Danny Masterson’s lawyer enters not guilty plea to rape charges

Danny Masterson‘s lawyer entered a not guilty plea on his behalf on Wednesday to three counts of rape, a charge that could send the That ’70s Show star to prison for 45 years to life.

Masterson was charged on June 17 with raping three women at his home between 2001 and 2003. His arraignment has been repeatedly delayed since June. He was not required to attend the hearing in person and did not appear. The case is due back in court on March 24 for a hearing on pretrial motions.

In October, Masterson’s lawyer tried unsuccessfully to have the case thrown out, arguing that the allegations were beyond the statute of limitations. Judge Eleanor Hunter denied that motion, finding there is no statute of limitations for so-called “one strike” sex offences.

READ MORE: Danny Masterson’s ex girlfriend Bobette Riales accuses him of ‘repeatedly’ raping her

Ordinarily, a rape charge is punishable by up to eight years in prison. But Masterson was charged under a California law that allows sentences of up to 15 years to life for certain violent sex crimes.

In Masterson’s case, prosecutors have alleged the “aggravating factor” that there were multiple victims, so jurors would have to convict on at least two of the counts in order for the enhanced penalty to kick in.

Masterson is accused of raping a 23-year-old woman between January 2001 and December 2001; raping a 28-year-old woman in April 2003; and raping a 23-year-old woman between October 2003 and December 2003.

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The victims are not identified in the complaint, but the allegations track closely with a lawsuit that four women filed in August 2019, accusing Masterson and the Church of Scientology of trying to cover up their claims. The suit alleged they had been stalked and harassed for taking their allegations to the Los Angeles Police Department. Masterson and the Church each denied the allegations, with Masterson saying he was being “railroaded” by his ex-girlfriend.

A judge ruled in December that the lawsuit must go through a religious arbitration process run by the Church of Scientology.

Kanye West ‘less than thrilled’ that marriage issues with Kim Kardashian will be featured on Keeping Up With the Kardashians

Fans may find out more details about Kim Kardashian and Kanye West‘s looming divorce and marital problems on Keeping Up With the Kardashians — and Kanye doesn’t appear too happy about it.

The series, which began in 2007, has always followed the family’s personal moments. But according to Us Weekly, a source says West, 43, is “less than thrilled” about the cameras capturing the relationship ups and downs.


Page Six first reported that Kardashian, 40, has allegedly filmed her marriage problems with West for the final episodes of the show.

Meanwhile, the reality star is focusing on herself and her career amid her looming divorce from West, a source told Us Weekly.

“She will continue to focus on her business empire,” the insider said. “Kim has been in individual counselling and is at peace with where her life is headed.”

According to People, the pair have “completely” stopped attending marriage counselling together and a split is imminent.

READ MORE: A rundown of Kim Kardashian and Kanye West’s messy relationship drama

“He is talking to divorce lawyers this week,” a source said of the rapper.

Back in December, multiple reports revealed that the couple were living apart and Kardashian had hired divorce lawyer Laura Wasser.

“Kim and Kanye’s marriage is beyond repair,” a source told People at the time. “Kim is over Kanye’s chaos, and at this point, she just wants to focus on the kids and her own life…

“Kim is OK with it. She will do everything she can for the kids to have a great relationship with Kanye — she just doesn’t want to be married to him.”


The pair were first spotted on a 24-hour date in June 2012, with West confirming that they were an item. They got married two years later in Florence, Italy and appeared on the cover of Vogue to mark the occasion.

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Kardashian was previously married to Damon Thomas between 2000 to 2004 and split from Kris Humphries in October 2011 after 72 days of marriage. Meanwhile, West was previously engaged to designer Alexis Phifer between 2006 to 2008. The couple share four kids together, North, seven, Saint, five, Chicago, two, and Psalm, 20 months.

Twitter is loving Lady Gaga’s Hunger Games look at Joe Biden’s inauguration

Lady Gaga performed an incredible rendition of the US National Anthem at the inauguration of Joe Biden on Wednesday, but it was her Hunger Games-style outfit that has everybody talking.

The 34-year-old hitmaker wore a beautiful black turtleneck dress, with a voluminous red skirt, adorned with a gold dove brooch that resembled a Mockingjay, the Hunger Games franchise symbol.

She tweeted of the brooch, “A dove carrying an olive branch. May we all make peace with each other.”


And fans loved it.

“Lady Gaga serving some Hunger Games symbolism is exactly what I needed today,” one viewer wrote on Twitter.

“Lady Gaga said: ‘Capitol? Say no more fam’ and pulled out her Hunger Games mood board,” tweeted another.

See more hilarious reactions below.


