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Liz Hurley dons French maid outfit for episode of The Royals
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Elizabeth Hurley flaunts flawless bod & sparkling swimsuit line
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Published: 08:44 BST, 17 April 2018 | Updated: 14:05 BST, 17 April 2018
She is never shy of stripping down to her swimwear on Instagram .
Yet Elizabeth Hurley took her saucy antics from social media to the small screen in the latest episode of her E! show The Royals, where she was seen to strip down to a saucy French maid outfit before her on-screen mother Joan Collins intervenes.
The 52-year-old actress and swimwear designer, who plays Queen Helena in the show about a fictional royal family, looked phenomenal in the sizzling ensemble yet came under fire for posing alongside her son Damian, 15, in the outfit.
Elizabeth looked stunning in the getup as she was seen getting steamy with her co-star before she was forced to be untied by her mother Grand Duchess Alexandra of Oxford - played by the beloved Dame.
At the start of the scene, she is seen saying saucily to her love interest: 'My room end of the evening... Happy birthday to me!' yet soon changed heart, when she said: 'We'll absolutely stop this tomorrow'.
While shooting the steamy scenes, Elizabeth came under fire for Instagram snaps with her 16-year-old son Damian in which she was wearing the sexy ensembles.
The star of The Royals sent fans into a frenzy with her latest post, a behind-the-scenes snap from the show in which she's seen in a tiny black dress and fishnets, alongside her teenage son and co-star Joan Collins.
All bound up! Elizabeth Hurley took her saucy antics from social media to the small screen in the latest episode of her E! show The Royals, where she was seen to strip down to a saucy French maid outfit before her on-screen mother Joan Collins intervenes
Hot stuff! The 52-year-old actress and swimwear designer, who plays Queen Helena in the show about a fictional royal family, looked phenomenal in the sizzling ensemble yet came under fire for posing alongside her son Damian, 15
Another recent snap of mother and son from Damian's 16th birthday party showed the bikini designer wearing a sequinned dress with a very plunging neckline, prompting some followers to urge her to cover up.
'Does he still breastfeed?' one asked. 'If not, cover them up. He is your teenage son.'
'I'd be running around looking for eye bleach if my mum was dressed like this,' one commented, while others branded her 'tacky' and 'pathetic'.
But many fans supporting Liz, saying she looked fabulous and argued that the actress shouldn't feel forced to dress a certain way just because she's a mother.
Cheeky! Elizabeth looked stunning in the getup as she was seen getting steamy with her co-star before she was forced to be untied by her mother Grand Duchess Alexandra of Oxford - played by the beloved Dame
Saucy! Another recent snap of mother and son from Damian's 16th birthday party showed the bikini designer wearing a sequinned dress with a very plunging neckline, prompting some followers to urge her to cover up
Now Cai Graham, author of The Teen Toolbox, has warned that such photos 'are likely to have repercussions for her child at a later date', while Parenting Expert, Annette Du Bois agreed she should stick to 'less-sexualised and provocative photos'.
'Liz Hurley is a celebrity and lives and embraces the glamorous, decadent lifestyle.
The fact that she has exposed her son to this world from a young age could potentially mean that Liz has 'normalised' the action of asking her son to take sexy photos.
Oh my: The fact that she has exposed her son to this world from a young age could potentially mean that Liz has 'normalised' the action of asking her son to take sexy photos
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Part of the Daily Mail, The Mail on Sunday & Metro Media Group

Buy the latest issue of The Comics Journal magazine

STANTON IS A FASCINATING FIGURE in cartooning for at least two reasons. First, he could draw beautiful sexy women but chose to portray them in physical combat or bound, strapped, and gagged in the best dominance tradition. Why he did that is a question for his psychoanalyst, not me. I’m more fascinated by his work than his psyche.
The other fascinating aspect to Stanton is that he probably helped Steve Ditko invent Spider-Man.
St. Wikipedia sums him up this way (avoiding Ditko):
Eric Stanton was an American underground cartoonist and fetish art pioneer.
While Stanton began his career as a bondage fantasy artist for Irving Klaw, the majority of his later work depicted gender role reversal and proto-feminist female dominance scenarios. Commissioned by Klaw starting in the late 1940s, his bondage fantasy chapter serials earned him underground fame. Stanton also worked with pioneering underground fetish art publishers, Leonard Burtman, the notorious Times Square publisher.
