casey Affleck. Mr. Affleck bypassed the ceremony amid continued criticism for settling sexual harassment suits in the past.
In a halting acceptance speech, Mr. Oldman thanked the film’s director and producers; Winston Churchill; his wife, Gisele Schmid; and his 99-year-old mother, who he said was home watching on the sofa. “Put the kettle on,” he said. “I’m bringing Oscar home.”
It was a democratic Oscars over all.
Only two of the nine best picture nominees went home empty-handed: “Lady Bird” and “The Post.” The other seven collected at least one award each, preventing any one film from sweeping the ceremony.
Winners included legends who had never before won, among them James Ivory (“Call Me by Your Name”) and Roger A. Deakins (“Blade Runner 2049”), and first-time nominees like Jordan Peele, who landed best original screenplay for “Get Out,” and Allison Janney, a television stalwart who won over the film academy with her supporting work in the darkly comedic Tonya Harding biopic “I, Tonya.”
“I’ve been at this a long time,” said Mr. Deakins, a 14-time nominee. “Thank you. Thank you very much.” He started his career in the 1970s and was first nominated in 1995, for “The Shawshank Redemption.”
‘I am an immigrant.’
Mr. del Toro’s best director honor was widely expected — he took the top prize at several preceding awards shows — and he was an omnipresent darling of the awards circuit, at one point bringing a case of tequila to an awards function. The win meant that Mr. del Toro had finally won the acceptance of Hollywood, after being looked down on as a horror director for much of his career.
“I am an immigrant,” an emotional Mr. del Toro started his acceptance speech by saying, continuing to note that art has the power to “erase the lines in the sand” between people of different ethnicities. “We should continue doing that when the world tells us to make them deeper.”
The best picture award was presented by Warren Beatty and Faye Dunaway, who because of a mix-up backstage by PwC, mistakenly announced last year’s best picture winner as “La La Land” instead of “Moonlight.”
“I want to dedicate to every young filmmaker — the youth who are showing us how things are done,” said Mr. del Toro when he accepted the award for best picture. “The Shape of Water” also won for Alexandre Desplat’s score and Paul Denham Austerberry’s production design. ‘Get Out’ and ‘Call Me by Your Name’ win screenplay awards.
Mr. Peele, who wrote and directed “Get Out,” received a raucous standing ovation for winning best original screenplay, signaling the Hollywood establishment’s respect for his movie and also his arrival as a certified member of that elite group. He thanked his mother, who, he said, “Taught me to love even in the face of hate.”
Mr. Ivory, 89, a four-time nominee, won for best adapted screenplay for the gay romance “Call Me by Your Name.” All people, “whether straight or gay or somewhere in between,” can understand the emotions of a first love, Mr. Ivory said, reading from notes. (Mr. Ivory was previously nominated for directing “A Room With a View,” “Howards End” and “The Remains of the Day.”) A #MeToo moment.
Activism and social politics were highlighted in a segment introduced by Ashley Judd, Salma Hayek and Annabella Sciorra, all of whom all had gone public with allegations about enduring sexual harassment or worse at the hands of Harvey Weinstein.
The women recognized the seismic shift in Hollywood’s culture in recent months with the rise of #MeToo, and Ms. Judd spoke of the voices “joining in a mighty chorus that is finally saying Time’s Up.”
They were followed by an emotional video featuring Mira Sorvino, Sarah Silverman, Greta Gerwig, Geena Davis and Kumail Nanjiani, who injected a note of levity by noting that the box-office lucre enjoyed by recent diverse movies should be an incentive for Hollywood. “Don’t do it for society and representation,” he said, “Do it because you get rich, right?”
During their performance of the Oscar nominated song “Stand Up for Something,” from “Marshall,” Common and the singer Andra Day were joined on stage by 10 prominent activists, including Cecile Richards of Planned Parenthood; the labor leader and civil rights advocate Dolores Huerta; Bana Alabed, the 8-year-old Syrian refugee who documented the siege of Aleppo on Twitter; and Janet Mock, a transgender activist and television writer and host.
