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Ian Ziering was involved in an apparent road scuffle with multiple bikers in Los Angeles on New Year’s Eve


In a video obtained by TMZ, the former Beverly Hills, 90210 star seemed to be surrounded by a group of people riding mini-bikes on Hollywood Blvd. Ziering, 59, then got out of his vehicle and appeared to get into a physical altercation with one of them.

Soon after the two started fighting, other bikers circled back and surrounded the actor as they all started attacking him. The Sharknado actor then appeared to run away from the group as he tried to cross to the other side of the roadway.

Per the TMZ clip, he was chased by the group and apparently grabbed by the shirt, pushed into another vehicle and struck more than once.The Los Angeles Police Department confirmed to CW affiliate KTLA that officers responded to the area at Hollywood Blvd and Highland Ave. around 3 p.m. on Sunday following “reports of a fight that broke out after the group of bikers were driving recklessly.”

The incident remains under investigation, per the outlet.
The LAPD and reps for Ziering did not immediately respond to PEOPLE’s requests for comment on Monday. The actor has yet to post about the incident on his Instagram account at the time of publication.
TMZ reported that the actor was listed as a victim in an official report, and that as of 6 p.m. PT Sunday, police had not made any arrests.
In another video released by the outlet, Ziering appeared to be comforting his daughter, Mia, 12, who looked like she was upset by the incident involving her father and the group of riders.According to TMZ, “Ian and Mia seem physically fine.”
In March 2023, at 90s Con in Connecticut, Ziering opened up about his career during a 90210 panel moderated by PEOPLE’s Andrea Lavinthal. As he shared at the time, the actor almost had a future in reality TV.“Shortly after [Beverly Hills, 90210] went off the air, Missy Halperin, who we all know [in casting], said, ‘Ian, would you ever consider hosting a reality show?’ And I’m like, ‘No. I’m an actor.’ That reality show was American Idol,” Ziering said.
“Not that it was an offer,” he added. “But would I consider my name being thrown in a hat.”
Still, he joked that he “would have been horrible” and instead has his eyes on The Price Is Right.
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A great actor, a vagabond in a great movie…Lee Marvin


The best of those studio directors who, more or less the same age as Orson Welles, began working in movies within a decade of “Citizen Kane” (1941) represent Hollywood’s “greatest generation.” Survivors of the Great Depression and often veterans of World War II, they fought the good war against assembly-line filmmaking. Robert Aldrich (1918-83) and Nicholas Ray (1911-79) were two.

Both men specialized in unconventional genre movies with larger-than-life antiheroes. Their vigorous melodramas and baroque action films were often self-consciously American. Like other members of the greatest generation, they were influenced by Ernest Hemingway’s emphasis on rites of midcentury existential manliness — although Aldrich’s “Emperor of the North” (1973), out on Blu-ray from Twilight Time, was inspired by the writing of and about Jack London, Hemingway’s precursor in literary swagger.

One of the strongest movies of Aldrich’s late career, “Emperor of the North” (a project originally intended for the mad macho man Sam Peckinpah) concerns the near-cosmic struggle between a laconic super-hobo known as A-No. 1 (Lee Marvin) and an implacably sadistic railroad employee (Ernest Borgnine) called simply the Shack, hobo slang for brakeman. The Shack is a killer who has never allowed a vagrant aboard his train; the ’bo who gets by him will be crowned Emperor of the North Pole, a pointedly meaningless honor that gave the movie its original title.

