The Weinstein wind sweeps up Kevin Spacey. Other men are slow to come forward.

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Anthony Rapp

Hollywood is shaken and stirred .The Harvey Weinstein blow back ,is REAL!   

The latest person to come forward is stage and screen star Anthony Rapp.  Some might know him from several films including “Rent” Rapp is currently starring in CBS’s “Star Trek Discovery”

A few days ago Anthony Rapp alleged in an interview with  BuzzFeed that actor Kevin Spacey picked him up, put him on his bed and “was trying to get with me sexually”   back in 1986, when Rapp was 14 years old. Rapp added that one day he met with a lawyer to discuss possible legal action, who told him there was no case worth pursuing.

This is significant statement. Sexual harassment has been a part of Hollywood since its inception.  If you worked in Hollywood the sexual maze is just one of the obstacles.  Its a small community.    Many agents, managers, sent clients on meetings with known sexual predators, known pedophiles  hoping for the best.  If your an attorney and want to continue to work in Hollywood, you look away.  A complaint against a successful, actor, director, screenwriter, casting agent, could limit his ability to earn in Hollywood.

Today, there are many in Hollywood, fearful of  retribution.  Many are in a holding mode, waiting to see if what blow back if any. those who came forward may face .

In response, to Anthony Rapp  accounting.  Spacey said he didn’t remember the encounter, given the incident was alleged to have occurred 30 years ago, but added… “if I did behave then as he describes, I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior …   This was followed by an earth shattering  announcement.  Like Ricky Martin’s and Barry Manilow , Kevin Spacey tells the world he is gay man. 

2pm Monday October 30, 2017. Netflix Cancelled Kevin Spacey’s “House of Cards”

Male victims of sexual harassment are slow to speak

Terry Crews tweeted about his fear of being – quote, unquote – “ostracized” if he pursued any further action against an executive that he said groped him last year. James Van Der Beek – when he said he’d been groped many times as a young actor, tweeted that, quote, “there’s a power dynamic that feels impossible to overcome.”

Male victims, like female victims felt like, if I speak up, then I’m going to pay the price for this.

Is the public ready to hear Corey Feldman?


Corey Feldman and Todd Bridges tales of rape of molestation was downplayed many years ago .  Both were on a downward spiral and perhaps were dismissed by many because of their documented issues of substance abuse. Corey Feldman told the Hollywood Reporter that he and Corey Haim were repeatedly molested as child stars.  Todd Bridges of Different Strokes fame said he was molested by his male publicist when he was 11.   

As recently as 2016, Feldman  testified to The Hollywood reporter that he and Corey Haim were repeatedly molested as child stars.

“All these men were all friends,” Feldman said of the perpetrators. “Ask anybody from our group of kids at that time. They were passing us back and forth to each other.”

Feldman has said Haim’s experience was worse. “He had more direct abuse than I did,” he told The Hollywood Reporter. “With me, there were some molestations, and it did come from several hands, so to speak, but with Corey, his was direct rape.”

In his book, Feldman writes that Haim was raped at age 11 on the set of the 1986 film “Lucas,” which co-starred up-and-comers Charlie Sheen and Winona Ryder.

“The man who had stolen his innocence,” Feldman writes, “ . . . walks around now, one of the most successful people in the entertainment industry, still making money hand over fist.”

For legal reasons, Feldman says he cannot name names. “Unfortunately California conveniently enough has a statute of limitations that prevents that from happening,”

Today, in light of the Weinstein wind, he says he will name, names. However he needs to raise 10 million dollars where he would name names in the movie.

No Movies About Pedophilia in Hollywood

In 2014, director Amy Berg struggled to find distribution for “An Open Secret,” her documentary about rampant pedophilia in Hollywood. For her 2006 doc “Deliver Us From Evil,” uncovering the very same crimes in the Catholic Church, Berg won an Oscar nomination.

 In 2014, SAG-AFTRA threatened to sue Berg over “An Open Secret” unless she cut all references to the union’s Young Performers Committee, along with most of her interview with one of Hollywood’s most vocal watchdogs. It’s clear why SAG-AFTRA was alarmed: In her doc, Berg reveals that convicted child molesters still openly work in Hollywood, with children, today.


Berg stood up to SAG-AFTRA, but unsurprisingly, her film never gained traction — no streaming service, no cable outlet would pick it up. “An Open Secret” — a pirated, pre-commercial version — appeared on YouTube, where it has since racked up over one million views.  