Tom Holland broke his computer when he found out he was cast as Spider-Man

Tom Holland is best known for his role as Spider-Man in the Marvel comic superhero movies. But it turns out, getting the role wasn’t an easy process for the 24-year-old British actor. Holland spent months agonizing about whether or not he’d be cast as Spider-Man, and he even worried about getting fired after his first few weeks on the job.

In an interview for Variety’s Actors on Actors, Holland and Daniel Kaluuya spoke over about their latest roles — in, respectively, Cherry (about a war veteran who suffers from PTSD and opioid addiction) and Judas and the Black Messiah (a drama about Black Panther civil rights leader Fred Hampton).

During the conversation, Kaluuya — who is part of the Marvel Cinematic Universe for portraying W’Kabi in 2018’s Black Panther — asked Holland how the Spider-Man movies changed his life.

Holland has played Spider-Man in 2016’s Captain America: Civil War, 2018’s Avengers: Infinity War, 2019’s Avengers: Endgame and he’s starred in two stand-alone movies (2017’s Spider-Man: Homecoming and 2019’s Spider-Man: Far From Home). He’s currently filming a third Spider-Man sequel in Atlanta.

“There’s three stages of life changing,” Holland says. “It’s weird. The audition process was horrible. It was seven months of auditioning. I must’ve done six auditions, and they don’t tell you anything.”

Eventually, he got called to do a screen test in Atlanta opposite Iron Man. “There was me and six other kids, and [Robert] Downey [Jr.] was there, so we all tested with Downey, which was crazy,” Holland says.

“It’s the best audition I’ve ever done, him and I were riffing off each other. My agents told me that Marvel likes you to learn the words exactly — you can’t improvise. And then, on the first take, Downey just completely changed the scene. We started riffing with each other, and I mean, to sound like a bit of a dick, I rang my mum afterward and was like, ‘I think I’ve got it.'”

Six weeks later, Holland returned for another screen test, where he performed a fight scene with Captain America (Chris Evans). “They flew us back to Atlanta, me and one other guy, and we did this scene, which was so surreal,” Holland says. “By that point, it had been an amazing enough of an experience that if I hadn’t got the part, I would’ve felt like I’d at least achieved something to get to that point. I went out to play golf with my dad. I lost and I was upset, and I remember going on my phone and checking Instagram, and Marvel had posted a picture of Spider-Man, of the cartoon. And by this point, I kind of had assumed I hadn’t got it, because no one had called me.”

“You found out in the press?” Kaluuya asks.

Holland continues: “I got my computer, and my dog was sitting next to me,” he says. “I type in ‘Marvel.’ I’ve still got the article saved on my computer. It said, ‘We would like to introduce our new Spider-Man, Tom Holland.’ I broke my computer, because I flipped it up in the air. It fell off my bed; my dog went nuts. I ran downstairs. I was telling my family, ‘I got the part! I got the part!’ And obviously, that was right about the time when Sony had got hacked, so my brother, Harry, who’s quite tech savvy, was like, ‘No. There’s no way that’s real. They would have called you. They’ve been hacked.’ And then the studio called me and gave me the news. It was so bizarre how it happened.”

But even after he shot his scenes for Civil War, Holland wasn’t sure if he’d continue playing Spider-Man. “From the moment of shooting Civil War to Spider-Man: Homecoming, I was convinced they were going to fire me,” Holland says. “I don’t know why. ‘Civil War’ hadn’t come out yet, and I just didn’t hear anything from anyone. I can’t really explain it. It was awful, but they didn’t — obviously. It’s been crazy, mate. I’ve loved every minute of it.”

“You’re a great Spider-Man,” Kaluuya says. “Amazing, amazing Spider-Man.”

Hollywood reacts to Kamala Harris’ historic inauguration: ‘This is happening’

Vice President Kamala Harris took her oath of office and made history as not only the first woman to hold that role, but she is also the first African American and South Asian American to achieve one of the highest positions in the land.

Harris has long been an inspiration for breaking many glass ceilings in the political world. Her victory comes more than 35 years after Geraldine Ferraro became the first female VP candidate on a major party ticket when she ran alongside Democrat Walter Mondale in his unsuccessful effort to unseat President Ronald Reagan in 1984.

LIVE UPDATES: Joe Biden sworn in as 46th President of the United States

As Supreme Court Justice Sonia Sotomayor administered the oath of office to Vice President Kamala Harris, Hollywood rejoiced and shared their thoughts via social media, watching as she shattered another glass ceiling.

Oprah Winfrey echoed the emotional impact of the moment felt by many, tweeting, “In tears watching this extraordinary moment for women in the U.S. and the world. Vice President @KamalaHarris.”

