Lea Michele hasn’t been heard from much since Fox’s Glee went off the air in 2015, which is probably for the best, based on accusations made by co-star Samantha Ware. In response to Michele, who played Rachel on the hit musical series, tweeting, “George Floyd did not deserve this. This was not an isolated incident and it must end. #BlackLivesMatter,” Ware (Jane) quote-tweeted her and wrote, “LMAO REMEMBER WHEN YOU MADE MY FIRST TELEVISON GIG A LIVING HELL?!?! CAUSE ILL NEVER FORGET. I BELIEVE YOU TOLD EVERYONE THAT IF TOU HAD THE OPPORTUNITY YOU WOULD “SHIT IN MY WIG!” AMONGST OTHER TRAUMATIC MICROAGRESSIONS THAT MADE ME QUESTION A CAREER IN HOLLYWOOD…”
LMAO REMEMBER WHEN YOU MADE MY FIRST TELEVISON GIG A LIVING HELL?!?! CAUSE ILL NEVER FORGET. I BELIEVE YOU TOLD EVERYONE THAT IF TOU HAD THE OPPORTUNITY YOU WOULD “SHIT IN MY WIG!” AMONGST OTHER TRAUMATIC MICROAGRESSIONS THAT MADE ME QUESTION A CAREER IN HOLLYWOOD… https://t.co/RkcaMBmtDA
Other Glee stars have since sided with Ware, with Heather Morris (Brittany) tweeting, “Let me be very clear, hate is a disease in America that we are trying to cure, so I would never wish for hate to be spread to anyone else. With that said, was she unpleasant to work with? Very much so,” while Dabier Snell (who appeared in one episode in 2014) wrote in all-caps, “GIRL YOU WOULDNT LET ME SIT AT THE TABLE WITH THE OTHER CAST MEMBERS CAUSE “I DIDNT BELONG THERE” FUCK YOU LEA.” Yvette Nicole Brown, who worked with Michele on ABC’s short-lived sitcom The Mayor, also responded to Ware’s original tweet, writing, “I felt every one of those capital letters.”
And this, from her Spring Awakening co-star Gerard Canonico:
“You were nothing but a nightmare to me and fellow understudy cast members,” Canonico, 30, commented on Michele’s post on Wednesday, June 3. “You made us feel like we didn’t belong there. I tried for years to be nice to you to no avail. Maybe actually apologize instead of placing the blame on how others ‘perceive’ you. You’ll probably just delete this though.”
Michele issued a statement on Wednesday apologizing for how her “behavior towards fellow cast members was perceived by them,” and that it was maybe her “privileged position and perspective that caused me to be perceived as insensitive or inappropriate at times,” which is to say, she barely apologized. Ware’s response: open your purse.
You might not normally associate cognac with June. But that didn’t stop someone from scheduling National Cognac Day for today, June 4th. So regardless of whether or not cognac seems seasonally appropriate, we’re going to drink it this week (we all need a drink, certainly).
Since it’s all too easy to grab a bottle of VSOP cognac, crack it open, and pour yourself a glass, we decided to switch things up this year. We’re focused on cognacs to enjoy in a cocktail — the sazerac, vieux carre, French 75, sidecar, or any other drink you’re willing to sub cognac for whiskey in. And to get the top-shelf intel on which cognacs to mix with, we asked some of our favorite bartenders for their input.
Guillon-Painturaud VSOP
Pete Stanton, head bartender at Ai Fiori in New York City
I love Guillon-Painturaud VSOP. It’s floral, honeyed, and not muddied with Boisé. I feel when you make a stirred drink the battle is with it getting too rich and muddy. This cognac is a steal at its price and makes a delicious crushable cocktail.
I like cheap brandy to mix most of the time, some E&J makes one heck of a sazerac. But if I’m not paying for it, Pierre Ferrand Reserve makes great drinks. Alexandre Gabriel has, in my opinion, perfected his craft. He is a master blender.
I’m not sure why, but I started drinking cognac before whiskey and fast became a Hennessy Fan. Partially because of the Richard Hennessy-Jim Richard name connection. As far as cocktails go, this is where the New Orleans roots come in and the XO or the paradise are my favorite.
Whether you use a whiskey or a cognac, a drink like the sazerac is an iconic cocktail that deserves a little indulgence on the base spirit. This is a drink that should showcase both its French and its American roots. When I use cognac as the base, I usually reach for Martell Blue Swift. Technically this is not a true cognac because they age it in Bourbon casks from Kentucky rather than French oak but try it in a sazerac. Trust me, Blue Swift is going to make you a great cocktail with a smooth and long finish.
Typically, I use Maison Rouge VSOP cognac for mixing in cocktails. It’s a great, inexpensive, balanced cognac that is an ideal vehicle for complimenting the essence of the rye and elevating the subtleties from your vermouth, bitters, and Benedictine in a drink like a sazerac. It’s also a great cognac for sidecars.
