Jennifer Lawrence strikes against Gender Wage Gap in Hollywood

“I’m over trying to find the “adorable” way to state my opinion and still be likable! Fuck that.”

Last year Sony leaked wage of several actors and actresses, which proofed that there is a huge gender gap in their salaries. As it showed, that Oscar winning actress Jennifer Lawrence and four-time Academy Award nominee Amy Adams were getting 7 percent of American Hustle‘s backend profits, versus the 9 percent Bradley Cooper, Christian Bale, Jeremy Renner, and director David O. Russell were getting.

But Lawrence had something to say about that:

“When the Sony hack happened and I found out how much less I was being paid than the lucky people with dicks, I didn’t get mad at Sony. I got mad at myself. I failed as a negotiator because I gave up early. I didn’t want to keep fighting over millions of dollars that, frankly, due to two franchises, I don’t need.

…But if I’m honest with myself, I would be lying if I didn’t say there was an element of wanting to be liked that influenced my decision to close the deal without a real fight. I didn’t want to seem “difficult” or “spoiled.” At the time, that seemed like a fine idea, until I saw the payroll on the Internet and realized every man I was working with definitely didn’t worry about being “difficult” or “spoiled.”

A few weeks ago at work, I spoke my mind and gave my opinion in a clear and no-bullshit way; no aggression, just blunt. The man I was working with (actually, he was working for me) said, “Whoa! We’re all on the same team here!” As if I was yelling at him. I was so shocked because nothing that I said was personal, offensive, or, to be honest, wrong. All I hear and see all day are men speaking their opinions, and I give mine in the same exact manner, and you would have thought I had said something offensive.

I’m over trying to find the “adorable” way to state my opinion and still be likable! Fuck that.”

Jenn got some support from former colleagues including Emma Watson, Sienna Miller and Bradley Cooper, who told in his last interview:

“If you think that you only deserve a certain amount and that’s not correct, it’s about changing that mindset and sticking up for yourself the way that Sienna did,” said Cooper, who was one of the male cast members to earn more than Lawrence for American Hustle. “So that’s a great thing.”

“There’s a double standard in the whole world, yeah, for sure. This is just one aspect. Anytime there’s a place where a voice can come out and be outspoken – something Sienna did, or Jennifer – that’s great … I think it is making a difference.”

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Go Jenn you will always have our support!


Wiz Khalifa’s ‘See you again’ video is a tribute to paul walker

With Furious 7 breaking box-office records last weekend, tributes to Paul Walker have been flooding social media. But none have been as moving as the music video for Wiz Khalifa’s “See You Again,” off the Furious 7 soundtrack. The clip, which Vin Diesel premiered exclusively on his Facebook page, is basically a montage of Walker’s time in the Fast & Furious franchise, and emphasizes the unique bond he formed with the cast, particularly Diesel.

The song, which features Charlie Puth, was written specifically as a tribute to Walker, who died in a car accident in 2013 before Furious 7 finished filming. “See You Again” plays in the final moments of Furious 7, which are shown in the video, so if you don’t want that ruined for you maybe wait until you’ve seen the film. You can watch “See You Again” above.

“Paper Towns” movie trailer featuring Cara Delevingne

Paper Towns | Official Trailer: Adapted from the bestselling novel by author John Green (“The Fault in Our Stars”), PAPER TOWNS is a coming-of-age story centering on Quentin and his enigmatic neighbor Margo, who loved mysteries so much she became one. After taking him on an all-night adventure through their hometown, Margo suddenly disappears–leaving behind cryptic clues for Quentin to decipher. The search leads Quentin and his quick-witted friends on an exhilarating adventure that is equal parts hilarious and moving. Ultimately, to track down Margo, Quentin must find a deeper understanding of true friendship–and true love.

Cast: Nat Wolff, Cara Delevingne, Halston Sage, Austin Abrams, Jaz Sinclair, Justice Smith

In Theaters – July 24, 2015

Very Good Girls Trailer

Finally, i‘ve been waiting for this movie since 2013 . I am into Liz Olsons movies lately and this one looks awesome and there is Dakota too, so i have high hope on this.

