Tuesday 30 August 2011

Bunnies And Stewardesses

Here's some good news about the upcoming fall TV season: There will be a marked increase in the number of actresses populating new series! Now, the other news: They appear to have packed pretty light when it comes to wardrobe, states Tim Kenneally in The Wrap...

From the tight uniforms sported by the stewardesses on ABC's "Pan Am" and the Alphabet Network's sexy re-commissioned "Charlie's Angels" crime-fighters, to the fluffy-tailed servers of NBC's "The Playboy Club," the fashion trend of the season appears to be flesh, and plenty of it. Call it the resurgence of Jiggle TV, a titillating genre that briefly blossomed in the 1970s with the original "Charlie's Angels," before giving way with the exit of "Baywatch."


Though none of the series have yet to debut, the trend of new shows featuring female leads in little clothing and subservient positions has already been met with criticism. Gloria Steinem, who gained notoriety by going undercover as a bunny at the Playboy Club in New York in 1960s and writing an exposé about the working conditions, has said that she's hoping for a boycott of NBC's "The Playboy Club," claiming, "It normalizes a passive-dominant idea of gender. So, it normalizes prostitution and male dominance."

Christine Baranski, co-star of "The Good Wife," has similarly chimed in, telling New York Magazine, "I'm rather appalled that they're now making television shows about Playboy bunnies and stewardesses ... I think, 'Really? Haven't we gone past that, well past that?'"

Apparently not. But why now, in particular, does there seem to be a resurgence in flesh-centric TV fare? Certainly, AMC's "Mad Men" seems to have loosened the jar lid with its highly successful exercise in flesh-friendly, misogyny-laced nostalgia. And it might be no coincidence that the upcoming series -- like "Mad Men" -- all have retro elements to them. ("The Playboy Club" and "Pan Am" are both set in the 1960s, while "Charlie's Angels" is a revamp of a 1970s Jiggle TV progenitor.)

Martha M. Lauzen, Ph.D., the executive director for Center for the Study of Women in Television and Film, suggests that, particularly in dour financial times, male viewers -- not to mention the overwhelmingly male decision-makers at the networks -- might be looking to retreat into less complicated, more comforting times.

"In times of economic and social upheaval and difficulty, nostalgia and a longing for an era when life seemed simpler tend to bloom," Lauzen said. That could be especially true in an era when men -- at least the ones not on TV, anyway -- find themselves losing economic and social ground to the fairer sex. "As women continue to gain economic, social and political power, there is always some sort of backlash, a desire to put women 'back in their place,'" Lauzen adds.
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Monday 29 August 2011

Whores, Mord, A Jackass And A Honeycomb

David Benioff and D. B. Weiss, the creative gurus behind addictive HBO fantasy drama Game of Thrones, recently discussed season two, 'sexposition,' casting Melisandre and Gilly, and what’s to come with The Daily Beast...

HBO’s gripping drama, based on George R.R. Martin’s bestselling fantasy-novel series A Song of Ice and Fire, has permeated the public consciousness, drawing new audiences to the brutal Seven Kingdoms of Westeros, a land where summers can last for decades and where the threat of winter (and worse) always looms large. The show also did the seemingly impossible in winning over passionate adherents of Martin’s sweeping novels— the most recent of which was released in July— obsessively adapted by writers/executive producers David Benioff and D. B. “Dan” Weiss. After a first season that captivated 8.3 million average gross viewers, Game of Thrones scored an impressive 13 Emmy Award nominations, including nods for best drama and, for Peter Dinklage, best supporting actor. The pair are currently working around the clock on the second season of Game of Thrones, which is set to air in 2012.

What lessons did you learn from the first season—in terms of adaptation, breaking episodes, production, etc.—that you’ve taken on board for season two?

Weiss: In general, across the board, we learned the necessity of planning ahead with a show that strives to be ambitious without completely breaking the bank. We can’t afford to waste expensive shots, or shooting days, or ketchup. So we try to stay as far out ahead of everything as we can, we eat what we kill, and now it’s all smooth sailing!

Benioff: Whatever lessons we’ve learned from the first season are mitigated by the increased difficulty of the second season. We have more characters, more locations, more dragons. I wish we could say we’ve found a nice groove and life is easy now, but I still find myself waking up from anxiety nightmares at 4 in the morning.


You’ve cast Carice van Houten as Melisandre and Skins’ Hannah Murray as Gilly in season two. What do each of these actors bring to their respective roles? What about their auditions stood out to you?

Benioff: In both cases, Dan and I looked at each other after the auditions: She’s the one. Hannah brings a wonderfully damaged quality to Gilly— the character is a bit like one of those girls who is kidnapped and abused for years, and brainwashed by her captor into thinking he’s a prophet and a righteous man. Hannah understands that intuitively; her Gilly is also lovable and fetching and sympathetic.

Weiss: We were very excited to cast her. She has an immediately compelling quality. A few years ago, someone sent us an episode of Skins, the U.K. teen show she was on, and she pops right off the screen. As for Carice, she has always been in the forefront of our minds, ever since we saw Black Book five years ago.

Benioff: Melisandre is a tricky role, and very few actresses have all the attributes required. Drop-dead gorgeous? Check. Charismatic and fiercely intelligent? Check. Able to convey a sinister, menacing presence without going over-the-top villainess? Check. In Carice’s hands, Mel is like Lady Macbeth and the three witches rolled into one.

Weiss: When you put it that way … yeah, it is a tricky role to cast. If we hadn’t gotten Carice, we might’ve just had to put Lena [Headey] in a red wig.

The show drew some criticism during season one for its use of so-called sexposition and a reliance on nudity. Why do you think that some critics and viewers reacted so strongly to the inclusion of the nudity, considering George’s novels are rife with them and this is HBO? Do you intend to address the “sexposition” issue in the show’s second season?

Benioff: We will address this issue with a 20-minute brothel scene involving a dozen whores, Mord the Jailer, a jackass, and a large honeycomb.

Weiss: There will always be those who want to see less sex, and those who want to see more sex, and those who want to see sex in big tubs of pudding. You just can’t please everyone. This year, we’re going to focus on the pudding people.

Viewers were shocked by the death of Ned Stark, even though readers have known this for almost two decades. Were you surprised that nonreaders reacted so strongly to Ned’s death, and do you think, had this been originally written for TV rather than as a novel, there would have been more of a temptation to keep Ned/Sean Bean around?