Supermarket Sweep host Leslie Jones wrote, “Yassssssss she is our Vice President, Kamala Harris.” Producer and screenwriter Shonda Rhimes shared, “This is happening, women,” while filmmaker Kevin Smith posted a video of him watching the inauguration on CNN and said, “As Madam Vice President @KamalaHarris makes history, @JenSchwalbach is moved-to-tears. Flag of United States #InaugurationDay”

Dan Rather, the former news anchor and journalist, reminded his followers of the American Dream and what could be achieved by it. He wrote, “The swearing-in of Kamala Harris by Justice Sotomayor. Wow. America has a new vision of what is possible.”

Filmmaker Julie Cohen, who directed the RBG documentary, an intimate portrait of Justice Ruth Bader Ginsberg who died in September 2020, wrote about the historic moment, “Having a woman — a woman of color — as our Vice President is a huge moment in U.S. history. Do not come at me with your bad takes that it doesn’t matter.”

Read the tweets below:


Lady Gaga performs the US National Anthem at Biden-Harris Inauguration

Lady Gaga has belted out ‘The Star Spangled Banner’ at the inauguration of Joe Biden and Kamala Harris.

The singer stood on the podium where the ceremony was being conducted with a gold microphone in hand and wearing a full red skirt with black coat jacket, featuring a large gold brooch of a dove pinned to her chest which she later explained was “a dove carrying an olive branch. May we all make peace with each other.”


Before taking to the stage at the Capitol, the singer took to Twitter and told fans the theme of her performance was peace.

“Singing our National Anthem for the American People is my honour,” Gaga tweeted.

“I will sing during a ceremony, a transition, a moment of change—between POTUS 45 and 46. For me, this has great meaning.

“My intention is to acknowledge our past, be healing for our present, and passionate for a future where we work together lovingly. I will sing to the hearts of all people who live on this land. Respectfully and kindly, Lady Gaga”


Also performing at the swearing in of the 46th US president is Jennifer Lopez.

While also on deck the ceremony: Andrea Hall, a career firefighter, will lead in the Pledge of Allegiance; Amanda Gorman, the first-ever National Youth Poet Laureate (and a Los Angeles native), will recite a poem; an invocation will be delivered by Father Leo O’Donovan, and a benediction by Reverend Dr Silvester Beaman, both longtime friends of the Biden family.

Gaga has history with Joe Biden, having appeared at a number of rallies in the lead up to the US election last year as well as working together on projects when Biden was Vice President previously.

Jennifer Lopez performs at Inauguration with special message in Spanish

Jennifer Lopez has performed at the Biden-Harris inauguration.

The Latina singer performed a medley of ‘This Land Is Your Land’, ‘America the Beautiful’ and for a brief moment, a few bars of her own hit song ‘Let’s Get Loud’.

But it was a breakout moment in Spanish that captured everyone’s attention.

“One nation under God, indivisible, with liberty and justice for all,” Lopez said in Spanish.

The diverse moment fed right into the inauguration theme of ‘America United’.

When announcing the list of performers for the big day, inaugural committee CEO Tony Allen said the participants “represent one clear picture of the grand diversity of our great nation and will help honour and celebrate the time-honoured traditions of the presidential inauguration”.

“They are also committed to the President-elect and the Vice-President-elect’s steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation,” Allen added.

Lopez wore a white coat over a chiffon top for her moment on the podium, with a half-up-half-down hairstyle that showed off her sparkling earrings.

Lopez not only fits the inauguration theme perfectly, but the singer has been a strong supporter of Biden during the US election.

The singer and her fiance Alex Rodriguez appeared in a virtual chat with Biden and wife Dr Jill Biden in October.

In November she told fans on social media of her “tears of joy” when the former Vice President won the race.

Lopez has gotten more political over the past year, using her profile to voice concerns about the coronavirus pandemic’s disproportionate toll on minority communities.

James Corden celebrates ‘One Day More’ of Trump with Les Misérables spoof

James Corden celebrated Donald Trump‘s last day in office with a parody of Les Misérables number ‘One Day More’, featuring a slew of Broadway stars.

In the video, which aired during Tuesday’s episode of The Late Late Show, Corden arrives at work in a good mood due to President-elect Joe Biden’s impending inauguration.

After seeing Trump appear on a TV screen, Corden breaks out into song: “One day more/ The final day of Trump as President/ The White House has a brand new resident/ It’s been four years of endless crimes/ But now he’s finally out of time.”

As the song escalates, past and present cast members of Les Misérables join the fray, including Patti LuPone, Matt Lucas, Joshua Grosso, Jillian Butler, Emily Bautista, Kyle Scatliffe and Shuler Hensley.

Together, the troupe sings: “No more days of angry Tweets (‘Cause this time he’s banned for good)/ Ship him off to Mar-a-Lago (Do they even want him there?)/ Biden better change the sheets (Maybe throw away the bed)/ Will you change the locks with me?”


LuPone and Lucas come in about halfway through, dressed as Trump supporters and singing a duet with lyrics such as: “We won’t wear a mask/ That’s our given right/ At your Trader Joe’s/ We’ll start a viral fight/ Don’t you take our guns/ We protect the peace/ If you call us Karens/ We’ll just call police.”

