Greg Hardy wins controversial UFC fight in under a minute

Greg Hardy reacts after defeating Juan Adams by TKO in their heavyweight bout during UFC Fight Night at AT&T Center on July 20, 2019 in San Antonio, Texas. Greg Hardy won his second UFC fight Saturday night in San Antonio against Juan Adams in under a minute. The finish came via TKO at 45 seconds into the first round after many unanswered ground strikes to the head of Adams, several to the back of his skull.

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European Parliament Gives Final Approval to Controversial Article 13 Copyright Directive

The European Parliament on Tuesday gave final approval of Article 13, a controversial directive that shakes up the rules around copyright in the continent with ramifications for online platforms, content owners and creators, and the general public. The proposed new framework, now approved, has sparked widespread debate among the platforms, public, and content firms. The platforms, […]



‘Fortnite’ Devs Remove Controversial Infinity Blade

Epic removed a controversial new item from its massively popular “Fortnite” following criticism from players over the late-game weapon’s overpowered nature. Epic announced the removal of the Infinity Blade this morning in an apologetic tweet from the official “Fortnite” Twitter account. “We messed up and rolled out the Infinity Blade overpowered / without good counters, […]



Luann de Lesseps Addresses Controversial Diana Ross Halloween Costume: “I in No Way Altered My Skin Color”

Luann de LessespLuann de Lesseps made an unintentional splash in The Real Housewives of New York City season 10 premiere. Luann attended Dorinda Medley’s Halloween party as Diana Ross, complete with a large…

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Petition Demands Matt Damon’s Removal From Ocean’s 8 After Controversial Sexual Harassment Comments

Matt Damon’s recent controversial comments on Hollywood’s sexual harassment scandal has prompted a petition for his cameo to be removed from Ocean’s 8.

At the time of publication, the online petition had nearly 18,500 signatures calling for his removal.

Citing Damon’s alleged involvement in an attempt to kill a 2004 story about Harvey Weinstein’s history of sexual misconduct, the petition claims the actor’s inclusion in Ocean’s 8 would “trivialize the serious nature” of the allegations.

“Damon’s inclusion would trivialize the serious nature of the charges against sexual abusers like Weinstein — a show massive disrespect for the brave women speaking out,” read the petition.

Amid the mounting revelations of sexual harassment or abuse against Weinstein, The Wrap founder Sharon Waxman previously claimed Damon and Russell Crowe meddled in a 2004 story she was writing for the New York Times about behavior by Weinstein and the the-head of Miramax Italy, Fabrizio Lombardo. Waxman claimed Damon and Crowe called her “directly” to vouch for Lombardo. Her story was ultimately killed by the NYT.

Damon confirmed the call with Waxman to Deadline, but said Weinstein only told him that Waxman was writing a negative story about Lombardo and asked him to vouch for Lombardo professionally.

The all-female reboot, starring Sandra Bullock, Cate Blanchett, Anne Hathaway Mindy Kaling and more, is “supposed to be an empowering film for women,” the petition says.

Damon “not only ignored but enabled his friend Harvey Weinstein’s inappropriate behavior,” the petition continues.

The actor has received criticism for his recent comments on the #MeToo movement. Late last week, Damon came under fire for suggesting that claims of sexual harassment should be viewed differently from allegations of sexual assault in an interview with ABC News’ “Popcorn with Peter Travers.

“There’s a difference between, you know, patting someone on the butt and rape or child molestation, right?” Damon said in the interview. “Both of those behaviors need to be confronted and eradicated, without question, but they shouldn’t be conflated, right?”

The petition calls on Ocean’s 8 producers George Clooney and Steven Soderbergh to leave Damon’s cameo “on the cutting room floor.”

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Hawaii Five-0 Boss Speaks Out on Controversial Exits: Daniel Dae Kim, Grace Park Were Offered “Unprecedented Raises”

Hawaii Five-0The chatter surrounding Daniel Dae Kim and Grace Park’s surprise exits from Hawaii Five-0 isn’t dying down just yet.
Shortly after CBS issued a statement explaining their side of…

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Donald Trump Calls Kathy Griffin ‘Sick’ In Response To Controversial Image

Donald Trump responded to Kathy Griffin’s controversial photo on Twitter Wednesday morning. Images of the comedian holding a bloodied head made to look like the president went viral Tuesday, sparking widespread backlash.

