Sabtu, 12 Oktober 2019

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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Oscar nominee Robert Forster dies at 78 after battling brain cancer - CNN

Forster passed away in Los Angeles on Friday surrounded by his family, his long-time publicist Kathie Berlin told CNN. The 78-year-old was diagnosed with cancer in June.
His acting career spanned more than five decades, and he was best known for his roles in "Reflections in a Golden Eye" and "Medium Cool." He also got a best supporting actor Oscar nomination for his role as a bail bondsman in Quentin Tarantino's "Jackie Brown," Berlin said.
More recently, Forster starred in the film "El Camino: A Breaking Bad Movie" that premiered on Netflix Friday night.
Robert Forster was born in Rochester, New York on July 13, 1941. After he graduated from the University of Rochester, he moved to New York City, where he made his Broadway debut. Forster's performance in "Mrs. Dally Has a Lover" landed him a role in his first film -- "Reflections in a Golden Eye," with Elizabeth Taylor and Marlon Brando in 1967.
Forster went on to appear in more than 100 films and several television series.
One of his favorite roles, according to his publicist, was playing President Ronald Reagan in the one-man show "The Lifeguard." He performed portions of the show for former first lady Nancy Reagan at the Geffen Playhouse in Los Angeles.
Forster is survived by his four children, four grandchildren, and long-time partner, Denise Grayson.
Details of his memorial service have not yet been announced, Berlin said.

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https://www.cnn.com/2019/10/12/entertainment/oscar-nominee-robert-forster-dies/index.html

2019-10-12 06:18:00Z
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Jumat, 11 Oktober 2019

El Camino Gives Breaking Bad Fans Exactly What They Want - Vulture

Aaron Paul as Jesse Pinkman in El Camino.
Aaron Paul as Jesse Pinkman in El Camino. Photo: Ben Rothstein / Netflix

Spoilers below for El Camino: A Breaking Bad Movie. This is a full review of the film, and is intended to be read after you’ve seen it.

Like Justified and Sons of Anarchy, Breaking Bad was always as much of a Western as a crime thriller. From its fondness for desert panoramas and Sergio Leone–style face-offs between rival gangs of outlaws to its jaunty country-western needle drops — including Marty Robbins’s “Felina,” which provided the de facto Greek chorus of its guns-a-blazing finale, and its title as well — creator Vince Gilligan and his collaborators stuffed every cranny of the show with allusions to the genre. Co-executive producer and regular episode director Michelle MacLaren once told me that she tried to work homages to Leone’s Once Upon a Time in the West, her favorite movie, into every installment that she helmed. That tradition continues in the postscript movie El Camino, itself an unabashedly Western-tinged title, derived from the vehicle that Walter White’s former partner and pupil Jesse Pinkman (Aaron Paul) steals to escape his imprisonment at the end of the show.

Writer-director Gilligan builds El Camino’s plot around Jesse, and his largely reactive presence gives it a different vibe than the series, which focused on a resentful genius who couldn’t shut up. The quietness extends to the production itself, which punctuates bursts of mayhem with long stretches in which we sit back and watch people figure their way out of problems. Despite the handsome production values — Gilligan reportedly got more time to shoot each scene than was typically allowed on the show — this is a smaller-scale exercise in tension than we’re used to seeing in the era of Marvel, DC, Game of Thrones, and endless Star Wars sequels, with scenes built around characters sneaking around, trying to acquire money, and/or dispose of bodies without getting caught by the police or killed by criminals.

