Sabtu, 12 Oktober 2019

Robert Forster, Oscar-nominated actor for 'Jackie Brown,' dies at 78 - USA TODAY

LOS ANGELES — Robert Forster, the handsome and omnipresent character actor who got a career resurgence and Oscar nomination for playing bail bondsman Max Cherry in “Jackie Brown,” died Friday. He was 78.

Publicist Kathie Berlin said Forster died of brain cancer following a brief illness. He was at home in Los Angeles, surrounded by family, including his four children and partner Denise Grayson.

Condolences poured in Friday night on social media.

Bryan Cranston called Forster a “lovely man and a consummate actor” in a tweet. The two met on the 1980 film “Alligator” and then worked together again on the television show “Breaking Bad” and its spinoff film, “El Camino,” which launched Friday on Netflix.

“I never forgot how kind and generous he was to a young kid just starting out in Hollywood,” Cranston wrote.

His “Jackie Brown” co-star Samuel L. Jackson tweeted that Forster was “truly a class act/Actor!!”

A native of Rochester, New York, Forster quite literally stumbled into acting when in college, intending to be a lawyer, he followed a fellow female student he was trying to talk to into an auditorium where “Bye Bye Birdie” auditions were being held. He would be cast in that show, that fellow student would become his wife with whom he had three daughters, and it would start him on a new trajectory as an actor.

A fortuitous role in the 1965 Broadway production “Mrs. Dally Has a Lover” put him on the radar of Darryl Zanuck, who signed him to a studio contract. He would soon make his film debut in the 1967 John Huston film “Reflections in a Golden Eye,” which starred Marlon Brando and Elizabeth Taylor.

Forster would go on to star in Haskell Wexler’s documentary-style Chicago classic “Medium Cool” and the detective television series “Banyon.” It was an early high point that he would later say was the beginning of a “27-year slump.”

He worked consistently throughout the 1970s and 1980s in mostly forgettable B-movies – ultimately appearing in over 100 films, many out of necessity.

“I had four kids, I took any job I could get,” he said in an interview with the Chicago Tribune last year. “Every time it reached a lower level I thought I could tolerate, it dropped some more, and then some more. Near the end, I had no agent, no manager, no lawyer, no nothing. I was taking whatever fell through the cracks.”

It was Quentin Tarantino’s 1997 film “Jackie Brown” that put him back on the map. Tarantino created the role of Max Cherry with Forster in mind – the actor had unsuccessfully auditioned for a part in “Reservoir Dogs,” but the director promised not to forget him.

In an interview with Fandor last year, Forster recalled that when presented with the script for “Jackie Brown,” he told Tarantino, “I’m sure they’re not going to let you hire me.”

Tarantino replied: “I hire anybody I want.”

“And that’s when I realized I was going to get another shot at a career,” Forster said. “He gave me a career back and the last 14 years have been fabulous.”

The performance opposite Pam Grier became one of the more heartwarming Hollywood comeback stories, earning him his first and only Academy Award nomination. He ultimately lost the golden statuette to Robin Williams, who won that year for “Good Will Hunting.”

After “Jackie Brown,” he worked consistently and at a decidedly higher level than during the “slump,” appearing in films like David Lynch’s “Mulholland Drive,” “Me, Myself and Irene,” “The Descendants,” “Olympus Has Fallen,” and “What They Had,” and in television shows like “Breaking Bad” and the “Twin Peaks” revival. He said he loved trying out comedy as Tim Allen’s father in “Last Man Standing.”

He’ll also appear later this year in the Steven Spielberg-produced Apple+ series “Amazing Stories.”

Even in his down days, Forster always considered himself lucky.

“You learn to take whatever jobs there are and make the best you can out of whatever you’ve got. And anyone in any walk of life, if they can figure that out, has a lot better finish than those who cannot stand to take a picture that doesn’t pay you as much or isn’t as good as the last one,” he told IndieWire in 2011. “Attitude is everything.”

Forster is survived by his four children, four grandchildren and Grayson, his partner of 16 years.

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https://www.usatoday.com/story/entertainment/2019/10/12/robert-forster-academy-award-nominee-jackie-brown-actor/3957049002/

2019-10-12 08:30:00Z
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Robert Forster: Jackie Brown star dies aged 78 - BBC News

Actor Robert Forster, who was nominated for an Oscar for his role in Quentin Tarantino's Jackie Brown, has died in Los Angeles aged 78.

