stars, sex and nudity buzz : 08/19/2012

* Not into British costume dramas unless there is nudity and surprisingly we get an eyeful in BBC2/HBO Parade's End(2012).

Rebecca Hall is topless in the opening episode.

Two sex scenes in the first six minutes... the steamy saga that the BBC hopes will grab Downton's crown

On the night before her wedding, in a sumptuous Parisian hotel suite, a beautiful bride-to-be with tumbling red hair opens the door to her lover. Although he is not the man she is to marry in the morning, they kiss passionately, before he rips off her clothes and ravishes her on the carpet.
This is the arresting opening to the BBC’s latest period drama, Parade’s End.
It boasts two sex scenes in the first six minutes. The second features the show’s stars, Benedict Cumberbatch and Rebecca Hall, breathlessly panting and grappling at one another through illicit sexual congress in a railway carriage. A scene in a later episode shows a naked Hall smoking in the bath.

Downton Abbey’s Lord and Lady Grantham would be appalled – never dreaming of such lewdness. But the BBC hopes that Parade’s End will soon be beating Downton in the battle for ratings and critical plaudits. Cumberbatch has already launched an attack on ITV’s hit costume drama, denouncing it as  ‘sentimental’, ‘cliched’ and ‘atrocious’.
Outraged Downton devotees are now labelling the actor ‘Cumberbitch’ but its creator, Julian Fellowes, appears to be talking down the furore, claiming: ‘I am quite sure what Ben said has been taken out of context.’
Like Downton, Parade’s End opens in 1912 and unravels the tangled love lives of the English upper-classes in the run-up to the First World War. It soon makes Fellowes’s version of Edwardian life – in which a Turkish gentleman has died in Lady Mary’s bed after making love with her and Lady Sybil has run off with a chauffeur – look positively prim and proper. TV insiders have already dubbed the BBC production ‘Downton for grown-ups’.

‘I like the idea of it being called an adult drama,’ says Susanna White, director of the new five-part series. ‘The two shows are very different animals and although they may appear to have the same spots, they don’t.
‘The only similarity is the period in which they are set and the fact that they are both about a load of toffs.
‘Downton is just a lovely thing to curl up in front of with a glass of wine but ours is the opposite. I like to think of Parade’s End as Downton Abbey meets The Wire,’ she adds, referring to the gritty American crime series.

The £12 million production – one of the most expensive dramas ever commissioned by the BBC – was adapted from acclaimed modernist writer Ford Madox Ford’s series of four novels also called Parade’s End.
In contrast to Downton Abbey, which many viewers feel at times descends into soap opera, the BBC drama could not be more highbrow. ‘Ford Madox Ford tracks the shifting moods of the nation, from chauvinistic pre-war Edwardian complacency to post-war exhaustion,’ says Professor of Literature John Sutherland at University College London. ‘It was a big subject. For those inspired to pick up Penguin’s tie-in edition of Parade’s End be warned: it’s 856 pages. At two minutes a page . . . well, you can do the maths.’
Adapted by playwright Sir Tom Stoppard, Parade’s End was filmed across 150 sets and boasts a cast that also includes Miranda Richardson, Rupert Everett and Anne-Marie Duff.
The lavish drama, which makes its BBC2 debut on Friday, tells the story of wealthy statistician Christopher Tietjens, played by Sherlock star Cumberbatch, and his unhappy marriage to Sylvia, played by rising star Rebecca Hall.
She is a cruel but beautiful socialite who is carrying a baby that may or may not be his. As Christopher’s world falls apart, he is given new hope by the love of a young suffragette, Valentine Wannop, played by newcomer Adelaide Clemens.

While you might assume that Sir Tom has injected all the racy excitement into the story, in fact, Ford Madox Ford’s original text is shot through with passion.
‘The BBC has sexed things up a little because Ford didn’t do overt sex scenes,’ says Alan Judd, a biographer of the author, who has seen the first episode. ‘But it is in keeping with the novel in the sense that in those days you closed the bedroom door.’
The action is very much based on Ford’s own life. Born in 1873, he eloped with his childhood sweetheart, Elsie Martindale, at the age of 20. Ford was to remain married to Elsie for the rest of his life – despite the fact that he had an affair with her sister, Mary. By the time he was 35, Ford had left his wife for the author Violet Hunt but Elsie refused to grant him a divorce. 

