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Colton Haynes Is Marge Simpson for Halloween and ¡Ay, Caramba!

Colton Haynes Is Marge Simpson for Halloween and ¡Ay, Caramba!
¡Ay, caramba! You may never be able to unsee this... Colton Haynes, known for his elaborate and sometimes controversial Halloween costumes, dressed up like Marge Simpson Tuesday at the second annual Black Magic Halloween party, presented by Freixenet Cava. And Marge has, uh, apparently gotten some work done. The American Horror Story and Teen Wolf star wore yellow body spray paint, a full foam latex mask and enormous breast and eye prosthetics, paired with a red beaded necklace, a plunging green mini dress and a tall, curly blue wig, of course. And holy cleavage! Suffice to say, Homer would be shocked. And possibly scared. At one point, it got to be a little too much for...
See full article at E! Online »

Colton Haynes Dressed in Drag as a Very Sexy Marge Simpson for Halloween

Colton Haynes Dressed in Drag as a Very Sexy Marge Simpson for Halloween
He dressed up in drag as Ursula from The Little Mermaid two years ago, and rocked a Miss Piggy from The Muppets look last year. So it was no surprise to see that this year, actor Colton Haynes would pick another iconic female in pop culture as his Halloween costume.

But ¡Ay, caramba!, this year’s choice might just be the most frightening of them all.

On Tuesday, Haynes debuted his Halloween 2017 outfit — turning heads as Simpsons’ matriarch Marge Simpson while hosting the second annual Black Magic Halloween Affair in Los Angeles, California.

Of course, not one to just stick to the norm,
See full article at PEOPLE.com »

Colton Haynes’ First Halloween Costume Will Haunt Your Nightmares: Pics!

Colton Haynes’ First Halloween Costume Will Haunt Your Nightmares: Pics!
The King of Halloween is back! Colton Haynes showed off his first Halloween costume of the season on Tuesday night, sharing the shocking look on Instagram.

The 29-year-old actor went all-out, dressing as The Simpsons matriarch, Marge Simpson – googly eyes, prosthetic yellow breasts, booty pads, and all.

For the look, Haynes obviously rocked a bright blue wig and large orange beaded necklace, making Marge’s signature green dress very short.

The American Horror Story star had some fun on Instagram, dancing to the new J Balvin, Willy William and Beyonce benefit track, “Mi Gente,” while “topless” with his prosthetic breasts.

Watch: Colton Haynes Shares Fiance's Surprising Reaction to His 'Ahs' Sex Scene (Exclusive)

“Makeup by Erik Porn @erikporn of Bitemares Inc @bitemaresincMichelle Petit @mjp_makeup Laura Raczka @laura_raczka with prosthetic face sculpted by Erik Porn and foam latex by Mark Viniello @vin1fx Breast prosthetics by Rbfx Studios @rbfx,” he captioned the video
See full article at Entertainment Tonight »

‘No Stone Unturned’ Trailer: Oscar Winner Alex Gibney Seeks the Truth Behind an Unsolved Mass Murder

‘No Stone Unturned’ Trailer: Oscar Winner Alex Gibney Seeks the Truth Behind an Unsolved Mass Murder
Known for making explosive investigative documentaries, Oscar winner Alex Gibney attempts to uncover the dark truth behind a 20-year-old pub massacre during a World Cup viewing in Northern Ireland. Though investigators described the crime scene as a ‘forensic goldmine,’ no one was ever arrested for the murders. In “No Stone Unturned,” Gibney continues his legacy of hard-hitting conspiracy documentaries that includes “Going Clear: Scientology & the Prison of Belief,” “Enron: The Smartest Guys in the Room,” and his Oscar-winning film, “Taxi to the Dark Side.” The new trailer hints at a massive government cover-up, evidence tampering, and secret political maneuvers.

“I’ll never forget their words: We will leave no stone unturned,” says one tearful woman, speaking of the investigation. “Those words ring in my ear to this day, because I don’t think they ever left a stone, never mind turned it.” Others interviewed seem just as emotional, angry, and
See full article at Indiewire »

Inside Kacey Musgraves and Ruston Kelly's Forest Wedding — See the Photos!

  • PEOPLE.com
Inside Kacey Musgraves and Ruston Kelly's Forest Wedding — See the Photos!
Kacey Musgraves followed her arrow – right down the aisle!