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By: Inkoo Kang/MTV

The fight for interracial marriage stands as one of the most drawn-out civil rights battles in American history. Begun in 1787, the same year the Constitution was first ratified, it would be another 180 years until Loving v. Virginia, the 1967 Supreme Court case that finally abolished anti miscegenation laws across the country. This month’s Loving, the awards-contending film about the rural Virginian couple that teamed up with the ACLU to assert their prerogative to be husband and wife, serves as a necessary reminder that their struggle took place less than five decades ago.

Postwar pop culture reflects the racist anxieties of those times. Hollywood’s first mixed-race kiss was in the 1957 drama Island in the Sun, which features two black-white couples on a fictional Caribbean island. Dorothy Dandridge locks lips with the white John Justin, but Harry Belafonte’s kiss with Joan Fontaine — originally in the script — was removed. (The film was protested and boycotted by theaters regardless.) Lucy and Ricky pecked and smooched more than they kissed on I Love Lucy despite being a real-life married couple, and the 1968 lip-lock between Captain Kirk and Uhura on Star Trek — generally considered TV’s first black-white buss — took place against their will, their mouths pressed together by a magic spell.

Things are undoubtedly better today. And yet, at a time when pop culture has never been more diverse, movies and television seem to be lagging behind reality in depicting interracial love. In 2013, around one in eight marriages were interracial. If you haven’t been in a mixed-race relationship, you probably know at least one long term couple who is. But the closest that 2016’s top 20 movies come to an interracial romance involving the main characters are between a rabbit and a fox in Zootopia. None of this year’s biggest romances or romantic thrillers — Me Before You, Bridget Jones’s Baby, and The Girl on the Train — have people of color in the core cast. (And it’s important that these mixed-race relationships involve protagonists, i.e., the characters most likely to receive development and thus have their romances given nuance and depth.) The situation looks slightly better for Oscar hopefuls, with Loving and Lion entangling its central characters in interracial relationships. But those are both biopics — meaning they had to feature mixed-race romances. You can’t say the same for the white-on-white casting of La La Land.

As greater representation becomes a bigger part of our culture, it’s worth asking how we want that inclusion to look. Interracial love should be a key part of how we see and imagine diversity, not only to reflect a fundamental part of who we are as a people now, but also because romance plays such a crucial role in who we think of as desirable, as fuckable, as lovable, as threatening (or not), as sensitive (or not), as who we perceive as “one of us” versus “one of them.” And it’s important that every group gets the chance to see themselves as worthy of love and worthy of sex and worthy of being called beautiful, especially when American history has taught racial and sexual minorities for so long that they are beneath such considerations.

As with nearly all forms of inclusiveness, TV has done a lot better. A number of shows feature its protagonists in serious interracial relationships, including Jessica Jones, Crazy Ex-Girlfriend, Unbreakable Kimmy Schmidt, Brooklyn 99, Quantico, and How to Get Away With Murder. A few standouts have used a couple’s disparate backgrounds for cross-cultural conflicts or simply differences that make lovers’ quarrels feel fresh. On Jane the Virgin and The Mindy Project, the protagonists clash with the fathers of their children over their babies’ future religious upbringing. On Scandal, Olivia Pope’s exacting dad-ocrat disapproves of a silver-spooned white man who’s had the presidency stolen for him as a romantic partner for his daughter, whom he’s encouraged all her life to work twice as much as anybody else, if only for half the recognition. And on Master of None, Aziz Ansari’s Dev explains to his white girlfriend that he can’t have the kind of relationship with his grandmother that the young woman has with hers, since Dev’s grandmother lives in India and he doesn’t speak Tamil. Asked why he doesn’t learn the language, he flips the question back on her: Has she tried learning Tamil? It’s really hard!

But these shows — most of them repeatedly cited for their history-making diversity and not coincidentally created by writers of color — tend to be the exception, not the rule. Which is why Ross and Joey and Ted and Barney and Jerry and George and Hannah and Marnie can all live in one of the most multiracial cities on the planet and, excepting a token here and there, only date — or even see — other white people. But if we don’t want future generations cringing at our culture the way we flinch at the prejudices of the past, we should make and promote more work that showcases the ways we love — not the ways we we fear.

Hollywood’s plan to dethrone Reagan’s legacy



By: Richard Johnson/Page Six


Hollywood is planning to take down another conservative icon and revise history for future generations.

Having already trivialized Margaret Thatcher with “The Iron Lady” — in which Meryl Streep portrayed the British prime minister as senile and pathetic — now it’s Ronald Reagan’s turn.