Benioff: The vast majority of the readers did an incredible job policing the various websites and trying to keep spoilers from ruining the surprise for nonreaders. It’s hard to emphasize how much we appreciate that— our biggest surprise, probably, was that the moment remained a shock for so much of the viewing audience. The strong reactions make us very happy. Fury? Great. It’s apathy that makes us sad.

Weiss: Ned’s death was one of the things that made us want to do the show in the first place. It was presented as a fact on the ground from the beginning. Any network that would have insisted on keeping him alive would have been the wrong network for this show. The prospect was never raised at HBO. Not once in 10,000 meetings.

Filming is already under way on season two. Ten episodes is not a lot of installments to contain everything within A Clash of Kings. How difficult was it to structure the season, and how much—if at all—do you diverge from the source material?

Benioff: We’d prefer to let the audience watch season two and make their own judgments, rather than revealing too much now.

Weiss: Hodor.

Season two will see the introduction of such fan-favorite characters as Melisandre, Davos, Gilly, Asha/Yara, Stannis, Roose Bolton, Jaqen H’ghar, and others. Were you surprised by which of those ended up being the most fun to write?

Weiss: Don’t forget Brienne! Gwendoline Christie is fantastic. She so perfectly embodies the kind of wounded strength the character requires. And she’s been training. She will kick your ass.

Benioff: We’ve already shot many of the Yara-Theon scenes, and I’m happy to report that Gemma [Whelan] and Alfie [Allen] make an insanely good pair of siblings. We could make a whole series about the Greyjoys. Speaking of which, we’re negotiating with HBO Family on a Gilly Loves Samwell sitcom. Tom Wlaschiha is a deeply compelling Jaqen. Carice and Stephen Dillane— watching the two of them together is like watching a master class in acting. Liam Cunningham brings humanity and wit to one of our favorite roles, Davos Seaworth. We haven’t shot anything yet with Roose, but we know Michael McElhatton will be superb. And he’s got the palest eyes of anyone I know.

It’s never too soon to start thinking about season three. What about the hefty A Storm of Swords do you think will provide the most challenging aspect to adaptation? Have you given any thought—or have there been any discussions with HBO—about breaking it into two seasons? Or moving elements into season two?

Weiss: Season two is a 100-hour-a-week job. It doesn’t leave a lot of time to think about seasons three and beyond. But yes, Storm of Swords … very long, dense book.

Benioff: A Storm of Swords will not be a single season. Beyond that, we’d rather not speculate, as HBO has not yet confirmed a third season and we’re not in the mood to jinx anything.

What can you tease about how season two will stack up against season one for viewers who haven’t read George’s novels? And for those who have, what will we be most surprised by seeing on screen?

Benioff: For Tyrion fans (and really, who isn’t a Tyrion fan?), season two sees the Imp in fine form, serving as hand of the king and trying to make the best of the chaos in King’s Landing. The Stark children struggle for survival, now that Ned’s not around to protect them. And Daenerys Stormborn finds that life in the big city isn’t all it’s cracked up to be.

Weiss: And Theon. People are really going to like Theon, I think. He makes some bold moves.

Benioff: Right, and Hodor gets his big monologue. Shakespeare, watch your back.
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Underbelly: Razor S04E03

Razor, the latest in the Underbelly saga, is a mordant fable of avarice, violence and death, writes the Australian's Graeme Blundell... Brilliantly realised, the new series traces the booze and cocaine-fuelled sex trades dominated by madam Tilly Devine (Chelsie Preston Crayford) and sly grogger Kate Leigh (Danielle Cormack) in late 1920s and early 30s Sydney. Swift, lean and stunningly conceived, Razor relishes the shenanigans of the gangs of slashers and shooters who protected these infamous women as blood spreads in terrible, satiny puddles across the inner city's back lanes. It tells how once upon a time there were two rival queens who waged war on each other for so long their stories became intertwined. Then one day they realised that while they couldn't live with each other, they couldn't live without each other either.

And as you would expect from the Underbelly team, the new series is almost decadently hip, enthralling and produced with show-stopping bravado. Tony Tilse's direction of the first context-creating episodes is rich in detail and teeming with incident. This is simply riveting storytelling delivered at rocketing pace and terrifying plausibility, leavened by a witty script by Peter Gawler and Burkhard Dallwitz's stunning musical score. Gawler wrote the feature-length first episode, his characterisations pithy and sharp. His dialogue has a wonderful ironic hardness about it, a self-defence mechanism used by these criminal Sydneysiders to protect themselves against the harshness of their environment.


If you've watched Nine only briefly recently you'll know the synopsis for this remarkable series: Throughout inner Sydney in the 20s and 30s, the fabled vice queens battle for underworld supremacy. And you'll know it is violent, lurid and sexy as the promotional clips have featured a libidinous parade of lingerie-clad actresses in smoky small Darlinghurst rooms and swarthy bare-chested men sharpening their razors. As has been the case from the beginning, the latest series is staggering in its brazenness, continuing the wonderful tabloid intermingling of the mundane and the biblically heinous delivered by the first series. And again, there's that oddly affecting portrayal of the breathtaking stupidity that propels most homicidal actions, which is so characteristic of Underbelly.

The new series is set in the inner Sydney suburb of Darlinghurst, also known as Razorhurst, Gunhurst, Bottlehurst and Dopehurst and features, as well as our skimpily clad ladies of the night, a wonderful cavalcade of razor slashers, dope pedlars, sneak thieves, spielers, bare knuckle boxers, gunmen and every kind of racecourse parasite. There is prostitution, sly grog, the sale of cocaine, opium and morphine and the standover from which to make easy money. As in the previous three Underbelly series, this is an epic narrative with countless stories spinning out of the central tale of a female gangland rivalry of Dickensian complexity.

It's 1927, and the new Pistol Licensing Act means automatic jail time for anyone caught carrying a firearm, so Sydney's crooks armed themselves with the cut-throat razor, that deadly straight shaving blade. Tilly Devine, born into poverty in London and a prostitute at 15, runs the biggest brothel network Australia has seen. Her husband, "Big Jim" Devine (Jack Campbell), leads a team of hired muscle to protect their lucrative business.