Disney wins another Oscar for animated feature.
Kobe Bryant is now an Oscar winner: “Dear Basketball,” which Mr. Bryant made with the former Disney animator Glen Keane, overcame questions about Mr. Bryant’s past to win the trophy for best animated short — as some members of the audience exchanged incredulous looks. #MeToo activists had said that a 2003 sexual-assault case against Mr. Bryant was reason not to reward the movie. (The case was dismissed.)
“As basketball players, we’re supposed to shut up and dribble,” Mr. Bryant said in an apparent reference to the Fox News host Laura Ingraham’s recent criticism of LeBron James for speaking out against President Trump. Mr. Bryant went on to thank his wife and daughters.
Disney continued its Oscars dominance, as Pixar’s “Coco” was named best animated feature, Disney’s sixth straight victory in the category. “Representation matters!” shouted its co-director, Lee Unkrich, a reference to the characters and story line of the film, which is centered on Mexico’s Day of the Dead celebration.
https://twitter.com/ava/status/970538188191117312
“Coco” also delivered the best song winner, “Remember Me,” written by Kristen Anderson-Lopez and Robert Lopez. “Not only are we diverse, but we are close to 50-50 for gender representation,” said Ms. Anderson-Lopez, noting her fellow song nominees. She said she looked forward to the day when “all the categories look like this one.”
Early awards are spread around.
The first hour and a half of the Oscars ceremony honored a wide variety of films.
“Phantom Thread,” Paul Thomas Anderson’s period romance about an obsessive dressmaker, won for costume design. Best hairstyling and makeup went to the World War II drama “Darkest Hour.” The Oscar for production design was given to “The Shape of Water.”
“Dunkirk,” Christopher Nolan’s layered war epic, collected Oscars for sound mixing, sound editing and film editing. “Blade Runner 2049” proved victorious in the visual effects category.
As expected, Ms. Janney completed her awards-season winning streak.
“I did it all by myself,” Ms. Janney said, arriving at the microphone, to prolonged applause. She then added, “Nothing is further from the truth,” and ran through a list of names at light speed.
“A Fantastic Woman,” from Chile, was named best foreign film. Rita Moreno, who won a supporting actress Oscar in 1962 for “West Side Story,” presented the prize. In keeping with the telecast’s theme of looking back at celebrated performances, a clip highlighted Ms. Moreno’s performance in “West Side Story.”
Netflix film wins best documentary.
In a surprise, the Oscar for best documentary went to “Icarus,” a Netflix film about systematic Russian doping at the Olympics. (Russia was banned from the recent Pyeongchang Games, though some of its athletes were still allowed to compete.) It was Netflix’s first Oscar for a feature film, having won last year’s prize for best documentary short, for “White Helmets.”
The expected winner had been “Faces Places,” a lighter, more nuanced film about Agnès Varda — known as the grandmother of the French new wave — and the environmental photographer JR. Netflix mounted a lavish campaign for “Icarus,” raising eyebrows in the rather staid documentary filmmaking community. Jimmy Kimmel addresses scandals as show opens.
The first Oscars of Hollywood’s post-Harvey Weinstein era took care of its serious business first. As the 90th Academy Awards got underway on Sunday night, the host, Jimmy Kimmel, addressed the sexual harassment scandals that have rocked Hollywood in recent months.
“That’s the kind of men we need more of in this town,” Mr. Kimmel said, pointing to a colossal Oscar statue on the stage, noting that the figure “keeps his hands where you can see them” and has “no penis at all.”
He then grew serious for a moment and talked about the #MeToo and Time’s Up movements, which started in Hollywood after the revelations about Mr. Weinstein and have reverberated across the globe, challenging the entertainment industry to make good on its promise to reform itself. “The world is watching us,” he said. “We need to set an example.”
