Thursday, September 2, 2021

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Rose McGowan Calls Out the Fake-Ness of “Lizard” Oprah Winfrey

Posted: 02 Sep 2021 04:45 AM PDT

 

Actress Rose McGowan has launched a stinging attack on Oprah Winfrey, the billionaire talk-show queen and network CEO "as fake as they come."

 

 

Rose McGowan criticized Winfrey’s role as a feminist in a tweet on Sunday, highlighting her association with Harvey Weinstein. She also brought up Winfrey’s decision to back out of a documentary on Russell Simmons, which would have addressed the sexual assault charges leveled against the recording producer and long-time Democratic supporter.

 

Related: Twitter 'Shuts Up' Actress Rose McGowan Amidst Harvey Weinstein Scandal

 

Winfrey was supposed to be an executive producer on a Russell Simmons documentary, but she backed out at the last minute. Winfrey apparently withdrew because she believed some of Simmons’ allegations were unsubstantiated. However, some have questioned Winfrey’s motivations for stepping down. According to Vulture, the Time’s Up organization, which was created to advocate for women, may have started a whisper campaign against the documentary, causing Winfrey to drop out.

 

Related: Another Devastating Sexual Abuse in the Comics Industry *UPDATED*

 

Rose McGowan, who first accused Weinstein of rapping her and then destroyed her career more than two decades ago, has been very vocal about people who facilitate sexual assault and harassment in Hollywood. Oprah Winfrey was an early backer of Time’s Up, providing $500,000 to the organization, according to reports. And like Simmons, Oprah is a strong supporter of Democratic political leaders.

 

McGowan’s attacks come just as the Time’s Up movement is in the midst of a huge crisis after it was revealed that its chairperson aided former New York Governor Andrew Cuomo (D) in dealing with a sexual harassment allegation. Tina Tchen, the founder of Time’s Up who was also a senior Obama administration aide, resigned last week. McGowan has been a vocal opponent of Time’s Up and several of its leading backers, highlighting their ties to powerful Democrats.

The post Rose McGowan Calls Out the Fake-Ness of “Lizard” Oprah Winfrey appeared first on Bleeding Fool.

On Parallel Cinema Scene and the Weaponization of Art

Posted: 01 Sep 2021 04:45 PM PDT

 

The return of #BrandZero has dissident creatives asking how they can use their art to counter the prevailing narrative. Taking the Death Cult-profaned entertainment industry back looks like a nonstarter since Hollywood is quickly falling to China.

 

Starting a parallel cinema scene might be a more feasible idea for dissidents. It's easier and cheaper than ever to make your own movie. An enterprising director could feasibly crowdfund a slick little indie film. Professional grade editing software; even high-end hardware like a RED cam, is within a guerrilla production's budget.

 

The real question is how to craft movies that effectively counter the Cult's message.

 

Libertarians will argue that right-wing message fic is no different than left-wing message fic, and it's film makers' duty to simply tell a fun story.

 

This objection misses the point because it assumes that the Death Cult spread its message through heavy-handed propagandizing. That's just the frog finally noticing the water is boiling. Hollywood has been a Death Cult vector since at least the late 60s, yet most people are only being turned off now.

 

Related: The Death Cycle of Corporate Intellectual Properties (IP)

 

 

The second mistake that thwarts counterculture art is more common among Conservatives. They likewise start from the false premise that overt message fic is how the Cult delivers its propaganda. Then they rush straight into the equal but opposite error of deliberately making their own message fic.

 

Both camps fail to understand how the enemy indoctrinated multiple generations without anyone noticing till it was too late. Their current overt skinsuiting is just a victory lap. Hollywood reached this point by using subtle storytelling techniques to erode audiences' defenses.

 

Related: Ignore the Skinsuits: Fan Outrage is their Best Marketing Strategy

 

To understand this method, one need only understand the archetypal trope of the protagonist. This is the character who drives the story by setting out on a quest to achieve a concrete goal against opposition.

 

Hollywood learned through long trial and error to make the protagonist as likeable and relatable to audiences as possible. The idea is to make audiences identify with the hero.