Tilly's rival has capitalised on the new law forcing pubs to cease trading at 6pm, and opened numerous saloons to provide liquor to punters after hours. Protected by her own combative nature and a team of bashers and gunmen, Kate Leigh is one of the wealthiest, and most flamboyant, Sydneysiders. When Tilly steals Kate's Pomeranian dog, the women become sworn enemies. Driven and seemingly incorruptible, Detective Inspector Bill Mackay (Craig Hall) polices Darlinghurst with Detective Sergeant Tom Wickham (Steve Le Marquand) for back-up.

School-aged beauty Nellie Cameron (Anna McGahan), described at the time as a "redhead with a ripe figure and provocative china blue eyes", ignores the advice of Australia's first police woman, Lillian Armfield (Lucy Wigmore), and cheerfully becomes a prostitute for Tilly. Her relationships with Sydney's gangsters (and their deaths) lead to her becoming known as "the Kiss of Death Girl". Nellie is the jewel in the crown for the men of Razor -- powerfully sexy, curiously innocent, and effortlessly classy and brave -- a sensual mix of loyalty and pragmatism. Sins never stain her soul.

At the start of the series, the vicious Melbourne gangster, standover man Norman Bruhn (Jeremy Lindsay Taylor), one of gangland boss Squizzy Taylor's top men in that city, a beater of women, a thief and a pimp, arrives in Sydney. His plan is simple: with a talented cast of supporting enforcers he will take out Tilly Devine and Kate Leigh and become the new leader of Sydney's underworld. The acting throughout is authentic and authoritative, especially Taylor, who has a malevolent athletic grace to him and a fury that radiates. But good though the men are, the women quite properly dominate the screen. Preston Crayford and Cormack are awesome: glamorous, ferocious, tough, passionate and, for all their beauty, convincingly careworn. Both have a capacity for aching resolve. These are fierce queens with no time for exasperation. Anna McGahan's Nellie is breathtaking in her portrayal of almost frightening sexuality and amorality. McGahan is to be congratulated too, for not shying away from several displays of dazzling art deco harlotry.

The series slides through many marginally interconnected narratives and the taut, ironic narration is again a significant device in the new series. The voice is still that of Caroline Craig, who played senior detective Jacqui James in the first series and voiced the one that followed. Again her witty, evocative narration provides just the right sense of continuity, joining scenes and introducing characters, and wryly commenting on the mayhem. We feel we know the woman behind the voice who represents the world of generations of copper insiders; hardly objective but full of a knowing sadness. The narration emphasises this is real storytelling based on actuality, yet suggests there is something archetypal about the stories.

The Underbelly producers and writers have taken on themselves the task of examining untidy truths about slices of our past cultural history, nudging and sometimes caressing them into a pleasing shapeliness that for the past four years has been highly addictive. Some international critics have hailed the earlier series as Australia's answer to The Sopranos, given that they document the history of brutal skirmishes among rival drug gangs. It was hailed as not merely a saga of coked-up trashy hoods, but a modern-day parable on loyalty, betrayal and the corrupting influence of power.

But Underbelly has always been pulpier, more lurid and even more noirish than the American gangster classic, its narratives wandering sometimes haphazardly as it has followed the course of actual events. Some British critics thought it closer in form and quality to a high-end cable crime docudrama that can afford reasonably good actors for the extensive re-creations and re-enactments. But that undervalues the writing and editing skill that is able to tie so many well realised characters to so many real events in such a coherent way.

Again in Razor, the producers brilliantly lock us in a small box of a world crammed with insecurity, doubt, accident, corruption, amorality, suddenly vanishing alliances and violent murder. Underbelly is not simply a fiction that borrows plot patterns from real events, but rather a highly dramatised narrative whose effect is partly dependent on the viewers' awareness that past events are to some degree being reconstructed. The producers do this by employing a dense texture of contemporary historical detail, which gives their terrible stories a shocking specificity. Look at the haircuts, the guns, the suits, the lingerie, the vehicles and the clever use of computer-generated imagery to build the Sydney Harbour Bridge before our eyes across the episodes. This is some of the slickest, most astutely engineered commercial drama we've seen, fast and gaudy but highly intelligent: throw out any doubts, sit back and suck up the excitement.

Television Series: Underbelly:Razor (S04E03- Cat Amongst The Pigeons)
Release Date: August 2011
Actress: Anna McGahan
Video Clip Credit: Johnny Moronic










Mediafire
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Mediafire
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Sunday 28 August 2011

The Lady Is A Vamp

As True Blood's resident redhead teenage vampire, Jessica Hamby sure has packed a lot into her short afterlife, writes Michele Manelis. But Deborah Ann Woll says her character is just getting started. "Oh, God, everything happens to Jess in this season," the 26-year-old Woll, says, enthusiastically. "Her story is a coming-of-age transformation from girl to woman/human to vampire. She's struggling with who she is personally and starting to embrace the vampire side of herself."

At the Four Seasons Hotel in Beverly Hills where she is among her fellow cast-members who are conducting interviews, Woll is personable and speaks candidly about the sexual nature of True Blood. "As far as the sexual element of the storyline, I'm pretty much game," she says. Her character, embroiled in love triangle with Hoyt (Jim Parrack) and Jason (Ryan Kwanten) finds her in some intimate situations. "I have no problem with those scenes. I love seeing naked people, but the interesting thing to me about nudity in acting versus pornography, is context. It's important that there is nudity for a reason. Hopefully, it says something even if it's just that these two people are comfortable with each other to be that naked and vulnerable with one another."


As to the circumstances of being naked, she's evidently given the subject a lot of thought. "I am more wary of doing nudity on film because anyone can take that out of context and use it in a way I never intended. So, while I love sexuality and I love nudity, and I certainly don't have any judgment about people who chose to do it, but for me, I'm careful about how and when I choose to be nude on film. It's different than I would [feel] if I were doing a stage production."

Woll is the first of her family to enter the entertainment business. Her father is an architect, her mother, a teacher. A natural blonde of Irish and German descent, she began dying her hair red at age 14, a decision that has served her well and has helped her stand apart from the blond Hollywood stereotypes. Woll can often be found on many "most beautiful" lists, though of course, like all actresses (especially vampires who don't succumb to the ageing process), she has to preserve her good looks.