The country singer, 29, married fiancé Ruston Kelly on Saturday evening in Tennessee, her rep confirms to People exclusively.

“Saturday, in a sacred place where two rivers meet and join together, I married my best friend … barefoot and surrounded by the deepest kind of magic and love that exists. I’ve never felt so tranquil and happy,” Musgraves wrote on Instagram Tuesday morning, sharing photos from the wedding.

“We made our promises to each other under the trees and then drank and danced into the night. We couldn’t have done any
See full article at PEOPLE.com »

Uncork a wicked bottle of “Black Magic” wine and watch “The Craft” this Halloween!

  • Fangoria
Uncork a wicked bottle of “Black Magic” wine and watch “The Craft” this Halloween!
What better way to relax than with a wicked bottle of wine and “The Craft”?! Both pair together devilishly good for a quiet night at home during this eerie season. Black Magic is a dark red blend wine that’s sure to satisfy any blood-thirsty horror fan. Read more about Cashmere Black Magic below: Cashmere Black […]
See full article at Fangoria »

Halloween 2017: 10 Easy Grown-Up Party Ideas for Your Spooky Shindig This October

  • DailyDead
While kids may technically get to have all the fun this October, that doesn’t mean us adults have to miss out. One of my favorite things about Halloween are all the parties, which give me several chances throughout the season to try out a few new recipes to bring and share with friends. Below are a few ideas that I’ve tested out and really loved, as well as a bunch more that I’m looking forward to trying in the coming weeks.

Here’s a look at 10 easy recipes that should undoubtedly be a hit at your Halloween parties this month, and be sure to let us know which ones you try out and enjoyed in our comments section below!

Halloween Onion Ranch Cheese Ball

This recipe for a Halloween Onion Ranch Cheese Ball (recipe via Sandy Toes & Popsicles) is almost spot-on for a cheese ball recipe I use year-round,
See full article at DailyDead »

Toronto Film Review: ‘The China Hustle’

Toronto Film Review: ‘The China Hustle’
Should Hollywood be in the market for a sequel to “The Big Short,” the continued misbehavior of a corrupt and poorly regulated financial system have provided one. In the wake of the 2008 recession, some investors looking to recoup their losses from the subprime mortgage crisis traded one fraud for another, turning the inflated value of China’s economic boom into another bubble destined to be popped. Jed Rothstein’s wildly entertaining documentary “The China Hustle” blows the lid off another multibillion-dollar heist built on complex financial instruments and a whole lot of smoke and mirrors. Though it resembles the docu-journalism of Alex Gibney films like “Enron: The Smartest Guys in the Room” — Gibney serves as executive producer here, in fact — Rothstein’s irreverent, can-you-believe-this sense of humor makes the anti-capitalist message go down even easier.

With Gibney, Frank Marshall, and the 2929 Entertainment team of Mark Cuban and Todd Wagner on board, “The China Hustle
See full article at Variety - Film News »

New York Film Festival: Alex Gibney, Vanessa Redgrave, and Abel Ferrara Join Documentary Spotlight Lineup

New York Film Festival: Alex Gibney, Vanessa Redgrave, and Abel Ferrara Join Documentary Spotlight Lineup
The 55th New York Film Festival will debut a starry roster of documentaries featuring giants of the art and literary worlds as well as Alex Gibney’s postponed “No Stone Unturned,” a critical investigation into the 1994 Loughinisland massacre in Ireland, which was pulled from Tribeca in April.

Other new works include films from directors Abel Ferrara, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut “Sea Sorrow,” which played at Cannes; and films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall, plus stories about racism, American immigration, and the global refugee crisis.

Three documentaries spotlight acclaimed writers, including the world premiere of Griffin Dunne’s “Joan Didion: The Center Will Not Hold,” returning Nyff filmmaker Rebecca Miller’s tender portrait of her father, “Arthur Miller: Writer,” and the World Premiere of Myles Kane and Josh Koury’s “Voyeur,” tracking journalist Gay Talese
See full article at Thompson on Hollywood »

New York Film Festival: Alex Gibney, Vanessa Redgrave, and Abel Ferrara Join Documentary Spotlight Lineup

New York Film Festival: Alex Gibney, Vanessa Redgrave, and Abel Ferrara Join Documentary Spotlight Lineup
The 55th New York Film Festival will debut a starry roster of documentaries featuring giants of the art and literary worlds as well as Alex Gibney’s postponed “No Stone Unturned,” a critical investigation into the 1994 Loughinisland massacre in Ireland, which was pulled from Tribeca in April.

