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MrSkin.com, the internet repository of film and TV nakedness, celebrates its 18th birthday ("We're finally legal," says its CEO) with screenshots of stars from Angelina Jolie to Alison Brie plastered high above Hollywood Boulevard.
There may be more squinting these days on the streets of Hollywood. To mark its 18th birthday, MrSkin.com, the web’s top repository of mainstream screen nudity, erected a billboard July 30 at the corner of Hollywood Boulevard and La Brea Avenue featuring screenshots from all 43,412 female nude scenes on its servers.
“We launched on Aug. 10, 1999 — we’re joking that we’re finally legal,” says Mr. Skin himself, CEO Jim McBride, a 54-year-old father of three from Chicago. The site, which sees 9 million uniques per month and costs $72 a year for full access, hit the big time when Judd Apatow heard McBride on The Howard Stern Show and wrote it into 2007’s Knocked Up — “the second-best movie product placement of all time, after E.T. and Reese’s Pieces,” gushes McBride.
MrSkin.com’s earliest available scene is Hedy Lamarr in 1933’s Ecstasy ; the most recent, Alison Brie from Netflix’s Glow . Among movie stars, Susan Sarandon notches the most nude appearances at 15, while Angelina Jolie is a close second with 14. McBride claims that studios and PR agencies send him screeners with nude scenes bookmarked, though he won’t name them, and that stars are more flattered than creeped out by the attention. When Alexandra Daddario, whose True Detective lap-dance scene is among the most viewed, won the site’s “2017 Whack-It-Bracket,” she tweeted, “To all the men who’ve ever turned me down … now all you can do is look at photos and cry the salty tears of regret.”
Not immune to Hollywood’s gender-parity debate, McBride founded MrMan.com in 2014, featuring the goods on everyone from Harvey Keitel to Jake Gyllenhaal. But traffic has disappointed. “We were naive,” he admits. “We thought there would be a huge amount of women coming. But it’s mostly gay men.”
This story first appeared in the Aug. 9 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe .
Sign up for THR news straight to your inbox every day
The top scoops on the goings-on around town — what industry insiders are really talking about
Subscribe for full access to The Hollywood Reporter
Send us a tip using our anonymous form.
site categories
News
Film
TV
Awards
Lifestyle
Business
Global
Video
Podcasts
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Subscriber Support
Get the Magazine
Customer Service
Back Issues
E-edition Access
The Hollywood Reporter
About Us
Advertise
Careers
Contact Us
Accessibility
Legal
Terms of Use
Privacy Policy
Privacy Preferences
AdChoices
Follow Us
Icon Link
Plus Icon
facebook
Icon Link
Plus Icon
twitter
Icon Link
Plus Icon
instagram
Icon Link
Plus Icon
youtube
The Hollywood Reporter is a part of Penske Media Corporation. © 2022 The Hollywood Reporter, LLC. All Rights Reserved. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC.
Our Sites
Artnews
BGR
Billboard
Deadline
Fairchild Media
Footwear News
Gold Derby
IndieWire
Robb Report
Rolling Stone
SheKnows
She Media
Soaps
Sourcing Journal
Sportico
Spy
StyleCaster
The Hollywood Reporter
TVLine
Variety
Vibe
WWD
optional screen reader
About Us
Advertise
Careers
Contact Us
Icon Link
Plus Icon
The Hollywood Reporter is a part of Penske Media Corporation. © 2022 The Hollywood Reporter, LLC. All Rights Reserved. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC.
Subscribe for full access to The Hollywood Reporter
MrSkin.com, the internet repository of film and TV nakedness, celebrates its 18th birthday ("We're finally legal," says its CEO) with screenshots of stars from Angelina Jolie to Alison Brie plastered high above Hollywood Boulevard.
There may be more squinting these days on the streets of Hollywood. To mark its 18th birthday, MrSkin.com, the web’s top repository of mainstream screen nudity, erected a billboard July 30 at the corner of Hollywood Boulevard and La Brea Avenue featuring screenshots from all 43,412 female nude scenes on its servers.
“We launched on Aug. 10, 1999 — we’re joking that we’re finally legal,” says Mr. Skin himself, CEO Jim McBride, a 54-year-old father of three from Chicago. The site, which sees 9 million uniques per month and costs $72 a year for full access, hit the big time when Judd Apatow heard McBride on The Howard Stern Show and wrote it into 2007’s Knocked Up — “the second-best movie product placement of all time, after E.T. and Reese’s Pieces,” gushes McBride.