Two New York City girls pact to lose their virginity during their first summer out of high school. When they both fall for the same street artist, the friends find their connection tested for the first time.

Director: Naomi Foner

She do

10 years from Mean Girls

Ladies and Geltmans let’s just agree – everyone loves “Mean Girls” and seen it uncountable times, i know i did. So can you imagine  IT’S BEEN 10 YEARS. 10 years ago, the movie first came out. Lindsay Lohan, Jennifer McAdams, Tina Fey and Amanda Seyfried with their unforgettable characters.

Some of the lines just stick with us here are some of them from girls:

So first of all Regina George – classic bitch, just loooove her

Cady Heron from Africa 

Stupid Karen Smith

Fame whore Gretchen Wieners

Elizabeth Olsen in FLAUNT Magazine April 2014


The Oxygen Destroyer Must Not Be Used

Recently, everyone’s been congratulating Elizabeth Olsen. So when I think to do the same, standing in my house with a phone to my ear, waiting for Olsen to pick up the other end somewhere in the Aosta Valley in Northwestern Italy, I wonder which of her recent accomplishments I’m speaking to. This is when I get nervous.

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After training at Tisch and starring in Sean Durkin’s cigarette burn of a debut Martha Marcy May Marlene (2011), Olsen has emerged from the silken cocoon of a famously show-busy family, neatly engineering a lo-fi, roots-up career.

But Olsen looks to be leaving obscurity behind. There’s The Avengers: Age of Ultronslated for release in 2015, and Gareth Edwards’ madly anticipated reimagining of the once-tainted Godzilla franchise out this spring. (Reasons for Congratulation #1, #2, and possibly #3.) Both pictures have in common large, well-established ensemble casts (including a double pairing with Aaron Taylor-Johnson), but consist of entirely divergent personalities: Cranston/Watanabe/Binoche on the one hand, and Downey Jr. and co. on the other.

As the phone rings, warbling and distant, I imagine Olsen lounging on a tufted settee in some historic Baronial hotel, panoramic Mont Blanc in the distant dark. I wonder whether or not she’s become eager to leave behind her indie roots and embrace the multimillion-dollar Hollywood machine, though that strikes me as unlikely. She answers and the first thing I do is excuse myself, blathering while I clumsily hot-potato my phone, making sure the damn thing is, indeed, recording.

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Lizzie—as she introduces herself over my frantic screen-pawing—sounds relaxed and chirpy: a relief. A relief, too, that the app says it’s been dictating this whole time. And here’s a third, for good measure: Olsen’s breezy attitude makes me feel like if this totally fails, if the transoceanic call drops or the battery melts in my hand, calling her back wouldn’t be such a big deal.

I confirm we’re recording.

“I’d have no idea how to even begin to do that, honestly,” she starts in, laughing.

It’s Saturday morning and she’s the last remaining Avenger on the European continent; Joss Whedon’s army of a crew have been shooting for a week, pulling the odd 14-hour day. “The weeks and weekends don’t feel that separated in my life,” she explains, though you wouldn’t be able to tell. But there is, (consider Reason for Congratulation #4: her recent engagement) perhaps, the slightest tinge of melancholy when she adds that the rest of the crew departed that morning. It’s a somberness hardly fathomable to most aspiring stars; Olsen is staying on to do a photoshoot. But she’s sitting there, alone in her mountainside hotel room behind a perfect silence, the lack of background buzz only adding to this subtle zap of loneliness coming through the receiver.

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“I don’t know a lick of Italian, and even just going to restaurants, it’s been awful in these small villages. The people at the hotel don’t really speak English, either,” she says. “I feel so stupid looking at every other word on a menu, so I’ve downloaded this Italian dictionary to my phone.” Again she laughs, finding deadpan consolation in the fact that “at least pasta and pizza are the same.”

