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courieraunews · 6 years

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TV Plastic Surgeon Randal Haworth Accused of Drug Use, Watching Porn During Surgery

Former patient also says he had serious eye problems in new court filing for malpractice suit

Randal Haworth, a Beverly Hills plastic surgeon who has appeared on TV shows like Fox’s “The Swan,” has been accused of illicit drug use and watching pornographic movies and videos depicting beheadings during his surgeries.

According to a proposed amended complaint filed in Los Angeles Superior Court on Friday, Haworth “regularly played hardcore pornography and videos showing extreme and graphic violence, such as actual beheadings, on a monitor, on in the background during during [sic] some of his surgeries.”

Laura Day, a former patient who first filed a malpractice suit in January 2017, also claimed in the new filing — based on the recent deposition of Haworth’s former surgical consultant — that the surgeon failed to disclose he was having issues with his eyesight, particularly his depth perception, following treatment for an eye tumor.

The new court filing also accused Haworth of “regularly and unlawfully” using the painkiller Percocet, “including before and during his performance of surgical procedures.” The new complaint also charged that he “regularly used other illicit drugs, such as cocaine and MDMA, commonly called Ecstasy.’”

In addition, the new amended complaint accused Haworth of forging patient consent forms in order to keep his medical accreditation and charged that he routinely bullied unhappy patients who complained about his work.

Reached by phone, Haworth denied the accusations, calling them “preposterous.”

“The might as well say that I killed JonBenét Ramsey,” Haworth told. He declined to elaborate further about the specific accusations, except to say, “The truth will eventually prevail.”

Haworth, a Beverly Hills plastic surgeon to the stars, has a roster of clients that reportedly includes “Real Housewives of Beverly Hills” star Lisa Rinna. He was cast as one of the resident surgeons on Fox’s “The Swan,” a 2004 reality show that chronicled 16 women as they underwent extensive plastic surgery and counseling.

The show was canceled after two season due to a dip in ratings and continued criticism for normalizing cosmetic surgery. Haworth has also appeared as an expert on CBS’ “The Doctors.”

Day claimed that she was badly injured during a procedure performed by Haworth in 2015. In her lawsuit, Day said that she was mentally impaired for months after the surgery and was permanently disfigured.

In her new court filing, Day’s lawyer, Chris Rudd, said that he was in the midst of what he thought was a “typical” malpractice suit over a botched procedure when, during discovery, Haworth’s former surgical assistant and consultant came forward with accusations of misconduct that were included in the proposed amended complaint.

Reached by phone, Rudd said he’ll be “seeking very substantial damages for her injuries plus punitive damages for the fraud and intentional torts,” as well as restitution and an injunction.

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lifejustgotawkward · 4 years

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Bright Wall/Dark Room is accepting submissions for essays on the best films of the 2010s and I’m currently considering five options that I can easily rewatch for reference with Netflix, Hulu or Criterion Channel:

The Lure (dir. Agnieszka Smoczynska)

Casting JonBenét (dir. Kitty Green)

Ingrid Goes West (dir. Matt Spicer)

Lucky (dir. John Carroll Lynch)

Shirkers (dir. Sandi Tan)

Does anyone have a vote for which film they’d particularly like to read a critique/personal essay about? If my submission is rejected, I’ll publish it either here or on my Wordpress blog!

#film #films #movies #cinema #the lure #agnieszka smoczynska #casting jonbenét #kitty green #ingrid goes west #matt spicer #lucky #john carroll lynch #shirkers #sandi tan

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petersonreviews · 6 years

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Casting JonBenét (2017)

“Featured here are people who are damaged, who are searching. And ultimately, that becomes just as compelling as the crime, and the emotional details of that crime, itself.”

