The Wimbledon Moments that Caught Social Media by Storm

At Wimbledon, the people watching is just as exciting as following the action on the court — with much of it playing out on social media.
This year’s two-week championship saw a number of celebrity attendees — including appearances from members of the British royal family — who brought their fashion A-game to one of the biggest tennis matches of the year.
Wimbledon’s royal box — which requires a “smart casual” dress code — saw Prince William, Kate Middleton, the Duchess of Cambridge and Meghan Markle, the Duchess of Sussex make repeat appearances over the course of the championship. To cheer on close friend Serena Williams, the Duchess of Sussex sat outside of the royal box on Day Four of the tournament, dressed casually in a white blazer and jeans. She later joined Middleton and her sister, Pippa, on Day 12 of the tournament, where Markle wore a Givenchy dress shirt paired with a printed Hugo Boss skirt. Instead of attending the final day of the tournament, Markle joined Prince Harry at the U.K. premiere of “The Lion King,” where the couple met Beyoncé and Jay Z. 

Meghan, Duchess of Sussex celebrates the win of her friend, Serena Williams, at Wimbledon 2019. 
Javier Garcia/BPI/Shutterstock


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Former Special Education Teacher Allegedly Caught with Victim While Awaiting Sex Assault Trial

A former special education teacher in Connecticut who is awaiting trial for allegedly having sex with two students is in more trouble after authorities say that she was recently caught with one of her alleged victims in her car, PEOPLE confirms.

Laura Ramos, 32, was charged last year with two counts of second-degree sexual assault after police claim she admitted to having sex with one of her 18-year-old special education students.

She was later hit with an additional sexual assault charge after police said that she allegedly had sexual contact with another student.

As she awaited trial, Ramos was told not to have contact with her alleged victims and was freed on $ 50,000 bond.

Instead, according to police, Ramos has continued to have contact with one of her former students. Police say she was pulled over in late in June a beachside community in Connecticut where she was found to be driving with one of the alleged victims.

As a result, Ramos has been charged with violation of a protective order, according to court records viewed by PEOPLE.

The case against her began last year after the principal of Central High School in Bridgeport, where she taught, called police on June 9, 2017. According to the police report obtained by PEOPLE at the time, another teacher reported that a student had told him Ramos was allegedly having sex with one of her special education students.

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According to this teacher, the student claimed that Ramos had been texting him about “her guy,” who didn’t want to have sex anymore and whom this student believed to be the victim.

This student said the victim was often seen with Ramos — “making eyes at each other, like flirting” — according to the Connecticut Post.

Ramos initially denied the allegations when questioned by police on June 12 but, in a later interview, allegedly admitted to having sex with one of her students from December to April, usually in her car, according to the paper.

At the time, Ramos resigned from her job “in lieu of … termination proceedings,” according to local TV station WVIT.

Prosecutors are seeking to revoke Ramos’ bond and remand her to prison while she awaits trial. A hearing will be held on Friday.

Ramos’ attorney, Edward Gavin, did not respond to PEOPLE’s request for comment on Thursday, but he told the Post, “Laura Ramos has faithfully attended every court appearance and will continue to do so. We will address the motion at the hearing.”

If convicted, she faces up to 10 years in prison.

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25 Years Caught in Tom Waits’ Bone Machine: A Track-by-Track Breakdown

People will tell you Tom Waits’ best album is Rain Dogs. This is not strictly true. It is perhaps the most Waits-ian of Tom Waits albums, by virtue of having a Waits lookalike on the cover and a song selection that ranges across virtually every genre of music (and combinations thereof) Waits could wrangle. But the best Tom Waits album is not Rain Dogs. Instead it’s Bone Machine (which netted Waits his first Grammy in 1993), and it turns 25 years old today.

Waits explained Rain Dogs’ titular inspiration to Spin in 1985: “You know, dogs in the rain lose their way back home. They even seem to look up at you and ask if you can help them get back home. ‘Cause after it rains every place they peed on has been washed out … They go to sleep thinking the world is one way and they wake up and somebody moved the furniture.” Years later, in Bone Machine‘s press kit, he had this to say about that album’s title: “It’s a curious thing. Gives you something to think about. What’s a bone machine? Most of the principles of most machines developed in the machine age were principles that were found in the human body … We’re all like bone machines, I guess. We break down eventually, and we’re replaced by other models. Newer models. Younger models.”

