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Rachel Zoe Opened A Nursery In Her Office And Says It Was The 'Best Business Decision Ever'

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The A-list stylist Rachel Zoe was able to build a fashion and design empire with her family by her side, and she wants to give her employees the same opportunity.

In a Monday blog post for The Zoe Report, Zoe explains why opening an office nursery for the 40-odd employees at her West Hollywood space was the "best business decision ever." As a mother of two sons -- Skyler, 4, and Kaius, 16 months -- she understands what it's like to juggle one's personal and professional lives. She decided to pay it forward and do something for the parents in her office who were trying to balance it all.

Seeing how motivated and committed the mothers on my team were after returning from maternity leave and being able to set up their babies in the nursery has only solidified my belief that every company should consider this option. Sure it required us to make additional investments -- the physical space, the insurance required to protect everyone, the furnishings -- but what we are getting in return is invaluable; the working mothers at our company can improve and grow our business without having to sacrifice spending precious time with their babies at such a crucial stage in their mother-child relationships.


Sometimes, that means little ones popping up at editorial meetings or designers' parties.

Nothing better than a snuggle break in my editorial meeting #kaiusjagger #mommymoments xoRZ

A photo posted by Rachel Zoe (@rachelzoe) on




@rachelzoe's favorite accessory

A photo posted by Derek Blasberg (@derekblasberg) on






Zoe wrote that an office nursery is just one way employers can accommodate parents and let them know they're valued. Employees, she wrote, should not have to sacrifice family for a career.

"My advice to you: Never apologize for being dedicated to your kids and challenge those around you to not only acknowledge, but celebrate your ability to be a mother and an asset in the workplace," her blog post reads. "If there is one thing I now absolutely know to be true it’s that we are all stronger together -- babies and all."

You can read Zoe's full post here.

We wish everyone a very Merry Christmas ❤️❤️❤️#familyiseverything #mommymoments #luckylady xoRZ

A photo posted by Rachel Zoe (@rachelzoe) on


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Here's Your First Look At The Cast Of 'The Hateful Eight'

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Not much is known about Quentin Tarantino's latest venture, "The Hateful Eight," beyond the illustrated trailer from last year, but we do know it has something in common with a Eugene O'Neill play and "Reservoir Dogs."

Luckily, this week's issue of Entertainment Weekly is all about the upcoming Tarantino film and features stars Samuel L. Jackson, Kurt Russell and Jennifer Jason Leigh on the cover in their Western garb. "The Hateful Eight," which Tarantino almost scrapped after copies of his script leaked online last year, also stars Tim Roth, Michael Madsen, Walton Goggins, Bruce Dern and Demián Bichir.

As far as what the movie is about, Taratino told EW that, like "Reservoir Dogs," it will feature "a bunch of guys in a room who can’t trust each other." The filmmaker said that it will also have a vibe similar to O'Neill's play "The Iceman Cometh," but Western-style. "The Hateful Eight" will also apparently have another epic Jackson monologue, which alone is enough to be excited for.

ew hateful eight

For more, head to Entertainment Weekly. This week's issue hits newsstands on Friday.

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Janice Dickinson Is Now '100 Percent Sober' -- And Finding Less Work

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As a high-profile supermodel and frequent reality TV star, Janice Dickinson has had a long career in the spotlight. The outspoken 60-year-old first made a name for herself in the 1970s fashion industry, and then found a new audience in more recent years as a judge on "America's Next Top Model" and as a cast member on various reality shows. Throughout her career, however, Dickinson has struggled with substance abuse and often made headlines for antics she says were influenced by drug and alcohol use.

As Dickinson tells "Oprah: Where Are They Now?" in the above video, her abuse of drugs and alcohol began when she was working as a model in New York City. "There was free cocaine, there was alcohol everywhere -- behind shoots, backstage at fashion shows, in limousines, at Studio 54," she says.

Dickinson wasn't tempted to use at first, but then the devastating end of a relationship changed everything. "For the first five years of my career, I didn't touch drugs," she says. "But then I had a terrible breakup with a photographer. He cheated on me."

That's when the supermodel became self-destructive. "I really wanted to hurt myself," she admits.

This feeling also mirrored the pain and trauma of her childhood, which Dickinson says was marred by abuse. "I felt like, once again, I'm not good enough or I'm not worthy, like what my father used to say to me," she says. "My father verbally abused me and physically abused me... The memories have taken me several years to work through."

Now, Dickinson proudly states that she is free of drugs and alcohol.

"Through the help of a 12-step program, I was able to learn how to say no to drugs and alcohol, and then really start to work on myself," she says. "Today, I can honestly say that I'm 100 percent sober, through the grace of God."

Though her sobriety has made an incredibly positive impact on Dickinson's life, she adds later in the interview that it unfortunately seems to have a slightly different impact on her professional opportunities. "When I was acting crazy, I was getting booked nonstop," she says. "I'm sober, and the work isn't as fluent as it used to be."

Janice Dickinson's full interview airs on "Oprah: Where Are They Now?" this Saturday, May 9, at 10 p.m. ET on OWN.



