#hollywood scandal

[bitter69uk]

“Jean Harlow was the first screen tramp to become a heroine, and her raw sexuality made her the sex symbol of the 30s, very much in the way Marilyn Monroe became the sex symbol of modern cinema. Harlow’s screen persona was very different from Monroe’s, however; she wasn’t vulnerable but impudent, tough, wisecracking, slatternly and sexually voracious … She wore clinging satin dresses without a bra, became known as the Platinum Blonde and obviously was just as keen on sex as men were. On top of all that she was a fine comedienne and is just as enjoyable to watch today as she was in the 30s.”

/ From The Illustrated Encyclopedia of The World’s Great Movie Stars by Ken Wlaschin, 1979 /

“She was the successor to Clara Bow and a kind of bridge to Marilyn Monroe, and she was more good fun than both of them combined …. there is no part of sex or the sexual instinct that Harlow doesn’t openly enjoy on screen, and that’s what made her such a radical presence in the early 1930s, and that sexual radicalism hasn’t dated … She harnessed all of her sexual energy and put it on screen without any inhibitions, and it still makes for a hackle-raising spectacle.”

/ From “Jean Harlow: Bombshell”, a lyrical analysis by by Dan Callahan for The Chiseler /

Born on this day 114 years ago: Depression-era platinum blonde sex goddess Jean Harlow (née Harlean Carpenter, 3 March 1911 – 7 June 1937). Tough to pick, but I think my favourite Harlow performance is in outrageous pre-Code comedy Red-Headed Woman (1932). Pictured: portrait of Harlow in the December 1934 edition of Modern Screen magazine.

Modern Screen, December 1934

[bitter69uk]

“Legend has it that Howard Hughes stashed Faith Domergue in a Hollywood hideaway and almost forgot where he’d left her. True or not, he did keep her waiting around for years while he fashioned the ideal launching pad for her talents. But unlike Hughes’ greatest hype The Outlaw (1948) with Jane Russell, Faith’s premier effort Vendetta (1950) was the victim of its own massive publicity campaign. She ended up in Planet of the Prehistoric Women (1965) and worse. If Faith is remembered at all, it will be as another of Hughes’ Follies, his celluloid Spruce Goose.”

Author Penny Stallings’ casual dismissal of gorgeous starlet Faith Domergue’s Hollywood career in her 1978 book Flesh and Fantasy is pithy but also overly dismissive. If the destiny of Howard Hughes’ protégée (they met when she was 16) lay in in science fiction and horror b-movies (like It Came from Beneath the Sea (1955), The Atomic Man (1955) and Voyage to the Prehistoric Planet (1965)) rather than the A-list, it certainly wasn’t from lack of talent or beauty on her part. Domergue is absolutely spellbinding in the wonderful 1950 film noir Where Danger Lives opposite Robert Mitchum. And I’ve always yearned to see the Cult of the Cobra (1955), which isn’t streaming anywhere in the UK, damn it! I just recently watched Domergue’s second-last film So Evil, My Sister (1974) (aka Psycho Sisters. Tagline: “Death runs in the family”. She did one more after this: The House of Seven Corpses (1974)). Anyway, So Evil is a gloriously threadbare trashy no-budget exploitation flick in which Domergue (sporting impressive jet-black lacquered bouffant helmet hair) and Susan Strasberg play twisted sisters who constantly gaslight and double-cross each other. It’s a blast and it’s on YouTube! Coincidentally, Domergue (16 June 1924 – 4 April 1999) was born on this day 100 years ago.

[abignewscom]

Kanye West and Bianca Censori escorted out of Grammys 2025 by cops after shocking red carpet appearance

The 2025 Grammy Awards took a surprising turn when Kanye West and Bianca Censori made headlines for their dramatic red carpet debut, only to be escorted out by police shortly thereafter. The couple, who tied the knot in 2022, turned heads with their bold fashion choices, but their night ended on an unexpected note that left fans and commentators buzzing. The Shocking Red Carpet Appearance Kanye…

[rhyzist]

The Rise and Fall of Milli Vanilli and Life After Scandal

The narrative of Milli Vanilli is a rollercoaster journey filled with swift success, abrupt disgrace, and an endeavor toward personal and professional redemption.

Born out of the vision of music producer Frank Farian in the late 1980s, Milli Vanilli, comprising Rob Pilatus and Fabrice Morvan, became an emblem of commercial and overnight pop success.

Their first album “All or Nothing” (1988) achieved success in Europe leading them to release an updated version titled “Girl You Know Its True” in the United States. The album became a sensation. Propelled them to stardom resulting in three American Music Awards and a Grammy Award for Best New Artist in 1990.

