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Judy Belushi-Pisano, actor and John Belushi’s widow, dies at 73

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Judy Belushi-Pisano, actor and John Belushi’s widow, dies at 73

Judy Belushi-Pisano, an actor and the widow of “Saturday Night Live” star John Belushi, died Friday, according to social media posts shared by the Belushi estate. She was 73.

Belushi-Pisano died after a years-long battle with endometrial cancer, her son Luke Pisano told the Martha’s Vineyard Times. Luke said that Belushi-Pisano — a “great mother,” “beloved sister” and “special person” — was diagnosed in 2020 and entered hospice care in 2023.

John Belushi’s official Instagram, run by his estate, paid tribute to the comedian’s widow, saying “there was no one like her.”

“Judy made everyone feel loved,” the post read. “She was nonjudgmental, light, funny and pure. You could be truly yourself around her, that alone was a gift.”

The post acknowledged her “unwavering dedication and creative genius” in the creation of the Blues Brothers, a blues and revue band originally led by Dan Aykroyd and John Belushi.

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Belushi died in 1982 at age 33 from a drug overdose.

“In the years following John’s passing in 1982, Judy honored his life and championed his legacy and Blues Brothers brand,” the post read. “As we bid farewell, we pledge to continue her work, ensuring that John’s legacy, and the Blues Brothers will never fade.”

Born Judith Jacklin, Belushi-Pisano was Belushi’s high school sweetheart. They married on New Year’s Eve 1976.

“I figured that at least was a date he’d be able to remember,” she joked to the Chicago Tribune in 2004.

Belushi-Pisano spent 15 years with Belushi as he became a well-known figure in the comedy world, especially as one of the original “Saturday Night Live” cast members. She participated in Belushi’s projects, including the musical “The Blues Brothers” and comedy “National Lampoon’s Animal House,” according to IMDb.

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She was deeply shaken by her husband’s death, she told the Chicago Tribune.

In the immediate aftermath, “[i]t was difficult to go to the grocery store,” Belushi-Pisano said. “It was difficult to watch him on ‘Saturday Night Live.’”

Belushi-Pisano became a champion — and a staunch defender — of Belushi’s life and legacy. Upon his death, she gave journalist Bob Woodward access to Belushi’s loved ones for the biography “Wired: The Short Life and Fast Times of John Belushi.”

She was publicly enraged by the finished product, which detailed Belushi’s drug abuse. (Woodward said his approach was meant to demonstrate how the entertainment industry enabled the addiction, the Chicago Daily Herald reported in 2005.)

To counter “Wired” and its movie adaptation, Belushi-Pisano released “Samurai Widow” in 1990. Her intentions with the book were to shed light on who her first husband was outside of his drug addiction and to help others experiencing a similar heartbreaking loss, according to a 1990 Houston Chronicle article.

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“The main theme is really a woman’s story, going through an important transition time, through two healings,” she told the Plain Dealer in 1990.

The same year “Samurai Widow” was released, Belushi-Pisano married Victor Pisano. They divorced in 2010.

In 2005, Belushi-Pisano helped write another biography about her first husband, titled “Belushi.” She told the Daytona Beach News-Journal in 2006 that she struggled for years to reconcile herself to Belushi’s death.

Belushi-Pisano, at that time, said she still placed flowers at his grave.

“Someday I imagine that there’ll be a day when I just won’t be there,” she said. “There will be something else I have to do. I went through a long grieving process. … Now I can say that’s over and I can acknowledge John’s dead. I can look at his life now and … sort of say ‘the way he died was tragic, but he had a helluva life.’ We had a lot of great times and we had struggles, and we went up and down, but mostly that was a good life.”

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Belushi-Pisano is survived by her four children, as well as grandchildren.

Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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