Woman had 44 frozen dogs, 130 live dogs in home
SHAMONG TOWNSHIP, N.J. (AP) — Authorities say 44 frozen dogs and 130 live dogs were found at a New Jersey home that reeked of animal feces and urine.
State police say 65-year-old Donna Roberts was charged with animal cruelty following an inspection Tuesday at her Shamong Township residence in the Philadelphia suburbs. Officials allege living dogs were found in “deplorable and inhumane conditions.”
Roberts told the New York Post that the dogs were stillborn and she forgot about them after putting them in baggies and storing them in a freezer seven years ago. She said she wanted a veterinarian to perform autopsies.
Roberts said she did nothing wrong and “most certainly” will fight the charges.
The American Kennel Club fined Roberts $500 in 2015 and gave her a six-month suspension for refusal to share inspection records.
Article via YahooNews
Kim Kardashian Says Kanye West Liked Trump’s ‘Personality,’ but Didn’t Know His Policies
Kim Kardashian West is perfectly fine disagreeing politically with her husband, Kanye West. That being said, she doesn’t think his recent visit to the White House to converse with President Donald Trump was particularly political, at least for West. Rather, it was something that came from his heart.
At Variety and Rolling Stone’s Criminal Justice Reform Summit, when CNN commentator Van Jones implied that Kardashian West and her husband have different politics, the reality TV star objected.
“I feel like he’s very misunderstood and the worst communicator,” Kardashian West said. “But, when we talk about it, we have very similar politics. He’s very not political, actually, he just happens to like Donald Trump’s personality, but doesn’t know about the politics. So, I’ve educated him recently. I think it gets really misconstrued. He will always say he was friendly with him before, and he’s the same person and friendly with him now. I could also co-exist with someone and still have different political views. My mom and my step-dad did that. It’s fine to be different and have your own view.”
Kardashian West continued explaining the intent behind her husband’s recent White House appearance: “What he fights for is the right to like what he wants to like. Even if it’s different from what you like. He never said, ‘Okay, I know what’s going on with immigration, and I know this and I know that.’ If he really knew, he would feel very compassionate about it. He never said that he supports that. I know it’s very confusing because when you see someone wearing a red hat you would think that they are supporting that. But he’s just fighting for free thought and freedom to like a person even if it’s not the popular decision.”
Jones responded, “I’ve said this to you before, and I’ll say it to you again, I love the way you love your husband.” After dubbing Kardashian West the Kanye translator, she insisted that she knows his heart but still wants him to have his own path.
“After he went to the White House or has been outspoken, I could have easily been on social media and corrected him,” Kardashian West revealed. “But I believe people have their own journeys. I know his heart, so I know that one day what he’s been trying to say will come out. It’s taken a little long so I’m jumping in and helping out, but I know his heart so I never really stress too much.”
Article via Variety
A Heist, And A Whole Lot More, As Viola Davis Delivers In ‘Widows’
It is one of the oldest and most sexist tropes of all that husbands make messes and wives clean them up. Widows, directed by Steve McQueen (12 Years A Slave) and co-written by McQueen and Gillian Flynn (Gone Girl), spins that idea in a new direction.
Veronica (Viola Davis) is living a high-class, meticulously art-directed Chicago life with her husband Harry (Liam Neeson) and her fluffy little dog. But Harry’s gains are all ill-gotten, and when he pulls one big robbery too many and everything goes sideways, Veronica loses him in a massive van explosion that also takes the lives of the rest of his gang.
The problem? The gang still owes a debt to the man they robbed, and if there’s a debt harder to get rid of than your student loans, it’s the money you owe to an operator as merciless as Jamal Manning (Brian Tyree Henry). Manning is himself a criminal, running for alderman against incumbent Jack Mulligan (Colin Farrell). Politics, of course, takes money. So Jamal both wants and needs his $2 million back, and he expects Veronica — and the widows of the other three men who died in the robbery, if necessary — to make good.
So Veronica goes looking for them: Linda (Michelle Rodriguez), whose husband’s gambling debts were out of control; Alice (Elizabeth Debicki), whose husband was controlling and abusive; and Amanda (Carrie Coon), who wants nothing to do with all this gangster business and won’t talk to Veronica. So she makes do with the team she has, telling Linda and Alice that if they want to live, they only have one option: carry out the heist plans she found in Harry’s notebook. Get that money, use it to pay off Jamal — whose brother Jatemme (Daniel Kaluuya) glowers where Jamal placidly threatens — and get free.
