stars, sex and nudity buzz : 10/18/2012

Upcoming Movies with Possible Nudity

The Reluctant Fundamentalist
Rated R For language, some violence and brief sexuality.
Release Date: TBA 2013
Synopsis : A young Pakistani man is chasing corporate success on Wall Street. He finds himself embroiled in a conflict between his American Dream, a hostage crisis, and the enduring call of his family's homeland.

 

Primarily interest: Love scene between Kate Hudson's Erica and main protagonist. 

Total Retribution
Rated R For violence, language and some graphic nudity.

Black's Game

Rated R For strong sexuality, some graphic nudity, brutal violence including a sexual assault, disturbing behavior, pervasive drug content and language.

Synopsis : In the mid to late 90's, the Reykjavik crime and drug scene saw a drastic change from a relatively small and innocent world into a much more aggressive and violent one.. The film tells the story of this change through the fictional gang of pushers that took control of Iceland's underworld.
Primarily interest: María Birta (T-and-A)

The gang’s chief salesmanwoman is icy blonde party girl Dagný (María Birta). The traditional drug crime thriller has the gang disintegrate in jealousy over the girl. While Dagný is the catalyst for betrayal and disintegration, it is not the way that one would expect. Dagný can’t cause jealousy, belonging simultaneously to all and to none. Instead Dagný either purposely or accidentally acts as the catalyst to a shocking rape. An almost purely sexual creature, Dagný is capable of flirting by eye contact with the rape victim, despite being at that very moment the centerpiece of a massive drug-fuelled orgy.

 

 

Watch the full movie here 
(María Birta nude fiesta starts from 63-mins mark)

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Firefly cast and writers discuss nudity in "Trash". After 5,000 tweets to a specified hashtag, Science Channel releases a clip from the roundtable discussion they shot for November's anniversary special.

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"Trust's" Liana Liberato and Harrison Gilbertson to star in Horror Movie 'Haunt'

Written by Andrew Barrer, the story centers on a family that moves into a new home with a dark past. The introverted son (Gilbertson) becomes involved with a beautiful girl (Liberato) next door and as they begin to explore their sexual awakening, the two unwittingly invoke an alternative dimension of the house.
Weaver will play a former resident of the house who has suffered a terrible family tragedy.
Sasha Shapiro, Anton Lessine, Bill Block, Paul Hanson, Steven Schneider and Will Rowbotham are producing.
Nick Phillips and Kelly Wagner’s Revolver Picture Company is co-financing and producing Haunt with QED.
Production will begin November in Utah, making it four films that QED will be in production on this fall. Shooting began earlier this week in Atlanta on Ten, the new film from David Ayer that stars Arnold Schwarzenegger, while John Turturro’s Fading Gigolo, which stars Turturro and Woody Allen, begins lensing next week in New York. Later in the season, production will start on Are We Officially Dating? staring Zac Efron.

* Liana Liberato could well be one of the youngest American stars at 17 (on cusp of 18) to show her tits on a mainstream flick. Barrer wrote a very adult tale and Liana have shown she has no qualms in taking on risque roles.

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Texas Chainsaw star Alexandra Daddario stops by to tell us bit about her role in the direct sequel to the classic 1974 horror film .
* Alex should be the front-runner for Fifty Shades movie adaptation. Incredible luminous blue eyes staring at the cam as it pans out and we are pleasantly surprised to see she is fully nude.....


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Sundance Channel's 'Restless' Miniseries Sets Premiere Date
The two-parter starring Hayley Atwell, Rufus Sewell and Michelle Dockery will launch Dec. 7. Starring Hayley Atwell, Rufus Sewell and Michelle Dockery, Restless will premiere Friday, Dec. 7 at 9 p.m. with the second part airing the following week, the cable network announced Wednesday.

The two-parter is based on the novel by British writer William Boyd and follows the story of a daughter who discovers that her mother was recruited as a spy during World War II.

Produced by Hilary Bevan Jones (State of Play, The Girl in the Cafe) and her Endor Productions, Restless -- filmed in South Africa and the U.K. this past summer -- is directed by Edward Hall from a screenplay by Boyd. Rounding out the cast are Michael Gambon and Charlotte Rambling.

Restless is the first of three new scripted projects that Sundance Channel is rolling out. The others are Top of the Lake, from Jane Campion and starring Elisabeth Moss and Holly Hunter, and Rectify, from Breaking Bad's Ray McKinnon and will air next year.

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‘Californication’ Star Madeleine Martin Sits Down On The Couch

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Girls Star Allison Williams Talks College, Acting and Marnie

by Maria Minsker on October 17, 2012
Senior and English and Communication at Cornell University

When viewers see the beautiful Allison Williams bring Marnie to life on HBO’s hit show Girls, it’s hard to believe that just a few years ago, Williams was a high school senior, holding her breath as she waited to hear back from colleges, especially her dream school—Yale.