This year’s “Black List” of the best unproduced scripts making the studio rounds includes “Reagan” by Mike Rosolio.

The logline reads: “When Ronald Reagan falls into dementia at the start of his second term, an ambitious intern is tasked with convincing the commander in chief that he is an actor playing the president in a movie.”

Fox News analyst Monica Crowley told me, “The more iconic and impactful a conservative is, the more determined the left becomes to destroy him or her — along with their ideas and legacy.”

The once-mighty bromance is dead – and Get Hard killed it

The genre that started out celebrating male friendship has become a travesty of itself, as Hollywood trawls the racist, homophobic depths

By Hadley Freeman/Uk Guardian

You can actually see the moment the bromance genre, for so long one of the most reliable and lucrative of Hollywood film genres, dies – and appropriately enough, it happens in a men’s room. It’s always interesting to witness the death of a film genre. Sometimes it happens in an act of gleeful murder. In 1988 the brilliant Heathers stabbed the then ubiquitous 1980s teen film through the heart with satire, and buried it forever beneath layers of irony. Clint Eastwood did something similar with the genre that had made his name when he released Unforgiven in 1992, a revisionist western with no good guys that, instead of glory, is filled with guilt and grit.

But the more common method is for a film genre to commit self-slaughter through laziness. The most recent one to throw itself upon its sword is the bromance, and the metaphorical sword in this case is the execrable new Will Ferrell and Kevin Hart comedy, Get Hard.

Chances are you’ve already read about this film, and chances are what you’ve read is the extensive criticism it has received for its homophoic and racist script that makes the movie look at least 20 years more dated than the worst Richard Pryor 1980s comedy. The movie’s plot, which was possibly written on a piece of toilet paper in a Los Angeles private members’ club, involves a rich white dude (Ferrell) getting lessons from a poor black man (Hart) about how to be tough so he can cope when he goes to prison. I won’t risk your brain cells by quoting scenes – suffice to say that it epitomizes everything that has destroyed the bromance genre from within over the past decade. Moreover, it illustrates how bafflingly conservative Hollywood has become.

Contrary to popular belief, Judd Apatow – director of The 40-Year-Old Virgin and Knocked Up – did not invent the bromance. The bromance has actually been around for decades, from The Odd Couple to Lethal Weapon, and is just a twist on the old buddy movie, but with greater fetishisation of male friendship. So Butch Cassidy and the Sundance Kid: buddy movie. Point Break: bromance. Although it’s easy, and understandable, to dismiss this genre as junk, some of the funniest comedies Hollywood has made in recent years have been bromances: Anchorman, Zoolander, Superbad.

Heck, some of the best movies of all time have been about male friendship (specifically, Ghostbusters). But as one of my favorite film writers, the New York Times’s AO Scott, wrote last year, bromances have become “a cesspool of nervous homophobia and lazy racial stereotyping”, and few films have typified this more than Get Hard, a comedy entirely about the fear of male rape and how black and white men are essentially different species. The specific scene in which the bromance dies comes when, for reasons too stupid to elaborate, Ferrell – a gifted comedian who is fast rivaling Robert de Niro for his penchant for signing on to films that are beneath him – attempts to give another man a blow job in a men’s toilet stall, reaching towards the penis but simultaneously recoiling in disgust. It is an appropriate end for a genre that once celebrated male friendship but is now crazed with a fear of seeming gay.

To understand how this has happened, you only need look at the romcom. After the heights of the romcom in the 1980s (When Harry Met Sally) and early 1990s (Pretty Woman), the genre was overstretched and debased with utterly disposable pap (Failure to Launch, Serendipity). Studios thought they could stop worrying about things like scripts and credibility and simply stick stars such as Reese Witherspoon, Matthew McConaughey and Kate Hudson in front of the camera. The genre that once spotlit women’s love of romance ended up depicting women as deranged harpies driven gaga by wedding hunger, who were humiliated on screen, either for having jobs (The Proposal, Sweet Home Alabama), or their baffling inability to walk (Miss Congeniality – sure, she seems scary because she’s a grownup, but look! She always falls down!). By the mid-2000s, the romcom was superseded by the bromance, and exactly the same process happened again: a genre that was once aimed at a specific gender ending up reducing that gender to the lowest common denominators and spitting in its face. Where romcoms decided that women are crazy and desperate, bromances decreed that men are all homophobes with the maturity levels of six-year-olds.