Camus VSOP
Catalina Borer, bartender at Kingsmill Resort in Williamsburg, Virginia
If I were requested to create a cocktail with cognac I would use Camus VSOP, mainly because I feel that it is the “fruitiest” of the cognacs commonly available. It has strong citrus notes and a sweet caramel agave type of structure.
Martell VS
Kira Webster, beverage director at Indo in St. Louis
Martell VS. It’s a smooth cognac and the baking spice notes from the barrels add a little more depth to the flavor profile. The Cinnamon and light cocoa notes also complement cocktails beautifully.
I am a big fan of Remy 1738 Accord Royal. Remy itself has not fallen into the tasteless trap of mass production and they still continue to make high-quality cognacs. The 1738 is a middle-tier cognac that I think tastes better than some of the many high-end cognacs out there. Prevalent in sweet butterscotch notes, it is perfectly balanced without that peppery bite found in so many other cognacs. This is what makes it such a great choice — its mellowness does not overpower all the other ingredients thus creating a nicely-balanced drink that easy on the palate, allowing all flavors of each ingredient to come through.
Park Carte Blanche
H. Joseph Erhmann, proprietor of ELIXIR in San Francisco
Park Carte Blanche is both financially accessible and perfectly balanced for cocktails. It’s also a brand a lot of people still don’t know. I’m also loving the Reviseur VSOP right now.
Pierre Ferrand 1840. It is Maison Ferrrand’s mixing cognac and does an excellent job delivering a balanced cognac flavor but not getting lost to the other components. This is especially helpful if you prefer a prescription sazerac to compliment your favorite rye.
Like many celebrities, Beyonce has weighed in on the current protests and the death of George Floyd. She shared a video message a few days ago, and last night, she offered another post. Sharing a photo of protestors flooding the streets in Minneapolis, Beyonce wrote, “The world came together for George Floyd. We know there is a long road ahead. Let’s remain aligned and focused in our call for real justice.”
This post comes a few days after a video from Beyonce in which she speaks about the situation and makes similar points about justice, saying, “We need justice for George Floyd. We all witnessed his murder in broad daylight. We’re broken and we’re disgusted. We cannot normalize this pain. I’m not only speaking to people of color. If you’re white, black, brown, or anything in between, I’m sure you feel hopeless about the racism going on in America right now. No more senseless killings of human beings. No more seeing people of color as less than human. We can no longer look away. […] Yes, someone’s been charged, but justice is far from being achieved.”
The Rock will not stay silent during the protests following George Floyd‘s senseless death at the hand of law enforcement, and oh boy, is he feeling impassioned. In a process that’s more measured but as effective as the F-bomb dropping Seth Rogen, The Rock is going straight to the top with his appeal to recognize how Black Live Matter. On his social media pages, he posted an emphatic video, in which he never actually names President Trump, but he doesn’t have to say his name. It’s more than self-evident.
“Where are you? Where is our leader?” The Rock implores. “Where is our leader at this time when our country is down on its knees, begging, pleading, hurt, angry, frustrated, in pain with its arms out, just wanting to be heard? Where is our compassionate leader who’s going to step up to our country, who’s down on its knees, and extend a hand and say, ‘You stand up, stand up with me because I got you. I hear you, I’m listening to you. And you have my word that I’m going to do everything in my power, until my dying day, my last breath, to do everything I can to create the change that is needed, to normalize equality because Black Lives Matter.”
He continues while breaking down the unquestionable need for leadership’s solidarity with the Black Lives Matter cause: “Where are you?… Of course, all lives matter, but in this moment right now, this defining, pivotal, explosive moment where our country is down on its knees… we must say the words: Black Lives Matter.”
Watch the video, in which The Rock lauds the change that’s already begun, while he also acknowledges the long road to come.
Artists have been active on social media to show their support for the current protests. However, Summer Walker now claims that she has received some push-back about some of her posts from her record label.
Walker wrote in an Instagram Story:
“you can talk about your p*ssy and post your ass, talk about buying worthless jewelry instead of businesses and property, flex money, and disrespect your women. AND NONE OF THAT IS INSENSITIVE. but trying to warn people that DEEP STATE IS FINESSING YOU ALL AND TRYING TO TAKE AWAY YOUR RIGHTS, IS TOO SENSITIVE. Black, White, Hispanic, Chinese, Indian THE DEEP STATE IS FINESSING US ALL. but my label just told me that this information is too sensitive, but I NEVER got a call about clapping my ass in panties is to sensitive. Surprise ? No. Disappointed ? Yes. And ima leave it at that cause I don’t wanna disrespect nobody.”
