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Kim Basinger, Jenny McCarthy and Sharon Stone are just a few of the actresses who posed for the men’s magazine
Matt Hejl | November 27, 2020 @ 4:30 AM
We look back at some of the stars who appeared nude in the late Hugh Hefner's iconic magazine Playboy.
The legendary star appeared nude in the first issue of Hefner's magazine.
The "Charlie's Angels" star made waves with her cover.
Hot off her 1979 R-rated hit "10," Bo Derek appeared the following year -- without the cornrows.
Basinger did her famous Playboy shoot in 1981 but it appeared two years later around the time of her stint as a Bond girl in "Never Say Never Again."
Just as the Material Girl was taking off in her film debut "Desperately Seeking Susan," Playboy published nude pics from 1978 when she was a struggling artist in NYC.
Stone appeared around the time she starred in "Total Recall."
The "Baywatch" star also graced the cover of the magazine's "final" nude issue in 2016.
The model was paid $20,000 to pose for Playboy -- and parlayed that into a lucrative career on TV.
The actress unsuccessfully sued Playboy when it published nude shots from her early days as a model.
The former Bond girl ("The World Is Not Enough") posed just five months after giving birth.
Lindsay Lohan - January/February 2012 
The former child star did a pictorial in 2012 inspired by Marilyn Monroe's shoot for the first issue.
Hey there, Bruno Mars and Anderson Paak, we see you
Ross A. Lincoln | July 29, 2021 @ 10:19 PM
It’s been 5 months since Anderson .Paak and Bruno Mars blew the world’s collective mind with the reveal that they’d formed a supergroup during the pandemic, and almost as long since they released their insanely great debut track “Leave the Door Open.” We’ve had nothing new from them since then, which if you ask us is an insanely long time to have to wait.
Fortunately that’s over for now, because Silk Sonic (FINALLY) dropped a brand new song — “Skate” — late Thursday night. And yes, in case you can’t get your volume working, it’s G R E A T. But don’t take our word for it, watch the official video, co-directed by Mars, Florent Déchard, and Philippe Tayag, above at the top of the page right now.
The track, influenced by mid-70s R&B and disco, is gunning hard for the song of the summer title and to be honest, the video alone ought to clinch it. But the song is dope too and if you disagree, it’s just proof that you’re terrible and ought to be ashamed. We kid, we kid, but after a long, stressful couple of years we needed something like Silk Sonic. Here’s hoping we’ll get their next single — and a full album — sooner than later.
”He would have been all over it,“ McCartney tells Mark Ronson in Apple TV+ series ”Watch the Sound“
Samson Amore | July 29, 2021 @ 8:37 PM
John Lennon passed away 17 years before the invention of Auto-Tune in 1997, but if you’re curious what the late Beatles frontman and “Imagine” singer would have thought of using the technology in his music, apparently he would have been extremely into it.
We know this thanks to producer Mark Ronson’s documentary series “Watch the Sound” for Apple TV+, in which he interviewed Lennon’s son Sean Ono Lennon, and ran some of John’s vocals through Auto-Tune and a digital harmonizer to create an entirely new, yet still familiar sound.
John Lennon’s composing partner Paul McCartney told Ronson in the first episode of “Watch the Sound” that he thinks John would have actually loved to play around with Auto-Tune. “I’d say that if John Lennon had had an opportunity he would have been all over it,” McCartney said. “Not so much to fix your voice, but just to play with it.”
McCartney pointed out that the Beatles were frequently open to unorthodox ideas when it came to creating music, and were known for being ahead of the times musically. Lennon, too, was always interested in the idea of how to create a unique sound by layering different samples over each other to create an immersive, sometimes overwhelming sonic landscape. In episode two of “Watch the Sound,” McCartney discusses this and notes that in “Tomorrow Never Knows” off the band’s 1966 “Revolver” record, they used avant-garde looping techniques to include seagull sounds and everyday noises in the song.
“Yeah Auto-Tune, I would use it,” McCartney said of his more current solo work. “If I’ve done a vocal that I don’t think is that good… ‘oh come on, let’s stick it through,’ why not,” he said.