Violet was a decade older than Ford and sexually confident – her past  lovers included H. G. Wells and Somerset Maugham. Ford’s biographers have often suggested that the sexual allure of Sylvia in Parade’s End was based on Violet’s. Ford may not have included  a naked bath scene, but he depicted  Sylvia seducing Christopher in a railway carriage. 

Together for approaching a decade, just like Christopher and Sylvia, the ultimate crisis between Ford and Violet came when he went off to fight in the First World War. Violet felt he had deserted her and was desperate to win him back – like Sylvia, she complained publicly about his behaviour, wrote  histrionic letters and set detectives  on him. 

Also like Sylvia, Violet was driven almost insane by the woman who replaced her in Ford’s affections, the young artist Stella Bowen, who inspired the character of Valentine Wannop.
Where the TV series really diverges from the book is not in its attitude to sex but in the story’s emotional bias.

Novelist Graham Greene described Parade’s End as ‘the terrifying story of a good man tortured, pursued, driven into revolt, and ruined as far as the world is concerned by the clever devices of a jealous and lying wife’.

Stoppard, however, recalibrates the emotional currents of Ford’s story – to make Sylvia sympathetic. TV bosses were so keen to get Hall for the role of Sylvia that they agreed to fit most of the shoot around a seven-week break in her Hollywood schedule.

TV bosses were so desperate for Rebecca Hall to play the part of cruel socialite Sylvia that they organised filming for the BBC2 drama around her Hollywood schedule

They believe the actress, who is currently filming Iron Man 3, has managed to portray Sylvia as a ‘desperate and fragile’ woman rather than a two-dimensional ‘bitch’.
Sylvia tricks Christopher into marrying her by pretending he made her pregnant, she ‘upstages the corpse’ at his mother’s funeral by parading about in the latest fashions and she abandons Christopher – and her young son – to have a four-month affair with a man called ‘Potty’ Perowne. But Stoppard appears to argue she does it because she is violently in love with her husband and cannot get his attention. ‘Sylvia is completely trapped when she becomes pregnant and she has got no option but to get a husband,’ says White. 

‘She is someone who needs a lot of emotional support and love but unfortunately Christopher is not in any sense a new man.’
David Parfitt, who produced the drama, believes that it’s vital that viewers end up ‘falling for’ Sylvia.
‘She is an unsympathetic character who you end up loving because you begin to feel for her,’ he says. ‘I don’t think there are many actresses who carry off what Rebecca does because what she does to Christopher at the beginning is unforgivable.’
For all the challenges that faced the screenwriter, actors and producers of Parade’s End, the triumph is that the author’s classic has finally reached the screen. Devotees of Ford Madox Ford include Booker Prize-winners Julian Barnes and A. S. Byatt, bestselling crime writer Ruth Rendell and actor Bill Nighy.
For the BBC, the adaptation represents a huge financial gamble and a great deal is resting on its success – the chance to once again claim the laurels of top broadcaster of costume drama.

Will viewers be seduced by sexy  Sylvia? Or will they rush back into the comforting arms of Lord Grantham – who would never allow such steamy shenanigans to take place under his roof?

Rachel Johnson's verdict: I was hooked. But there can be only be one winner in the 'Phwoar War'

Already it’s been called ‘Downton for adults’ and Parade’s End is very adult indeed.
Benedict Cumberbatch makes a very good Christopher Tietjens, a man of principle and rigour who excitingly works for the Imperial Department of Statistics, with Rebecca Hall as his wife. Hall’s Sylvia is a ‘damn fine piece’ who’s already pregnant, possibly by her lover, a duffer with a droopy moustache called ‘Potty’ Perowne. 