After picking up right where Breaking Bad ended, the first part of the story reunites Jesse with his old running buddies, Skinny Pete and Badger (Charles Baker and Matt Jones), who treat him with the awed respect that Jesse once lavished on Walter until their relationship started to rot. Jesse carries himself with more gravitas here than on the series proper, although the strong-silent vibe is likely the byproduct of being tormented and abused in captivity and being single-mindedly focused on staying alive and starting a new life. Jesse’s chief adversaries are yet another gang of urban desperados: associates of the late, soft-spoken psycho, Todd Alquist (Jesse Plemons); they get wind of the cash that Todd squirreled away and agree to split it with Jesse, who needs a small fortune to pay for his disappearance and new identity courtesy of Robert Forster’s “vacuum-cleaner salesman” Ed (one of nearly a dozen Breaking Bad characters making return appearances). Their final face-off over $1,800 — the difference between Ed’s hardline price for his services and the cash Jesse has on hand — sets up the most overtly Leone-esque confrontation in the Breaking Bad expanded universe: a quick-draw pitting Jesse, who had previously handled guns with discomfort and reluctance, against the leader of the bad guys. The impending, inevitable violence is telegraphed by close-ups of anxious eyes and itchy trigger fingers.

Like so many moments in the original series and its prequel, Better Call Saul, Jesse’s nearly Eastwoodian confidence with his granddad’s antique semi-automatic pistol — a .22, a caliber that’s often derided as “a woman’s gun” in old gangster flicks — is best not fact-checked against reality. Jesse’s Wild Bill stylings have no precedent in the original series, but thanks to Paul’s agonized but mostly soft-spoken lead performance, they work brilliantly as an expression of Jesse’s animalistic will to endure, as well as his once-suppressed, now-volcanic rage at having been imprisoned and tortured by Todd’s uncle, the neo-Nazi scumbag Jack Welker. More so, the big gun showdown works with the sheer Western-ness of it all. Jesse’s ultimate destination, Alaska, is a place described by Jonathan Banks’s Mike Erhmentraut in a flashback as “the last frontier.” The “last frontier,” as it turns out, also describes the mind space where every iteration of Breaking Bad, including this movie, takes place. (Speaking of frontiers: This film’s debut on Netflix rather than AMC represents one too, considering that Breaking Bad went from a cult object to a popular success in part because AMC licensed just-completed seasons to Netflix.)

Beyond its brash confidence as a piece of filmmaking and its homages to the Western (including the use of a wider frame than was used on the show), El Camino is fan service executed at a very high level — an attempt to answer the perennial child’s bedtime-story question, “And then what happened?” after the words “The End” have already been pronounced and the parent has reached for the light switch. It seems iffy to describe a work dependent on thorough knowledge of the original series as a standalone, and El Camino definitely ain’t it. Like the Deadwood and Transparent wrap-ups that also debuted in 2019, it’s doing something different from its previously established norm, and yet it’s still tethered to the mothership show, without which all of the character turns and callbacks would be meaningless. There’s just enough context provided to get invested in Jesse’s story without having seen a frame of Breaking Bad, but who would want to do a thing like that? Ultimately this is extra episodes of the series in a fresh stylistic wrapper, with scenes every 42 minutes or so that could serve as makeshift cliffhangers if one were to break this 125-minute tale into thirds. Between the fanboy-ready cameos by major players and supporting characters, most of whom were bumped off in the series’ regular run (including Plemons’s Todd, Banks’s Mike, Bryan Cranston’s Walter, and Krysten Ritter’s Jane Margolis), and its callbacks to signature moments (including Jesse and Walt’s big cook from “4 Days Out,” the reference point for their diner conversation), El Camino could’ve been an official Comic Con co-production.

Still, between Paul’s raw, anguished work in close-ups and Gilligan’s sure hand at building tension (notice how skillfully he frames Paul in the foreground and impending menace in the background), it’s hard to imagine El Camino failing to satisfy most fans of the series. Although there may be scattered complaints about Gilligan needlessly prolonging a story that he already wrapped up, it’s worth pointing out that Breaking Bad was itself criticized for not pulling the trigger, so to speak, on a decisive and proper ending, instead seemingly trying to be all things to all viewers. The back half of the fifth and final season arguably gave fans three endings over three weeks, aimed, respectively, at those who thought Walter was an unhinged compulsive in the grip of demons beyond his control (“Ozymandias”); a monster who had poisoned or destroyed everything he claimed to hold dear (“Granite State”); and, at long last in “Felina,” a folk hero who was volatile and greedy but basically good at heart (thus his heroic “rescue” of Jesse, a character who wouldn’t have been in that situation in the first place if not for Walter). It’s that final version of the end that lingers in the mind: Walter, the character who inspired New Yorker TV critic Emily Nussbaum’s musings on the Bad Fan, bleeding out on a concrete floor with a contented look on his face, a modern-day outlaw going out in glory like the hero of Marty Robbins’s ballad.