And so Widows is a heist movie. There are plans to make, there are escapes to engineer, there are unexpected challenges to confront. At the same time, Widows is a drama about Veronica — who turns out to have a long and painful history with grief — taking her fate into her own hands. It’s a film doing two very different things, and it’s very good at both.
Part of this success comes from the performance of Viola Davis, who settles into Veronica’s crime-boss phase with ice-cold determination while carrying the character’s deliciously stylish, almost over-the-top panache. She totes around a fluffy little dog that has a story reason to exist but also brings a glamorous aesthetic, together with Davis’ gorgeous and elegant wardrobe, that gives the film a particular flair.
Davis gets strong support from the other women in the group, including Cynthia Erivo as a late addition to the heist team. Debicki, in particular, has a take on the traditional crime-film gorgeous blonde that delivers wit and vulnerability; she has the best chemistry with Davis of any of the widows. And Michelle Rodriguez, it’s fair to remember, is a veteran of the hugely successful Fast and the Furious franchise. She knows her action sequences and her steely glares. Like Neeson, she works this beat regularly — but like him, she’s doing something new within it.
Any crime film is nothing without a good villain. (Anyone who’s seen Die Hard and known that Hans Gruber occasionally had a point knows it’s true.) And Widows, while it most certainly is a story of good and bad guys, has put some thought into the bad guys, too. It’s easy to note the immediacy of Jamal and Jatemme as the people who threaten Veronica; Henry and Kaluuya both know how to play heavies, even though they’ve both played some sweethearts, too. But in the wings is Farrell’s Mulligan, playing out the Chicago-politics machinations of his dying father, played by Robert Duvall. And when Jamal confronts Mulligan about the fact that he doesn’t really know the ward he represents, hasn’t really done anything for it, and barely lives in it, it highlights the difference between immediate and overarching villainy. Who picks up the gun, and who created the situation the gun was picked up to solve? None of this absolves Jamal, but it adds dimensions to his behavior. Evil comes in many forms, and consequences, like everything else, are unequally distributed.
We could certainly end here with a discussion of the dismal representation numbers in Hollywood; how unconscionably rare it is to see strongly supported studio films that offer this kind of role for an actress of Davis’ gender, age, race and shade. The same goes for major releases with a celebrated black director like McQueen, let alone one making a fabulous and fun genre film that doubles as a clever examination of what it means to be a wife and a widow. Seeing Davis, seven years after she played a maid in The Help, heading up a heist team — seeing her take charge of this group, seeing her face down her enemies in perfectly cut clothes and avenge those she loved — it’s thrilling. This is all true.
But let us not lose sight of the fact that this movie is so much fun and so satisfying, so suspenseful and exciting, that all you may want to do at the end is exhale, let your body go limp, crunch your last kernel of popcorn, and buy a ticket to see it again.
Article via NPR
Blackfisher Denies All “Blackfishing” Allegations…But She’s Only Making Things Worse
Blackfishing…RaciallyAmbiguousFishing… Whatever
Mo’Nique Remains Firm In Defense of Roseanne Barr After Tweet Comparing Obama Aide to Apes
“Has She Ever Said, ‘Kill Black People?’” In due time my love…
Mo’Nique is not letting up on defending her “sister in comedy” Roseanne Barr.
Months after Barr lost her revived ABC sitcom “Roseanne” when she tweeted a racist joke about former Barack Obama aide Valerie Jarrett, Mo’Nique is addressing why she continues to stand by the disgraced star.
Barr’s sitcom was promptly canceled and she was killed off the spinoff show after stirring controversy for tweeting, “muslim brotherhood & planet of the apes had a baby=vj.”
While remarking on her 2009-2015 talk show, “The Mo’Nique Show,” giving a shot to any level of celebrity, Mo’Nique explained being open to everyone meant she couldn’t turn her back on Barr.
“That’s why, when people turned on my sister Roseanne Barr, I couldn’t do it,” she told the Chicago Tribune in a Nov. 12 interview. “Because there were black entertainers who would not come on ‘The Mo’Nique Show’ because it was quote-unquote ‘too black.’ But when I called on my sista, she said (imitating Barr): ‘Where is it and what time you need me to come?’ And when she showed up, when the cameras weren’t rolling, she said to me: ‘Listen, you’re the real deal. Don’t let them use you up and take advantage of you, because they will. Don’t you let them do that to you.’ Now, a racist woman ain’t gonna say that to me.”
