Emmy nominations arrive Wednesday morning, and in case you’re just joining us, a couple of important programming notes.
“The Bear” won the Emmy for comedy series for its first season, so yes, it is indeed still a comedy, even if you don’t find the Fak family particularly funny or wonder how a show that fills you with heartbreak and anxiety could possibly be considered primarily as a comedy in the first place.
And “Shōgun,” which told the complete story of James Clavell’s 1975 historical novel, will be competing in the drama categories because it will be going off book and returning for a couple more seasons.
Do these classifications matter? “The Bear” could just as well been placed in drama and “Shōgun” in limited series and no one would have protested. As it stands, FX could become the first network to win the comedy, drama and limited series Emmys since HBO pulled off the sweep in 2015 with “Game of Thrones,” “Veep” and “Olive Kitteridge.”
But we’re getting ahead of ourselves. Let’s focus on the nominations, which won’t be as plentiful as in past years, thanks to the lower number of submissions due to the 2023 actors’ and writers’ strikes. Those work stoppages sidelined many of television’s prestige shows, leading to opportunities for series that voters have ignored in the past, some for good reason.
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If the gorgeously cinematic “Ripley” fails to earn a nomination, it will be a day as dark as the show’s dimly lighted staircases.
(Netflix)
LIMITED SERIES “Baby Reindeer” “Fargo” “Lessons in Chemistry” “Ripley” “True Detective: Night Country”
Possible surprise: “Masters of the Air” Possible “snub”: “Ripley”
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This is a bounce-back year, both for the category and for a couple of its leading contenders, “Fargo” and “True Detective,” anthology shows that returned to form with terrific seasons. “Baby Reindeer” burned brightly for a couple of months and boasts the biggest viewership. “Fellow Travlers,” “Feud: Capote vs. the Swans” and “The Sympathizer” will show up on a lot of ballots, as will “Masters of the Air,” the excellent World War II series from the team that made “Band of Brothers” and “The Pacific.” Narrowing the choices down to five will be a challenge. But if the gorgeously cinematic “Ripley” fails to make the cut, my mood will be as dark as the show’s dimly lighted staircases.
LIMITED SERIES/TV MOVIE LEAD ACTRESS Jodie Foster, “True Detective: Night Country” Brie Larson, “Lessons in Chemistry” Juno Temple, “Fargo” Sofía Vergara, “Griselda” Naomi Watts, “Feud: Capote vs. the Swans”
Possible surprise: Kate Winslet, “The Regime” Possible “snub”: Watts
There’s no shortage of Oscar winners vying for attention. Along with Foster and Larson, voters could opt for Jessica Lange (“The Great Lillian Hall”), Nicole Kidman (“Expats”), Winslet (“The Regime”) and Julianne Moore (“Mary & George”). Thinking ahead, it feels like all the good will Foster earned while campaigning for her Oscar-nominated turn in “Nyad” will carry over here, particularly for a role that saw her returning to eerie, atmospheric crime-solving horror.
LIMITED SERIES/TV MOVIE LEAD ACTOR Matt Bomer, “Fellow Travelers” Richard Gadd, “Baby Reindeer” Jon Hamm, “Fargo” Tom Hollander, “Feud: Capote vs. the Swans” Andrew Scott, “Ripley”
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Possible surprise: Tony Shalhoub, “Mr. Monk’s Last Case” Possible “snub”: Bomer
I’m not sure how many people stuck with “The Sympathizer,” but Hoa Xuande’s impressive work as the double agent ranked high among the year’s best performances. Ewan McGregor was also wonderful playing a charming, exiled nobleman holding onto optimism in “A Gentleman in Moscow.” And with three Emmys for playing Monk, the detective tormented by obsessive-compulsive disorder, it might be a mistake to underestimate Tony Shalhoub, even if I have a hard time believing it’s really “Mr. Monk’s Last Case.”
LIMITED SERIES/TV MOVIE SUPPORTING ACTRESS Lily Gladstone, “Under the Bridge” Jessica Gunning, “Baby Reindeer” Aja Naomi King, “Lessons in Chemistry” Diane Lane, “Feud: Capote vs. the Swans” Jennifer Jason Leigh, “Fargo” Nava Mau, “Baby Reindeer” Kali Reis, “True Detective: Night Country”
Possible surprise: Kathy Bates, “The Great Lillian Hall” Possible “snub”: Gladstone
Reis was a co-lead as Foster’s partner in (solving) crime in “True Detective,” but she’s being campaigned in supporting, making her one of the favorites alongside Gunning’s empathetic, terrifying turn as the stalker in “Baby Reindeer.” Bates, a 14-time nominee, could make it in again for her work as the loyal assistant in “The Great Lillian Hall,” a TV movie that dropped on the final day of Emmy eligibility. This affecting love letter to theater could end up being the season’s dark horse.