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How 'The Good Wife' Keeps Up With TV's Golden Age And Reacts To Audience Feedback In Real Time

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As yet another impressively long season of "The Good Wife" comes to a close on Sunday, The Huffington Post caught up with showrunners Robert and Michelle King. What will become of the show once Archie Panjabi (Kalinda) leaves? How do they change plot lines in real time? And how, in the name of merlot, do they keep up with TV's "golden age," in spite of the many restrictions that come with being on broadcast? Thankfully, you don't have to wait until next season to find out.

Will's death really revitalized the show. What will Kalinda's departure mean for next season?

Robert King: I think it’s going to be a momentary depression because Kalinda has been such a driving interest for lot of fans. She's a hard character to follow. It's almost like you never want to follow Louis C.K. as a comedian. You don’t want to be the second one up. I think the problem is that Archie’s great performance and Kalinda's strong character made such a gigantic impression on the show. But I do think there’s a sense that even when you lose a friend on "The Good Wife" you start to gain new ones and appreciate new ones.

Michelle King: Josh Charles' [Will] departure was two thirds of the way through the season, so we had a lot of episodes to play after he left. I think it won't be as hard because there are three or four months off between this season and next season.

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As of "The Deconstruction," Archie (Kalinda) and Julianna (Alicia) went about 50 total episodes without filming a scene together. Can you speak to why they've been kept separate? They only spoke on the phone in the aftermath of Will's death ...

Robert King: They are going to be in a scene together.

Michelle King: It’s all character-based. And you will get to see them together again in the finale.

Robert King: I think the real key is Alicia's scandal, and the aftermath has kind of left her a little adrift and created this new room for her to forgive and to apologize. So, I hope the viewers will like that final scene with them together, because both actresses did incredible work.

You're able to react to audience reactions quite quickly. For example, taking out that plot line with Kalinda's husband whom everyone hated. What kind of production schedule allows for that?

Robert King: In real time, there is probably two months between the writing of [an episode] and the actual showing of it on air. But that's different at the beginning of the season. The beginning of the season we work over the summer to load up on five or six episodes that come before the actual premiere. So, that's why with the Kalinda thing, you're right, we did react to the viewers. But it wasn't until the ninth episode that that reaction became evident, because we were so far ahead. Usually we're only two months ahead. So, you can at least get a sense of where the viewers are. You want the viewers behind in your dramatic telling. You want this sense of, “Okay, we've gotta slow this down" or "We've gotta be paying more attention to how our storytelling is impacting viewers."

Michelle King: And, of course, the editing is far closer to when the show airs. So, sometimes things get played with in the editing room to address issues.

Robert King: For example, here's the thing, with [Episode 20, "The Deconstruction"] we wanted an additional scene. We wanted to see the recorded side of a phone call. So, we went on the "NCIS" set last week, I think it was that Thursday, shot it and then dropped in the episode that Sunday. I mean, that's the closest we've ever been ... basically four of five days before we show the episode.

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What do you map out in the beginning of the season? There are definitely some long game narrative arcs. Peter's workplace discrimination comes to mind.

Robert King: You’re right about that one. Another one last season was the NSA. What we map out is we know we want to plant a seed that will grow into a plant later in the year, but you may not know how big the plant grows, whether it’s going to be a tree or just a sapling. So, for example, with the African Americans and Peter firing them, we kind of accidentally stumbled into that in that we had some great actresses we wanted to use and we realized they were African American and all playing sort of villains to Peter.

Michelle King: What ended up happening is they were guest stars doing arcs on the show, but they weren't series regulars. So we didn't really have a tie to their time, but they kept -- because they were so talented -- getting cast as regulars in other shows. So, we kept losing these actors and we had to find a way to get them off the show so they would be fired or they would take another job within the “Good Wife” world. So, after that happened a couple of times we made something out of that.

Robert King: I would say, to answer your bigger question, we map out about 50 percent of what you see. I would say about half. The other half we want to leave open to what happens along the way.

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There are so many restrictions you have to deal with by virtue of being on broadcast -- product placement, advertiser demands, commercial breaks -- how do these obstacles affect your creative process?

Robert King: Sometimes I think fewer options actually create great creative decisions. And the panic that we feel heading towards the deadline, sometimes makes it more intuitive how you're writing and how the actors are acting and then the editors going with our gut on how we're going to put it together. I think sometimes that is its own excitement. It’s the excitement of, “Let’s put on a play and we only have a week to do it -- how are we gonna do it? Let's go!" And I know there are so many good cable shows. That’s not to denigrate. Oh, my God, “The Americans” was so amazing this year. Not to denigrate what people are doing. But there is a kind of excitement to be working so fast. And it also gives you more options to do something crazy like, “Let's do an episode that is all in Alicia's mind.” You know, when you're doing 22 [episodes], you're not as worried about the preciousness of each episode.

What do you think of the (absurd) idea that "The Good Wife" is a show "for women"? How do you think turning female-led entertainment into a niche market affects TV?

Robert King: We'd rather not have it thought of as TV for women.

Michelle King: We don’t think of it that way at all.

Robert King: But can we say, if you think of comic women, how much better they have it in this decade than the ‘90s. You know, the comic women now from Kristen Wiig to Amy Schumer and Amy Poehler. And then we're every week finding these great actresses that can play comic or broad. I think there’s one this coming week who's very funny. Anyway, I just think it gives women more options. In movies, they're seen as second or even third bananas. Or prostitutes or something that is a cliche of female parts.

