Judi Dench Admits to Feeling Torn by Hollywood Sexual Harassment Scandal

Dame Judi Dench has admitted to feeling torn in two directions by the sexual misconduct allegations rocking Hollywood.

Speaking to Sky News at the London premiere of The Murder on the Orient Express on Thursday, the Oscar-winner said, “It’s very hard when a lot of people concerned are great friends of yours.”

“I feel loyal to them and at the same time I feel appalled by what has happened to a lot of young actresses who had no way of getting out.”

Dench — who plays Princess Dragomiroff in the revamped murder-mystery alongside Johnny Depp, Penelope Cruz, and Hamilton‘s Leslie Odom Jr. — added that the only way powerful Hollywood figures could be stopped from harassing people in the future, was simply for them to “behave better”.

 

Dench has long credited Harvey Weinstein for her start in Hollywood. She starred in the 1997 movie Mrs. Brown, which was produced by Weinstein’s former studio, Miramax. Once as a practical joke, the actress had a fake tattoo of the producer’s name applied to her bum. Dench told Charlie Rose she revealed the faux ink at the Four Seasons over lunch with Weinstein. “Ive never seen a man more embarrassed,” recalled the Oscar winner.

RELATED: Ashley Judd Meets Fellow Harvey Weinstein Accuser Mimi Haleyi at Women’s Media Center Awards

 

She also won an Academy Award for her performance in Shakespeare in Love — another Miramax film. Their most recent collaborations include 2013’s Philomena and 2016’s period drama Tulip Fever.

 

Weinstein has been accused of sexual misconduct by over 50 women since The New York Times and The New Yorker documented decades of alleged sexual misconduct and sexual assault involving a number of women in detailed articles earlier this month.

A spokesperson for Weinstein previously told PEOPLE in a statement that “any allegations of non-consensual sex are unequivocally denied by Mr. Weinstein. Mr. Weinstein has further confirmed that there were never any acts of retaliation against any women for refusing his advances.”


PEOPLE.com

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Milo Ventimiglia vs. Sterling K. Brown? The This Is Us Cast Is Seriously Torn Over Their Emmy Nominations

This Is Us, It’s father vs. son when it comes to the 2017 Emmys.
As we predicted and hoped, This Is Us was nominated in multiple categories when the nominations were announced on Thursday…

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Bulls’ Rose to have surgery on torn meniscus

Chicago Bulls guard Derrick Rose has a torn meniscus in his right knee and will undergo surgery, the team said Tuesday.
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CD Review: Reviver by The Torn Images

2015-01-27-reviver.jpgAlbum: Reviver
Arist: The Torn Images
Style: Alternative Rock, Indie Rock
Released: November 19, 2014
Reviewed by: Christopher Zoukis and Randy Radic

The Torn Images recently released their first full-length album, Reviver, and is the follow-up to two previous extended play offerings. Formed circa 2012 in Fountain Valley, California, the band comprises Briand Arabaca, who performs lead vocals and guitar, Tyler De Young on drums, and session musicians Andy Hernandez and Jonathan O’Brien, taking on guitar and bass, respectively.

The band’s primary influences appear to be Coldplay, Blur, and Nirvana, with an occasional shot of the Pixies. Like Nirvana, The Torn Images are dependent upon driving, fuzz-busting guitars. For example, the opening track “The Drifting” begins with thrumming guitars that presage a real rock-out. Unfortunately, the guitars just keep thrumming, along with the addition of drums and bass. There are very few chord changes and no discernible chorus. The effect is a dark onslaught on the listener’s senses, pummelling the ears into submission without the respite of melodious interludes; it simply doesn’t work.

Another track on the album, “Blind Fascination,” resembles “The Drifting.” Replete with the same driving guitars, pounding drums, and juvenile lyrics that might appeal to gum-snapping teenagers who equate loud, potent guitars with retro-vibe. But for anyone who remembers Nirvana, it is little more than contrived mimicry.

Luckily, there are two tracks on the album that save the day from complete and total aural disaster: “Life on a Standstill” and “World of Meaning.” These songs demonstrate that the band is capable of composing and arranging music with a chorus and tempo changes. Ostensibly, embodying the influence of the 1980’s New Romanticism. The lyrics are a cloying indication of the music’s intended audience: teeny-bopping Valley Girls, but nevertheless, the music advances in a bouncy, happy manner, which indicates latent aptitude.