Other new works include films from directors Abel Ferrara, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut “Sea Sorrow,” which played at Cannes; and films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall, plus stories about racism, American immigration, and the global refugee crisis.

Three documentaries spotlight acclaimed writers, including the world premiere of Griffin Dunne’s “Joan Didion: The Center Will Not Hold,” returning Nyff filmmaker Rebecca Miller’s tender portrait of her father, “Arthur Miller: Writer,” and the World Premiere of Myles Kane and Josh Koury’s “Voyeur,” tracking journalist
See full article at Indiewire »

Documentaries Double-Dip for Emmy and Oscar Consideration

Documentaries Double-Dip for Emmy and Oscar Consideration
In the past decade, half of all documentaries nominated for an Academy Award went on to receive a Primetime, News and Doc or Intl. Emmy nomination.

Unlike “Moonlight,” “Spotlight” and “12 Years a Slave,” nonfiction feature Oscar winners including “CitizenFour,” “Taxi to the Dark Side” and “Born Into Brothels” can also tout an Emmy win.

Why? Because documentaries are by and large a product of television or digital platforms and not film studios. Without funding from small-screen distributors such as HBO, PBS, A&E and streaming services including Netflix and Amazon, the Oscar feature documentary category wouldn’t exist.

But docu filmmakers, similar to narrative filmmakers, want the same thing: for their film to be seen in a movie theater with an audience. So outlets, including HBO and PBS, have selectively facilitated that desire for primarily two reasons: to please directors and perhaps more importantly, to qualify for an Academy Award, which
See full article at Variety - TV News »

Documentaries Double-Dip for Emmy and Oscar Consideration

Documentaries Double-Dip for Emmy and Oscar Consideration
In the past decade, half of all documentaries nominated for an Academy Award went on to receive a Primetime, News and Doc or Intl. Emmy nomination.

Unlike “Moonlight,” “Spotlight” and “12 Years a Slave,” nonfiction feature Oscar winners including “CitizenFour,” “Taxi to the Dark Side” and “Born Into Brothels” can also tout an Emmy win.

Why? Because documentaries are by and large a product of television or digital platforms and not film studios. Without funding from small-screen distributors such as HBO, PBS, A&E and streaming services including Netflix and Amazon, the Oscar feature documentary category wouldn’t exist.

But docu filmmakers, similar to narrative filmmakers, want the same thing: for their film to be seen in a movie theater with an audience. So outlets, including HBO and PBS, have selectively facilitated that desire for primarily two reasons: to please directors and perhaps more importantly, to qualify for an Academy Award, which
See full article at Variety - Film News »

10 Toronto Film Festival Documentaries That Could Shake Up the Oscars

10 Toronto Film Festival Documentaries That Could Shake Up the Oscars
The race always begins at Sundance, but the Toronto International Film Festival documentary lineup will impact the list of Oscar contenders — and this year, without clear frontrunners, Tiff’s influence will be greater than ever.

Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”

Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.

1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze
See full article at Thompson on Hollywood »

10 Toronto Film Festival Documentaries That Could Shake Up the Oscars

10 Toronto Film Festival Documentaries That Could Shake Up the Oscars
The race always begins at Sundance, but the Toronto International Film Festival documentary lineup will impact the list of Oscar contenders — and this year, without clear frontrunners, Tiff’s influence will be greater than ever.

Every year, Thom Powers leads the Tiff documentary programmers through an enormous number of submissions to cull 22 selections. “It never gets any easier to make those decisions,” said Powers, who also programs influential November festival Doc NYC. “This year we’re going to see a greater range of different documentaries spread across the fall festivals, instead of a cluster of films that moves from festival to festival. More films will get more opportunities at the festivals this fall.”

Here’s a list of 10 must-sees for Tiff 2017 with potential to shake up the awards race.

1. “Super Size Me 2: Holy Chicken!”: Morgan Spurlock’s under-the-radar sequel to his 2005 Oscar nominee focuses on the new craze
See full article at Indiewire »

Islamic Exorcist (2017) movie review

Review by: Depressed Satan

MoreHorror.com

Islamic Exorcist is a terrifying Indian Horror movie. How many times do we actually get a chance to watch a horror film that leaves us speechless and makes us go into a different thought altogether? A horror movie which comes from the background of Islam and soil of India, does exactly the same thing to you after it has it's final scene.