With that, the ceremony swerved into its usual piquancy, lightly teasing nominees like Ms. Streep, up for her 21st Oscar, and naming Sam Rockwell best supporting actor for his performance as a racist dimwit of a police officer in “Three Billboards Outside Ebbing, Missouri.” He thanked “everyone who’s ever looked at a billboard.” A show with a lot of ground to cover. Photo
Rarely had more pressure been placed on an Oscar telecast. The Academy of Motion Picture Arts and Sciences had the burden of trying to keep ratings from falling, while celebrating films that have, for the most part, not been widely seen. The ceremony was expected to acknowledge the appalling sexual harassment scandals that have engulfed Hollywood in recent months — and then go back to gazing lovingly at the history of moviemaking to mark Oscar’s 90th birthday.
Other conflicting pressures included poking fun at last year’s envelope mix-up, which found “La La Land” mistakenly named best picture instead of “Moonlight,” while taking the recognition of cinematic achievements like sound mixing and film editing supremely seriously.
The tonal tug-of-war between frothy self-celebration and serious discussion of the #MeToo and Time’s Up movements made for some awkward red carpet moments. ABC veered from a raucous interview with Taraji P. Henson, who was asked about her recent action film “Proud Mary,” to Mira Sorvino and Ms. Judd, both of whom came forward last year with allegations of sexual harassment against Mr. Weinstein.
“I want people to know that this movement isn’t stopping,” Ms. Sorvino said about Time’s Up, an initiative started by Hollywood women and focused on fighting systemic sexual harassment across industries. Ms. Judd, who was scheduled to present an award during the ceremony, said she was grateful that women who speak out about mistreatment are no longer being “disbelieved, minimized, shamed.”
A minute later, the red carpet hosts were back to squealing over the gowns chosen by stars like Whoopi Goldberg and Jennifer Garner. An uneventful red carpet.
Several women deeply involved with Time’s Up, including Ava DuVernay and Shonda Rhimes, explained why there were no overt displays from the group on the red carpet.
“We are not an awards show protest group,” Ms. DuVernay said at a meeting with a small group of reporters last week. “We made a conscious choice not to do that again.”
Viewers wondered if a celebrity would turn the questions around on Ryan Seacrest, the host of E!’s red carpet coverage. He has been accused of sexual harassment, claims he and his network, backed by a third-party investigation, have vigorously denied. But no such confrontation was broadcast — though Ms. Henson did fix him with a pointed stare that was widely interpreted as such — and he did not address the accusations. His interviews with celebrities stuck to the typical fare of fashion and film, though according to US Weekly, none of the best actress nominees stopped to speak with him. An article in The Hollywood Reporter on Sunday said the E! broadcast would run on a 30-second tape delay.
In the two months since Time’s Up officially began, the group has amassed $21 million for its legal defense fund and, said Tina Tchen, a lawyer heading that initiative, has fielded 1,700 requests for assistance from landscapers, government workers, police officers, prison guards, and hotel and catering workers. (Some 1,250 have been connected with lawyers.) A sister initiative has sprung up in Britain; a group of male allies has formed; a partnership with StoryCorps, the story-collecting organization, has been forged; and the process of making the group a nonprofit foundation has begun. “We are global at this point,” Ms. Rhimes said.
SIR Roger Moore will be remembered as a James Bond legend after passing away in May 2017.
But why did the star pass away? And how was the news announced? Here's what we know about the sad announcement...
Sir Roger passed away on May 23, 2017, after losing a short battle with cancer, aged 89.
In the statement from his family, they added: “It is with a heavy heart that we must announce our loving father, Sir Roger Moore, has passed away today in Switzerland after a short but brave battle with cancer.”
The film legend’s cancer battle had not been the star’s only health issues in recent years.
Sir Roger was diagnosed with Type 2 diabetes in 2013 - which left him “unable to drink martinis”.
Diabetes is life-long health condition caused by high levels of glucose – or sugar – in the blood.
