stars, sex and nudity buzz : 10/14/2012

Da Vinci's Demons creator David Goyer, Tom Riley, Laura Haddock and Lara Pulver on what to expect from the new Starz series.
The stars talks how the show is graphic and visceral in portraying the sex and violence. But never gratuitous. "You'll see everything you could see" according to Tom as Laura nods in agreement.
Laura Haddock without a doubt will be the star of the show. Big blue eyes and bee stung lips will go well together with bare breasts and bubble butt. Still fuzzy about full-frontal though.


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Flight: New York Film Festival Review

The Bottom Line

Denzel Washington excels as a pilot whose heroics hide a very dark side.

Cast: Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, Brian Geraghty, Tamara Tunie, Nadine Velazquez, Peter Gerety, Garcelle Beauvais, Melissa Leo

Director: Robert Zemeckis.

Onscreen for nearly the entire running time, Washington has found one of the best parts of his career in Whip Whitaker, a middle-age pilot for a regional Southern airline who knows his stuff and can still get away with behaving half his age. In the film's raw opening scene, he's lying in bed in Orlando at 7 a.m. after an all-night booze, drugs and sex marathon with a sexy flight attendant. With a little help from some white powder, he reassures her they will make their 9 o'clock flight for Atlanta.

With his night's companion Katerina (Nadine Velazquez) working the passenger compartment, Whit zooms up into the clouds, shaking up the passengers and scaring the co-pilot as he rams at top speed toward a pocket of clear sky. 

Update : http://www.shockya.com/news/2012/10/14/nyff-2012-flight-movie-review/
and confirmation of Nadine's nudity...
When the film opens, we see the aftermath of a drunken night. The pilot Whitaker is woken up by a phone call from his ex-wife about his estranged son. A naked flight attendant Trina (Nadine Velazquez) gets ready for the day ahead. Both hungover (or still drunk) from the night before taking control of an airplane full of passengers.

* Nadine Velazquez is naaaked....Nadine Velazquez is naaaked. We're going to see her tittiessss.....We're going to see her tittiesss. 

Nadine has been dropping clues about her first on-screen nudity by posting racy pics just before talking about the movie. It's a worry though as Denzel also bangs Kelly Reilly in the movie. I hope and praying the nudity doesn't come from her but I'm super confident it's Nadine who shows off her goods.

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Lindsay Lohan talks about her racy new movie role

by: Molly Sullivan

Lindsay Lohan has been working a little bit, and now she is opening up about her racy role in the new movie ‘The Canyons.’

Lohan commented that she recently saw the final product and couldn’t be happier even if it was hard for her mom to watch, states Hollyscoop. “It’s great, I saw it with my mom. It was hard for my mom to watch but it was really good. [Director] Paul Schrader did a great job,” Lohan commented.

The film has her working with real-life porn star James Deen in some sexy scenes. 

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couple of news on Jeremy Piven's Mr.Selfridge:

MURDER ON THE SHOP FLOOR
E used to be a nation of shopkeepers and we are fast becoming a nation of shop watchers. Any television show with the hint of a retail slant can draw millions. Even a Dispatches documentary about discount shop Poundland on Channel 4 last week found almost two million viewers.

The trend has not escaped the eyes of ITV and the BBC, which are about to be embroiled in a battle over period “sex and shopping” dramas.

The shows are the BBC’s The Paradise and ITV’s Mr Selfridge. While the two series are not going out against each other both broadcasters are well aware that if one of them steals a march on the other the competitor’s series will never have the same appeal.

Both the Beeb and ITV are banking on their period extravaganzas built around sexual intrigue in department stores to win big audiences. Humbled by its trouncing in the ratings when it pitched its new version of Upstairs Downstairs against ITV’s Downton Abbey, the BBC has drawn first blood by launching its flagship costume shop drama The Paradise.

Love affairs are a key element in The Paradise, based on a classic 1883 Emile Zola novel, while ITV is gambling £12million on its elegant Mr Selfridge which, by “making shopping as thrilling as sex,” it hopes will prove as big a success as Downton.

Set in a similar period to the original series of Downton, Mr Selfridge focuses on the racier side of Edwardian life, written as it is by Andrew Davies, the master at sexing up such classics as Pride And Prejudice and Sense and Sensibility. Davies promises as much nudity “as you can get within the limits of prime-time viewing”.

Despite the BBC’s spoiling tactics, ITV bosses are confident Mr Selfridge, starring American actor Jeremy Piven, will be a huge hit when it screens, with the vast Christmas audience an obvious target.

It is such a high-profile venture, Boxing Day evening would be the ideal launching pad for the 10 hours 30 minutes of TV as it details the story of Harry Gordon Selfridge, the American “showman of shopping” who opened his London store in Oxford Street in 1909 but was destroyed by his addictions to gambling, mansions and mistresses.

ITV has thrown the cheque book at Mr Selfridge. Even the working replica of the plane in which Louis Bleriot first flew the English Channel is used for one of Selfridge’s promotions.

Filming on the drama, which will be screened over two series of five episodes, continues for another month but TV insiders are confident that, like Downton, it will run and run.

While Mr Selfridge has the same glossy feel as Downton, Davies insists that it is not “Downton in a shop”. They are, he says, totally different, with Downton concentrating on preserving an era, while Mr Selfridge captures the excitement, fun and wickedness of the master showman who created a brave new liberating world for women by putting the sex into shopping with his paint and powder.

Davies says: “We have different values to Downton. We are about glamour, modernity and are also
anti-aristocracy.” He is dismissive of the BBC spoiler insisting: “imitation is the sincerest form of flattery.”

Zoe Tapper: Sex and the shop-floor showgirl
While other actresses might kick up a fuss at the slightly kitsch play on their name, Zoë Tapper is
tap-dancing for our photographer with the poise of a professional hoofer. And why worry? After all, our styling idea, she says, is in keeping with her latest role as the singing, dancing Gaiety Girl Ellen Love in ITV’s Mr Selfridge. This glitzy, ten-part period drama tracks the origins of our shopping obsession right back to the American Harry Selfridge, founder of the iconic Oxford Street store.

The drama is set to be the TV event of the autumn. It is scripted by Andrew Davies, who based the story on Lindy Woodhead’s book Shopping, Seduction and Mr Selfridge, and has breathtaking sets. (A  large carpet warehouse in Neasden, Northwest London, has been converted into a circa 1909 Selfridges shop floor.) The impressive cast is led by Jeremy Piven – Golden Globe- and Emmy-winning star of US series Entourage – as Mr Selfridge. Zoë’s role as his beautiful but tortured mistress will be unmissable.

She is married to actor Oliver Dimsdale and they have a 17-month-old daughter, Ava. Here Zoë tells us why the happy collision of motherhood and the role of a lifetime could not have been more perfectly choreographed…

I was determined to get the role of Ellen. The morning of the audition I travelled into town in
a faux-fur coat, a bright red dress, fake diamond earrings and siren red lips. I got some funny looks but I didn’t care because I felt very Ellen Love-ish. And I got the part, so it was worth it.

You could easily hate Ellen. She’s a potential marriage wrecker. But I had so much sympathy
for her. Harry lusts after her. He sets her up in an apartment and makes her the face of Selfridges. But once he owns her she’s like a trinket that’s lost its lustre. He discards her and she spirals out of control.

Ellen has so much vulnerability. She reminds me of Marilyn Monroe or Holly Golightly in Breakfast at Tiffany’s. She’s a social butterfly, blowing kisses to the crowds, but she has gossamer wings.

