She was 72. Margaret Ann "Peggy" Lipton, born August 30, 1946 passed away yesterday.
An American actress and model, Lipton became an overnight success through her best-known role as flower child Julie Barnes in the ABC counterculture television series The Mod Squad (1968–1973) for which she won the Golden Globe Award for Best Actress – Television Series Drama in 1970.
Her fifty-year career in television, film, and on stage included many roles, including Norma Jennings in David Lynch's Twin Peaks. Lipton was formerly married to the musician and producer Quincy Jones and was mother to their two daughters, Rashida Jones and Kidada Jones, who also became actresses.
The highly talented and equally beautiful Taylor Swift released her new single, featuring Brendon Urie of Panic! At The Disco. Filled with colorful special effects in a candy-like Paris, the video already hit more than 60 million views in less than two days.
Watch it below:
Co-directed by Tay-tay and Dave Meyers, the clip's real star may not be the two singers, but a cat! Named Benjamin Button, the cat became adored by many, which led Taylor Swift to post some pictures and videos of little cutie Benjamin on Instagram:
Oh, and should we mention that there is already a controversy about her new hit song? What would be the Internet without controversies, right? According to some, her song sounds a lot like Emeli Sandé's Next To Me song. Decide for yourself:
Johnny Depp is in the midst of a very nasty divorce with actress Amber Heard. After years of allegations firing from both sides, a new claim from Amber Heard is once again putting a dark shadow over Depp's behaviour.
According to her, Johnny Depp tried to convince Warner Bros. to prevent her from playing in the blockbuster film Aquaman.
Heard went on to explain that, when Johnny Depp was drinking alcohol or taking drugs, she would refer to him as "the Monster."
Back in 2015, she even released a video of Depp being under the influence of alcohol:
But what's worse is that both actors are claiming that the other physically abused the other.
In December of 2018, Amber heard wrote an op-ed that was published in The Washington Post. Read it below: I was exposed to abuse at a very young age. I knew certain things early on, without ever having to be told. I knew that men have the power — physically, socially and financially — and that a lot of institutions support that arrangement. I knew this long before I had the words to articulate it, and I bet you learned it young, too.
Like many women, I had been harassed and sexually assaulted by the time I was of college age. But I kept quiet — I did not expect filing complaints to bring justice. And I didn’t see myself as a victim.
Then two years ago, I became a public figure representing domestic abuse, and I felt the full force of our culture’s wrath for women who speak out.
Friends and advisers told me I would never again work as an actress — that I would be blacklisted. A movie I was attached to recast my role. I had just shot a two-year campaign as the face of a global fashion brand, and the company dropped me. Questions arose as to whether I would be able to keep my role of Mera in the movies “Justice League” and “Aquaman.”
I had the rare vantage point of seeing, in real time, how institutions protect men accused of abuse.
Imagine a powerful man as a ship, like the Titanic. That ship is a huge enterprise. When it strikes an iceberg, there are a lot of people on board desperate to patch up holes — not because they believe in or even care about the ship, but because their own fates depend on the enterprise.
In recent years, the #MeToo movement has taught us about how power like this works, not just in Hollywood but in all kinds of institutions — workplaces, places of worship or simply in particular communities. In every walk of life, women are confronting these men who are buoyed by social, economic and cultural power. And these institutions are beginning to change.
We are in a transformative political moment. The president of our country has been accused by more than a dozen women of sexual misconduct, including assault and harassment. Outrage over his statements and behavior has energized a female-led opposition. #MeToo started a conversation about just how profoundly sexual violence affects women in every area of our lives. And last month, more women were elected to Congress than ever in our history, with a mandate to take women’s issues seriously. Women’s rage and determination to end sexual violence are turning into a political force.
We have an opening now to bolster and build institutions protective of women. For starters, Congress can reauthorize and strengthen the Violence Against Women Act. First passed in 1994, the act is one of the most effective pieces of legislation enacted to fight domestic violence and sexual assault. It creates support systems for people who report abuse, and provides funding for rape crisis centers, legal assistance programs and other critical services. It improves responses by law enforcement, and it prohibits discrimination against LGBTQ survivors. Funding for the act expired in September and has only been temporarily extended.
We should continue to fight sexual assault on college campuses, while simultaneously insisting on fair processes for adjudicating complaints. Last month, Education Secretary Betsy DeVos proposed changes to Title IX rules governing the treatment of sexual harassment and assault in schools. While some changes would make the process for handling complaints more fair, others would weaken protections for sexual assault survivors. For example, the new rules would require schools to investigate only the most extreme complaints, and then only when they are made to designated officials. Women on campuses already have trouble coming forward about sexual violence — why would we allow institutions to scale back supports?
