Lee Daniels Talks Pain, Anger in Wake of Jussie Smollett Scandal

Lee daniels talks pain anger in wake of jussie smollett scandal

Last week. Jussie Smollett pleaded not guilty to all charges. His case is controversial for a litany of reasons.

In the mean time, those who know and believed in him most are still reeling from his scandal.

Empire creator Lee Daniels is now speaking out publicly about the way that Jussie’s drama has thrown the show for a loop.

“I was so in my feelings last week that I forgot to post about @empirefox & @staronfox,” Daniels admits.

He continues: “I guess y’all know why.”

He follows that line with a series of the “eyes” emoji, which most of us use when our favorite Instagram thirst follow posts a thirst trap.

In his case, it’s conveying something very diferent — eyes wide open in shock.

“Anyway,” Daniels writes. “I’m back and I’m finally ok!!!!”

“Oh my God,” Daniels exclaims. “These pase couple of weeks have been a freaking roller coaster.”

“We — me and my cast — have experienced pain, and anger, and sadness, and frustration,” he confesses.

“And,” Daniels continues. “We really don’t know how to deal with it, you know?”

Who among us would know how to deal with a scandal of this magnitude?

“Because it happened,” he notes. “Everything that you’re seeing tonight, prior to the incident.”

Scripted television (and most reality television) is filmed months in advance of it ever airing.

“And this is not what the show was made for,” Lee Daniels asserts.

He explains: “The show was made to bring America together.”

Daniels adds that the show was intended “To talk about the atrocities that are happening right now in the streets.”

He then suggests that people watch both Star and Empire.

“Watch!” he concludes.

Weeks ago, together with six other Empire producers, Daniels put out a statement on Jussie’s removal from the remainder of the season.

“Jussie has been an important member of our EMPIRE family for the past five years,” the …read more

Source:: The Hollywood Gossip

Jon Walters Claps Back at Troll: Rachel Wouldn’t Abandon Her Daughter!

Jon Walters and Rachel Bear Visit Stonehenge

90 Day Fiance: Before The 90 Days stars John Walters and Rachel Bear are husband and wife and counting down the days until their reunion.

In the mean time, however, one of their so-called “fans” had the audacity to suggest that they not bother waiting.

The troll suggested that Rachel abandon her young daughter to be with Jon. Both parents are clapping back.

Jon and Rachel are still two weeks away from their long-anticipated reunion.

One follower got tired of their eagerness and made a truly heartless suggestion on Rachel’s Instagram.

“Just relocate to the U.K,” the comment begins.

“Your older daughter will join you later,” the comment reads.

“Or you’ll be reunited with her when Jon gets his visa,” the comment concludes.

You’d think that the person was suggesting that Rachel find a new place to store her furniture during a move.

Rachel saw that horrifying suggestion and thoroughly rejected it.

“I will never ever ever ever leave my daughter behind,” Rachel emphasizes in response.

It is clear that she’s not just mortified by the “advice.”

She’s insulted that anyone would ever think that she would just leave her very young daughter for months at a time.

Rachel is an adult. She can wait.

What she cannot do is miss months of her daughter’s life on a whim.

Jon saw that comment and lashed out at trolls in a more general sense.

“Miserable trolls actually think they can cause pain,” Jon observes.

He writes that they try to cause anguish “by being mean and ridiculing us for how we look or our relationship or the fact we’re not wealthy.”

He and Rachel have been viciously criticized along these lines, but so have countless others.

“But,” Jon says. “I know for an absolute fact we have more heart and courage than they will ever have.”

Jon continues, writing “that they will never love or be loved the way …read more

Source:: The Hollywood Gossip

Motherhood Is Monstrous in The Act

Midway through the first episode of The Act, a group of neighbors are chatting on a front porch when Casey Anthony’s name comes up. The scene is set in 2008, smack in the middle of the Nancy Grace–fueled wave of “tot mom” national hysteria that peaked when Anthony was arrested (and then acquitted) for killing her daughter. “Do you believe that Casey Anthony shit?” Shelly (Denitra Isler) exclaims. “A car smells like a dead body for a month and nobody notices?” Mel (Chloë Sevigny), similarly skeptical, remarks that you can tell when somebody’s no good; all you have to do is pay attention. Dee Dee Blanchard (Patricia Arquette) is silent, but her gaze is nervous, and her forehead is furrowed.

The scene might feel like a throwaway moment—an interlude illustrating Mel’s short-lived suspicion of Dee Dee, who has recently moved with her invalid daughter, Gypsy (Joey King), into a bubblegum-pink house built for the Blanchards by Habitat for Humanity. But nothing in The Act is unintentional. To reference Casey Anthony is to dig up a tangle of ideas about the cultural fascination with women who harm their own children, a dynamic that The Act explores in visceral, psychological detail.

The new eight-part miniseries on Hulu is adapted by Michelle Dean and Nick Antosca from Dean’s 2016 BuzzFeed feature, “Dee Dee Wanted Her Daughter to Be Sick, Gypsy Wanted Her Mom Murdered.” The series fictionalizes some of the details, but otherwise faithfully adapts the true story of a young woman in Missouri who plotted to kill her mother. The real Dee Dee Blanchard insisted that her daughter suffered from an encyclopedic list of ailments and disorders: cancer, muscular dystrophy, epilepsy, asthma. She told friends and neighbors that Gypsy, a teenager, had the learning capabilities of a 7-year-old. None of …read more

Source:: <a href=https://www.theatlantic.com/entertainment/archive/2019/03/motherhood-is-monstrous-in-the-act/585454/?utm_source=feed target="_blank" title="Motherhood Is Monstrous in The Act” >The Atlantic – Culture

Hollywood Makes Way for the Disney-Fox Behemoth

The Disney Death Star has finally arrived. The company’s merger with Fox, completed this week, will radically reshape the Hollywood movie landscape. The math reveals a staggering picture: Last year, Disney’s overall market share for the domestic box-office was 26 percent—placing the studio ahead of its five major competitors, not to mention a host of smaller independent companies. 20th Century Fox, a long-time rival, had the fifth-largest share (9.1 percent) and more than one billion dollars in grosses. Together, Disney and Fox now command 35 percent of the movie market—a historic number for cinema.

The chilling implications of such a merger have been widely explored since the deal was first mooted in 2017. Disney had already become a pop-culture juggernaut after its acquisition of the Star Wars and Marvel brands over the last decade, on top of its existing animation studios (Walt Disney and Pixar). In 2016, Disney set a record for worldwide grosses in a calendar year; in 2018, it recorded the second-highest total in history. The company’s dominance of the film industry was already indisputable. But with Fox, it has gained a tremendous new asset.

Disney didn’t acquire the entire company, leaving behind its network-TV channel and news and sports programming (which are now part of the rebranded Fox Corp). But along with 20th Century Fox, Disney now owns the prestige film company Fox Searchlight; the cable channels FX and National Geographic; Fox’s TV production company (which owns The Simpsons); most of Hulu; a huge library of classic films stretching back more than 80 years; and (most crucially to many a comic-book fan) the rights to Marvel’s X-Men and Fantastic Four characters, who can now be folded into the massive Marvel Cinematic Universe. The initial announcement of the merger stirred up so much online …read more

Source:: The Atlantic – Culture