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LIMITED SERIES/TV MOVIE SUPPORTING ACTOR Jonathan Bailey, “Fellow Travelers” Finn Bennett, “True Detective: Night Country” Robert Downey Jr., “The Sympathizer” John Hawkes, “True Detective: North Country” Joe Keery, “Fargo” Lewis Pullman, “Lessons in Chemistry” Sam Spruell, “Fargo”
Possible surprise: Treat Williams, “Feud: Capote vs. the Swans” Possible “snub”: Bennett
Are you ready for another Downey acceptance speech? Turning up in multiple roles in “The Sympathizer,” Downey showboated his way through the series, which, of course, is what you pay the man to do. Shortly before winning the Oscar for playing Lewis Strauss in “Oppenheimer,” Downey joked that the film’s director, Christopher Nolan, suggested he “attempt an understated approach as a last-ditch effort to perhaps resurrect my dwindling credibility.” Unrecognizable, maybe. Understated? The character’s jealousy and insecurity practically radiated off him. Actors rarely win awards for restraint.
Paulina Alexis, from left, Devery Jacobs, D’Pharaoh Woon-A-Tai, Lane Factor and Elva Guerra in Season 3 of “Reservation Dogs.” It will be a surprise if the show finally gets a nomination, and a snub if it doesn’t.
(Shane Brown / FX)
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COMEDY SERIES “Abbott Elementary” “The Bear” “Curb Your Enthusiasm” “The Gentlemen” “Hacks” “Only Murders in the Building” “Reservation Dogs” “What We Do in the Shadows”
Possible surprise: “Palm Royale” Possible “snub”: “Reservation Dogs”
Will voters give “Reservation Dogs” a fitting send-off? The series has been repeatedly feted by the American Film Institute and the Peabody Awards but not at the Emmys. It’s a special show, vitally important for Indigenous storytellers and, with the strikes thinning the list of worthy contenders, seemingly a no-brainer for a nomination. I’m predicting it’ll make it in, but that may be a case of wishcasting. Can a show’s Emmy status be both a surprise and a “snub”?
COMEDY LEAD ACTRESS Quinta Brunson, “Abbott Elementary” Ayo Edebiri, “The Bear” Selena Gomez, “Only Murders in the Building” Jean Smart, “Hacks” Kristen Wiig, “Palm Royale”
Possible surprise: Maya Rudolph, “Loot” Possible “snub”: Gomez
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After winning the supporting actress Emmy for “The Bear,” Edebiri now graduates to the lead category. Sydney and Carmy were partners in Season 2, after all. She’ll join reigning winner Brunson (“Abbott Elementary”) and Smart, who won the category for the first two seasons of “Hacks.” You could make a case for any one of these women, and you would not be wrong.
COMEDY LEAD ACTOR Larry David, “Curb Your Enthusiasm” Theo James, “The Gentlemen” Steve Martin, “Only Murders in the Building” Martin Short, “Only Murders in the Building” Jeremy Allen White, “The Bear”
Possible surprise: Kelsey Grammer, “Frasier” Possible “snub”: James
Grammer was last nominated for playing Dr. Frasier Crane 20 years ago. He won four Emmys for the role, and if he earns another nod, it would give the category a decided golden guys flavor. Martin is 78 with David one year behind at 77. Short is 74, while Grammer turned 69 this year. If White’s Carmy was catering a dinner for this group, the meal would start at 5.
COMEDY SUPPORTING ACTRESS Liza Colón-Zayas, “The Bear” Hannah Einbinder, “Hacks” Abby Elliott, “The Bear” Janelle James, “Abbott Elementary” Sheryl Lee Ralph, “Abbott Elementary” Meryl Streep, “Only Murders in the Building”
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Possible surprise: Lisa Ann Walter, “Abbott Elementary” Possible “snub”: James
The comedy supporting categories will have one less nominee this year because of the decline in submissions. That’ll likely lead to disappointment for one of the talented women from “Abbott Elementary.” Ralph and James were nominated for the show’s first two seasons, with Ralph winning for the debut year. Walter deserves her moment too for the potent combination of delightful grit and humor she brings to the show.