 

Nowadays, the studios have turned this approach on its head. The contemporary movie protagonist is an utterly inhuman Mary Sue with no compelling reason to pursue a goal since she's already said to be perfect. Instead, she uses her screen time to deliver a series of lectures on Death Cult pieties.

 

 

Again, that is not the conditioning. That is a humiliation ritual meant to rub the remaining fans' noses in it.

 

The conditioning came before that. And the way it happened was by Hollywood churning out decades of movies wherein heroes whom audiences identified with achieved their goals by acting according to the Death Cult's morals.

 

That point bears repeating. To bring movie audiences around to your way of thinking, show characters they like being successful by acting in line with your moral standard.

 

Contrary to what anti-message fic purists say, this method does not have to involve hamfisted preaching. In fact, the subtler the delivery is, the better.

 

Ironically, the last movies to even halfway subtly counter the Death Cult's conditioning were 80s slasher flicks. Contemporary feminist types love to gripe about how anybody who fornicated or lit up a joint received a death sentence, while only the virginal girl survived.

 

 

The slasher genre died out in the early 90s. If you look at teen sex and drug use statistics, both declined from their peak in 1980 and only started rising again in the 90s. That's not to give all the credit for the reduction in degeneracy to slasher flicks, but it's undeniable that those movies exerted considerable influence on the youth culture of the time.

 

To renew the culture, tell stories with appealing heroes who win using Christian moral principles.

 

For more in-depth tips on how to write your own books and make your own movies, Read my best selling book..

 

 

 

Originally published here.

The post On Parallel Cinema Scene and the Weaponization of Art appeared first on Bleeding Fool.

Indie Comics Showcase #151: Dead by Dawn, Redshift Express & Bite

Posted: 01 Sep 2021 01:15 PM PDT

 

 

Welcome back to another installment of Indie Comics Showcase, the weekly blog where we signal boost a few truly independent comics that are currently crowdfunding their projects, crowdsourcing their funding in some way, or just completely self-publishing on their own. Every little bit of support for these creators matters, from a single dollar pledge to the twenty-five dollar bundle, and of course the higher tiers are usually fun too! Even if you can’t back a campaign or buy a book, you can share or tweet about these projects to your friends and followers. 

 

On Indie Comics Showcase, we interview the creators, show off some art, and tell you how you can check out the product for yourself. Below we have some outstanding crowdfunding campaigns this week for you to learn about, enjoy, and hopefully support by backing one or more of them! Thanks for checking these out and for being the best part of Indie Comics Showcase. Let's jump in!

 

DEAD by DAWN
by Shane Chebsey

Check out the campaign here!

 

Chris Braly: Tell our readers about Dead By Dawn Returns – Briefly give our readers the pitch.

Shane Chebsey: Dead By Dawn is a hard hitting and punchy prestige format horror anthology that gives new up and coming indie creators a platform for their work, whilst also giving established professionals the opportunity to tell stories outside of their comfort zone.

Any sub genre of horror is allowed. The only rule is that the stories must be 4 pages only. This encourages our creators to be very disciplined in their approach to storytelling.

CB: What was the genesis for this project, where did the idea for this comic come from, and what led to your decision to crowdfund it?

SC: Myself and Andrew Richmond formed SCAR COMICS back in 2004 to publish the first Dead by Dawn series as we’d wanted to work together on a horror project for a while and we’d always thought it would be a great idea to combine cutting edge small press talent with experiences professionals. Back then self publishing was very different. Kickstarter wasn’t really a thing. But the book did gain quite a following on the UK con circuit.

 

 

However as we both started working on other projects like convention organising Dead By Dawn ended up on the back burner. And as life got in the way eventually SCAR COMICS was wound down too. However Andy and I continued to be good friends and worked together on various convention and podcasting projects here in the UK.

Inspired by the current huge indie comics boom, after a ten year break from publishing, we decided to come back this year to relaunch Dead By Dawn on Kickstarter as the crowd funding platform allows you to sell in advance directly to your audience.