Bone Machine is an extraordinary album largely because of the contrast its name evokes. The rhythms are sturdy, but unpredictable; everything sounds old, but the production is — pardon me — bone-crisp. Song structures spill over conventional demarcations, rhyme schemes are abandoned… Captain Beefheart is a common comparison for Waits’ voice, but their relative approaches to making records are fascinating to compare as well: Beefheart’s landmark Trout Mask Replica is a bonkers-sounding, chaotic album that was so rigorously rehearsed to sound that way that the whole thing was recorded in six hours, with all the backing tracks virtually indistinguishable from each other. Waits, meanwhile, constructs his music much like Miles Davis or Brian Eno: He assembles players, then puts them into odd configurations (as in “Jesus Gonna Be Here” — more on this later) or gives them deliberately obtuse direction. “Play it like a midget’s bar mitzvah” is one such instruction; “Play it like your hair’s on fire” another. “Bone Machine,” then, could be one of Waits’ Oblique Strategies: String all these pieces together, wire ’em up and make them dance.

Bone Machine‘s sound is as stark as a small-town paper’s obituary page. It was literally recorded in a cement basement room, in a former hatchery. “It’s just a cement floor and a hot water heater … It’s got some good echo,” Waits said at the time. The result is a dry-aged, calcified sound that still sounds strangely faraway and distant. “Apocalyptic” is an adjective frequently applied to the album, probably because half the lyrics seem to directly reference the end of the world, but it’s also concerned with much smaller acts of death and dying. Given the intervening 25 years, it has aged particularly well. Let’s dive in.

1. “The Earth Died Screaming”

Appropriately enough, Bone Machine starts with what sounds like a procession of skeletons drunkenly staggering along a boardwalk. The last verse seems to directly refute Ben E. King’s “Stand By Me.” King’s lyrics famously describe a land gone dark (“the moon the only light we’ll see”) and the mountains falling into the sea. “Earth Died Screaming,” then, is that night come to pass: “The moon fell from the sky,” Waits sings, “and the earth died screaming.” “I’m just waiting for the whole world to open us up and swallow us all in, scrape us all off its back,” Waits told Thrasher in 1993. (Incidentally, The Earth Dies Screaming is a 1964 British alien-invasion movie. In 1980, UB40 released a song about it.)

2. “Dirt in the Ground”

“When you stick a shovel in the ground, have you ever heard the earth go ‘Uhhgm?’” Waits asks (presumably rhetorically) later in the Thrasher interview. Sung in the rusted-gate falsetto Waits has jokingly referred to as his “Prince voice” and accompanied by Ralph Carney (the uncle of that guy from the Black Keys) moaning through an assortment of ghostly woodwinds, “Dirt in the Ground” sounds like the hungover aftermath of the apocalypse party of “Earth Died Screaming.” In contrast to the opening tune’s stick army, however, “Dirt in the Ground” features almost zero percussion, which lends to the song’s swaying sense of unease. (Listening closely, it’s possible to discern what sounds like gentle stamping on the floor and a gentle tap on certain off beats, as well as what sounds like an ocean buoy.)

3. “Such a Scream”

Waits has his grab-bag of go-to images (crows, coal, dirt), but “Such a Scream” marks the first appearance of an actual character who will re-appear, the Eyeball Kid. “The Eyeball Kid is a comic-book character,” Waits told Magnet. “Actually, it was Nic Cage that reintroduced me to comic books.” (This is a friendship I could spend weeks speculating on, but it’s likely the pair know each other through Francis Ford Coppola, Cage’s uncle. Waits wrote the soundtrack for Coppola’s One from the Heart and later appeared in the director’s Bram Stoker’s Dracula.) The Kid would later go on to get his own song on Waits’ 1997 album The Mule Variations.

