We're not sure whipping grown men dressed as babies constitutes a sound mother, and Octomom Nadya Suleman isn't, either.
Since the release of what was supposed to be a humorous skit turned raunchy fetish video featuring Suleman scantily clad in a black corset, RadarOnline.com reports she is fearful of losing her 14 children.
"I am scared that Orange County CPS will misunderstand my intentions or my parenting abilities and take my kids away from me," she tells Radar.
Not only was her decision to take part in the "skit" a questionable one, but according to Radar, Suleman filmed the video alongside David Gonzalez, who has been arrested for spousal battery and drug possession. Nadya invited David into her home where the video was shot, although she claims that she was unaware of his arrest record.
"I had no idea that he had a criminal record," she says. "I thought he was a professional DJ on a reputable radio station who had come up with a funny idea for a skit."
In September of last year, Octomom held a yard sale in attempt to make ends meet and vowed that she would never appear in an adult film to pay her mortgage.
But now she is indeed apologizing for what turned out to be a fetish video, stating she regrets her involvement.
"Instead of a lighthearted skit with a naughty edge, it turned out to be a vulgar and unprofessional video that I deeply regret playing any part in," she says.
This is on the heels of Suleman's 'Oprah Winfrey Show' appearance, where she admitted to a "baby addiction" that played a part in her being implanted with 12 embryos and the birth of her famous octuplets. Suleman's doctor is currently being accused of "gross negligence" and could face the loss of his medical license.
Showing posts with label Losing. Show all posts
Showing posts with label Losing. Show all posts
Tuesday, January 25, 2011
Monday, January 17, 2011
Kunis Says Losing 20 Pounds For 'Swan' was Fun
Mila Kunis dropped 20 pounds for her role as a prima ballerina in Black Swan — and she sorta liked it!
"Transforming your body, in a sadistic way, was kind of fun. In a weird way, I enjoyed the result," the newly single starlet told me Friday night at the Critics' Choice Movie Awards. "It's amazing what your body can accomplish."
Costar Natalie Portman, who showed her baby bump on the carpet, talked about her dramatic weight loss and gain as well:
After winning the Best Actress award, Nat joked that her fluctuating figure was all director Darren Aronofsky's fault.
"I keep telling Darren, you made me very skinny, and now you're indirectly responsible for making me fat because you introduced me to my love [Black Swan choreographer], Benjamin Millepied, and I am incredibly grateful for that most special of gifts."
Nat and Mila skipped the afterparty, but some stars, including Kyle Richards and E!'s Joan Rivers, were on hand to sip Grey Goose cocktails and enjoy Crumbs cupcakes.
None of which was helping anyone lose 20 pounds.
"Transforming your body, in a sadistic way, was kind of fun. In a weird way, I enjoyed the result," the newly single starlet told me Friday night at the Critics' Choice Movie Awards. "It's amazing what your body can accomplish."
Costar Natalie Portman, who showed her baby bump on the carpet, talked about her dramatic weight loss and gain as well:
After winning the Best Actress award, Nat joked that her fluctuating figure was all director Darren Aronofsky's fault.
"I keep telling Darren, you made me very skinny, and now you're indirectly responsible for making me fat because you introduced me to my love [Black Swan choreographer], Benjamin Millepied, and I am incredibly grateful for that most special of gifts."
Nat and Mila skipped the afterparty, but some stars, including Kyle Richards and E!'s Joan Rivers, were on hand to sip Grey Goose cocktails and enjoy Crumbs cupcakes.
None of which was helping anyone lose 20 pounds.
Hollywood's Box Office Slump Continues: Are Movies Losing their Mojo?
HodesWith this weekend’s solid-but-unspectacular opening for The Green Hornet and the disappointing debut of The Dilemma, Hollywood is marking an unhappy milestone: Box office revenues have now been down from the previous year’s tally for 10 consecutive weeks. After a bruising holiday season littered with high-profile misfires like The Tourist, How Do You Know, and Gulliver’s Travels, the major studios are hopeful that 2011 will bring a reversal of last year’s worrying 5 percent decline in overall movie attendance. 2011 is not off to the most encouraging start. Though final numbers aren’t in yet, this weekend’s total box office haul looks like it will come in 25 percent below last year’s. Yes, last year at this time audiences were still flocking to the 3-D hit Avatar. Still, 10 straight down weeks stings—and not in a good Green Hornet way.