The details of Stanton’s life and some representation of his work I’ve taken from Eric Stanton & the History of the Bizarre Underground by Richard Perez Seves (288 7x8-inch pages, b/w and some color; 2018 Schiffer Publishing hardcover, $29.99).
Author Seves, who says on the book jacket’s back flap that he is a collector “obsessed” with vintage American fetish art, musters impressive research in the book: he dug into FBI reports, court records, Navy documents, the New York State Census, previous books about Stanton (Eric Kroll’s The Art of Eric Stanton and other tomes), as well as such obvious sources as Belier Press publications and many obscure periodicals ( Comics Buyer’s Guide !?). And he interviewed many persons who either knew Stanton or others of the fetish milieu. The book has an index and is copiously footnoted in the back by page number, which notes add substantial information to the narrative as well as citing Seves’ extensive sources.
His text is accompanied throughout by lots and lots of illustrations, many in color, and Seves gives the histories of several of Stanton’s serials and tells their stories. The book is virtually an extensively annotated bibliography of Stanton’s life work. But it’s more than that. It’s also a detailed biography, a sketchy history of “the bizarre,” and an exhibition of Stanton’s ladies. Reproduction throughout is high quality.
Among the illustrations are three consecutive pages from his celebrated Sweeter Gwen , a retake of John Willie’s classic Sweet Gwendoline.
The book’s only scholarly flaw is Seves’ failure to caption the illustrations; they are usually explained in the adjacent text, but you have to look hard for it. A photograph of an attractive middle-aged woman we determine is Stanton’s mother only because the text nearby is about her.
Stanton (birth name, Ernest Stanzoni, Jr.) was born September 30, 1926 in Brooklyn. Ernest Sr., it turns out, was not his biological father. Ernest Jr. was the result of a fling his mother, Anna, had in the early years of her marriage. Ernest Jr. enlisted in the Navy upon graduation from high school in June 1944. Discharged in 1946, Stanton took advantage of the G.I. Bill, which paid $20/week for a year to finance vets’ search for jobs; he was actually loafing, living at home, and playing softball and shooting dice with friends. After the G.I. Bill funding expired, he worked in a nightclub with his stepdad (his mother having divorced Ernest Sr. and re-married). And he drew pictures in his spare time—often of fighting women.
In 1948, a softball friend introduced him to an uncle, cartoonist Boody Rogers, and Stanton assisted him for a year, helping out with a quarterly comic book, Babe: Darling of the Hills , and the somewhat less regularly published Sparky Watts , the four-color reincarnation of a newspaper comic strip Rogers had produced in the early 1940s about a superpowered guy with spectacles. By late 1949, Rogers’ publisher had abandon both titles. Rogers gave up cartooning and moved to Arizona, where he opened a pair of art-supply stores that were successful and sustained him until his death February 6, 1996 at the age of 91.
During his last months with Rogers, Stanton was also producing work for Irving Klaw. Klaw, self-named the "Pin-up King," was a merchant of sexploitation, fetish, Hollywood glamour pin-up photographs, and underground films. His business, which eventually became Movie Star News, began in 1938 when he and his sister Paula opened a basement level struggling used bookstore on 14th St. in Manhattan.
STANTON HAD SEEN an ad in Whisper or another of the soft-core girlie magazines of the day. The ad touted a cartoon “serial” published by Klaw, and Stanton sent off for it. Cartoon serials, of which Stanton would make a life’s work, were published in “chapters” that consisted of a sequence of drawings accompanied by text narratives, the text often just typewritten and pasted next to the pictures. Some took shape as comic strips with speech balloons, but those were relatively rare.
The serial Stanton sent for depicted fighting women. The drawings were okay, Stanton thought, but he believed he could draw female combat better so he wrote Klaw, saying he’d like to do something for him. Klaw invited him to submit samples, which Stanton promptly did. And soon, he was drawing regularly for Klaw at $15 a page. When the Rogers’ enterprise collapsed, Stanton quickly turned full-time to producing fetish art.
Although Stanton preferred doing fighting women, Klaw also wanted bondage serials, and Stanton supplied them. Ditto serials about dominating women, who subjected other women—and men—to successive physical humiliations. Stanton always generously deployed high heels, gartered stockings, and long legs to satisfy the general fetish reader.
Seves does a little credible psychoanalysis along the way:
Almost at once Stanton recognized that art provided a unique satisfaction he did not experience in real life: not only access to a special fantasy world, but a sense of personal power: ‘I had control ... I could have the people I drew do anything I wanted’ he reflected in later years. ‘I was king of my world.’ Control and powerlessness—as mirrored in the secret subculture of the sexual fantasist–would become a major theme in his art. [...]
