U.S. reality TV star Camille Grammer has been hit with a lawsuit from her ex-boyfriend over assault claims she made against him. Grammer, the ex-wife of actor Kelsey Grammer, accused Dimitri Charalambopoulos of leaving her bruised and battered following an alleged altercation in October (13).
In January (14), she won a three-year restraining order against Charalambopoulos, but last month (May14) members of a grand jury ruled there was not enough evidence to proceed with the felony assault case against him.
Now, Charalambopoulos is claiming Grammer made up the whole story and is suing for defamation, malicious prosecution and fraud, according to TMZ.com.
U.S. reality TV star Camille Grammer's ex-boyfriend has walked away from charges after she accused him of attacking her in a Houston, Texas hotel room last year (Oct13). Grammer, the ex-wife of actor Kelsey Grammer, accused Dimitri Charalambopoulos of leaving her bruised and battered following an alleged altercation and she won a three-year restraining order against him.
But, in court on Wednesday (28May14), the members of a grand jury ruled there was not enough evidence to proceed with the case.
Supermodel Heidi Klum was honoured with the Crystal Cross Award from the American Red Cross for her charity efforts during a ceremony on Saturday (17May14). The model-turned-TV personality has been working with the relief organisation for the past 10 years, but it was her work after Hurricane Sandy hit the U.S. East Coast in 2012 that earned her the special recognition.
Thousands were left homeless or without power for days when heavy winds and rain battered the area, and Klum offered up items from her Truly Scrumptious line of baby and toddler clothing and nursery decor to help those in need.
At the ceremony at the French Embassy in Washington, D.C., Klum told People magazine, "I try to give back. After Sandy, we got a gigantic truck and we loaded it with blankets, diapers, kids' clothes and toys because it was right around the holiday season and we went to Long Island (New York).
"So many people had lost everything, and everything was wet and it was a big mess. The Red Cross has such an infrastructure to help you, you need all these hands."
She adds, "I try to get a lot of goodies from the people I work with. I realize how fortunate I am. When you go out into these desperate situations, when you sit at a hospital with sick children, of course it changes you. We are used to seeing horrifying catastrophes on television, but when you are about to go and be there and see the sadness on people's faces and the things they just lost, it makes a huge difference."
Downton Abbey star Dame Maggie Smith will swap her finery for rags to play a homeless woman in the movie adaptation of Alan Bennett's play The Lady In The Van. Smith will reprise the role of eccentric Miss Shepherd, which she originated onstage in 1999, for the movie.
Bennett, who turned 80 on Friday (09May14), wrote the play from his memoirs, which chronicled his odd relationship with a homeless lady who lived in a battered car in the driveway outside his London home for 15 years until she died in 1989.
Sir Nicholas Hytner, who directed Smith in The Lady in the Van onstage in London, will also take charge of the film adaptation. This will be his third collaboration with playwright Bennett - he transformed both The History Boys and The Madness of King George III from the theatre stage to the cinema screen.
Mission BriefingS.H.I.E.L.D. is still in pieces after the recent attacks from embedded HYDRA agents, and the U.S. governement is threatening to blow up the organization into even smaller pieces when S.H.I.E.L.D. is labeled a terrorist organization. With a dwindling number of options, Coulson decides to take a risk when he recieves a mysterious set of coordinates by way of his S.H.I.E.L.D. badge. Does salvation lie at the end of the coordinates, or is Coulson leading his team right into a Hydra trap?
Mission FalloutThe ragged remains of S.H.I.E.L.D. are barely holding themselves together after the events of The Winter Soldier. Coulson and his team are lying low at the Hub, one of the few remaining S.H.I.E.L.D. bases still intact and under genuine S.H.I.E.L.D. control. Things get even worse when Coulson gets a call from a Colonel Glenn Talbot, who threatens to send peace keeping troops to the Hub. Coulson bets that there will be less peace keeping and more bunker busting from the hard-edged Colonel and decides to cut and run, even though the Bus is in no kind of shape for a long journey. The team takes off with limited food, fuel, and supplies (but good Internet), and decide to go completely off the grid.