COMEDY SUPPORTING ACTOR Lionel Boyce, “The Bear” Paul W. Downs, “Hacks” Matty Matheson, “The Bear” Ebon Moss-Bachrach, “The Bear” Oliver Platt, “The Bear” Tyler James Williams, “Abbott Elementary”
Possible surprise: Paul Rudd, “Only Murders in the Building” Possible “snub”: Matheson
For the ensemble of “The Bear,” this year’s Emmy nominations are going to be an all-you-can-eat affair, and it’s hard to predict who — if anyone — will be 86’d from the menu. The series’ celebrated flashback episode “Fishes” should earn Jon Bernthal, John Mulaney and Bob Odenkirk guest actor nods, with Jamie Lee Curtis and perhaps Sarah Paulson nabbing guest actress recognition. (Olivia Colman will be nominated for her work in the equally outstanding Season 2 episode “Forks.”) So maybe I have too many “Bear” actors here, but momentum is on the show’s side.
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Imelda Staunton, center, is flanked by Olivia Colman at left and Claire Foy in “The Crown,” the only drama series nominated last year that is eligible to come back this season.
(Netflix)
DRAMA SERIES “The Crown” “The Curse” “Fallout” “The Gilded Age” “Mr. & Mrs. Smith” “The Morning Show” “Shōgun” “Slow Horses”
Possible surprise: “Loki” Possible “snub”: “The Curse”
“The Crown” is the only contender carried over from last year. “Succession” and “Better Call Saul” wrapped up their runs; while the second season of “House of the Dragon” premiered too late to be eligible. “Andor,” “Yellowjackets” and “The Last of Us” will return in good time, as will “The White Lotus,” though that show will likely land again as a limited series. That leaves us with perhaps the least inspiring slate of drama series nominees since … well, how do you feel about “Quincy, M.E.”? I mean, Jack Klugman was out there solving crimes years before those “CSI” investigators showed up on the scene. He deserves some points for that.
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DRAMA LEAD ACTRESS Jennifer Aniston, “The Morning Show” Maya Erskine, “Mr. & Mrs. Smith” Anna Sawai, “Shōgun” Imelda Staunton, “The Crown” Emma Stone, “The Curse” Reese Witherspoon, “The Morning Show”
Possible surprise: Carrie Coon, “The Gilded Age” Possible “snub”: Witherspoon
“Shōgun” deserves everything that will come its way (and that will be a lot). Sawai was magnificent for the way she deftly handled her character’s many facets — vassal, translator, warrior, lover, avenger. Elsewhere, nobody commits to cringe more than Stone. It’ll be interesting to see how voters reward a show that seemed determined to alienate its audience at every turn.
DRAMA LEAD ACTOR Donald Glover, “Mr. & Mrs. Smith” Walton Goggins, “Fallout” Cosmo Jarvis, “Shōgun” Gary Oldman, “Slow Horses” Hiroyuki Sanada, “Shōgun” Dominic West, “The Crown”
Possible surprise: Tom Hiddleston, “Loki” Possible “snub”: Glover
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I don’t know what’s going on with television critics’ digestive systems, but I don’t think I’ve read a review of “Slow Horses” that hasn’t expressed a deep appreciation for Oldman‘s ability to pass gas. Can you win an Emmy for a certain flair for flatulence? We’re about to find out.
DRAMA SUPPORTING ACTRESS Christine Baranski, “The Gilded Age” Elizabeth Debicki, “The Crown” Moeka Hoshi, “Shōgun” Lesley Manville, “The Crown” Fumi Nikaido, “Shōgun” Cynthia Nixon, “The Gilded Age” Holland Taylor, “The Morning Show”
Possible surprise: Karen Pittman, “The Morning Show” Possible “snub”: Nixon
“The Morning Show” pulled in a paltry 11 nominations for its first two seasons, winning only in 2020 for Billy Crudup’s terrifying charmer Cory Ellison. For a platform’s flagship show, that’s not particularly good. But, as mentioned, there’s a void in the drama categories this year. And though the show is soapy and comically frenetic, it offers its ensemble juicy roles to emote to their hearts’ content. In this category alone, you could make a case for four women — Taylor, Pittman, Greta Lee and Nicole Beharie. They all aced their characters’ big, dramatic moments; at least one of them (maybe two?) will be nominated.