Something in Stanton’s psychological makeup dictated channeling and creating art as a means of attaining a proper balance and some measure of control in his life. The actual art he made—the artifact itself—was always less important than the process. [...] It was the process of making art that Stanton lived for; it was that process of exploration and discovery.
And Seves quotes Stanton’s son Tom, who said that Stanton “said sex is the bottom line of the psychology of people. Sexploitation, particularly fetish art, became a means of exploring the human psyche. He saw these stories—many of them—not simply as ‘porn,’ but as journeys of self-discovery. Sex was just the key that unlocked the door.”
Or maybe Stanton just liked drawing sexy women for the pure thrill of it.
In 1951, Stanton married Grace Marie Walter on October 20; they had two children, both boys. The same year, Stanton enrolled in the Cartoonists and Illustrators School founded by Burne Hogarth. Stanton took courses from Hogarth and from Jerry Robinson, and in Robinson’s class, he met Ditko and Eugene Bilbrew, an African-American artist who Stanton would introduce to Klaw. As Eneg (“Gene” spelled backwards), Bilbrew, like Stanton, would pursue a career in fetish art.
Ditko, asked years later how he and Stanton met, said, “I liked the way he drew women.” More about their relationship anon.
Over the years, Stanton would produce work for several merchants of fetish art: Edward Mishkin, who ran a store near Times Square (in those days, the neighborhood of sexploitation with dozens of stores selling girlie magazines, photographs, movies, and smut); Leonard Burtman, publisher and merchandiser; Max Stone, publisher of fighting female serials; and Stanley Malkin, also a Times Square entrepreneur, who would hire Stanton, putting him on salary, to do covers for his magazines—Stanton’s longest salaried situation as a fetish artist, 1963-68. Malkin also furnished and paid all the expenses for a small apartment for Stanton.
All, plus Klaw, were eventually arrested, tried and convicted of trafficking in pornography (“printed circulars, pamphlets, booklets, drawings, photographs and motion picture films, which were non-mailable in that they were obscene, lewd, lascivious, indecent, and filthy”). After serving their sentences (usually payment of a fine), all returned to their businesses under different names—except Malkin, who gave it up in 1969.
Stanton’s wife, unfortunately for him, was fiercely opposed to the work her husband did, thoroughly repulsed by it. To please her, he eventually took a full-time job delivering parts for Pan Am, doing only a little drawing in his spare time. Lifting a heavy part one time, he strained his back, and the pain would stay with him for the rest of his life, often becoming severe enough that he could not get out of bed. He began taking prescription painkillers and eventually graduated to other drugs. Finally, he discovered the remedial effects of yoga and practiced the discipline regularly.
Since he was unable to lift anything because of his back, Stanton lost his job at Pan Am. He returned to drawing full time. In 1958, he and Grace separated, and in 1960, Stanton sued for divorce, which was granted June 3 in Las Vegas, where quickie divorces were readily accomplished.
THE SAME YEAR that he and Grace separated, Stanton joined Ditko in a studio at 276 W. 43rd Street and revived the camaraderie of their C&IS days.
“Ditko welcomed Stanton as his studio mate,” reports Seves, “—thus initiating one of the most unique, synergetic, and confounding partnerships in comics art history. In the peculiar way that opposites sometimes attract, the Stanton/Ditko association almost seemed to make sense. Here was Ditko, the unyielding comic artist who was disinclined to draw women; here was Stanton, the mutable fetish artist who was uninterested in depicting men.
“Ditko’s material showed a total unawareness of sex while Stanton’s material conveyed a kooky preoccupation with it. Yet both shared the same ambition of make it as artists; and both, one might say, were earnest and obsessed.”
“We had a great working relationship,” Stanton recalled in a 1988 interview. “We were the only guys who could have gotten along with each other.”
Says Seves: “One could only imagine how gratifying Ditko’s presence must have been to Stanton after his time with Grace; from being around someone who was repulsed by art to being around someone whose very waking moment was consumed by it. ‘There were times Steve would spend twenty hours straight doing a comic,’ Stanton remembered.
“And Ditko was completely accepting of Stanton: ‘He thought my stuff was funny. We’d laugh a lot,’ Stanton said, as he fondly remembered years later. ‘Every experience that I had with Steve was terrific, as far as I was concerned.’”
The studio was bare bones. “It was a room about ten feet by twenty,” said St
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