Harry Selfridge wanted to make shopping as thrilling as sex. He came up with concepts such as ‘The customer is always right’ and ‘Try before you buy’. He believed products should be displayed, not hidden under counters. In a way, his ideas went hand in hand with the suffragette movement. He made shopping respectable and liberated women in the process. He also built Selfridges in a rundown part of London, where others followed. So the fact that the West End is now a shopping mecca is largely down to him.

The beauty of a period drama is that the clothes are so different to what women wear now. When you put them on you immediately feel different. You move differently too. You can’t slouch in a corset or in one of the big hats that Ellen wears.

The cocaine-snorting scenes were a hoot. Andrew Davies always likes to inject a bit of naughtiness to give his scripts a modern feel. Opium was possibly more the drug of choice in those days, but cocaine is Ellen’s poison. Before putting it up my nose, I made the props department tell me what was in it – mostly flour and lactose powder. I made them take a bit themselves, though – just to be on the safe side.

Actresses have to be up for anything. In Mr Selfridge I do a dance number in pink pyjamas while hurling teddy bears into the audience from the stage of the Theatre Royal, Drury Lane. There’s also a scene where Ellen poses as the face of Selfridges, on the wing of Blériot’s historic, Channel-crossing plane. [They managed to get a replica inside the Neasden set, just as Harry had managed to get the real thing into the store in 1909.] She’s draped in scarves like Isadora Duncan. It was fun but, then, I think I got forgotten. I was shouting, ‘Yoo-hoo, I’m still up here. Don’t lock up and go home. I do have a life to get back to!’

I wouldn’t be ashamed to show my post-baby body on screen. Women’s bodies change – mine has – and we should celebrate it. I’ve always admired Kate Winslet. She has a lovely body, but it’s not a perfect Hollywood size zero. It’s the body of a woman who’s had children.

As an actress, though, I’m careful about nudity. There’s a danger in our industry for women to feel pressurised to take their clothes off. I’ve certainly done it, but only, I hope, where the script and the character required it. In Twenty Thousand Streets Under the Sky I took off my clothes because I was playing a prostitute. What else would you expect? But I can’t bear it when you’re looking at breasts on screen for no particular reason. At this stage, I think I know the difference.

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'Carrie' remake: New teaser trailer debuts at New York Comic-Con

by Darren Franich

The Project: Carrie, the new adaptation of Stephen King’s classic horror novel, coming in 2013.

The Panel: Stars Chloë Grace Moretz and Julianne Moore, director Kimberly Peirce, producer Kevin Misher. Moderated by Entertainment Weekly‘s very own Dalton Ross.

Footage Screened: The NYCC crowd got an exclusive first look at Carrie‘s teaser trailer, which begins with a helicopter shot showing the school gym on fire, but then shows a trail of destruction leading throughout Carrie‘s small town…ending with a close-up on a blood-covered Moretz. The teaser features a cacophony of voices talking about Carrie — including the memorable line “She wasn’t some monster. She was just a girl.” — implying, perhaps, that the remake would adhere close to the structure of King’s original novel, which was written in a pseudo-epistolary style. (Brian De Palma’s original Carrie film in the late ’70s jettisoned that structure in favor of a more straightforward linear narrative.)

Snap Judgment: The teaser looked positively apocalyptic, and the image of a completely unhinged Moretz indicated that the remake will have plenty of propulsive energy. If nothing else, this looks worlds better than The Rage: Carrie 2.

The Big Revelations: Everyone on the panel made a point of praising the original Carrie film — Peirce is a friend of De Palma — but noted that part of the intention of making Carrie again was to faithfully reproduce certain elements of King’s novel left out of the original. That includes more destruction: hence the vision of the ruined town. However, the panel did hint at at least one major change in the story: Peirce implied that contemporary social media would play a key role in mean girl Sue Snell’s campaign of terror against Carrie.

Most Prepared Panelist: Moore, who responded to a question from an audience member about the portrayal of bullying in Carrie by asking, “Have any of you read Stephen King’s book On Writing?” She proceeded to regale the crowd with an in-depth explanation of King’s original inspiration for Carrie. (In an intriguing twist, the audience member in question turned out to be a teacher at the school attended by Moore’s child.)

Most Popular Panelist: Moretz, who is clearly well on her way to becoming a Comic-Con demi-goddess, at least to judge by the shout-outs she received her role as Hit-Girl in Kick-Ass.

Amount of Blood Used in the making of Carrie: 1000 gallons, according to an extremely rough on-the-spot estimate by Peirce.

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Clara Morgane nude clip for "Like a boomerang" (Serge Gainsbourg)

Clara Morgane sexy and topless in honor of Serge Gainsbourg . The former porn star takes "Like a Boomerang" and modern dance version. For black and white clip, Clara Morgane wiggles in a sensual photo shoot for a future calendar 2013.

Clara Morgane - Comme un Boomerang Vidéo claramorgane sélectionnée dans Musique

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Yam Concepcion : FHM Cover Girl October 2012
Go behind-the-scenes with our October muse, Yam Concepcion,  in this FHM TV exclusive!
http://www.fhm.com.ph/fhm-tv/sub/toprated?gid=2356&mode=flv

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27-years old Daniela de Jesus Cosio : Lingerie Photoshoot [Backstage]
Ava Strahl came up with another beautiful location to shoot this year's Autumn/Spring collection with the same model as last year's, Daniela De Jesus Cosio and photographer, Kirk Edwards..


Daniela de Jesus Cosio (born January 11, 1986 in La Paz, Baja California Sur, Mexico) is a Mexican fashion model and former beauty pageant contestant. She began modeling after participating in the national beauty pageant Nuestra Belleza Mexico 2005, where she placed as the runner-up.

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NYFF Review: 'Casting By' A Wonderfully Entertaining Doc Shining A Light On The Art of Casting 

Reviews by Gabe Toro

In the early days, actors signed multi-film contracts and became “studio players.” This meant that they were wedded to each production company, assigned to a number of different films each year playing a role probably familiar to their last. Actors were cogs in a machine, and it was rare that someone worked their way up from small-time character actor to full-blown star. If you looked like a Leading Man, you became a Leading Man, or you were soon out of the business. There’s a whole generation of filmgoers that don’t understand that non-traditional casting is a relatively contemporary invention, and for them, the documentary “Casting By” should prove to be tremendously enlightening.

“Casting By” traces the evolution of casting directors at one starting point, the late Marion Dougherty. The unspoken truth, of which the film delicately hints, is that the west coast simply had a surplus of gorgeous faces, many of whom followed the bright lights to Hollywood. Based on the east coast, however, Dougherty brought a new sensibility, different faces, and serious performers. Hollywood wanted models, but Dougherty, who regularly scanned the Broadway stages, brought them actors. The turning point, the film argues, is Dougherty taking the reins on the edgy New York City crime series “Naked City.” Fully in charge of casting the show, which was shot on location, Dougherty uncovered a gold mine of character types that didn’t fit the conventional leading man roles. In footage from the show, we see the work of barely teenaged would-be legends, including Jon Voight, Gene Hackman, Christopher Walken and Robert Duvall.

Explains Dougherty in one of the many interviews she gave for the film (sadly right before her passing), someone like Duvall wasn’t handsome, per se, but he could play a hero, or he could play a villain. It’s also a treat to see Dougherty reflect on discovering very raw talent like an initially uncooperative James Dean and a marble-mouthed, genuinely terrible Warren Beatty (his early work on “Kraft Television Theatre” is credited to an attempt to be like Marlon Brando).