“There's about a week during which you hear from all the colleges you apply to, and I had heard from all my colleges except Yale. Finally, when I logged into the Yale website and found out that I got in, I jumped up and down with joy. It was pretty obvious that that's where I wanted to go. I just never imagined I would get in!” Williams says.

At Yale, Williams had what she calls a very colorful, wonderful collegiate experience, complete with mistakes and lessons, triumphs and failures, parties and all-nighters in the library. “Maybe more all-nighters in the library than parties, but still,” she says.

After being turned down for a role in her school’s rendition of Urinetown, Williams attended a comedy show put on by the improv group Just Add Water to cheer herself up. She fell in love instantly, auditioned, and joined. 

“I'm so happy I was accepted into the group, because […] it made me the actor I am today,” she says.

Shortly after she graduated in 2010, Williams moved to Los Angeles and tutored for a living. “It can actually be quite a good source of income, and it's a perfect job for an actor because you can have flexible hours,” she says. 

While in LA, Williams released a little video called “The Mad Men Theme Song…With a Twist.” The just-over two-minute parody gained momentum and was seen by over 700,000 viewers—among them was Judd Apatow, the executive producer and comedy genius extraordinaire behind Girls. 

Apatow contacted Williams, and offered her an audition for The Untitled Lena Dunham Project. “I auditioned for the show just three weeks after moving my life out to Los Angeles, and like a boomerang, I shot right back to New York to shoot the pilot. The rest is, as they say, history!” she says.

Williams was immediately drawn to Dunham’s writing, which she calls almost voyeuristic in its reality. “[Dunham] has this innate but uncanny ability to understand humans and the complex ways in which they relate to each other,” she says. When reading the pilot, she was particularly intrigued by the unique relationship her character, Marnie, would have with her boyfriend Charlie.

“I say unique because it's unique in television and film, not because it's unique in real life. In fact, you'd be hard-pressed to find someone who hasn't been on one side of that dilemma: (s)he's so nice to me that (s)he is unattractive to me. It doesn't make sense, yet it happens all the time,” Williams explains. 

Marnie is a fascinating, nuanced character and can be difficult to portray, Williams says. 

“The biggest challenge is that Marnie doesn't often have fun, smile or show kindness to other people. She isn't usually in harmony with those around her. I find myself yearning for her happiness, begging to be allowed to be sweet and nice. She has tiny moments where she is comfortable enough to let her guard down, but it can be exhausting to play someone with that much tension in her shoulders,” she says. 

Because of Marnie’s uptightness and difficult attitude—though, of course, Dunham’s character Hannah is no angel either—the two had a falling out at the end of season one. But that doesn’t mean the two are done for good.

“I love the idea of Marnie and Hannah being so close in college and then trying to translate that relationship into the real world of New York...that's a very complicated dynamic. As you all know, the fishbowl world of a college campus is very different from the world of a major city. So that transition can be difficult, as you see on our show,” she says. 

Though Girls doesn’t returns to HBO for season two until January 13 (that’s your cue to start a countdown), Williams isn’t taking a break. 

“When I'm not shooting Girls, I'm working at finding the next thing. I have yet to be cast in a movie, and right now that is my goal,” she says. “This business is a lot of "no," and an occasional "yes." If I tallied up my "no" to "yes" ratio, it would probably be somewhere near 250:1. That 1 just happened to come at the perfect moment.”

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Helen Hunt says intense emotional journey of sexual surrogate made ‘The Sessions’ a can’t-miss role

Co-stars with John Hawkes in Sundance film about the desire of an immobilized man

By Marshall Fine 

She’s been acting since she was 10, so sometimes Helen Hunt feels as though she’s played most of the roles out there.

And then she reads something special. Like the script for “The Sessions,” which opens Friday.

“I can’t say I’ve ever felt anything like I did playing this part,” Hunt says, stretching out in a hotel suite’s easy chair. “That’s why I did this film with so little hesitation. This was a character I’d never met in real life or seen on the screen. She was someone who radiated this unabashedly humanistic view of what the human body is capable of.”

“As an actress,” Hunt adds, “I was hungry to play someone like that. As a person, I’m hungry to live that way.”

“The Sessions,” called “The Surrogate” when it played Sundance this year, is based on a true story. Hunt plays Cheryl Cohen Greene, a real-life sexual surrogate. She is hired by the film’s hero, a San Francisco writer named Mark O’Brian (John Hawkes). He’s immobilized, but not paralyzed, since a childhood bout with polio.

Mark spends his nights in an iron lung, but manages to work as a journalist with the help of a health aide, who pushes him around on a gurney. He meets Cheryl while doing a story about the sex lives of the handicapped, and decides that, at age 36, he wants to experience sex for the first time.