MrSkin.com’s earliest available scene is Hedy Lamarr in 1933’s Ecstasy ; the most recent, Alison Brie from Netflix’s Glow . Among movie stars, Susan Sarandon notches the most nude appearances at 15, while Angelina Jolie is a close second with 14. McBride claims that studios and PR agencies send him screeners with nude scenes bookmarked, though he won’t name them, and that stars are more flattered than creeped out by the attention. When Alexandra Daddario, whose True Detective lap-dance scene is among the most viewed, won the site’s “2017 Whack-It-Bracket,” she tweeted, “To all the men who’ve ever turned me down … now all you can do is look at photos and cry the salty tears of regret.”
Not immune to Hollywood’s gender-parity debate, McBride founded MrMan.com in 2014, featuring the goods on everyone from Harvey Keitel to Jake Gyllenhaal. But traffic has disappointed. “We were naive,” he admits. “We thought there would be a huge amount of women coming. But it’s mostly gay men.”
This story first appeared in the Aug. 9 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe .
Sign up for THR news straight to your inbox every day
The top scoops on the goings-on around town — what industry insiders are really talking about
Subscribe for full access to The Hollywood Reporter
Send us a tip using our anonymous form.
By Alison Brie
Photographed by
Brian Higbee
May 14, 2018
Copyright © 2022 Interview Magazine. All Rights Reserved.
Earlier this year, Gillian Jacobs’s career came full circle. After making a name for herself in movies and television from her home base in Los Angeles, the 35-year-old actor returned to New York City to star in a two-month production of the play Kings , at the Public Theater. For Jacobs, it was a homecoming of sorts. Before anyone knew her as Britta Perry on NBC’s Community , or as Mickey Dobbs on Netflix’s realistic rom-com Love , Jacobs was training to become a theater actress at the grueling Juilliard School, an experience that, as Jacob tells it, did more damage than good.
Determined to make the acting thing work, the Pittsburgh native pivoted to on-camera work, landing her first break as a stripper named Cherry Daiquiri in the Chuck Palahniuk adaptation Choke . It was the first of many loveable misfits she would come to embody, playing against her more wholesome, real-life persona. In 2009, she was cast as a series regular on Community , NBC’s wildly creative sitcom that garnered a devoted fan base which stuck with the show even after it was cancelled by the network and later revived by Yahoo. And while many would have liked to see Community live on (rumors of a revival are constantly swirling), it was enough to showcase Jacobs as a gifted comedian, a skill that no doubt appealed to the creators of Love , who wrote the part of chain-smoking, foul-mouthed Mickey Dobbs with Jacobs in mind.
Now that Love has finished its three-season run, Jacobs is branching out into movies, with a role as a sorority girl in the Melissa McCarthy vehicle, Life of the Party , and a star turn in the upcoming Netflix comedy Ibiza (May 25) where she plays a woman who, along with two friends, tries to hook up with a DJ on a work trip gone wild. Jacobs recently reconnected with her friend and Community co-star Alison Brie in her empty Los Angeles home to talk about the highs and lows (but mostly the highs) of being an actor.
ALISON BRIE: We’re sitting in the the beautiful backyard of Gillian’s new home that’s completely empty. Devoid of furniture.
GILLIAN JACOBS: Yup, just how I like it.
BRIE: And you’ve just returned from New York where you were performing the play Kings . What did it feel like being back?
JACOBS: It was really weird. I was walking down the street with my mom and she was like, “I remember walking around this block with you, and you were complaining about something 10 years ago, and you’re still doing the same thing.” [ Brie laughs ]
BRIE: Still complaining, just about new and different stuff. You were doing the play while the final season of Love was airing. What was that like? I would imagine it was nice to be working. [ laughs ]
JACOBS: I always like having a place where I’m expected. People are waiting for me somewhere. It’s important if I show up or not. [ laughs ] But on the other hand it was really weird, because I didn’t get to see anyone from the show. I felt like I was having this very isolated experience. But it was nice because people would come up to me in New York and say how much they liked it. It was very different from our Community renewal adventures. [ laughs ]
BRIE: Ugh. Did you know it was going to be the final season when you started shooting?
JACOBS: Not when we started, but it was sort of midway through the season when they conceived of the last episode. So I didn’t go into starting the third season knowing it, but by the time it ended, I was like, “Okay, we’re done.”