She then shared a series of posts about which she was supposedly contacted. One reads, “You protested! now regroup, strategize, come together, make a goal, figure out how to execute it. Example try to get all 4 of the men into custody, or try to get the killers bond comepletly removed. But I guess I just need to stfu cause I’m getting in the way of someone’s chance to get a rolex. take some f*cking responsibility. There’s protesting for a cause and then there’s just doing wild sh*t for personal gain. Stay focused.”
According to IndieWire‘s annual examination of the movie industry, “White men still account for over 80 percent of film directors, even though they make up only a third of the U.S. population.” That explains how Green Book won Best Picture, and why Hollywood has had a “bad movie problem” for years — think of all the diverse stories that are being left untold. The odds are stacked against any non-white male getting a film financed and distributed, but it’s especially tough for black LGBTQ+ filmmakers. With the Black Lives Matter global network expanding every day and June being Pride Month, now’s an excellent time to watch these five movies from black LGBTQ+ directors.
“I am my own worst critic. But this is the first time I was able to sit down and not to nitpick at everything,” director Tina Mabry told GLAAD about Mississippi Damned in 2010. She was right to not be hard on herself: Mississippi Damned is a difficult, but rewarding watch about a black family living in small-town Mississippi, with a focus on a closeted lesbian, a high school basketball star, and a burgeoning pianist in 1986, and their grown-up selves in 1998 as they attempt to either confront or give in to cycles of neglect and abuse.
The exquisitely-shot drama (which, fair notice, depicts rape and domestic abuse) was honored with multiple accolades, including an audience award at the New York Lesbian, Gay, Bisexual, & Transgender Film Festival, and the American Black Film Festival was prophetic when they gave Best Actor to one of the ensemble film’s stars: Tessa Thompson, who would go on to play the first LGBTQ superhero in the Marvel Cinematic Universe. She had a remarkable presence even then.
Six years before she was nominated for an Oscar, Dee Rees made her best movie. Pariah is a self-autobiographical film that follows Alike (played by Adepero Oduye), a 17-year-old African-American girl growing up in Brooklyn “who knows that she loves women; that’s not the question,” as the Mudbound director said. “The question is how to be.” She’s torn between identities: she dresses butch at the club, where she’s surrounded by other empowered black women, but changes into “girl-y” clothes around her parents. The performances are exquisite; the script, sometimes funny, always authentic; the cinematography from Oscar nominee Bradford Young, stunning.
If you only have time for one movie on this list, make it Pariah.
There’s often an expectation that queer and female filmmakers have to make Works That Matter, but white males shouldn’t have a monopoly on nonsense; look at D.E.B.S. Based on director Angela Robinson’s short film of the same name, the action-comedy is about four high schoolers who become super-spies after being recruited by the government through a test concealed in the SAT; one character’s name is “Lucy Diamond,” there’s talk of a plot to “sink” Australia, and a prominent scene includes a sing-along to Erasure’s timeless ’80s jam “A Little Respect.” It’s very silly and very fun, a winking satire of spy films (“the perfect lesbian spy movie that puts lesbianing first and spying second,” as an excellent Letterboxd review puts it) the way Josie and the Pussycats skewers the music industry.
D.E.B.S. has built a cult following over the years, but it was a dud at the time, only making $97,446 at the box office (on a $3.5 million budget). The entertainment industry has an abhorrent history of not giving female filmmakers, especially queer female filmmakers, multiple chances if they have a supposed “bomb” in their filmography, unlike male directors who are allowed to plop out turd after turd. Robinson would make Disney’s Herbie: Fully Loaded the next year, becoming only the third black woman ever to direct a feature-length film for a major studio, but it would take another 12 years before her next feature, 2017’s quietly powerful Professor Marston and the Wonder Women. She became an in-demand television director in that time, but hopefully it’s not another 12 years before her next movie. The people (me) demand a D.E.B.S. sequel.
The Watermelon Woman is not only historically significant, as it’s the first feature film directed by an out black lesbian; it’s also really good. (History and quality do not always go hand-in-hand — there’s a reason you probably can’t name the “first photorealistic computer-animated feature film.”) Directed by Cheryl Dunye, who also stars and wrote the incisive screenplay, The Watermelon Woman is a “black lesbian masterpiece” about a video store employee who wants to make a documentary about Faye Richards, the titular “watermelon woman,” a 1930s actress who was often cast in the “mammy” role.
The setting and wardrobe couldn’t be more ’90s, but The Watermelon Woman is a timeless “piece of art that allows us to think about who has access to representation, who has access to archives, and why women, people of color, and queer people have not had access to these powerful instruments,” producer Alexandra Juhasz told IndieWire.