Under the surface of Dougherty’s suggestions for East Coast talents is a widening of the pool of ethnic actors, obscuring the typical WASPy appearance of leading men and women to include the likes of Carroll O’Connor, Dustin Hoffman and Cicely Tyson. In a telling moment, director Richard Donner speaks of casting “Lethal Weapon,” and hearing Dougherty suggest Danny Glover, only to rebuff her with a kneejerk retort, “But he’s black.” Though Donner’s revelation has a touch of Hollywood Grandstanding, the script had been written colorblind, and Donner had simply automatically leaned toward 'white' as the default. Though Donner’s confession was filmed at a Hollywood event in 2006, you hope the doc circulates amongst current studio heads, who still adhere to old-fashioned methodology.

The one hot-button topic of the doc that arises is of credit, and those who would denigrate the work done by casting directors. Proudly sticking his head out to come across as the most obnoxious, pigheaded talking head is Taylor Hackford, the current head of the Directors Guild of America. He supports the long-held belief that casting directors don’t even deserve the name “director” in their job title (which long ago resulted in the onscreen credit “casting by”) because they don’t direct anything -- though if you saw “Love Ranch,” you’d say the same for Hackford. While industry types constantly push for an Academy Award for casting directors, Hackford argues that casting ultimately falls under the umbrella of “directing” and that casting directors don’t deserve credit for something in which someone like Hackford has final say. Hackford comes across as smug and dim-witted, contradicted by nearly every other voice in the doc, some of whom are other directors.

There’s a slight disappointment in “Casting By” as it only hints at the chronological bookends of this story. The idea of studio execs auditioning people to be a Lead Actor or Actress regardless of the role is an idea worth understanding in greater detail, and the notion of contemporary casting being done by risk-averse number-crunching executives is another thoughtful nugget to pursue. Fact is, “Casting By,” which runs a little over an hour and a half, simply tackles, in-depth, a neglected part of Hollywood that could easily span several different documentaries. With an all-star collection of interviews from the likes of Clint Eastwood, Jeff Bridges, Robert De Niro and scores of other similarly huge names, “Casting By” zips past with boundless energy and sharp editing, an absolute pleasure for Hollywood hardcores and casual moviegoers alike. [A-]

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Film Exec: Smartphones and Tablet Screens Will Overtake Theaters 'Within Months, Not Years'

The way people view movies on mobile devices will have profound implications for the movie industry, according to former film financier Angus Finney.

ABU DHABI -- One-time film financier and production executive Angus Finney, who now runs Europe's Production Finance Market, predicts people will be watching movies first on tablets and mobile devices "within months."

Finney, the former Renaissance Films chief, says the shift will have profound implications for the movie industry while giving a Masterclass at the Abu Dhabi Film Festival.

Finney said tablets and cellphones will take over as the dominant screen “within months, not years."

"You only have to notice the number of people who watch movies and TV shows on handheld devices," he said. "That’s going to require a lot of thought as to the kind of content people make."

The finance expert, whose clients include ADFF organizer Twentyfour54 and $2.4 billion City of London fund manager Octopus Investments, delivered his verdict to mostly young Abu Dhabi filmmakers.

Finney spent two hours explaining how the film industry works and the qualities you need to be a successful producer.

“Stars are struggling because they mean less. They don’t dictate the market any more, and, as a result, they don’t earn so much,” was among Finney's opinions.

"The dark art of film financing is for financiers to leave you dangling while they decide whether to invest. That way they get you pregnant. You start spending your own money, trying to push things along, and by that stage, you are so desperate to get into production you’re pushed into deferring your fee."

And he said that in the current climate created by Facebook and LinkedIn, "a good sales agent will know the names of the children of each territory’s distributor -- even what his dog is called."

Finney also told the audience that most financiers only read a script once.

"So if you go back to them saying, ‘Here’s the fifth draft, it’s much funnier’ by then it’s too late. You only get one shot,” Finney said.

And he also took a dig at L.A. agents.

"When I ran a sales agency, we used to call Hollywood agents ‘film prevention officers.’ Their job seemed to be stopping movies from getting made."

He also claimed most people decide what film to see based on its genre, not who's in it or who directed it.

But for Finney, the single biggest challenge facing producers over the next five years will be "managing talent -- the screenwriter, director, cast."

He said: "Many producers drop the ball when it comes to keeping talent on side by the time their film is released. Either they’ve fallen out with them or they’ve moved on to other projects. Which means the star or the director is not available when it comes to doing junkets. That’s bad management."

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stars, sex and nudity buzz : 06/26/2012

Anne Hathaway Talks Nudity and Fear of Her Catwoman Suit in Allure 

Anne Hathaway shows off her dimples on the cover of Allure magazine's July issue, which hits newsstands today. She sported longer locks for the shoot, but actually buzzed off her hair last month for her role as Fantine in Les Misérables. Anne will also pop up on the big screen next month as Catwoman in the third and final installment of Christopher Nolan's Batman trilogy, The Dark Knight Rises. In the issue, Anne opened up about both roles and the changes she underwent for them. She spoke about shedding weight to play Fantine, what it took to wear the Catwoman suit, and being OK with nudity. Here's more from Anne Hathaway in Allure:

• On her Catwoman suit: "The Catwoman suit. It was a psychological terrorist. . . . The suit, thoughts of my suit, changing my life so I would fit into that suit . . . It dominated my year. I went into the gym for 10 months and didn't come out."
• On losing weight for her role in Les Misérables: "I'm doing some crazy weight stuff right now. I'm on day six of detox. . . . This diet makes me break out, so I love that. Nothing like living on hummus and radishes and then be all, 'And I got a pimple. Yeah!'"
• On nudity: "I'm as vain as the next girl, but I think it's my job to show people as they live, and nudity is part of life.

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'Dexter': Yvonne Strahovski role revealed 

Dexter exec Sara Colleton has dropped hints about Yvonne Strahovski's new role.
Chuck star Strahovski will appear in the Showtime drama's seventh season as a character named Hannah McKay.

"She is fantastic," Colleton told TV Guide. "She plays this woman named Hannah, who took off from this small rinky-dink Florida town and ran off with this older guy and they went on this wild killing spree.
"So when they got caught, she turned state's evidence on the boyfriend, he went to jail for life and she started a new life. Years later, she's in her 30s and she will intersect with Dexter. I would say Hannah is a still water that runs very deep and is quite unlike any woman Dexter has ever known."
Colleton added that there is "always the possibility" that a romance could develop between Dexter (Michael C Hall) and Hannah.
"Whenever there's a man and a woman, there's always that possibility - or a man and a man or a woman and a woman or any configuration," she said. "[But] there's nothing needy about Hannah.
"Every woman that Dexter's ever... been involved with have been incredibly needy. Hannah has a cool aloofness, but there's something about her that will intrigue him."
Dexter returns to Showtime on Sunday, September 30 at 9/8c.

* Yvonne enfolded around in plastic wrappers and you get clear see-thru view of her gorgeous tits......sweeeet.