Printing has also changed a lot in the last 10 years and it’s a lot easier now to just print however many copies you need to fulfill the Kickstarter. Before you had to print a minimum of 1000 copies to get the cost per copy down and hope you sold them all. Plus you had to find the money to do that yourself. Kickstarter allows you to get advanced sales funding to cover all of your costs. It also helps you get to know your audience better. It’s revolutionized indie comics publishing for sure.

 

 

CB: What kind of comic fans do you expect this comic will entertain the most?

SC: Obviously horror fans will love this book. Anyone who loves The Walking Dead or the classic EC horror titles will love Dead By Dawn. However the anthology and it’s creators draw on many influences for tone and themes. This ranges from classic British horror mag “Scream” to modern pulp horror like Hellboy and the BPRD. There really is something for every type of horror fan in Dead By Dawn’s pages

 

CB: Let’s get into the creative and production side. Give us the rundown on all the creative teams contributing to this project?

SC: This is one of the really exciting parts of the anthology. We have a total 23 creators working on this book and they have really hit it out of the park with regards to quality.

From the professional side of things we have Walking Dead artist Charlie Adlard, Marvel, DC and Warhammer 40k writer Dan Abnett, Animal Man and Justice League artist Steve Pugh, 2000AD and Sniper Elite artist Patrick Goddard, Spiderman Noir and Stormdogs writer David Hine, DC and 2000ad artist Jimmy Broxton and also top colour artist Matt Hollingsworth, who has coloured everything from Preacher to Daredevil and various hit Image titles.

We cast our net quite far and brought in the cream of the indie crop from the British scene to join them.

These include renowned artist Mark Stafford, the Eagle Award winning David Hitchcock, Andrew Sawyers on loan from hit Indie title “The 77” and writers like Michael Powell, Daniel Whiston and Chris McAuley. We even got the great great grand nephew of Bram Stoker, Dacre Stoker on board, plus many more.

 

 

CB: Wow! That’s really is an incredible collection of writers and artists! So what is the workflow like with such a large ensemble?

SC: We started planning the relaunch of the book late last year and decided that the first issue would be invite only to ensure that we could shape the styles of the book as we wanted it to be and to ensure a consistent high quality throughout.  Knowing our creators we’ll also means we have the confidence to pretty much give them total artistic freedom.

We were very lucky and got almost everyone we wanted for issue #1. We then set a script deadline for the end of June and an art deadline for before our Kickstarter campaign so that we’d have lots of art to show off to the potential backers. This worked really well as lots of our creators have other commitments and if they needed extra time we could be flexible. It also means we now have all of the work in before the campaign has ended. (We have been blown away for the quality of work coming in).

Andy and I will then prepare the book for print. I handle editing duties while Andy is a super talented creator in his own right: His day job is in magazine design, so as well as contributing the art on one of the strips, he also handles most of the lettering design and any extra colouring that needs to be done.

We set a Halloween release date so once the campaign is over we can then ensure everyone gets their books and rewards on time. Some of the rewards involve sending blank covers to artists to do sketches, so we wanted to make sure there was plenty of time to do all of that.

 

 

CB: Since this is a relaunch, what have you been learning from crowdfunding and creating through this process and how would you advise other indie publishers?

SC: We’ve learned a lot from this process. The most interesting aspect that has evolved with Kickstarter is that there’s a really good community on there of fellow indie creators and self publishers, and for the most part it’s very supportive and helpful. We’ve made a few friends and done a lot of cross promotion with other campaigns, which has really helped us expand our potential audience.

We’ve also managed to get lots of useful advice from Kickstarter veterans.

My biggest tip to anyone looking to do a Kickstarter would be to plan a marketing strategy in advanced so that you have something interesting to post out on social media every day. I actually creators a spreadsheet planning each day of the campaign. (Including a couple of days off utilising automated posting as you have to take your mind of it sometimes. It can be all consuming and quite stressful)

 

 

Whether it’s artwork, creator news or videos. You really have to work hard to keep those pledges coming in. The mid campaign slump is no myth either… (We’ve just hit halfway and pledges have slowed down, while we are only a few hundred pounds away from being fully funded). We planned to send out our traditional media and website press releases during the campaign to try and counter that. We’ll see how that works out I guess. We are still learning.