The actor, born in Rochester, New York state, died on Friday of brain cancer.

It happened on the same day that El Camino, a film in which he had a role and which is based on the TV series Breaking Bad was broadcast on Netflix.

Forster also appeared in the Breaking Bad TV series as well as David Lynch's Mulholland Drive and Twin Peaks.

He was best known for his roles in the latter part of his career following his appearance in Jackie Brown.

Starring alongside Samuel L Jackson, Pam Grier and Robert De Niro, his performance was nominated for a best supporting actor Oscar.

The award eventually went to Robin Williams for his role in Good Will Hunting.

Forster is survived by his partner Denise Grayson. children Bobby, Elizabeth, Kate and Maeghen and four grandchildren.

Jackie Brown co-stars Samuel L Jackson and Pam Grier were among those to pay tribute.

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https://www.bbc.com/news/entertainment-arts-50025723

2019-10-12 07:47:36Z
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Jumat, 11 Oktober 2019

In ‘Catch and Kill,’ Ronan Farrow Recounts the Opposition He Faced Chasing the Harvey Weinstein Story - The New York Times

We live in polarized times, but one thing still seems to be shared across the political divide: sexual misconduct. As Ronan Farrow documents in his absorbing new book, “Catch and Kill,” mistreating women is a bipartisan enterprise.

This can make for some twisted alliances. Farrow describes how he put together his explosive 2017 exposé of numerous sexual assault and harassment allegations against the Hollywood producer Harvey Weinstein, a longtime Democratic fund-raiser and “part of the brain trust around Hillary Clinton.” (Farrow’s article ran in The New Yorker in October 2017, five days after Jodi Kantor and Megan Twohey of The Times published their article detailing harassment allegations against Weinstein.)

Farrow quotes gleeful emails between Weinstein and Dylan Howard, the editor of The National Enquirer, whose parent company, American Media Inc., was run by David Pecker, a staunch supporter of Donald J. Trump’s. Howard forwarded Weinstein some “dirt” on the actor Rose McGowan, who had tweeted the month before about “my rapist,” whom she didn’t name. “This is the killer,” Weinstein wrote. “Especially if my fingerprints r not on this.”

“Catch and Kill” gets its title from a tabloid practice that A.M.I. had honed over the years: purchasing a story in order to bury it. A.M.I.’s strategy is an essential part of this book’s narrative, but what Farrow suggests is that NBC News, which employed him at the time, did something with the Weinstein story that wasn’t entirely dissimilar. Instead of hush money, Farrow says, NBC officials used the institutional levers at their disposal to shut down his work on Weinstein — from intermittent discouragement to elaborate stonewalling to a legal review that turned out to be both labyrinthine and absurd.

They even ordered Farrow and his steadfast producer, Rich McHugh, to take the rather extraordinary step of halting their reporting; then, when Farrow’s article ran in The New Yorker, NBC released a statement saying that the reporting NBC officials saw (and that Farrow says they tried to impede) had not been up to snuff.

Farrow documents the bafflement and frustration he felt as he and McHugh devised strategies to continue with their news gathering. Getting women to talk on the record about sexual trauma is exceedingly difficult, requiring delicate negotiations and an enormous amount of trust. When NBC ordered Farrow to stop his interviews, he was put in the position of trying to reassure his nervous sources while his employer wasn’t reassuring him at all.

In “Catch and Kill,” Farrow talks candidly about his relationship with his adopted sister Dylan, who has long said that their father, Woody Allen, molested her when she was a child. Making his way to a hard-won interview with McGowan, Ronan — who feels guilty for asking Dylan years ago why she couldn’t “move on” — asked his sister’s advice for how to talk to someone who’s “accusing a very powerful person of a very serious crime.”

“Well, this is the worst part,” Dylan told him. “The considering. The waiting for the story.” She continued: “If you get this, don’t let it go, O.K.?”

He didn’t let it go, though there were plenty of people who tried to pry him loose. In addition to the “all white, all male” chain of command at NBC, there was Weinstein himself, waging a war on all fronts.