If this sounds silly, it isn’t. There is a seriously talkie script, based on a tetralogy  by Ford Madox Ford, and adapted by Tom Stoppard.
So it’s unlike Downton Abbey, where the actors spent most of their time semaphoring to each other silently over teapots: Lady Mary’s mooncalfing at Matthew Crawley, the Earl’s goggling at the post, Bates’s smouldering at Anna like a vulture with a secret sorrow. 

The BBC is putting its landaus on ITV’s lawn here: Parade’s End is lavish, beautifully shot, crisply directed, and even covers some of the same period as Downton – we have the Great War, suffragettes, stately homes and side-saddled strumpets. 

So which one will win the ‘Phwoar Wars’ of the autumn TV schedules?Mmm. Downton was sexy because there was hardly any sex at all, just non-stop, girly romance. Julian Fellowes broke this house rule only twice. 
Firstly, when Lady Mary fell for the handsome Turk, the doomed Mr Pamuk, who died on the job in her bed; and second, the ill-judged scene about  the wedding night of a naked Bates and his bride Anna, of which the least said the better.  

So Downton used the cheap trick of avoiding adult sex almost entirely, and this failure to consummate kept the whole family riveted to the series for months.
I remind you that we all spent 16 precious hours of our short lives watching a deliciously cartoonish costume drama in which the two main characters – Lady Mary and Matthew Crawley –  failed to get it on at all until the Christmas special (episode 16, 67 minutes long) when their lips  finally met.

In contrast, three minutes into Parade’s End, Sylvia has been ravished on the floor by her lover Potty (‘The French understand these things,’ she gasps), and 11 minutes in, there’s a flashback when she is seen straddling her future husband in a railway carriage. 

Ten minutes into the next episode, Sylvia has completely disrobed and is reclining in the bath with a cheroot. Her husband enters, only to flinch when he sees his wife’s nakedness. ‘Sorry – I – er,’ he stutters, turning away, which makes Sylvia so cross she gets herself to a nunnery. 

In Downton, there is no sex, let alone nakedness (Bates doesn’t count), which is a tremendous plus. Nudity on the small screen is like the Third Rail: if a director touches it, the contact can electrocute the whole series. 

Having said that, the sex in Parade’s End is tasteful and period-appropriate (so far as I know), and the nudity, like Maggie Smith as the Dowager Duchess, never, ever goes downstairs. 

I was hooked by episode two. Sylvia has stopped having sex with everyone, and is spending a lot of time on her knees (praying). Meanwhile, Tietjens, who has decided to serve his country, is struggling with his feelings for a young suffragette. 

It’s as if after two hours Tom Stoppard has put the fleshly Rebecca Hall away, in favour of turbid glances, unrequited passion,  high-necked blouses, and almost continuous trembling on the part of all the  main characters, even the beardy Scots. 

Parade’s End, then. It’s twice as grown up and three times as brainy as Downton – but probably only half as much fun.

Parade’s End is on BBC2 on Friday at 9pm.

sylviatietjens

“ Having seen the first two episodes, I can say that the first episode is given over, largely, to scene-setting, but that pay-off comes soon enough in episode two, when Stoppard starts to colour in his characters. Sylvia, for example, comes across as a catty prima donna in episode one but then gets a speech in episode two of such darkness and brilliance that it is unlike anything else you will find on television.

Standing naked before her husband, to whom she is serially unfaithful, Sylvia says: “Higher than the beasts, lower than the angels: stuck between the two in our idiots’ Eden. God, I’m so bored of it all. Guarding or granting permission to a temple no decent butcher would give to his offal tray. I’d rather be a cow in a field…”

* seriously hoping for nudity from Aussie actress Adelaide Clemens but pretty unlikely. Furthermore British shows tends to tail-off when it comes to sex and nudity after first few episodes.

________________________________________________


Review: COMPLIANCE is a Taut, Brilliant Character Piece

by Jason Gorber

If I told you that Compliance is a taut, brilliant character piece, would you believe me without question?

Anybody who has read of the Milgram experiment in the 60's is probably convinced that they wouldn't fall prey to such an obvious ploy. Simply being told to comply shouldn't turn off that rational part of our brain that says "hold on a sec". Yet time after time, it's proven that for many of us our behaviours act far more like the proverbial frog in a stovepot, sitting quietly, blithely as the water slowly heats up until, bit by bit, it's boiled to death.

