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Kevin Costner sticks to subject as Gayle King questions 'Yellowstone' exit: 'This isn't therapy'

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Kevin Costner sticks to subject as Gayle King questions 'Yellowstone' exit: 'This isn't therapy'

Kevin Costner is finally, albeit reluctantly, shedding light on his “Yellowstone” exit.

Costner, who portrayed Montana rancher John Dutton III in the first four and a half seasons of the Emmy-nominated drama, officially announced last week on Instagram that he would not be returning for Season 5, Part 2 of the series — more than a year after reports of his departure first dropped.

Now, as the Golden Globe-winning actor-director promotes “Horizon” — his newly released western epic over 30 years in the making — he’s being pressed about the details of his widely mourned “Yellowstone” exit. That includes whether clashes with the series’ creator and director Taylor Sheridan caused it.

“People say this about the two of you: both big egos, both very powerful, both at the top of their game, and that right now, maybe the two of you are playing a game of ‘Whose is bigger?’” “CBS Mornings” host Gayle King said to Costner on Thursday. “Do you see it that way?”

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Costner countered, saying that he “loved the show before anybody” and that, in the beginning, “It was Taylor and myself.”

But King pressed further, asking if the collaborators were on good terms. “Why can’t the two of you be able to work it out?” she said.

“Well, this isn’t therapy, Gayle. We’re not going to discuss this on the show,” Costner fired back. “I’ve conducted my life in a pretty straightforward way. I’ve never missed any obligations in my entire career.”

As for the true reason for his departure, Costner suggested that the writing on the show had ceased to move him. It was a stance he had taken in his recent People cover story: “The scripts weren’t there.”

Earlier in the “CBS Mornings” interview, Costner also disputed claims made last year by Sheridan that “Horizon” became the actor’s “priority” and that he wanted to “shift focus.”

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“I sure hope [the movie is] worth it — and that it’s a good one,” Sheridan told the Hollywood Reporter.

“‘Horizon’ didn’t cause problems for me,” Costner told King. “I wanted to work more than once a year, and it was important that I made room for ‘Yellowstone’ and made room for ‘Horizon,’ but we just — people ran through deadlines, they were busy, they had a lot to do. But ‘Horizon’ was secondary to ‘Yellowstone.’

“But it still had to line up,” he continued. “I had 400 people waiting for me, so I did things in a very limited amount of time.”

Costner added that whereas his Academy Award-winning directorial debut, “Dances With Wolves,” took 106 days, “Horizon” was shot in just 52.

“Horizon: An American Saga — Chapter 1,” the first installment in a proposed four-part film series, was released in theaters Friday. Costner has been pushing the project since 1988.

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“I thought it was good, but no one would make it,” he said on “CBS Mornings.” “I thought, well then, I’ll write four more, see how they like those.”

Costner said no one liked those either, “but I did, and I couldn’t forget [‘Horizon’]. I fell in love with it.”

During a Thursday panel discussion for Josh Horowitz’s “Happy Sad Confused podcast, Costner said, “I felt like I had a secret for you in this movie,” adding that his faith in the project has grown with the cast’s. “I turned the script over to these actors, and one by one, as they read it, they said they wanted to be a part of it.

“I knew we had something,” he said.

“Horizon” brought in just $800,000 from more than 3,000 locations Thursday, according to studio estimates — a soft start on its projected opening weekend box office take of $10 million to $12 million in the United States and Canada. Filmmakers and studios remain hopeful that Costner’s fan base will deliver over the weekend.

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“Horizon: An American Saga — Chapter 2” arrives in theaters Aug. 16.

Meanwhile, the final six episodes of “Yellowstone” are well into production and slated to air Nov. 10. The first half of “Yellowstone” Season 5 aired between November 2022 and January 2023.

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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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Movie Reviews

‘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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