DRAMA SUPPORTING ACTOR Tadanobu Asano, “Shōgun” Billy Crudup, “The Morning Show” Mark Duplass, “The Morning Show” Jon Hamm, “The Morning Show” Takehiro Hira, “Shōgun” Nathan Lane, “The Gilded Age” Jonathan Pryce, “The Crown”
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Possible surprise: Ke Huy Quan, “Loki” Possible “snub”: Lane
Hamm will be nominated for playing the suave, space-loving billionaire on “The Morning Show,” and he will also nab a nod playing the delusional, power-mad Christian nationalist sheriff on “Fargo.” He could win one — or both. The last time Hamm gave an acceptance speech was also the first time he made his way to the podium. After eight nominations for playing Don Draper on “Mad Men,” Hamm won for the show’s final season in 2015.
A still from ‘Greenland 2: Migration’.
| Photo Credit: Lionsgate Movies/YouTube
Watching Greenland 2: Migration, one almost feels as though one is in a time capsule watching all those big disaster movies from the ‘90s, in single-screen theatres that looked like palaces with velvet curtains and chandeliers.
It was the time of slides saying “chatterboxes keep quiet,” and where popcorn, cheese sandwiches or curry puffs came hot in aluminium trays at the interval.
Greenland 2: Migration (English)
Director: Ric Roman Waugh
Starring: Gerard Butler, Morena Baccarin, Roman Griffin Davis
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Runtime: 98 minutes
Storyline: Five years after the comet strikes Earth, the bunker is no longer safe, and the Garritys strike out for the crater, where life has apparently hit the reset button
It was the time of radioactive lizards with eyes as big as Gol Gumbaz, hurtling comets, rising seas and an alien susceptible to a cold. But once you realise it is 30 years on in a world that has lost its innocence to a rapacious virus, you are less willing to grant as much leeway to a lazily made sequel.
Greenland in 2020 was a critical and commercial success with Gerard Butler playing the world-weary action hero‑family man‑tech expert, John Garrity. A comet named Clarke (after the science fiction writer Arthur C Clarke) was scheduled to hit the Earth and end life as we know it.
At the end of the movie, after many trials, John, with his wife, Allison (Morena Baccarin) and insulin-dependent son Nathan (Roman Griffin Davis takes over from Roger Dale Floyd) reach a bunker in Greenland just as a large chunk of the comet hits the earth.
Five years later, the earth is still not a particularly safe space with earthquakes, radiation, tsunamis and other jolly things blighting existence. John is now a scout, while also attending to repairs in the bunkers, owing to his training as a structural engineer. At a meeting, there is discussion of food supplies running low and a decision to be taken on whether to respond to a call for help.
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While the mean army man reasonably says they cannot feed anyone more, Dr. Amina (Amber Rose Revah) asks for the matter to be put to vote and when the snowcat is sent out to get the refugees, an earthquake destroys the bunker.
Garrity and others head to the coast, fight over lifeboats, drift without food, water or fuel to England and then go on to France where the Clarke crater is a new Eden where the air is fresh and land is fertile.
ALSO READ: ‘People We Meet on Vacation’ film review: Tom Blyth and Emily Bader’s sweet rom com checks all the right boxes
Greenland 2: Migration suffers from a woeful lack of logic, even of the film kind. How is it that everyone looks well fed and groomed even as we are repeatedly told they are running out of food? How are there still bullets given the way people are shooting at each other? How are vehicles still running on fuel?
Why are robbers or insurgents fighting in an area controlled by the army? And of course, the bridge across the English channel, which is now a dry wasteland, has to collapse exactly at the moment when our heroic gang is creeping across.
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Every time there is a crisis, it is as if the makers got bored and decided to move on. So despite running out of fuel, the lifeboat drifts to Liverpool, and Nate’s diabetes is reduced to “pack all the insulin.” Still it is fun to see the ever-dependable Butler do his melancholic routine and that is about all one can say for the haphazardly conceived sequel.
Greenland 2: Migration is currently running in theatres
There’s something refreshingly 19th century about Patrick Page’s traveling Shakespeare seminar, “All the Devils Are Here,” which opened Thursday at BroadStage in Santa Monica.