Michelle King: Just looking at our regulars between Julianna and Christine Baranski, these are women that are not only spectacular dramatists but also so funny.

christine

Oh, totally. Also, I think it was last week, there was a scene with Christine and two other women over the age of 40. That is so rare to see. I feel like you guys should win something.

Michelle King: With Linda Lavin too! She’s so spectacular. I lay awake and try to think of ways to bring her back into the show, because she's so fun.

Robert King: But you're right, there must be a Bechdel test that is about that, I don’t know what it is.

This interview has been edited and condensed.

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Kate Hudson Chops Her Hair Off For New Movie

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Chop, chop!

Kate Hudson said goodbye to several inches of her beautiful blond tresses on Thursday, as she started shooting her new movie.

The 36-year-old star shared a photo of her hair transformation on Instagram, writing "First day on set of new film and they're going to town on my hair! ✂️✂️ Ah!!!!!#TheLongNight."

First day on set of new film and they're going to town on my hair! ✂️✂️ Ah!!!!!#TheLongNight

A photo posted by Kate Hudson (@katehudson) on




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Impressionist Jamie Costa Gathers Gandalf, Robin Williams And More For A Wacky Adventure

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Ever wonder what a conversation would be like between Gandalf, Robin Williams, George W. Bush and Matthew McConaughey?

Wonder no more.

Master impressionist Jamie Costa voices all of the above in "Gandalf and the Fellowship of Celebrities."

Costa has gained attention recently for his spot-on impersonation of the late comedian Williams. This time, Costa shows off his range in one kooky quest.

H/T Viral Viral Videos

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This New Chilling Cover Of Nina Simone's 'Baltimore' Highlights The City's Long History Of Unrest

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“How can you be an artist and not reflect the times?"

This question -- as timeless as it is timely -- is posed by Nina Simone in an 1970 interview captured on tape and incorporated into Jazmine Sullivan’s chilling rendition of the music icon’s 1978 track, “Baltimore.”

The song appears on a tribute album connected to the upcoming documentary “What Happened, Miss Simone” to be released on Netflix in June. The music video for the "Baltimore" cover features archival footage of Simone and activist Angela Davis expressing their thoughts on the black experience in America. A montage of protests from the 1970s is interspersed with news footage from the events that have unfolded in the city in reaction to the death of 25-year-old Freddie Gray, who died of injuries he sustained during an arrest last month.

"I choose to reflect the times and the situations in which I find myself. That, to me, is my duty,” Simone is seen saying at the beginning of the video. “And at this crucial time in our lives -- when everything is so desperate when every day is a matter of survival -- I don't think you can help but be involved.”

“We will shape and mold this country, I will not be shaped and molded at all, anymore," the singer and civil rights activist says. "So I don't think you have a choice.”

Lauryn Hill, Common, Mary J. Blige, Usher, and Simone’s daughter Lisa Simone Kelly also contribute to the documentary's soundtrack and tribute album.

Check out Jazmine’s Sullivan’s version of “Baltimore” in the clip above.

Watch the trailer for "What Happened, Miss Simone?":

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Joey, AKA Dave Coulier, Is Officially Returning For 'Fuller House'

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Joey Gladstone is officially headed to "Fuller House."

Dave Coulier, who played Joey on ABC's "Full House," announced on Instagram that he's returning for Netflix's reboot of the series. "Yes, I'll be on the 'Fuller House' reunion," he wrote in the caption for a photo of himself with director Mark Cendrowski.

Yes, I'll be on the Fuller House reunion. And this guy, Mark Cendrowski will be directing. #cutitout

A photo posted by Dave Coulier (@dcoulier) on





In addition to Coulier, John Stamos, Andrea Barber, Jodie Sweetin and Candace Cameron Bure are also expected to appear on the revival, which will follow Bure's D.J. as a widow with three kids. On Tuesday, Bure spoke about "Fuller House" on the "Today" show, saying that the Netflix series won't be the same as the original. "It's definitely a fresh take," she said. "We're not doing the old show, it's not a reunion. It's a spinoff show." Here's to hoping Mary-Kate and Ashley Olsen eventually get on board.

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In Praise Of Women Who Give All The F**ks

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amy schumer


Michelle Obama gives zero fucks. Emma Stone gives zero fucks. Cersei Lannister from “Game of Thrones” gives zero fucks. Abolitionist Sojourner Truth gave zero fucks. Pinterest is filled with skinny models wearing “Zero Fucks Given” tanks. Even the women in historical paintings give absolutely zero fucks. We have reached peak lack of fucks given.

There are things we should give fewer fucks about for the sake of self-preservation; certain times where one should hold up the phrase as a mantra to avoid being subsumed by other people’s bullshit. “Give zero fucks” functions like armor, sending a message to the world that we can handle anything that gets thrown at us.

A mob of men harass you on Twitter. Give fewer fucks.

People tell you you’re not qualified enough to do your job. Give fewer fucks.

You grow up learning that you are nothing without male sexual approval. Give fewer fucks.

The world tells you to be skinnier, prettier, better dressed, more “classically beautiful.” Give fewer fucks.

But it also can be deeply exhausting pretending not to give a fuck about everything -- and at times, it may prevent us from fully embracing the fucks we do need to give. The simple fact remains: to affect real change, and feel anything deeply, you probably need to give quite a few fucks.