"I don't like to work out much, although I do enough to stay healthy," she says. "But I would like to be able to play any kind of person, not just a person with a perfect physique. And also, I don't really have the patience to stay in a gym for six hours a day because looking attractive is not at the forefront of my mind. I've got other things I'd rather do. I got into acting for the art of it and if people decide that my body is not good enough to be on film, I'll go back to theatre."

Clearly, Woll was not brought up in an overtly conservative household, she says, "As far as movies go, my mother was always against violence, but not sex. "She is a huge fan of True Blood. She can't get enough of it and follows it on Twitter and Facebook. She only recently found out that my grandmother is a little more conservative than the rest of us. She showed it to her and found that it isn't quite for her," she laughs. "But even so, she's supportive of it for me."
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Saturday 27 August 2011

Stike Back S02E03

HBO is slowly getting out of the skin game on its naughty sister channel, Cinemax, and swinging into action instead. A serious revamp of Cinemax -- the pay cable channel so well-known for its late-night, soft-core series like "Pleasure Cove" and "Co-ed Confidential" that fans dubbed it "Skinemax" -- has quietly been underway since last Autumn, The Post has learned. In February the 30-year-old movie channel announced its first-ever primetime series, "Strike Back," a frenetic action series about a two-fisted secret agent for the U.S. who teams up with a British military unit to fight terrorist groups. What was not announced was that Cinemax has completed a deal to make a TV series based on "The Transporter" movies -- and was deep in talks with at least three other big-name movie producers to create original action series, according to sources.

The move to give the channel a new identity is at least tacit recognition that Hollywood movies can no longer carry pay TV. Channels like HBO and Showtime are, at best, the fourth stop in the Hollywood food chain for movies -- after the theater, DVDs and pay-per-view -- having long lost that special, new-car smell when they end up on cable TV. Re-creating Cinemax as a channel for tire-squealing shoot-'em-ups -- with a good measure of sex thrown in, of course -- is one of the few ways HBO can expand.


The popular adult fare Cinemax has been known for will not be dropped. It will still appear in the late-night hours where it's been shown for years. But HBO hopes it can begin to create a new identity for the channel that goes beyond "Hotel Erotica" and "Bikini Frankenstein." To keep costs down, HBO is either producing its new slate with partners -- the cost of making "Strike Back" is being split with the British pay-channel Sky TV, which, like The Post, is owned by News Corp. -- or by just paying for US rights alone for new series. In the past, HBO owned shows like "The Sopranos" and "Curb Your Enthusiasm" outright. Under the new Cinemax plan, producers are free to sell their shows overseas -- which in recent years has been paying big money to get hold of original American stuff with lots of guns and girls.


Television Series: Strike Back (S02E01- Project Dawn 3)
Release Date: August 2011
Actress: Orla O'Rourke
Video Clip Credit: El amigo










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Thursday 25 August 2011

Is The Fairytale Over?

Once upon a time, in a lounge room far, far away, people would have fainted at the sight of nudity on television. But as our culture progresses away from T.V.’s modest conventions, are we becoming more and more accustomed to adopting jaw-dropping sex scenes as our source of entertainment rather than finding it in a well scripted plot? asks Tea Tripping...

These days it seems most shows are trying to scream out ‘screw all those right wing, conservative knobs, let’s be edgy and show as much sex as possible!’ And if a show isn’t screaming that out (or at least showing one pair of breasts per episode) it’s considered a little mundane, a little underwhelming and a little cultureless; that, or it might actually have to rely on it’s script, what has the world come to!


Though most audiences are looking for something quirky and a little out of the ordinary in their shows, do we really see these programs with an abundance of boobs, sex and violence as doing something on edge? Sure controversy has always been a good tool for the publicity of a show; make it as grotesque and erotic as discerningly possible and people will watch, and we already know sex sells; but does this mode of address actually encapsulate ‘the fan’ when so many cultural spheres would find it tasteless?

My beef is that much of the time I find that shows with a lot of these explicit themes are compensating for lacking in the script and narrative department. The new Underbelly Razor is a perfect example of a show using this kind of ‘re-directing attention’ tool. It’s easy to see through the snappy one-liners, flamboyant costumes and dangerous nudity that attempt to bring Underbelly together, and while the basis for a good story might be there, the charm and wit that come with true creativity is not.

Deadwood, on the other hand, manages to incorporate violent and sexual themes without that same desperate reliance. It is T.V. shows that depend on such themes in place of a good script that really annoy me, not the idea of them altogether.

In saying that, however, there are probably more brilliantly written shows out there now than ever before. It is the blossoming of transmedia that has really made it necessary for some shows in the T.V. biz to use outrageous, risky and unashamed styles, as with such a vast array of mediums and platforms that television can now be received on, maintaining and capturing an audience is harder than ever.

Obviously there are many cultures that would still never allow shows such as True Blood and Californication (two American dramas both very adept at making soft core porn for television) to be aired, so how do these shows reflect the tastes of their audiences? Do the people who watch shows like Underbelly and Spartacus (that show in which you can see ten pairs of breasts and one hundred men brutally slaughtered in the first two minutes) watch it purely for the naked people and disturbing violence, or do they honestly enjoy the program’s ‘qualities’?

The most brilliant of scenes are the ones filmed with suggestion rather than crassness. T.V. shows should be admired for their ability to leave their audiences dangling, not by making the plot and characters blatantly obvious.

Whatever happened to leaving some things to the imagination? While nudity and sexual references can be a tool adding to the culture of some shows, like it does with Deadwood, using those themes just for the sake of getting attention or making up for drab content is lazy and reeks of try hard rebellion.
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Tuesday 23 August 2011

Vampire Shower Sex Should Be Hot

Many folks were disappointed with True Blood's recreation of the infamous Vampire Eric and Sookie shower sex scene from Charlaine Harris' original book, writes Meredith Woerner. Instead of carnal lust, we got two stoned teenagers talking about snow. Here's the proof, in the form of a steamy reading from the book in which the vampire shower sex was spawned, that thing could have been a hell of a lot hotter...

As many of you know, we were less than thrilled with the reimagining of the infamous Vampire Eric sex fest. Instead of carnal shower lust, it was mutated into a snowflake-strewn romp that flopped onto the screen like Bill's new haircut. It was ridiculous, to say the very least. And with a show that is predominately about about vampires having sex with each other, we'd like to hope that the fine folks who make the "vampires having sex" series would take their vampire sex a little bit more seriously.