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'True Blood' Season 5: Valentina Cervi Talks Vampire Sex, Christopher Meloni 

When Valentina Cervi auditioned for the role of Salome on "True Blood" (Sundays at 9 p.m. ET on HBO), creator Alan Ball had one piece of advice for her: "Don't be afraid of your sexual power."
Cervi was far from afraid, and happens to enjoy nude scenes with Christopher Meloni (Roman), who plays her lover on the show.
"The writer asked me to be naked on the bed, and I kind of said, 'Oh … ' but she explained to me that Salome is free,"  "She doesn’t cover herself up. I totally got that, and it helped me out in the scene. She's showing her fragility with Roman. Yes, they're lovers, yes, they work together, but in being naked, I felt almost fragile, and I felt that that might have helped the scene. The way she is with him is not the way she is with the rest of the world."
The HBO series is famous for its intense vampire sex scenes, but one character is still looking for a little lovin': Pam, played by Kristin Bauer.
"I heard in the books that Pam gets a girlfriend and I'm just so curious as to how and when that can ever happen," she told HuffPost TV. "Apparently Pam is [ready for a girlfriend]. I don't know if it's just been off-camera or there's been a dry spell."

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Lara Pulver offered "swinger movie" roles following Sherlock nude scene
But the actress reveals she's more keen to do comedy than bare all again

Actress Lara Pulver, aka Irene Adler in Sherlock, has been offered racy screen roles following her now-infamous naked appearance in the popular BBC detective drama.
Speaking to Radio Times magazine, Pulver said: "I take my clothes off for a minute and a half and everyone suddenly goes, ‘Oh great, she’s an actress who will take her clothes off. We can’t get Kate Winslet. Let’s see if Lara Pulver will do a swinger movie.’"
Her pre-watershed appearance in A Scandal in Belgravia, which has been viewed more than 2.5m times on BBC iPlayer, raised plenty of eyebrows when the episode was screened on New Year’s Day, and attracted around 100 complaints from shocked viewers.
However, the 31-year-old wasn’t at all fazed by the requirements of the role, which saw her performing in nothing more than diamond earrings and a pair of high-heeled shoes.
She revealed: "It didn't bother me in the slightest and I’m someone who’s never done that sort of thing before on stage or screen…it was just a device for [Irene Adler]; it wasn’t nudity for nudity’s sake."
Indeed, Pulver suggested that the experience of performing in such extreme conditions was, if anything, empowering.
"I was in my rawest, most vulnerable physical form... standing there like that and still doing my job and doing it well," she remembered. "That’s what was empowering, realising: ‘I’m not crumbling; I’m not freaking out; I’m not shaking; I’m not not able to say my lines.’
"I had no idea what was actually going to happen, so it was empowering and reassuring to know that Lara in her most vulnerable physical state was OK."
Having turned down the offers of increasingly licentious movie parts, Pulver revealed that she would like to try her hand at comedy or producing films, though she hasn't ruled out a return to Sherlock as Adler in the future.

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Rare Photos From The Set Of “Spring Breakers” (@selenagomez @VanessaHudgens @AshBenzo)

Check out these rare photos from the set of “Spring Breakers” starring Selena Gomez, Vanessa Hudgens, and Ashley Benson. Spring Breakers is set to hit theaters in 2013.

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"Magic City" DVD/Blu-ray Coming in October

The official word: Nothing is what it seems in Magic City. Anchor Bay Entertainment releases the hit STARZ Original Series “MAGIC CITY: THE COMPLETE FIRST SEASON” on a 3-disc Blu-ray™ and DVD set on October 2nd. SRP is $54.99 for the Blu-ray™ and $44.98 for the DVD. Pre-book is September 5th. The release contains all 8 memorable episodes of the sizzling mob drama plus bonus features including behind-the-scenes footage and featurettes exploring the cars, fashion, glamour, set design, music and history of Magic City!

Dangerous and decadent, “Magic City” begins in 1959, in Miami’s Miramar Playa Hotel where hotelier Ike Evans (Jeffrey Dean Morgan, Watchmen, Texas Killing Fields) is conjuring up ways to finance his dream. He has essentially sold his soul to the devil: mob boss Ben “The Butcher” Diamond (Danny Huston, The Kingdom). Ike’s wife Vera (Olga Kurylenko, Quantum of Solace), a former showgirl, and his three children think he is an honorable man, but he just can’t break his pact with the most notorious criminal in town. So Ike’s life is a façade: his home and his business must be kept separate – but does he have the sleight of hand to pull it off?

“MAGIC CITY: THE COMPLETE FIRST SEASON” also features stand-out performances by Steven Strait (City Island); Christian Cooke (Cemetery Junction); Jessica Marais (“Packed to the Rafters”); Yul Vazquez (American Gangster); Dominik Garcia-Lorido (City Island); Kelly Lynch (“The L Word”) and Elena Satine (Just Go With It).

Bonus Features Include:
Starz Studios: MAGIC CITY
The Cars of MAGIC CITY
The Style of MAGIC CITY
Building An Empire
The Golden Age of Music
Miami Beach: The Real MAGIC CITY

“MAGIC CITY: THE COMPLETE FIRST SEASON” was created by writer and executive producer Mitch Glazer (The Recruit, Scrooged). Geyer Kosinski (Changeling, The Astronaut Farmer) also executive produces the series along with co-executive producer Ed Bianchi (“Deadwood”) and Emmy Award® winning producer Dwayne Shattuck (“Mad Men”).

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5 Questions for Scream Queen Agnes Bruckner
Written by: Matt Molgaard

I fell in love with Agnes Bruckner the moment I checked out Venom. She’s absolutely gorgeous, likeable on screen and a genuine natural talent (as it turns out, she’s also a sweetheart away from work too!). The woman can act and draw the drool from a man’s gaping mouth simultaneously, and that’s quite the accomplishment. I can say that with confidence, because I’m not typically smitten by actresses, but Bruckner had me wrapped around her finger in moments. The fact that she’s a stellar thespian to boot only adds to her mystique.

Among the young starlets credentials are some thrilling works: The Woods, Venom, Blood and Chocolate, Vacancy 2: The First Cut, Kill Theory, and The Pact. All of which are actually (I use the word actually because I’m not just gushing here) pretty damn impressive flicks. Well, she’s got another dark affair headed our way soon, Jamie Babbit’s twisted tale of a sinister pact fashioned by a few college students: Breaking the Girl. While Agnes didn’t leap to announce a planned release date, she did touch down on the film, the crew and her own reaction after screening it. Believe me, it sounds like something worth keeping an eye out for!

5 Quick Questions with Agnes Bruckner:
Best-Horror-Movies.com:  You've already starred in quite a few horror films; tell me about a few of your favorite roles, and what specifically made them stand out for you personally, when compared with other genre works you''ve performed in,
Agnes Bruckner: I really enjoyed working on The Woods, Blood and Chocolate and Vacancy 2: The First Cut. I got to work with amazing people like Lucky Mckee, Hugh Dancy, and Arjay Smith. I had a blast. Horror is a hard genre to film because it’s so intense and you get wiped out easily. But I love the process and I really enjoy scaring people. ;)  

BHM: By 25 you'd already fronted multiple horror efforts; at such a young age is it stressful to know that in some crucial ways you carry the film?
AB: It’s funny, I’ve never thought about it that way: Carrying a film. I actually find it weird and I feel out of place when I’m not in the lead or not working every day. It’s a challenge to carry a film especially when it’s a genre such as horror. But I’m a fighter and love challenges. It makes it more interesting and more fun! 

BHM:  I'm a huge fan of Venom. Some critics weren't crazy about it, but I thought it was a blast. Do you have any interesting stories to share from that shoot, and was Rick Cramer as intimidating in person as he was onscreen?
AB: Hahahaha! Venom is my dad’s favorite movie! It was interesting filming Venom because I was 17 and we shot it in Louisiana. The cast was all young actors and we had such a blast. Kevin Williamson is an awesome writer and it was a cool film. Rick was definitely intimidating. He is tall and built and you wouldn’t want to mess with him!
 