What’s especially weird about these genres is that they’ve ended up depicting men and women in a far more insulting way than they were depicted in movies made 30 years ago. In 1980s romcoms such as Romancing the Stone and Moonstruck, the women are allowed to have jobs without this being depicted as proof of some kind of moral failure on their part. Try to think of a mainstream movie now in which a woman is more successful than a man and that’s seen as just fine. I’ll save you the time – you can’t, and a lot of that is down to romcoms, which were so concerned with universal accessibility that they ended up depicting women as idiots.

Similarly, to see how low bromances have brought men, you only need to look at a film made 30 years ago to which Get Hard bears more than a passing resemblance: Trading Places, starring Dan Aykroyd and Eddie Murphy. In fact, the opening 20 minutes of Get Hard are so similar to Trading Places – with some scenes being next to identical – that at first I thought the modern film was a remake. But where Trading Places mocks racial stereotypes, Get Hard embraces them; Ferrell’s black girlfriend’s face is almost unseen in the film as she’s too busy twerking the camera in hot pants. And where Trading Places’ depiction of prison is of a place of lost freedom and violence, the phallically obsessed Get Hard seems to have confused it with Sodom.

This is what happens when film- makers stop bothering with things like writing, and as Hollywood studios become more dependent on money from non-English speaking countries such as China, and therefore focus less on scripts, it will happen more and more (there is a reason superhero films are now the dominant genre).

So, so long bromances, you had a good run. But your fear of homosexuality and black people proves you no longer have any balls.

The Real Housewives (RHOA) of Atlanta (Season6 Episode7) Props to Ayden

Last nights episode (12/15) may bring the Monster Joyce era to a close. (throwing holy water on the TV Guide-tis time to move on)   After talking to Cynthia, who has had first hand family wedding drama, Kandi finally grew half of one and shut monster down.   She called monster on her lies and said YOU’VE been married THREE times and your mother never treated you like this.

Before the show down, Monster Joyce went to Phaedra office for some legal advice.  Phaedra is holding her 3 year old son Ayden.   As the monster enters the room Phaedra tells Ayden to say hello. Ayden is quiet, the monster offers some grandmother charm.  Ayden isn’t feeling it.  Phaedra says if he wants a treat, he needs to talk to her. Ayden looks directly into Monsters Joyce’s eyes and very matter of factually said “I don’t want a treat.”    Hott day-yam the three year old had the presence of mind to do what adults should have done long ago.    Shut that monster down.

Monster was in Pheadras office presumably to talk prenup (is she getting married?)      The conversation quickly deteriorated into the Todd/Kandi affair. Monster Joyce manages to shock Phaedra – yes, Phaedra ,into silence , but Phaedra stands up for her girl Kandi and says that Kandi thinks Todd is the one and so does she.

And then in a dry dark voice  Monster says  “That’s why I could choke you right now.” Phaedra’s jaw drops to da floor.  ( I am telling you EXORCISM!-somethings wrong with that woman!)  

Take your child and run.,……

More Props…..M’s Bailey keeps it real

Cynthia, told Kandi straight up.   “you’re just going to have to fight for this.” It takes work to get past a huge thing like your mom not liking your fiance,but if Kandi wants a relationship with Mama Joyce and Todd, she’s got to keep working until she gets there.

Making room for  Mynique

The Nene train is on the track…and she wants Mynique  as a part of the cast.   But who will she replace.    Porsha, going gaga over some seven thousand dollars shoes and possibly settling with some gold studded thirty five hundred dollars shoes because she has to budget as she no longer has Kordell’s credit card.     This soon to be divorced woman who lives with mama is at a store where no shoes is under a grand   ( I guess Target is OUT of the question) with her stylist in tow. Stylist? is she a celebrity?    Kenyato her credit she can take a little dirt and cause a dust storm.  However, if she and her guy pal make up one more song, were gonna have to call Marlo in to ruff them up.


Bravo’s obligatory field trip.    You know what they say………..  Payback is a buick…

Back in the early days of RHOA, the queen bee would be hours late to functions.  But being  a working girl in Hollywood has changed that.    M’s Leakes is an on time gal… and she has little tolerance for tardiness.   The ladies were to meet Nene at 11am.   Kenya and  Mynique arrive on time and things go down hill from therewith Cynthia and Porsha being an hour late and Phaedra and Kandi being nearly three hours late.

Kenya is pissed( rightfully so) and she is trying to work Nene up.  On the bus Kenya goes off on all the late ladies and Kandi snaps…..and the rest to be continued.   Oh Bravo!