One of the first scenes Hunt and Hawkes shot together was Mark’s first session with Cheryl, with both of them naked in a bed.

“The actors had had very scant contact before shooting that,” recalls Ben Lewin, the film’s director. “They didn’t ask to rehearse. So they were able to draw on the natural nervousness of the situation.”

Hunt says it was a scary moment. “But what made it scary was not that we were naked,” she says. “It’s that the scene is about this exquisite vulnerability that everyone on the set could feel. Once you try to conjure that feeling in a scene, it’s there — and something happens to everyone who’s there.

Helen Hunt, star of ‘The Sessions,’ says her role as a sexual surrogate involved an ‘exquisite vulnerability’ in the film.

“And this man, the real Mark O’Brian, had gone through this. I mean, imagine saying, ‘Before I die, I want to feel physical pleasure.’ That’s amazing. And we got a sense of what he felt.”

Hunt met the real Cheryl Greene as part of her research. “I got a sense of the potential of this film, because of how loud and wide open she was,” Hunt says. “I thought the experience of watching the movie would be like walking through the door of her house.”

Hunt goes on about Greene: “She also said something to me about the difference between a prostitute and a surrogate — that the prostitute wants your return business, and she doesn’t. She wants you to learn what you need to learn, so you can go off and have a relationship. That’s a substantial difference.”

Lewin says that while some actresses were put off by the nudity required, Hunt had other concerns.
“Her preoccupation was in achieving the emotional journey,” Lewin notes. “I got a real buzz talking with her because there were aspects of the character I hadn’t thought through that she had. She’s a frighteningly intelligent actor.”

Hunt won a Best Actress Oscar for 1997’s “As Good As It Gets” and a mantel full of Emmy Awards for “Mad About You,” which ran on NBC from 1992 to 1999. She has a daughter, 8, and a stepson, 15, with her boyfriend, writer-director Matthew Carnahan. Being a parent, she says, has made her increasingly selective about her roles.

“What shows up has to be a little richer,” she says. “And I got that from this.”

Helen Hunt and Jack Nicholson show off their Best Actress and Best Actor Oscars for ‘As Good As It Gets’ in 1998.

She’s more interested in directing, having helmed episodes of “Mad About You” as well as Showtime’s “House of Lies” and “Californication.” She wrote, directed and starred in 2007’s “Then She Found Me,” and has written another film she’d like to direct.

But Hunt has no illusions about how difficult it is to launch a movie.

The process of getting a film funded and produced “is like being eaten to death by slow, dumb sharks,” she says wryly. “The world of independent film changed a few years ago, so finding money is challenging. I hope to be directing before I’m 150.” 

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Erotic icon 'Emmanuelle' actress Sylvia Kristel dies

THE HAGUE — Dutch actress Sylvia Kristel, whose iconic "Emmanuelle" role symbolised the sexual revolution of the 1970s and who spent years fighting drug addiction, has died aged 60 after a battle with cancer.

"She died during the night during her sleep," agent Marieke Verharen of Features Creative Management told AFP of the 60 year-old actress who had been admitted to an Amsterdam hospital in July following a stroke.

Kristel was catapulted to fame in 1974 aged just 22 by her first movie, "Emmanuelle" which recounted the erotic adventures of a young woman in Asia.

A worldwide success, the French film was shown in a cinema on the Champs-Elysees in Paris for 13 years, and seen by at least 350 million people around the world, but Kristel never learned to live with her fame.

The image used in the film's promotional poster of Kristel sitting semi-naked in a wickerwork Peacock chair is seared into the minds of a generation of both men and women.

With her short-cropped hair, innocent features and slender frame, she lured movie-goers with her "natural erotic attraction" and made "soft-core pornography acceptable", Dutch media said,

A series of sequels followed, also starring Kristel, with "Emmanuelle 2" in 1975, "Goodbye Emmanuelle" in 1977 and "Emmanuelle 4" in 1984.

She soon became typecast in erotic roles, and admitted to taking acting jobs in the 1980s simply to make money to feed her expensive cocaine habit.

"I was a silent actress, a body. I belonged to dreams, to those that can't be broken," Kristel, who for years battled drug and alcohol addiction, wrote in her 2006 autobiography "Naked".

Kristel was born on September 28, 1952 in Utrecht, where her parents ran a hotel near the train station. She relates in her autobiography how she was sexually abused at age nine by the hotel's manager.

Her parents sent her to a religious boarding school age 11 where she was described as a gifted pupil. But when she was 17 she turned to a career in modelling, winning the Miss TV Europe competition in 1973.

Following that success, French director Just Jaeckin chose her to play the title role in "Emmanuelle", which would become one of the biggest French box office successes ever.

Jaeckin told AFP in Paris that Kristel was "a wonderful woman, very pure, very innocent. But the mark that Emmanuelle left on her was very hard for her."