The other main tips would be make sure you know your overseas postage costs for all of your rewards and remember to include the cost of good packaging as well as your actual production costs. These costs can really add up.

 

 

CB: All very good tips to keep in mind. Thank you for chatting with me Shane, and good luck on the campaign!

SC: Thank you for the opportunity it’s greatly appreciated. We are really exciting to bring these stories to our backers on Halloween.

 

Check out the campaign here!

_________

REDSHIFT EXPRESS
by David Feed

Check out the campaign here!

 

Chris Braly: Tell our readers your elevator pitch for Redshift Express – Briefly tell our readers the pitch.

David Feed: The super short version is: Picture “The Fifth Element” directed by David Cronenberg. Like Leeloo goes “Multipass” and then a giant bizarre monster bursts out of her face. And well, the longer elevator pitch: Romina Jones is a thrill seeker, space pirate, trouble maker. The story begins when she starts a fight between her boyfriend and an old flame. In the middle of the chaos she ends up with a mysterious genetic key that could save humanity from a galaxy-wide plague. When all factions of the Milky Way want to kill her and destroy the key… her only escape is to board the REDSHIFT EXPRESS, the last ship out of the Milky Way before the Faster-Than-Light travel system collapses.

 

YouTube Video

 

CB: Cool! What was the genesis for this project, and what led to you deciding to crowdfund it

DF: Science-Fiction is one of my favourite genres, also after playing Supreme Commander 2, a pretty decent RTS game I wanted to create my own game. During my design studies I did a chart with different civilisations and their respective military units for a game. And so the different factions of the story were born with a very large design skeleton of military units, their stats and weapons, etc. After doing an internship in the movie Green Lantern I read a couple of sci-fi scrips and thought to myself… “Hmmm… I can do this!” So I started writing a movie script. With the emergence of the ComicsGate movement I mixed the script and game design documentation into this story.

 

CB: Interesting. So what kind of comic fans do you expect this comic will entertain the most? 

DF: When it comes to comics/mangas a love the French series Wake and the manga called Blame! Very futuristic, more adult oriented in the themes of the hardcore action. When it comes to movies: If you love R rated science fiction-horror films you are going to love this. The Thing, Alien, District 9 for example. Personally I love the movie Alien Covenant I just wished the story was decent and the characters were not… you know, special education level of mindless suicidal. And so if you like hardcore action and monsters but also a good story REDSHIFT EXPRESS is exactly right for you.

 

 

 

CB: Let’s get into the creative and production side a little. Tell us a bit about your creative team that have contributed to this project?

DF: The writer, letterer is me. My inker for Red Eyes, Christian Culicelli, helped me with the design of the monsters, characters and ships (based on my sketches of course). Finally Rafael Chrestani is the inker/artist.

 

 

CB: What’s the workflow like? How do you like to work?

DF: I have a script, from it I do rough drafts of the pages and Rafael makes the pencils and inks from these roughs. I correct them and add the lettering.

 

CB: What have you been learning from crowdfunding and creating through this process?

DF: I’m learning a lot about unexpected issues, for example I had some contingency plans and even those goes FUBAR with Red Eyes 2. It gets very interesting and stressful but I’m learning to deal with that. I gave myself plenty of time to fulfil REDSHIFT EXPRESS for one. In general having a chill attitude and keeping an open communication with backers has been key. I hope the customers are pleased and I hope to please them for many comics to come.

 

 

CB: What is your purpose for telling this story and are there more stories to tell after this one?

DF: My purpose is to tell a really cool, exhilarating story. Non-stop action in a new sci-fi world. As I studied biology I love creating my own species of aliens and their respective civilisations. I love RTS games and so I charted all the different game-like units of these civilisations. Creating the enemies the protagonists are going to face. From tiny basic infantry alien enemies to their massive battleships.

Are there more stories? Well yes this issue of REDSHIFT EXPRESS is going to be 1 out of 3 so expect two more campaigns to come.

 

 

CB: Thanks for chatting with us! Good luck!

