Rose McGowan has been slammed by her close friend Amber Tamblyn for suggesting that the women who want to take part in a silent protest at the Golden Globes should all wear Marchesa.
‘Telling us to all wear Marchesa? This is beneath you, Rose,’ tweeted Amber on Sunday, in response to Rose’s outburst on social media.
‘Rose McGowan is a friend and while I support her kind of movement, I do not support any woman (or man) shaming or taunting the movements of other women who are trying to create change,’ said Amber.
‘You don’t have to support and stand with us, but we stand and support you. You may take below the belt shots at us but we will not take them at you in return. Our movement is big. And a black dress is just the beginning of the darkness that will be drained from every industry across the country by the time we’re done. That’s a promise.’
And we stand together in this fight, shoulder to shoulder, weapon to weapon, woman to woman (and man), body to burned body. And our arms are open. And our hearts two fold. And our fire will be a universal scorch. Heed the mantra: #ChangeIsComing
— Amber Tamblyn (@ambertamblyn) December 17, 2017
It was claimed on Thursday by The Morning Breath show hosts Jackie Oshry and Claudia Oshry that ‘of the female actresses and attendees, or most of them at least, are standing in solidarity together in a form of protest’ and that they plan to wear black ‘to protest the injustices that have been taking place in Hollywood since forever’.
McGowan, however, who has been an outspoken critic of many who she believes continue to play a role in the problems within Hollywood, took to Twitter on Saturday to criticise the actresses planning their silent protest.
‘Actresses, like Meryl Streep, who happily worked for The Pig Monster, are wearing black @GoldenGlobes in a silent protest,’ she tweeted; the Pig Monster is a reference to Harvey Weinstein.
‘YOUR SILENCE is THE problem. You’ll accept a fake award breathlessly & affect no real change. I despise your hypocrisy. Maybe you should all wear Marchesa.’
Marchesa is the fashion label designed by Georgina Chapman, who was married to Weinstein; since the allegations over his decades-long harassment and assault of women emerged, she has filed for divorce.
It is not known if Streep planned to take part in the Globes protest.
Rose has now deleted the tweet.
The post Amber Tamblyn slams Rose McGowan for string of ‘below the belt’ tweets against women appeared first on News Wire Now.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.