Meanwhile, the double crossing Agent Ward frees Raina from a S.H.I.E.L.D. prison and introduces her to Garett, Whom she is disappointed to learn isn't really clairvoyant, but simply in possession of a high S.H.I.E.L.D. clearance. Ward and Garrett decide to raid the Fridge, the secret location where S.H.I.E.L.D. keeps its most dangerous acquisitions. Ward reveals to Raina that all of his actions since first meeting Coulson and joining his team were calculated moves to gain everyone's trust. He does reveal that he cares for Coulson, but not as much as he cares for Garrett. The duo infiltrates the Fridge and steals a load of S.H.I.E.L.D. weaponry, but can't crack the encryption on Skye's hard drive, which is full of S.H.I.E.L.D. secrets. Garrett tells Ward to get the password from her and kill the rest of the team in the next 24 hours.
While flying away from the Hub, Coulson receives mysterious coordinates on his badge, which he believes to be a message from Agent Fury. The rest of the team doubts the coordinates, believing them to be a HYDRA trap. Coulson decides to head to the coordinates anyway, which leads them to a snowy wilderness. With the validity of the coordinates seeming less likely by the second, The team finally reaches the location of the coordinates, only to find nothing. Everyone except Fitz begins to doubt Coulson even more, especially after learning the he used the Bus' last bit of fuel flying to the coordinates. Coulson gives an impassioned speech about still believing in S.H.I.E.L.D. before inadvertently setting off a defense mechanism. It turns out that the coordinates belonged to a secret S.H.I.E.L.D. base set up by Director Fury and manned by Agent Eric Koenig (Patton Oswalt). Koenig reveals to Coulson that Fury is alive, but prevents him from telling the rest of his team the good news. Skye informs Ward about the secret base, and the agent arrives, ready to do whatever it takes to get the password for the hard drive.
Most Valuable Agent AwardThis weeks honor might go to Coulson if he weren't being so irrational the entire episode. Of course he ended up being right, this being his show and all, but shouldn't he be just a little more wary about following mysterious coordinates? Especially after HYDRA has eaten its way through his entire organization? No, this week's award goes to new recruit Agent Koenig for fitting in some primo Call of Duty hours while being locked away in the secret S.H.I.E.L.D. base.
Mission Highlights and Other Observations - Looks like Coulson and his team should be expecting a visit from the supervillain Graviton pretty soon, now that Garrett has gotten his hands on the gravitonium from episode 3. - Agent Grant Ward has become infinitely more interesting after revealing his true colors. All of a sudden he's all rugged and roguish. Why couldn't he be this cool before?- It looks like the show is positioning Triplett to be a Ward's replacement on the team. No complaints here.
Chilean actor Pedro Pascal was left with bruised and battered knees during filming for hit fantasy series Game Of Thrones after constantly hitting himself with his own prop spear. The Graceland star was cast as Prince Oberyn Martell, aka The Red Viper, last year (13) for the new fourth season of the show, but Pascal admits it took him a while to get to grips with his poisoned weaponry and he ended up injuring himself on multiple occasions.
He tells the New York Times, "The worst of it was whacking myself with my own prop. I busted up my knees a lot trying to spin the thing from my left to my right. I whacked myself in the face several times. But I was never hurt by another actor or fight choreographer."
Sylvester Stallone still winces as he recalls the multiple injuries he suffered at the hands of his co-stars while filming the Rocky films. The Rambo star worked alongside actors like Carl Weathers, Mr. T and Dolph Lundgren in tense fight scenes in the boxing movies, and he reveals they left him bruised and battered.
He tells the New York Post, "I remember real punches making those films. Dolph Lundgren... put me in the hospital. (He) hit my chest so badly (doctors) thought I was in a car accident...
"Carl Weathers broke my jaw. I never let on he actually did that. I wouldn't give him that satisfaction of knowing he did such a great job."
Ozzy Osbourne's mansion in Buckinghamshire, England has been severely damaged by flooding and will cost more than $48,000 (£30,000) to repair. Many regions were deluged when torrential downpours hit the U.K. this year (14) in the wettest winter since records began in 1910, and Buckinghamshire was one of the worst affected areas.
Osbourne and his wife Sharon are based in Los Angeles but they will not be able to live in their $8 million (£5 million) English base for months due to water damage.