BHM: I've heard a little chatter about Breaking the Girl. For the most part however, I don't know what the film is about, if there's a tentative release pinned down: Nothing really. Without breaking the rules, please fill me in!
AB: Breaking The Girls is a film I did with Madeline Zima, Shawn Ashmore and it was directed by Jamie Babbit. It’s a film about a twisted love triangle. It’s very Cruel Intentions. I saw the movie and it’s definitely a roller coaster ride! Everyone gave such solid performances and it was such a blast to work with Madeline so close. She is a very talented actress and a very awesome human being.
 
BHM: It certainly seems as though you enjoy working on horror films. Is it the type of situation where you say "hey, these are the jobs that are frequently available, I'll do this", or do you prefer to work in horror regularly. If that's the case, why; what draws you to horror?
AB: I work on things that I love. I read the script and there is something inside of me that says I have to do this. I think I have been drawn to Horror mostly because the female characters I have played in them have been strong willed and kick ass girls. I love doing stunts and being a warrior in movies. Its fun and I love to be challenged. It’s a hard genre and not a lot of people can pull it off. It takes work. But no matter what part I play I am always 110% dedicated and will do whatever is necessary for my fans and people who watch to enjoy it to the fullest!  

Director Jamie Babbit's new self-described "genre-trashy fun," with "gratuitous girl-on-girl make-out scenes and three-inch heels" thriller "Breaking the Girl" is done shooting! Babbit previously directed the thriller "The Quiet" with Camilla Bell in 2005.
Guinevere Turner (she wrote the screenplay for "American Psycho,") wrote "Breaking the Girl," (but Mark Distefano did, according to co-writer Mark Distefano, so who knows?) and it stars Agnes Bruckner, Madeline Zima, and Shawn Ashmore.
The official synopsis? 
When university student Sara (Bruckner) is slandered by a hostile classmate, she is befriended by the manipulative Alex (Zima) who proposes the perfect, untraceable crime – to kill each other's arch enemies. When Alex actually goes through with it, Sara finds herself being framed for murder…

[1] http://www.afterellen.com/blwe/06-04-10?page=0,1

AE: Um, hello, sexy professor!

GT: Yeah, there’s one professor character but it has to be a guy for various plot twists. Anyway, it’s like Wild Things if it were set in college. It’s genre-trashy fun; gratuitous girl-on-girl make-out scenes and three-inch heels.

[2] http://www.autostraddle.com/guinevere-turner-interview-gay-media-47891/
Jess: Anything else coming up aside from the directorial feature?

Guin: The feature film script I wrote, Breaking the Girl is finally supposed to start filming this fall with Jamie Babbit directing [But I'm A Cheerleader and director of every TV show ever]. I’m really happy with the script and I’m excited to work with Jamie again. It’s kind of a really fun thriller about sexuality and manipulation. It’s a total guilty pleasure movie, like Wild Things or Showgirls – trashy, big and over-the-top with tons of drama.

* Watch out for Breaking the Girl. There will be nudity from Madeline Zima. There is a chance Agnes will also do her first real nude scene. Written by talented Guinevere Turner and boy..the cute lesbian sure have a knack persuading the female leads to disrobe on-cam. Check out BloodRayne, The L Word. In fact all her movies have eye-popping sex scenes and nudity. Directed by Jamie Babbit. Somehow I got the feeling Turner and Babbit convinced Agnes to show her perfect sweater puppies in love scene with Zima.


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Lindsay Lohan Dines With New Co-Star, Porn Actor James Deen

When Lindsay Lohan isn’t stirring up trouble on the set of her Lifetime film Liz and Dick, she’s apparently chatting up porn stars, one specifically, James Deen, who is set to be her new co-star.

The pair was seen laughing it up and getting more acquainted with each other during a dinner at LA’s The Churchill, along with the writer behind their new sex thriller film, The Canyons, which the two are said to star in together.

With cigarettes in hand, James Deen and Lindsay Lohan seemed to get on just fine during a break from the dinner. The starlet was pictured dressing top-notch, in skinny maroon colored leather pants and a loose fitted white T-shirt, and a black long jacket to top off the look, and long platform heels.

As they conversed, Deen seemed to be channeled into Lohan’s looks, often smiling coyly at the actress. According to a source, during the conversation Lindsay let out a large gasp. It isn’t known what exactly the conversation entailed to get such a reaction out of Lohan, but porn star James Deen is known for doing every wild thing that comes to the imagination when it comes to his sexual exploits.

It is said that Lindsay Lohan, who as of late has vowed to rejuvenate her career, will be nude in The Canyons. The film, which will be written by Ellis, will reveal the seedy underground life of LA, and will not glamorize the lifestyle as the media often does.



Also at the dinner were writer Bret Easton Ellis -- the same guy who brought us American Psycho and Less Than Zero -- so you know this new script won't be for the faint of heart ...

The group dined at new LA restaurant The Churchill and Lilo, James and her pal Gavin took smoke breaks outside during the meal.

Filming is set to begin next month on July 9th, according to Ellis' recent Tweet. The film will be directed by Paul Schrader (who wrote Raging Bull and Taxi Driver).

We can't wait to see Lindsay in this gritty role! The film's described as documenting "five twenty-somethings' quest for power, love, sex and success in 2012 Hollywood." Hey, Lindsay wrote the book on that! Talk about method acting!


With Lindsay wrapping Liz and Dick right now and prepping for filming again in a couple weeks, it seems the once-untouchable star is making her way back into the hearts of casting directors!

Check out the video here

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Gratuitous Nudity: Spencer Parsons on Saturday Morning Massacre

They had a scary house and just told him to make a movie. The director talks about combining 'Scooby Doo and The Texas Chain Saw Massacre. 

Saturday Morning Massacre premiered at the Los Angeles Film Festival. The horror comedy stars a group of newcomers as paranormal investigators who trip on acid and encounter real ghosts in a haunted mansion. We spoke with director Spencer Parsons after his festival screenings to catch up on Massacre’s prospects.

What did it take to get Saturday Morning Massacre made?
Spencer Parsons:  Like any film, a lot of crazy perspiration and willingness to do just about anything.