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Part of the book is about Black Cube, the mysterious Israeli firm that Weinstein’s team hired to conduct intelligence work, like compile dossiers on journalists (Kantor and Twohey’s recent book, “She Said,” recounts their experiences with the firm, too). Farrow learned about Black Cube when he started to receive leaks from two different sources. A Nissan Pathfinder he kept seeing in front of his home turned out to be a tail. He received multiple barrages of spam texts; he later learned that the texts were possibly connected to attempts to track his cellphone.

But Weinstein also cultivated an inside line to NBC itself. He would bark out the names of NBC’s top brass so that his assistants would get them on the phone and he could start cajoling and bullying. At a Time magazine gala, Farrow learned that Noah Oppenheim, the president of NBC News, was sitting at a table with Weinstein.

In the book, the warning signs about Oppenheim start out small but ominous. Presented at one point with a considerable list of Farrow’s findings, including a recording of Weinstein admitting to groping women against their will, Oppenheim wasn’t entirely convinced. “I don’t know if that’s, you know, a crime,” he told Farrow. “We’ve gotta decide if it’s newsworthy.” (Farrow gets some sweet revenge by depicting Oppenheim as a slick yet pitiable figure; a running joke in “Catch and Kill” is how nobody likes the film “Jackie,” a “morose biopic” about John F. Kennedy’s widow that Oppenheim wrote.)

It became clear to Farrow that NBC’s chain of command was nervous about the story for reasons other than an excess of journalistic caution. He learned that the network had brokered at least seven nondisclosure agreements with women who brought complaints of discrimination or harassment at NBC. Weinstein might have known something about this too. In a phone call to Andy Lack, the chairman of NBC News, Weinstein griped that “your boy Ronan” was digging up stuff from “the ’90s” and added: “We all did that.”

One of the biggest revelations in “Catch and Kill,” revealed toward the end, is that a former NBC employee named Brooke Nevils says that the former NBC anchor Matt Lauer raped her, forcing her to have anal sex despite her repeated protestations that she didn’t want to. Nevils describes what happened in exacting, upsetting detail. “When she woke up,” Farrow writes, “blood was everywhere, soaked through her underwear, soaked through her sheets.”

Nevils, like some of the other women Farrow spoke to, continued to have sexual encounters with the man she says assaulted her. She says she was frightened for her career; Lauer maintains that their relationship was “consensual.” She told Farrow that after one encounter in Lauer’s office when he demanded that she give him oral sex, she asked him, “Why do you do this?” and he replied, “Because it’s fun.”

“Catch and Kill” is mainly about these women’s stories, and the dueling efforts to suppress them and to bring them to light, though Farrow knows how to leaven the narrative, slipping in scenes of the occasional domestic squabble between him and his partner, the former Obama speechwriter Jon Lovett, as well as offering some necessary comic relief. Farrow can be disarmingly wry — “I knew my way around a paternity rumor” — even when writing about another shadowy psyops firm spying on him and other journalists. He got his hands on a document that included observations about journalists’ Twitter followers. “Kantor is NOT following Ronan Farrow,” it said, to which he responds in this book: “You can’t have everything.”

It’s a lesson that Weinstein, accustomed to having it all, never seemed to learn. Farrow describes several fact-checking phone calls with Weinstein in the days before The New Yorker published the article. The petulant producer was incredulous that the recording of him admitting to groping women still existed; he had long believed his lawyers had arranged an agreement with the district attorney’s office that the tape, made during a police sting, would be “destroyed.” (Spokespeople for the district attorney’s office later told Farrow “they never agreed to destroy evidence,” though when he asked a contact there about the tape during the course of his reporting, the person found it referenced in the case files but couldn’t find it.)

The behavior documented in “Catch and Kill” is obviously and profoundly distressing — not just the horrific abuse, but the various methods available to moneyed men who want to keep women silent, and the many ways they try to rationalize their behavior to others and themselves.

But there are some hopeful threads, too.

The first has to do, strangely enough, with the fury with which Weinstein tried to stop the journalists following the story; his extreme measures indicated that he knew there were institutions with sufficient power to hold him to account.