Police gun down an unarmed black man? Give more fucks.

Your right to reproductive health care is still being questioned? Give more fucks.

You got passed over for a promotion you deserved? Give more fucks.

You feel hurt or insulted or overjoyed or loved by another human being? Feel free to Give. A. Fuck.




Maria definitely gave some fucks -- ya know, Nazis.


The Internet-ified version of giving zero fucks seems to be embodied by female celebrities like Emma Stone and Jennifer Lawrence, women who are so chill that they float through the world like icebergs. These are badass women to be sure, but their public personas are built around the embodiment of the "cool girl" as defined by Gillian Flynn and Anne Helen Petersen. They eat burgers and flip off the paparazzi (seriously more power to them on both counts), while still maintaining a seemingly effortless ability to be funny and conventionally desirable.

We might be closer to embracing "strong women," but we also want those “strong women” to have an uncanny ability to "let it go." Express messy emotion? Probably don’t. Show just how hard you try? Ditto.

Amy Schumer is the queen of giving all the fucks. The comedian and burgeoning feminist icon has put her insecurities, triumphs and political values on display, mining them all for (damn good) comedy. In her May 2014 speech for the Ms. Foundation for Women gala, Schumer described a terrible sexual encounter she had in college -- and how easy it is to be stripped of all one’s painstakingly built confidence, even as a successful adult, something that I would wager most human beings can relate to:
I can be reduced to that lost college freshman so quickly sometimes, I want to quit. Not performing, but being a woman altogether. I want to throw my hands in the air, after reading a mean Twitter comment, and say, "All right! You got it. You figured me out. I'm not pretty. I'm not thin. I do not deserve to use my voice. I'll start wearing a burqa and start waiting tables at a pancake house. All my self-worth is based on what you can see." But then I think, Fuck that. I am not laying in that freshman year bed anymore ever again. I am a woman with thoughts and questions and shit to say. I say if I'm beautiful. I say if I'm strong. You will not determine my story — I will. I will speak and share and fuck and love and I will never apologize to the frightened millions who resent that they never had it in them to do it. I stand here and I am amazing, for you. Not because of you. I am not who I sleep with. I am not my weight. I am not my mother. I am myself. And I am all of you, and I thank you.



Since when did caring the least about everything -- or at least convincingly pretending to -- become the most attractive quality a woman could possess? The only way you’re going to be able to rise above and give fewer fucks about the bullshit is if you actually give a fuck about something else.

So I choose to bow down to the women who give all the fucks. Shonda Rhimes. Cheryl Strayed. Janet Mock. Oprah. Lena Dunham. Laverne Cox. Mindy Kaling. Hillary Clinton gives a ton of fucks -- she wants to be president. I salute these women and all the others like them who have an unabashed willingness to care -- and show it.

Instead of giving fewer fucks to arm ourselves for the bad, let's give more fucks so we change the bad and better embrace the good.

"The fuck is your life. Answer it," wrote Strayed in what is arguably her most famous Dear Sugar column.

Give all the fucks you want. You'll be better for it.

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Piers Morgan Just Pissed Off A Lot Of Parents With Paternity Leave Comments

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Piers Morgan caused quite a stir on Thursday after making some bold claims about parental leave.

During his appearance on MSNBC's "Morning Joe," the British television host said, "Most dads don't want to do paid paternity leave." He added, "They pretend they do, but after two weeks of a tiny little baby ... all they're doing is eating, guzzling and depositing, it isn't the most exciting gig in town." Morgan's statement caused co-host Mika Brzezinski to leave the set.

Post-show, Morgan continued discussing the topic on Twitter. "I don't think @morningmika liked me saying most men don't actually want extended paternity leave. But it's true... we don't," he tweeted.

He continued: "I suspect all these Paternity-leave-loving Dads have not actually become a Dad yet. Come back to me when you have," he wrote, adding, "Most mothers I know can't wait to see their men back to work. We get in the way and are invariably utterly useless in the baby department.




Morgan's tweets, particularly the comment about fathers being "invariably utterly useless in the baby department," angered many dads. Author Josh Levs wrote, "Ugh just stop, @piersmorgan. U r furthering false stereotypes that damage society."




Dad blogger John Kinnear added, "Hey Piers, 1955 called. It wants its opinion back." Another dad blogger added, "Every mother I know says the opposite. Perhaps it isn't men that are the problem; perhaps it's just you."

Here's to ending harmful stereotypes and embracing modern fatherhood.



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Beyoncé's Attendance at the Mayweather v. Pacquiao Fight: An Antifeminist Act

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Floyd Mayweather beat his opponent Manny Pacquiao while millions watched and millions were made on Saturday night. In between rounds, viewers were given a glance at the celebrities attending the event such as Denzel, Nicki Minaj, and most notably Jay-Z and Beyoncé. Even if you didn't watch the fight, you probably heard about her outfit (which is what many writers are focusing on.) Beyoncé looked dazzling in a revealing red jump suit and immediately captured everyone's attention. But while everyone else was fixated on her outfit, I felt a sense of disappointment when I saw her, one of my favorite artists, in the audience.