Those are the stories we want to hear.
[Laughs] Yeah, it did come together in kind of a remarkable and strange way. It’s sort of a classic making of an exploitation film sort of story. Clark and Jesse Lyda bought a mansion that was in some disrepair, to flip and turn into I believe a bed and breakfast and wedding venue. So they bought it, it was in disrepair, it looks terrible. They were touring around, they started talking about the possibility of making a horror film there because it seemed kind of creepy and weird. So then they called producer Jason Wehling and they showed him the house. He was impressed and wanted to take them up on the opportunity. So then he took it to Jonny Mars who also produced and is in the film. He got excited and wanted to take them up on the opportunity but the only thing missing here was there was no preexisting story to do in this mansion. At this point in the process, they were about six weeks out from beginning major renovations that would obviously be in the way of a shoot. So we had six weeks then to come up with a story and go in and do it. When they had to make that kind of decision, that’s when they called me, I guess because I seem to be a very flexible and yet hard working sort. So we all got together and from the word go had about six weeks to get a movie written, cast and shot out and into the world. It was a little bit like Corman looking around and finding there were some sets left over from another movie and saying, “Let’s take a couple of days and we’ll make The Little Shop of Horrors.”
Are they still flipping the house?
They are, yeah. It’s actually in much better shape. We were able then to shoot some nice little flashback sequences after they fixed some things up so that it would look like the house in its more glorious past. So that added a little bit of production value.
Where is the house if fans want to go find it?
It’s in Austin. It’s actually remarkably central. We had to do some work to make it feel isolated. We had some trouble when we were doing sound with cars passing by so it’s right near this shopping center with a big grocery store that’s right near Hancock Center. Right near I-35. Really easy to find.
What was the process of writing a script to a location? What inspiration did the house give you?
Well, I think when Jonny and Jason first got together and they were hashing out what to do having this big rambling mansion, it just kind of came back to a traditional haunted house story. When you’re trying to figure out what you do with a traditional haunted house, they kept going towards paranormal investigators kind of stuff. They realized part of the way through that everything that they were cooking up was very “Scooby-Doo.” I guess some folks would run in the opposite direction from that but they had the good sense to embrace it. Then they brought me the idea and I said, “Oh man, ‘Scooby-Doo,’ I want to run in exactly the opposite direction from that.” So it created a good tension where they brought “Scooby-Doo” to me and I was like, “But I want to do Texas Chainsaw Massacre.” So we were hopefully able to create something a little bit more interesting than I think any of us would have done purely on our own.
You hadn’t done a horror movie before, so was this always in you?
Oh, absolutely. A movie is a movie and a story is a story. I’m a big fan of Greek tragedy and when you read Greek tragedy, they’re horror stories. I think Euripedes’ The Bacchae is maybe the first zombie movie ever. So to me it was that kind of territory and what I watch normally, I just watch lots and lots of crazy horror movies and fill up my time with Maniac and Brain Damage and all kinds of grotty, crazy stuff. So I watch a lot of that material and I had been developing some horror scripts and ideas already. That was something they knew about with me, even though maybe the rest of the world didn’t. That was part of why they brought me the script. But no, I hadn’t actually made a horror film before but I gotta say, my previous work is really influenced by horror films. My first feature may not seem to be some kind of body horror thing, but a lot of my thinking on it was really more influenced by David Cronenberg films than maybe by anything else. But hopefully it was influenced in that right way where you take the artistic influence and you make something of your own. Yeah, horror was always there and I’m happy to go in and indulge and discover how to really make one of these.

Thank you for the gratuitous nudity in the sex scene. Was that a given you had to have one of those?

Well, you know, it’s one of those things with the genre. It is one of the things with the genre that you throw in some gratuitous nudity. Also personally I like that in films and if it seems like it’s going to work, and if we can approach it in the right spirit and not just be creepy and pervy about it, it is a basic human pleasure. People wanna see each other naked and I got no problem with that. Luckily my actors had no problem with that. If you see my heartfelt first feature drama, there’s some skin in that movie too. Maybe a little less gratuitous but to me I’m always game. Probably one of my bigger problems is coming up with ideas where there’s not going to be some intense sex and nudity in it. 

When horror went mainstream in the ‘90s and A-list stars started doing them, we lost the nudity from the genre.

Yeah, that’s true. I do feel like in a certain way, too many ‘80s horror films played the booby card a little too gratuitously and maybe ruined it for several years. There was the inevitable backlash from actresses and agents about it. I hope it’s maybe coming back around, again because I think it’s just a really basic human pleasure and that’s what we’re doing. That’s what we’re making and it doesn’t have to be terrible, it doesn’t have to be career killing. I do, on the other hand, have to feel for all those actresses in the ‘80s that would have to grit their teeth through a scene where it’s like, “Oh my God, it’s so hot in here” and take off their sweater just before somebody comes and hacks off their head. 
What sort of framing issues did you have with petite Ashley Rae Spillers and all the tall guys?
[Laughs] Honestly, if we had more time, we might have really thought about the framing issues. It was pretty much we had to keep moving so quickly that for the most part it was like, “Do we have everybody in frame? Can we make this happen?” And stuff worked out. It was funny because Josephine [Decker], the other lead woman in the film, is significantly taller than Ashley so she’s really surrounded by a lot of taller people, but ultimately when she is the leader of this group, I think it makes for a pretty nice picture that she’s the shortest but she’s also in charge.
Were the effects all practical?
Yes, we did everything practically and with some basic green screening stuff. We tried to build even those effects where we were doing some compositing around old silent movie style gags, stuff that goes way, way back where it’s about the negative space of the frame. In the old days it would’ve been passes through the optical printer. We wanted to keep it really simple. That’s better on a really low budget anyway because if you want to compete in the CG realm, you’ve got to spend a lot of money before it looks any good.
Well, the ugly truth is the best Hollywood studio CG still does not look good.
You said it, not me, but I totally 100% agree. Whatever budget, I would want to be doing as much practically as possible, and that’s for a lot of reasons. One, because I genuinely think it looks better and I love the old stage magic kind of traditions. The way that Savini for instance did a lot of his gore effects came from really old fashioned things that magicians had been doing on stage for years and years, when he created a lot of gore craze in the ‘80s. Same with Rob Bottin creating those effects for The Thing. When he was asked about it, he said, “Well, it was really more about the prep time that we had and the way that we could plan out all our angles well in advance that made those effects so good.” I’m a big believer in that kind of tradition. CG can have its place. It can have its place but I’m with you, I like the practical stuff.
Screening at the LA Film Festival, did you get to see any audiences get freaked out?
Yeah, it’s been really neat. We got applause for some of our kills, which as much a horror fan as I am, that’s not necessarily why I get into it. I’m not like, “Oh, I want to get applause when we do this terrible thing to somebody.” But it was kind of neat and gratifying and I hope in a way that this is a little bit of maybe a crossover film for people who didn’t know that they could enjoy gore. I hope that we’re making something where folks that would say that they don’t like gory films can go into it and enjoy some of the stuff in the sick and gleeful way that I do.
Have you sold the film yet?
This is our first festival so we’ve gotten a lot of good responses from distributors and from other festivals, so this is the beginning of our run. Hopefully we’ll get a really good deal that’ll help us to get it in front of as many potential people in the audience as possible.
Did you submit to Fantastic Fest?
Oh yeah. Really, really crossing our fingers for Fantastic Fest. It’s a fantastic festival and it would also be a tremendous homecoming.
What was your filmmaking community in Austin like?
Fantastic. I’ve been now living in Chicago for a couple years but the filmmaking community in Austin is why I keep returning there to make films. Since I moved, I made three projects in Austin so I keep coming back. It’s a great community. Everybody kind of throws themselves into it. People are really doing it for love there. It’s really a tremendous filmmaking scene. I think sometimes people get a little disappointed that it’s not a bit more of an industry town and that makes things difficult in terms of sustainability and being able to earn a living doing what we do, but just on the level of a fantastic almost kind of punk rock scene where everybody just goes in for the fun of it, gives it their all, Austin’s second to none.
Is it just as hard to break into the industry in Austin as in L.A.?
It is. It is very difficult. It’s because there really isn’t an industrial center there. I teach and when my students are asking me where to go after school, I ask them about their priorities. If they really need to get work in the industry then Austin is not necessarily the place to go. But if they’re looking to make films, which is a little bit different thing, Austin can be just about the best place to go.
We know about the famous ones like Robert Rodriguez and Richard Linklater. Is it very different for the really scrappy indies?
It is, it is. Linklater and Rodriguez are of course fantastic filmmakers. They were also lucky enough to come along at a time when there could be a pretty significant kind of institutional support for the sort of work that they were doing. That really doesn’t exist anywhere anymore. It’s not just Austin, so Austin itself has become a good bit scrappier over the years, but there are a lot of really great filmmakers who live there, have been based there at one time or another and are making films that play widely on the festival circuit. There’s Bryan Poyser, Alex Karpovsky has moved back to I think New York but he’s always around all over the place. Andrew Bujalski is based there now. I live in Chicago but I keep returning, so it’s definitely a really serious hub, though a lot of the efforts having to be a good bit scrappier and rougher around the edges than maybe a Linklater and Rodriguez project.