The most original and affecting aspect of El Camino is that it gives Breaking Bad’s co-lead his own, very belated happy ending. In contrast to Walter’s sendoff, this feels like an unambiguously good and deserving outcome, notwithstanding the bodies Jesse leaves on the floor. Almost nobody deserves what happened to Jesse in Breaking Bad’s final season, or in any season. That’s why the question “What happened to Jesse?” has followed Gilligan around for years: We care about this guy in a way we never did about Walter, even when we rooted for Heisenberg to crush his enemies. The only unnecessary element here is the verging-on-torture-porn depiction of how Jesse suffered in captivity; the prolonged flashback to Jesse being tormented in that human dog run, especially, feels like an unnecessary reminder of why we’re supposed to be rooting for him.

For all its Scorsesean attraction-repulsion to bad men, Breaking Bad was always, perhaps compulsively, in the wish-fulfillment business — how many balding, 40-something white men went as Walter White for Halloween? — but here we have a case where a character more sinned against than sinning is sprung from Hell, makes a desperate run for Paradise, and drags himself over the line. True to Breaking Bad and true to the spirit of the classic Westerns this film evokes, Gilligan and Paul push against sentimentality in the final shot, leaving us with the memory of Jesse’s face instead of a shot of the majestic Alaskan landscape where he’s about to remake himself, letting notes of uncertainty and mystery creep into what might otherwise have played as a triumphant conclusion. Which, of course, sets up the question that inspired this project in the first place: And now what happens to Jesse?

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https://www.vulture.com/2019/10/el-camino-netflix-review-breaking-bad-movie.html

2019-10-11 13:00:08Z
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Liam Hemsworth is pictured hand in hand with a mystery woman - Daily Mail

Liam Hemsworth is pictured hand in hand with a mystery woman two months after split with Miley Cyrus... as she confirms new romance with Cody Simpson

  • The Australian actor was seen enjoying lunch with a pretty blonde in New York
  • It comes amid claims that her is ready to 'move on'  following his split with Cyrus
  • Hemsworth confirmed his marriage to the American star was over in August 
  • She has since embarked on brief romances with Kaitlynn Carter and Simpson  

Liam Hemsworth was pictured hand in hand with an unknown female companion on Thursday, just two months after confirming his abrupt separation from wife Miley Cyrus.

The Australian actor was joined by the pretty blonde for an al-fresco lunch date in New York’s bohemian West Village, where they showed every sign of being a couple while crossing the sidewalk.

In images obtained by TMZ, Liam, 29, looked relaxed in a casual jacket, jeans and Converse trainers as the pair made their way to a local bistro, where they occupied an outdoor table.

New romance? Liam Hemsworth was pictured hand in hand with an unknown female companion on Thursday, just two months after confirming his abrupt separation from wife Miley Cyrus

New romance? Liam Hemsworth was pictured hand in hand with an unknown female companion on Thursday, just two months after confirming his abrupt separation from wife Miley Cyrus

His female friend, who appeared to be in her early 20s, caught the eye in a patterned shirt and stylish cropped jeans as they ordered lunch.

The appearance comes after estranged wife Miley, 26, confirmed her own new romance with another Australian star, musician Cody Simpson, shortly after splitting with Kaitlynn Carter. 

Miley is understood to be enjoying a 'no strings' fling with Los Angeles based Simpson, a close friend who briefly dated the singer before her marriage to Liam. 