So we decided to return to the source material: Charlaine Harris' Dead To the World, found in her The Southern Vampire Mysteries series. And cheese and crackers, did we blush. That Harris certainly likes to talk about having sex with vampires, and in great great detail. Listen, without shame to this reading of the very scene HBO ruined, and hear the author brazenly compare Eric's nipples to pencil erasers.



We know it's cliché, but come on — after listening to all the nipple erasure biting, you know the book was better! We're going to be blushing for at least two weeks after listening to that. It may not be heady (or maybe it is — ha! Sorry, you deserve better than that) but it's definitely steamy. And how. Plus this little reading is perfect for folks who assume that HBO is responsible for putting all the dirty sex into True Blood. The real proprietor of the dirty deeds is none other than a 59-year-old lady from Arkansas.
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Monday 22 August 2011

True Blood S04E09

True Blood creator Alan Ball told us at the beginning of Season 4 that the theme would be identity and it seems that Jessica Hamby, played by Deborah Ann Woll, has really learned to embrace her identity this year. In previous seasons we watched her and Hoyt fall in love despite their obvious differences but sadly this season we have also watched them fall apart. Woll spoke recently with NZHerald.co.nz about Jessica’s transformation, nudity and her upcoming movies and she tells them that this is only the beginning for Jessica...

Woll describes Jessica’s story as a coming of age story saying she is transforming from a girl to a woman and also from human to vampire and says that Jessica is really struggling with her vampire side saying: “She’s closer to her humanity than a lot of the other vampires. I think some of that human guilt still lives within her and in that way, she hasn’t completely given in to the vampire nature,”


One of the biggest changes for Jessica is her new-found sexuality. Woll says that the nudity and sexual nature of the show do not bother her as long as it is for a reason and emphasizes that she sees a difference between nudity and pornography. However she is more comfortable with nudity on the small screen than the big screen because she feels people can take it out of context and use the scenes in a way she never intended them to be used.

With being on a show that features the stars without clothes a good portion of the time you would think that all of the stars would spend an insane amount of time at the gym but Woll does not enjoy working out: “I don’t like to work out much, although I do enough to stay healthy. But I would like to be able to play any kind of person, not just a person with a perfect physique. And also, I don’t really have the patience to stay in a gym for six hours a day because looking attractive is not at the forefront of my mind. I’ve got other things I’d rather do. I got into acting for the art of it and if people decide that my body is not good enough to be on film, I’ll go back to theatre.”

So what does Woll’s family think of her role on such a racy television show? She says her family is very supportive of her and reveals that her mother is a huge True Blood fan. Her grandmother does not have quite the same appreciation for the show, but overall her family is behind her.

Television Series: True Blood (S04E09- Let's Get Out of Here)
Release Date: August 2011
Actress: Deborah Ann Woll & Janina Gavankar
Video Clip Credit: Zither

Deborah Ann Woll










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Janina Gavankar










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Underbelly: Razor S04E01/02

When it comes to naked ambition, Underbelly's latest belle, Anna McGahan, has it in spades - revealing she relished the opportunity to disrobe for the cameras in her role as infamous Sydney prostitute Nellie Cameron. That said, the Underbelly: Razor star admitted that the first time she stripped off for the show was "terrifying". The 23-year-old Australian actress said that she thought she should do nude scenes while she was still young. McGahan told The Sunday Telegraph: "The first time was terrifying. But I honestly relished it. It's just a body, if I can't do it when I'm 23 then when can I do it? Nudity is a part of [the] character."

Nudity has become a signature of the hit Nine crime series. McGahan's body of work follows those of Charlotte Gregg, who appeared topless in the steamy first season, Anna Hutchison in Underbelly: A Tale of Two Cities and Emma Booth last year in Underbelly: The Golden Mile. McGahan says appearing naked in Underbelly is like Australia's answer to being a Bond girl - but she maintains the titillating scenes are crucial to the storyline.


"There's no nudity or sex for sex's sake... the Australian audience isn't stupid and they don't want to watch gratuitous sexuality. It has a purpose. As Anna McGahan I would feel incredibly uncomfortable getting naked. But as Nellie Cameron, I didn't feel that at all because it is a costume, even in its barest state." So would McGahan go nude again in a heartbeat, if a role required it? "Totally, without a doubt," she smiled.

Even though the fallout has hit much closer to home. An online search of McGahan's name brings up numerous images of the actor on the show, many of which show her naked. She is aware photos of her on the show are widely available on the internet. And so is her family. "My grandmother gets Google alerts of me and she gets porn sites coming up every week that have uploaded this stuff," she said.

Underbelly: Razor has done well in the viewer ratings since it premiered last month, but has also been slammed by psychologists, who say that it is too "provocative" for children. The show's producers have hit back at critics, saying that they include a content warning before the show airs in its night-time slot.

Television Series: Underbelly:Razor (S04E01/02- The Worst Woman In Sydney, Whips And Scorpions)
Release Date: August 2011
Actress: Anna McGahan & Danielle Cormack
Video Clip Credit: El amigo

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Sunday 14 August 2011

True Blood S04E08

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Saturday 13 August 2011

Strike Back S02E01

Cinemax — the network and the punch line — has always had a businesslike approach to original programming. Sex-businesslike, that is, writes Mike Hale in the New York Times. “The Best Sex Ever,” “Sex Games Cancun,” “Zane’s Sex Chronicles”: its late-night offerings have made it the soft-core cathouse of premium cable. Now Cinemax has joined the prime-time drama game played so successfully by its parent, HBO, as well as other pay-cable networks like Showtime and Starz. In a bid to expand its young-male audience, it’s taken what it knows best (which would be sex) and added a traditional complement, violence.

“Strike Back” is a British variation on “24” that offers reasonably competent action scenes, depressingly casual depictions of torture and death, and a comic-book conspiracy story line while also being an efficient nudity delivery system. It’s the kind of show in which an agent doesn’t realize there are terrorists in the hotel lobby because he’s upstairs having it off with the waitress he met 10 minutes ago. We’re in B-movie international-thriller territory, where people say things like “You still don’t get it, do you?” and “We lost a good man that night,” and where a joltingly bloody shootout in Pakistan is followed by a long scene of comic relief in a Malaysian brothel. (The first four episodes were written by Frank Spotnitz of “X-Files” fame, the primary American contributor to this Cinemax-British Sky Broadcasting collaboration.)