"Unfortunately, I was expecting it," Jaeckin said of her death. "I'm also relieved that she no longer has to suffer."

Dutch film director Frans Weisz lamented Kristel's death on national television, but added: "Sylvia and happiness for me was always an odd combination."

She played in several non-erotic films but was then forced to act in "Emmanuelle" sequences because of contractual obligations.

Kristel is survived by a son, Arthur, who she had in 1975 with her then-husband Belgian author Hugo Claus, a man 24 years her senior whom she described as a "father lover".

Claus was "the father that I would have liked to have had and the lover that I had dreamt of."

Kristel turned to painting in her later life, an activity she said was therapeutic, Dutch media quoting her as saying: "Self confidence for me is a fragile fleece."

In one of her last interviews broadcast on Dutch national television she said that although she had left her alcohol abuse behind her, she would "not say no to a glass of good champagne."

She was first diagnosed with throat cancer in 2002 and underwent a number of chemotherapy treatments, it was reported.

Agent Verharen declined to say whether the world's most famous Dutch actress died at home or at hospital. The funeral will be private, she said.

Kristel had a stroke following treatment for throat cancer. She was also suffering from liver cancer.

"I don't expect much from the afterlife, I think that I know very well what pain is," Kristel said in a 2005 interview with Dutch newspaper Volkskrant.

"When I think of the end of my life, I think mainly: I didn't do nothing, but I could have done more."

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Reed Birney, Maggie Grace, Sebastian Stan and More Set for PICNIC on Broadway - Full Cast Announced!

by BWW News Desk

Roundabout Theatre Company has announced the full Broadway cast of PICNIC, starring Reed Birney as “Howard Bevans”, Maggie Grace as “Madge Owens”, Elizabeth Marvel as “Rosemary Sydney”, Sebastian Stan as “Hal Carter”, Mare Winningham as “Flo Owens” and Ellen Burstyn as “Helen Potts”.

This production of PICNIC, by William Inge will be directed by Sam Gold. The cast will also feature Madeleine Martin (Millie Owens), Ben Rappaport (Alan Seymour), Cassie Beck (Christine Schoenwalde), Maddie Corman (Irma Kronkite), Chris Perfetti (Bomber). PICNIC will begin previews on December 14, 2012 and open officially on January 13, 2013 at the American Airlines Theatre on Broadway (227 West 42 nd Street). This will be a limited engagement through February 24, 2013.

The creative team includes Andrew Lieberman (Sets), David Zinn (Costumes), Jane Cox (Lights), Jill BC Du Boff (Sound), Chase Brock (Choreography).2 Sensual, passionate and delightfully funny, PICNIC is a timeless American classic about the line between restraint and desire. It’s a balmy Labor Day in the American Heartland, and a group of women are preparing for a picnic... but they'll have to lay a lot on the line before they can lay out the checkered cloths. When a handsome young drifter named Hal (Stan) arrives, his combination of uncouth manners and titillating charm sends the women reeling, especially the beautiful Madge (Grace). When Hal is forced out of town, Madge must decide whether their fleeting encounter is worth changing the course of her life. Picnic premiered on Broadway in 1953 and went on to win the Pulitzer Prize for Drama and the New York Drama Critics Circle Award for Best Play. Roundabout Theatre Company has a long history with William Inge having produced the last Broadway production of Picnic (1994), The Rainmaker (1999), Come Back, Little Sheba (1983), The Dark at the Top of the Stairs (1979). Sam Gold is a Resident Director at Roundabout Theatre Company where his recent work includes Look Back in Anger (2012) and Tigers Be Still (2010). Reed Birney returns to Roundabout following his award winning performances at Roundabout Underground in Tigers Be Still (2010) and The Dream of the Burning Boy (2011).

Elizabeth Marvel was featured in the Off-Broadway production of Misalliance in 1997. Madeleine Martin was last seen at Roundabout and the American Airlines Theatre in A Day in the Death of Joe Egg (2003) and Chris Perfetti was in the cast of last season’s award winning premiere of Sons of the Prophet (2011).
TICKET INFORMATION: Subscribers get first access to tickets. Call (212)719-1300 or go on-line at roundabouttheatre.org to become a subscriber and book your tickets today. Beginning October 22 at 10AM, tickets will go on-sale to the general public online at roundabouttheatre.org, by phone at (212) 719-1300, or in person at the American Airlines Theatre Box Office (227 W 42 nd St, between 7 th and 8 th Aves). Ticket prices range from $42.00-127.00. To be the first to know about tickets and other news, sign up for Roundabout’s email club at www.roundabouttheatre.org

* Maggie is quite good in making friends. She and Madeleine Martin recently worked together on Californication. Pity Maggie isn't quite as savvy as Liam Nesson in procuring a small percentage of Taken 2 box-office receipts in place of a regular salary. Maybe I'm jumping ahead here but I don't think the Taken guys would have axed her out of the plot considering how vital she was to the whole proceedings. If only she and her rep had the balls (again I'm assuming she didn't cut a deal), Maggie wouldn't need to strip on-cam. Hell....she could have gone on a sabbatical from the showbiz for couple of years - spending and splurging away the money like a cute pothead she is.