“Kathy Griffin should be ashamed of herself,” the president wrote. “My children, especially my 11 year old son, Barron, are having a hard time with this. Sick!” 

Trump’s son Donald Jr. also responded to the image, writing on Twitter, “The #kathygriffin phony apology would be a lot easier to believe if there wasn’t a video of her mocking the response she knew was coming.”

The gory image of Griffin holding a fake, blood-covered head caused an uproar almost instantly, and rightfully so, with many people on social media condemning Griffin’s actions. The Secret Service also responded to the images, implying they were looking into the situation as a threat. 

The comedian has since apologized for the photo, which was taken by Tyler Shields, saying, “I’m a comic, I cross the line. I move the line, then I cross it. I went way too far.” 

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Controversial Artist Stages A Fake Shipwreck, Sells ‘Treasures’ For Millions

Artist Damien Hirst always aims to shock.

Having already exhibited a dead shark in a vitrine of formaldehyde, a severed cow’s head on which live maggots feasted, and an 18th-century skull covered in platinum with over 8,000 diamonds, you might wonder just how, exactly, Hirst plans on living up to his own hype.

After a 10-year hiatus from making art, Hirst has made his best bid, in the form of an underwater art show depicting the remains of a fictional shipwreck. The show is called “Treasures From the Wreck of the Unbelievable,” and in typical Hirst fashion, it’s not cheap. According to The New York Times, “Treasures” cost the artist millions of dollars to produce and Parisian collector François Pinault millions to present. (Neither gave exact figures.) In turn, the cheaper works on view will cost potential buyers around $ 500,000 each, with the big-ticket items costing a cool $ 5 million.

The exhibition revolves around a mythical story of a shipwreck that, according to Hirst’s story, was discovered off the coast of eastern Africa in 2008. The wreckage allegedly contained a bounty of treasure once belonging to a freed Turkish slave who rose to riches during his lifetime between the first and second centuries. When his ship, the “Unbelievable,” went down, his trove of sculptural objects were lost for centuries. 

Until recently, that is, when divers salvaged some of the barnacle-encrusted pieces from the debris. To add to the mystique of his self-spun mythology, Hirst actually filmed people recovering the sunken goodies from the sea. The shipwrecked treasures ― now on view in Venice ― include massive, kitsch carvings depicting pharaohs, mythical figures, sea beasts and goddesses ― many of which curiously resemble contemporary pop figures like Rihanna and Pharrell.

For Hirst, who has long been obsessed with mythology, the exhibition is a very elaborate exercise in the importance of imagination.

“Believing, it’s different from religion,” the artist told the Times, reportedly over and over. “It’s what we need to do today. When you’re an artist, everything you do you think is about the world we are living in today. And now with all the liars running our governments, it’s far easier to believe in the past than it is in the future.”

For some, Hirst is the ultimate maximalist, his exorbitant visions transcending both good taste and bad in their sheer enormity. His work aims to literally take the viewer’s breath away, showing that art can be as spectacular as a blockbuster film, without the mediation of a screen.

As The Guardian put it: “It takes a kind of genius to push kitsch to the point where it becomes sublime.”

For others, however, Hirst’s show resembles nothing more than a shock artist’s attempt at a comeback, generated less through ingenuity than through obscene amounts of money. The Telegraph called the show “a spectacular, bloated folly, an enormity that may prove the shipwreck of Hirst’s career,” adding that it was “characterised by lifeless surfaces, lurid emotions, and vile, excessive details, such as a couple of toadstools growing on the base. Ugh.”

When overblown excess and unabashed grandiosity so viscerally conjure associations with the current U.S. president, Hirst’s longstanding eye for opulence feels, at best, tone deaf and, at worst, emetic. Although optimism and imagination are clearly the aims of Hirst’s under-the-sea adventure, the end result feels more like a last-gasp display of extravagance as gaudy as Trump Tower.