DF: Likewise, thanks for contacting me and good luck with your endeavours!

_________

BITE #0
by Robert Livingston


Check out the campaign for BITE here.

 

John: Thank you for being a part of Indie Comics Showcase. It’s great to be able to discuss your latest indie comic project “BITE” with you. Before we get started, could you introduce yourself to our readers?

Robert: Thank you for letting me be apart of this! I'm Robert Livingston, a comic writer from NYC. I've been writing for6 years now with my webcomic TOM N ARTIE (started in 2018) and moved into indie books with BITE.

 

 

John: How did you get into comics? And when did you first start working in the industry? 

Robert: I always loved superheroes (Spiderman, Batman, Superman) and was mostly introduced to them via cartoons. My dad used to be into comics so gave me a few books when I was younger. Sadly, the love of comics didn't really hit till I got into my 20s! I started writing comics as a hobby while working a dayjob. Writing was always a stress reliever for me. It wasn't until 2016 I decided I would finally start getting my work drawn by artists.

 

 

John: Without giving anything away, what can you tell us about BITE?

Robert: BITE is about three shark mutants (Warrick, Olivia and Truman) who were created by an evil organization known as DREAD to serve as super soldiers. Eventually DREAD collapsed, and the trio were left to integrate into society. The book details how they've adjusted to normalcy but it's being shattered by the return of DREAD.

 

 

John: How did you come up with story?

Robert: I went through several animal-based team ideas first. Frogs, Birds, Dinosaurs and even Space Dragons at one point but I eventually settled on Sharks. Funny story with that cause originally BITE started as a joke-script me, and my editor (Mike Stevens) were writing as an edgy Street Sharks Michael Bay reboot. I started liking the concept more and more as we worked so eventually, I told him my idea for running with it straight. At first he wasn't into it so I flew solo for a bit. After pitching it to him several more times and several watch parties of 80s/90s cartoons he came around to the idea!

 

John: Can you tell us a little bit about your creative process?

Robert: I do A LOT of late-night writing due to having a full-time job which limits my free time. I usually take notes when I can on the job (plotting story elements, character/scene ideas, etc.) and jot it into a document when I get home. I typically try to get as many words into a script as I can during the week then go over it on the weekend with my editor so we can smoothen it out.

 

John: What do you hope readers will take away from BITE?

Robert: I want them to feel like they went through a rollercoaster of an action movie. A satisfying beginning, action-packed scenes and growing to love the Trio. Satisfaction is what I want most from readers, for them to feel like they got their money's worth!

 

John: What do you think is most important when working on a comic?

Robert: Patience and trust. As a writer I cannot stress that enough when you're working with a team. Art takes time and usually can't be rushed, so you got to stick with it.

 

John: That’s great. Is there anything else you would like to share with our readers before we sign off?

Robert: I'd like to express my thanks for checking out this project. The readers are what fuel my drive to create, I love seeing people enjoy the work that me and my team have put together. Your feedback and comments always light up my day!

 

John: Once again, Robert, thank you for being a part of indie comics showcase. We wish you the best of luck with BITE and all future projects.

Robert: Thanks for having me!

 

 

 

@BITE_COMIC

 

_________

Check out the campaign for BITE here.

That’s it for this installment! Support indie comics!!!

 

 

Follow Indie Comics Showcase on Twitter at @Indie_Comics and reach out to them if you want us to consider featuring YOUR crowdfunding comic project!

 

 

 

The post Indie Comics Showcase #151: Dead by Dawn, Redshift Express & Bite appeared first on Bleeding Fool.

Netflix Picks Up the Texas Chainsaw Massacre from Legendary Pictures

Posted: 01 Sep 2021 10:50 AM PDT

 

The next thundering roar of the chainsaw movie audiences will hear will be from Netflix. THR reports that the streaming giant has picked up global rights to the latest installment of Texas Chainsaw Massacre from Legendary Pictures.

David Blue Garcia directed the horror movie, which shot last year in Bulgaria and is produced by filmmaker Fede Alvarez and Rodolfo Sayagues via their Bad Hombre banner, as well as Kim Henkel, Ian Henkel, and Pat Cassidy of Exurbia Films, and Legendary Pictures.