JACOBS: You know how when you’re rushing to accomplish something on set that you don’t really have time to think? They wrote such an ambitious last episode, so we only had a certain number of days on Catalina to get it all. And almost everything was daylight dependent, so you’re just running from scene to scene, and you’re not really taking it in as, “These are the final moments of the show.” It was this delayed grieving process for me, of like, “Okay, we wrapped it, that means it’s over. We finished ADR, that’s another thing that’s done. Now it’s out.” I feel like I keep mourning it in stages.
BRIE: The grieving process happens almost more when you’re watching the episodes.
BRIE: I think about Community being so tumultuous, to say the least. But because we had been through [ Community creator] Dan Harmon getting fired, rehired, the show getting cancelled, getting re-picked up, that we were all so exhausted, I think that we were all kind of ready for it to be over. Even though we loved each other, it always felt like the show was getting ripped out of our hands, versus something where people know in advance and have the time to finish it the right way.
JACOBS: I had never been exhausted like I was shooting Community , but then also just so passionately fighting for the show’s existence at all times. There is something nice, too, about having a show that is shorter. You tell this story, and then it’s done. Community was basically a live-action cartoon, so we’re not following the emotional life of those characters from episode to episode. Whereas with Love , the next episode would begin minutes after the previous one ended, so you’re charting it so carefully.
BRIE: What you think about the difference between Britta [Perry from Community ], and Mickey [Dobbs from Love ]? How was it playing those two characters?
JACOBS: It was weird. I don’t know how you felt when you started GLOW , but I felt such intense first-day jitters starting Love .
BRIE: Yeah, the stakes were much higher because I had a larger role on the show, and I wanted so badly to break out of the Annie character from Community that people so identified me with.
JACOBS: When you’re starting a new TV show, it feels like you’re making more long-term decisions about how you’re playing the character without really knowing what the show is. In that way I felt way more nervous. And just little things, like I don’t smoke, and wanting to look convincing that I’m smoking. Or having to smoke weed. I don’t smoke weed, so I was like, “I don’t know how to do this!”
BRIE: I thought you did great. I was very impressed.
JACOBS: Thank you so much! [ laughs ]
BRIE: I feel like not a lot of people know that you don’t smoke weed or drink, and I hope that’s not something you’re trying to keep a secret.
JACOBS: No, it’s totally fine to tell the world.
BRIE: Is it fun to play a character that’s so different from you?
JACOBS: Yes, it gives me the ability to act out in a way that I don’t give myself permission to in real life. It’s a very safe place to do and say whatever impulse I might’ve had that I don’t allow myself to in real life, like telling people to go fuck themselves. But I totally had imposter syndrome, of like, nobody’s gonna buy me as this character, because I’m so not this person in my real life. I’m much more like Paul [Rust]’s character on Love .
JACOBS: I like rules, and I like people in positions of authority to like me. I’m not a rule-breaker, so for a long time I wondered why people cast me in these parts.
BRIE: Do you love working for Netflix? [ both laugh ]
JACOBS: Yes, I love working for Netflix.
BRIE: Me, too. I just want to get it on the record that I love working for Netflix. I’m newer to it. We’re still in that romantic period together.
JACOBS: Yes! And I’m very excited about my film, Ibiza , with Netflix. Thank you Netflix.
BRIE: Let’s talk about Ibiza . You shot it in Croatia and Serbia.
JACOBS: Yeah, nowhere near Ibiza. [ both laugh ]
JACOBS: It was great, but we would have to move every couple of days to another island in Croatia because they’re trying to create Spain, so they could only shoot certain scenes on certain islands.
BRIE: That sounds awful. [ laughs ] You’re moving hotels every couple of days? That is my nightmare. I think people often perceive actors shooting on location to be very glamorous and fun, but your hours of work don’t change—it’s still 12 to 14 hour days—so it’s not like you’re laying out on the beach enjoying whatever country you’re in.
JACOB: And the other actresses, Phoebe [Robinson] and Vanessa [Bayer] were like, “Let’s go to Budapest,” and, “Let’s go to Paris,” and I was like, “I don’t think production’s going to let us go anywhere.” And then they’re like, “Um, no, we technically can’t stop you from travelling, but we would sure appreciate it if you didn’t go anywhere.” And plus you’re jus
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