When the reporter pointed out how clearly racist Barr’s tweet was, Mo’Nique maintained her stance. She also explained the comedians had several private conversations and explained the meaning behind her joke.
“I’m gonna say this: We’re comedians. And I know her. And what she thought was funny, as a comedian, that’s what it was,” she said before adding, “When we talked privately — and we’ve talked privately a lot — she’ll break her jokes down and I’ll know where they’re coming from. She’s like, ‘Listen, you know how I grew up, so how could I start making fun of anybody? I’m not trying to hurt anybody.’ Has she ever said, ‘Kill black people?’”
Mo’Nique added that Barr has advocated for Black concert promoters and is pushing for a Malcolm X documentary “with a brother who’s a Muslim.”
“So when I know about this these things personally, did my sista say some things in poor taste? Some people could say yes. But what I won’t label her is a racist. When she sends me a DM that says, ‘My love, we will rise again like the Phoenix’ — a racist woman wouldn’t do that, would she?”
“There are some people who are downright racist and they say, ‘I hate everything that ain’t white.’ I get that,” Mo’Nique continued on. “Then you have those — which is a lot of white people — when you really sit down and talk to them, you see their heart is good they’ve just been conditioned to be that way. These conversations will heal us. And when people started calling me ‘sellout’ and ‘you a mammy’ — I’ll take those words, but when people sit down and talk to me about Roseanne, it gives me an opportunity to say who she is.”
Mo’Nique also maintained that her personal relationship with Barr gives her a different perspective.
“If I didn’t know her, lemme tell you something, don’t you think I’d be sitting right next to you?” she said. “If I didn’t know that woman personally, I’d be sitting right there saying, ‘That racist (jerk)!’ But I know her personally. I know her when the cameras ain’t rolling. I know her when she gains nothing from pulling me up.”
Regardless of all “The Parkers” star’s explaining, Twitter users remained unmoved.
“First she gassed up fat women then lost weight. Now Roseanne. Monique never loved y’all ??????”
“Monique need to sit down. Was Roseanne at war for her Netflix check?”
“Mo’Nique. Sit down. You’re canceled, just like Roseanne’s show and your nonexistent Netflix special.”
Article via AtlantaBlackStar
Check out some Lovelyti videos:
Mush Mouth Mo’Nique Stands By Her Support Of Roseanne Barr~ “My SISTER came on my BET show”?
Valerie Jarrett responds to Roseanne’s Twitter rant+ was this a humiliation ritual??
Cardi B Shares the Heartbreaking Reason She’s ‘Scared’ to Post Photos of Baby Kulture (Exclusive)
Cardi B is a protective mama bear!
On Wednesday night, the 26-year-old rapper opened up to ET’s Katie Krause at the launch of her Fashion Nova X Cardi B line at Boulevard3 in Los Angeles about motherhood and her continued reservations on sharing photos of her 4-month-old daughter, Kulture, with the world.
“One day, soon,” she assures ET of posting photos. “I’m scared of sharing her to the world. There are too many mean people out there.”
Cardi admits that the temptation is strong because of how in love she is with her little one.
“Sometimes I do want to show people how beautiful and how precious she is. She’s so precious,” she says. “There’s a lot of people that have crazy minds, you know. I want to protect her! She’s my little buggy.”
One person Cardi doesn’t have to worry about is her husband, Offset, who is a great dad to Kulture already.
“He is changing diapers, but I’ve been seeing Offset being a dad,” she explains. “He already has three kids, so I already fell in love with the way that he was a dad already. I’m like, ‘Oh my god, I can have a little one with this guy.’ He’s really good.”
Despite the Migos rapper’s skills in the daddy department, Cardi thinks Kulture is more of a mama’s girl.
“I think she’s more me. I think she loves me a little bit more, but I think she’s just loyal to whoever gives her the milk,” she teases.
So will Cardi and Offset be adding to their sweet family?
“I want two more,” she admits. “It could always be a hit or miss, but I don’t want nothing right now.”
This isn’t the first time Cardi has gotten candid about keeping baby Kulture out of the spotlight. Last month, she told her fans that she had turned down a seven-figure deal for the first photos of baby Kulture.