The second has to do with how some of the people Weinstein tried to enlist in his efforts turned into conscientious objectors and helped the other side. One of those turncoats was “Sleeper,” who supplied Farrow with incriminating documents about Weinstein and Black Cube. Farrow can’t tell us much about this source, but he does tell us this: “She was a woman and she’d had enough.”

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https://www.nytimes.com/2019/10/11/books/review-catch-kill-ronan-farrow-harvey-weinstein.html

2019-10-11 14:15:00Z
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Liam Hemsworth Spotted Holding Hands with "Mystery Girl" in New York - Cosmopolitan.com

Celebrity Sightings In Los Angeles - July 08, 2019

gotpap/Bauer-GriffinGetty Images

  • Liam Hemsworth was spotted walking around NYC holding hands with a mystery date.
  • Liam and Miley Cyrus split up back in August after less than a year of marriage.

    Remember a couple days ago when sources claimed that Liam Hemsworth hasn’t dated anyone since breaking up with Miley Cyrus but is definitely “open to meeting people?" Yeah, well things have changed and it looks like Liam has found said people.

    TMZ just dropped a bunch of exclusive pics of Liam walking around New York City's West Village neighborhood with a ~mystery woman~, and yes they are most certainly holding hands. Which:

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    The pair were seen getting food and drinks together at Sant Ambroeus, and then went on what TMZ describes as a "romantic stroll." This is the first anyone's heard of Liam dating in the wake of his split from Miley Cyrus back in August, while she's been a *lot* more public about her love life. Since the breakup, Miley's been seen PDA-ing her way around Italy, New York, and Los Angeles with Kaitlynn Carter—and now she's publicly dating Australian singer (and aspiring poet) Cody Simpson. Miley's been super open about the whole thing, and has reminded fans that just because all of this is pretty public, doesn't make it anyone's business.

    "I know the public feels invested in my past relationship because they felt like they saw it thru from the beginning....I think that’s why people have always felt so entitled over my life and how I live it because they’ve watched me grow up," she said. "But I am grown now and make choices as an adult knowing the truth/details/reality. People only ‘know’ what they see on the internet. Men (especially successful ones) are RARELY slut shamed. They move on from one beautiful young woman to the next MOST times without consequence. They are usually referred to as ‘legends,’ ‘heartthrobs,’ ‘G,’ ‘Ladies’ Man,’ etc….where women are called sluts/whores! I am trying to just THRIVE/survive in a ‘man’s’ world....If we can’t beat ’em, join ’em! If our president can ‘grab ’em by the pussy’...can’t I just have a kiss and an acai bowl?!?!”

    Amen to that.

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    Instagram

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    https://www.cosmopolitan.com/entertainment/celebs/a29436190/liam-hemsworth-dating-mystery-girl-holding-hands-pics/

    2019-10-11 10:06:00Z
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    Liam Hemsworth Holds Hands with Mystery Girl in NYC - TMZ

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    https://www.tmz.com/2019/10/11/liam-hemsworth-holding-hands-mystery-girl-nyc-miley-cyrus/

    2019-10-11 08:00:00Z
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    NBC News' Noah Oppenheim, Accused of Downplaying Lauer Rape Claims, Once Bashed NBC for Firing Marv Albert - The Daily Beast

    A top NBC executive already under fire over an accusation he downplayed a rape accusation against Matt Lauer is catching more flak over columns he wrote at Harvard University that mocked feminists, gushed over busty blondes, and lambasted NBC for firing a sportscaster accused of sexual assault.

    Copies of the 20-year-old columns by NBC News President Noah Oppenheim have started to circulate at the network, which was roiled this week by the release of excerpts of a new book by ex-correspondent Ronan Farrow.

    Staffers were particularly infuriated by Farrow’s allegation that after Lauer was fired over an anal-rape claim by a junior employee, the accuser learned that Oppenheim, along with NBC chairman Andrew Lack, had been “emphasizing that the incident hadn’t been ‘criminal’ or an ‘assault.’”

    Oppenheim was confronted by employees during a conference call on Thursday morning. Now he’ll likely face new questions about his writings in the Harvard Crimson.

    Twenty years before the Lauer accusations emerged, while Oppenheim was a student at Harvard, he wrote a Crimson column railing against NBC’s decision to fire Marv Albert after the sportscaster pleaded guilty to assault in a sex case. (Albert was later re-hired in 2000). 