“The Road,” London’s memoir of riding the rails, was a tale of the 1890s; Christopher Knopf’s screenplay updates the action to 1933. The movie’s tone is post-“Bonnie and Clyde” Hollywood new wave, a scenic outlaw ballad mixing instances of extreme violence with ragtime high jinks. Lyrical passages with the sunlight streaming through the boxcar slats slam up against brawny Soviet-style montages of steel and steam. There are flickers of soft-focus period nostalgia, but the movie’s anti-authoritarianism is as resolute as the snub nose on Marvin’s fist-like face.
“Emperor of the North” opened a year after Martin Scorsese’s underappreciated “Boxcar Bertha” starred Barbara Hershey as a rail-riding union organizer. But Aldrich’s movie — a briefly glimpsed and appropriately hard-boiled young woman aside — plays out in an almost exclusively male world. Romantic interest, such as it is, is provided by a good-looking, aggressively callow aspiring hobo (Keith Carradine) named Cigaret (after London’s on-the-road nom de guerre), who functions as A-No. 1’s unwilling sidekick and pesky nemesis.
A-No. 1 is a canny operator, and so is Aldrich, who manages to spin a yarn at once discursive and streamlined. The action, filmed in and around Cottage Grove, Ore., on the same stretch of tracks as Buster Keaton’s “The General,” never leaves the sylvan Northwest. The ultimate battle, waged with chains, planks and axes between two primeval forces atop a speeding train, caps what finally comes to seem an abstract contest in time and space — a he-man illustration of the Johnny Mercer song “Something’s Gotta Give.”
“Wind Across the Everglades” (1958), directed by Ray from a screenplay by Budd Schulberg, a writer in the Hemingway mode, is another atmospheric, location-rich action film.
Set in the Florida Everglades in the early 1900s, the movie, out on DVD from Warner Archive, pivots on the mortal combat between two equally determined men. That this struggle pits Burl Ives’s brutal swamp rat, a poacher known as Cottonmouth (for the pet water moccasin in his pocket), against Christopher Plummer’s dedicated game warden, mockingly called Bird Boy, provides a backbeat of absurdity.
The movie’s tough-guy writer (brother to the producer Stuart Schulberg) and its bad-boy director were fiercely at odds. Fired before “Wind” wrapped, Ray rarely spoke of the film; Schulberg published his script but regarded the movie as a cobbled-together disaster. Yet in faraway France, the young critics of Cahiers du Cinéma saw “Wind” as additional proof of the director’s genius.
The war between Cottonmouth and Bird Boy (and perhaps Schulberg and Ray) makes for a compelling, occasionally brilliant mess. No one’s idea of an auteurist, the New York Times critic Bosley Crowther wrote that while “Wind” “happens to be one of the most disordered professional motion pictures we’ve ever seen, it also happens to be unusual, robust and picturesque.” Not to mention deeply and perhaps unintentionally idiosyncratic.
The surrealism is heightened both by inserted wildlife footage worthy of the National Geographic Channel and the lacunae left by truncated subplots. Bird Boy gets moral support and a Star of David pendant from a family of Jewish immigrants whose back story is never fully explained. Similarly, the absence of scenes identifying Cottonmouth’s teenage protégé as his son suggests that the boy may be his paramour, adding a possible subtext to the swamp rat brotherhood. Aside from a brief scene in a bordello (run by the retired stripper GypsyRose Lee), there is little preparation for the drunken face-off between Bird Boy and Cottonmouth, which ends with the all-American declaration “Here’s to livin’ free!”
Creepy reptiles share screen space with colorful supporting players. Schulberg may have been responsible for packing Cottonmouth’s gang with the circus clown Emmett Kelly, the jockey Sammy Renick and the heavyweight boxer Tony Galento, as well as casting the Pulitzer Prize-winning writer MacKinlay Kantor as a local judge, although Ray, who once programmed folk singers (including Ives) for the Voice of America, was more likely responsible for recruiting the Florida R&B artist Rufus Beacham (uncredited) as a fancy-house piano player.
Neither “Emperor of the North” nor “Wind Across the Everglades” is “Citizen Kane” (or even Welles’s last studio film, “Touch of Evil”). But both attest to a time when Hollywood often produced unheralded, offbeat, personal works of art.
‘Emperor of the North’ and ‘Wind Across the Everglades’: Fighters in Nature and Showbiz
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JEFF BRIDGES: I was kind of surrendering to the idea that I might die,” Bridges said of his illnesses


JEFF BRIDGES REFLECTS ON CANCER DIAGNOSIS: ‘CAME PRETTY CLOSE TO DYING’

Over three years after his lymphoma diagnosis, Jeff Bridges reflected on a harrowing set of circumstances that left him on death’s door.

“It’s amazing the way the mind can forget all that stuff,” the 74-year-old actor told Page Six. “I don’t think too much about the past.”

Bridges revealed that during one of his bouts of chemo, he ended up contracting COVID, leaving him hospitalized for five months with extreme pain and very little hope.
“I was pretty close to dying. The doctors kept telling me, ‘Jeff, you’ve got to fight. You’re not fighting,’” he told People in May 2022. “I was in surrender mode. I was ready to go. I was dancing with my mortality.”
“I had no defenses,” he added. “That’s what chemo does—it strips you of all your immune system. I had nothing to fight it. COVID made my cancer look like nothing.”
Thankfully, the chemo session before contracting COVID was his last one, and he was able to go into remission while beginning this new fight. This allowed his body to fully focus on recovering, and with help from a procedure that used blood from other patients who had already beaten the disease, Bridges was finally able to make progress.
Over three years later, the actor is now “feeling” great and fully back into the swing of things, returning to film his upcoming show THE OLD MAN. It was while he was filming this show originally that he discovered he had lymphoma.
“I was doing those fight scenes for the first episode of THE OLD MAN and didn’t know that I had a 9-by-12-inch tumor in my body,” he told AARP Magazine. “You’d think that would have hurt or something, when they were punching me and stuff. It didn’t.”
Jeff Bridges recently walked the red carpet for the premier of his FX show THE OLD MAN, and fans were overjoyed to see the actor back after a series of health struggles.
While filming the show, doctors diagnosed Bridges with Non-Hodgkin’s lymphoma. The actor underwent chemotherapy, and during treatment, contracted COVID-19.
“I was kind of surrendering to the idea that I might die,” Bridges said of his illnesses. “That this might be the end of the race kind of thing, because that’s what’s going to happen to all of us at some point and maybe this was my time to go through that and I didn’t know.”
However, Bridges began to recover. The TRUE GRIT actor said that he realized that he still wanted to fight to stay alive.

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Alba will star in the lead role of Parker, who is the Special Forces commando


Netflix, Jessica Alba Team Up For Her First Movie In Five Years

Jessica Alba is coming to Netflix five years after her last feature film.

The streamer announced in a post on X this week that Alba will star in the Netflix original film Trigger Warning, which will debut on June 21.

The official description of Trigger Warning is as follows: “When a skilled Special Forces commando returns home to take over her family’s bar, she soon finds herself at odds with a violent gang running rampant in her hometown.”
Alba will star in the lead role of Parker, who is the Special Forces commando. Netflix also announced that Mark Webber, Tone Bell, Jake Weary, Gabriel Basso and Anthony Michael Hall are also starring in the film.
Trigger Warning is directed by Mouly Surya.
Alba’s last film appearance came in the 2019 crime mystery Killers Anonymous, which also starred Tommy Flanagan, Gary Oldman and Suki Waterhouse.
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