4. “All Stripped Down”

One of the few songs on Bone Machine that sounds like anything approaching “fun,” “All Stripped Down” starts with a bit of captured studio chatter and what sounds like Waits singing through a megaphone. Despite this, it’s a reminder that we all enter the afterlife devoid of material possessions. (“All the creatures of the world are gonna line up at the gate all stripped down.”) Waits often writes about the idea of religious absolution or a state grace as a physical space; “Down There by the Train” and B-side “Take Care of All of My Children” both toy with this conceit.

5. “Who Are You This Time”

“Who Are You This Time” is one of Waits’ jilted-lover songs (this one vaguely Mexican-ballad-flavored, at least via the bass line and the maraca percussion — Waits’ father was a Spanish teacher who exclusively listened to Mexican radio stations and mandated the family speak Spanish at the dinner table), packed with some of his favorite allusions and images, like carnivals, Bibles and — for the second time on this album — lions. What’s interesting about it, though, is its structure: Waits sabotages his own rhyme scheme in the first verse, and new sections of the song seem to start without the entirety of the band being on board, the kind of unrehearsed feel that some Neil Young or Bob Dylan recordings have become famous for.

6. “The Ocean”

Bone Machine’s second-shortest song, “The Ocean” may also be its most disturbing. One of the local papers up here printed two photographs,” Waits explained in the album’s press kit. “One was a picture of a woman on the beach holding a bottle of beer and a cigarette, looking out at the ocean. And the next picture was the same day, a couple hours later, of her floating face-down in the brine, the beer still in her hand. And the photographer had walked past her and heard her say under her breath, ‘The ocean doesn’t want me today.’” It features one of Waits’ favorite obscure instruments, the Chamberlin, an early precursor to the more famous Mellotron that features actual eight-second tape reels of “sampled” instruments. Waits’ daughter Kellisimone coined the term “strangels” for the tune. “Strange angels,” Waits explained. “ if you have strangels, then you can have braingels. Those are the angels that live in your head.”

7. “Jesus Gonna Be Here”

For “Jesus Gonna Be Here,” Waits switched instruments with bassist Larry Taylor, whose buzzing, two-note slide lick hovers over the song forebodingly. “Probably would have been better if we’d gotten a Baptist choir, but I kind of like it by itself, just bass and guitar,” Waits remarked dryly in the album’s press kit. As the song draws to a close, a helicopter can be heard over the studio, mingling with Waits’ closing phlegmatic cough.

8. “A Little Rain”

One of the songs Waits’ wife Kathleen Brennan cowrote with him, “A Little Rain,” was was similarly inspired by local news items, this one by the murder of a 15-year-old girl who’d stepped into a stranger’s van. Waits, who’d relocated to rural California after stretches in Los Angeles, Chicago and New York, described murder as “in greater relief … here, where you see the golden fields or whatever.” “I’m always drawn to these terrible stories,” he told biographer Barney Hoskyns. “My wife is the same way.”

9. “In the Colosseum”

In one of the most jarring transitions on the album, Waits comes roaring back, accompanied by his own inspired thwacking on the Conundrum, a percussion instrument of his own devising: “Like a big iron crucifix, and there are a lot of different things that we hang off of it: crowbars and found metal objects that I like the sound of.”

10. “Goin’ Out West”

“Goin’ Out West” is probably Bone Machine’s most famous cut, having appeared in a variety of films and television shows. “When you live somewhere other than California, you do have this golden image that everything will be all right when you get here,” Waits explained. To that end, the song’s unnamed narrator unspools a litany of his qualifications for making it on the Golden Coast. For the record, “I got some dragstrip courage, I can really drive a bed / I’m gonna change my name to Hannibal, maybe just Rex” is emphatically one of the finest couplets ever recorded. Tony Franciosa, who dated the narrator’s mother, was a Golden Globe-winning actor (for 1959’s Career) whose career extended to both the small screen and the stage. Franciosa earned an Oscar nomination for his role in A Hatful of Rain, a 1957 morphine drama that would later be name-checked in the Waits B-side “Long Way Home” (“I got a head full of lighting / a hat full of rain”).