I write this as a woman who had to change my phone number weekly because I was getting death threats. For months, I rarely left my apartment, and when I did, I was pursued by camera drones and photographers on foot, on motorcycles and in cars. Tabloid outlets that posted pictures of me spun them in a negative light. I felt as though I was on trial in the court of public opinion — and my life and livelihood depended on myriad judgments far beyond my control.
I want to ensure that women who come forward to talk about violence receive more support. We are electing representatives who know how deeply we care about these issues. We can work together to demand changes to laws and rules and social norms — and to right the imbalances that have shaped our lives.
He would have been 130 today. The genius artist Charles Chaplin was born on April 16, 1889.
Little Charlie's life started in London in deep poverty, with an absent father and a mother struggling to make ends meet and facing serious psychological problems - she ended up in a mental asylum when Charlie was only 14.
Fascinated by the scene, Chaplin went on to sign with a company called Fred Karno, which took him to America, where he discovered the very beginnings of cinema. Starring in some short films, he created the tramp character, which became so wildly popular around the world that he soon started to become the lead character.
Like all geniuses, Chaplin wanted full control and managed every creative facet of the process, which was unknown at the time. In order to completely free himself from studios, he even went on and co-founded in 1919 the film studio United Artists, which still exists today and gave him full control over his films.
Just two years after, the most magnificent part of this career started, with the release of his very first feature-film, The Kid, the story of the tramp taking care of a young poor kid. This was only 1921 and the film still resonates today. Just try watching the end of the film without getting emotional - an impossible challenge on its own.
In 1923, he released A Woman in Paris, a film that is mostly unknown, as it does not feature the tramp character, but contains sublime inventions throughout the film, such as a character waiting at a railway station and seeing the light from the train moving past the character. If you haven't watched it, give it a chance and you will appreciate the journey. And if you look closely, you'll even be able to see very briefly Chaplin in one scene.
After that, the gold era of Chaplin started, with The Gold Rush (1925), The Circus (1928), City Lights (1931) and Modern Times (1936). All classic and cult films, still today.
Unfortunately, life became once again very difficult for Charles Chaplin, both on the artistic front - he did not embrace talking cinema from the beginning, and on the political side - because being admired by so many, he started to become a target.
The rest of his career was quite a struggle, with the release of the groundbreaking The Great Dictator (1940), openly mocking and attacking both Adolf Hitler and Benito Mussolini in the middle of World War II. In this film, the tramp character speaks for the very first time in more than twenty years of films, and no one would have expected the character to be so eloquent. Here is the famous speech:
Even though this film is self-explanatory today, at the time, he was accused of being a communist. In these McCarthyism years of witch-hunt, the FBI started an investigation on him, which forced him to leave the United States.
He still produced the excellent Monsieur Verdoux, released in 1947, as well as Limelight, in 1952. His last two movies were not in the same vein as the others, A King in New York (1957) and A Countess from Hong Kong (1967).
Later in his career, living near the beautiful lake of Geneva, in Switzerland, Chaplin composed some wonderful music to his early movies, making them even more sublime that they already were, crafting a perfect jewel as a true perfectionist.
Because while many remember only the tramp character, few know that Charles Chaplin was an outstanding composer. One of his famous songs were from Modern Times:
Chaplin being a very proud man, the one and only time he came back to the United States was in 1972, to receive a lifetime award at the Oscars, in which he thanked the audience, having no real words, as "words seem so futile."
Indeed, words do seem futile, when put in front of the remarkable achievement from that poor London kid, who traveled the world and became adored by millions. So, instead of ending this article with words, I will let you with the ending scene from City Lights, which needs no word.
Yesterday, we told you about the horrendous reviews and the poor box-office performance of Hellboy. Today, we have some more information to share about Hellboy.
Following the disaster release of the film, actress Milla Jovovich took the stand on social media site Instagram and defended the movie, saying that it is not the first time that she lived bad releases and that lots of those films went on to become cult films.