http://bit.ly/2oD2GGU

#casting jonbenét #2010s #kitty green #jonbenet ramsey

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therumpus · 7 years

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The simplest answer is that we crave the drama this story delivers. True crime drama is ubiquitous. Shows like Making a Murderer, alongside podcasts like Serial and its multiple investigative spin-offs, have become mainstream sources of entertainment. It is an uncomfortable admission, but we hunger for stories that sensationalize the extremes of human behavior. We want to crawl under the police tape and see the outlines of bodies. We want to speculate on motives. We want to be the one to finally solve the mystery. True crime satiates this particular appetite. It opens the door and lifts the tape, inviting us to become the experts we think ourselves to be. And could there be a more enticing story to enter than the unsolved murder of an innocent, rich, white, young girl killed in her own home on Christmas night?

Casting JonBenét And The Pageantry Of Brokenness by Nina Lohman Cilek

#Essays #Nina Lohman Cilek #Casting JonBenét #JonBenét Ramsey #Kitty Green

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tiptoptab · 5 years

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list of true crime documentaries on netflix that i can recommend

evil genius

amanda knox

I am a killer

the staircase

Honerable mention: mindhunter (it’s amazing although not technically a documentary series you should definitely still watch it)

#i know some of my followers like true crime docs #i still havent finished the ted bundy tapes series so i cant really comment on that yet #dont watch casting jonbenet #that movie is a snoozfest and not very informative #instead watch The Case Of: Jonbenét Ramsey #on youtube #its a bit biased but def much better than the one on netflix

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angelbeats00 · 5 years

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♡ miss jonbenét, heaven’s angel ♡

#i think these are from 95...? i dont actually remember!#jonbenet #jonbenet ramsey #jonbenét #jonbenét ramsey #casting jonbenet #the case of jonbenet ramsey #victim #child victim #victims #child victims #tcc #true crime #true crime victim #true crime community #memorial #remember the victims #♡ love ... evie

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a-magical-knight · 2 years

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tagged by @wheatkings-and-prettythings and @the-redheaded-league 🥰🥰🥰

favorite color: cobalt blue

currently reading: er, ah… *whispers* Priest by Sierra Simone

last song: Say Amen by P!ATD

last series: Bob’s Burgers (i’m watching it right now XD)

last movie: Casting JonBenét

sweet, savory, or spicy: aaah… depends on the mood! Usually sweet, but definitely prefer savory recently

currently working on: practicing wood carving!

I’m gonna tag…probably a lot of folks who have been tagged already 😅 @roxas-zen-frost @trelaney @bottlesandbarricades @scripturient-manipulator @turbulent-protagonist and anyone who’s game!

#thanks for the tags!#i love these 🥰#about me

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dearorpheus · 5 years

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Hi, I`m looking for some nonfiction books about women and death and was hoping you could recommend some?

this is a really good prompt bc there’s so much material to offer. people have always been transfixed by female death

this is the face of l’inconnue de la seine, or, ‘the unknown woman of the seine’, a young suicide of sixteen years of age, who was pulled from the seine and placed in the paris morgue where a pathologist became so captivated by her “enigmatic mona lisa smile” that he made a death mask of her face; her face became popularised, and a generation of bohemians hung plaster replicas about their homes, some going so far as to say that her face was the “erotic ideal” of the period.

left to right: asmund laerdal practising cpr on resusci anne, the doll used to teach cpr whose visage is modelled after l’inconnue; a plaster cast of l’inconnue; a student drawing the death mask of l’inconnue (c. 1890)

if you’re interested in her i’d rec The Drowned Muse: The Unknown Woman of the Seine’s Survivals from Nineteenth-Century Modernity to the Present by Anne-Gaëlle Saliot

going forward:

- excerpt from “The Woman Dies”, Aoko Matsuda

- excerpt from Tragic Ways of Killing a Woman, Nicole Loreaux

- excerpt from The Anatomical Venus: Wax, God, Death & the Ecstatic*, Joanna Ebenstein

“Since their creation in late-eighteenth-century Florence, these wax women have seduced, intrigued, and instructed. In the twenty-first-century, they also confound, flickering on the edges of medicine and myth, votive and vernacular, fetish and fine art. How can we understand today an object that is at once a seductive representation of ideal female beauty and an explicit demonstration of the inner workings of the body?”

