Riley Keough Felt a Duty to Finish Lisa Marie Presley’s Book on Elvis, Grief, Addiction and Love

Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
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Riley Keough Felt a Duty to Finish Lisa Marie Presley’s Book on Elvis, Grief, Addiction and Love

Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)

Riley Keough was quick to agree to help complete her mother’s memoir. She thought they’d write it together, reflecting on her extraordinary upbringing and life, but it became a much greater responsibility after Lisa Marie Presley's sudden death in 2023.

Finishing the task her mother — the only child of Elvis and Priscilla Presley and a recording artist in her own right — had started years earlier elicited "all kinds of emotions," Keough said in an interview with The Associated Press ahead of the book’s release Tuesday.

"It just felt like a kind of a duty that I had to complete for her," Keough said. "I’m just happy that it’s done and that it’ll be in the world and there for people to read."

"From Here to the Great Unknown" is named in a nod to the moving lyrics of Presley’s "Where No One Stands Alone," a song Lisa Marie recorded as a duet with her father over 50 years after he first released it and over 40 years after his death.

The book touches on themes of "love and loss and grief and mothers and daughters and addiction," Keough said, adding it was conceived as a way for Lisa Marie to tell her story in her own words and connect with others.

Much of the book is indeed in Lisa Marie’s words, as Keough faithfully listened to recordings of her mother recounting memories and experiences both big and small. Lisa Marie wrote openly about the day her father died, her relationship with her mother, her marriage to Michael Jackson, her struggles with addiction and her son Benjamin’s death in 2020, among many other parts of her life.

Although Lisa Marie's life had been tabloid fodder since days after her birth, her memoir details intimate moments at Graceland, including how she feared for Presley's health as a young girl. In the chapter titled "He's Gone," she wrote that as a child, she often worried about her father dying and even wrote a poem with the line "I hope my daddy doesn't die."

She also wrote that Graceland became a "free-for-all" the day of Presley's death in 1977, with those at the house taking jewelry and personal items "before he was even pronounced dead."

Lisa Marie's frank writing extends into the section focused on her headline-making marriage to Jackson from 1994 to 1996. She wrote that Jackson confessed his love for her while she was still married to Keough, and that him wanting to have children with her, along with his increasing reliance on prescription medications, is what fractured their relationship.

Keough said hearing her mother’s voice in the recordings was at times "heartbreaking," but she enjoyed listening to happy memories, like how her parents met and fell in love. Keough is one of two children Lisa Marie had with her first husband, musician Danny Keough, along with their late son Benjamin.

"It makes me want to tell everyone to talk to their parents and record them telling all the stories about how they met and all these things because it’s just very cool to have," she said.

Keough’s role was to fill in parts of Lisa Marie’s story that she hadn’t gotten to before her death in January 2023 from a small bowel obstruction caused by bariatric surgery she had years prior. Some of those gaps included lighter moments and happy memories from her mother’s adult life.

"Until my mom’s addiction, really, which was when I was 25, I think we would all say that we had a really beautiful and exceptionally lucky and wonderful life," Keough said. "I wouldn’t define our lives, collectively, as a tragedy. I think that there is so much more."

And while those funnier, lighthearted moments, like Lisa Marie zipping through Graceland on her golf cart and Keough playing hooky from school to hang out with her mother, are detailed throughout the book, Keough said Lisa Marie wanted to write about grief and about the loss of her son.

Writing about her experience grieving her brother and detailing his death by suicide "wasn’t something that came super naturally" to Keough, but she said she knew her mother wouldn’t have shied away from it. Lisa Marie wrote that she wanted to honor her son by sparking frank conversations about suicide, addiction and mental health.

"How do I heal?" Lisa Marie writes in the book. "By helping people."

For Keough, much of her life now has revolved around learning to live with grief and cope with the monumental losses she’s faced.

"My last four years have just been grief, like so much grief. But it’s just something that I walk around with. You just have a broken heart, and that’s just the way it is, and you just learn to live with these holes and the sadness and the pain and the love and the yearning and the missing and the confusion and all of it," Keough said. "It’s very complicated. I think that you just have to try and allow it to be there."

While being the daughter of the King of Rock & Roll and much of Lisa Marie's life consisted of singular experiences, but Keough said all her mother wanted through her memoir to "connect with people on a human level.

"Her goal was to tell her story so that people could relate and feel less alone in the world, which is why I think we tell stories," Keough said. "So, that’s my goal."



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.