    “The trial was a sham and that the network’s action was an injustice,” Oppenheim fumed in the October1997 column. He lamented how Albert’s accuser, Vanessa Perhach, was “permitted to remain shielded in anonymity” while Albert’s sex life faced public probing. Perhach accused the sportscaster of throwing her on a hotel bed, biting her, and forcing her to perform oral sex on him. 

    “It is certainly a noble goal to protect the victims of sexual assault from mistreatment in the courtroom,” Oppenheim wrote, “but why should Marv's past conduct have been subject to the closest scrutiny, while Perhach’s character history have remained off-limits?”

    Although Albert pleaded guilty, Oppenheim concluded that it was NBC’s actions that were “highly inappropriate.” After all, the future NBC exec wrote, “All that we know for sure is that Marv liked his sex a little kinky.”

    After graduating from Harvard in 2000, Oppenheim began a career in news at NBC, working on MSNBC shows like Hardball and Scarborough Country, co-creating CNBC’s Mad Money with Jim Cramer, and producing the Today show. He eventually rose up the ranks to senior vice president, overseeing the storied morning show, and in 2017, he was named president of NBC News. Beyond his work in television, Oppenheim wrote the screenplays for Jackie, The Maze Runner, and The Divergent Series: Allegiant.

    Oppenheim was deeply involved in decisions surrounding Farrow’s investigation of Harvey Weinstein, which NBC chose not to run. Farrow, who took the story to the New Yorker and won a Pulitzer Prize, is dishing about the Weinstein probe and NBC’s handling of the Lauer allegations in his new book.

    Over the past several days, excerpts have ignited a firestorm of criticism inside NBC’s prestigious news division. Farrow’s claims—that Oppenheim misled the newsroom about the allegations against Lauer, and dismissively claimed “Harvey Weinstein grabbing a lady’s breasts a couple of years ago, that’s not national news”—have enraged many of the network’s staffers, who demanded answers from network brass.  

    All that we know for sure is that Marv liked his sex a little kinky.

    Noah Oppenheim, 1997

    As such, NBC staffers have also begun to take notice of Oppenheim’s old Crimson musings. Several staffers have passed around his columns, expressing outrage to The Daily Beast at how the executive in charge of handling the Lauer rape claim, as well as shutting down Farrow’s Weinstein exposé, had displayed questionable attitudes towards women.

    “Noah has always run a boys’ club,” one person who has worked closely with Oppenheim at NBC told The Daily Beast as the columns came to light. 

    In a 1998 column that has been circulated among NBC insiders ahead of the release of Farrow’s book, Catch & Kill, Oppenheim gleefully mocked the feminist criticism of Harvard’s male-only final clubs and their rowdy “punch season” (the equivalent of a fraternity rush) parties.

    “Many women argue that the clubs are objectionable because of their demeaning treatment of female guests—particularly the restriction of movement and the sexually aggressive atmosphere,” he wrote. “Women who fell [sic] threatened by the clubs’ environments should seek tamer pastures.”

    “However,” Oppenheim concluded, “apparently women enjoy being confined, pumped full of alcohol and preyed upon. They feel desired, not demeaned.”

    A current staffer who read the column said they wanted to quit.

    “Our boss thinks women enjoy being ‘confined, pumped with alcohol and preyed upon’—those are his own words—and now he runs one of the largest news divisions in America,” the staffer seethed. “I can’t believe I work for him. How can this person be president of a network news division?”

    Apparently women enjoy being confined, pumped full of alcohol and preyed upon. They feel desired, not demeaned.

    Noah Oppenheim, 1998

    In that same late-’90s column, the future TV honcho dismissed criticism that the Ivy League’s single-gender social clubs often enabled misogynistic behavior, writing that they served as “a place to let our baser instincts have free reign, to let go of whatever exterior polish we affect to appease female sensibilities.”

    After attending a 1999 meeting about safe spaces for women on campus, Oppenheim penned a column lamenting the “level of absurdity that currently defines gender politics at Harvard.” He criticized the women’s groups, including the Coalition Against Sexual Violence, for, in his opinion, not adequately considering the opinions of men when it came to topics including sexual harassment and assault. 