11. “Murder in the Red Barn”

“Originally barns were painted with the blood of dead animals,” Waits lectured Thrasher in 1993. “Before they had paint, there was blood.” (Side note: I am getting a lot of mileage out of this Thrasher piece because I find the image of interviewer Brian Bannon of SoCal hardcore also-rans Jodie Foster’s Army sitting there taking all this in.) He likened the song to “an old Flannery O’Connor story” to Hoskyns, and while there’s circumstantial evidence linking “Murder in the Red Barn” to an old English murder ballad called “The Murder of Maria Marten,” I can’t find any record of Waits commenting on that directly, though the murder ballad tradition is certainly something he’s familiar with — see his version of the popular warhorse “Two Sisters.

12. “Black Wings”

Even though it’s about some kind of murderous avenging angel/secret agent, this, along with “Goin’ Out West” is basically the most fun track on Bone Machine. Between the spaghetti western guitar, the protagonist’s having killed a man with a guitar string and saved a baby from “drowned-ing” (per Waits, the second time he uses this pronunciation on the record), and the fact that Waits straight-up just hisses near the end, this is clearly not pitched at the same emotional tenor of, say, the next track.

13. “Whistle Down the Wind”

At least one person has floated the theory — via an early 2000s listserv — that Bone Machine is largely influenced by a novel by Mary Hayley Bell called Whistle Down The Wind and/or the 1962 film based on it (produced by Sir Richard Attenborough). WDTW‘s plot revolves around a group of schoolchildren who believe a fugitive criminal holed up in a barn is actually the messiah. (It doesn’t end well.) Both the film and the novel are heavy with Christian symbolism and it’s hardly a great leap to assume Waits or Brennan were familiar with them. (All that said, Whistle Down the Wind has a rich, proven musical history: The film was adapted into a musical by Andrew Lloyd Webber and Jim Steinman, which later provided a one-off hit for Boyzone, and Toto — yes, that Toto — used it as an inspiration for their video for “Stranger in Town,” which stars Brad Dourif.) “Whistle down the wind,” as a phrase, meanwhile, means “to send away or abandon” and in some variants, dates back to the 16th century.

On some versions of Bone Machine, the song is subtitled “For Tom Jans.” In Waits’ own words, from the Bone Machine press kit: “He’s an old friend of ours who died in ’83. A songwriter and friend of Kathleen’s and mine. From the central coast of California, kind of a Steinbeck upbringing in a small town. We dedicated it to him. He wrote ‘Lovin’ Arms.’ Dobie Gray recorded it, and also Elvis did it. He used to play with Mimi Farina.” (Incidentally, the first line of “Loving Arms” is “I’ve been too long in the wind, too long in the rain.”) Jans worked as a songwriter in Nashville before moving to Los Angeles in the mid-’70s — this would have presumably been where he met Waits. Jans struggled commercially and moved to Europe, where his only further release was a 1982 album released only in Japan. Jans was seriously injured in a motorcycle accident the year after and died in 1984, not 1983 as Waits claimed. Paul Williams (ASCAP president and fairly legendary songwriter) sang at his funeral.

Lastly, “take the Marylebone coach” is one of Waits’ more colorful references and it is an obscure one. “Marylebone coach” seems to be a varietal of “Marylebone stagecoach” — there was apparently a particularly crappy coach that ran from Marylebone to London city, taking five and a half hours to make an eight-mile round trip. The joke being that it was shorter to walk, or “take the Marylebone stage.”

14. “I Don’t Wanna Grow Up”

Purportedly almost left off the record until it was recorded at Brennan’s request, “I Don’t Wanna Grow Up” became one of Bone Machine‘s videos and one of Waits’ most-covered songs (the Ramones performed a version of it for their final studio album, ¡Adios Amigos!, and the list of additional artists who have taken a stab at it is lengthy.) It’s unclear if the “Grand Street” here is the same Grand Street mentioned in “Whistle Down the Wind” — and tempting to link the two, given their subject matter — but it’s more probable that it’s just one of Waits’ go-to street names.

