Lifestyle
John Amos, star of TV's 'Good Times' and 'Roots,' dies at 84
LOS ANGELES — John Amos, who starred as the family patriarch on the hit 1970s sitcom “Good Times” and earned an Emmy nomination for his role in the seminal 1977 miniseries “Roots,” has died. He was 84.
Amos’ publicist, Belinda Foster, confirmed the news of his death Tuesday. No other details were immediately available.
He played James Evans Sr. on “Good Times,” which featured one of television’s first Black two-parent families. Produced by Norman Lear and co-created by actor Mike Evans, who co-starred on “All in the Family” and “The Jeffersons,” it ran from 1974-79 on CBS.
“That show was the closest depiction in reality to life as an African American family living in those circumstances as it could be,” Amos told Time magazine in 2021.
His character, along with wife Florida, played by Esther Rolle, originated on another Lear show, “Maude.” James Evans often worked two manual labor jobs to support his family that included three children, with Jimmie Walker becoming a breakout star as oldest son J.J.
Such was the show’s impact that Alicia Keys, Rick Ross, the Wu-Tang Clan are among the musicians who name-checked Amos or his character in their lyrics.
Amos and Rolle were eager to portray a positive image of a Black family, struggling against the odds in a public housing project in Chicago. But they grew frustrated at seeing Walker’s character being made foolish and his role expanded.
“The fact is that Esther’s criticism, and also that of John and others — some of it very pointed and personal — seriously damaged my appeal in the Black community,” Walker wrote in his 2012 memoir “Dyn-O-Mite! Good Times, Bad Times, Our Times.”
Amos criticized “Good Times” storylines as inauthentic
After three seasons of critical acclaim and high ratings, Amos was fired. He had become critical of the show’s white writing staff creating storylines that he felt were inauthentic to the Black characters.
“There were several examples where I said, ‘No, you don’t do these things. It’s anathema to Black society. I’ll be the expert on that, if you don’t mind,‘” he told Time magazine. “And it got confrontational and heated enough that ultimately my being killed off the show was the best solution for everybody concerned, myself included.”
Amos’ character was killed in a car accident. Walker lamented the situation. “If the decision had been up to me, I would have preferred that John stay and the show remain more of an ensemble,” he wrote in his memoir. “Nobody wanted me up front all the time, including me.”
Amos and Lear later reconciled and they shared a hug at a “Good Times” live TV reunion special in 2019.
“A life-changing role” in “Roots”
Amos quickly bounced back, landing the role of an adult Kunta Kinte, the centerpiece of “Roots,” based on Alex Haley’s novel set during and after the era of slavery in the U.S. The miniseries was a critical and ratings blockbuster, and Amos earned one of its 37 Emmy nominations.
“I knew that it was a life-changing role for me, as an actor and just from a humanistic standpoint,” he told Time magazine. “It was the culmination of all of the misconceptions and stereotypical roles that I had lived and seen being offered to me. It was like a reward for having suffered those indignities.”
Born John Allen Amos Jr. on Dec. 27, 1939, in Newark, New Jersey, he was the son of an auto mechanic. He graduated from Colorado State University with a sociology degree and played on the school’s football team.
Before pursuing acting, he moved to New York and was a social worker at the Vera Institute of Justice, working with defendants at the Brooklyn House of Detention.
He had a brief professional football career, playing in various minor leagues. He signed a free-agent contract in 1967 with the Kansas City Chiefs, but coach Hank Stram encouraged Amos to pursue his interest in writing instead. He had jobs as an advertising and comedy writer before moving in front of the camera.
Amos’ first major TV role was as Gordy Howard, the weatherman on “The Mary Tyler Moore Show” from 1970-73. As the show’s only Black character, he played straight man to bombastic anchor Ted Baxter.
Among Amos’ film credits were “Let’s Do It Again” with Bill Cosby and Sidney Poitier, “Coming to America” with Eddie Murphy and its 2021 sequel, “Die Hard 2,” “Madea’s Witness Protection” and “Uncut Gems” with Adam Sandler. He was in Ice Cube and Dr. Dre’s 1994 video “Natural Born Killaz.”
He was a frequent guest star on “The West Wing,” and his other TV appearances included “Hunter,” “The District,” “Men in Trees,” “All About the Andersons,” “Two and a Half Men,” and “The Ranch.”
In 2020, Amos was inducted into the New Jersey Hall of Fame. He served in the New Jersey National Guard.
Lifestyle
Brad Pitt and George Clooney are perfectly cast as two old pros in 'Wolfs'
For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.
That’s where you’ll find Wolfs, an AppleTV+ vehicle that features George Clooney and Brad Pitt skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do anything to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular Spider-Man reboot), Wolfs matters more for its stars than for the characters they play.
The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.
The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.
All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.
If I’d paid to see Wolfs in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or Quentin Tarantino, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s Mikey and Nicky, say, or Martin McDonagh’s In Bruges.
And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.
Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like Out of Sight, Up in the Air and his work with the Coen Brothers. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think Ocean’s Eleven — they rarely resonate in the culture as much as he does off the screen.
For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From Thelma & Louise and Se7en, to Fight Club and The Tree of Life, to 12 Years a Slave and Moneyball and Once Upon a Time in … Hollywood, he’s made movies that feel in touch with our present moment.
What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though Wolfs is slight, I can see how they might find it meaningful.
After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, Wolfs isn’t really a film about being a fixer. It’s a film about being an aging movie star.
Lifestyle
Bigfoot Expert Says Knuckleheads' Pranks Help Spread True Curiosity
Bigfoot is buzzing again after a TikTok went viral this week, with non-believers pointing and laughing … but one Ph.D. expert on the subject tells TMZ the joke is on them.
Here’s the deal … on Thursday, an apparent Bigfoot made its TikTok debut … recorded just chilling against a tree in a wooded area of Lawton, about 3 hours from Oklahoma City. It was quickly dismissed as an obvious fake — but it also piqued some legit new interest!
TMZ.com
Dr. Jeffrey Meldrum, a professor of anatomy and anthropology at Idaho State University, tells TMZ Bigfoot finding such a popular foothold in pop culture is a double-edged sword … ’cause it does poke fun at those who truly are investigating its existence … but the silliness also encourages more people to ask questions.
The author of “Sasquatch: Legend Meets Science” says the existence of a Bigfoot creature is “one of the most interesting questions facing researchers of human evolution” … so there’s a lot more to this than just selling beef jerky, and stooges trying to get clicks.
TMZ.com
Dr. JM says he has “hundreds” of legit foot casts of sasquatch and other relict hominoids from around the world … so he is quite confident something was — and may still be — out there.
It is easy for skeptics to point to prank videos like the recent one, and to snack commercials, to mock the idea … but if people look at the actual evidence, their tune would change pretty quickly.
Tik Tok/@e_man580
Of course … he points out discoveries of actual evidence rarely make news … people acting like boobs with fake videos are more fun for the media to cover.
As for the popularity of Bigfoot over other mysterious creatures … Dr. Meldrum tells us that is born out of nationalism. The term “Bigfoot” was coined in the U.S. in 1948, and it became “our monster” … and from there, creatives ran with the idea for sci-fi.
One thing’s for sure — if the experts are correct, “Harry and the Hendersons” might turn out to be a documentary.
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