Hirst’s work will be on view at the Palazzo Grassi until Dec. 3.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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The 14 Most Controversial Nipples of 2015, Ranked (NSFW)

Heavily featuring Kendall Jenner.

Lifestyle – Esquire


Selena Gomez Deletes Controversial Mosque Photo That Showed Her Ankle

Selena Gomez spent at least part of New Year’s Day dealing with a controversy that sprung up in the wake of a photo she posted to Instagram. The offending picture showed Gomez flashing her ankle inside the Sheikh Zayed Grand Mosque in Abu Dhabi. It has since been deleted by the pop star.

According to TMZ, mosque leaders found the pose “disrespectful.” Per the Sheikh Zayed Grand Mosque visitor website, “modest, conservative, loose fitting clothing” is required for guests, and women are instructed to wear skirts that are “ankle length.”

Gomez visited Abu Dhabi with, among others, Kendall Jenner. A photo of Gomez and her friends at the Sheikh Zayed Grand Mosque still remains up on her Instagram account.

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Here’s What The Most Controversial ‘Game Of Thrones’ Season 5 Scene Could Be About

“Game of Thrones” star Sophie Turner has said before that there will be “big changes” for her character, Sansa, in Season 5, and now she has discussed one scene that has been the center of months of speculation. In a red carpet interview at the British Independent Film Awards, Turner told a reporter about her favorite scene from the upcoming Season 5, which turned out to be a very intense one. “There was one scene that I did do which was super, super traumatic, and I love doing those scenes,” Turner said. “It was just really kind of horrible for everyone to be on set and watch.”

Besides hinting at the “darker direction” the new season will take, Turner wouldn’t reveal anything more about the scene. But it may be a contentious Sansa chapter in George R.R. Martin’s upcoming The Winds of Winter book, which Vulture hinted at last year.

Fans of the books have devoted numerous threads to discussing the chapter, and now with Turner’s interview, they are theorizing even more on Reddit. Here’s what fans are speculating:

WARNING: Serious book spoilers lie ahead.

Will Littlefinger rape Sansa?

This is one of the main theories fans have been speculating about since the reveal of the controversial chapter. When we last left off with Littlefinger in “Game of Thrones” Season 4, he had given Sansa a creepy kiss and then killed Lysa. He’s overly protective of and obsessive with Sansa, so a forced sexual encounter could make sense for his character. This is also highly likely since Turner previously said that one of her favorite scenes from “GoT” was when Sansa “nearly got raped” in Season 2.

Will Sansa kill Littlefinger?

This theory could go multiple ways. One is that Sansa could kill Littlefinger if the previous theory is true, and he attempts to rape her. Another is that Sansa could use powers of seduction to kill him, as Redditor Eitjr suggests. A third reason for Sansa to kill Littlefinger is, of course, if she discovers how he betrayed her father.

Will Sansa kill Robin Arryn?

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This is another very popular fan theory and also supports Turner’s description of a “super traumatic” scene. Near the end of A Feast For Crows, Robin Arryn becomes very close to Sansa (she turns into a motherly figure after his mother’s death). Littlefinger also arranges a marriage between Sansa (who is living under an alias in the books) and Harry the Heir. The theory proposes that once Sansa marries Harry, she will have reason to get rid of Robin so that her new husband can rule the Vale with her by his side. Redditor ManiyaNights also suggested ways that Sansa could kill Robin secretly, so as to possibly make Littlefinger look guilty, and thus rid of him too. We’ve already seen Sansa release some frustration toward Sweetrobin last season with that epic slap, and the killing of a child would definitely be hard to watch, even by “GoT” standards.

Will Sansa take on Lady Stoneheart’s vengeance streak?