The strength of Compliance lies in how it proceeds, step by step, over the cliffs of insanity. At any moment the actions and behaviours of the characters seem entirely preposterous, yet there's a clear line at every moment of just how we got to where we now are. The incremental nature of the film, its impeccable pace and taut performances by the ensemble cast, allow the viewer to be sucked into the morass of the situation, all the while confident that there's no way that anybody would really fall for such a preposterous lie.

We're told from the outset that the film is based on a true story, yet from the opening moments it seems just too insane to be true. A man calls in to a small town fast-food joint, purporting to be a police officer. He describes in general terms a blonde cashier, accusing her of stealing from a client. He then, in a dry, deliberate fashion, convinces the manager to escalate the situation on behalf of the "investigation". By the time the film rolls along to its conclusion, the sheer brutality of the actions, and the head-smacking disbelief watching the characters make mistake after mistake, becomes more than a little offsetting, if not preposterous.

Unlike many of these "ripped from the headlines", the most egregious elements of this story are completely consistent with actual events. By the time the final moments of the film transpire, the work is elevated by having characters outside the central action comment upon the sheer madness of what transpires, asking the very questions that a rapt audience has been asking for much of the running time. Delving into the reported events of the real situation(s), it's clear that the filmmakers changed only superficial elements, including a nice twist in the occupation of the perpetrator of the call. Much of the rest of the tale, from the smallest detail to the most repugnant abuse, fall directly in line with what is purported to have occurred.

This work isn't a documentary, nor is it slavish to reality. At the same time, it's a work not shy about sticking to the facts of the case even if narrative credulity is strained. There's nothing titillating or exploitational about how the film unfolds, it's almost matter-of-fact in its tone and construction. Compliance manages to do its best in a claustrophobic setting, cross cut with the cacophony of an operating restaurant, making even the most sordid of behaviours seem completely within the scope of the decisions these individuals would make at any given time. At times the events portrayed are done in an almost chaste way, focussing on the emotional abuse rather than the physical titillation of an audience watching the mess unfold.

Much of the success of the film lies on the shoulders of the extremely capable cast. As the central, more manifest victim, Dreama Walker (known mostly for her comedic TV work) plays the look of stupefaction with great aplomb. With each escalating moment, her character remains believable as a small town adolescent succumbing to the onslaught of psychic warfare thrown her way. In such a short period, she gives in incrementally to what at every stage is presented as the lesser of two evils. This overt manipulation would be simply sordid if it weren't for the restrained and believable performance that Walker provides.

Other members of the ensemble are also more than capable, but the beautifully nuanced and memorable performance belongs to Ann Dowd. Her turn as the manager is so shocking, so arch at one moment and restrained at another, that it's difficult to imagine it being pulled off with any sense of credulity, yet Dowd manages at each turn to maintain a clear sense of what this character's motivations are. Her quick turns of emotion, be it glowering at her "fiancée" because of his drinking, or soothingly convincing her employee to undress at the behest of the officer on the phone, speaks to an insecure, overworked individual ripe for such emotional exploitation.

The capper is the TV interview that Dunn gives at the conclusion, a matter-of-fact, almost flirtatious take with the reporter that's almost as shocking as the more explicit events that occupy much of the running time. Her continued obliviousness remains paramount, yet this is exactly the type of self-delusion that's not only manifest in a wide range of individuals, but the very characteristics that the caller exploited to escalate the situation. It's in these brief and brilliantly calculated moments that the film transcends being a mere retelling of a fascinating crime story and becomes, in fact, a quite remarkable character piece, rich in both texture and capability.

I think it may be easy to miss both the sophistication of the presentation under the more manifest elements of the film, some no doubt deriding it as mere exploitation, like a Saw film without the buckets of blood. I find this view to be preposterous, with the film managing at every move to remain firmly anchored as a film about character and psychology rather than about feeding into the visceral thrills of an audience.