Ayesha (Kavita Radheshyam) belongs to Shia Muslim community who falls in love and marries a cop Sameer (Nirab Hossain) who is a Sunni Muslim despite her parental wishes. They adopt a girl child Anna who is 9 or 10 years old as Ayesha cannot become a mother anymore. Anna with her entrance, brings home some demonic power and satanic cult according to the couple. Sameer, one day shoots Anna to death and thinks the story ends here.

An investigative journalist Natasha (Meera) enters their
See full article at MoreHorror »

Crypt of Curiosities: The Cinematic Carnage of the M.D. Geist Anime Duology

You know what doesn’t get enough love in the horror community? Weird, gory anime. Sure, everyone digs Akira, and it’s possible to find a few discussions about the brilliant dark fantasy series Berserk in some circles, but I’ve always been interested in the little guys, the weird, unloved Ova (original video animation) schlock of the ’80s and ’90s—the Future War 198Xs and Black Magic M-66s of the world, unsung and unloved pieces of vibrant genre fiction that never get their dues. Naturally, I plan to fix that on the Crypt of Curiosities, starting with an off-the-wall duology of cinematic carnage that I adore and despise in equal measure: M.D. Geist.

M.D. Geist is the story of, well, M.D. Geist (voiced by the legendary Norio Wakamoto), a maverick M.D.S. (Most Dangerous Soldier) who was literally launched into space after his superior officers found it impossible to control his violent nature. Years later, he finally crash lands on the planet Jerra, a devastated wasteland plagued by violent marauders and warring armies. Now, back on the ground and with a lust for blood, he has one mission and one mission only: kill as much as he can, as violently as he can, until there’s nothing left to fight, living or otherwise.

As you can probably guess, M.D. Geist isn’t exactly what one would call a ‘nuanced’ story. Geist himself doesn’t have a single semblance of personality outside of his love of violence, and in a way, this single-minded nature creates a very distinct character in and of itself. Even when Vaiya (Fumi Hirano, voice of the iconic Lum from Urusei Yatsura), the lovely queen of a wasteland-roaming mercenary company names him their leader and throws herself at him in bed, Geist does little more than swat her body away. He isn’t looking for romance, or forging a relationship of any sort with anybody alive. He is one hundred percent devoted to killing and nothing else, making him less man and more of a flesh and blood avatar of death—destruction taking the form of a six-foot-something with golden hair and cool shades.

Of course, Geist’s one-track rage wouldn’t be notable if the rest of the cast were equally as driven by animalistic ID. While none of them are very well fleshed out, most of the supporting cast is at least recognizably human and sympathetic in their own ways, and all of them pay the price for it. While plenty of action films love killing off a good chunk of their cast, M.D. Geist turns it into a spectacle, inviting audiences to cheer rather than cry as every mildly sympathetic character around gets shot, stabbed, or mutilated at every turn. It almost feels like particularly cruel irony at times, with Vaiya falling madly in love with Geist and soldiers throwing themselves to die on the front lines.

As if the violence wasn’t brutal enough on paper, it appears the entire animation budget went into making the carnage as horrifying as possible, creating some of the most beautiful, absurd gore in anime history. However, when people aren’t bursting into various shades of reds and pinks, the animation is more than a little rough, with character movements lacking the fluidity found in the likes of contemporaries such as Angel’s Egg, Riding Bean, or Dominion: Tank Police, and every character design sans Geist’s magnificent suit of pitch-black power armor does look a bit like rejected Fist of the North Star characters, but the look of the characters clearly isn’t what M.D. Geist’s art is focused on.

No, that’s all devoted to the future tech: the tanks, the aircraft, the towering mecha, the big-ass guns. It’s clear that series co-director and mechanical designer Kôichi Ôhata prefers designer robots to human characters, and nowhere is that more apparent than the finale, when Geist briefly teams up with his former supporting officer, Colonel Krutes (Unshô Ishizuka), and his young, naïve troops to go raid the Brain Palace, a massive structure containing a ticking doomsday device known as the Death Force. The Death Force is, for lack of a better comparison, Skynet on steroids, indiscriminate hunter-killer bots that don’t think and don’t feel—their only purpose is to kill and kill and kill until there’s nothing left living on Jerra. Sound familiar?