The video ends with a Trump speech playing, and Corden simply turning his myriad of televisions off.

The clip has already had over one million views with almost 25,000 likes and close to 11,000 retweets.

Josh Duhamel in talks to replace Armie Hammer in Shotgun Wedding

Josh Duhamel is in talks to star opposite Jennifer Lopez in the Lionsgate romantic adventure Shotgun Wedding, replacing Armie Hammer in the lead role.

Hammer dropped out of the project last Wednesday, with a representative for the production explaining, “Given the imminent start date, Armie has requested to step away from the film and we support him in his decision.”

Duhamel would star as Tom, opposite Lopez’s Darcy, in the film about a couple who gathers their families together for a destination wedding. Things start to go south, however, after the pair gets cold feet. But it really takes a turn for the worst when the entire wedding party is taken hostage.

READ MORE: Armie Hammer’s Shotgun Wedding role to be recast amid social media scandal

The Lionsgate project was first announced last fall. Jason Moore will direct from a screenplay by Mark Hammer and Liz Meriwether. The film will be produced by Mandeville’s Todd Lieberman and David Hoberman, who previously produced Wonder for the studio, along with Lopez, Elaine Goldsmith-Thomas and Benny Medina.

Hammer began trending on social media last week after direct Instagram messages were posted sharing graphic sexual fantasies that appeared to be written by Hammer — which have not been verified.

“I’m not responding to these bulls–t claims but in light of the vicious and spurious online attacks against me, I cannot in good conscience now leave my children for 4 months to shoot a film in the Dominican Republic. Lionsgate is supporting me in this and I’m grateful to them for that,” Hammer said in a statement.

Duhamel is no stranger to action or romance, starring in the Transformers franchise, the hit series Las Vegas, and films like When in Rome, Safe Haven and Life as We Know It throughout his career. The actor most recently starred in The Lost Husband and Think Like a Dog, with Netflix’s comic book adaptation Jupiter’s Legacy set to debut later this year.

Duhamel is repped by ICM Partners and John Carrabino Management.

The Wiggles share future plans after being severely impacted by the coronavirus pandemic

For 30 years The Wiggles have been entertaining children around the world and to celebrate the milestone, the group has released a new single called ‘We’re All Fruit Salad’ which celebrates diversity in all its forms.

They’ve come so far since those first days when Anthony Field, 57, and his friends put together a band for a university project.

“We were at university at the time, so first Murray [Cook], then Greg [Page], myself and Jeff [Fatt]. It was just a university project. Music in Theatre and Education it was called, and I put The Wiggles together for that,” Anthony tells 9Honey Celebrity. “And that’s all it was meant to be. So it’s really become a part of all of our lives and it’s been fantastic.

“I would never have thought, 30 years later, we’d be talking to you.”

For Anthony, the last 30 years have been a blur.

“[Time has gone by] really fast,” he says. “I think as I get older time becomes almost irrelevant,” he says, adding that it seems like “just yesterday” that the group’s newest members Emma Watkins and Lachy Gillespie joined.

RELATED: How We Met: How Simon Pryce and Lauren Hannaford make long-distance marriage work

The Wiggles had already enjoyed unprecedented success, first in Australia and then around the world. Little did they know the best was yet to come when Emma, the Yellow Wiggle, joined the group almost nine years ago, breathing new life into the band and bringing a massive following of dancing girls and boys with her.

“I think for me it does feel surreal in the way I used to watch The Wiggles, and The Wiggles were so much a part of my childhood. That was my kind of my first entry into music and theatre,” Emma tells 9Honey Celebrity.

“For us to be able to continue the music and the education for children, not only in Australia but around the world, is something that I feel very proud to be a part of, and I am so glad it has continued and ever-evolving and ever-changing.”

To mark 30 years, The Wiggles have released a new song called ‘We’re All Fruit Salad’, which aims to celebrate diversity. Joining them in the music video are Wiggly friends young and old, from all walks of life.


Emma says it has been “serendipitous” in a way that The Wiggles haven’t been about to tour this year due to the coronavirus pandemic. It has meant having time to put together their new song and video.

Anthony says it was an easy decision for The Wiggles to share what is an increasingly important message of acceptance and inclusion through their music.

“In a very simple, childlike way the song says let’s all celebrate each other’s differences, we’re all in the same world,” he says.

The group are heading to New Zealand for a tour in March, their first time on the road since the start of the pandemic.

“And if we get there we’ve got to do that 14 days quarantine in a hotel room, that’s going to be a challenge,” Anthony says. Although he plans to make good use of the time playing and making new music with an assortment of instruments including a guitar, a banjo, bagpipes and anything else he can get his hands on.