This is a remarkable film from Craig Zobel, along with his long-time collaborator David Gordon Green listed as one of the producers. Taut, edgy, at times almost farcical yet remaining incredibly powerful, this is a small scope film big on execution. It's extremely well performed, shot with a capability that films of this size don't normally merit (a fine shot of the police arriving at the restaurant is particularly excellent), and takes its audience on a very twisted journey indeed.

Compliance is now playing in limited theatrical release in Toronto and New York. It expands to selected cities in the U.S. beginning on August 24.

________________________________________________

couple of topless vids starring Irena A. Hoffman. A gorgeous blonde from Romania. Former Miss Romania (no proof of that). Bears a striking resemblance to young Julie Benz.


* the videos quality are poor *

Irena A. Hoffman [topless] in House of Flesh Mannequins (2009).
shitty flick. Thought the former Miss Romania contestant will have abundance of nude scenes.....that hope faded fast enough. It only arrives at the end. Too flashy and shot in a way you barely see anything worthwhile from Irena.

https://rapidshare.com/files/3355835983/IH-HoFM.rar

You can see Irena boobies in better light but again quite brief in Moonlight Sonata (2009)
According to the director Celik Kayalar:
[The actress] Irena Hoffman is European. I had 1200 applicants for that role and was in LA for three weeks casting [the film]. She is very good; she is a former Ms. Romania who moved here ten years ago - her star is rising. Being European, she had no problem with nudity. Being a low budget movie, I couldn't get everything I wanted. Often, if you are paying only $120 a day, the lowest SAG fee, and you say, 'By the way, your role also requires top frontal nudity,' their agent understandably objects. But she loved the role, and did a terrific job.
 
https://rapidshare.com/files/3914000418/IH-MS.rar

________________________________________________


McKayla Maroney : Team USA portraits [May]2012



________________________________________________


Blake Lively : Vogue USA [September]2012
    ________________________________________________


20-years old Alexis Dziena : Jason Frank Rothenberg photo-shoot [2005]
________________________________________________


Emma Watson : Entertainment Weekly [August]2012


________________________________________________

Pixelization makes TV 'nudity' a blurry issue

The editing technique implies actors are unclothed even if they aren't. It bothers the Parents Television Council and underscores a larger debate on standards.

By T. L. Stanley
August 19 [2012]

Howie Mandel wore black high-top shoes — and nothing else — during a remote shoot for NBC's "America's Got Talent." Krysten Ritter strolled around in the altogether, casually snacking and chatting on ABC's "Don't Trust the B— in Apartment 23." And Ashton Kutcher greeted visitors on CBS'"Two and a Half Men" in shaggy shoulder-length hair and his birthday suit.

These aren't clips from "Networks Gone Wild," but scenes from the recent broadcast season where instances of "full nudity" have skyrocketed. The trick, of course, is that the actors just appear to be naked — the censor-offending, federally banned body parts blurred beyond recognition by the wonders of modern editing.

Known as pixelization, the post-production technique, which displays a certain area of a photo or footage at a much lower resolution, came into wider use years ago largely in TV news, documentaries and reality programs. There, the practice obscured product placements, and distorted everything from a license plate number to a human face to protect privacy rights.

But now television writers are using the tactic as a sight gag and a way to attract attention, in much the same way that scripted programming commonly bleeps out censored language. The stars themselves are almost always not in their birthday suits anyway. Instead, they are outfitted with body suits or swimsuits that are later erased or covered up with special effects, according to producers and industry insiders.

In the 2010-11 television season, there was one instance of pixelized "full frontal nudity" on the major networks. This season, there were 64, according to new research by the Parents Television Council, a nonprofit Los Angeles-based media watchdog group.

Though the nudity is usually phony, this use of pixelization pokes at the standards of what is considered decent and underscores a larger debate about what should be allowed on television. Part of that conversation recently reached theU.S. Supreme Court, where justices struck down fines for ABC and Fox, which had aired partial nudity and swear words. The broader issue, however, of just how far networks can push the boundaries of their content was left unaddressed.

None of the networks contacted would comment on the PTC's pixelization findings, saying privately that implied nudity is a far cry from R-rated fare. The practice isn't prohibited, or even specifically addressed, in guidelines of the Federal Communications Commission, they add.

