Ben Affleck DENIES dating his children’s nanny (Christine
Ouzounian.) following shocking magazine claim. Ben Affleck has vehemently
denied he is dating his children’s nanny.The father-of-three, who recently
split from wife Jennifer Garner, had been linked to 28-year-old Christine
Ouzounian. But the Batman stars rep shut down reports telling Mirror Celebs:
"The story is BS and harmful to many."
US Weekly claim Ben and his estranged wife hired the
stunning and trained nanny this spring to look after Violet, 9, Seraphina, 6,
and Samuel, 3, – while they were in the middle of trial separation. A friend of
Christine told the magazine: “They would hang out without the kids. And they
were very flirty.”The pal went on to say that the nanny is claiming “it’s true
love”.
The magazine goes on to claim that Christine spent time with
Ben at this rental home on July 17.Ben split from his wife of 10 years last
month, announcing the news in a joint statement.Since then he has regularly
been seen wearing his wedding ring and spending time with his estranged
partner.According to reports the couple are not rushing to file for divroce.
source told PEOPLE: "[Garner]'s finishing a film so there
hasn't been like, 'Okay, let's get this done now,' because they always were
like, 'This is happening and still moving forward.' I don't think they're
talking about it. "They're concentrating on being a family right
now."Indeed the pair are moving in to a new home together and are planning
to rent Brooke Shields' Los Angeles home once they return from Georgia, where
the 43-year-old actress is currently shooting Miracles From Heaven.Their own
Los Angeles property - where Ben is expected to move into a separate annexe on
the estate - is currently undergoing extensive renovations and as they
"don't want to live in a construction zone", they decided to seek
alternative accommodation.
Kaitlyn Bristowe knew that Monday night's episode of
"The Bachelorette" would be explosive. So, like any good daughter
would, she gave her parents a heads up about her overnight with Nick Viall.
"They were very much mentally prepared for that one. I have been talking
to them for weeks about it," she told ABC News this morning. "I asked
them, I'm like, 'Can we all just not watch?'... But I talked to them after and
they're super supportive."
"They're very laid-back people and yeah, it's all
good," she added. Bristowe took her suitors to Dublin in the latest
installment of the ABC dating reality TV show, and after a steamy one-on-one
with Viall, the two retreated to her hotel room. On "Good Morning
America" today, Bristowe explained that she was living in the moment and
that their relationship "moved a little quicker than the others." She
later told ABC News that she appreciated Viall sticking up for her online, as
many viewers criticized her on social media. "I think I would challenge
anybody to date that many guys at once and not make a mistake especially when
it's being filmed the whole time," she told ABC News. Bristowe also
weighed in on Ian, the suitor who called her "shallow" before leaving
the competition at the start of Monday's episode. Explaining that she felt that
he "attacked my character," Bristowe added that it seemed that he may
have actually been there to audition for "The Bachelor" instead of
trying to win her heart. "The whole time I was like, "This guy's
really here for me. He actually snuck me a couple notes through it telling me
how serious he was about me," she marveled. "I think he could tell I
wasn't feeling it as much and i don't think he's used to that with girls,
apparently."I think he'd be the worst 'Bachelor' in all of history,"
she continued. "Worse than Juan Pablo [Galavis] actually!"
Hot Episode
There was plenty of drama on Monday night's episode of The
Bachelorette ... and a fake wake, too. Let's start with the drama. Not
surprisingly, Nick Viall was at the center of it all. He earned a one-on-one
date with Kaitlyn Bristowe after she and the remaining men flew to Dublin,
Ireland. The new couple explored the city, and while doing so Nick bought rings
that they could each wear on their ring finger. Nick isn't messing around!
After visits to a pub and the Christ Church Cathedral, where Nick received a
rose, he and Kaitlyn continued their date in her hotel suite. They had a
make-out session on the couch, then went into her bedroom, where they escaped
the cameras and did a little more than kiss. She was racked with guilt the next
morning. Kaitlyn's hotel hook-up with Nick was still on her mind later when
Shawn B., upset that he didn't earn a group date rose, showed up to her suite.
She was worried that he would ask her about her night with Nick. How did their
ABC US News | World News
conversation go? You'll have to tune in to ABC next Monday night to find out.
Monday's episode began by revisiting last week's cliffhanger in San Antonio:
Ian accusing Kaitlyn of being on the show just "to make out with a bunch
of dudes on TV." Good thing he didn’t stick around for the Dublin trip.
Needless to say, she was offended, and they both agreed it would be best if he
left. At a rose ceremony at the Alamo, two bachelors were eliminated: Justin
and Joshua, the latter of whom previously complained to Kaitlyn about Nick's
arrival. Kaitlyn and company made their way to Ireland, where, aside from her
adventures with Nick, she met several of the guys for a group date, which
turned out to be a “fake” Irish wake. The bachelors pretended she was dead and
eulogized her as she lay in a casket. It was as bizarre as it sounds. Jared
ended up with the group date rose, to the dismay of a confused Shawn, who
believed he had a strong connection with Kaitlyn. Jared and Kaitlyn were
treated to a private performance by Irish rock band The Cranberries, who
performed their '90s hit "Linger." The final moments of the episode
offered a brief update on Britt Nilsson's relationship with Brady Toops. She
introduced him to her mother, who repeatedly referred to Brady as Britt's
"friend." Britt wasn't quite sure what her mom meant by that.