This link between Geist and the apocalypse is particularly prevalent in the last five minutes—and yes, I will be discussing the ending of M.D. Geist, because to be honest, it’s the ending that really makes the whole movie such a fascinating example of pessimistic genre films. Colonel Krutes leaves Geist for dead at the hands of an ultra-powerful security robot, and uses this opportunity to shut off the Death Force once and for all. Unfortunately for him, Geist isn’t as dead as he hoped—the M.D.S. strides into the room, grabs him by his head, and squeezes until it explodes, sending red goop and stray eyeballs flying across the room. And then Geist does the unthinkable. He turns the Death Force back on.

This is, without a doubt, the single most defining moment of M.D. Geist. Not only does it solidify every monstrous take the viewer may have had of the anti-hero, it solidifies where the film’s priorities lie. Not with humanity. Not with the people of Jerra. Not with concepts like “taste” or “satisfying narratives.” M.D. Geist is the sort of film that exists for one reason and one reason only: to give you as much wanton death, violence, and desolation as you can stand and then some—standards be damned. Naturally, this sort of film got a sequel.

M.D. Geist II: Death Force may take place less than a year after the insane ending to M.D. Geist, but in the real world, fans(?) didn’t get M.D. Geist II until 1996, ten years after the release of the first film. As the title suggests, Death Force follows Jerra after the activation of the Death Force, and as promised, they’ve almost entirely exterminated the planet’s human population. The remnants of humanity live under the iron grip of Krauser (Takumi Yamazaki), who just so happens to be an M.D.S. himself. Geist, naturally, is still roaming the wastelands, but a choice encounter puts him on the warpath against Krauser, and, along with him, the remnants of humanity.

If you thought M.D. Geist was grim (it was), M.D. Geist II: Death Force is an apocalyptically bleak movie. While the first film was more of a gory rollercoaster ride, M.D. Geist II: Death Force tries to put more focus on its honestly terrible villain (he has all of the presence of a plastic bag), which really drags the whole thing down. Thankfully, Geist is even more imposing than ever, and he even picks up a killer set of metal wings for Death Force’s explosive finale.

Unfortunately, the combat in M.D. Geist II: Death Force is far more infrequent than the first title, with only the opening, ending, and a brief sequence in the middle delivering the same high-octane thrills seen in M.D. Geist. The lack of fun action isn’t helped by the new art style, which gives the cast a new angular design that doesn’t quite suit the world.

On the plus side, M.D. Geist II actually shows the titular death force in full, and as expected, all of the detail goes into making the killer robots look as equally awesome and creepy as possible. While it’s unfortunate that they get sidelined in favor of human conflict, all of their appearances are among the best-drawn sequences in the movie, only second to an amazing hallucination of a massive skeleton in Geist’s armor (which may as well be the single coolest image from anything ever).

While M.D. Geist II can’t quite stack up to the crazed majesty of its predecessor, it still has its fair share of highlights. While the aforementioned battle sequences are great, the final showdown with Krauser is among the best moments in the duology—it’s a chance for Geist to finally go toe to toe with someone on his level, and the results are as brutal and messy as possible. And, much like M.D. Geist, the movie ends on a real shocker, this time climaxing with Krauser’s downfall coming in the form of him murdering a kid, and Geist using his brief moment of hesitation to take him out.

It’s an utterly terrifying ending for multiple reasons, the most important being that the thing that brings the villain down is that he’s only a sliver more human than the “hero,” who by the end of M.D. Geist II: Death Force, has successfully exterminated the human race with his driven lust for blood. It’s a truly crude, monstrous ending for the series—but then again, how else could something like M.D. Geist end? In almost any other film, the crushing consequences of Geist’s rampage could be read as a critique of the “collateral damage be damned” attitude of many action films, but it’s clear that the Geist franchise isn’t condemning it at all. It’s the cinematic equivalent of an edgy 14-year-old’s violent drawings in notebook margins—carnage for the sake of fun.

And that brings us to the core of M.D. Geist as a whole. If there’s one thing anyone can take from the story (ha) of the M.D. Geist duology, it’s that, much like its villainous protagonist, it hates people. From the brutal set piece on an airship that kicks off M.D. Geist to the horrific child murder that punctuates M.D. Geist II: Death Force, both films show a blatant disregard and even dislike for human life, using everyone from the most fiendish of villains to the most innocent of children as another excuse to portray increasingly nasty violence. In many ways, the Geist films feel like a rough preview of things to come, a sneak peak at the hedonistic carnage seen in the films of Michael Bay and Robert Rodriguez (well, Machete-era Rodriguez), where the plot is little more than an excuse to show countless bodies meeting a grisly end. It is animated violence at its most exuberant, pumped with enough guts, gore, and gunfire to be constantly kinetic, to the point of overwhelming the average viewer within minutes of its unhinged combat sequences.