Dennis Wharton, executive vice president of communications at the National Assn. of Broadcasters, defended the networks' right to use the editing technique. "It appears that many if not most of the programs cited by the PTC did not involve actual nudity," Wharton said in an email after reviewing some of the PTC's examples. "Nonetheless, broadcasters are committed to empowering parents with program ratings and program-blocking technologies that allow them to screen out content that might be inappropriate for children."

Real or not, PTC President Tim Winter said that pixilated flesh is "unfortunate, unnecessary and offensive to the family audience" and that it happened more often in 7 to 9 p.m. shows, when kids could be watching, than in those airing after 10 p.m. Nor did the shows' ratings always warn parents of sensitive content.

Karen Sternheimer, a USC sociology professor writing a book on pressure groups that try to censor popular culture, said a study like the PTC's is a way to "galvanize the troops," though she sees it as a futile attempt to sway policy.

"The legal trends over at least the past 60 years have been toward protecting the 1st Amendment, so it's a losing battle," Sternheimer said. "It's a tactic, though I hesitate to call it a study in the scientific sense, and it speaks to like-minded people. But it's not likely to change content on network TV."

Indeed, networks, locked in a battle for viewers with more permissive basic and premium cable channels, have been pushing for more latitude to air edgy programming.

Pixelization looks more realistic than, say, a black bar across intimate areas, and its use has jumped drastically, according to the PTC. In the 2010-11 season, for instance, black bars covered implied nudity 87% of the time. A year later, blurring and pixelization had become the special effect of choice, 74% of the time.

"The blur gives you a different impact visually, and the person appears to be completely nude," Winter said. "That's a huge leap from where we've ever been on broadcast TV before."

During an episode of NBC's "The Office"last season, characters played by James Spader,B.J. Novak and Zach Woods stripped off their clothes and jumped into a swimming pool with co-workers at a company party. Plenty of pixelization ensued.

The series, done in mockumentary style, used pixelization because it mirrors what's done on reality shows, said former producer Aaron Shure. Writers and producers consciously chose it because it's part of the gag. "The pixelation itself can be the joke," Shure said. "If a character walked around nude, it would be shocking but not funny. There's something visually entertaining about scrambled pixels."

Comedian and late night host Jimmy Kimmel takes that one step further on his regular segment, "This Week in Unnecessary Censorship," which he calls an ode to the FCC. The"Jimmy Kimmel Live!" sketch uses pixelization and bleeps to alter completely nudity- and profanity-free TV clips, making them seem dirty and subversive.

John Gross, a veteran visual effects supervisor at L.A.-based Eden FX, said he and other effects executives are often asked to add pixels or shadow parts of actors' bodies so network shows will pass muster with censors. They also draw clothes back on so that programs can be sold to international markets more modest than the U.S.

Obvious pixelization that is meant to be part of the scene is rare compared to other special effects, he said. "We're asked far more often to do vanity and makeup fixes and scrub out corporate logos than we are to do nudity covers," Gross said. "But we do blur out things that producers didn't mean to show or that networks won't show, like butt cracks."

Melissa Rosenberg, veteran screenwriter, used pixelization to hide private parts in her upcoming NBC drama pilot, "Red Widow." A love scene between two characters inadvertently showed too much skin, and it took several tries with editing and effects to pass the network censors, she said.

"The networks have very strict, very specific guidelines, and they haven't relaxed in the slightest, in my experience," Rosenberg said. "It gets down to frame-by-frame cutting, and you just hope that by the end you haven't butchered the scene so it looks ridiculous."

She and other show runners said they find it strange that there's more uproar over perceived nudity than realistic-seeming violence. "In any procedural, medical or cop drama, you'll see rapes and mutilations and blood, and that's OK," she said, "but God forbid you show the side of a boob, which is most definitely not OK."

________________________________________________
 

Justin Lee Sex Scandal Photo Leak

The Justin Lee sex scandal, which involved the socialite drugging and possibly raping several women has taken Taiwan by storm. Approximately 60 models and actresses were reportedly featured in the sex videos.