I should begin by saying that I am a HUGE Beyoncé fan, I think she is beautiful, talented, an incredible example of a businesswoman, and someone whose work speaks to a variety of life experiences. I have also felt encouraged by Beyoncé's declarations of being a feminist, even though this claim has garnered a lot of criticism for her. Criticism such as bell hooks (one of the most prominent thinkers of our time) calling her a "terrorist" for claiming a feminist identity without fully embodying it, in hooks' opinion. As much as I love bell hooks, I've disagreed with her assessment of Beyoncé's feminism, feeling that Beyoncé has represented women's independence and strive for equality superbly. So why was I so disappointed to see her at the fight?

Due to Beyoncé's unquestioned fame and influence she inevitably endorses any brand she chooses to wear, make-up she decides to apply, and event she attends. And this event was perhaps one of the, if not the, most antifeminist events of the year. CNN says the following:

That Mayweather is a serial batterer of women cannot be disputed [...] Mayweather has had at least seven assaults against five women that resulted in arrest or citations in addition to other episodes in which the police were called but no charges filed.


Mayweather is violent towards women with very little remorse. It is impossible for me to watch him fight without picturing the victims of his domestic violence on the other side. Now, while Pacquiao has not been charged with domestic abuse and has in fact stated he is completely against it, he's pretty antifeminist himself. According to The Daily Telegraph, in his position as a congressman in the Philippines, Pacquiao has been vocal about his opposition of women's rights to birth control and family planning programs; he has also stated his opposition to same sex marriage.

So, my disappointed comes in Beyoncé's clear endorsement of a very antifeminist event. One of the reasons bell hooks is so critical of Beyoncé's feminist declaration is because she feels that some women, like Queen Bey, infiltrate the feminist movement and wave the feminist banner only to continue doing antifeminist things. In this example, I cannot disagree with hooks.

If Beyoncé wants to call herself a feminist and an example for all other women of what feminism looks like, she just cannot attend, endorse and help to fund two men who disrespect women and their rights. She did indeed look stunning that night, but I wish she had shown off her outfit and beauty at a different event.

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WATCH: "The HuffPost Show" Episode 5

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"Daily Show" correspondent Aasif Mandvi sits down with Roy Sekoff on May 8 for the fifth episode of "The HuffPost Show." Former "Brady Bunch" star Florence Henderson and former "Saturday Night Live" star Horatio Sanz also drop by to break down the biggest stories of the week.

Watch the episode live at 9 p.m. ET.

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7 Celebs Who Were Bartenders Before They Were Famous

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It's easy to forget that working actors and musicians once had normal jobs. You know, just like us. That's right: Before they blew up, there were many a celebrity who waited tables, cooked in kitchens and served customers from behind the bar. Ahead, seven celebrities who were bartenders... before fame found them.




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Jane Fonda Reveals She Once Received A Marriage Proposal From A Famous Gay Man

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Jane Fonda says she's not only dated her share of gay men, she received a marriage proposal from one.

The 77-year-old Oscar-winning actress opened up about the experience in a PrideSource interview promoting her hotly anticipated new Netflix series, "Grace and Frankie."

"When I was young, I was the female that gay guys wanted to try to become heterosexual with," she quipped. "A very famous actor who's gay -- and I will not name names -- asked me to marry him. I was very flattered, but I said, 'Why?' This was 1964."

As it turns out, it wasn't Fonda's first intimate experience with a gay man: "He wasn't the only one. It's very interesting. And I lived for two years with a guy who was trying to become heterosexual."

Fonda also looked back on her time campaigning with Harvey Milk, whom she described as "joyous" and "lovable," in California.

"He was always smiling and laughing, and he was beloved and he was funny," she recalled. "I was so happy when I was with him. And it was just so much fun going into those gay bars with him -- oh my God!"

"Grace and Frankie" sees Fonda reuniting with Lily Tomlin, her co-star in 1980's "Nine to Five," which has become a cult favorite among many gay fans.

As to the love they continue to receive from the gay community, Tomlin, who is a lesbian, noted, "Well, we're women of a certain age, and maybe we're considered more audacious."

Fonda echoed those sentiments, adding, "[Older women] are bigger and bolder and, God knows, gay men love big and bold, right?"

Head here to check out the full PrideSource interview with Jane Fonda and Lily Tomlin.






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Models Of All Sizes Strip Down In The Name Of Body Diversity In Icelandic Glamour

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The ladies of ALDA, a coalition of plus-size models whose name translates to "wave" in Icelandic, are making a real splash in Icelandic Glamour.

alda

Ashley Graham, Marquita Pring, Julie Henderson, Inga Eiriksdottir and Danielle Redman are the five women hoping to change the perception of beauty in the fashion industry through ALDA. They're currently being celebrated in an eight-page spread in the second-ever issue of Iceland's edition of Glamour magazine, each looking downright gorgeous wearing looks from denim to birthday suit.

alda

"It was so much fun! The naked shot happened by accident," Henderson told The Huffington Post. "We were waiting for Ashley to get there and started fooling around! It is so amazing when all of us get together. We can go weeks without seeing one another, so when we do it makes us all so happy. There is a special magic and chemistry when we are all on set together."