But the fact of the matter is that the M.D. Geist duology doesn’t care what viewers think. It doesn’t care what basic storytelling standards think. It’s an unhinged work of vulgar art that actively spits in the face of structure, consistency, character, and taste with an unbridled ferocity rarely seen this side of ’80s Italian schlock. Unrelentingly unpleasant from start to finish, it’s a duology that cannot decide between being off-the-wall fun or horrifically unwatchable, with only white-hot misanthropy tying it together. You’ll either love them or you’ll hate them (and to be honest, I often fluctuate between both at the drop of a hat), but either way, there’s no denying that they’re worth a watch.

[Note: Select images courtesy of aniSearch.]

The post Crypt of Curiosities: The Cinematic Carnage of the M.D. Geist Anime Duology appeared first on Daily Dead.
See full article at DailyDead »

PBS’ Independent Lens Announces Season 16 Slate (Exclusive)

PBS’ Independent Lens Announces Season 16 Slate (Exclusive)
Despite the fact that President Donald Trump’s proposed federal budget calls for the eventual elimination of government funding for public TV, Independent Lens isn’t going anywhere… at least not for the next 12 months.

The long-running documentary series that airs on PBS will launch its 16th season on Nov. 6 with John Scheinfeld’s “Chasing Trane.” About John Coltrane, the film premiered at the Telluride Film Festival last September followed by a screening at Toronto Intl. Film Festival. Pic includes interviews with Wynton Marsalis, former President Bill Clinton, and Common, with Coltrane’s own words spoken by Denzel Washington. Abramorama
See full article at Variety - TV News »

Vivica A. Fox Accused of Destroying Black Male Stripper Show

Vivica A. Fox Accused of Destroying Black Male Stripper Show
Earlier this year, Vivica A. Fox hosted a Lifetime reality show about male dancers, entitled “Vivica’s Black Magic.” The show ran into trouble when Fox, in a promotional interview, seemed to indicate that it was not intended for gay men.

The show’s executive producer, Jean-Claude Lamarre, distanced himself from her, declaring that “all are welcome.” The incident caused a bitter split between them, and the two then launched rival touring shows based on the TV series.

Lamarre has now taken the beef to court, filing a lawsuit Monday accusing Fox of libel, slander, and contract interference.

“Lamarre conceived the idea of a live all black male revue,” the suit states. “Fox employed a concerted effort of defamation, intimidation and misrepresentation to steal talent from ‘Black Magic Live,’ and to confuse ‘Black Magic Live’s’ audience, providing the public with false statements that Fox’s copycat dance venture was in fact the real ‘Black Magic Live
See full article at Variety - TV News »

Vivica A. Fox Sued by Ex-Strip Club Partner for Poaching Dancers, Ruining Biz

  • TMZ
Vivica A. Fox's former business partner says she ruined his "Black Magic" male stripper revue by bad mouthing him and stealing his dancers ... according to his lawsuit. Jean-Claude Lamarre says his partnership with Vivica went south when she went on "The Breakfast Club" and said the "Black Magic" guys don't strip for gay men. The Lgbtq community blasted her, and Lamarre says Vivica got pissed at him when he distanced himself from her ... during a "TMZ Live" appearance.
See full article at TMZ »

Alex Gibney’s ‘No Stone Unturned’ Will No Longer Have Its World Premiere At The Tribeca Film Festival

If the documentary world has rock stars, then Alex Gibney certainly qualifies. The Academy Award-winning filmmaker — his 2007 “Taxi To The Dark Side” took home the award for Best Documentary Feature — has made a name for himself producing documentary films with crossover audience appeal. Movies like “Enron: The Smartest Guys In The Room” and “Going Clear: Scientology And The Prison Of Belief” have emerged as minor hits with mainstream crowds, giving people a glimpse at secretive organizations who have amassed extraordinary amounts of power.

Continue reading Alex Gibney’s ‘No Stone Unturned’ Will No Longer Have Its World Premiere At The Tribeca Film Festival at The Playlist.
See full article at The Playlist »
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