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Shannen Doherty, 'Beverly Hills, 90210' bad girl who battled cancer for years, dies at 53

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Shannen Doherty, 'Beverly Hills, 90210' bad girl who battled cancer for years, dies at 53

Shannen Doherty, the quintessential ’90s rebel who starred in the TV mega-hits “Beverly Hills, 90210” and “Charmed,” has died after a nearly decade-long battle with cancer. She was 53.

Doherty died Saturday, the Associated Press reported. Last June, the actor revealed her cancer had spread to her brain and in November, to her bones.

Her publicist, Leslie Sloane, announced the news in a statement to People magazine.

“It is with a heavy heart that I confirm the passing of actress Shannen Doherty,” Sloane said.

“On Saturday, July 13, she lost her battle with cancer after many years of fighting the disease,” Sloane continued. “The devoted daughter, sister, aunt and friend was surrounded by her loved ones as well as her dog, Bowie. The family asks for their privacy at this time so they can grieve in peace.”

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The “90210” star first went public with her breast cancer diagnosis in 2015, when she filed a lawsuit against her former management firm for breach of contract and negligence. She stated that the firm had let her health insurance lapse in 2014 and that she couldn’t re-enroll in insurance benefits until 2015.

By March 2015, doctors discovered “invasive breast cancer metastatic to at least one lymph node,” which she said had the chance to spread while she was unable to visit a doctor due to the insurance lapse.

In 2017, the actor shared in an emotional Instagram post that the disease had gone into remission. “As every single one of my fellow cancer family knows, the next five years is crucial. Reoccurrences happen all the time. … So with a heart that is certainly lighter, I wait.”

Four years after Doherty’s initial diagnosis, while shooting Fox’s revival of “Beverly Hills, 90210,” she was diagnosed with Stage 4 breast cancer but kept it quiet for nearly a year.

“My cancer came back,” Doherty revealed on “Good Morning America” in February 2020. “It’s a bitter pill to swallow in a lot of ways. There are days where I say, why me? And then I go, well, why not me? Who else besides me deserves this? None of us do.”

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In June 2023, the actor shared an intimate look at the reality of cancer in a video taken at Cedars-Sinai Medical Center in Los Angeles. A crying Doherty wore a radiotherapy mask as she underwent her first radiation treatment, revealing that the cancer had spread to her brain.

“My fear is obvious. I am extremely claustrophobic and there was a lot going on in my life,” she captioned the video. “This is what cancer can look like.”

By November 2023, Doherty revealed that the cancer had spread to her bones. “I don’t want to die,” she told People four days before Thanksgiving. “I’m not done with living. I’m not done with loving. I’m not done with creating. I’m not done with hopefully changing things for the better. I’m just not — I’m not done.”

Doherty was born into a Southern Baptist family in Memphis, Tenn., on April 12, 1971, the youngest of Tom and Rosa Doherty’s two children. Her family moved to the affluent Palos Verdes Peninsula in Los Angeles County when she was 6, but Doherty credited her early-onset self-assurance to gender disparities she witnessed in the South during the 1970s.

“I saw how women were treated,” she told People in 1992. “And I wasn’t going to be treated like that.”

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With the family settled on the West Coast, Doherty performed in a church play at age 10 — and in an only-in-L.A. moment, a Hollywood agent attended that play (he was a friend of the director). He saw potential in the young Doherty. Within weeks, she made her commercial debut for a telephone company.

“My parents weren’t very enthusiastic about me going into show business, but I was,” Doherty told the Orange County Register in 1995.

She landed her first major role at 11, when Michael Landon hired her to play the courageous and spirited Jenny Wilder on “Little House on the Prairie.” “That show changed my life,” Doherty told the outlet, adding that Landon advised her at the time never to let anyone walk all over her, and to be a strong woman.

Shannen Doherty starred as Heather Duke in the 1988 movie “Heathers.”

(Archive Photos / Getty Images)

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As she entered her teen years, Doherty’s raven locks and casual moxie made her an easy choice for “bad girl”-type roles, such as Heather Duke — her first major film role, in the 1988 dark comedy “Heathers.” But it was her portrayal of the fiercely driven Beverly Hills transplant Brenda Walsh on Aaron Spelling’s pop-culture phenomenon “Beverly Hills, 90210” that catapulted her to stardom.

At a time when programming aimed at the teen demographic was relatively wholesome and uncontroversial, the Fox series about privileged young people living in one of the country’s most expensive ZIP codes was laying the foundation for the teen drama genre as we now know it, with its then-revolutionary exploration of the social and sexual drama of high school life. It would go on to air for 10 seasons and spawn the successful spinoff “Melrose Place,” the CW reboot “90210” and, later, a 2019 meta revival, “BH90210,” featuring most of the cast playing heightened versions of their real-life personas as they work to get a reboot of the prime-time soap off the ground.

But it’s hard to overstate the very ’90s fan mania that surrounded the series in its early years, and how it shaped the way Doherty navigated her considerable fame. The angsty teen drama starred Doherty alongside Tori Spelling, Jason Priestley, Luke Perry, Brian Austin Green, Jennie Garth, Gabrielle Carteris and Ian Ziering. The cast of worship-ready teen idols and Doherty, in particular, were plum targets for tabloid fodder.