- excerpts from Over Her Dead Body: Death, Femininity, and the Aesthetic, Elisabeth Bronfen

- “Corpse Logic”, Emma

- “You Can’t Keep a Dead Woman Down: The Female Corpse and Textual Disruption in Contemporary Hollywood” by Deborah Jermyn, which i found in an anthology of essays called Images of the Corpse: From the Renaissance to Cyberspace, edited by Elizabeth Klaver

- excerpt from The Women Who Knew Too Much: Hitchcock and Feminist Theory, Tania Modleski

- The Art of Cruelty: A Reckoning, Maggie Nelson

- Powers of Horror: An Essay on Abjection, Julia Kristeva

- “Body of Evidence: Patricia Cornwell and the Discourse of Forensic Pathology”, Sue Vermeeren- “Dissecting Violence: Feminism, History and Enlightenment Anatomy”, Marina Bollinger- “JonBenét Elegies”, Melissa Hardie–> all of which i found from Anatomies of Violence: An Interdisciplinary Investigation, edited by Ruth Walker, Kylie Brass, and John Byron

- The Anatomist, Gabriel von Max, 1869

- Goldfinger, dir. Guy Hamilton, 1964

- also peep this Stop Female Death in Advertising campaign fronted by Lisa Hågeby

* this is bolded and asterisked bc it’s one of my favourites from the list and i would especially recommend it—it upturns the victorian fetishisation of the female corpse but is also a beautiful hardcover with textured surfaces and thick, glossy pages

#sorry for taking so long to get to this :s #corpse bride #asks

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01sentencereviews · 7 years

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just watched casting jonbenet and it made me feel just as uneasy and gross as any other “true crime” documentary/docudrama (even with no footage from the actually crime shown), reminding me of just how invested and attached we allow ourselves to get over other people’s trauma and illness, obsessing over details which are frankly none of our business. i’m annoyed by how much this doc works...

tho i thought the audition scene depicting how “easy” it is for some kids to bash into another child’s metaphorical skull was vile.

#why do i always put myself thru this?#i wached the Newtown doc several days ago they just make me feel so slimy #casting jonbenet #kitty green #jonbenét ramsey #documentary #52FilmsByWomen2017 #personal

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murdermanager · 4 years

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Long Form True Crime Podcasts

Must Listens for 2020 involving just one case or criminal

Culpable

In 2014, the Andreacchio family suffered a tragic loss, the death of 21-year-old Christian Andreacchio. Host Dennis Cooper travel’s to Lauderdale, Mississippi to visit Christian’s mother Rae and the rest of his family. Rae, laments the time lost with her son as their 4 year struggle for justice continues. From Black Mountain Media and Tenderfoot TV, this is Culpable.

The Queen

Linda Taylor was a con artist, a kidnapper, maybe even a murderer. She was also America’s original “welfare queen,” the villain Ronald Reagan needed to create a vision of a country being taken advantage of by its poorest citizens. Josh Levin reveals the never-before-told story of a woman whose singular life was forgotten in the rush to create a vicious American stereotype.

The Killing of JonBenet: The Final Suspects

For 22 years, the JonBenét case has gripped the world, leaving everyone asking the same question: Who killed JonBenét Ramsey? The six year old's death shocked the nation. The circumstances surrounding her murder, horrific. Now, for the first time ever, JonBenét Ramsey's father and brother are armed with the original suspect list from Lou Smit, the late lead investigator on the case. Will they finally track down JonBenét's killer to solve one of the nation's most infamous crimes? The creators of THE KILLING OF MARILYN MONROE and FATAL VOYAGE: THE MYSTERIOUS DEATH OF NATALIE WOOD bring you THE KILLING OF JONBENÉT: THE FINAL SUSPECTS. The Killing of JonBenét: The Final Suspects is narrated by Danielle Robay

Urge to Kill

A man with an “urge to kill” took the life of a beloved Oregon woman in the middle of the night. We’ll follow investigators as they uncover the wild twists and turns of this case, including the killer’s multi-state crime spree in which he terrorized everyone in his path.