The Black Sabbath frontman tells the Daily Mirror newspaper, "It's been completely flooded. The rain has battered down the walls and seeped through everything. There is water everywhere.
"We've been told it's going to cost £30,000 to repair but we can't go about getting it fixed because it's going to take nine months to dry out. The place is ruined."
Writer John Ridley won the Academy Award for Best Adapted Screenplay for 12 Years a Slave. It's hard to think of any other nominee that could have taken the award besides the gripping adaptation of Solomon Northrop's memoir. Ridley, of Undercover Brother fame, adapted Northrup's real-life story of imprisonment slavery into a vivid study of battered humanity that shattered audiences and critics alike. Thanks to Ridley's assured script, 12 Years a Slave was given a raw emotive power that went hand in hand with Steve McQueen's direction.
The original 19th century memoir, which saw little play outside of history classrooms, is now among the exclusive community of Hollywood's awarded screenplays. In his speech, Ridley naturally thanked Solomon Northrup, whose searing account inspired the film. He also thanked the producers of the film.
Sony Pictures via Everett Collection
There is a certain level of enjoyment you are guaranteed when signing on for a movie that boasts a cast of George Clooney, Matt Damon, John Goodman, and Bill Murray. And that's the precise level of enjoyment you'll get from The Monuments Men — that bare minimum smirk factor inherent the idea that your favorite stars are getting to play together. In FDR-era army helmets, no less. But what we also get from the film is an aura of smug self-confidence from project captain Clooney, who seems all too ready to take for granted that we're perfectly satisfied peering into his backyard clubhouse.
So assured is the director/co-writer that we're happy to be in on the game that there doesn't seem to be any effort taken to refine the product for the benefit of a viewing audience. An introductory speech from art historian Frank Stokes (Clooney) sets up the premise straight away: the Nazis are stealing and destroying all of Europe's paintings and sculptures, and by gum we need to stop them! The concept doesn't complicate from there, save for a batting back and forth of the throughline question about whether the preservation of these pieces is "really worth it." Stokes rallies his own Ocean's Seven on a fine arts rescue mission, instigating an old fashioned go-get-'em-boys montage where we learn everything we need to know about the band mates in question: Damon has a wife, Goodman has gumption, Murray doesn't smile, Bob Balaban is uppity, and Jean Dujardin is French.
The closest thing to a character in The Monuments Men comes in the form of Hugh Bonneville, a recovering alcoholic whose motivation to take on the dangerous mission is planted in a festering desire to absolve himself of a lifetime of f**king up. When we're away from Bonneville, the weight disspears, as does most of the joy. Without identifiable characters, even master funnymen like Goodman, Murray, and Balaban don't have much to offer... especially since the movie's jokes feel like first draft placeholders born on a tired night.
Sony Pictures via Everett Collection
But wait a minute, is this even supposed to be a comedy? After all, it's about World War II. And no matter what Alexandre Desplat's impossibly merry score would have you believe (coupled with The Lego Movie, this opening weekend might be responsible for more musical jubilance than any other since the days of "Make 'Em Laugh!"), warfare, genocide, and desecration of international culture all make for some pretty heavy material. But The Monuments Men's drama is just as fatigued as its humor, clumsily piecing together a collection of mini missions wherein the stakes, somehow, never seem to jump. We're dragged through military bases, battered towns, and salt mines by Clooney and the gang — occasionally jumping over to France to watch Damon work his least effective magic in years on an uptight Cate Blanchett, who holds the key to the scruffy American's mission but doesn't quite trust him... until, for no apparent reason, she suddenly does. We never feel like any of these people matter, not even to each other, so we never really feel like their adventures do.
The Monuments Men doesn't have much of a challenge ahead of it. Its heroes are movie stars, its bad guys are Nazis, and its message is one that nobody's going to refute: art is important — a maxim it pounds home with the subtlety of a sledgehammer, through countless scenes of men staring in awe at the works of Michelangelo and Rembrandt. And in this easy endeavor, Clooney decides to coast. How could it possibly go wrong? Just grab hold of the fellas, toss 'em in the trenches, and let the laughs and danger write themselves. "This is what they came to see," Monuments Men insists. "Just us guys havin' a ball." But we never feel in on the game, and it isn't one that looks like that much fun anyhow.
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