But there's way more to love about these ladies than their good looks. The group, which came together after its members' former modeling agency dissolved its plus-size division, has an important message of empowerment and self-love to share. Eiriksdottir explained their mission to Glamour, then provided a translation from print to HuffPost:

Even if it might sound strange since we [are models], which is a lot about the outside looks, we are more interested in building strong self-esteem in women rather then just focusing on the looks. ... In the last few years, we have organized various events that are about getting women together to do healthy things for the body and soul, while raising money for those in need and giving back. ... We started working with "Girl Up," which is a United Nations [Foundation campaign]. The focus is to empower young girls to become leaders and raise money for girls in need around the world.


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There's certainly a long way to go on the road to a more inclusive industry, but these women sure are paving the way.

See more at Icelandic Glamour.

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Happy Birthday, Linda Evangelista! The Original Supermodel Turns 50 And Is Happy About Aging

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"Linda Evangelista defined a new breed of model and unprecedented fame for them," argues High50's Alexa Baracaia. Now, turning 50 on Sunday, she's embracing aging, saying, "I don't care how old I look but I want to look good."

Reason to love Linda Evangelista number one: No, not the "only getting out of bed for $10,000" thing. That was always a bit meh.

But yay to, "I do want to age, that is my goal. I want to get old." The original 'super' has declared: "I don't care how old I look but I want to look good. I have wrinkles. I look my age."

She looks like a supermodel, also, but we applaud the sentiment. One can, you see, have wrinkles and (gasp!) still look good.

When Linda, Naomi, Christy And Cindy Ruled The World

Looking good, of course, is Linda's thing. In the days before being a top model meant gurning while simultaneously falling out of posho nightclubs with ex-girlfriends of heirs to the throne thrice removed, Evangelista and her band of fellow glamazons -- Naomi, Christy, Cindy, and (nope, not Kate) the one they all forget, Tatjana Patitz -- ruled the world.

The Big Five, most famously captured in black and white on the cover of January 1990's British Vogue, were icons of an era. Handpicked by photographer Peter Lindbergh for the shoot, all had strutted their way into the public consciousness from the mid-1980s.

These women dominated the runways, the glossies, the big ad campaigns. As Michael Kors once put it: "Christy and Linda and Cindy and Naomi are movie stars. They're the pin-up girls of the '90s."

"It was almost the female equivalent of Sinatra's Rat Pack," says Paul Wilmot, former head of PR at Calvin Klein. And in 1992, fashion journalist Suzy Menkes decreed Evangelista "the world's star model." Who else but Evangelista could declare of superstar photographer Mario Testino, "I gave Mario his break. I used him for a Vogue cover in Germany"?

We Don't Wake Up For Less Than $10,000 A Day

Which takes us, inevitably, to that $10,000 dollar question. When Evangelista uttered the infamous words to Vogue in October 1990 (actual quote: "We don't wake up for less than $10,000 a day") it caused a huge stir. Was this the 'let them eat cake?' of an over-primped, overpaid catwalk strutter or, as she later insisted, a mere quip gone wrong?

In truth, she was understating reality: Barely months later, Christy Turlington received $800,000 for 12 days' work as the new face of Maybelline. And in 1991 it was estimated that Evangelista had pocketed $20,000 for walking the runway for Lanvin's spring/summer couture show.

She later bemoaned the furor that followed her comment: "I feel like those words are going to be engraved on my tombstone. It was brought up every single time I did an interview. I apologized for it; I acknowledged it; I said it was true; I said it was a joke. Do I regret it? I used to regret. Not any more. I don't regret anything any more. Would I hope that I would never say something like that ever again? Yes. Am I capable of saying something like that again? I hope not."

Linda's Route To Supermodel Status

Joke or no joke, it reflected a rags to riches rise for the daughter of devoutly Catholic, working class, Italian immigrant parents.

She was born in Canada to father Tomaso, who worked for General Motors, and mother Marisa, a bookkeeper. Her first taste of the fashion world came when she attended a self-improvement school at 12, where the joys of poise and etiquette were on the curriculum and she was advised to try modeling classes.

At 16, a brief attempt at international modeling came to an abrupt end with an iffy nude experience.

"I was chosen by a Japanese agency to go over to Japan for the summer to work," she recalls in Interview magazine.

"My parents were strict Italians who didn't let me go out past ten o'clock, and I had to choose between going out Friday or Saturday night and was not allowed to have a boyfriend. But they said OK. I got there and it was a catastrophe. They wanted me to take my clothes off and shoot me naked. It was a nightmare and I panicked and basically the Canadian Embassy helped me out."

Nevertheless, that same year, while competing in a Miss Teen Niagara beauty pageant, she was spotted by a talent scout for Elite Model Management.

A Move To New York And The Big Time

In 1984, she moved with the agency to New York -- where she lives today -- then to Paris, where she scored her first major fashion cover at 19 for L'Officiel, a fresh-faced shot of the model swathed in fur.

A year later, she began working for Karl Lagerfeld (whose notion of a compliment is to say of Evangelista: "You can play her like you can play no other instrument") then as muse to Gianni Versace and fashion lensman Steven Meisel.

In 1988, fatefully, she got herself a gamine crop on the advice of Peter Lindbergh, a move that nearly cost her career when she was unceremoniously ditched from 16 fashion shows.

But so blows the fickle wind of fashion and by 1989 The Linda was 'the Look', emulated by all from Demi Moore to -- as Evangelista herself wearily put it -- "every stewardess, every salesclerk and in every restaurant."

It was also the cut that catapulted her to superstardom. "Sure, I like my short hair," she told People magazine. "It also quadrupled my rate."