“Strike Back” won’t make anyone forget “24” or “MI-5” or even “The Unit,” but it has its pleasures for the aficionado of guns and flesh in exotic locales. If you’re tired of getting your pay-cable nudity fix in Roman or Arthurian or Westerian garb, you could do worse. There’s something satisfying in the combination of crisp British detachment and Cinemax lasciviousness.

The show is about the adventures of a fictional counterterrorism unit called Section 20: sweaty operatives in the field directed from one of those cool-blue, all-seeing fantasy war rooms half a world away in London. It centers on the budding bromance between the two main action heroes, an all-business Brit (Philip Winchester of NBC’s “Crusoe”) and, with the American market in mind, a wisecracking, seemingly mercenary but eventually idealistic Yank (Sullivan Stapleton, the crazed brother in the Australian film “Animal Kingdom”).

The actors give these gun-toting clichés a little personality and a credible rapport, and South Africa and Hungary stand in prettily for various international hot spots. Story arcs — terrorists in Delhi, terrorists in Cape Town — stretch over several episodes, tied into a continuing paranoid-conspiracy mystery involving whether there were really weapons of mass destruction in Iraq. The action moves quickly enough that the constant credibility gaps are minor annoyances; when the Indian army officer and the Pakistani intelligence agent agree to work together, it seems perfectly natural.

“Strike Back” is the first of a set of new action series for Cinemax; the next, based on the “Transporter” movies, is currently filming. Starz’s movie-centric sister channel, Encore, has also ventured into original programming with the recent “Moby Dick” mini-series, starring William Hurt. That leaves just Showtime’s secondary network, the Movie Channel. Where is its homegrown drama? Maybe something that, like “Strike Back,” embraces its network’s historical values. “Joe Bob’s Walking Dead” has a nice ring to it.

Television Series: Strike Back (S02E01- Project Dawn 1)
Release Date: August 2011
Actress: Alexandra Moen, Jennifer Tanarez & Karen David
Video Clip Credit: El amigo


















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Tuesday 9 August 2011

The Tackiest Place On Earth

She may have sported the Bunny ears herself, but Gloria Steinem is no fan of NBC's "The Playboy Club." In the 1960s, the feminist icon rose to public attention after posing as a Bunny in the New York Playboy Club for an investigative piece that ran in Show magazine. It did not leave her with a warm feeling about the joint. The veteran women's rights campaigner said on Friday she hoped TV viewers would boycott the upcoming show, calling the 1960s nightclubs tacky and far from the glamorous places depicted in the show. "Clearly 'The Playboy Club' is not going to be accurate. It was the tackiest place on earth. It was not glamorous at all," Steinem told Reuters in an interview.


Steinem, one of America's leading crusaders for women's rights for 40 years, went undercover to work as a Bunny at the New York City Playboy Club in 1963 and wrote a ground-breaking expose about the onerous conditions for women who worked there. "When I was working there and writing the expose, one of the things they had to change because of my expose was that they required all the Bunnies, who were just waitresses, to have an internal exam and a test for venereal disease," she said.

Steinem said she regards the Emmy Award-winning drama "Mad Men", which is also set in the 1960s as "a net plus, because it shows the world of the early 1960s with some realism." But she added; "I expect that 'The Playboy Club' will be a net minus and I hope people boycott it. It's just not telling the truth about the era."

"The Playboy Club", set in the first Playboy Club in Chicago, debuts in September as one of the centerpieces of NBC's new fall television season. Speaking to TV reporters last week in Los Angeles, network executives, producers and the show's cast all rejected opinions by critics who feel the series will glamorize the porn industry and is demeaning to modern women.

NBC entertainment chairman Robert Greenblatt called the show a "really fun soap opera", while executive producer Chad Hodge told TV reporters that the program was "all about empowering these women to be whatever they want to be." One NBC affiliate, in Salt Lake City, has already said it will not broadcast the show but NBC says it does not expect others to follow.

Steinem, 77, may have an unlikely ally in the Parents Television Council. The parents' watchdog group and opponent of all things salacious has been busy pressuring affiliates to refuse to broadcast the nightclub drama. Steinem said on Friday that it was important to reject the TV series, despite the fact that it is set 40 years ago. "It normalizes a passive dominant idea of gender. So it normalizes prostitution and male dominance...I just know that over the years, women have called me and told me horror stories of what they experienced at the Playboy Club and at the Playboy Mansion," she said.
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Monday 8 August 2011

Sauce For The Gander

Niall Anderson looks at the knotty history of sex and nudity on television...

In an earlier life, I used to catalogue DVDs. My duties were to look at the contents of the box, view the contents of the disc, and make sure the details matched. I’d check the technical specifications (region code, aspect ratio, audio set-up) and enter all the details in the catalogue. I never had to watch a whole film, and only ever did on flat Fridays or when I wanted to waste time.

Quite a number of these films – say 5%, conservatively – were pornographic; usually the semi-hardcore things you find gummed to the front of skin mags (which I was also cataloguing). These films feature real sex you can never quite see. There is a lot of sound, and circumstantial evidence of fury, but they signify literally nothing.

I bring this up because whenever I came to match the contents of the pornodisc with those of the pornobox, I could almost never do it. If the box promised you ten chapters, you’d only get five. If the box promised you a certain performer, it was touch and go they would actually appear. On one occasion, only a few weeks apart, I saw the same porno under two different titles with completely different listings for cast and crew. From this I learned that almost everything to do with filmed sex is based on lies.


Looking into the history of sex and nudity in mainstream film and television, you notice subtler iterations of the same blunt trend: we don’t seem to be able to approach sex without some sneaky sleight of mind or marketing. In porn, of course, the trick lies in promising more than you actually get; in drama, it lies in dressing up the pornographic so it looks like something else.

These disguises have varied over time, but they seem to have settled for now on three main types: literary respectability, strict realism, and realism’s slightly iffy cousin, historical accuracy. Since the turn of the century, it’s the last category we’ve seen most of.

It started, perhaps, with HBO’s Deadwood, continued with the HBO/BBC co-production, Rome, and has reached a kind of dazed apotheosis with Starz’s hack-and-fuck spectaculars, Spartacus: Blood and Sand and Spartacus: Gods of the Arena. It’s not a surprise these four shows were all produced primarily for US cable television, away from network TV compliance rules. What’s really striking is the extent to which each grabbed the licence for smut from its forerunner and ran with it as fast and far as it could.