Have You Seen This Man?

Join the real-time nationwide manhunt for escaped Ohio death row inmate Lester Eubanks. While out on bail for attempted rape in 1965, Eubanks murdered a 14-year-old school girl, was convicted and sent to prison. Through a series of shocking events, Eubanks was designated an honor prisoner and granted permission to join a small group trip outside penitentiary walls to go Christmas shopping. He walked away and hasn't been seen since. Now, join ABC News as it peels back the curtain on Eubanks' escape and life on the run, and follow the U.S. Marshals service as one of their star investigators uses every tool available to catch up to Eubanks. Hosted by Sunny Hostin.

Amy Should Be Forty

VAULT Studios and WKYC Studios in Cleveland look at the kidnapping and killing of Amy Mihaljevic on the 30th anniversary of her murder.

Bardstown

Welcome signs proclaim it “America’s Most Beautiful Small Town.” It’s considered the Bourbon Capital of the World. And in many ways, Bardstown, Kentucky is just like a lot of small, tight-knit communities all across the country.

The Catch and Kill With Ronan Farrow

For the past two years, Pulitzer Prize winning journalist Ronan Farrow has been following a trail of clues from his investigation of Harvey Weinstein to other blockbuster stories about the systems that protect powerful men accused of terrible crimes in Hollywood, Washington, and beyond. But he didn’t bring that information to light on his own. A compelling cast of sources—from brave whistleblowers to shadowy undercover operatives—decided the fate of these investigations, sometimes risking everything in the process. The Catch and Kill Podcast brings you their stories, in their own words, for the first time.

Slow Burn

In its first two seasons, Slow Burn looked back at two of the biggest stories of the late 20th century—the Watergate scandal and the impeachment of Bill Clinton. Season three of the show tackles another: the murders of Tupac Shakur and the Notorious B.I.G.

#true crime #true crime community #tcc #tcr #true crime research #murder #podcast #death

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letterboxd · 4 years

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Human Resources.

Kitty Green talks to our London correspondent Ella Kemp about “putting the audience in the shoes of the youngest woman in a toxic work environment” in her new film, The Assistant.

The long-undervalued job of a Hollywood assistant has come into stark relief thanks to recent events, and the stories that are being told of assistants’ experiences, working conditions and pay rates are jaw-dropping. (Episode 422 of the Scriptnotes podcast is well worth a listen.)

Filmmaker Kitty Green was well ahead of the conversation; her first narrative feature, The Assistant, quietly premiered at the Telluride Film Festival last August (and the Berlinale in February). Dubbed by many as ‘the first post-#MeToo movie’, it is a remarkable portrait of a young woman navigating just another day in the office. Except this is not just another office, and so many things are wrong about this day.

Starring Julia Garner (Grandma, The Perks of Being a Wallflower, Electrick Children) as Jane, the assistant to the predatory head of a New York-based film studio, the story zooms in on the details of her routine—the tedious tasks, the belittlement from her colleagues, the oppression from her mostly faceless boss—with such laser-sharp vision that by the end we feel we know Jane deep in our bones.

Green has previously directed the documentary features Ukraine is Not a Brothel (2013) and Casting JonBenét (2017), the latter a meta-documentary that also hones in on the neglect and exploitation of young women, albeit under a different light (it is now streaming on Netflix). While Green’s documentary experience bears fruit in her attention to detail, the narrative form of The Assistant allows for a focus on mundane tasks and micro-reactions that documentary might not have access to.