Glucose levels are so high because the body is unable to properly use it. In people diagnosed with diabetes, their pancreas doesn’t produce any insulin, or not enough insulin. In 2012, Sir Roger had to learn to walk again after a bout of pneumonia, and had a pacemaker fitted after collapsing on stage. The James Bond legend previously battled pneumonia as a five year old – when he was left on the brink of death in hospital before making a recovery. Pneumonia is a bacterial infection which causes swelling of lung tissue. When you have pneumonia, the alveoli – tiny air sacs where oxygen and carbon dioxide are exchanged – fill with fluid. It affects around eight in 1,000 adults a year, and it’s more common in autumn and winter – but it’s not usually contagious.
What sort of cancer did Roger Moore have?
It is yet to be confirmed what type of cancer sir Roger had been battling in recent months.
In 1993, the star was reported as having suffered with prostate cancer, he later underwent a radical prostatectomy (removal of the prostate gland) and made a recovery.
Then, in 2012, the actor admitted that he “regretted” basking in the sun as a young man – as he had suffered a string of skin cancers in later years.
He told The Sun: "I (wish I) would... have given myself a warning about having too much sunshine. I've had so many skin cancers as a result.
"No one thought about sun screen or creams in my younger days. Even when they started to give warnings, I thought, 'Well, that won't happen to me.'
"I would get sunburned so I did not have to wear make-up in front of the cameras. Every leading man was sunburned."
The statement provided by his family stated that, in accordance with Roger's wishes, "there will be a private funeral in Monaco.”
In the first trailer for the final season of Netflix’s House of Cards that aired during Sunday’s Oscars, Robin Wright stands behind a desk in the Oval office.
We’re just getting started. pic.twitter.com/h2XafRynew
— House of Cards (@HouseofCards) March 5, 2018
“We’re just getting started,” she says in the 30-second clip that premiered Sunday.
Netflix announced in November that Kevin Spacey would no longer be involved with political drama after he was accused of sexual misconduct by multiple people, including eight past and present House of Cards staffers.
RELATED VIDEO: Kevin Spacey ‘Seeking Treatment’ Amid Claims of Inappropriate Sexual Advances Toward Young Male Actors
“Netflix will not be involved with any further production of House of Cards that includes Kevin Spacey,” a rep for the network said in a statement to PEOPLE at the time. “We will continue to work with [production company] MRC during this hiatus time to evaluate our path forward as it relates to the show.”
The streaming service also declared that it would no longer be releasing the film Gore that Spacey, 58, had starred in and directed.
House of Cards season 6, which will consist of eight episodes, will be released on Netflix this fall.
Heavyweight champion Deontay Wilder, nearly knocked out and out on his feet in the seventh round, held on for dear life, then came back three rounds later and knocked out Cuban slugger Luis Ortiz with an onslaught of powerful right hands Saturday night before 14,069 at Barclays Center in Brooklyn, N.Y. Wilder retained his WBC belt and remained undefeated at 40-0 (39 KOs).
Ortiz, 38, suffered the first loss of his career, as his record fell to 28-1 (24 KOs).
Wilder agreed that this was the signature victory he badly needed.
"Most definitely," Wilder said. "Luis Ortiz was a champion that everyone ducked. I wondered why it took him so long to get a title shot, and now we know the reason why.
"He put up a great fight, he was a great contender and my hat goes off to him. Me and him had a lot in common. His daughter suffered with something and my daughter suffered with something. Two fathers in the ring fighting for our daughters. You don't get no better than that."
Ortiz was disappointed on how close he came to winning but knew how dangerous Wilder could be.
"I was adhering to the directions my corner was giving me, and in this sport, any punch could end the fight," said Ortiz.
Wilder (39-0, 38 KOs) hopes his victory gets him a shot at unifying all four major heavyweight belts against the winner of the Anthony Joshua vs. Joseph Parker unification bout on March 31 in Cardiff, Wales.