 

The original Chainsaw, released in 1974 and directed by Tobe Hooper, is considered one of the most influential horror movies of all time. It introduced the character of Leatherface, a member of a family of cannibals who is a hulking figure with a deformed face, hidden by the skin of his victims. The character has been a constant in the many sequels, prequels and ancillary appearances in other media.

The new movie takes place years after the shocking events of the original, in a setting where Leatherface hasn't been seen or heard from since. Per Netflix and Legendary, the film seeks to pick up where the Hooper and Kim Henkel film initially left off, bringing the most notorious horror franchise back to life in the same bold and provocative manner that it was first introduced to the world.

The post Netflix Picks Up the Texas Chainsaw Massacre from Legendary Pictures appeared first on Bleeding Fool.

More Sequels? Disney Gears Up for Another Jungle Cruise Movie

Posted: 01 Sep 2021 09:30 AM PDT

 

Disney is ready to go down the river one more time. With Jungle Cruise crossing the $100 million at the domestic box office this past weekend, the studio is pulling the trigger on a sequel, THR reports.

Stars Dwayne Johnson and Emily Blunt are set to return as wisecracking skipper Frank Wolff and intrepid researcher Dr. Lily Houghton, respectively, for the brand new adventure with Michael Green, who co-wrote the hit, back at the keyboard.

Expected to also come back are director Jaume Collet-Serra and the film's producing team of John Davis, John Fox, Beau Flynn, Johnson, Dany Garcia and Hiram Garcia. Scott Sheldon returns as executive producer.

 

Like a riverboat steadfastly making its way up the Amazon River, Cruise has chugged its way to hit status. It opened July 30 to more than $35 million at the domestic box office and more than $30 million in Disney+ Premier Access in its first three days, according to the studio. And even with the challenges created by rising and new waves of the coronavirus pandemic, the movie has remained a top box office draw, and its fifth weekend of release saw a drop domestically of only 21 percent. The domestic tally now stands at $100.1 million. Worldwide, the box office cume is $187 million.

The movie, which was in development for more than 15 years before finally making its way to the screen, is based on the popular Disneyland attraction, where it was one of the original rides when the theme park opened in 1955.

The post More Sequels? Disney Gears Up for Another Jungle Cruise Movie appeared first on Bleeding Fool.

Regarding the Double-Standard on “Sexualizing” Superheroes

Posted: 01 Sep 2021 06:45 AM PDT

 

Since Wonder Woman’s film came up in discussion a short time ago, I was researching older film articles on the 2017 adaptation, and this Larsen on Film review of the 2017 Wonder Woman movie caught my eye as something with a double-standard on how a woman’s sexuality should be portrayed as opposed to a man’s:

 

[…] These warriors' elegant, slow-motion spins, which frame the action on the screen in ways that resemble comic-book panels, are all about empowering rather than sexualizing the women. Throughout, Jenkins' camera largely regards Gadot the same way. (The sexualizing is saved for Pine, who later gets naked while recovering from his injuries in a cavern pool.)

 

So if women are sexualized, that’s bad, but sexualizing men is okay? I’m sorry, but this is taking an awful risk of insulting the intellect, and pretty embarrassing. Though it does give a clue what’s wrong with some left-wing feminists directing film in the USA: they don’t have the confidence to deal with nudity in a two-sided approach.

 

 

I also thought to take note of this NPR discussion of the mostly unsuccessful Justice League movie that’s equally annoying, though it does hint at a disadvantage the DC movieverse has in contrast to Marvel’s:

 

CIARAN HINDS: (As Steppenwolf) This world will fall like all the others.

MONDELLO: Exactly like all the others in fact, which is part of the problem. When Marvel does this sort of thing, there’s a lightness that has mostly eluded the folks in the DC cinematic universe. Gal Gadot’s Wonder Woman got the tone right last time, which suggested things were looking up. But without director Patty Jenkins around, she’s subject to the dismissive male gaze for which Hollywood’s long been criticized. At one point, the camera fixes on Gadot’s leather-clad derriere as she’s talking to one of her co-stars, and you think, given Tinseltown’s rep these days, who thought that was a good idea?