Unforgettably, Lennon was shot dead by murderer Mark David Chapman outside his New York City apartment in December 1980. Auto-Tune was created in 1997, and the first use of it in a mainstream song was Cher’s 1998 hit “Believe,” off the album of the same name.
The technology’s creator Dr. Andy Hildebrand realized after years of working on underground sonar technology that he could use that same mapping tech to map the human throat and digitally correct pitch. It started with Cher and, billions of hit songs later, here we are today.
Even Lennon’s son Sean agreed that Lennon probably would have loved the invention if he had been around to use it. “It’s definitely true that my dad didn’t like his voice alone, like a single voice,” Sean told Ronson. “Part of it is why he found all those phase effects, because he was always trying to find a way to make his voice sound better to him.
Ronson ran the vocals in John Lennon’s 1970 track “Hold On” (which he recorded with the Plastic Ono Band) through Auto-Tune and honestly it sounded pretty strange. After trying robot Lennon voice, Ronson used a digital harmonizing software and layered more of Lennon’s original vocals into the song, and even Sean admitted it sounded “pretty cool, man… you’re bringing him into 2021.”
“He always was not just keeping up with the technology, but the Beatles and my dad, they were always on the cutting edge of what was happening,” Sean added. “I think for sure he would have tried Auto-Tune.”
Catch episode 1 of “Watch the Sound with Mark Ronson” Friday, July 30 on Apple TV+.
Former ”Silicon Valley“ and ”Deadpool“ star agrees to make restitution to law enforcement in agreement with prosecutors
Ross A. Lincoln | July 29, 2021 @ 8:09 PM
Federal prosecutors have dropped all charges against former “Silicon Valley” and “Deadpool” star T.J. Miller stemming from his 2018 arrest on suspicion of calling in a fake bomb threat. Prosecutors announced the decision in paperwork filed in the district court for Connecticut, citing medical explanation for Miller’s behavior and his agreement to pay restitution.
“The government makes this request based upon: (1) expert medical analyses and reports regarding the defendant’s prior brain surgery and its continued neurological impacts, which cast doubt upon the requisite legal element of ‘intent’ to commit the charged offense (of what turned out to be a false 911 call); and (2) the defendant having entered agreements both to make full financial restitution for the costs of the law enforcement response to the false 911 call,” the filing said.
Miller has also agreed to participate in “a thorough and necessary program of Cognitive Remediation to render any recurrence of such conduct most highly unlikely,” according to the filing.
Miller was arrested and accused of making a false bomb threat from a train last month, prosecutors said.
Miller was arrested in April, 2018 at LaGuardia Airport in New York City and was charged with intentionally conveying false information to law enforcement. Prosecutors said that a month earlier, Miller called 911 while on an Amtrak train, claiming that a woman with brown hair and a brown scarf was carrying a bomb in her bag. The train was stopped at a station in Connecticut and searched, but no bomb was found.
Miller later atrributed the behavior to “a manic episode” he said was caused in part by lingering effects of brain surgery he’d had to remove a congenital malformation.
Pamela Chelin contributed to this report.
Lindell tells the Wall Street Journal he wants to ”cancel the ads as soon as possible“
Samson Amore | July 29, 2021 @ 7:21 PM
MyPillow advertisements are a staple in between segments on Fox News, but that is, perhaps temporarily, no longer be the case as the company’s CEO Mike Lindell decided to pull his ads from the network, the Wall Street Journal reported Thursday night.
Lindell told the Journal he was retaliating against Fox News because the network refused to air a commercial about a “cyber symposium” that he’s live streaming next month, which advances the absolutely false claim that the 2020 election was “stolen” from former president Donald Trump “through manipulation of election machines.”
According to the Wall Street Journal, MyPillow spent $50 million to advertise on Fox News in 2020 and has spent roughly $19 million so far this year.
The network said in a statement to TheWrap, “it’s unfortunate Mr. Lindell has chosen to pause his commercial time on FOX News given the level of success he’s experienced in building his brand through advertising on the number one cable news network.”