Briand Arabaca’s vocals remain nearly unnoticeable throughout the album, and convey minimal emotion when perceptible. His range is severely limited and bereft of distinctiveness, reminding listeners of the Laocoon and His Sons, with the good priest contorted against the coils of common sense (and likewise the more erstwhile of listeners attempting to disengage themselves from him). Only in this case, it’s a voice and not sea serpents from which extrication is sought.

Reviver lacks the ability to impress or captivate its audience. The album is besieged by insipid lyrics and poor arrangements. More than likely, the musicians have talent, but they need to refocus and re-direct.
Entertainment – The Huffington Post
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NFL or Michigan? Harbaugh said to be torn

49ers coach Jim Harbaugh’s family and friends have been encouraging him to take the University of Michigan head-coaching job, but he is torn because his heart is in the NFL.
ESPN.com – NFL

1964 World’s Fair Towers Could Be Torn Down As NYC Debates Future Of Queens Icons

NEW YORK (AP) — They were designed for the 1964 World’s Fair as sleek, space-age visions of the future: three towers topped by flying-saucer-like platforms, and a pavilion of pillars with a suspended, shimmering roof that was billed as the “Tent of Tomorrow.”

That imagined tomorrow has come and gone. Now the structures are abandoned relics, with rusted beams, faded paint and cracked concrete. As the fair’s 50th anniversary approaches, the remains of the New York State Pavilion are getting renewed attention, from preservationists who believe they should be restored, and from critics who see them as hulking eyesores that should be torn down. Neither option would come cheap: an estimated $ 14 million for demolition and $ 32 million to $ 72 million for renovation.

“It is the Eiffel Tower of Queens,” says Matthew Silva, who’s making a documentary about the pavilion in Queens’ Flushing Meadows Corona Park, comparing it to a remnant of the 1889 Paris Exposition that was also threatened with demolition before it was saved.

Designed by famed architect Philip Johnson, the New York structures debuted with the rest of the World’s Fair on April 22, 1964, and quickly became among its most popular attractions.

Visitors rode glass “Sky Streak” elevators to the observation deck of a 226-foot tower — the highest point in the fair. The two shorter towers, at 150 and 60 feet, held a cafeteria and a VIP lounge.

The pavilion’s 16, 100-foot-tall concrete columns supported what was then the largest suspended roof in the world, a 50,000 square-foot expanse of translucent, multicolored tiles. On the floor below was a $ 1 million, 9,000-square-foot terrazzo tile map of the state, with details of cities, towns and highways.

In the years after the fair, the pavilion was used as a music venue for such acts as Led Zeppelin, the Grateful Dead and Fleetwood Mac. In the ’70s, it became a roller skating rink until the collapse of the ceiling tiles, leaving only bare cables behind.

The towers, while still structurally sound, were abandoned as observation decks long ago for safety reasons. Their retro-futuristic look has been most widely known from its use in such movies as “Men in Black” and “Iron Man 2.”

Although occasionally opened for tours, the towers and pavilion — the last major structures still standing from the World’s Fair that have not been preserved — have largely served as a stoic landmark for travelers on the Van Wyck Expressway. Two pad-locked gates — one chain-link, one metal — keep the Tent of Tomorrow shuttered.

“It should be called the ‘Tent of Yesterday,'” says Ben Haber, who lives near the park. “This is not the Parthenon, it’s not the Sphinx, it’s not the pyramids. … So what’s so special that we should keep it?”

At the heart of the debate is the cost. While the city’s Parks Department commissioned studies on the cost of scrapping or renovating the complex, it is still unclear where that money would come from and, if restored, how the structures would be used. If the money comes through, work on the city-owned pavilion could begin as early as next year once officials make a decision.

Queens Borough President Melinda Katz has formed a task force dedicated to preserving the pavilion, noting that other structures from the World’s Fair have been saved, most notably the 12-story-tall metal globe called the Unisphere, the Hall of Science and the Queens Museum.

Among the ideas are to convert the towers once again into observation decks or an elevated garden or even a platform for bungee jumping, with the open-air pavilion turned into a performance space with a removable stage and bleachers.

While that debate plays out, a small group of World’s Fair buffs has formed to repaint the pavilion so it can be open to the public briefly for an April 22 anniversary event. The towers will still be off limits.

“I just loved this pavilion,” says 63-year-old volunteer painter John Piro. “And as the years went on I saw it decay and it just like tore my heart.”

Haber, the Queens resident, argues that nostalgia is fine, but the cost of saving the complex is just too much.

“Urban parks are the backyards for people who don’t have them — so they can sit on the grass, look at trees, flowers, water,” Haber says. “They do not want to look at glass, steel and cement structures.”
Arts – The Huffington Post
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