“The teen heartthrobs of Fox’s ‘Beverly Hills, 90210’ … garnered the biggest cheers and screams from the teen fans who lined the streets,” The Times said in a 1991 Emmys red carpet story. “Jason Priestley and Shannen Doherty … arrived together hand in hand and were attacked en masse by the photographers, as was their costar Luke Perry.”

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The cast of 90210 teen soap stars piled on the floor smiling.

Clockwise from top right: “90210” stars Luke Perry, Shannen Doherty, Jason Priestley, Gabrielle Carteris, Tori Spelling, Brian Austin Green, Jennie Garth and Ian Ziering.

(Fox Broadcasting Co.)

But while her TV character was dealing with issues like having sex for the first time and failing driver’s ed, Doherty was earning an off-camera reputation as a reckless party girl, spending late hours with co-star Tori Spelling at clubs including Hollywood’s since-closed Roxbury. She butted heads on the set with co-star Jennie Garth, who later in life would remain her friend.

“Out of control!” screamed the headline on the cover of People magazine in June 1993, teasing to a Doherty story inside.

“Since debuting on ‘90210’ in 1990, Doherty has left a trail of bad debts, trashed homes, exhausted friendships and wasted relationships,” the story said. “When challenged, say several people who know her, she is likely to respond with a menacing, ‘You don’t know who you’re f—ing with!’ ”

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In her early 20s and at the height of newfound fame, Doherty’s romantic flings and flops played out in the tabloids too. In early 1993, she was briefly engaged to cosmetics heir Dean Jay Factor before a messy publicized split months later. In October of the same year, she tied the knot with Ashley Hamilton, the son of actor George Hamilton, after knowing him for a few weeks. They divorced six months later.

But the people who worked closely with the “90210” star dismissed the noise and sang the actor’s praises. Priestley, who played Doherty’s twin brother, Brandon, told People in 1992 that all the stories about his castmate were grossly exaggerated. “She’s a very intelligent young woman who isn’t afraid to speak her mind,” he said.

Aaron Spelling described her to the outlet as “the best young actress I’ve seen in a long time,” adding that she was an honest person who wore her emotions on her sleeve. “If you ask her a direct question, she’ll give you a direct answer.”

And her co-star Tori Spelling, who portrayed Donna Martin on the soap, echoed her father’s sentiments but noted that Doherty’s reputation “hurts her feelings a bit.”

Doherty left “90210” in 1994 amid rumors of an acrimonious fallout with executive producer Spelling, but like many of the other assertions about the star, Spelling insisted they weren’t true and hired her to star as a benevolent witch in the CW supernatural series “Charmed” four years later.

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“I tell ya the truth, all those stories about Shannen were so overblown,” Spelling told The Times in 1998. “Was she late on the set a couple of times? Sure, but who isn’t? Shannen was not fired from ‘90210.’ She had received some TV movie offers, and we sat down and talked about it, and she made the decision. If I had a problem with her, why would I hire her for ‘Charmed’?”

Alyssa Milano, Holly Marie Combs, Shannen Doherty pose.

Alyssa Milano, Holly Marie Combs, Shannen Doherty from the TV show “Charmed” in 1999.

(Getty Images / Getty Images)

Doherty played Prue Halliwell from 1998 to 2001, with Alyssa Milano and Holly Marie Combs co-starring on the sister-witches show that ran into 2006. Doherty’s character was killed off at the end of Season 3, again amid rumors of bad blood on the set.

“There was too much drama on the set and not enough passion for the work,” she told “Entertainment Tonight” after leaving the show.

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Doherty appeared on the cover of Playboy magazine’s March 1994 issue and, again, almost a decade later in December 2003. By then she described her life as much more subdued. She became an avid animal rights activist and a valued supporter of the Sea Shepherd Conservation Society. She relished being a homebody, had a penchant for interior design and spent time horseback riding. She also continued to star in various television and film projects.

“I wish I had conducted myself better on occasion and been more private, but I would rather live my life to the fullest than constantly conduct myself in a certain way to gain approval from others,” she told Playboy in 2003. “I’ve always been outspoken about my opinions, and there’s something to be said for having the courage to just live your life. I have regrets but no apologies.”

The “Charmed” star went on to marry professional poker player Rick Salomon in 2002, but the marriage was annulled nine months later. On Oct. 15, 2011, she married celebrity photographer Kurt Iswarienko in a lavish Malibu ceremony. After 11 years of marriage, and several years into her cancer battles, they announced their divorce in 2023.

Five years after she was first diagnosed with breast cancer, Doherty reflected on her ongoing battle and strength of spirit.

“I try to treasure all the small moments that most people don’t really see or take for granted,” Doherty said in the October 2020 issue of Elle. “The small things are magnified for me. We have this endless well within us, and it’s just about continuing to dig in that well for the strength to face adversity — and so that we can also see all the beauty.”

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Doherty is survived by her mother, Rosa Doherty, and older brother, Sean Doherty.

Movie Reviews

Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

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Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)

THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.

Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.

With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.

Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.

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There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.

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These 3 Disney movie songs, animated with sign language, are headed to Disney+

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These 3 Disney movie songs, animated with sign language, are headed to Disney+

New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.

Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.

Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.

“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”

Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.

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Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”

“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”

Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.

“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”

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Maxime Giroux – ‘In Cold Light’ movie review

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Maxime Giroux – ‘In Cold Light’ movie review

Maxime Giroux – ‘In Cold Light’

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The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.

The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character. 

Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films. 

Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.

Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter. 

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As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.

The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents. 

The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness. 

The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.

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