If the Hogans are happy, then everyone must be in the Christmas spirit!
Despite their differences this year, Brooke, Nick and Linda Hogan, along with her boy toy Charlie, posed for a pic while they met for dinner in Calabasas on Wednesday.
Hope the kids will visit Hulk on Christmas!
Glad to see everyone getting [...]
Alisa Valdes-Rodriguez, author of the New York Times Bestseller The Dirty Girls Social Club, is calling the TV adaptation of her book "racist, adding that her beloved characters have become "bastardizations" of her original vision.
After getting a hold of the script from an NBC employee, Alisa has said that the series "holds zero appeal for me," when she saw that all the black characters in her book were either removed or changed races and all the Latina females were sexually promiscuous.
Valdes-Rodriguez was so upset with what she saw, she took to her blog to write an angry response:
"[Ann Lopez] (George Lopez's ex-wife) assured me that as a Latina, [screenwriter] Luisa [Leschin] 'gets it.' I believed her. Stupid me. I trusted Ann that she would make good on her promise to run all major changes past me. I trusted her that she would give me final approval of each and every script. I trusted her implicitly and like a sister – in fact, everyone tells me Ann and I are identical in appearance! – until… Ann failed to do any of the things she’d promised, and began to treat me like a pesky intern she wished would go away.
I got [the script] from a lowly 'no one' in the company who is, like so many 'no ones' across this world, loyal to the book’s message of dignity for all walks of life and all people. … I was horrified by what Luisa had done to my book – and even more horrified to discover NBC had requested I be brought in as the writer, only to be told no by Ann.
Luisa managed to weed out every non-U.S. African diaspora character. Put simply, she killed off all the black folks in my story. In her hands my black Colombian character Elizabeth becomes 'a sizzling Colombian' (because we might as well employ cliched language in addition to de-Africanizing her); my mulatta Puerto Rican/Dominican character Usnavys becomes African-American, non Latino, and ends up adhering to every stereotype of the fat-n-sassy oversexed negress 'diva' that Hollywood has ever flung at the viewing public; and my Nigerian-British millionaire heartthrob, Andre Cartier, becomes Andre Carter, an East Indian by way of London. … There is no discernible reason for these changes, other than anti-black racism."
We'd be angry too! The book had so much appeal and the TV script just sounds like another "Hollywood" stereotype.
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