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Review: Cinemax gets more complicated with spy drama 'Hunted'

Melissa George plays a private spy looking for revenge 

by Alan Sepinwall

When Cinemax decided to follow big brother HBO into the scripted drama business, it kept things safe and simple with "Strike Back." It was a continuation of a pre-existing show from the U.K. (albeit one where most of the cast and producers were replaced for the Cinemax version), a mix of sex and violence that fit perfectly with what people subscribe to the channel for, and its ambitions are small and easily attainable.

"Strike Back" has turned out to be a real pleasure, and now Cinemax has aimed higher with its second drama, "Hunted" (it premieres Friday night at 10). It's a wholly original series, and while there's still action and nudity, the storytelling is far more complex. The training wheels are off now, and the result is a show that wobbles far more frequently than its predecessor, but one that can get into a groove that demonstrates the value of risk-taking.

"Hunted" was created by Frank Spotnitz, one of the key producers on "The X-Files," as well as the writer of several early episodes of the Cinemax incarnation of "Strike Back." He's again working in a Brit-centric field of international intrigue, but the arena and the objectives are murkier.

Melissa George plays Sam Hunter(*), a British spy who works for a private company called Byzantium rather than the government, performing missions to aid wealthy corporate clients, working under the icy Rupert Keel (Stephen Dillane, one of several "Game of Thrones" actors in the cast), and alongside her lover Aidan Marsh (Adam Rayner) and American sniper Deacon Crane (Adewale Akinnuoye-Agbaje). After a mission in Tangier, Sam is attacked and left for dead. She goes underground for a year, trying to figure out who betrayed her — this is the kind of show where the heroine spends a lot of time pinning photos to a corkboard and connecting them with bits of string — before returning to Byzantium to get her revenge.

(*) Yes, the last name is a groaner (it reminds me of various comic book characters whose real names sound a lot like their superpowers), but fortunately, Sam spends much of the season working under the pseudonym Alex Kent, so just focus on that if you prefer.

Spotnitz structures "Hunted" like an onion, peeling back one layer after another after another. We're simultaneously dealing with Sam's quest for revenge, the mission Keel assigns her to, a cold war between Byzantium and the British government, another corporation with a keen interest in Sam, a mysterious assassin (Scott Handy) operating on his own agenda, and intermittent flashbacks to a trauma in Sam's childhood that may be reverberating into the present.

It is a lot to keep track of, and if I'm being honest, within a couple of episodes I decided my mental forces would be best served focusing on Sam's official assignment for Byzantium, which has her going undercover in the home of wiseguy-turned-industrialist Jack Turner (Patrick Malahide). The stakes and motivations of all the players are clear, where most of what's going on in the rest of the series involves lies, conspiracies, startling twists and changes of allegiance, each of which can be individually fun but are perhaps overwhelming when put together like this.

That said, many of the stories come together well by the end of these eight episodes, and the ones that don't clearly point the way towards a second season. And if the complex plot isn't always the easiest to follow, it serves Melissa George very, very well.

George has been knocking around American television for 15-odd years now. (Her first role here was in a short-lived FOX fantasy series called "Roar," starring a young Heath Ledger.) Sometimes, she's memorable in an otherwise disposable show ("Thieves," opposite John Stamos). Other times, she's a bad fit, like her brief stint as a reckless "Grey's Anatomy" intern, or as an unplayable, universally-hated character on "Alias."

This is basically her shot to do "Alias," and she's much better-suited to play the heroine than a romantic obstacle/turncoat. The action scenes aren't as elaborate as anything on "Strike Back," but they're brutal and efficient, and she's absolutely convincing getting the better of much larger opponents. She models a variety of accents(**) and personas ("Alex Kent" is a shy American schoolteacher) and lets you see her mental gears spinning no matter what the situation is and what identity she's using at the time.

(**) Her American accent is much better than Adewale Akinnuoye-Agbaje's. He's playing not only American, but a Southerner, and at times he seems preoccupied just trying to get the twang right.  

As with the many conspiracies of "Alias," I'm not always 100 percent clear on what's happening in "Hunted," but the atmosphere and suspense are terrific, and the leading lady is compelling enough that I want to see her triumph over whoever it is she's ultimately supposed to be fighting.

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Alan Ball’s New Show, Banshee, Will Premiere in January 2013 — Check Out the Trailer!

As True Blood starts filming Season 6 in January, show creator, Alan Ball’s new show will be making its debut on Cinemax!