Nonetheless, it began pretty austerely. In Deadwood, sex is an integrated part of the show’s political economy: it is both an engine and a function of power in the pioneer community the show describes. Sex most often happens for money, and even where it doesn’t there are usually grim consequences for at least one participant. But because Deadwood is perhaps the most democratic piece of TV ever made, you do at least see the consequences from the point of view of those exploited. If the show overplays its hand in terms of its sheer explicitness, at least it does so for intelligible reasons.

In Rome, the bodices get looser, and the social framework fuzzier. There is still a political trade in sex, but in contrast to Deadwood, the people furthest down the social ladder rarely have a voice. This is perhaps as it was in a slave economy, and it’s a fiction writer’s absolute privilege to present it this way, but the result is a kind of thinness to the presentation of sex in Rome. For much of the time, you’re just watching people having sex because people in Ancient Rome had sex. There’s a circularity to this that doesn’t answer the simplest question: why so much sex?

Some of it comes down to an authentic – and even admirable – historical revisionism. The Ancient Rome of film and TV series’ past tended to pivot around the advent of Christ and the resulting elision of Rome’s empire with God’s. There’s not a lot of room in such a story for pagan sensuality. (More generally, it’s entirely possible to watch something like The Greatest Story Ever Told and wonder what, exactly, Jesus came down to reform, so civilised and reasonable is his opposition.) Programme makers want to put the blood, guts and sex back into history: great.

But some of this revisionism is less authentic, and might better be described as generational. The showrunners of some of the most explicit US programmes – Deadwood (David Milch, b. 1945), Rome (John Milius, b. 1944) and The Sopranos (David Chase, b. 1945) – are all from the Boomer Generation, which, if you’ve been reading your National Review, is the generation that conservative critics tend to blame for inventing permissiveness, and maybe even Satan. In one sense, it’s unfair to yoke these three names together – their expressed politics are very different – but each of their main shows has pushed deliberately against the idea that certain permissive (and even destructive) ideas were born when they were.

This is one of the reasons the explicitness of these shows still feels explicit: there is a political edge to it that stops the more extreme ingredients from ever seeming casual or natural. Under the guise of realism or plausible historical reimagining, ideological points are being scored.

That drama can be a vehicle for ideology isn’t news; nor is it bad news. But a problem occurs when the dramatic methods for expressing those underlying ideas harden into mannerism. A parody HBO show would these days need to include an epigraph from a respected author of antiquity, a leering tittyflash or two, some manly grunted oaths, and some grunted manly violence. You see the problem? How radical and how different can these shows really be if the ingredients intended to mark them out are all the same?

And this is where we get into the last and most knotty reason there’s so much sex in these shows: somewhere along the line, what US TV networks call ‘content suitable for a mature audience’ began to be taken as proof of actual maturity. The boobs and blood are not just your reward for watching grown-up television: they are the proof of how grown up it all is.

This may be cynical, but it isn’t necessarily ruinous. Only a joyless prude would deny that the big HBO imports of the past ten years or so have been among the best TV of the era. But there is a creeping laziness, nonetheless. To take a single example applying to everything from The Sopranos up to Game of Thrones: the trend for scenes with long expository dialogue to have a naked woman, or several of them, just hanging around, listening. Or the trend, whenever a male anti-hero might be getting a little too likeable, of having him commit an act of violence against a woman. Or the complementary trend – short of actual sexual violence (of which there is plenty) – of making every act of violence against a woman be about her being a woman.

This one is worth examining because it can be done right. When Detective Kima Greggs is shot in a sting operation in the first series of The Wire, the ferocity of the cops’ response is partly tribal, but also to do with her male colleagues’ sense that shooting a woman is worse than shooting a man. A complicated and commonly held idea is beautifully and reservedly dramatised. By contrast, you have the murder of Lorraine Calluzzo in season five of The Sopranos. A money-handler for a Brooklyn crime family, Lorraine’s murder is to do with her inappropriate closeness to a rival New Jersey mob: it is about power. But, aware of the novelty of having an independent woman so close to power, the writers also make it about sex. So she is attacked leaving the shower one morning and chased naked across the floor of her house, being slapped with a towel, before being shot in the head.

The scene is repulsive (and, it goes without saying, NSFW). But it’s repulsive beyond what its creators intended: it makes a point that the show has already made a hundred times – that mobsters like women to know their place – and reaches into the big bag of exploitative imagery to do so.

A show as lengthy and as generally strong as The Sopranos can survive this kind of miscalculation. In this instance, it’s partly the show’s awareness of the gender politics of the world it describes that leads it into miscalculating, but it’s also the lazy ease with which it feels it can be explicit. If you can do it, why resist?

This sort of scene has drawn the producers a certain amount of flak over the past decade, but none has exactly taken a vow of chastity. Indeed, the most common response has been to leave the material that people have found objectionable but offer a corrective in the form of beefcake and cock. True enough, there have been valid complaints about the plenitude of naked female flesh and the relative paucity of male flesh on display, but the double-standard argument is actually the most trivial: it amounts to sauce for the gander. A stray shot of Ian Somerhalder’s cock (NSFW) in HBO’s Tell Me You Love Me doesn’t make exploitativeness disappear.

Likewise with the argument, ‘If you don’t like it: don’t watch. It’s obviously not for you.’ This is fine as far as not watching The Sopranos goes, but the larger issue is that just as boobs somehow came to equal dramatic maturity, the HBO model has come to be the dominant one for quality drama in the English language.

Quality in the last sentence should come with a payload of quotation marks around it: what it means in practice is a mini-series with higher than average production values, usually about the past, and not infrequently based on the kind of middlebrow novel that TV people think is a classic. Channel Four’s 2010 adaptation of William Boyd’s Any Human Heart is a case in point. Whatever the novel might have to say about life in the last century, the TV version is clearly agog at the mere possibility of sex and swearing among the well-brought-up of the 1920s. ‘How good it is to feel the sun on one’s tits,’ announces a pretty bohemian at a picnic, flinging her top off and then disappearing from the action forever. As an insight into the fact that women had breasts in the twenties, I feel this could hardly be bettered. Otherwise, we’re back where we started – with the glamour of the past and the prestigiousness of the source being used to justify material that producers would struggle to include without it.

