Model of Good Health
Kate Moss has always been hip; now she has hips. Fashion’s most famous waif, who departed a London rehab clinic a month ago, startled the crowd at a Donatella Versace show in Milan on Jan. 9 when she wore a nearly transparent lace creation revealing—gasp!—a figure. Fashion writers speculated that Moss, 25, put on the few needed pounds at the Priory clinic, where she underwent a month-long treatment for acute supermodelitis (symptoms include exhaustion brought on by bright lights, late nights, long flights) and accidentally set her room on fire with a candle used in meditation sessions. The Milan gig, in which Moss posed as a sexy rock fan with fellow supermodel Naomi Campbell, produced one other sign of maturity: Her hair, once dyed a color described variously as shocking pink or tomato-soup red during a modeling engagement last year, returned to a more natural brown in Italy.
Not Going to make it After All
After months of trying, ABC drops plan to reunite Mary and Rhoda
Whatever parts of the world Mary Tyler Moore can turn on with her smile, they don’t include the executive suites of ABC television. “This was one of those cases where the stars didn’t line up correctly,” ABC Entertainment President Jamie Tarses told reporters on Jan. 12 after the network passed on plans for an updated sequel to the legendary 1970s sitcom The Mary Tyler Moore Show. The reference was to celestial bodies, not Moore and costar Valerie Harper, who now plan to take the idea to a television producers’ convention later this month and see if it flies. “We hope to make another deal,” Tony Cacciotti, Harper’s manager-husband, says. “The show is not dead yet, not by any means.”
Anticipation was high when Moore signed on to a new comedy in the fall of 1997. “I’ve been so anxious to do it,” she told PEOPLE last month, “because I know it could be a really innovative series. You take personalities that you have known for a long time and see them 25 years later and trek with them through the ’90s and the millennium.” Personalities, indeed. In 168 episodes airing on CBS between 1970 and 1977, Moore’s alter ego Mary Richards served as a cultural role model, evolving from a naive TV-newsroom neophyte to a smart, savvy producer with charm to spare. The rest of the cast—feisty neighbor Rhoda Morgenstern (Harper), gruff boss Lou Grant (Ed Asner) and coworkers Murray Slaughter (Gavin MacLeod) and Ted Baxter (Ted Knight)—defined television ensemble comedy.
The new series would have reunited Mary and Rhoda as mothers of 20-year-old daughters. The twist: Mary’s daughter had Rhoda’s name, and Rhoda’s had Mary’s. It didn’t work; plans for a fall 1998 debut were pushed back, then postponed. Among the writers onboard early was Tom Fontana, known for the gritty crime dramas Homicide: Life on the Streets and Oz. “I was the worst possible person to do it,” the writer told ENTERTAINMENT WEEKLY, “unless she wanted Mary to have been a heroin addict for the last 20 years—that I could do.” Moore reportedly sought help from writers for Frasier, Seinfeld and Friends, but ABC decided not to wait. “Valerie and Mary were happy with a script,” said one insider. “It was clearly ABC that was the nervous Nellie on it.”
Diana’s Death: Fixing Blame
French sources now say that magistrate Hervé Stéphan—who has been investigating the Aug. 31, 1997, car crash that killed Princess Diana—may finally turn over his findings to prosecutors as early as March. They in turn will determine if charges should be filed against the paparazzi who chased Diana’s party into a Paris tunnel, or if driver Henri Paul’s erratic behavior behind the wheel caused the accident. One recent British press report—dubbed premature by French authorities—claimed that two or three photographers would be charged only with failing to assist persons in danger and obstructing emergency services, and most of the blame for the tragedy would fall on Paul. “If you’re going to fix responsibility,” says Thomas Sancton, coauthor of Death of a Princess, “Henri Paul is so glaringly obvious: a drunk on drugs, driving a limousine that he was not licensed to drive, losing control at high speed.” Judge Stéphan has investigated all possible causes, including conspiracy theories, Sancton adds. Even with the investigation’s conclusion, civil cases stemming from the incident are expected to drag on for years.
A possible six-month jail sentence for breaking into Brad Pitt‘s Hollywood Hills home on Jan. 7 didn’t seem to bother Athena Marie Rolando, 19, who smiled at reporters following a court hearing and called her intrusion a “mystical thing.” The negligee-wearing Rolando, an aspiring actress from Montana, got into the star’s house by hopping over a fence and climbing through an open window. “She might have had romantic inclinations towards him,” noted the LAPD’s Anthony Alba, “but she’s not alone.”
ON THE BLOCK
It seems Ellen DeGeneres and Anne Heche were serious when they said last December they were sick of Hollywood and planning to get out of town for a while. The pair’s three-bedroom Spanish-style house in L.A.’s Hancock Park is on the market for $3.5 million. Remodeled and occupied by the couple for less than a year, the 5,000-square-foot house, built in the mid-1920s, was designed by the same team that created Hollywood’s Mann’s Chinese Theatre. It comes with three baths, three fireplaces and three walk-in closets in the master suite. There are also a pool and walled gardens outside. Realtor Barry Sloane, the listing agent, likens the property to “one of the great houses of Tangiers.”
Navigating Hollywood by Starlight
Reduce the magic of the movies to a mathematical formula and what do you get? Michelle Pfeiffer as the most bankable star at the box office, followed by Sandra Bullock and Tom Cruise. So claims a new 56-page study—complete with highfalutin terms like “infinite variance”—by two college economics teachers. And please don’t call them nutty professors. (Eddie Murphy ranked 18th, by the way.) Arthur De Vany of the University of California, Irvine, and W. David Walls of the University of Hong Kong analyzed more than 2,000 films released between 1984 and 1996 to determine which actors, directors and producers had a noticeable effect on the probability that a film would gross $50 million or more. Only 19 made the grade—usually because their names ensured a long run in the theaters. Jim Carrey, Jodie Foster, Brad Pitt, Steven Spielberg, Oliver Stone, John Travolta and Kevin Costner rounded out the Top 10, while Tom Hanks, Cher, Harrison Ford, Michael Douglas, Robin Williams, Clint East-wood, Mel Gibson, Murphy and Arnold Schwarzenegger ranked 11 to 19. Still, the profs say their research is no recipe for success. “What counts,” De Vany says, “is whether the audience loves the movie.”
ON THE TOWN
“It’s kind of funny to win something you didn’t buy a chance on,” Bill Murray cracked before a celeb-saturated crowd at the New York Film Critics Circle Awards, after winning a best-supporting award for his role in Rushmore. A giddy and “terrified” Cameron Diaz (There’s Something About Mary) joked that she built a mantel to hold her best-actress award “because I don’t have a fireplace.” More seriously, Nick Nolte noted, “the films that we really love to do as artists” are small projects like Affliction, which earned him the best-actor award and a hug from girlfriend Vicki Lewis. Other winners included best-supporting actress Lisa Kudrow (The Opposite of Sex) and director Steven Spielberg, whose Saving Private Ryan was named best picture. “I now understand,” he said of making the war saga, “what my dad went through.”