The departing showrunner may not be directing Billith’s rise to power, but his new show, Banshee, will have just as much danger, forbidden elements, and bloodshed as our favorite vampire show.

Back in August, we saw a juicy teaser filled with sex, secrets, and violence, but now we have an official trailer!

Check out the trailer over at Entertainment Weekly.

In the video, we see ex-convict Lucas Hood driving into “the one place [he] absolutely should not go” — the small Amish town of Banshee, Penn. where he assumes the identity of the new sheriff, all the while escaping the gangsters from his past.

Seems like a real doozy for Lucas, but we’re excited to see what Alan has in store. The dangerous action-drama will premiere on Jan. 11, 2013 at 10 p.m. ET on Cinemax, so set your DVRs, Truebies!

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Justin Foster’s twitter page explodes after boasting of affair with substitute teacher.

Anna Michelle Walters via pinterest.

Substitute teacher fired after former student boasts of affair online. Posts nude pictures.

This story is about a hot teacher (Anna Michelle Walters) sexing up with one her playa student (Justin Foster).

A recent graduate of Cosby High School in Midlothian, Virginia, shocked an entire community by tweeting nude photos of a substitute teacher he claims he had sex with while still a student. Justin Foster told his Twitter followers yesterday afternoon that he had a “treat” for Cosby students both past and present that would be revealed later that night. After getting sufficiently “hammered,” Foster began uploading nude photos of a woman he claimed was Anna Michelle Walters, along with several text messages allegedly proving their past dalliance.

Kids my eyeballs are doing daisy duke double takes since Justin Foster a former student at Cosby High School in Midlothian, Virginia decided after a night of drinking (yes I know the vodka tonic gives us permission to do things that we’d never do sober right?) to release naked images that a former substitute teacher (yes her ass has since been fired) Anna Michelle Walters sent to him via twitter.

 

 

 

 

If there was any doubt that students don’t like banging the school teacher look no further at some of the conversations below that I screen grabbed but of course you can just clock in on Justin’s twitter handle cause that shit is in real overdrive. Yes I’ve had to mix myself a stiff vodka whatever (where’s the cranberry juice when you need it?) to absorb all the good shit myself.

At question is did Justin Foster abuse his trust with the former substitute teacher by releasing said images or is this just his way of getting a seal of approval from his high school peers whilst at the same time sharing the pain of being exploited. Or maybe the real question is what was Ms Walters thinking when she too boasted of her love thang with young Justin? Or on a simpler level what was that bixch thinking when she sought to have carnal relations with one of her students?

But just in case you think this is just poor Justin venting his wounded ego comes the following reader comment which made my eyeballs scream ‘mercy oh me….’

Chesterfield County and the police were already taking action and investigating the situation last Friday, which means there was no point in him posting the pictures and texts except for his own personal satisfaction of ruining her reputation and publicly humiliating her. He posted on his personal Twitter “I wanted to screw her over.” (https://twitter.com/DubVeeU/s​tatus/258566885430403072 ) Obviously this is a pathetic attempt at revenge from a bitter person whose ego was bruised when a relationship didn’t work out.

Oh dear, isn’t it time you also outed your substitute teacher whom you had a passionate love affair with until that shit went horribly wrong….?

Via Justin Foster's twitter handle

 

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THE AUDITION for every ACTOR, DANCER, PERFORMER, MODEL, MUSICIAN out there.
by Celia Rowlson-Hall


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Nudity And Culture

by Rod Dreher 

 

Taking one’s American children through museums poses certain challenges. You have taught your children to respect the ideal of modesty, and then there are statues and paintings of nekkid people everywhere. How do you explain that?
This is how we do it: we explain to them that the human body is beautiful, and that the art they’re seeing was created to explore the beauty of the human form. Sometimes people draw or photograph the human body in a way meant to show its ugliness (I mean pornography, but my little ones don’t have that concept yet), and that’s what we turn away from and reject. But the body itself was created by God, who said it was good. When we have true art, we are taught to think of the body as beautiful.
I’m not sure how well this works yet, but it does enable my 13 year old son and I to stop at statues like The Three Graces (above) in the Louvre, and talk about form and line and beauty. Yes, there are three naked women made of marble in front of him, but we have, I hope, taught him to see with unsmutty eyes. I hope too that when the day comes that he is actually confronted with smut, he will recognize the difference, and turn away.
All of which came to mind when I read Conor Friedersdorf’s reflections on the bare breast, in light of the BC girl who killed herself in shame over her breasts having been exposed online. He writes about traveling in Europe as a college student, and going to a beach in southern France, where women sunbathed topless (as is the norm here — it wasn’t a nude or semi nude beach):