Like so many film festival hits before it, Punks is almost impossible to find on the internet. But if you’re lucky enough to live near an indie theater that hosts a screening, like Brooklyn’s Nitehawk Cinema last year, do yourself a favor and go. I somehow saw the romantic-comedy, directed by Patrik-Ian Polk and produced by Babyface, in college, and while the details are fuzzy, I remember having a tremendous time. It’s the “gay male counterpart to Waiting to Exhale“ or “Sex and the City with black, gay men,” depending on which comparison you want to go with, although both should sound intriguing.
“It was a gay, black film, and we’re talking about the year 2000. I mean, you know how kind of it’s still kind of taboo in certain things in pop culture. But back then, it was a different time, so no major distributors made offers on the film,” Polk told NPR about Punks in 2019. It finally found a small distributor, but they couldn’t afford the rights to the Sister Sledge songs in the movie, “and then people forget, and then you just move on and do other things,” Polk added. People did move on, but they didn’t forget Punks.
In times of civil unrest, certain thematically relevant songs that are appropriate for the moment tend to get more plays. One of those that immediately comes to mind is NWA’s classic “F*ck The Police,” and naturally, it has seen a significant jump in listens following the death of George Floyd.
Citing figures from Alpha Data, Rolling Stone notes that from May 27 to June 1, “F*ck Tha Police” experienced a 272-percent increase in on-demand audio streams compared to the five-day period before Floyd’s death. The song did particularly well this past Sunday and Monday, racking up 765,000 streams during those days, which is about five times the amount of streams on those days before the protests began.
Meanwhile, Childish Gambino’s “This Is America” has also picked up steam over the past month or so, thanks to TikTok posts about the death of Ahmaud Arbery. Also from May 27 to June 1, “This Is America” had a 149-percent jump in streams.
Other songs that experienced increased streaming activity included Public Enemy’s “Fight The Power” (up by 89 percent), Kendrick Lamar’s “Alright” (71 percent), D’Angelo and the Vanguard’s “The Charade” (122 percent), Killer Mike’s “Don’t Die” (542 percent), Beyoncé’s “Freedom” (70 percent), James Brown’s “Say It Loud — I’m Black And I’m Proud” (455 percent), and Nina Simone’s “I Wish I Knew How It Would Feel To Be Free” (34 percent).
In a 2016 interview, Ice Cube was asked if he believed things were getting better in terms of police brutality and racial equality, and he responded, “No. The problem is that they’re just the same. People don’t change their stripes. That’s just what it is. It ain’t changed.” He also said, “As a Black person, it’s always seemed like it’s a war on us. It’s just terrible. They wonder what I’ve got to complain about at this point in my life. I’ll tell you: People are only nice to me because they know who I am and they like my work. It shouldn’t have to be like that to get people to respect you.”
Did Woody Harrelson’s father, Charles Harrelson, really assassinate a federal judge, a crime for which he was convicted and sentences to life in prison? Or was he framed for it? How could Charles Harrelson — a supposed mafia hitman who was so broke he accepted a pittance to murder a man — afford Percy Foreman, one of the most celebrated criminal defense attorneys of his era, and the guy Jack Ruby asked to defend him? Was Charles Harrelson involved in the assassination of John F. Kennedy? What does Woody Harrelson think about his father? Has Woody tried to keep a lid on his father’s conviction to protect his career?
None of these questions are particularly novel, and the fact that Woody Harrelson’s father was a hitman is not exactly a big Hollywood secret (it’s been written about here before). What’s new, however, is that someone is actually trying to explore these questions. He’s a journalist by the name of Jason Cavanagh, and he hosts a new Spotify podcast, Son of a Hitman, which does a deep dive into the crimes of Charles Harrelson. In doing so, he talks to Charles’ other two sons, as well as the family members of the Senior Harrelson’s victims.
It is a thorough, in-depth investigation of Charles Harrelson, so much so that Brett Harrelson — the son of Charles and brother of Woody — ends up learning a lot about his own father through Cavanagh’s investigation. One wonders, however, if Woody would have welcomed the investigation.
“Woody Harrelson doesn’t want it, and he has a lot of power in Hollywood, but I knew that it would eventually come out,” says the daughter of Jamiel Chagra in episode five of Son of a Hitman. Chagra was one of the biggest drug traffickers in the country back in the 1970s, a man who purportedly paid Charles Harrelson to assassinate United States District Judge John H. Wood Jr. The account of Chagra is an insane, multilayered story in and of itself, and that, too, is explored in Son of a Hitman, which will also touch upon the most insane conspiracy surrounding Charles Harrelson: Was he involved in the murder of JFK?
It sounds farfetched, and it is, but Cavanaugh follows that trail, anyway, to see if there is a trail that connects Charles Harrelson to JFK. Through five episodes, so far, there are a few breadcrumbs, and fans of Woody Harrelson, true crime, or podcasts would be served well to tune into Son of a Hitman to see if Cavanagh can connect the dots to JFK or definitively discover whether Harrelson was framed for the murder of a federal judge.
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