"I'm ready whenever those guys are. My goal is to unify and it seems like they are not in a rush to fight me," Wilder said. "Because I am the most dangerous and the baddest man on the planet, and this solidifies my position at the top of the food chain. Soon there will be one champion . . . and he goes by the name of Deontay Wilder."
Here is a round-by-round update of the long-awaited main event.
Round 1: Wilder comes in looking much trimmer than Ortiz, the lightest of his career at under 215 pounds. Ortiz, the southpaw, pursues Wilder, who is jabbing. Ortiz pressures Wilder, landing combinations.Wilder's herky-jerky motions with his head make him look very wary of Ortiz's power. Wilder going for jabs to the body. A counter left hand by Ortiz lands. He lands another left. First round is over. Ortiz was the busier fighter and connected more often. Round to Ortiz.
Round 2: Wilder has not thrown a right yet. Ortiz throws a left that misses and he goes to a knee he swung so hard. Ortiz blocks a Wilder right. Wilder may be waiting for Ortiz to tire, but the Cuban lands a hard left on Wilder. Wilder lands a counter right hand but does little damage. Close round, but I give it to Ortiz. 2-0. Crowd is booing the lack of action.
Round 3: Wilder misses with a wild right and Ortiz misses with a left. Wilder can't seem to get inside to Ortiz to land anything. Stays with the jab. Ortiz keeping his guard up. Great combo by Wilder scores. Ortiz misses with a left, and Wilder misses with a wild right at the bell. Hard round to score, but Wilder's slick combo wins it for him. 2-1 Ortiz.
Round 4: Right by Wilder lands on Ortiz, and his reach advantage is keeping Ortiz away. Another right by Wilder. Left by Ortiz lands then Ortiz lands a combo. Ortiz throws a left and right and Wilder pushes him off. Not a lot of action, but Ortiz was the aggressor. I give him the round. 3-1 Ortiz.
Round 5: Wilder trying to establish his jab but is having a tough time. Wilder misses with a wild right and Ortiz counters with a combination. Wilder having a tough time getting punches off. Wilder lands a short right hand. Uppercut by Wilder misses, and Wilder lands a right that drops Ortiz for the second time in his career near the bell. 10-8 round for Wilder. Wow!
Round 6: Wild action ensues and both fighters going for it with full power shots. Wilder goes with another shot that lands. Ortiz counters with a left hand. Wild exchange near the end of round 6. Both fighters are going for the knockout now. Crowd cheering. Wilder wins the round.
Round 7: Fighters exchange jabs to start the round, Ortiz lands a powerful right hook that stuns Wilder. Ortiz going for the KO but Wilder holds on. He's in trouble, out on his feet. What a round for Ortiz. Wilder barely escapes hitting the canvas as he staggers back to his corner. 10-8 round for Ortiz.
Round 8: Ortiz goes in for the kill, but Wilder counters with a right hand. Wilder backs up. Ortiz dancing around, looking much fresher. Lands a right to the body. Wilder still in big trouble. Left by Ortiz slams Wilder to the ropes. Ortiz's boxing skills are showing here. Another shot to the body by Ortiz ends the round. Another round for Ortiz.
Round 9: Ortiz is by far the toughest foe Wilder has faced. A real boxer-puncher. Wilder pulling back, seemingly afraid to get hit. Wilder misses a wild right. Ortiz lands a big left, but Wilder counters with a stiff jab. Wilder staggers Ortiz with a right hand, and goes after him near the bell. He hits Ortiz after the bell but the referee does nothing. Wilder wins the round.
Round 10: Ortiz continues to land a high percentage of his power punches. Wilder counters. Then the 6-7 power puncher puts Ortiz down with a combination of left and rights, as Ortiz gets to his feet to beat the 10 count. Wilder, smelling blood, comes back and lands a vicious right uppercut, Ortiz crumples to the canvas, hanging on the ropes, and it's over. Referee David Fields stops it at 2:05 of the 10th. Wilder wins by technical knockout after nearly being KO'd himself. What an ending! What a momentum swing! What a finish for Wilder.
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