Lunch aside, Olsen remains understandably tight-lipped on the subject of the newAvengers even as I probe; the threat of peering studio men locking down all evidence isn’t so fantastical: “Any time they give us a call sheet or any time there’s a new draft, they have to shred our old papers.” Surely that’s been peculiar, working on something so closely protected, yet right out there so squarely for all (the internet) to see? “I don’t think I’m allowed to say anything! And I’m too terrified.”

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“I really just feel like I’m doing something that’s top secret and somehow has a lot more importance than anything else I’ve been around, so that alone is hilarious. I want to take a photo and send to my friends, not that I want to tweet or Instagram it, just for personal reasons—and I feel like I’m going to get in trouble if I take a photo on set!” Although that would never stop the militant fansites, I get the impression she’s glancing over her shoulder as she utters these choice words, tiptoeing on the settee, say, looking for wiretaps in the smoke detector. A world apart from Godzilla, perhaps because of this—despite both films boasting mega-investment, a lot of equipment and a lot of bodies—Olsen has experienced two vastly opposed shoots in a short space of time, kind of a theme for her career to date.

“The people at Legendary [producers of Godzilla] are really good at keeping things under wraps,” she says. “Avengers already has so much attention—all the Marvel films do—so filming something like Godzilla was basically a cast of actors who are all really well-respected, [but] they’re just under the radar. We didn’t have anything like [this forGodzilla], you’re just focused on making the movie. There wasn’t any other media part of it. It was an awesome first experience on one of these big movies because it’s been a really simple transition; there’s nothing too grandiose about it in my mind except for the fact that we had a very large crew and a lot of extras.”

It’s at this point that I decide one of us should be outdoors—probably the Hollywood Green cineplex, Tottenham, where I’ll likely be watching the very movie in question. But I worry the connection will cut off.

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“Godzilla just looks so, so special and unique, and that’s something that I don’t think monster films have been able to do yet,” she says. “When it’s a monster, I think people tend to make things a little cartoony. This film puts the world in a fantastical position but handles it seriously.” [Not unlike Olsen herself, perhaps.] “Which is funny, in a way, but how it’s made—it can be a story about family and society, and how we’re responsible for our acts with the environment and all that’s related, or it can also be watched as a really fun monster film.”

Has that transition been made all the more easy being surrounded by ferocious talent?

“Especially with a situation like The Avengers where there’s already an established franchise, you’re the newbies. That’s kind of intimidating. But I feel like I swing back and forth. I’ve been prepping this since January, at least, so I kind of feel like I have some understanding of what’s going on already, which is nice.”

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When I suggest that, with those two films, her universe is about to Big-Bang wide open, I can understand her eagerness to quell any such notions. “No!” she says, laughing. “That’s definitely not the case, but you hope these other films will open you up to a more international audience, and the independent films that you’re trying to argue for can find financiers.

“I don’t really feel like there’s a world of the ‘middle-budget’ film at all right now. You’re either making blockbusters and films for the Oscars, or an independent,” she explains. “I don’t really see where people are making anything in between that. Sometimes you’ll get a film studio that’ll invest in a movie that has a beautiful story and director behind it, those are just the hardest ones to get made and for everyone to sign-off on. And those are the ones I’ve been chasing for the last year and a half, and they’re just not happening. You’re just waiting for people to take risks.”

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Olsen leaves such an indelible stamp on the characters played that it appears as if each role had been written for her, often from first-time writer/directors. Perhaps this is due to her stringent beginnings at the Atlantic Theatre Company, one-time stomping grounds of McDonagh, McPherson, Mamet, and Allen.

That experience—placed by NYU at the Atlantic—has nonetheless been a fundamental influence. “If I didn’t go there, I really have no idea where I would be,” she tells me. “I didn’t really know what I was going to get myself into going to a theater school, because I was a theater kid in high school, but being a theater kid in L.A. is a lot different [from] being a theater kid in a small town in Connecticut, with regional theater. I was so scared to be in a place where everyone was a theater kid. They present the realistic world of work, and the disappointments. The teachers are all working themselves, no one’s just like an ‘acting teacher.’”