On the morning of August 16th, an unidentified netizen uploaded 9 more photos from Taiwanese heir, Justin Lee’s, pornographic photo collection, including a 1-minute and 13-second video clip. The poster uploaded the leaked content on Taiwan’s largest community forum, PTT Bulletin Board System. Almost a million comments followed after the topic was posted.

The user, identified as ‘M,’ used an IP address from the Czech Republic. The poster locked the topic, and told the users that if they want to see more photos and videos from Justin Lee’s collection, they had to figure out the passcode themselves.

Many users tried to protect the information from getting leaked to the authorities, but by 2AM, the entire topic was closed down, and it could not be viewed anymore. On August 15th, the police department issued search warrants to the homes of two PTT users because they requested ‘M’ to show them Justin Lee’s pornographic files. Tabloid magazines that previously published photos from Justin Lee’s collection were also interrogated by the police.

Justin Lee’s Ex-Girlfriend Denies Being ‘M’

A few days ago, the press caught Justin Lee’s ex-girlfriend, Cora, turning in a CD device to the police authorities. Cora denied that the CD was her sex tape with Justin Lee through her Facebook page, stating, “That CD is a computer device driver. The police are checking if there are more photos in it.”

Cora also denied that she is the one who leaked the new photos, “How can it be me?! I do not have any of them. The prosecutor will prove me innocent!”

Netizens Have Fun with Photoshopped Pictures

Two new photos that included the married ‘H’ and the model-turned-actress ‘W,’ were discovered by the media several days ago. Commercial star ‘C,’ girl ‘T,’ and model ‘L’ also became known victims. According to several reports, Justin Lee would record the real names of his victims, and categorize them from ‘A through Z.’ On August 14th, rumors spread that a children’s variety show host and another A-list actress were among the newly exposed victims.

Recently, a photo of a victim who resembles famous Taiwanese model and actress, Kelly Lin has been circulating online. Kelly’s agency denied that the photos were of Kelly, and most netizens agreed that the photo was in fact just an old photoshopped picture of Kelly.

Actress Alice Tzeng was also unfortunately warped into the scandal. With regards to Alice’s alleged involvement with Justin, the actress’ ex-manager replied, “Alice never went to nightclubs. She could not have known Justin Lee.” Alice’s current manager, Bingo, responded, “We’ve discussed about this issue. Alice said she never went to nightclubs. They never met nor contacted each other before.”

Three more intimate photos of Justin Lee with his victims surfaced online yesterday, but it was later proven to be photoshopped.

 

 

Justine rumored ex-girlfriend, Maggie Wu was said to have a breakdown after noticing the exposed nude photos featured her as well. She cancelled a press conference scheduled to be held yesterday, for the reason that she was worried she would be overwhelmed by emotion during the conference. But in the last promotional activity, she had made it clear that she had not been in touch with Justine for a long time and refused to make more response to Justine’s case.

Model Maggie dated Justine in 2008, and she was rumored to have attempted suicide by cutting her wrist after breaking up with him.

Taiwanese police yesterday made an apology to the public for the disclosure of Justine’s sex videos and photos, saying it is a second blow to the victims, and vowed to catch the people who initially uploaded them. But speculations have emerged that some ones inside the local police department are responsible for the disclosure.

 ________________________________________________


Nowadays nudity rules the roast in Bollywood!
Bollywood industry has always entertained the audiences with its excellent films but unfortunately now it’s a totally different story because instead of making good movies, the directors and producers have started running after sex these days.

Now the actresses who like Veena Malik, Poonam Pandey, Sunny Leone and Sherlyn Chopra have become the talk of the town and the main reason behind is there boldness and cheap publicity stunts.

The Indo-Canadian porn star Sunny Leone was brought into the ‘Bigg Boss 5’ house for the first time ever and perhaps it was all done on purpose, as despite of all the criticism she is all set to make her B’town debut with Pooja Bhatt’s forthcoming film ‘Jism 2’, a sequel to the 2003 hit film ‘Jism’.

‘Jism 2’ is currently the most-awaited films out there and the reason behind is the presence of Leone in it since all the adults anxiously want to see her performing on the big screens of India.