Their dynamic stage presence and unique fashion sense made them true icons of their time. However, their image started to crumble when it was revealed that they hadn’t actually sung any of the songs on their album.

The video above showcases when their “live” performance was cut short when the audio malfunctioned by skipping during the concert. The duo rushed off stage. When this was headline news I thought to myself that many performances lip sync especially when a lot of dancing was involved. They were very active on stage with a lot of dancing. No big deal, right?

Wrong. The vocals were instead provided by actual singers Ray Horton, John Davis, Gina Mohammed, Frank Farian, and Brad Howell while Pilatus and Morvan acted as figureheads, for the group lip-syncing during performances.

The music industry and the public felt deceived, leading to a historic return of their Grammy Award. This was the first time in Recording Academy history to have any Grammy Award returned, for any reason. The scandal spurred a reevaluation of ethical practices within the industry, spotlighting the fine line between commercial success and artistic authenticity.

The question of who knew about Milli Vanilli’s deception remains a mystery. It’s possible that some people within the industry were aware of the facade. The desire for success might have outweighed ethical considerations. The scandal also ushered in a period of public ridicule and professional ostracism for Pilatus and Morvan. 

Pilatus‘ post-scandal life stood in contrast to the admiration he once enjoyed as a pop icon grappling with the disgrace, he spiraled into a life of substance abuse and legal issues, culminating in his tragic demise in 1998.

On the other hand, Fabrice Morvan demonstrated resilience as he tried to rebuild his life and career outside the haunting shadow of Milli Vanilli. Nonetheless, reminders of the past continued to cast their shadow over his endeavors.

The dazzling ascent and subsequent plummet of Milli Vanilli from the zenith of the music industry is a tale rich in irony and caution. However, amidst the debris of shattered dreams and stained reputations emerged a narrative of resilience and undying hope, epitomized by Fab Morvan’s journey post-scandal. While the world was quick to castigate and relegate the duo to the annals of infamous frauds, Fab Morvan embarked on a path less trodden, one that sought redemption through authenticity and a genuine love for music.

His efforts to rejuvenate his music career saw him venture into various collaborations, each endeavor a step towards carving a niche that resonated with his true musical essence. Fab sought to distance himself from the fabricated image that had once catapulted him to stardom, instead opting for a path that prioritized authenticity over commercial success. The road was arduous and laden with skepticism from critics, yet it was a road that Fab Morvan trod with unwavering resolve.

Parallel to his professional endeavors was Fab Morvan’s personal journey. He found love and embraced the joys of fatherhood, a phase of his life that perhaps provided the solace and grounding needed amidst the tumultuous professional landscape. His relationship with Tessa Van Der Steen and the birth of their children marked a new chapter, one that transcended the chaos that had once engulfed his existence.

Moreover, Fab Morvan’s engagement in discussions and reflections about the Milli Vanilli saga, as evidenced in recent documentaries and interviews, indicates a level of acceptance and introspection. He has become a voice of experience, offering a unique perspective on the intricacies and ethical dilemmas inherent in the music industry.

The essence of Fab Morvan’s narrative post-Milli Vanilli is a blend of professional resilience and personal growth. His journey embodies the quintessence of redemption, showcasing that even in the face of adversity, the human spirit’s quest for authenticity and genuine connection remains undeterred.

Through the lens of Fab Morvan’s experiences, the tale of Milli Vanilli transforms from a mere scandalous anecdote to a nuanced narrative rich in lessons about integrity, authenticity, and the indomitable human spirit. His life post-Milli Vanilli is a testament to the enduring essence of hope, resilience, and the inexorable drive to forge a genuine connection with the world, even when the odds are stacked against one.

I grew up in the 80s and was a huge fan of Milli Vanilli. Despite the shock heard around the world, I was in love with this duo and their fake vocals. The album had hits that resonated with my high school experiences and memories. Still to this day, I listen to their music even though they are the visual, I still enjoy the vocals of the original singers. Seeing this new documentary really reawakened my love for the duo. 

I feel that Frank Farain did not take much responsibility for creating this fraud and the fact that I feel record producer, Clive Davis, knew about it really hurts. Money makes the world go around and in the end, Rob is the one who lost most, his life. 

You can see the new “Milli Vanilli” documentary on Paramount Plus. 