The show, a touring tutorial he created and performs solo, allows Page the opportunity to animate with barnstorming crackle a rogue’s gallery of Shakespearean scoundrels. Villains come quite naturally to this stage veteran, who might not smack his lips when impersonating evil, but he certainly doesn’t stint on the flamboyant color. An American Shakespearean who can hold his own with the Brits, he combines mellifluous diction with muscular imagination.
Page received a Tony nomination for his performance in the musical “Hadestown,” in which he played Hades, ruler of the underworld, with a sexy, tyrannical malevolence and a voice so deep it resonated as darkly as Leonard Cohen’s. And he’s had prior success creating outlandish villains on Broadway with the Grinch and, from “Spider-Man: Turn Off the Dark,” Norman Osborn/Green Goblin.
But Shakespeare has long been a touchstone. He’s dedicated himself to the work, as was evident in his triumphant turn in the Shakespeare Theatre Company’s 2023 production of “King Lear” in Washington, D.C., directed by Simon Godwin. The producers of which had the good sense to stream worldwide for all of us outside the nation’s capital who wanted to experience the thunderclap of Page’s Lear.
Godwin, the artistic director of the Shakespeare Theatre Company and an associate director of the National Theatre in London, leaves little distance between Page and the audience in his staging of “All the Devils Are Here.” The direct-address simplicity of the production serves the fluidity of Page’s performance. The actor transitions from talking about the characters to becoming them with just a shift in his posture and vocal tone.
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Proximity is the point. Shakespeare’s bad guys, with a few notable exceptions, are quite like you and me, which is to say they are human. Their worst deeds are the product of desires and fears that aren’t foreign to any of us. We might not be capable of atrocities, but in our dreams we’re all occasionally raving lunatics, giving vent to feelings we keep buried away in the light of day.
Page makes the tendentious claim that Shakespeare invented the villain, then walks it back to explain exactly what he means. His thesis is that Shakespeare early in his playwriting career followed the prevailing models of villainy. These vicious and vindictive antagonists tended to be outsiders, Jews (in the case of Christopher Marlowe’s “The Jew of Malta”), Moors (such as Aaron the Moor in Shakespeare’s “Titus Andronicus”) or the physically deformed (most notably, Richard, Duke of Gloucester, who first appeared in Shakespeare’s “Henry VI” and proved to be such a hit that he was given his own play, “Richard III”).
We get a taste of these Machiavels, who have none of the misgivings about vengeance that will plague Hamlet. Page portrays them without much introspection. They tell you what they’re going to do and then they bloody well do it. They can be scathingly ironic, alert to every hypocrisy that corroborates their cynical worldview, and even seductive in a perverse, power-mad way.
For these reasons, they are, like the arch-villains of “Batman,” the most entertaining characters in their stories. This lawless crew shares dramaturgical DNA with the vice figures from medieval morality plays, personifications of sinfulness who would confide their schemes to the audience and make theatergoers their co-conspirators in a riveting game that obviously left its mark on a young Shakespeare.
Iago, one of Shakespeare’s greatest villains, is an updated version of this stock character. Page consults Martha Stout’s book “The Sociopath Next Door” to understand the character’s lack of empathy and remorse. But then he enacts the scene in which Iago subtly poisons Othello’s mind into believing that his wife is having an affair with a handsome lieutenant. Sociopaths like Iago may be an empty shell of evil, but they can also be ingenious manipulators. Shakespeare put all his understanding of human nature into Iago’s brainwashing master class.
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But before Page reaches Iago, he spends time with Shylock from the “The Merchant of Venice.” Shakespeare humanizes the Elizabethan stage stereotype of the villainous Jew by giving Shylock ample reason for wanting to get back at his Christian persecutors. Marlowe treats Barabas in “The Jew of Malta” as a farcical demon, but Shakespeare has Shylock ask, “Has a Jew not eyes? … If you prick us, do we not bleed?”
Yes, Shakespeare is having his cake and eating it too. But Page’s portrayal, perhaps the most complete in his gallery, makes a convincing case of the playwriting leap forward.
From “Hamlet,” Page gives us Claudius on his knees praying for pardon he knows he doesn’t deserve. (“May one be pardoned and retain the offense?” he asks himself, already knowing the answer.) Here we see that even the most sealed-off conscience can be invaded by second thoughts.
Lady Macbeth has no such qualms when she’s summoning evil spirits to unsex her in “Macbeth.” She knows conventional morality is a liability and begs these forces “to stop up the access and passage to remorse” so that nothing will impede the murderous plot that’s brewing within her.