The Pakistani starlet, Veena Malik, who has always remained in the news for wrong reasons, also has several films under her belt. Not because she is a very talented actress but because she doesn’t shy away from shedding her clothes.

Wannabe model Poonam Pandey is soon going to make her Bollywood debut because she has always been ready to bare-all.

These three were known for their cheap publicity stunt but now another name has come up in the list and that is of Sherlyn Chopra, who has worked in many Bollywood films.

Sherlyn has created a storm in her country by becoming the first Indian woman to grace the pages of popular men’s magazine Playboy, which is banned in India. Her nude pictures will be published in November by the magazine around the Diwali.

Keeping all these facts in front, it is fair to say that the trend in the Bollywood industry has changed a lot and it is only a matter of time before they will start showing fully naked girls in their films.

Perhaps this is a reason why most of the actress have started shedding their clothes as they know doing this will get them lead roles in the films. ________________________________________________ 


Embracing the sensual side of sex 
                                                                                                                                by Zoe Christodoulides

While many areas remain taboo in Cyprus, organisers of the second annual Erotica festival hope to bring things into the mainstream Zoe Christodoulides is told.

WHILE pole dancers and erotica shows in Cyprus tend to be associated with seedy backstreet joints and cabarets, one local is adamant to bring about change as the annual Sex and Erotica Festival springs to life.

Organised for the second year running, the event is touted as being bigger and better than last year, when it formally took place at the Technis Dromena Gallery in Nicosia.

Now set to take place behind the doors of the Secrets Freedom Club in Larnaca this coming Saturday night, the adult occasion will be following on from popular European trends which see large scale exhibits and festivals dedicated to erotica spring up in various cities.

The festival aims to open the gates to a potentially more liberal community and 21st century mindset, as local organisers point out that it is now time for Cyprus to embrace the change. “This was about an idea to make things progress a little. Just look at places like Berlin and how the general public enjoys erotic exhibitions as art,” says the main organiser of the event, George Karaviotis.

The annual London Erotica Exhibition is also a huge deal, attracting over 60,000 visitors in the three days it remains open each year. Although we may not quite be able to compare ourselves with countries that have long embraced the idea of public erotica, the upcoming show is hoped to be a good start.

“We really want to point out that this is not just some sleazy event,” says the event organiser. “It’s not a sordid dirty sex orgy. It’s about embracing the artistic and sensual side of sex.”

Last year’s occasion lured in a sizeable crowd, with people from all walks of life taken over by curiosity. “Even couples in their 40s and 50s came along to see what it was all about and gave us really good feedback,” recalls George.

But why the switch this year from a more approachable gallery space to an underground club? “We wanted the event to become more of a party, something which also characterises the kind of shows that takes place abroad.” As for the venue itself, it usually functions as a gay club. But organisers point out that this has no resonance on the kind of festival which will be taking place this weekend. “This is an event for everyone: straight people, homosexuals, bisexuals. There are no limitations whatsoever.”

For the upcoming occasion, the venue will be revamped and decorated erotically by a professional art director. One part of the space will be dedicated to the more cultural and artistic adornment of sex. Exhibits will include phallic and nude sculptures and scriptures; not to mention antiques and novelty erotica movie posters. The display will also include a small library of erotica books.

In addition to all this, crowds will be taken into the past with old European pornography images juxtaposed with today’s photos. A pornographic film from the 1940s will also be projected. “We really wanted to show that there is an overtly artistic side to sex, one that also goes way back in time,” explains George.

Not just about ogling sensual art however, crowds will also have the chance to have a good old boogie as party music plays in the background. Various entertainers will be weaving their way through the crowds for added excitement. “There’ll be retro-esque dancers, strippers, coco boys and lesbian dancers.”

“Shows will be put on by both genders so there are no restrictions as to sexual orientation,” George points out. “But let’s make it clear; we still have taboos in Cyprus and we can’t quite go as far as they do abroad. There will definitely not be a live sex show involved. I don’t think we could pull that off just yet.”

________________________________________________



These Jewish princesses will kick your butt

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

________________________________________________