In fairness, Aquaman’s abs are equally fetishized when they aren’t being obscured in murky underwater footage. Jason Momoa’s debut as Aquaman is not done any favors by the special effects team, nor is Ezra Miller’s Flash, who’s speediness is treated visually as if it’s entirely a matter of static electricity. Happily, his patter is also speedy, and he gets plenty of self-deprecating laugh lines.

 

 

Oh, for heaven’s sake! That in itself is not a reason to complain, and besides, where were people like these when Joel Schumacher did something similar to Batman and Robin in the 1997 movie? Besides, if Gadot didn’t have an issue with the scene in the JL movie, then what’s the big deal?

 

YouTube Video

 

This runs the gamut of lecturing an adult actress in the process. If they’d made an argument that it doesn’t hold up well based on Joss Whedon’s past conduct, assuming he’s the one who thought of this scene (let’s remember Zack Snyder has his edition too), that might’ve born a workable argument. Whedon has, after all, come under scrutiny for bullying actors on set, whether the allegations are true or not. But to make such a superficial argument here based on a “gaze” that women could also possess dumbs everything down to petty issues. There are past directors who specialized in sex appeal, far back as the time of Marilyn Monroe, and if they could handle it well, there’s others today who could too.

 

Maybe these details are why the former film won’t hold up well in history, while the latter’s already fumbled for other reasons. If these film writers really believe what WW was built on by William Marston is such a problem, they shouldn’t even have bothered going to the auditorium.

 

Originally published here.

The post Regarding the Double-Standard on “Sexualizing” Superheroes appeared first on Bleeding Fool.

ABC News Seeks Independent Investigation into Sexual Assault Claims

Posted: 01 Sep 2021 05:49 AM PDT

 

Last week, ABC News President Kim Godwin indicated she would request an independent investigation into how the TV network handled sexual assault allegations against a former "Good Morning America" senior executive producer, on a call with newsroom employees, according to an employee who was on the call.

 

The call come a day after Kirstyn Crawford, a producer on the show, sued the former senior executive producer, Michael Corn, and ABC in New York state court, alleging that Corn sexually assaulted her during a 2015 business trip to Los Angeles.

 

 

ABC did not respond to a request for comment about the lawsuit or investigation. Corn denied engaging in improper sexual conduct with another woman. Godwin’s comments and the lawsuit were first reported by the Wall Street Journal.

 

The lawsuit also accuses Corn of assaulting a former ABC News producer, Jill McClain, on two occasions in 2010 and 2011. Because the statute of limitations for McClain's claims have expired, the action says, she is included in the lawsuit in support of Crawford.

 

 

The lawsuit alleges that ABC, which is owned by Walt Disney Co knew, or should have known, about the sexual harassment and failed to take corrective action for many years. In a statement provided by his lawyer, Corn said: "I vehemently deny any allegations that I engaged in improper sexual contact with another woman.

 

“Kirsten (sic) Crawford's claims are demonstrably false — and I am providing contemporaneous emails to prove it. … I will be pursing (sic) all available legal remedies against these women and defending myself vigorously."

 

According to the lawsuit, ABC learned of Corn's alleged sexual assault of Crawford as early as 2017 and "looked the other way," elevated Corn through the ranks and "facilitated the hostile workplace that Corn cultivated through his influence over subordinates' careers, sexual harassment, gaslighting, and anger management issues."

 

 

ABC conducted an internal investigation into Crawford and McClain’s allegations after they made a formal complaint in February, according to the lawsuit, and terminated Corn in April. ABC did not provide a reason for Corn's departure when he left the company, according to the employee who participated in last Thursday's call.

 

The allegations follow a long series of cases of sexual misconduct or harassment involving men in entertainment, the news media and government, some of which sparked the #MeToo movement.

 

 

(via Reuters – reporting by Helen Coster in New York; editing by Jonathan Oatis)

The post ABC News Seeks Independent Investigation into Sexual Assault Claims appeared first on Bleeding Fool.
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