Still Selling Out Magazines

More than 800 cover shots and a quarter of a century on, Evangelista is still stalking the covers of Vogue and modeling for the likes of Moschino and Dolce and Gabbana. (See her Hudson's Bay campaign earlier this year.) And last September, she appeared on the front of Harper's Bazaar, an issue swiftly described as "Harper's biggest ever".

Married to the then-boss of Elite Paris, Gerald Marie, in 1987, and divorced six years later, Evangelista has had tabloid-titillating relationships with actor Kyle MacLachlan, French soccer player Fabien Barthez and Hard Rock café founder Peter Morton.

In 2006 she had a baby boy, Augustin, at first refusing to reveal the father, then five years later filing court papers naming French billionaire Francois-Henri Pinault, now the husband of actress Salma Hayek. A high-profile child support case was launched, with Evangelista claiming Pinault had never supported her son. Several days in, the pair reached an out-of-court settlement.

These days she juggles motherhood with modeling and a role as guest judge on Australia's Next Top Model, as well as working as an activist for HIV/AIDS research and breast cancer awareness.

"I've only left [Augustin] a handful of times -- for three days maximum. I can't leave him. I'm hands-on, and I have separation anxiety. I admire women who are able to do their job and come back, but I need to be with him.

"I'm still going as strong as I would like it to be," she adds. "I do not work every day. I am not up for every job. There's a place for me... I'm presented with offers, and if it's right for me, I do it."

Related Articles From High50

Happy 50th Birthday Sarah Jessica Parker: The Sex And The City Gang At 50

Sandra Bullock, "The World's Sexiest Woman", Turns 50

Salma Hayek: Women In Their 50s Have Money

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The Tragic Past Of The Man Behind Big Bird Has Made Him An Anti-Bullying Icon

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Big Bird is one of the most iconic fictional characters of all time. And yet, as puppeteer Caroll Spinney put its, no one knows the man who plays him from Adam. At 81 years old, Spinney was recognized on the street for one of the first times, and only because a fan knew him from Dave LaMattina and Chad N. Walker's documentary, "I Am Big Bird," which premiered at the 2015 Tribeca Film Festival.

"He’s been anonymous for so long, he’s never had the spotlight," LaMattina said. "It's kind of nice for him to be recognized at this point. Not for the fame or celebrity, but just to get the thanks."

Spinney has been playing Big Bird for 46 years and the character is closely tied to his identity. Initially, Jim Henson wanted Big Bird to be a sort of Country yokel. Spinney thought it made more sense for him to be a little kid who just so happens to be a giant bird. In making that shift, he bestowed Big Bird with a beautiful innocence that has, in a way, allowed Spinney to live out a perpetual childhood on "Sesame Street."

Spinney's actual childhood was colored by an abusive father and intense bullying. During an interview with The Huffington Post, he remembered one time in grammar school when a group of 18 boys threatened to beat him up. His father suggested he respond with force, and Spinney recounted the memory with in the same tone he used throughout the interview -- with the kind of sweet naiveté you might expect from Big Bird himself.

"My father said, 'Pretend there’s a fly on the end of his nose and just hit it with your fist as hard as you can. He’ll probably never bother you again,'" Spinney said of the boy who targeted him most frequently. "I wish I had had the courage to try that, but I didn’t really want to hurt him. I always wanted him to be my friend instead."

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Spinney was initially hesitant to share that aspect of his life. He told LaMattina and Walker all the stories people want to hear: how he came up with the voice for his other character, Oscar the Grouch, or what it's like to operate the Big Bird suit. But he didn't really open up about his past on camera. It was only during breaks in filming that Spinney would sit down with the two and share those elements of his life.

"At first, he was a bit reluctant to tell those stories," LaMattina said. "But as we went on we said, 'This is what makes you the emotional, compassionate person that you are and actually that comes through in Big Bird.' We felt we need to include those in the story to capture that."

The impact of those narratives have really taken "I Am Big Bird" to the next level, and allowed it to become a beacon of hope for those who have been through some darker experiences similar to Spinney's. "A lot of people, when we were on tour, would say, 'This is such a relief, I was bullied when I was younger and this gives me hope for things that I can do,'" said Walker.

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Spinney's path to Big Bird was not easy. When he first started work on "The Muppets" over 40 years ago, he often felt alienated, like his outsider status from grade school followed him into the adult world. He spent months sleeping on a fold-out couch in Spanish Harlem, struggling to make it in New York City, followed by years in an unhappy marriage and nightmarish divorce.

Breaking up with his first wife pushed Spinney to a bad place emotionally. He opens up about that period of his life in "I Am Big Bird," saying he was depressed and considered suicide.

"It isn't that bad, you will find another day that's better," he says in the film, as both a sort of reminder to himself and bit of advice for those who are struggling. "I think no matter how black a day, if you just hold on, the sun will eventually come out for you."

The sun truly came out for Spinney when he met his second wife, Deb. More unexpected than the tragic elements of "I Am Big Bird" is the love story that fuels the narrative. The film reveals not just the man behind the bird, but the woman who saved him, who brought him back to life and pushed him to keep going, on set and off.

"Everything has been influenced by Deb. I think if Deb wasn’t his wife, he might be a different person," said LaMattina. "She has changed the course of his life in terms of how he approaches and deals with those darker moments."