Article via ETonline
In an uneven finale, American Horror Story says you can’t outrun your fate
The apocalypse has finally come to an end. After nine episodes that seemed practically plodding after the overstuffed episodes of last year’s Cult, the season finale packed in everything, including so many clips from those last nine episodes you’d have to be forgiven for thinking an editor had been sleeping on the job and accidentally spliced the “previously on” in every five minutes.
The return of Angela Bassett was as welcome as it was wholly unnecessary. Marie Laveau barely has time to glare at Michael before he’s eating her heart. Her triumphant, blink and you miss it cameo captured the overall feel of the episode. There was a lot to smile about. Kathy Bates exploded! And her oozing head sang “Daisy Bell!” But what was it all for?
Likewise Cordelia’s sacrifice was so inevitable it seemed strange for it to play out like a surprising choice, to anyone involved. Since Mallory was first identified as the next Supreme, it was clear Cordelia would have to die so Mallory could rise and reach her full potential. Could Myrtle really be shocked by Cordelia’s suicide, especially when she offered an “I love you,” before walking very slowly and intentionally out of the room where their last hope seemed to be bleeding out in the bathtub? Billy Eichner’s jilted lover returning just long enough to stab Mallory was surprising. Where it ultimately brought the storyline was not.
Maybe the biggest problem the writers had to deal with was the fact the dots laid out in this season had, for the most part, been connected before the finale. If the audience understood Mallory and Coco must have been put under an identity spell for their protection if they were bumping around the bunker completely powerless, did we need to see it performed? If the pilot had already offered a peek into what their assistant/boss from hell dynamic looked like, did we need to see it play out under the watchful eyes of Madison? And while you don’t really need an excuse to watch Jessica Lange act, if we knew Michael eventually ended up in the loving arms of Ms Mead, desperate for a maternal figure, did we need to see his Grandma reject him completely then throw him out? It’s possible that scene even undercut, just a little, the moment when she leaves him to bleed out in the street after Mallory the time traveler hit him with her car. The moment just after he begs her to put him in the murder house does offer the night’s best moment of suspense. In a world where people often act against their own best interests in a spectacular fashion, it didn’t seem implausible that she might have preserved her grandson’s murderous spirit in the house with the rest of his family forever. But maybe she knew it was time for a new son of Satan to rise.
Getting past the terrifying new bit of world building that says you don’t need anything as specific as an evil ghost in the mix to give birth to the Antichrist, just two nice twenty-somethings who like coffee, going back to the season’s narrative beginnings (actually, to the series’ beginnings) could be seen as capturing an idea about the inescapable nature of fate. But while last season’s cyclical moment, the cult victim turned cult leader assassin turned cult leader at least captured an evolution, a second bouncing baby Antichrist, with the exact same MO as toddler Michael, just seems like a let down. The good guys won, and while it can be satisfying in a twisted way to see the people you’re rooting for realize their victory will be short lived, allowing only the audience to realize this bleak development felt hallow. Here’s hopping it’s all a set up for season nine— American Horror Story: Demonic Preschool. Maybe all Michael needed was some equally bloodthirsty kids to play with so he’d reach his full potential without so much angst.
That’s it for AHS: Apocalypse. Thanks for reading this season!
Stray Observations
- It was obviously suppose to be a call back to the pilot when the top secret apocalypse police picked up Timothy because his 23andme kit proved he had desirable DNA, but there is no way Emily, protestor against child labor, would go on even an apology date with a dude who said with no trace of irony he was .07% Brazilian.
- Even if you run over the Antichrist three times, you should probably just double check he actually died. Better safe than sorry when the literal fate of the world is in your hands.
- It makes sense Mallory would want to keep the whole knowing the future because she averted the apocalypse thing a secret, but in a school for witches, would it really be a big deal to tell Queenie she’s heard of the hotel, and it traps your soul? It seems less dangerous than counting on her frustration with traffic to keep herself out of harm’s way.
- So Coco, Mallory, Mr. Gallant and his Grandma were in the bunker because the witches set it up, Timothy and Emily were satanic plants, and Dinah and company got seats after she sold her soul. But Palo Alto tweedledee and tweedledum told Myrtle outpost three was full. So where were the rest of the celebrities? Surely they could have gotten some premium impersonators to round out the ensemble.
- Nan is the best. That is all.
Article via AVClub