Redditor HGSIOUHGIR put forth a very crazy theory that suggests the show’s writers will give Lady Stoneheart’s role to Sansa. Book readers, and those who follow Reddit and forums closely, will know that Lady Stoneheart is Catelyn Stark resurrected from the dead. At the end of A Storm of Swords, Lady Stoneheart goes on a killing spree against anyone and everyone who betrayed her and Robb. This would mean that if the show decided to not bring back Michelle Fairley’s Catelyn, perhaps they would have Sansa enact Lady Stoneheart’s vengeance instead, hence possibly the trauma Turner mentioned. While this sounds awesome, it also seems like a rather unlikely choice by the writers.

“Game of Thrones” will return in 2015.
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Neil LaBute Q&A: The Controversial Playwright Talks About His L.A. Theater Takeover


Fans of safe and saccharine theater in Los Angeles better run and hide this summer because acclaimed and controversial playwright Neil LaBute doesn’t just have one production currently in town — he has two!

Vilified and labeled as a misanthrope and misogynist thanks to his unflinching brand of art, indeed his plays and films have shocked many, including films In the Company of Men, Your Friends & Neighbors, Nurse Betty and The Shape of Things to Come. It’s interesting to have LaBute’s unrelenting drama, often filled with self-absorbed characters and very poignant and disturbingly social themes, takeover Los Angeles theater.

Continuing with his beauty trilogy in Reasons to Be Pretty at the Geffen Playhouse, LaBute takes on society’s ongoing fixation with beauty and in particular one man’s inability to say the right thing — ever. When Greg makes an innocuous, off-handed remark about his girlfriend Steph, it triggers a battle by which their relationship will forever be defined. Tony nominated for Best Play, Reasons to Be Pretty continues a series that includes The Shape of Things, Fat Pig (a previous Geffen Playhouse hit) and Reasons to Be Happy.

Meanwhile, across town on Melrose Avenue in Hollywood, LaBute’s personal In a Dark Dark House focuses on the many effects of sexual abuse and the way society might be expected to react to abused victims.

While LaBute has recently directed episodes of AMC’s “Hell on Wheels” as well as the good natured ensemble comedy Death at a Funeral possibly giving way to a kinder and gentler LaBute, it’s his taut dramas that have caused critics and some audiences to label him as a pariah.

Who can forget Aaron Eckhart’s character Chad in In the Company of Men hatefully blather, “Women. Nice ones, the most frigid of the race, it doesn’t matter in the end. Inside they’re all the same meat and gristle and hatred just simmering.”

Or that other gem of his, “Never trust anything that can bleed for a week and not die.”

You can see why LaBute is a lightning rod, even if the man himself doesn’t.

Your name and work evoke a strong gut reaction. Do you consider no reaction the worst kind of reaction?
I probably do. I would think just about anybody would feel that way. We’re taught at some age to always want positive reaction but it makes sense when you’re out there asking questions, which is a big part of what playwrights are supposed to do, not always having answers but at least asking questions. I think, depending on the questions, it’s very important to take the temperature of people. If people think you have nothing to say or you’re of little interest that would probably be the worst.

If everybody were to love your work, is that not the reaction you would want either?
I’m not the kid in class who only wants negative attention, that’s certainly not me. I’ll take nothing but positive attention, that’s OK. I feel that I’ve had almost negative attention for some things. I know what it feels like on both ends. You’re always trying to connect and tell stories that are different than what everyone else has. I’m always looking to connect with an audience, and yet, sometimes it’s negative but through that negativity sometimes you’ve left them with something to think about. I think both sides of that can be useful.

In college, some of your plays where shut down immediately after their premieres. How do you define success–just opening?
Getting in front of an audience, in this world, is the requirement for the endgame, at least for theater. Once you’ve written something you’re part of the way there. You do need to get in front of an audience. To have a connection with an audience is ultimately the goal.

With everything you’ve accomplished, is there still room for you to grow as an artist?
Of course, that’s why I probably go back to teach as often as possible, just because you learn a ton from teaching people. There are so many parts of this world that I’m interested in. I get more interested in editing as I work in film; I haven’t done much television and that world is new to me. Broadway is still a creature that I’m weary of. Event at my age, there are a lot of aspects that I have to learn or try to fail at.