At first my female classmates sunbathed in the American style. 45 minutes later they said to hell with it, took their tops off, and left the guys feeling slightly awkward and titillated for about 5 minutes, when everyone’s notion of normal re-calibrated. That’s how fast the mental adjustment happens.
Most people have the same experience at nude beaches. It feels weird, and soon enough… it doesn’t. In places where women must wear head scarves, exposed locks can turn heads. In New York City, exactly no one thinks bare heads are sexually provocative, and New Yorkers have their heads turned on beaches in Rio until they don’t. Sexual attraction is a force of nature. It is a proper function of civilization to bound it.Though shalt not rape is a useful norm. Treat others as you’d want to be treated is a useful norm. It is shameful to let people see your breasts is a useless norm. Those who think otherwise at once give men too much and too little credit — too little in that the site of bare breasts is not enough to corrupt men; too much in that no matter how women dress, there is no getting around the fact that many men will lust after them.

That happened to me too, in college, on the beach in Nice. I was freaked out for about five minutes, after which it became normal. It was instructive for how much context matters in thinking about these things. Similarly, when we had our firstborn child, we were living in New York City, where public breastfeeding wasn’t a big deal. For our second and third children, we were living in Dallas, where it was far more controversial. It unnerved people, and not just a few people, either. How crazy can Texas be about this stuff? This actually happened in the Dallas area a few years ago:

Jacqueline Mercado, a 33-year-old Peruvian immigrant, and her boyfriend Johnny Fernandez simply wanted to keep memories of the childhood of her children when Jacqueline went to Eckerd Drugs to develop photos that she took of her children in a bath. The good people at Eckerd Drugs in Richardson, Texas saw not frolicking kids but child porn and called the cops. Later, after searching their home, police and child welfare officials found a picture of Jacqueline breast feeding one the children. That was it: Texas prosecutors secured a grand jury indictment against the parents for “sexual performance of a child,” a second-degree felony punishable by up to 20 years in prison. The charge was based on the breastfeeding picture, even though defense attorneys produced paintings in leading museums that show the same maternal act.
Richardson police were satisfied that the bathtub pictures themselves were pornographic — a ridiculous position that we have seen in other cases.

This kind of thing is what happens when a culture has what I consider to be a disordered view of the human body, specifically the breasts. It runs parallel to pornography, this leering, panicked modesty. It is challenging to teach one’s children how to tell the difference between art and pornography when it comes to depictions of the nude human form, but it is necessary to try, especially in an increasingly pornographic culture like ours.

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Was I wrong to let a stranger's five-year-old son see me naked?

LAUREN LIBBERT asks after being harangued by an outraged mother in a gym changing room

By Lauren Libbert

The voice was loud, shrill and dripping with condemnation. ‘I don’t know how you can do that,’ the woman snarled as I hoisted up the straps of my swimming costume. ‘It’s disgusting.’
Curious to find out what changing-room shenanigans had provoked this verbal attack, I swung round, amazed to see a 30-something woman glaring in my direction. ‘What? Why are you looking at me?’ I asked. ‘Is there something wrong?’
‘Yes, there is,’ came her reply. ‘You’re getting undressed in front of my son. Why couldn’t you go in the cubicle, rather than parade yourself naked in front of my boy?’

Disgusting behaviour? Was Lauren wrong to strip off in front of children in a public changing room? (posed by model)

My mouth fell open. I was about to take my two sons — aged four and six — swimming, and the three of us had just got changed, as we did every week, in the female changing-room at the gym, in the communal area with lockers and benches especially designated for families. 

I can’t have been naked for more than ten seconds before slipping on my swimming costume, and this woman’s son didn’t look any older than mine. Yet there she was, staring at me as if I’d just committed the most heinous of crimes. I asked how old her son was. 

‘Five,’ she replied.

I told her she was being ridiculous — this was the female changing-room so I was entitled to undress where I liked.

‘So you’re happy for your boys to see you like that, are you?’ she asked, scornfully, clasping her son to her breast (fully-clothed, naturally). ‘I bet you walk around naked at home, too.’

As nature intended: Learning about nudity is part of childhood (posed by models)

I have to say, her son looked more embarrassed by her than mentally scarred for life by my nakedness. ‘Actually, yes, I do,’ I said, my anger building.

‘And exactly what’s wrong with that? My sons are very young boys, they don’t see the world in the way you seem to be implying, and this is the FEMALE changing-room.’
Afraid I was about to lose my temper and start swearing in front of my children — a much worse crime, I believed, than them seeing my naked body — I grabbed my sons’ hands, dragged them from the changing-room and made a beeline for the pool. 

I dived in, and for the next half-an-hour I tried to push the woman’s judgmental, prudish  nonsense out of my mind. But her harsh words kept ringing in my ears. Even worse, doubts started to creep in. Had I unwittingly done something I shouldn’t have?
Should I have got undressed in a cubicle, away from that little boy’s curious, albeit innocent, eyes? 