15. “Let Me Down Up On It”

As a palate cleanser before Bone Machine’s weepy closer, “Let Me Down Up On It” is certainly bizarre enough; it barely sounds like Waits is singing in English. “I was threatening to pull the plug on the whole project, come home, and just sing all the songs into a little Sony tape recorder. This is one I did at home that I ended up liking,” Waits said in the album’s press release.

16. “That Feel”

“That Feel” features Keith Richards, who also played on Rain Dogs, and the Richards/Waits pairing is easily one of my favorite musical friendships to ruminate on. A collection of things Waits has said about Richards:

“When he plays he looks like he’s been dangled from a wire that comes up through the back of his neck, and he can lean at a forty-five-degree angle and not fall over.” — to Musician, 1987 

“He’s got arms like a fisherman. He’s physically very strong, and he can outlast you. You think you can stay up late? You can’t even come close. He can stay up for a week — on coffee and stories.”

“I’d moved to New York. I remember somebody said, ‘Who do you want to play on your record?’ and I said, ‘Keith Richards — I’m a huge, huge fan of The Rolling Stones.’ They said, ‘Call him right now.’ I was like, ‘Jesus, please don’t do that, I was just kidding around.’ A couple of weeks later he sent me a note: ‘The wait is over. Let’s dance. Keith.’” — to Mojo, 1995

“We wrote songs together for a while, and that was fun. I had never really written with anybody except my wife, so it was unique — and a little scary at first, ’cause he doesn’t really remember anything or write anything down. So you’d play for an hour and he would yell across the room: ‘Scribe!’ And I looked around — scribe? Who’s the scribe? And then he’d say it again, now pointing at me: ‘Scribe!’ And I was supposed to have written down everything we said and dreamt of and played. And then I realized that we needed an adult in the room. And I have never been the one that one would consider the adult.” — to NPR, 2011

“Like the praying mantis he has only one ear and it is located between his legs. He can hold a note up to 6 minutes and has 7 or 8 notes more than the ordinary voice. And they are equally sonorous and clear.” — from “Keith Richards …,” a poem submitted to Rolling Stone

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Fla. Woman Caught on Camera Asking Man to Kill Husband Gets 16 Years, But Lawyer Claims it Was Reality TV Stunt

A Florida woman accused of hiring a hit man to kill her husband in 2009 has been sentenced to 16 years in prison — but her attorney tells PEOPLE his client will appeal the case.

Dalia Dippolito was convicted last month of solicitation of first-degree murder. According to prosecutors, she was recorded on video and audio as she plotted to have Michael Dippolito killed. During her trial, jurors heard her telling an undercover detective she was “5,000 percent sure” she wanted her husband dead.

Circuit Judge Glenn Kelley imposed the sentence on Dippolito, saying that she had acted in a “cold and calculated manner.”

No money ever changed hands between Dippolito and the undercover detective, and Michael Dippolito was unharmed.

Dippolito has maintained that she never intended to go through with the murder-for-hire plot. Her attorneys say the recordings were part of a video project that she was doing along with Michael and her former lover so that the trio could land a reality TV show.

Dippolito’s attorney, Brian Claypool, told jurors that officers with the Boynton Beach Police Department failed to properly investigate the situation because they were eager to capture video footage for the TV show Cops.

Dippolito remains hopeful her conviction will be overturned on appeal, Claypool tells PEOPLE. A 2011 conviction was thrown out on appeal. A retrial last fall ended with a 3-3 hung jury.

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“She’s doing surprisingly well, considering,” Claypool says. “She is clinging to her faith during this time.”

Claypool tells PEOPLE that Dippolito’s team has several avenues for appeal.

Throughout the trial, Claypool alerted the judge that one of the jurors was allegedly falling asleep. “She was almost snoring,” he says. “We made two trial complaints on the record, and submitted five affidavits from people who saw her sleeping. Florida caselaw is clear that this is grounds for a new trial.” 

If that doesn’t work, the defense will appeal on the grounds that X-rated text messages between Dippolito and her lover — who has since died — were prejudicial hearsay and should not have been read to the jury. Claypool also says that jurors heard unsubstantiated allegations that Dippolito had once tried to kill her husband with antifreeze, and that she had previously tried to hire another hitman.