Here is her message: It’s always stressful on opening weekend and @hellboymovie is no different. You work super hard to make something fun and entertaining and have to absorb the negative reviews by movie critics, but hey! THAT’S SHOWBIZ BABY.😎 All I’m gonna say before going to bed is this: All my raddest films have been slammed by critics. It’s fucking hilarious. Dazed and Confused? Seriously? Classic movie. The Fifth Element! You would have thought that was the worst movie ever made if you read the reviews in like ‘98😂. Zoolander? Slammed. Joan of Arc? Disaster. Resident Evil? Let’s not even go there. Anyway, every one of those films is now a cult classic. EVERY. SINGLE. ONE. And this will be too. Mark my words. Why? 1. Because of the amazing actors. David Harbour. Ian Mcshane. Daniel Dae Kim. Sasha Lane. They are all so damn wonderful and talented, the movie is worth seeing just because they’re in it, especially one that’s so much fun to experience as this is. 2. @mikemignola who created the #Hellboy comics helped write the script and was on set every single day to make this film as close to his vision as possible. 3. It was directed by one of the greats. #NeilMarshall who brought us “The Descent”. One of the greatest horror movies ever. Trust me, you’re gonna have a blast watching the new @hellboymovie. I mean, one critic said “it’s a loud, gory mess only a teenager would love.”😂👍🏼👊🏼HELL yea Hellboy! Let’s have some fun! And with that, I wish you all a good night! Xo m😘
Luc Besson had quite a rough time. First, his studio EuropaCorp went south, then, he has been accused of sexual assaults by multiple women. Now cleaned from these allegations, the French filmmaker hopes to regain success with the release of his latest film, Anna.
While the trailer was supposed to be released much earlier, the sexual misconducts allegations paused its release. Finally, fans of the cult director from The Big Blue, The Fifth Element and Léon: The Professional can experience the trailer, which has just been released.
Watch it below and tell us what you think:
Here is the summary of the film: Beneath Anna Poliatova’s striking beauty lies a secret that will unleash her indelible strength and skill to become one of the world’s most feared government assassins. An electrifying thrill ride unfolding with propulsive energy, startling twists and breathtaking action, ANNA introduces Sasha Luss in the title role with a star-studded cast including Academy Award Winner Helen Mirren, Cillian Murphy, and Luke Evans.
Starring Sasha Luss, Luke Evans, Cillian Murphy, and Helen Mirren, Anna will hit the theaters on June 21.
Netflix has just released the first trailer of their new series (is that a pleonasm?), Chambers, starring Uma Thurman and Tony Goldwyn.
Here is the story of the new show: A young heart attack survivor becomes consumed by the mystery surrounding the heart that saved her life. However, the closer she gets to uncovering the truth about her donor's sudden death, the more she starts taking on the characteristics of the deceased -- some of which are troublingly sinister.
Watch the trailer below:
Chambers' first season will be released on April 26.
On Tuesday, Donald Trump published a tweet containing a promotional campaign video, featuring some original music from Christopher Nolan's film The Dark Knight Rises. Inspiring to get reelected in 2020 for a second term, Trump sent the video with the words MAKE AMERICA GREAT AGAIN!
Some of the words appearing on screen were: "First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020."
Soon after, Warner Bros. shut down the video, as Trump's campaign had not asked for the authorization to use Hans Zimmer's music.
A spokesman from Warner explained that "the use of Warner Bros.' score from The Dark Knight Rises in the campaign video was unauthorized."
The morale of the story is that no one is above copyright infringement, even the President of the United States.
But there is more. This is actually not the first time that Donald Trump and The Dark Knight Rises have something in common. Back in January 2017, during the inaugural speech from the newly elected president, some had spotted an obvious reference to the speech from Bane in The Dark Knight Rises. Watch it below:
Julianna Margulies was offered to reprise her role from The Good Wife in the CBS spinoff, titled The Good Fight, in a three-episode story arc.
Unfortunately for her fans, the actress was forced to turn down the proposal, for a reason you would probably not have guessed. Instead of receiving the same pay as she did on The Good Wife, she was only offered the same pay as any other guest star would, even though she was the lead actress of the original series.
"I’m not a guest star," Margulies explained to Deadline. "I started the whole thing with The Good Wife. I wanted to be paid my worth and stand up for equal pay. If Jon Hamm came back for a Mad Men spinoff or Kiefer Sutherland wanted to do a 24 spinoff, they would be paid."
"To be perfectly honest, I was shocked. I was more surprised than hurt. I thought, what are you worth? If you are worthless, if you are not valued for your work, then what's the point?"
Since then, Julianna Margulies has been applauded on social media platforms, many saying that she was right to stand her ground, not only as a woman, but as an artist.