* Josephine Decker is the one displaying full range of her 'talents' in the sex scene.

Josephine Decker was in the parking lot of a Mexican dive when she got a call from producer Jason Wehling outlining what she’d be doing in “Saturday Morning Massacre.”
“I just want to be sure you’re okay with this: you’re going to be covered in blood in a tank top, probably going to see your nipples through the second half of the movie and there’s a sex scene fully nude,” Decker recalls, before giving it a thought. “I’m like, yeah, sure, it’s fine.”
For a veteran of two Joe Swanberg productions who once famously shed her clothing at the Museum of Modern Art to counter the performance art of Marina Abramovic, the nudity wasn’t so much an issue, but even with a warning, Decker probably couldn’t have been entirely prepared for what would happen on the set of “Massacre,” the latest film from Spencer Parsons which debuted at the Los Angeles Film Festival this week.

I'm being an asshole here. Miss Decker is really multi-talented performer with exhibitionist streak.
http://www.huffingtonpost.com/josephine-decker/why-does-moma-hate-my-bod_b_611193.html
http://vimeo.com/user2408188
http://www.josephinedecker.com/Bio.html
http://tactical-media.blogspot.com/2010/09/josephine-decker-tactical-media.html
http://www.hollywoodchicago.com/news/14082/interview-joe-swanberg-pays-visit-to-uncle-kent

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SuperWoman Speaks Out About Boardwalk Empire

You may remember that not too long ago, SuperWoman broke new Super-ground and ordered HBO.  One of the big draws was that she had just finished Boardwalk Empire, Season 1 on DVD, and she was dying to get her hands on more.
The show started out so beautifully. It whisked SuperWoman off to the vibrant ’20s, to flapper dresses and close cropped hair and people sneaking their cocktails in baroque nightclubs. It was so delightful that it inspired SuperWoman’s wardrobe a bit (she bought 1920′s looking earrings that double as laser-beams) and even her date nights with SuperMan (they started frequenting a prohibition-themed bar—those cocktails are ART, people).
But something bad happened to Boardwalk Empire in its second season.
SuperWoman blames Martin Scorsese.
Sure, he looks all innocent, with his priestly Italian artistic-ness, those big classes and coiffed hair a perfect disguise. But the man is a glutton for blood. Where Season One of Boardwalk Empire threw its viewers into this fabulous and corrupt and quite recognizable world of moneylenders, war veterans, and fashionable ladies, Season Two is all about gutting people. Slicing their necks and shooting them in the eyes.
And who wants to come home from work, get comfy on the couch, and watch that?
You may be surprised that SuperWoman says this. You may say, Well, SuperWoman, don’t you use your powers to fight evil when it arises? And aren’t you always extolling the virtues of laser beams?
SuperWoman would reply, Yes. Sort of. But laser beams don’t make people bleed. (If you want to know a secret, they’re just pretend.) And most of what you’ll find SuperWoman doing is baking muffins and helping young children cross the street.
No, Boardwalk Empire is another issue altogether. It went from a show that explored politics and relationships and post-traumatic stress syndrome and women’s rights, to a show about bad people killing other bad people and sometimes only kind-of bad people who deserve to live. And instead of just implying it, instead of any of the forms of subtlety that made gangster dramas like The Godfather and The Sopranos great (okay, The Sopranos was not so subtle), this show has descended into pure violent terror with almost no reminders of beauty and human dignity or integrity. With Scorsese behind it, blood is practically an ejaculation. And it’s happening all over New Jersey. (Hey, Maybe that’s why the place is so weird.) (And hey, wasn’t Marty considering becoming a priest way back? Very interesting.)
What SuperWoman couldn’t help noticing in the last episode she decided to watch, was that there was no such gratuity in the birth scene with character Lucy Danziger. Interesting, isn’t it? The camera stayed carefully on her face and plump breasts, and not on any of the fluids that tend to gush from a woman so pregnant she’s ready to burst. Numerous times, we see her nude and having sex, but God forbid we see what a real birth looks like. In the same episode, the next scene, even, we get to see Jimmy Darmody slice a man’s throat open in a butcher shop. (Superwoman didn’t watch that. She turned away and vowed to be done with the show.)
In general, having access to all of those HBO shows sounded really cool and bountiful, but SuperWoman quickly realized that having access to them made them less special than getting them through the mail on DVD. The more you have, the easier it is to lose appreciation. Still, there is at least one saving grace of HBO before SuperWoman cancels her service: Girls. Girls girls girls. Best damn show on television. Beautiful, perfect. And SuperWoman is only a little jealous of Lena Dunham’s talent as writer and actress extraordinaire. (Okay. Maybe more than a little.)
And SuperWoman is sorry if she insulted anyone from New Jersey. But the place is weird, no?

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WOMEN'S RUGBY SQUAD BARES ALL IN FUND-RAISING CALENDAR

The women of the Canadian national rugby squad are baring it all in a calendar as part of an effort to "build the profile of their sport, shatter stereotypes and lend a little support to charity."
In a press release, Rugby Canada said the team hoped to promote positive body images and show the results of training hard, working hard and living a healthy lifestyle. Proceeds from calendar sales will be used to support the women's program. They are currently preparing for the World Cup and Olympic qualifiers -- the sport makes it Olympic debut in Rio de Janiero in 2016.

"Every woman on this team works so hard at being physically fit and eating properly, it is a reward to have these pictures taken so we can see our bodies in a beautiful light," says national team member Barbara Mervin. "Playing in such a rough sport, we sometimes lose the beauty that is in it. We hear all the time that we don't look like rugby players, so there is clearly a stereotype about what women rugby players should look like. But having muscles is very beautiful and being physically fit is very attractive. We are elite athletes and we are proud of our bodies."
The 16-month 2013 calendar, which can be ordered online at http://nswtcalendar.com/, features 17 members of the Canadian women's rugby team. It's far from a traditional fund-raiser, but it's worked better than the usual fare for Rugby Canada. And the organization also hopes the calendar will be a vehicle for highlighting the team's success on the field.

"We are also hoping to raise some awareness about how successful our program has been," says Mervin. "Yes, sex sells but we hope to have a stronger message about body types. We hope we can help young girls to know that you can be 170 pounds and be absolutely beautiful. We hope they can relate to someone's body and see beauty in that. A national team athlete has enormous quads and we consider them very beautiful. There is beauty in the athletic body, and that is what we have tried to capture with the images."
Canada's rugby women first put out such a calendar in 2004. The effort was the brainchild of former national team player Colette McAuley. While the proceeds help support a fledgling program, McAuley says the calendar effort is more notable for showcasing the lean, muscular bodies of Canada's female rugby players and transforming the stereotypical image of women who play sports.
"With the growth of the 7s game, you are seeing women with a very athletic body type," she said in a press release. "These calendars show another side of the rugby player. The uniforms and jerseys we wear are not very flattering to the female athletes, who are strong and muscular and beautiful. The women in the Canadian program are very attractive. This year's calendar has a wow factor, plus a very sexy factor. It's fantastic."