“There are several grounds for appeal,” says Claypool, “and we intend to pursue them all. My client is not perfect, but she is a mother who didn’t do what they said she did. A lot of the evidence that was introduced was not only irrelevant, but it was extremely prejudicial.”

Prosecutors did not return PEOPLE’s calls for comment.

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Baltimore Child Care Worker Allegedly Caught on ‘Disturbing’ Video Fatally Abusing an 8-Month-Old

A Baltimore woman has been charged with murder for allegedly killing an 8-month old baby girl who was left in her care at a child care center, PEOPLE confirms.

On Tuesday, Reese Bowman was found unresponsive in her crib at a center in Baltimore, police said in a news release. According to local reports, the facility is Rocket Tiers Learning Center, which has the same approximate address as where investigators say Reese was abused.

The girl appeared to not be breathing, and when Baltimore police arrived, employee Leah Walden said she had fed Reese and put her down for a nap. Authorities reportedly performed CPR on Reese and she was taken to a local hospital, where she died.

Surveillance footage obtained by police the following day appeared to contradict Walden’s story, CBS Baltimore reports:

During the center’s nap time, the 23-year-old was filmed allegedly covering the baby’s head with multiple blankets and violently swinging her around the room by her arms and legs.

“Watching that video is disturbing,” Baltimore Police Criminal Investigations Chief Stanley Brandford told the Baltimore Sun. “Reese Bowman, in my opinion, was tortured.”

“At this time, a motive is unknown, but it appears that the baby was awake at the time of the assault,” police said in the news release.

According to CBS Baltimore, there are moments in the video footage where Walden walks off camera with Reese. Baltimore police said one “can only assume” what the 23-year-old did with the child out of view of the camera.

“Just evil,” Chief Brandford told told CBS Baltimore. “What motive could you possibly have to treat a baby that way?”

Walden is charged with first and second-degree murder, first and second-degree assault, second-degree child abuse and reckless endangerment, PEOPLE confirms.

She remains in custody without bond, according to CBS Baltimore. It is unclear at this time whether she has an attorney or if she has entered a plea.

Reese’s family (who could not be reached for comment on Monday) shared their grief in a statement to the Sun.

“Our hearts are broken,” they said. “No family should ever have to experience the loss of a child under any circumstances. We await further information from the unfolding investigation.”

• Want to keep up with the latest crime coverage? Click here to get breaking crime news, ongoing trial coverage and details of intriguing unsolved cases in the True Crime Newsletter. 

The Sun reports that Walden worked at the child care center for two and a half years and on Rocket Tiers’ website described her work as “rewarding.”

“I have one year of professional childcare experience and six years of part-time babysitting,” her profile reads. “I love seeing the children develop new skills like sitting up, crawling and walking. The best part of being an infant teacher is caring for babies who love me as much as I love them.”

On Wednesday, Rocket Tiers sent an email to parents announcing Reese’s death, the Sun reports. It read, in part, “At this time, it does not appear that there has been any wrongdoing at this point on RTLC. We send our deepest thoughts and condolences to the family and the RTLC community.”

Rocket Tiers did not immediately return a call for comment on Monday.

According to the Sun, the center said it would close to “ensure that our teachers and staff receive grief counseling and that the investigation isn’t disrupted in any way.”

It will reopen “when the time is appropriate.”

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Twitter Just Caught Bow Wow Lying About His ‘Private Jet’

Shad Moss, aka Bow Wow, will never hear the end of this. 

The 30-year-old rapper recently posted a photo on his Instagram that showed a private jet, indicating he was traveling to New York for his “Growing Up Hip Hop” press run:

But then, a Twitter user snapped a photo of Bow Wow on a commercial flight taken the same day as the Instagram post, proving that private jet was not his:

As Twitter is wont to do, tweeters had a damn field day with the lie:

As if the carnage could not get any worse, one tweet indicated that the photo Bow Wow posted was actually a stock photo from a Fort Lauderdale website that provides VIP transportation.

