Entertainment
Jack Jones, Grammy-winning crooner of 'The Love Boat' theme, dies at 86
Jack Jones, a prolific nightclub singer whom Frank Sinatra once called the “next major star of show business,” has died at age 86.
Jones died Wednesday night at Eisenhower Health in Rancho Mirage after a two-year battle with leukemia, his manager Milt Suchin confirmed Thursday to The Times. Suchin said that Jones “passed peacefully holding hands with his wife Eleonora and his beloved toy poodle, Ivy.”
The Grammy-winning baritone, who released more than 50 albums during his career, is best known for performing the theme song for the ABC sitcom “The Love Boat,” which ran for nine seasons, from 1977 to 1986. Originally released as a single in 1979, with a cover of Barry Manilow’s “Ready to Take a Chance Again” on the B-side, Jones’ disco-esque tune has been covered by entertainers including Charo and Olivia Newton-John.
Also an actor, Jones’ credits included “Juke Box Rhythm” in 1959, the 1978 horror film “The Comeback,” and the 2002 TV movie “Cruise of the Gods.” He even made a cameo as a nightclub singer in the 2013 film “American Hustle.”
Once pegged as an heir to Frank Sinatra, Jones was described by Ol’ Blue Eyes himself as “the best potential singer in the business. He has a distinction, an all-round quality that puts him potentially about three lengths in front of the other guys.”
In addition to two Grammys, Jones has been honored with stars on the Palm Springs Walk of Stars and the Hollywood Walk of Fame.
John Allan Jones was born Jan. 14, 1938, in Hollywood to singer Allan Jones and Emmy-nominated actress Irene Harvey. It was the same day his father recorded his hit “Donkey Serenade,” which appeared in the 1937 film musical “The Firefly,” co-starring the elder Jones, according to Jones’ website.
Jones attended University High School in West L.A. while studying drama and singing with private teachers hired by his father. Among the fondest of his high school memories was the day his friend Nancy Sinatra invited her father to sing in their school auditorium. The experience solidified Jones’ aspirations to become a professional singer.
Weeks after his 1957 high school graduation, Jones made his professional debut as part of his father’s act, first in Elko, Nev., and then at Las Vegas’ Thunderbird Hotel. He went solo shortly thereafter.
His first break came when a demo he recorded for songwriter Don Raye found its way to Capitol Records, which signed the newcomer in 1959. There, he released his debut album, “This Love of Mine,” the Desert Sun reported.
Following creative differences with the legacy label, Jones moved to Kapp Records, where he released his first hit single, “Lollipops and Roses,” in 1961, the outlet reported. The track won him his first Grammy Award in 1962 for best solo vocal performance.
Jones was still working at his “day job” as a gas station attendant when he released his first album with Kapp, and was delighted when one day, while washing a customer’s windshield, he heard his song playing on the radio. He went on to release 19 albums with Kapp Records and later nabbed another Grammy, for his 1963 single “Wives and Lovers” — which rose to No. 14 on Billboard’s Hot 100.
Kapp “put the tune on the B-side of the single,” Jones told The Times in 1993, “but disc jockeys turned it over and played it anyway.”
After the song garnered criticism for its “politically incorrect” themes, Jones told The Times he replaced the lyrics “Hey little girl, do your hair, fix your makeup” with the alternative lines “Hey, little boy, cap your teeth, fix your hairpiece.”
By the end of the 1960s, Jones had moved to RCA Victor and transitioned into a more contemporary sound. His album “A Time for Us” (1969) features covers of renowned songwriters including Randy Newman, Carole King and Gilbert O’Sullivan.
Dropping his smoking habit in 1980, Jones kept control of his smooth singing voice well into his 80s and made regular appearances in casino nightclubs, the Washington Post reported.
A resident of Coachella Valley for the last several decades, Jones received a star on the Palm Springs Walk of Stars in 2003. Celebrating his 80th birthday at Palm Desert’s McCallum Theatre in 2018, he quipped that, because many of his singing “rivals” were deceased, his ambition was “to be the world’s greatest singer by default,” the Desert Sun reported.
Jones is survived by his wife Eleonora Donata Peters and stepdaughters Nicole Whitty and Colette Peters; his daughter Crystal Thomas, from his marriage to Katie Lee Nuckols; daughter Nicole Ramasco, from his marriage to Kim Ely; and three grandchildren.
Movie Reviews
Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror
PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.
Let’s have a look…
Synopsis
A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.
Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)
My Thoughts
Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.
Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!
Entertainment
Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25
Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.
Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”
“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.
“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”
A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”
According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.
“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.
Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.
Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.
“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”
Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.
Movie Reviews
‘Hoppers’ review: Pixar’s best original movie in years
“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.
It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.
Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.
We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.
Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.
That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.
Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.
The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.
And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.
“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.
HOPPERS opens in theaters Friday, March 6th.
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