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Naked England Fan Attempts To Distract Alessandro Diamanti During Euro 2012 Shootout

In an attempt to distract Italian midfielder Alessandro Diamanti while he shot a penalty kick during Sunday's Italy vs. England quarterfinal match, an extremely dedicated England fan bared all.
But his shorts-dropping was in vain, as Diamanti scored the goal, winning the game for Italy 4-2.
"We deserved this victory," Diamanti said, according to the Associated Press. "The penalties rewarded our dominance during the match. It's only fair, we played a great match and battled from the first to the last minute."

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sex ad gets banned 

A Spanish real estate company (of all things) created ads featuring "real" picts of people that were caught having sex in their cars, trying to make the point that life is more convenient with a house.
Clever, but it was banned. Clearly it was their mission to get banned for buzz. Perhaps that's the clever part, hmmmm?

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K-pop star denies raping 3 girls

Two more victims have accused beleaguered South Korean pop star Ko Young-Wook, already under investigation on allegations of raping a teenager, of sexual assault. The new charges were filed last week.
Ko, a former member of the K-pop group Roo'Ra, had previously denied the charge that he intentionally made an aspiring 18-year-old female entertainer drunk in order to have sex with her at his home.
Investigations determined that Ko had enticed the alleged victim by telling her in a phone call that he would help her become a star. He then picked her up in his car, drove her to his home, encouraged her to drink and had sex with her.
Ko admitted sleeping with the girl, but said it was consensual and that he didn't know she was a minor.
According to police in Yongsan, the 36-year-old was summoned again on Tuesday to give his statement on a new sexual assault charge by two other girls, one of who is reportedly a 14-year-old middle school student.
After police questioned him for more than 10 hours. Ko told reporters that he would "cordially cooperate with the police for additional investigations".

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Whitney Port promoting some crap.....intentional nip-slip




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Hooters Swimsuit Pageant 2012 Winner is Amanda Jemini

The winner of the 16th Annual Hooters International Swimsuit Pageant is Amanda Jemini. The 21-year-old, who works at the Hooters of Roca Baton in Florida, was selected among 100 Hooter Girl contestants and crowned the winner on Saturday's competition. She won a $50,000 cash prize and will represent Hooters as the Miss Hooters International 2012.

                                                           Hooters 2012 Pageant Top 10

Miss Hooters 2012 Winner Amanda Jemini

Amanda Jemini, Miss Hooters International 2012

Jamie Gunnels, from Hooters of Columbus, GA was named Miss Photogenic

Ivy Souza from Hooters of São Paulo, Brazil, was selected as Miss Hooters World, representing Hooters 27 international markets 

The winner of the 16th Annual Hooters International Swimsuit Pageant is Amanda Jemini. The 21-year-old, who works at the Hooters of Roca Baton in Florida, was selected among 100 Hooter Girl contestants and crowned the winner on Saturday's competition. She won a $50,000 cash prize and will represent Hooters as the Miss Hooters International 2012.

In addition to the cash prize, Jemini will also appear in the famous Hooters Calendar and appear in Hooter campaigns and commercials.

"This was my first time participating in the Hooters International Swimsuit Pageant and it was an unbelievable experience," said Jemini. "The week leading up to pageant day was filled with early wake up calls, hair and makeup and all-day photo shoots, but the real highlight was meeting wonderful kids at the Joe DiMaggio Children's Hospital. It was special to spend time with them and help to lift their spirits."

The 100 contestants were chosen from 18,000 Hooter girls worldwide.

There are over 460 Hooters restaurants across the U.S. It also has branches in 24 other countries.
The appearances of the waitresses is the main feature of the restaurant. A "Hooters Girl" is a waitress employed by the restaurant chain. They wear a white tank top with "Hootie the Owl" and short orange running shorts.
The Miss Hooters International Swimsuit Pageant has been held since 1996, a competition of Hooters Girls from around the world.

* My kind of beauty pageant. Seductive eyes on super-hot Amanda. Jamie possess that wholesome  package you love about Southern girls. Fuck-hot smile and real friendly. If you nice and sincere with her, the best of Southern hospitality awaits you.

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Why Porn and Journalism Have the Same Big Problem
The smut business just isn't what it used to be.

The early days of the Internet were a bonanza for major pornography studios, as the web transformed adult entertainment into an instant, unlimited, and completely private experience -- always just a credit card charge and a cable modem away.

But what the Internet giveth, the internet taketh away. As the most recent Bloomberg Businssweek recounts in its feature on the rise of the new and controversial .XXX domain, the big production companies have seen their profits shrink by as much as half since 2007, as audiences have fled to aggregators such as XTube and YouPorn that offer up a never-ending stream of free naked bodies.

Stuart Lawley, the entreprenuer behind .XXX, has a plan to try and reclaim some of that lost revenue -- micropayments. Per Businessweek:

Next year, ICM plans to introduce a proprietary micropayment system. This service, Lawley promises, will help blue-chip pornographers fight back against the proliferation of free and pirated smut online. "We're going to do for adult what Apple (AAPL) did for the music business with the iTunes store," he predicts.

Consumers who have become conditioned to grainy, poorly shot giveaways, Lawley says, will get reacclimated to paying for higher-quality hard core. Price, quantity, and specificity are key. Rather than the traditional model--$24.99 upfront for all-access monthly memberships--porn consumers will shell out 99¢ apiece for short clips of niche material (akin to buying a favorite song, not the whole album). Perhaps more compelling, people seeking porn on their mobile devices will have a convenient way to purchase a quickie on the run.

Yikes. Comparing your business plan to Apple is pretty standard corporate trope these days, but in the case of porn, the iTunes analogy is hopelessly inapt. Here's the problem: Pornography is mostly a commodity product. Music is not. People have favorite bands and expect a certain level of production value in their music.

Bruce Springsteen devotees aren't just as happy listening to Bob Seger or an a cappella rendition of "Born In the USA." It's at least a little rarer to have favorite porn stars. And the audiences aren't demonstrably sensitive to production values. Worse yet, the tools for do-it-yourself filming are improving every time Apple upgrades the iPhone's video camera.

In other words, convincing people to pay for to watch sex is a much taller task these days than getting them to pay for a song.

In fact, it's a bit like getting them to pay for a newspaper. Like the porn studios, big media companies have seen their own profits plummet in the face of free aggregators, amateur bloggers, and the nearly limitless competition supplied by the web.

Unsurprisingly, micropayments have been a hot topic in the news industry over the past few years. But so far, they haven't really taken off. Here's how Clay Shirky explained the fatal flaw with the idea back in 2009:

The fantasy that small payments will save publishers as they move online is really a fantasy that monopoly pricing power can be re-established over we users. Invoking the magic word "micropayments" is thus grabbing the wrong end of the stick; if online publishers had that kind of pricing power, micropayments wouldn't be necessary. And since they don't have that pricing power, micropayments won't provide it.

What holds for journalism in this case holds for sex. In both cases, the competition is so broad that customers are likely to go elsewhere rather than pay. There are, obviously, exceptions in the case of newspapers -- the Wall Street Journal has a profitable paywall, and the New York Times appears to be having some early success with its own. But that might be cold comfort for the adult entertainment world.

That is, if you assume people still have slightly higher standards for their news than for their porn. 

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