To establish the right note of terror on a fog-strewn set by Arnulfo Maldonado that resembles the private chamber of a writer or madman, Page begins with Lady Macbeth’s chilling incantation. He returns to the tragedy later in his survey after guilt has alienated the Macbeths from each other and they find themselves trapped in a nightmare of their own making.
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King Lear mournfully wonders, “Is there any cause in nature that makes these hard hearts?” Shakespeare can’t explain evil, but he can look at it directly. And what he sees, Page argues, is our own reflection — humanity, in all its fractured and flailing self-destructive foolishness.
The case Page smoothly makes is a convincing one. He is a pliant enough actor to daub each portrait with just enough psychological color. It’s not easy to do justice to such complex roles in quick succession. The genius of these troubling characters is embedded in their full dramatic contexts, requiring more than rhetorical flourishes and vocal modulations to bring them to life.
But by collectively presenting them in such a vivid and intelligent manner, Page urges us to see these devils for what they are — an inextricable part of our collective story, as any perusal of the day’s political headlines will disturbingly attest.
‘All the Devils Are Here’
Where: BroadStage, 1310 11th Street, Santa Monica
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When: 7:30 p.m. Wednesday-Friday, 2 and 7:30 p.m. Saturdays, 2 and 7 p.m. Sundays. (Check website for exceptions.) Ends Jan 25.
Mickey Rourke is doubling down on his disgust over a fundraiser that quickly raised more than $100,000 on his behalf, calling it an embarrassing “scam” and a “vicious cruel lie” and promising “severe repercussions to [the] individual who did this very bad thing” to him.
At the same time, the fundraiser — aimed at keeping Rourke in his home when he faced eviction because of almost $60,000 in unpaid rent — has been taken down, with the actor’s name being used now by others to boost their more anonymous efforts.
(A Friday morning search for “Mickey Rourke” on GoFundMe yielded more than a dozen campaigns drafting off the search value of the actor’s high-profile situation but the campaign set up for the “9½ Weeks” actor was nowhere to be found.)
The GoFundMe had been placed on pause last week after more than $100,000 was raised in two days, with Rourke’s manager Kimberly Hines writing, “Thank you so much for your generosity and for standing with Mickey during this time. Your support truly means a great deal to us, and we are grateful for every donation. We remain committed to finding a resolution and are working with Mickey to determine the next steps.”
Rejecting the donations, Rourke called the fundraiser “humiliating” and “really f— embarrassing” in a video posted last week, saying he didn’t need the money.
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“I wouldn’t know what a GoFund foundation is in a million years,” said the actor, 73, who was a leading man in the 1980s with movies including “Barfly” and “Angel Heart” and was Oscar-nominated for his work in 2008’s “The Wrestler.” “My life is very simple and I don’t go to outside sources like that.”
He said later in the video that he “would never ask strangers or fans for a nickel. That’s not my style.”
Hines might disagree, as she said she’s the one who has been fronting the money to cover Rourke’s move out of the Beverly Grove house and into a hotel and subsequently into a Koreatown apartment.
Hines’ assistant’s name had been listed as the creator of the fundraiser, with Hines named as the beneficiary. The actor’s manager of nine years told the Hollywood Reporter on Jan. 6 that Rourke knew the origins of the effort, despite saying he did not: She and her assistant had run the idea past his assistant before it was launched, she said, and both teams were OK with it.
“Nobody’s trying to grift Mickey. I want him working. I don’t want him doing a GoFundMe,” Hines told THR. “The good thing about this is that he got four movie offers since yesterday. People are emailing him movie offers now, which is great because nobody’s been calling him for a long time.”
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But Rourke was still fretting over it Thursday on Instagram, where he said in a couple of posts that there was still more than $90,000 to be returned to his supporters and promised that his attorney was “doing everything in his power” to make sure people got their “hard earned money” back.
He also thanked some “great” friends who he said reached out after seeing the “scam” that he needed money, including UFC boss Dana White and fighter Bill “Superfoot” Wallace.
Rourke said in his Jan. 6 video, shot while he was staying at a hotel, “I’m grateful for what I have. I’ve got a roof over my head, I’ve got food to eat. … Everything’s OK. Just get your money back, please. I don’t need anybody’s money, and I wouldn’t do it this way. I’ve got too much pride. This ain’t my style.”