Your name sparks a reaction. What’s the biggest misconception about you?
The ones that I hear upon meeting people sometimes are, ‘You’re much nicer than I thought you’d be.’ I wonder what it was exactly they were thinking. They imagine you’re the worst. They never seem to think you’re the best at what you can imagine. You were able to think of something, therefore, that must be you. Also, for the last seventeen – eighteen years, there’s been this label of misogyny that started with In the Company of Men, that’s a hard one to kick because people label you and once they’ve done that, they make it very hard for you. If they see something else, they’ll say, that’s no as misogynistic. For a movie that so many people actually saw as being a critical essay of men, being labeled misogynistic I thought was strange.

Is it fair that 17 years later people so closely identify you with that film?
I don’t think it would hurt to reassess things every five years or so. That would be nice of people to check in on that sort of thing. I know how it happens but it’s a bummer when you don’t agree with it.

Can you talk about the power of the written word and what the various outlets mean to you?

Theater is still a place that allows you to say anything you want to say and take on anything that is of interest to you. There is no taboo, not for me at least. There’s nothing that shouldn’t be taken on.

Film, I think, is a medium that people still see as a more popular form of entertainment. Television, I think, is becoming a great place for writers and storytellers. I like this idea of telling multiple stories about a set of characters. I always turn the page and write about a new group of people. For a writer, that’s a really interesting task to take on.

You have two shows currently playing in Los Angeles. What’s that like?
They’re two very different ones as well. I’m really excited by the people who are in them and also the directors.

What originally inspired these two productions?

You never know. I ended up with this third play in this trilogy about beauty; and I knew I wanted to do something about beauty and the way that we’ll change ourselves or change for others. In a Dark Dark House was just a story that came to me, not thinking about my own past so much as filtering what I knew about the lives that these characters have and then wanting to tell a story about siblings.

You’ve called In a Dark Dark House very personal, yet this version was tweaked from its original form when it premiered in New York. Is it still as personal now?
I think so. The work that was done honed the structure and I moved things around and ultimately I think this version is the best structure of the play. It’s not autobiographical but it’s touching on things that were close to my life.

So plays are never finite?
Oh God no! I just wrote a new monologue for Amber Tamblyn in Reasons to Be Pretty. She had some questions and thoughts and it led me to write something. They’re finished for now until somebody opens the book again and you start working on it again.

Reasons to Be Pretty marks your fourth collaboration with the Geffen Playhouse. What do you like about that theater?
It’s nice to have a home somewhere. Because you can spread yourself so far around and with so many people, it’s always great to go back to a place or group of people who you know and work with. It’s great when the Geffen is interested in me doing something again. I love the space but I also love the people who run the place.

Are you happy playing in intimate theaters or do you want Broadway or the Pantages, which is the big theater in Los Angeles?
I tend to write things that are often pretty small cast and I love small theaters. That said, there are things you write that you think could be for Broadway but I tend not to think or write in those terms. Sadly, what usually drives people to think something would be good for Broadway is the fact that they have some star who might be interested. Rare is the play that I’ve written that I think it can only fit on a stage for a thousand people. They’re often very intimate character studies.

You always get great talent in your plays, from David Duchovny to Ed Harris. What attracts big name actors to your work or is it that they just have to work?
It’s probably a mix and that’s OK for me. I think actors do, at some point, get a sense of a person who like actors and writes for actors, and is interested in them. I certainly feel that I’ve always liked actors and they get a buzz off me that says that. I never tend to write for people, as many good actors as I’ve had, I always have written just for characters and then good actors will appear. But like you said, some actors just want to work.

What do you hope audiences take away from a production of yours?
I just hope that there’s something that they find there, whether it is characters or themes. I tend not to write about themes so much, but I love the idea that somebody in today’s world, because we’ve created this kind of speed that we devour information these days, that any time that somebody goes to see your work and thinks about if for any length of time is a total victory.

Both Neil LaBute productions play through August 31. In a Dark Dark House plays at the Matrix Theatre, and Reasons to Be Pretty plays at the Geffen Playhouse.

Photo courtesy of Aaron Eckhart
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