HuffPost can confirm that the photo in question does, indeed, appear on that website

Dang, Bow Wow.

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Caught Stealing

Caught Stealing

College student and part time maid Ashley thinks her billionaire boss won’t notice if she takes a single pearl necklace from his chest of jewelries. She was wrong. After stripping and punishing her in front of his servants, the older man calls her to his office to take more of the punishment she’s earned. She knows she has to submit to his discipline or risk being handed to the police. Innocent Ashley is not sure if she can handle what he plans to do with her. He has clamps, whips, paddles, and cuffs all ready and he is going to take her hard, right there in the office and he’s not alone.

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Ozzy Osbourne Backtracks on Sex Addiction Admission: “I Just Got Caught, Didn’t I?”

Ozzy Osbourne, Sharon OsbourneOzzy Osbourne wants to take back an admission he made last year after his affair with hairstylist Michelle Pugh came to light: He is not a sex addict.
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James Van Der Beek Was Caught with ‘Dawson’s Creek’ Gay Porn

You know you’ve made it when your TV show is made into porn, right? That’s certainly how James Van Der Beek saw it during his “Dawson’s Creek” days.

While chatting with Vulture about his “Power Rangers” “deboot,” the “Dawson’s Creek” star brought up a fond memory from his days on the show.

“I remember when I was doing ‘Rules of Attraction,’ and the hair and makeup department got me a copy of the ‘Dawson’s Crack’ porn movie as a gag gift. It was on VHS, that’s how long ago that was, and I thought it was hilarious,” Van Der Beek explained.

“I couldn’t wait to bring it back and show everybody in North Carolina and say, ‘We’ve made it! Look at us. They’ve made a porno out of us,'” he continued. “This was right after 9/11, and I get flagged by security, and somebody opened up the suitcase, and there’s a gay porno right on top. Not just any gay porno, but one based on the show that I was on. Which is kind of excellent.”

Thirteen years later, 38-year-old Van Der Beek is starring in “CSI: Cyber” and has three kids, but he certainly isn’t ashamed of that porn incident — he tweeted about it after his interview.

H/T Gay Star News
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3 Celebrity Engagement Rings That Caught My Eye at the People’s Choice Awards—Including an Upgrade Ring I Just Noticed

While Leah was scoping out the prettiest dresses at the People’s Choice Awards, I was getting up close and personal with some celebrities’ left hands. Here are three engagement rings that caught my eye, all…

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32 Hilarious Haunted House Reactions Caught On Camera

Who needs to be scared when we can look at these and laugh instead?

For the last few years, we’ve looked to Nightmares Fear Factory in October for some of the funniest haunted house reactions caught on camera. The Niagara Falls tourist attraction’s stealthy camera captures every terrified face (and plenty of other hilarious reflexes) that walks through its spOoOky halls.

Check out a batch of this year’s best photos so far below.

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‘Awkward’: Jenna Slips Further Into Her Bad Girl Phase, Gets Caught Smoking Pot With Collin

Is Collin a bad influence for Jenna on “Awkward“? This week, he convinced her to give marijuana a try, which seemed to quickly push her into the world of teenage pothead. Suddenly, she wanted to light up any time life started stressing her out. One of the things stressing her out was the fact that she’d lost all of her friends. In fact, other than Collin and pot, she had no one and nothing. This is not the lovable Jenna who started the series.

All teens go through experimental phases, but with each passing week this one is becoming more and more uncomfortable to watch. Jenna’s dad declared Collin a bad influence, but she had her mother on her side — at least until she betrayed her trust to sneak out and hook up with Collin. And they did hook up.

Afraid that she would lose him if she didn’t — and he did quickly start looking at his phone when she rebuffed his advances — Jenna ultimately decided to have sex with Collin. She didn’t do it out of love or because she really wanted to. She did it for an absolutely terrible reason. Clearly Collin is representing the “bad decisions” phase of her life, but how long will it last? Like everyone else in her life, we miss the old Jenna.

“Awkward” airs Tuesdays at 10:30 p.m. EST on MTV.

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