Actress Bobette Riales tweeted this week, claiming that she was “repeatedly” raped by actor Danny Masterson.
I stayed quiet long enough. Danny Masterson repeatedly raped me. All I seek is justice and to prevent this from ever happening to anyone else as it has for some time,” Riales wrote, before tagging another Masterson accuser, Chrissie Bixler. “My truth will be heard. I applaud her strength as well. @ChrissieBixler #metoo #sisters.”
I stayed quiet long enough. Danny Masterson repeatedly raped me. All I seek is justice and to prevent this from ever happening to anyone else as it has for some time. My truth will be heard. I applaud her strength as well. @ChrissieBixler#metoo#sisters
— Bobette Riales (@RialesMBobette) December 21, 2017
Bixler praised Riales in response, saying “You are amazing. I’m so proud of you.”
Riales is now the fifth woman to accuse the former That 70s Show of sexual misconduct, with allegations dating back to the early 2000s. The Los Angeles County District Attorney and Los Angeles Police Department have been investigating the assault allegations against Masterson since January.
The 41-year-old actor was fired earlier this month from the Netflix television show The Ranch after the after rape allegations against him resurfaced.
“As a result of ongoing discussions, Netflix and the producers have written Danny Masterson out of ′The Ranch.′ Yesterday was his last day on the show, and production will resume in early 2018 without him,” Netflix said in a statement.
The allegation against Masterson apparently cost former senior Netflix executive Andy Yeatman his job at the California-based streaming giant after one of the actor’s accusers alleged that Yeatman said Netflix higher-ups didn’t find her claims credible.
Netflix confirmed the conversation between the woman and Yeatman, calling his alleged comments “careless” and “uninformed.”
“While he was coaching a youth soccer match today, Mr. Yeatman ― a Netflix kids’ programming executive ― was approached by a stranger who did not identify herself or explain her connection to Danny Masterson,” Netflix said in a statement to the Huffington Post.
“Mr. Yeatman’s comments were careless, uninformed and do not represent the views of the company. Further, he would have no insights into decision making on ‘The Ranch,’” Netflix said. “We are aware of the allegations against Danny Masterson and we are following the current investigation, and will respond if developments occur.”
In a statement to TMZ, Masterson said he was “very disappointed” that he had been written out of the Netflix show and denied the allegations against him.
“From day one, I have denied the outrageous allegations against me. Law enforcement investigated these claims more than 15 years ago and determined them to be without merit,” he said.
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‘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.