According to the Wall Street Journal, Lindell “said the commercial wouldn’t specifically mention claims of election fraud,” but Fox still refused to air it — perhaps to insulate itself from further lawsuits that have resulted from the network’s giving air time to bogus conspiracy theories that the 2020 election was fraudulent. The network in May moved to dismiss a $1.6 billion lawsuit from voting machine maker Dominion Voting Systems, which alleged Fox News defamed the company in coverage that falsely claimed its machines were responsible for Donald Trump losing the election.
Dominion filed a separate suit directly against Lindell that same month, seeking $1.3 million in damages. Lindell countersued through MyPillow.
Still, despite all evidence to the contrary that there was no proof of fraud, manipulation or any interference in the 2020 election that could at all de-legitimize president Joe Biden’s win, Lindell continues to insist that he has “proof” that Trump should still be president. The CEO of the pillow company recently said he’d offer $5 million to anyone who could disprove his theories, but only if they attend the upcoming “symposium.”
Fox News was previously one of the few places that would still air commercials for MyPillow; The company has faced backlash from consumers, retailers and even the Better Business Bureau in the last year.
And honestly, she probably could’ve gone even harder if she wanted to
Andi Ortiz | July 29, 2021 @ 6:34 PM
Warning: Spoilers ahead for the third eviction of “Big Brother” season 23
The “Big Brother” houseguests evicted their third contestant on Thursday night, and in news that surprised absolutely no one, the unlucky winner was Brent. As usual, the remaining houseguests recorded goodbye messages for their fallen comrade — and Hannah was all too thrilled to say goodbye.
According to Brent, even he wasn’t surprised at his eviction, even though every piece of footage shown of him included some variation of him confidently saying he had the votes to stay. Though he bragged about his status to just about everyone in the house, Hannah was perhaps his primary ear to talk at, and as the days went on, she got progressively more irritated with Brent.
She criticized his cockiness, not just in the game, but in life. In her own words, “everything that comes out of Brent’s mouth” made her want to vomit. So, when it came time for Hannah to record her goodbye message, she didn’t hold back. Like others in the house, she used Brent’s real world job as a flight attendant to add a little extra sass.
“Oh Brent. The number two rule in ‘Big Brother’ is ‘If you feel too comfortable or safe, that usually a good indication that you’re going home,'” she said cheekily. “But unfortunately, your arrogance didn’t allow you to see that. So, this is Hannah speaking, from Flight BB23. Enjoy your flight home!”
It was an absolutely savage goodbye, and the people of the Internet went absolutely nuts for it. And honestly, it was exactly the send-off he deserved.
Because really, Brent rarely found himself away from Hannah if he could help it. Hannah and Derek X even joked about the fact that Brent seemingly wouldn’t leave her alone, comparing him to an “obsessed” contestant from a previous season.
In fact, all the women in the house seemed to have issues with him, as he repeatedly talked about how he believes men can never be just friends with women; there is always romantic ulterior motives. At one point, he even told Alyssa, “I’m working with you because I really trust you, not because I want to date you.”
So, in my humble opinion, Hannah could’ve taken her goodbye message even further if she wanted to. You can watch her full goodbye in the video above.
Feltheimer’s comp has gone up significantly during the Covid pandemic
Diane Haithman | July 29, 2021 @ 4:16 PM
Lionsgate CEO Jon Feltheimer will make $19.2 million in fiscal 2021, about triple what he made in 2019, according to an SEC filing on Thursday.
Feltheimer’s 2021 total compensation of $19,176,675 is a huge jump from his $6.6 million comp for fiscal 2019 and significantly more than his 2020 compensation of just over $11 million, according to the records.
Feltheimer’s total compensation for 2021 includes a base salary of $1.5 million, bonuses of $10 million, stock awards of $700,002 and option awards of more than $6.7 million.
According to the filing Lionsgate Vice Chair Michael Burns received $8.5 million in compensation for fiscal 2021 including a $1 million salary and $4 million in bonuses, up from $6.4 million in fiscal 2020 and $5.2 million total compensation in 2019.
In late May Lionsgate reported losses of $37.7 million in for the 2021 quarter that ended on March 31, 2021, with revenue coming in at $76.4 million. However, the company reported a net loss attributable to Lionsgate shareholders of $37.7 million.