For the latest news and tour dates visit The Wiggles official website.

Marianne Faithfull says she ‘may not be able to sing ever again’ after COVID-19 diagnosis

Singer Marianne Faithfull is detailing the impact her positive COVID-19 diagnosis has had on her ability to sing.

The legendary performer, who was one of the first celebrities to contract the virus in April last year, spent weeks recovering in a London hospital.

“I may not be able to sing ever again,” Faithfull said in a recent interview with The Guardian.

“Maybe that’s over. I would be incredibly upset if that was the case, but, on the other hand, I am 74. I don’t feel cursed and I don’t feel invincible. I just feel f––ing human.”

READ MORE: Marianne Faithfull released from hospital three weeks after testing positive for coronavirus

However, she’s still trying to remain positive and hopes her voice will come back to her.

“But what I do believe in, which gives me hope, I do believe in miracles,” she said.
“You know, the doctor, this really nice National Health doctor, she came to see me and she told me that she didn’t think my lungs would ever recover.

“And where I finally ended up is: OK, maybe they won’t, but maybe, by a miracle, they will. I don’t know why I believe in miracles. I just do. Maybe I have to, the journey I’ve been on, the things that I’ve put myself through, that I’ve got through so far and I’m OK.”

Faithfull has endured several health battles, including hepatitis C and breast cancer. She also fought with substance abuse in the ’70s and ’80s.

Jodie Foster and Anthony Hopkins reunite for Silence of the Lambs 30th anniversary

Jodie Foster (The Mauritanian) and Anthony Hopkins (The Father) reunited for a virtual chat for Variety’s Actors on Actors series, presented by Amazon Studios. For more, pick up the January 20 issue of Variety, or stay tuned on Variety.com.

A little over 30 years ago, Anthony Hopkins received a script that he thought was a children’s story. But when he cracked it open, there was no turning back — it was the best screenplay he’d ever read.

The rest, of course, is movie history. The Silence of the Lambs, which opened on February 14, 1991, swept the Oscars the following year, winning five statuettes, including best actor for Hopkins’ serial killer Dr. Hannibal Lecter and best actress for Jodie Foster’s Clarice Starling, the FBI trainee who pries into Lecter’s head in order to catch another killer.

Reunited for an hour over video chat, Hopkins and Foster fell into a familiar rhythm old war buddies might share — including referring to one another by their characters’ names.

The good times may roll on for cinema’s most famous cannibal and the one interrogator he couldn’t crack: They might be reunited at this year’s Oscars. In Florian Zeller’s The Father (Sony Pictures Classics), Hopkins plays Anthony, a man struggling with dementia. In Kevin Macdonald’s The Mauritanian (STX Entertainment), Foster, who has lately focused on directing, plays a defence attorney who fights to free her innocent client from his jail cell in Guantanamo Bay.

Three decades after becoming the movie world’s archetypal good cop, Foster’s quest for justice continues.

Jodie Foster: I’m really excited to talk to you. I haven’t spoken to you since I saw The Father, which is an extraordinary movie. And it must’ve taken a lot out of you. I have a little personal relationship with dementia. My mom had dementia, and we cared for her for many years. And she taught us all so much about the human brain, about the human spirit. She fought it initially, and then there was a shift when she finally accepted that she wasn’t quite sure what was happening. I wonder if you want to talk a little bit — being in that space of not knowing what’s real and what isn’t real.

Anthony Hopkins: My parents hadn’t suffered dementia, so I’ve had no experience. Florian Zeller offered me the part and I met with [screenwriter] Christopher Hampton. I always attempt, especially as I’m getting older, to simplify the process. I don’t analyze too much, and to have a great script is like a road map. I just followed the road map. I didn’t have to act old because I am old. I’m 83 now. My back ached and my knees ached.


Foster: What kind of research did you do?

Hopkins: Two scripts had an immediate impact on me. One was Silence of the Lambs — and The Father. It was so clearly written. I didn’t have to do any research. I was able to easily fall into it. Sounds so cheesy, but it’s made me very aware now how precious life is, and how we contain ourselves within something so mysterious. To me, life is just sort of a dream. It’s an illusion. It’s got me conscious of something else. That life is much more powerful than we even begin to comprehend. There’s something so deep inside us that we don’t even begin to understand.

Foster: What I love so much about the movie, it’s really the most human character you could ever play.

Hopkins: I remember the first day with Olivia Colman, the first scene we were in together was the first day of filming. What struck me was my own father was in me. I’m always on to her, nagging at her. My father was like that as he was dying, because he was frightened. He was afraid. Not mean, just irascible, scared. And it’s painful to see that. I knew how to play it because I’d seen my own father going through it 40 years before. And you think of the hopelessness, the emptiness, the sadness of it all, and knowing none of us get out of this alive.