Various Letterboxd reviews mention the anxiety-inducing way The Assistant allows us to watch Jane “probe her place in the established, tacit system of complacency… knowing that everyone around her is motivated by self-interest to pretend it doesn’t exist” (Josh Lewis). “Green encourages her viewers to pay close attention to what’s really going on beneath the surface,” (KristineJean) in “a horror movie of soul-sickening ambience” (Scott Tobias).

Though The Assistant’s film festival run was cut short, and the closure of cinemas around the world hurts for a lot of us, there’s something about the claustrophobia of social distancing and the intimacy of the small screen that maybe suits this picture. Nevertheless, seeing the film in a cinema in ‘the before time’ highlighted for Alyssa Heflin the ocean of different opinions that can come from misunderstood subtext: “Watching this in a room where you can hear people snickering at the girl and asking what the point of all this is adds a certain extra… incendiary level to an already deeply angry viewing experience.” Indeed, discomfort and crossed wires seem to define the messages at the core of The Assistant.

Kitty Green talks to Ella Kemp about the influence of Chantal Akerman, the infinite watchability of Julia Garner, and the oddness of growing up with a Nazi-free edit of The Sound of Music.

Jane (Julia Garner) takes another call from the boss in ‘The Assistant’.

The Assistant is your first fiction feature. The subject matter feels so immediate—what made you choose to not make a documentary of this, given your track record in that realm? Kitty Green: I went to fiction film school, and I made fiction short films. I then found work in documentary, so I made two feature-length docs. With this one, I was looking at exploring the micro-aggressions, the tiny moments, gestures, looks, glances, behaviors that often go overlooked when covering the #MeToo movement. We often talk about the bad men and the misconduct, but this is more about a cultural, structural problem. So I was hoping to amplify the more quietly insidious behavior that we need to address if we really want things to improve. A fiction film allowed me to hone in on details—close up—and the way you can take an annoyance through the emotional experience, putting the audience in the shoes of the youngest woman in a toxic work environment.

How did you decide to keep the timeframe to just one day in Jane’s life rather than fleshing it out over a longer period? The lead character is in such a complicated position. It’s such a difficult set of circumstances, the machinery that this predator has created around himself. I wanted to untick that, to discuss how difficult it is to be a young woman in that environment. So the day, the routine, was really important. What she was experiencing, how she was experiencing it; every task she did I gave equal weight to. Whether she was photocopying, binding something suspicious, you experience it as you would if you were in her shoes. That was important to me.

I had my fists clenched the whole time, when she’d be eating cereal, or washing up mugs, waiting for something awful to happen. Totally. It’s exploring misconduct, but it’s also looking at a whole spectrum, from gendered work environments, toxic work environments, through all these environments that support predatory behavior. I was interested in what the entry points are, without conflating those issues and being able to explore all the cultural systemic things we need to unpick to move forward.

The film is so focused on Jane, played by Julia Garner. How did you choose her? The script is pretty bare when it describes who she is, she’s just Jane. I didn’t have anyone in mind, really. I told my casting agent that we’re watching this character do the most mundane tasks, so it was important that she was striking. I said I needed someone infinitely watchable. I had seen Julia in The Americans and I remembered being struck by her, so I immediately wanted to meet her. She really understood the script, it worked out beautifully. We got to create the character together, we had a month of rehearsals where we really went through where she was emotionally at any given point, and Julia is wonderful so it was great.

Matthew Macfadyen and Kitty Green discuss a scene in ‘The Assistant’. / Photo: Ty Johnson

And Matthew Macfadyen—his character feels so crucial and his performance so pivotal, even in just one scene. What were you looking for when casting him? I’ve been a fan of his for forever, but I hadn’t seen Succession. Apparently the character has some similarities? I’ve only watched Succession in the past week… Somebody had to send me a clip to prove he could do an American accent! Matthew really brought something to that character and took it to another level. It’s so insidious what he does. He and Julia worked so beautifully together, it just got better and better every time.