Season Six-Nits to Pick

Whatz up with the hair and make up this season? . First things first Porsha gets a pass, for the most part she looks better this season.   Perhaps its lighting, Cynthia makeup is off, but looks good.  Speaking of make up, do they hate Kenya?its BAD, and she is a beautiful woman, make up lip stick looks really bad this season.   Makeup or lighting isn’t a problems for Phaedra.  Perhaps someone is playing a practical joke on Ms Parks.  When its a light occasion she dresses for a funeral complete with black vail. When its a serious matter she is dressed like she is hitting the clubs.  Kandi-hair, nuff said.  Finally, the queen bee….   What is up with the hair?  She looks as if she is having a yard sale everyday!  Did she leave her sense of style or stylist in Hollywood.    What happened to her “Gays” they wouldn’t let her come out of the house looking like this…

Well that’s all for this week, same bat time, same bat channel.


Opps one more….   On the slick and cool meter….  It’s Gregg Leakes, the brotha is too cool for color TV.   A rose for the ladies….  All right now!      (You young men, need to take notes)

Last Week

6 Reasons Actresses Over 40 Are Hotter Than Ever in Hollywood

6 Reasons Actresses Over 40 Are Hotter Than Ever in Hollywood

By: Todd Cunningham/The Wrap

For decades, the age of 40 was the point of no return for the majority of Hollywood’s leading ladies of film. But there’s been a seismic shift in the way the industry and moviegoers view “aging” top actresses, and today their clout and box-office muscle have never been greater.

Forty-nine-year-old Sandra Bullock is getting a ton of attention for her starring role in the space epic “Gravity,” but this was already a great year overall for actresses over 40. Oprah Winfrey, Jennifer Aniston and Melissa McCarthy all starred in breakout box-office hits.

And there are more high-profile movies with women over 40 in plum roles still to come. Emma Thompson will star opposite Tom Hanks in the Mary Poppins tale “Saving Mr. Banks,” due on Dec. 13. And later that month, 64-year-old Meryl Streep – who’s been an exception to the rule for some time – will be featured with Julia Roberts, who turns 46 on Monday, in the drama “August: Osage County.”

Their success has been artistic as well as commercial.

The five top contenders for the Best Actress Oscar, according to the experts, are Bullock, Streep, Thompson (54), Cate Blanchett (44) and Judi Dench (78). If those end up being the five nominees, the average age in the category will be almost 58.

There are a lot of reasons things have changed. Here are six:

The Box Office
Nothing breaks down barriers like a healthy bottom line and over-40 actresses have delivered this year.

Bullock and McCarthy were cop buddies in 2013’s biggest comedy “The Heat,” which has taken in $228 million worldwide. Jennifer Aniston drove the summer’s surprise hit “We’re the Millers.” And the popularity of 57-year-old Oprah Winfrey had a great deal to do with the success of “Lee Daniels’ The Butler,” an Oscar contender that has already served up $130 million worldwide.

Their success has crossed genres, too. Vera Farmiga starred in the year’s biggest horror hit, “The Conjuring,” and Halle Berry topped the box office with the dark thriller “The Call” in March.

Even Gwyneth Paltrow, who played Tony Stark’s gal pal in the year’s highest-grossing movie, Marvel’s “Iron Man 3,” is 41.

Audiences Are Getting Older
A lot of the people who saw Oprah in “The Butler” also saw her in “The Color Purple” back in 1985. The same goes for “Gravity” viewers, who recalled Bullock in 1994’s “Speed.” That gives moviegoers a sense of connection, as with long-time friends.

“The Baby Boomer generation has been going to the movies all of their lives and they’ve never stopped,” said Catherine Paura, chairman and chief  executive of Capstone Global Marketing and Research. “They want to see narrative-driven movies, with strong stories that they can relate to. They’re in the habit of going to the movies, and they like them, especially when their stars are in them.”


More than a third of all movie tickets purchased in the U.S. last year were by people past 40, so these actresses don’t seem old to them at all. And Baby Boomers now represent 28 percent of the populace, so the trend is here to stay.

They’re Getting Better with Age
People watched Julia Louis-Dreyfus yuck it up on TV’s “Seinfeld” back when they were in their 20s and 30s and she was, too. But anyone’s who’s seen her nuanced portrayal of a discombobulated single mother taking a tentative step toward romance in “Enough Said,” has to be impressed with how far she’s come since her Elaine days.