Foster: I don’t know if it’s possible that your work gets better as you get older, but it seems to me like you just keep getting better and better. Do you feel like you’re accessing something now that you’re older that you escaped when you were younger?

Hopkins: Yes, I do. It’s become easier, because I’m older and I’ve got a lot of experience of it. I try not to make a big deal of it. But what I do know is I’m assiduous at learning lines. I learn the text. And then I can improvise. For me, the thing is the text. And once they’re in there, it’s like eating fava beans. Once you’ve devoured them, then you can move around and improvise within it, to make it sound real.

Tell me about The Mauritanian. When did you do that?

Foster: We did it last year. We finished the beginning of February, just as we received the news about the impact of the pandemic. We shot in Cape Town. And then, lo and behold, eight months went by, and I’m not sure what happened in those eight months. It feels like yesterday.

Hopkins: You were all extraordinary. And painful to watch as well. The treatment in Guantanamo was just —

Foster: Mohamedou [Ould Slahi]’s story is amazing. You do movies for different reasons, and sometimes you do it just for the character — because there’s something about it, and you need to learn about yourself. And in this case, we were all there for him. To have someone that went through what he went through — 15 years detained in prison without being told what his charge was, after being abducted from his home by a foreign country for no reason. The fact that he emerged as a better human being, somebody who instead of being angry after years of psychological torture and isolation, he became someone, through his faith, that is joyful and isn’t resentful.

Hopkins: Like Nelson Mandela, who had nothing but forgiveness after his release.

Foster: When he was in prison, he saw The Big Lebowski something like 80 times. He learned English in Guantanamo from the 20-year-old guards. He kind of talks like a dude. The woman that I play, Nancy Hollander, is quite an extraordinary character too, one of our amazing civil rights attorneys who mostly has defended people who are guilty. She believes in the rule of law and the Constitution.

Hopkins: That’s wonderful.

Foster: I’ve never played a real person. Oh, once I played a real person [in Anna and the King], but she’d already been dead for 200 years, so it made it easier.

Hopkins: Have you worked with Benedict Cumberbatch before?

Foster: No. He couldn’t be more different than the character he plays. He’s got a big mane of hair, and he’s just a happy, energetic Englishman. And he does this magnificent transformation in this movie to this military, Southern jarhead.

Hopkins: And having a beer in the canteen of the prison in Guantanamo Bay. That moment when you’re at the table …

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Foster: All that’s really true, you know? In Guantanamo they have a gift shop, and in the gift shop they have little Guantanamo snow globes.

Hopkins: What a strange world.

Foster: It’s been nearly 30 years since we did Silence of the Lambs. Hard to believe. I have a lot of fond memories of that movie, of the shoot, of being in Pittsburgh. And Jonathan Demme, of course, who passed away — somebody that I know we both loved.

Hopkins: Yeah, I remember. I was in London in 1989, doing a play called M. Butterfly. My agent sent a script. He said, “Why don’t you read this? It’s called Silence of the Lambs.” I said, “Is it a children’s story?” It was a hot summer afternoon, and the script came over and I started reading it. After 10 pages, I phoned my agent. I said, “Is this a real offer? I want to know. This is the best part I’ve ever read.” I read the rest of the script, and Jonathan came over on a Saturday afternoon and we had dinner. And I said, “Is this for real?” And he said, “Yeah.” I said, “OK.” He was such a wonderful guy to work with. I couldn’t believe my luck, and I was scared to speak to you. I thought, “She just won an Oscar.”


Foster: We didn’t get to speak too much before the actual read-through. We just sort of kind of waved from across the room and then sat down at the table. And as you launched into Hannibal Lecter, I felt a chill come over the room. In a way, it was like we were almost too scared to talk to each other after that.

Hopkins: They did some wardrobe test, and I didn’t know what authority I had. But the wardrobe designer put me in this orange [prison suit]. I said, “No, I wanted a tailored suit.” I knew what the character looked like. The voice had come to me on the first reading. Jonathan asked me, and I said, “He’s like a machine. He’s like HAL, the computer in 2001: ‘Good evening, Dave.'” He just comes in like a silent shark.

Foster: Wonderful.

Hopkins: Was the first day when you’d come down the corridor? Lots of weird people [the other prisoners, as Clarice goes to meet Lecter]. And Jonathan said, “How do you want to be seen? Do you want to be reading or painting or lying down?” I said, “I’d like to be standing there. I can smell her coming down the corridor.”

Foster: It was such an eerie set. All of the different inmates, all very dark and moody, and then suddenly we come to Lecter’s: It’s very bright and kind of fluorescent lighting and two-dimensional.