What’s going on here? It’s hard to argue that studio executives have been making foolhardy gambles. Granted, casting Seth Rogen as a superhero whose heyday was in the golden age of radio might have been a questionable call. But who wouldn’t have greenlit a thriller costarring Johnny Depp and Angelina Jolie? Or a romantic comedy with Reese Witherspoon, Owen Wilson, and Paul Rudd, directed by James L. Brooks? Or a Ron Howard comedy pairing Vince Vaughn and Kevin James? Those are the sort of down-the-middle pitches studio execs crave precisely because they’re supposed to be safe, but in retrospect they proved to be unwise bets.
Yet, while a number of would-be blockbusters have underperformed and overall revenues have been down, this hasn’t been a completely dismal stretch for movie fans. Smaller, ostensibly less commercial films like True Grit, Black Swan, The King’s Speech, 127 Hours, and The Fighter have drawn not only critical love and awards-season buzz but far larger crowds than anyone could reasonably have expected. Does this mean that budget-conscious audiences are starting to reject stale, been-there-done-that formulas and demanding a greater level of originality and artistic ambition if they’re going to fork over their hard-earned dollars for a movie ticket? Will major studios—which, lest we forget, brought out daring zeitgeist-definers like Inception and The Social Network last year (and to give credit where it’s due, True Grit and The Fighter are both Paramount films)—shift their business model away from bloated, overpriced sequels and tired remakes toward smaller-scale, edgier fare?
It may be a little early to herald the start of a new 1970s-style cinematic revolution in Hollywood; let’s wait and see how some of this year’s expected juggernauts, like the latest installments in the Transformers and Pirates of the Caribbean franchises, fare before we get carried away. Still, when an offbeat Western directed by the Coen brothers is running just slightly behind Little Fockers at the domestic box office—and a gonzo psychological thriller set in the world of ballet has outgrossed a big, shiny Depp-Jolie movie and will soon pass the mark set by Julia Roberts’ Eat Pray Love—it’s safe to say that something is going on.
How long will Hollywood’s ongoing box office slump last? Who knows. The bigger and more important question is this: Are movies really, as many fear, losing their cultural mojo in an ever-larger sea of competing entertainment options? Or are they actually in the awkward, sometimes painful, but ultimately exciting process of getting that mojo back? Stay tuned. It’s going to be an interesting year.
What’s going on here? It’s hard to argue that studio executives have been making foolhardy gambles. Granted, casting Seth Rogen as a superhero whose heyday was in the golden age of radio might have been a questionable call. But who wouldn’t have greenlit a thriller costarring Johnny Depp and Angelina Jolie? Or a romantic comedy with Reese Witherspoon, Owen Wilson, and Paul Rudd, directed by James L. Brooks? Or a Ron Howard comedy pairing Vince Vaughn and Kevin James? Those are the sort of down-the-middle pitches studio execs crave precisely because they’re supposed to be safe, but in retrospect they proved to be unwise bets.
Yet, while a number of would-be blockbusters have underperformed and overall revenues have been down, this hasn’t been a completely dismal stretch for movie fans. Smaller, ostensibly less commercial films like True Grit, Black Swan, The King’s Speech, 127 Hours, and The Fighter have drawn not only critical love and awards-season buzz but far larger crowds than anyone could reasonably have expected. Does this mean that budget-conscious audiences are starting to reject stale, been-there-done-that formulas and demanding a greater level of originality and artistic ambition if they’re going to fork over their hard-earned dollars for a movie ticket? Will major studios—which, lest we forget, brought out daring zeitgeist-definers like Inception and The Social Network last year (and to give credit where it’s due, True Grit and The Fighter are both Paramount films)—shift their business model away from bloated, overpriced sequels and tired remakes toward smaller-scale, edgier fare?
It may be a little early to herald the start of a new 1970s-style cinematic revolution in Hollywood; let’s wait and see how some of this year’s expected juggernauts, like the latest installments in the Transformers and Pirates of the Caribbean franchises, fare before we get carried away. Still, when an offbeat Western directed by the Coen brothers is running just slightly behind Little Fockers at the domestic box office—and a gonzo psychological thriller set in the world of ballet has outgrossed a big, shiny Depp-Jolie movie and will soon pass the mark set by Julia Roberts’ Eat Pray Love—it’s safe to say that something is going on.
How long will Hollywood’s ongoing box office slump last? Who knows. The bigger and more important question is this: Are movies really, as many fear, losing their cultural mojo in an ever-larger sea of competing entertainment options? Or are they actually in the awkward, sometimes painful, but ultimately exciting process of getting that mojo back? Stay tuned. It’s going to be an interesting year.
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