And when I ask if she’s keen to return to the stage, off the back of last year’s “edgy”Romeo and Juliet with the Classic Stage Company, it’s her fresh-in-the-mind experience on the Avengers set that provides sharp contrast.

“[Classic Stage is] an Off-Broadway production company that [is] mainly focused on classics, like Shakespeare and Chekhov. Even though I did Romeo and Juliet, I think I’d enjoy Chekhov a bit more. He was the playwright that made me excited to study theater when I was 15 years old. I love theater, so I just really wanted to see how I could stand on stage again. I hadn’t had to use my whole body for a long time. Everything was always isolated in the frame and I was curious about the stamina and the discipline. So it was definitely an interesting exercise for myself.

“Doing theater, you’re in something for about three hours. Even if something really great or really bad happened in your day, for those three hours of that night you’re not able to think about anything else. And it’s a really freeing feeling, and some days you think, ‘Oh god I have to do this’, and you do it, and then it’s over and you’re like ‘Shit, that was actually pretty good’ or ‘That was a great audience.’ It’s definitely different when I’m doing Avengers now. It takes, like, eleven setups to do one-eighth of a page; you spend a whole day doing what might be a seven-second sequence.”

Is there a preference, perhaps?

“I love them both. With one, you have the advantage of editing, which sometimes can be a disadvantage for actors, actually. There’s something about picking the frame and the speed of how you shoot it, that all those things will help you. And then on stage, you play everything that leads up to the moment—you have a momentum—whereas on set, you wait around for an hour and a half and they call you to do something epic. And you’re like, okay, wake up, you’ve been sitting for an hour and a half.” But performance is never draining, she tells me. “It’s stimulating. It’s being alive. It’s breaking up the mundane.

“I’ve actually been really interested recently in how people’s physicality can manipulate their emotions, as opposed to emotions manipulating someone’s physicality.” This is part of Olsen’s charm: that self-awareness, rather than self-consciousness, overflowing into her performances.

Stylist: Christine de Lassus
Hair: Paco Garrigues
Makeup: Hung Vanngo
Photographed at Colony Studios Brooklyn

For more visit FLAUNT>COM

Best dressed at MTV Movie Awards 2014

Another fun night at the Nokia Theatre on Sunday, April 13 in Los Angeles as it was 2014 MTV Movie Awards. Among cool moments i choose few awesome looks.

Jessica Alba In lemon-yellow Kenzo high-waist skirt with a white Piece d’Anarchive tube top and geometric printed Jimmy Choo ‘Anouk’ pumps. Very fresh and spring look, beautiful as always. 

Lupita Nyong’o was stunning  as always in  Karl Lagerfeld’s Fall 2014 collection for Chanel.She matched it with sky blue Casadei ‘Blade’ pumps. What can i say more, you know how much i love her style


Rihanna in the Ulyana Sergeenko Spring 2014 Couture collection dress and Manolo Blahnik nude sandals. Riri was rocking the look. later she performed “Monster” with Eminem.

Debby Ryan In Rachel Zoe jumpsuit  from the Pre-Fall 2014 collection.

Zendaya Coleman In Emanuel Ungaro and Christian Louboutin black ankle-strap pumps, zendaya can pull up every look, she always looks confident and i really love her style.

Rita Ora wore black Barbara Casasola Fall 2014 gown. She carried a fun ‘Hold It’ message clutch in gold and black by Edie Parker.

+Bonus gif 😀

Jupiter Ascending Official Trailer

Check the first official trailer of Jupiter Ascending, Staring  Mila KunisChanning TatumDouglas BoothEddie Redmayne

Directors: Andy WachowskiLana Wachowski

Plot: In the future, a young destitute human woman gets targeted for assassination by the Queen of the Universe, and begins her destiny to finish the Queen’s reign.

Lucy Official Trailer 2014

Scarlett Johansson is a total badass in the new trailer for her upcoming film Lucy.

The Plot: A drug mule accidentally swallows her cargo and finds she now has superpowers. The movie also features Morgan Freeman and Analeigh Tipton

It looks pretty interesting, going on my “must watch ” list. The movie hit theaters on August 8, 2014.