Hopkins: I was naturally nervous, an Englishman — a limey like me, a Welshman — playing an American serial killer. And I remember Jonathan, when the camera picked me up, he said, “Oh, my God. That’s it. Hopkins. You’re so weird!” And I said, “Why, thank you.” And they wanted the lighting girl to come into my cell, and I said, “What are you doing in my cell?” And [Jonathan] said, “Oh, my God.” So I knew I had pressed the right button. Once you got that button, hold on to it — and go with it.

Foster: I remember that specific voice you had, the metallic tinge to your voice. Chris Newman was the sound mixer, and he also enhanced that. He was able to bring that up a little bit. I feel like we were all inspired by the book.

Hopkins: It was a wonderful time. I remember there was a teacher at the Royal Academy of Dramatic Art, and his name was Christopher Fettes. He was a movement teacher. He had a cutting voice, and he would slice you to pieces. His analysis of what you were doing was so precise; it’s a method that stayed with me for all my life. When I was doing it, I thought, “This is Chris Fettes. This is the voice. This man is merciless.”

Foster: Oh.

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Hopkins: I remember the cage scene, when I said, “No!” Wrong, try it again. That, to anyone, to the observer, the recipient of that, is lethal and charismatic.

Foster: All those little details. I’m really proud of the movie.

Hopkins: Tell me about Clarice, because my first impression when I saw you, before I even started, I went to see the dailies. And there were several scenes in the garage, with Ed Saxon’s head in the bottle.

Foster: In the jar.

Hopkins: Yes. Jonathan showed me some clips for my benefit. And I remember the one when you get into the elevator with all those big FBI guys, and you’re there. I’m like, “This is brilliant, because you are a smaller person in this big, macho male world, coming in as the hero.”

Foster: There are certain images that get seared into your imagination and you say, “That’s the character.” For me, with Clarice, it was also about her voice, mostly because she was somebody that had been scarred by the bleeding of the lambs, the sound and how there was nothing she could do to help them. My mum said to me, “Why do you want to play this character who’s kind of quiet and mousy?” She had this quietness. There was almost a shame that she wasn’t bigger, that she wasn’t stronger, this person trying to overcome the failure of the body they were born in. I understood that was her strength. In some ways, she was just like the victims — another girl in another town. The fact that she could relate to those victims made her the hero. I’m sure you still get people who come up to you and say, “Would you like a nice Chianti?”

Hopkins: Oh yeah, they do. Do you know what I always remember about that? We do the scene in the cell. Then we go and have lunch in that big warehouse.

Foster: Right.

Hopkins: And I thought, “How extraordinary. We’re all sitting here,” and we’d just been chomping on each other and making life hell for each other — and here we are having lunch. It didn’t make any sense at all. And that’s why it’s such an amusing game. We get up in the morning, go to a place, we’d put on somebody else’s clothes and speak lines that had nothing to do with us. And you think, “What on Earth is it all about?” And that’s the wonderful, magical game of it all.

Foster: It’s a life-changing adventure, that movie, for both of us.

Hopkins: It was. How did the directing start? Because I saw Little Man Tate [at the premiere]. I was standing in line, and I think I said briefly to you hello.

Foster: I always wanted to direct. When I was a little girl, I was on a television show. One day one of the actors was the director of my episode. And I just couldn’t figure it out. I was mesmerised. I thought, “They let actors become directors? That’s what I want to do.” I really kept that with me my whole life. I just didn’t know any female directors, so I didn’t know if it would be possible. And then, probably at 12 or 13, I saw Lina Wertmüller’s movie Swept Away. And I thought, here’s a woman director. You’ve directed as well?

Hopkins: I’ve directed. I don’t think I have the skills you have. I just enjoy acting. I enjoy being directed more than directing.

Foster: I felt like I never had an actor’s personality. Much to my chagrin, it does not come naturally to me, or easily. I’m much more of a reader or a thinker. I’m a chess mover. Acting was just something that was my family’s job, my family’s profession, that I fell into. I have to say, at least once a week, I say, “Oh, I’m never going act again.” But it draws you back in. I think it’s good for somebody like me, who does live in their head a lot — to get out of my head and have to live in my body. And I think that’s benefited me as a person.


Hopkins: That’s wonderful. Bye, Clarice.

Foster: Bye, Tony. Bye, Dr. Lecter! See you later.

Miley Cyrus reveals why she’s happier in same-sex relationships: ‘Girls are way hotter’

Miley Cyrus has opened up about her preference for same-sex relationships.

The ‘Midnight Sky’ singer, 28, who has been a longtime LGBTQI+ advocate, explained how dating a woman is a role that “fit easier.”

“The role that I was in made more sense because there’s not going to be this weird thing that I pay for everything and whatever,” she told SiriusXM. “Like if I’m going to be with a girl, I’m totally down to be with a boss b—h who’s as successful, or more successful than me; that’s cool, too.”

“But I felt like the women I ended up being around, the role fit easier for me, because even in my relationship with men, a lot of the times, I kind of hold a more dominant space,” she said.