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Getting to spend more time with Deb is one of the bright spots of Big Bird fading out of the show in recent years. With the rise of Elmo and an attempt to market "Sesame Street" to a younger demographic, Big Bird has been a less and less frequent cast member. Now, Spinney is glad to have a bit more time for life outside of work, but that wasn't always the case.

It was hard for him to see Big Bird being overshadowed at first. He actually played the character that would become Elmo in the '70s. "Back then he was one of the monsters. Of course, monsters are not horrible in our world," Spinney explained. "Baby Monster was his name. I played him one season and then they went on to other things, but I actually used the very same puppet."

The show changes over time, and shifts like this one are to be expected, though the directors were a bit hesitant to delve into that aspect of Spinney's career. "We were hesitant to ask that, you know, 'How do you feel about the fact that your character is not as popular as he once was?'" LaMattina said. "But he knows how entertainment works. He knows that Big Bird is still important even if he’s not in so many shows."

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A potential replacement for Spinney was brought on over 15 years ago. Though Spinney enjoys having more free time, he has no official plans of stopping.

It's different than "refusing to retire," as one of the harsher reviews of "I Am Big Bird" phrased it. The feathery yellow suit is so connected to who Spinney is as a person, both in terms of his personality and the changes he's been able to enact in audiences' lives. He hasn't seen it as work in a long, long time.

Undeniably, "Sesame Street" and especially Big Bird have changed the shape of children's television. It was the first show to turn education into entertainment. Over the years, he has taught viewers about numbers and letters, but also bigger lessons, like the bullying episode Spinney based on his real life experiences. His influence is perhaps best summed up by the fact that NASA asked Big Bird to come aboard the doomed Challenger flight as an attempt to encourage kids to be interested in the program. (Spinney said yes, but the suit was too big, and teacher Christa McAuliffe was selected in his place.)

He is a staple of pop culture. In redeeming his own childhood, he became a staple of so many others. And even as he takes a backseat to other characters, there's no questioning he is the quintessence of "Sesame Street," the ultimate symbol of the past almost five decades of educational programming.

"It’s hard to believe I’ve got such a great job," he said. "It doesn’t feel like it was it was 45 years. If we didn't keep count, I would say it feels like a good, long time, but nothing like 45 years. I mean, that’s almost half a century."



"I Am Big Bird" is now playing in select theaters. It opens in wide release May 15.





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Here's The Red Band Trailer For 'Vacation,' And Dear God It Looks Terrible

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Because Hollywood has no original ideas anymore, it's instead spit out the red band trailer for "Vacation." The movie is a reboot and a sequel to 1983's "National Lampoon's Vacation," and the subsequent sequels detailing the perpetual disasters encountered by the Griswolds.

But 32 years after the first film was released, Rusty Griswold (Ed Helms) is all grown up, married (Christina Applegate plays his wife), and has two kids of his of his own. Again disaster (and deju vu) ensues as the Griswold family embarks on a vacation to Walley World.

The family swims in sewage, a teenage son wonders what a "rim job" is, many things happen that would otherwise conclude in death, and, we discover Chris Hemsworth is very well endowed.

This movie will probably make lots of money.

Here's a GIF of Hemsworth to ease the pain:

http://thorduna.tumblr.com/post/118423131755/thorsbaratitty-pray-for-me


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Amber Rose Claims Travi$ Scott Writes Kanye West's Songs

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Amber Rose slammed her ex Kanye West in an unlikely way during an appearance at Los Angeles' Supper Club. In a candid moment, which was caught on film (obviously), she claimed that Travi$ Scott ghostwrites West's songs.

"Stop playing n-----s I used to f-ck," she can be heard saying in the video below. "Stop. Stop. Why don’t we play the n----- that writes the songs for the other n-----: Travi$ Scott. Let’s go. Let’s go. He writes the songs for the other n-----. Let’s go."



West has long been rumored to hire ghostwriters for some of his tracks, and that he may pull talent from G.O.O.D. Music artists to work on his songs, but West's rep did not respond to The Huffington Post's immediate request for comment on Rose's claims.

Hours after the video surfaced online, she posted what seems like a response to Instagram:

Lol Note to self Amber- when ur shit faced off the Crown and coke stfu it's not cute

A photo posted by Amber Rose (@amberrose) on


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Zac Posen Used To Style Lena Dunham's Hair On Their Commute To School

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Before Zac Posen was outfitting Lena Dunham in a canary yellow gown for the 2014 Golden Globes, he was holding her hand on New York City public transportation as her babysitter.

"Oh Boy. I must've been like 17 or 18 and it was my high school job to take her on the train to school we went to. She was younger than I was and we'd take the subway," the fashion designer recalled in a Thursday conversation with HuffPost Live.

But the fun hardly stopped there. Posen continued:

I'd pick her up and I'd re-do her hair. That's what I'd do. I'd re-do her hair to go on the train. I was dressing quite outrageously at the time. I was trying to dress to understand how people react to [clothes]... I'd wear ivy in my hair, platform sneakers. We had fun.


The two would converse about "popular events," as well, he recounted.

"We'd make up stories on the subway. I'm sure there was like, funny dances on the poles of the subway. We had a blast."

Watch more from Zac Posen's conversation with HuffPost Live here.


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