Lionsgate stock increased by 146% during the fiscal year April 1, 2020 – March 31, 2021, the period covered by the proxy statement, making it one of the best-performing stocks in the media sector. The Starz platform grew to nearly 30 million global subscribers last year, and library revenues reached a record $780 million.
Emmy-nominated cinematographer Marcell Rév on his very busy pandemic year, and why he “got more confident” filming the HBO series’ one-offs that have garnered him awards attention
Jason Clark | July 29, 2021 @ 1:03 PM
Coming off a whoosh of buzz for its first season (plus a history-making Emmy win for lead actress Zendaya), “Euphoria” seemed primed to become one of the chief watercooler players going into a second season due to its provocative and frank look at teenage life. And then just as the makers of the HBO drama were in the process of beginning their awaited sophomore year, they were completely shut down by a little pandemic virus that we’ve all learned makes TV production awfully difficult.
“We didn’t really have a choice, so we had to regroup and come up with something,” says Marcell Rév, who has served as cinematographer of “Euphoria” for several episodes, including its pilot. “[Creator and director] Sam Levinson then decided to write something that we might be able to do actually do. And I got more confident, and a lot of what we did informed our work after it.”
And what resulted were a pair of self-contained episodes featuring Zendaya’s Rue and Hunter Schafer’s Jules, two of the show’s central characters. The first one, entitled “Trouble Don’t Always Last”, represents a concise, (mostly) chamber piece prominently featuring only two actors spilling their guts in a diner, perfect for a small crew and containing the ability to social distance and keep everyone safe. (Jules, the trans girlfriend of Rue, is the focus of the second, though she is briefly seen in the opening of “Trouble”). In what is essentially a two-hander, the former finds a relapsed Rue having a tête-à-tête with her grave, not-before-seen sponsor Ali (Colman Domingo), who gives the 17-year-old firm lessons in tough love and responsibility.
“I think what you see there is a combination of circumstances,” says Rév, “in that we were not able to shoot on, like, hundreds of locations, and unable to have a lot of actors and extras around. But we were also in the process of finding a different kind of visual language. So, this episode is a blend of those two things.”
It is a rather tranquil visual departure for the impressively mounted show and could just as easily work as a standalone one-act movie, keeping the camera very close to the subjects (strategically placed either on them, near them or just outside the diner windows), all moodily lit in the Los Angeles-based Frank’s Restaurant amid neon-lit rain slicks and puddles outside as Rue and Ali bare their souls to one another.
Adds Rév on the new digs: “We were really limited in having that one location, those new faces [including a waitress who invokes the episode’s title] and backgrounds, and every little detail gets really magnified. So, we had to carefully plan everything, as opposed to what was supposed to first season where we had a lot to work with. This was going vertically when you’re used to going horizontally.”
This attention to detail netted the relatively young Rév his first-ever Emmy nomination (he’s only 36), and if the special episodes weren’t enough to keep him busy, he and frequent collaborator Levinson crafted an entire film during the pandemic as well: “Malcolm and Marie,” also starring Zendaya (with John David Washington), released by Netflix and shot in shimmery black and white in Carmel, CA with a tiny crew and, like this particular “Euphoria” episode, primarily at night.
Also noteworthy for both projects? Both were completely shot on film, a choice that is thankfully getting more embrace by cinematographers working in TV these days. “I’m not against digital at all, but when I have the opportunity to shoot on film, I do,” says Rév, who adds that the currently-in-progress Season 2 will also be shot in the same manner. “I think it captures skin tones better than anything and that’s really important, especially with a piece like this. There’s a stock called Ektachrome which Kodak stopped manufacturing in 35mm in the 2000s I think, and we convinced Kodak to manufacture a couple thousand rolls for us, so it’s really exciting.”
Here’s what you need to know about what’s happening with HBO’s ”Real Time With Bill Maher“
Thom Geier and Samson Amore | July 29, 2021 @ 12:06 PM
After spending much of 2020 taping his weekly HBO show from his home due to the coronavirus, Bill Maher returned to his L.A.-based studio last September — though with a limited studio audience and live guests who were kept at least six feet apart from one another.
That same set-up continues for the 19th season of “Real Time,” which returned in mid-January and saw Maher hilariously booting Donald Trump from the
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