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Cyrus also candidly discussed her views on male genitalia.

“Girls are way hotter. We know this. Everyone, I think, can agree that from ancient times d–ks make wonderful sculptures,” she said.

“Other than that, I’m not as interested. I like d–ks as art pieces. And sculptural, I love the shape, I think it looks really good on a table.”

The pop star was previously married to Liam Hemsworth after an on-again-off-again 10-year relationship. Following the split, she went on to date Kaitlynn Carter and Cody Simpson.

This is what little Tabitha from Bewitched looks like now

It’s been 49 years since Erin Murphy played Tabitha Stephens on the much-loved ’60s sitcom, Bewitched.

The now 56-year-old starred as the daughter of a twitchy-nosed witch between 1966 and 1972 and opened up about her iconic role as Tabitha.

Erin and her fraternal twin sister Diane initially scored the role of Tabitha through a casting call for the series’ third season.

“They had previously shown it in black and white, so the big push of the third season was that the show was going to colour and that they were going to focus more on the character of Tabitha,” the actress previously told Fox News.


“So they were looking for someone who looked like Elizabeth Montgomery [who played Tabitha’s mum, Samantha Stephens] and wasn’t afraid of the lights. I auditioned with my fraternal twin sister Diane and we got the part.”

As Erin and Diane began to look less alike in Season 4, Diane left the industry while Erin played the role alone for the remaining four seasons.

Erin said the late Elizabeth Montgomery — who passed away from colon cancer at age 62 in 1995 — was like family to her both on and off-screen.

“She really was like a mum to me,” Erin recalled. “I definitely think of her more like a family member than a co-worker. And I think it’s because when I was on set, it was just me. My parents weren’t standing there next to me… So I looked up to her as family, as a parent almost.”


Erin fondly remembers Montgomery for making her laugh on set.

“She and I are very, very much alike. She had a really dirty sense of humour and so do I,” she said. “She was just one of those people who was so beautiful, but she wasn’t afraid to look silly.”

The mum-of-six has done a little bit of acting in the last few years.

In 2017, she starred in the TV movie Life Interrupted where she appeared alongside Alison Arngrim, Dawn Wells and Michael Learned.

She also starred as Tabitha in an episode of TV Therapy in 2019.

And if you ever see her on the street, feel nostalgic, and want to say hello, go ahead. Erin loves that.

“I think any moment that someone comes up to you just to say they liked you on a TV show, that’s flattering,” she said. “I think it’s very kind and I’m very open to posing for pictures, meeting fans and answering questions about Bewitched.

“I’m thankful that people appreciate what I did. I think it’s awesome.”

Most Beautiful Boy in the World sells to Juno Films ahead of Sundance premiere

Juno Films has acquired US and Canadian rights to The Most Beautiful Boy in the World ahead of its world premiere at this month’s Sundance Film Festival.

The film will be of particular interest to cinephiles, as it tells the story of Björn Andrésen, who became internationally recognisable at the age of fifteen with a key role in Luchino Visconti’s Death in Venice. His star turn opposite Dirk Bogarde was something of a double-edged sword — it made him famous and plunged him into a world of the rich and powerful, but it also left psychological baggage. Visconti picked Andrésen because, in the director’s estimation, he was “The world’s most beautiful boy.” And he shot him in ways that highlighted his looks — a decision that has not necessarily aged well.

Andrésen suggested that Visconti’s style bordered on the exploitation of a minor. In a 2003 interview with The Guardian, he said “I feel used” and added, “Adult love for adolescents is something that I am against in principle. Emotionally perhaps, and intellectually, I am disturbed by it — because I have some insight into what this kind of love is about.”

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The Most Beautiful Boy in the World is directed by Kristina Lindstom and Kristian Petri and produced by Stina Gardell’s Stockholm-based Mantaray Film. Juno Films will release the film in theatres in May 2021. The deal was negotiated by Elizabeth Sheldon, founding partner and Chief Executive Officer of Juno Films. Film Boutique recently announced that they have acquired Worldwide Sales Rights.

According to the official description, “Fifty years after the premiere, Björn takes us on a remarkable journey made of personal memories, cinema history, stardust and tragic events in what could be Björn’s last attempt for him to finally get his life back on track.”

The film was shot over five years in Stockholm, Copenhagen, Paris, Budapest, Venice, and Tokyo and features extensive interviews with Andrésen.

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“It is a story about obsession with beauty, about desire and sacrifice, about a boy whose life was changed forever when the film director Luchino Visconti declared him to be the, ‘world’s most beautiful boy,'” Co-director Kristina Lindstrom said in a statement. “Who was this boy and what happened to him? This film lets us listen to the boy’s own story. He, who was made into an image by others, an icon, a fantasy, which took over his young life.”