Moving on: The appearance comes after estranged wife Miley, 26, confirmed her own new romance with another Australian star, musician Cody Simpson

Moving on: The appearance comes after estranged wife Miley, 26, confirmed her own new romance with another Australian star, musician Cody Simpson

Brief fling: Prior to Simpson Miley was involved in a short-lived romance with Kaitlyn Carter

Brief fling: Prior to Simpson Miley was involved in a short-lived romance with Kaitlyn Carter

A source told Entertainment Tonight: 'They have hooked up in the past... They both just want to have fun and are open and honest with each other about that.'

'Miley and Cody talk to each other about everything. They are very close and feel comfortable sharing details with each other about their lives.'

However, the pair apparently have 'no plans to start dating each other exclusively.'

Close: Miley is understood to be enjoying a 'no strings' fling with Los Angeles based Simpson, a close friend who briefly dated the singer before her marriage to Liam

Close: Miley is understood to be enjoying a 'no strings' fling with Los Angeles based Simpson, a close friend who briefly dated the singer before her marriage to Liam

Another source told OK! Australia that Miley, 26, is 'basically living out [her] fantasy' by dating the 22-year-old singer.

'They have always been attracted to one another but couldn't act on it because they were both taken,' said the insider.

Separate sources claim Liam is 'ready to date again' following his separation from Miley in August. 

'He hasn't been dating anyone,' an insider told UsWeekly. 'But he's open to meeting people.'  

All over: Miley and Liam's eight month marriage came to an end in Augus

All over: Miley and Liam's eight month marriage came to an end in Augus

Miley confirmed via a statement to that she and Liam had gone their separate ways in August, after she was seen kissing model Kaitlynn  during a trip to Italy. 

Her spokesperson said: 'Liam and Miley have agreed to separate at this time. Ever-evolving, changing as partners and individuals, they have decided this is what's best while they both focus on themselves and careers.

'They still remain dedicated parents to all of their animals they share while lovingly taking this time apart. Please respect their process and privacy.'

MailOnline has contacted a representative for further comment.  

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https://www.dailymail.co.uk/tvshowbiz/article-7562087/Liam-Hemsworth-pictured-hand-hand-mystery-woman.html

2019-10-11 09:07:10Z
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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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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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Watch Drenched Harry Styles Find Clarity in Dreamy ‘Lights Up’ Video - Rolling Stone

Harry Styles has released the highly-anticipated new song and video for “Lights Up.” The track serves as the lead single for the pop star’s forthcoming sophomore album.

On the dreamy, R&B-leaning “Lights Up,” Styles wonders, “Do you know who you are?” on the chorus. The Tame Impala-esque track has Styles refusing to step out of “the light,” having found clarity and comfort there. In the video, the mostly shirtless Styles is at a bacchanal where he grinds and dances with other drenched, barely-clothed people. He is seen alone in a house and on the back of a motorcycle as well.

Prior to releasing new music, Styles spoke candidly with Rolling Stone for the September cover story about the recording process for his forthcoming LP as well as the classic rock influences that have inspired him. “It’s all about having sex and feeling sad,” he said at the time. He recorded the album at Rick Rubin’s Shangri-La with many of the same people he worked with on his self-titled 2017 debut, like producers Jeff Bhasker and Tyler Johnson as well as guitarist Mitch Rowland, drummer Sarah Jones and writer/producer Kid Harpoon.

Styles also spoke about the impact psychedelics had on this album. He joked about naming the project Mushrooms and Blood, following an incident where he bit off the tip of his tongue after ingesting the drug. “We’d do mushrooms, lie down on the grass, and listen to Paul McCartney’s Ram in the sunshine. We’d just turn the speakers into the yard,” he said. “We were here for six weeks in Malibu, without going into the city. People would bring their dogs and kids. We’d take a break to play cornhole tournaments. Family values!”

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https://www.rollingstone.com/music/music-news/harry-styles-lights-up-new-video-watch-897176/

2019-10-11 04:19:00Z
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