    “Apparently ‘sexism, sexual harassment and sexual assault’ are women’s issues,” he wrote of what he learned at the meeting. “Additionally, one speaker indicated that she was concerned about the availability of ‘emotional support’ for women on campus.” However, Oppenheim added, “By the end of the night, I must admit that I was rather confused. Surely, sexism, sexual harassment, and sexual assault are issues that belong to everyone. Why are women’s meetings any more deserving of protected space than anyone else’s? And, as for the existence of ‘emotional support,’ don’t we all need a bit of that?”

    “It may be time for the feminist activists on this campus to take a little time-out for a good old-fashioned reality check,” Oppenheim concluded. “Some committees, in order [sic] function effectively, have to limit their membership. The overwhelming majority of undergraduate women are not complaining of any rampant discrimination by Harvard. Sexual assault is a matter of public safety, not gender politics. The non-discrimination sword cuts both ways. We all need more meeting space and an occasional hug.” 

    In another cringe-worthy column from the year prior, Oppenheim giddily praised the opening of a Hooters breastaurant near campus, declaring that “By the standards of modern feminism, I am thereby guilty of a most terrible crime. I objectify women.”

    Like most heterosexual men, the sight of a big-busted blonde tickles my fancy.

    Noah Oppenheim, 1998

    While other Harvard men “may pretend to be outraged” by the presence of the sexually suggestive restaurant, “for fear of alienating the real women in their lives,” Oppenheim boasted: “I’ve already made my reservations at Hooters.” He added that, “Like most heterosexual men, the sight of a big-busted blonde tickles my fancy.”

    “When I take a hard-earned study break, I like to be greeted by a pretty face,” he concluded, referencing his dorm-room wall decor. “And ladies, if any of you have a fetish for bespectacled Jewish boys, I’d be happy to pose for you.”

    NBC did not respond to multiple requests for comment.

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    https://www.thedailybeast.com/nbc-news-noah-oppenheim-accused-of-downplaying-lauer-rape-claims-once-bashed-nbc-for-firing-marv-albert

    2019-10-11 06:20:00Z
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    Kamis, 10 Oktober 2019

    Mindy Kaling says Emmys 'dismissed me as a junior woman of colour' - BBC News

    Actress and writer Mindy Kaling has accused the Emmy Awards of trying to cut her from The Office's nominations because she is a woman of colour.

    Kaling starred in the US version of the show as well as serving as an executive producer, director and writer.

    But she said the Television Academy, which oversees the Emmys, attempted to strip her of a producer's credit.

    "I *was* singled out," she said. "The most junior person, and woman of colour. Easiest to dismiss."

    Kaling played Kelly in the sitcom, and wrote and directed a number of episodes. She also found success with The Mindy Project, and recently starred in and wrote Late Night with Dame Emma Thompson, and wrote the Four Weddings and a Funeral TV reboot.

    Her dispute with the Television Academy dates back a decade, when the organisation was trying to cut the number of producers credited on the Emmy nomination for each show.

    The 40-year-old told Elle magazine the Academy forced her to go through a "humiliating" process to prove her contribution.

    "They made me, not any of the other producers, fill out a whole form and write an essay about all my contributions as a writer and a producer," she said. "I had to get letters from all the other male, white producers saying that I had contributed, when my actual record stood for itself."

    'No-one was singled out'

    The TV Academy denied the process was personal and said "every performer producer and writer producer was asked to justify their producer credits".

    An Academy spokesman told the Los Angeles Times: "No one person was singled out."

    Kaling then took to Twitter to say their response "doesn't make any sense".

    "There were other Office writer-performer-producers who were NOT cut from the list. Just me," she wrote.

    "I worked so hard and it was humiliating. I had written so many episodes, put in so much time in the editing room, just to have the Academy discard it because they couldn't fathom I was capable of doing it all. Thankfully I was rescued by my friends, the other producers."

    Kaling was listed in the nominations as a producer in the outstanding comedy series category in 2007 and 2008, and as a co-executive producer from 2009-11.

    She noted the incident happened around 10 years ago and "maybe it wouldn't happen now" - however "it happened to me". Kaling has also asked the Academy to apologise.

    Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

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    https://www.bbc.com/news/entertainment-arts-49998124

    2019-10-10 10:00:15Z
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