In such a climate, it seems perverse to give a welcome (however guarded) to Starz’s two Spartacus series. But at least here the legitimising disguise of the past is the barest fig-leaf, and the Cormanesque unseriousness of the whole enterprise means that, for once, what you see is what you get. Still, it won’t be long before somebody comes along and intellectualises the silly honesty out of it: witness the raised eyebrows about Starz’s newest pilot, a series about female NASCAR drivers. Its working title is Tits in the Pits, but it nervously describes itself as “a Red State Mad Men“. Which emphasis will win out: the frankly immature or the wannabe classy? Experience suggests an awkward and unwelcome compromise. Each generation of TV producers starts out with the intention of correcting its forbears’ dishonesty about sex, but ends up creating dishonesties of its own.
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Sunday 7 August 2011

True Blood S04E07

When television viewers were introduced to Sookie Stackhouse, three years ago in real time but only a few weeks ago in the chronology of “True Blood,” she was a guileless Louisiana waitress with telepathic powers but without much knowledge of how the world worked, and – oh, right – she was a virgin.

How times have changed.

Over the first three seasons of “True Blood,” Sookie has grown into a take-charge heroine who can contend with shapeshifters, maenads, werewolves and – in Season 4 – witches, but no longer depends on her vampire paramour, Bill Compton, or his fanged rival, Eric Northman. During that time, Anna Paquin, the 28-year-old actress who plays Sookie, has evolved, too, into an increasingly central figure on this increasingly popular, explicit-in-all-kinds-of-ways HBO series, who has comfortably outgrown her former status as a precocious phenomenon (and is now married to co-star Stephen Moyer, who plays vampire Bill).


Ms. Paquin spoke recently for this Arts & Leisure article about her maturation on the show...

When I spoke to Alan Ball, he said he was surprised that you were interested in being in the “True Blood” pilot.

I think that was mutual, though. I was surprised that anyone wanted to cast me as blond and perky, and he asked me several times, “So, you seriously want to do a TV show for seven years?” I was like, “Yes.”

Sookie’s innocence is a big part of her character when we first meet her. Did you feel you were able to bring that to the role?

Well, Sookie was a hell of a lot more naive than I think I’d been in quite some time. A lot of times I end up being asked about, “Did XYZ experience in your childhood make you nervous. Were you worried? Were you scared?” Well, I didn’t know I was supposed to be. So no, I wasn’t. And that’s how Sookie is. She doesn’t quite know just how big what she’s getting herself into is. And so she proceeds with full force, Sookie energy. And I think that’s something that she and I have in common – completely different circumstances. If I’d known what I was getting myself into, would I have charged full-steam ahead? Who knows. I love where I am now.

Since this is an interview about “True Blood,” let’s get this over with: Did you have any concerns or second thoughts about the amount of nudity that the role calls for?

I’m not going to say that they wouldn’t have cast me if I wasn’t up for it. But it certainly would be a bit of a buzzkill if Sookie never took her clothes off, considering how often she has sex on the show. Considering the books were about the sexual awakening of a 25-year-old who has 25 years’ worth of pent-up frustration and then is supposed to have lots of hot vampire sex. And also, it was not something that I was uncomfortable with. And I’d done some pretty off-color stuff in various other jobs I’d done, and at much younger ages, with a lot less life experience.

But not to this extent!

Well, there’s a limit to how much you can show of a 15-year-old, but I played some pretty damaged, messed-up, promiscuous little street urchins, in film and on stage. All the wild fantasy vampire sex, at least it’s amongst consenting adults.

Have you seen the video for Snoop Dogg’s “Oh Sookie”?

There are certain moments where you’re like, “We must be doing our jobs well when, dot dot dot.” One of them was the Snoop Dogg video and one of them was the porn parody. We have officially entered the zeitgeist when there’s like tribute videos and pornography.

I have to ask: did you watch that?

No, but Steve and I did give it out as a crew gift last year. [laughs] And I can honestly say I have not watched it. I, at some point, probably out of curiosity will watch it. It’s not on my Top 10 list of things I need to do in my quite limited free time.

Television Series: True Blood (S04E07- Cold Grey Light of Dawn)
Release Date: August 2011
Actress: Anna Paquin & Britt Morgan
Video Clip Credit: Zither

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Monday 1 August 2011

True Blood S04E06

During an interview with Accidental Sexiness the terrifically talented Janina Gavankar (Luna) talked about True Blood and her work as a musician and an actor. Gavankar, recently cast as shape-shifting high school teacher Luna did not think she would be an actor. In fact, she was concentrating on her musical career before she discovered acting.

We will definitely be learning more about True Blood’s shape-shifters since according to Gavankar, Sam (Sam Trammell) and Luna find a shape-shifter support group. But will something develop between Luna and Sam, the shape-shifting owner of Merlotte’s? She adores working with Sam Trammell but Gavankar plays coy: “Luna and Sam like each other right now and that’s all I am going to say.”

Yes, she’s tight-lipped about the specifics of any relationship that might occur between her and Sam, but she also has this to say: “I have no problem with sex scenes that move the story lines along and show the true nature of humans, as opposed to sex scenes for sex scenes. I have no problem with nudity, I don’t think there’s any problem with the human body.”


That said, Gavankar still nearly passed up her role on True Blood because she didn’t feel like baring it all. “I was very aware of it, but I was like, ‘I’m not going to do it,’” she told Access Hollywood. “They were basically like, ‘It’s True Blood and there is nudity involved,’ when they sent me the material.”

“’Fine, I will only do it if it’s a strong recurring,’” she told her people. “They were like, ‘It’s a series regular.’ I was like, ‘Fine, I will only do it if’ — ‘cause I know everybody has sex – ‘I will only do it if she’s not a vampire, because vampire sex kind of freaks me out.’ They are like, ‘She’s a shapeshifter!’ I’m like, ‘Fine!’ My last thing was, ‘I will only do it, if I am not like a stripper,’ and they [said], ‘She’s a school teacher.’”

Yeah, Bon Temps’ schoolteachers probably pretty much have the lifestyle that strippers do elsewehere. But way to have boundaries, Janina.

Television Series: True Blood (S04E06- I Wish I Was the Moon)
Release Date: July 2011
Actress: Anna Paquin & Janina Gavankar
Video Clip Credit: Zither

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