“You look at people like her or Sandra Bullock and people say they’re hitting their stride as actresses,” said casting director Marci Liroff, who specializes in feature films and TV, “but they couldn’t have excelled in these roles without the career and life experience that they developed when they were younger. And I loved Elaine.”

Hollywood Is Wising Up
A decade ago, it would have been hard to imagine a film like this year’s “Blue Jasmine” making $30 million. But the Woody Allen joint in which Blanchett plays a middle-aged woman struggling to find her footing after her swindling husband is jailed has done just that.

While roles designed specifically for women of that age group remain the exception, Hollywood is making more movies that appeal to older audiences of late.


“The studios are seeing there’s an audience out there and saying let’s make something for them to see,” said Paura. “Look at last Christmas, when you had ‘Les Miserables,’ ‘Lincoln’ and ‘Argo’ all out there at the same time, all doing great business. It’s a realization that this is an under-served and very viable audience.”

Where progress is most apparent is with movies like “The Heat” or “Gravity,” in which the protagonists almost certainly would have been male a decade ago. And “The Heat” showed that women can be as foul-mouthed, obnoxious – and funny – as men.

Young Actresses Aren’t Translating
Other than Jennifer Lawrence and Anne Hathaway, there aren’t many actresses under 40 who can sell tickets overseas, an increasingly critical component when movies are developed and cast today.

That’s not necessarily a gender issue – there aren’t many young men who can, either. But Roberts, Streep, Bullock, Angelina Jolie and Cameron Diaz can – while Scarlett Johansson, Emma Stone and Amanda Seyfried generally don’t. But that’s nothing time won’t cure, according to casting director Liroff.

“These young women are at exactly the stage the legends we’re talking about were back then,” she said.

We Saw It on TV
“When you see a Robin Wright on ‘House of Cards’ or Jessica Lange on ‘American Horror Story,’ I think people and – and Hollywood — take notice,” said Martha Lauzen, executive director of theCenter for the Study of Women in Television and Film at San Diego State University.


She gives the small screen a lot of the credit for women’s gains in film.

“TV has been leading the way recently. A few years ago, when Glenn Close was in ‘Damages’ and Kyra Sedgwick in ‘The Closer’ started showing how incredibly talented they were, I’m sure that some of that seeped into film.”

But Let’s Not Get Carried Away
While a number of elite over-40 actresses are making their mark as never before, the situation hasn’t changed that much for most of them. While 55 percent of film roles went to women in their 20s and 30s, just 13 percent went to women in the 40s, according to the 2012 report “It’s a Man’s (Celluloid) World.”

“Attitudes toward women, gender and age are deeply embedded,” said Lauzen. “These are very stable attitudes that take a long time to evolve, but with steady and continued success our culture will be moved.”

Alec Baldwin homophobic slurs against a gay Daily Mail journalist not going away

Alec Baldwin should be banned from using electronics.

On Thursday, perturbed by a now-removed story on the Daily Mail’s website claiming his wife was tweeting during James Gandolfini‘s funeral in New York, he replied on Twitter about the (gay) journalist who wrote it:

“I’m gonna find you, George Stark, you toxic little queen, and I’m gonna fuck … you … up.”

(For an alleged heterosexual, Baldwin certainly has a keen grasp on the dramatic pause). And then:

“If [he means I’d] put my foot up your fucking ass, George Stark, but I’m sure you’d dig it too much.”

And, because A-listers are used to having help in all matters, he incited the public to assist in defending his dishonour:

“I want all of my followers and beyond to straighten out this fucking little bitch.”

While this tweet is getting little news in the US, its getting a lot of press in the Britain.  Some are making the comparisons to Paula Deens “Nigger”

Patrick Strudwick of the uk guardian said  Baldwin, that tornado of toddler behaviour, still stands aloft, unscathed. This is after an incident of such violent, naked homophobia that it bears all the nuance of a brick lobbed through a gay bar.    

Can you hear it? The stampede of Hollywood actors scrambling to condemn Alec Baldwin? The cacophony of icy tweets and acidic statements snarled by publicists like demented pantomime horses? That din of Tinseltown turning inwards when, in a rare fit of righteousness, of actually believing in something real and heartfelt and important, it stands up, en masse, to one of its own?

No? That’ll be because there is no sound. Put a glass to your ear, press it up against the Hollywood sign and all you’ll hear is the crashing Pacific – and of course, the daily wail of punctured dreams.    

Baldwin has since deleted his twitter account 

 This could pick up steam…..    setting the timer.