How did you feel watching Succession now and seeing Matthew as Tom Wambsgans? Tom still feels different somehow. But I’ve had a good time watching it, he’s so great. There are parallels for sure!

The language you use in the film is so careful, so much is in the subtext. How do you build tension from these empty spaces? We had a great visual team who were lighting it in an interesting way. There was a lot of oppressive fluorescent lights. The sound was also very important—we had an amazing sound designer, Leslie Schatz, who does a lot of Todd Haynes’ stuff and Gus Van Sant’s. He’d done Elephant, which I thought was phenomenally sound designed. He sent out a team to record every kind of buzz, hum, whir, and we created a lot of tension in that soundscape. It heightens these moments when you can really feel the hum of the fluorescent lights or the alarm of the copier. Things like that are authentic to the world, so it doesn’t feel like you’re manipulating an audience, but they do add a dramatic tension.

During The Assistant’s various film festival screenings so far, audience reactions have been quite varied. Some people find it uncomfortable, some have found it funny. What would you hope an audience member would take from it? Who found it funny…? That’s a strange reaction, and a little terrifying. I think it makes some men uncomfortable and maybe their reaction is to laugh as a way to hide that discomfort. I get a lot of men come up to me afterwards and say, “There are things in that film that maybe I have done.” Those conversations are really important. There’s a scene where the men lean over Jane’s chair and correct her email, little things like that which can be quite patronising even if a lot of men think are helpful. But there’s a point where they cross a line, where maybe it isn’t helpful anymore and it’s a little insulting. I’ve had a few people who are bosses with their own assistants who have watched the film and have said they’re going to treat them a little better, and that maybe they’re wrestling with their own guilt. I think those conversations are great.

Julia Garner prepares for a take on the set of ‘The Assistant’. / Photo: Ty Johnson

What is your favorite one-woman-show performance, where one female actor entirely carries the film? A big influence on The Assistant was Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. It’s just one woman going about her housework. I remember seeing that in film school and being bowled over by it, I’d never seen anything like it.

Do you have a favorite scene that has ever taken place in an office environment? Offices… I mean, I love The Office? I watched it in preparation for this, even though there’s seemingly nothing in common except for the ways of the photocopier…

It’s important to inhale that kind of comedy while working on something more intense, right? For sure, that helps.

What is your favorite on-screen argument? I watched a lot of them to prepare for the HR scene, as it’s a confrontation between two characters. There’s a scene in Steve McQueen’s Hunger, which is a seventeen-minute dialogue. It’s an incredible scene. It’s not an argument but still some sort of confrontation. I was interested in scenes like that which are really long and stand out from the rest of the movie. James Schamus, one of my producers, made a film called Indignation, which has a confrontation between two characters, which also influenced the structure of what I was doing. I also just watched the latest episode of Better Call Saul in which there’s a sixteen-minute confrontation, which I thought was pretty remarkable.

What was the first film that made you want to be a filmmaker? To be honest I’m not sure. I got a video camera when I was eleven, and I started playing with it in our backyard, making little movies. It wasn’t that I saw a film and tried to replicate it necessarily. But I do have a strange story…

I had a copy of The Sound of Music in which my father had edited out the Nazis, because he was worried I’d be scared of them as a kid. So I have this strange 40-minute version of the film that ends at the wedding scene… And I always thought that was The Sound of Music, and then in high school I figured out there’s this whole other storyline I never knew existed. I guess that taught me the power of editing! I had to go back and rewatch what I’d seen, and it definitely made me think of the craft more as a viewer.

‘The Assistant’ is available to watch on VOD platforms (including Hulu) as of late July.

#kitty green #the assistant #directed by women #female director #independent film #telluride film festival #virtual screening #virtual release #metoo #payuphollywood #hollywood assistant #timesup #juliagarner #matthewmacfadyen #patrickwilson #succession #bettercallsaul #chantel akerman #letterboxd

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