[ladybegood]

Lucille Ball in a publicity photo for Roman Scandals (1933)

[bitter69uk]

Recently watched: made-for-TV movie Death at Love House, originally broadcast on ABC 3 September 1976. Joel and Donna Gregory (Robert Wagner and Kate Jackson) are a husband-and-wife writing duo collaborating on a biography of the doomed Hollywood star Lorna Love, who died tragically young in 1935. (Coincidentally, Joel’s artist father had an impassioned affair with Lorna and painted a portrait of her). And for reasons never fully explained, the couple move into Love’s totally intact Hollywood mansion to research their book (Love House was shot on location at the former estate of silent movie star Harold Lloyd). Creepily, Lorna’s perfectly preserved, eternally youthful corpse is on permanent display – Snow White-style - in a shrine on the premises. Strange occurrences immediately start happening. Who is the ethereal “woman-in-white” Donna glimpses in the garden? Why are there macabre occult symbols everywhere? Who was Father Eternal Fire, Lorna’s satanic looking “spiritual advisor”? Obviously, almost anything produced by Aaron Spelling is bound to be campy fun. With its emphasis on occultism and lurid showbiz tragedies (Lorna is clearly inspired by Jean Harlow), Love House suggests a page torn from Kenneth Anger’s Hollywood Babylon. It will also remind you of other, superior movies: Sunset Boulevard (1950), The Legend of Lylah Clare (1968), Fedora (1978). And like 1944 film noir Laura, characters spend a lot of time staring, mesmerized, by an oil painting of a dead woman. For verisimilitude, supporting parts are played by actual classic Hollywood veterans like Sylvia Sidney, Joan Blondell, Dorothy Lamour and John Carradine. (The Gregorys’ literary agent is played by Bill Macy - Walter from Maude!). Less happily, zero effort is taken to make Lorna 1930s “period appropriate”. (She’s seen in flashbacks portrayed by Marianna Hill - cult movie fans will recognize her from The Baby and Messiah of Evil – with a feathered blow-dried 70s coiffure). And the ending is worthy of an old episode of Scooby-Doo! Smudged, murky prints of Love House are easy to find on YouTube.

[frostedmagnolias]

Sophia Loren on the set of A Breath of Scandal in 1960

[mediamatinees]

"I am Evelyn Hugo": Exploring Possession, Fame, and Freedom in "The Seven Husbands of Evelyn Hugo"

Lights, camera, action! Tonight, we're uncovering the painful secrets underneath the glitz and glamour of Hollywood with "The Seven Husbands of Evelyn Hugo".

Content Warning: The Seven Husbands of Evelyn Hugo contains open discussions of biphobia and homophobia, as well as sexual and domestic violence, misogyny, alcoholism, chronic illness, discussions of suicide, abortion, and traumatizing familial revelations. Reader discretion is advised.  If you’re under the age of 18, stay in a child’s place. There’s nothing for you here.  Spoilers for The…

[diogxnxs]

Anna (Donald Duck), don't do it. That man will ruin your whole career. @flakatita told me that I don't have art of Jose and Anna together so I had to fix that problem.

[ilovemesomevincentprice]

Vincent Price - A Royal Scandal (1944)

[bitter69uk]

The Bride Wore Green! 65 years ago today in showbiz history (12 May 1959), scandalous couple Eddie Fisher and Elizabeth Taylor married at Temple Beth Sholom synagogue in Las Vegas. (Taylor had converted to Judaism for the occasion). The newlyweds would go onto co-star in the film Butterfield 8 but divorced in 1964 following Taylor’s affair with Richard Burton during production of Cleopatra (1963) – which ushered in the hedonistic international jet set whirlwind “Liz’n’Dick” era!

Elizabeth Taylor and Eddie Fisher during their wedding ceremony at Temple Beth Sholom in Las Vegas on May 12, 1959.

[citizenscreen]

On December 4, 1921:

The first Virginia Rappe manslaughter trial against Roscoe Arbuckle ended in a hung jury.

[bitter69uk]

On this day in showbiz history (27 January 1966), Hedy Lamarr was arrested for shoplifting. Absent from the screen since 1958, the 53-year-old Austrian glamour girl had pretty much slipped from public consciousness when a security guard apprehended her in the parking lot of swanky department store May & Co in Wilshire with $86.00 worth of stolen items secreted in her handbag. Lamarr’s explanations (“some of the other stores let me do it” and “it must have been a misunderstanding”) didn’t cut it and the ensuing six-day trial in April 1966 drew sensational headlines. Even though the jury acquitted her of petty theft, Lamarr’s comeback role in the 1966 film Picture Mommy Dead was withdrawn (she was replaced by Zsa Zsa Gabor! Apparently, Gene Tierney was also under consideration). An enterprising Andy Warhol promptly capitalized on the scandal by cranking-out the underground movie Hedy starring drag queen superstar Mario Montez as Lamarr. 

[precodesoul]

Chorus girls from George White's Scandals (1934)

[gradienty]

Scandal Hollywood Cerise (#d3fce1 to #d109ba)

[historical-hollywood]

Marilyn Monroe poses in pink thermal underwear, 1953.