Until then, I hadn’t given a moment’s thought to changing-room etiquette when it came to young children, but perhaps I’d been naive to think there wasn’t an issue.

For me, nudity had never been a problem. I’d grown up in a house with four siblings and parents who undressed in front of each other with no trace of self-consciousness.
A favourite childhood memory involved sitting on the edge of the tub as my mother had a bath, dangling my feet in the water, enjoying a rare moment with her when she was relaxed and not rushing round the kitchen tending to my brother or sisters. Her naked body was just wallpaper.

It was the same with my cousin and my best friend, James. Our mothers were close, and as young children we’d invariably end up finishing our happy play dates with shared bath time, splashing about naked and entirely innocently.

More than 30 years later, it’s not as if I love my body or want to flaunt it or show it off. I’m 41 now, and have conceived, carried and breastfed two children. As a result, my body looks like rather a spent force. Put me in a naturist resort — which a women’s magazine did some years ago for a travel article — and I’m a rabbit caught in headlights, rushing to hide my body behind any available towel.

Public nudity is not — and never will be — my thing. In my own home, however, I’m very comfortable naked.

I don’t cook dinner or weed the garden in the buff, but I’m happy to put on my make-up half-dressed and I always sleep naked in the summer, not thinking twice about giving my sons cuddles when they clamber into our bed.

Of course, they’re curious. They see that my body’s different from theirs so they often point and ask questions.

But they’re so young that their thoughts are pure, unsullied, as yet, by hormones. As I see it, learning about the human body is a healthy part of childhood. Nudity doesn’t equate to sex, and for anyone to suggest otherwise makes me rail with disbelief.

I want my boys to grow up feeling happy and confident in their own skin, whether they’re clothed or not, and until they start squirming at the sight of my wrinkled flesh, I’ll be stripping off quite happily. Of course, this carefree attitude has got me into trouble on a number of occasions, not least when my sister-in-law caught me once on a midnight sprint to the bathroom. 

Nudity not a problem: Lauren will happily walk around naked at home (posed by model)

We stood on the landing, frozen, her eyes desperately trying not to look anywhere below my neck.

I think I apologised, bleary-eyed, and we went our separate ways, but it was just a blip — it certainly didn’t make me rethink my habit of nocturnal nudity.

Sensing I may be swimming against the tide with my relaxed attitude to nakedness, I asked the manager at the gym’s front desk on our way out that day what the age limit was for boys and girls in opposite-sex changing areas. He told me it was eight.
I told him what had happened in the changing room, and asked him who he thought was in the wrong.
‘She was,’ he said, decisively. ‘It’s a family changing area and they’re children. She shouldn’t have spoken to you like that.’

My husband agreed, as did most of my close friends, one of whom grew up in Norway, where mixed-sex saunas are not unusual. She said: ‘We were naked all the time as children and loved it!’
She then insisted I point the woman out next time we were at the gym together so she could dance around her naked and shock her into never setting foot inside that changing-room again.

The consensus was that it was the woman herself who had the issue with my nudity, not her son, and changing-room etiquette should not dictate that adults cover up in front of children — and certainly not ones as young as  five or six.

I did find a few dissenters, though. One regular gym-goer made the point that she always dresses and undresses in the cubicle so as to be sensitive to others, and also because some boys mature faster than others.
Another mother with two daughters explained how her husband always took their girls into a cubicle in the men’s changing-rooms, wanting to protect them from prying eyes.
I began to feel this was a wider issue, encompassing a bigger grey area than I’d thought.

There was talk of using towels for modesty in front of children, and some grumbles about certain women taking great pleasure in wandering round the changing-rooms stark naked and making people, with or without children, feel uncomfortable.
In my opinion, this sort of exhibitionist behaviour — especially when the woman in question is size eight, toned and has exceptionally perky breasts — should be held in check, not to protect small boys, but because it’s downright irritating to the rest of us.
Parenting expert Sue Atkins says we all have our own value system that we pass down to our children. ‘If you grow up thinking your body is something shameful and to be hidden, you’ll pass that down to your children,’ she says.
‘You need to be guided by your own conscience and what feels natural to you.’
So was I wrong to do what I did? ‘Absolutely not,’ says Atkins. ‘You were just two people with different opinions and experiences.’
As a former deputy head-teacher, Atkins believes there is a cut-off point when children start to feel self-conscious about their bodies and notice the difference between the sexes. 

However, she says, that happens when they’re a few years older than five.
‘In my experience, it can start at around ten years old but the cues tend to come from the children themselves,’ she explains.
‘When they start shutting doors and wanting privacy, that’s the time you have to take notice.’

There’s certainly none of that going on in our house yet.
Until there is, I’ll be taking my children swimming and getting undressed, as always, in the family changing area. 

I won’t let other people’s body hang-ups influence the way my children grow up, nor how they view their naked selves.

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