Miley Cyrus posed for the magazine's summer 2015 cover
embracing her pet pig, Bubba Sue, wearing nothing but mud. It's actually sort
of shocking that it took so long for this to happen. Miley teased the cover,
shot by Paola Kudacki, with a charming pig mask snap, which could be one of the
"absolutely insane" shots that Paper promises when the full story is
published online tomorrow. The physical copy will hit newsstands on June 22. Miley
Cyrus is in the midst of making a heated point about animal rights, and she's
getting so worked up about it her cheekbones are jabbing the keypad of the
telephone, punctuating our conversation with errant beeps. She's calling from
"the middle of the jungle" -- or, more specifically, a tiny island in
the Caribbean, where she's on vacation with her family. "If you could see
where I am right now, you would be laughing so hard," she says. "I
feel like I'm in the middle of the Bermuda Triangle, and something is about to
zap me into nothingness. “Cyrus almost immediately starts talking about how she
decided to become a vegan last year. She was touring the world in support of
Bangerz, her platinum 2013 album, when her beloved dog, Floyd, an Alaskan Klee
Kai, was mauled by a coyote. She quit consuming animal products almost immediately.
She hasn't spoken much about the switch, but she says that she's finally ready
to be held accountable -- to be an example.
It turns out Cyrus is deeply interested in accountability.
At 22, she's perhaps her generation's most unlikely social activist, and also
one of its most powerful. Now she's harnessing that influence to counter what
she sees as an unacceptable reality: young people being persecuted and cast out
for their sexuality. Inspired in part by the death of Leelah Alcorn, a
transgender girl who committed suicide in late 2014 after being forced to
undergo so-called "conversion therapy," Cyrus recently announced the
Happy Hippie Foundation, a philanthropic venture designed to raise funds and
awareness for homeless and LGBT youth. "We can't keep noticing these kids
too late," she says. Last summer, when "Wrecking Ball" earned
her a VMA for Video of the Year, Cyrus sent 22-year-old Jesse Helt -- one of
nearly 114,000 homeless men and women presently living in California -- onstage
to palm the statue. A year had passed since she'd tugged on a flesh-colored
latex bikini and intimated digital intercourse with a foam finger while Robin
Thicke, bedecked in Beetlejuice stripes, stood smirking behind his aviators.
The 2014 performance was less jubilant, if significantly more heartfelt. Helt,
reading from a small piece of paper, recounted his plight. When the camera cut
to Cyrus in the audience, wearing a black leather ensemble and perched,
precariously, on some kind of partition, her eyes were glinting, hot. "I
felt like I was witnessing a modern-day 'I Have a Dream,' and it had nothing to
do with me," she says.
Happy Hippie is designed as a corrective to what Cyrus
understands as immoral politicking, the sort that pits outliers as pariahs and
favors an archaic status quo. The foundation treats at-risk kids with art and
animal therapies, two proven balms that have been instrumental in Cyrus' own
self-care. Although she was raised Christian, Cyrus maintains a particular
contempt for fundamentalist lawmakers who rally against this sort of
progressive, potentially life-saving change. "Those people [shouldn't] get
to make our laws," she says. Those people -- the ones who believe that,
say, Noah's Ark was a real seafaring vessel. "That's fucking insane,"
she says. "We've outgrown that fairy tale, like we've outgrown fucking
Santa and the tooth fairy."
Eventually, she says, the problem of homelessness became
impossible for her to ignore. "I can't drive by in my fucking Porsche and
not fucking do something," she says. "I see it all day: people in
their Bentleys and their Rolls and their Ubers, driving past these vets who
have fought for our country, or these young women who have been raped."
She pauses. "I was doing a show two nights ago, and I was wearing
butterfly nipple pasties and butterfly wings. I'm standing there with my tits
out, dressed like a butterfly. How the fuck is that fair? How am I so
lucky?"
Cyrus grew up outside of Nashville with her brothers and
sisters on a 500-acre farm where, she says, she began a formative practice of
getting up early in the morning and riding a dirt bike around in the nude. In
the year of her birth, her father, Billy Ray, became briefly, colossally famous
for wearing a mullet and performing a country song about getting dumped. Dolly
Parton is her godmother. ("She taught me how to treat people well,"
Cyrus says.) In 2006, Cyrus was cast in the title role of the Disney Channel's
hugely popular Hannah Montana, the gig that would handily propel her to
mega-stardom. Although her parents' marriage has been, at times, tempestuous --
each has filed for divorce and subsequently called off the proceedings -- Cyrus
is wholly enamored with both. She calls her dad a "cool hippie psycho
freak," which, in Cyrus' world, is praise of the highest order. Her mom,
Tish, a producer and actress, is "super cosmic" and "a complete
optimist, the fucking cheerleader of the universe." There is deep
affection in Cyrus' voice, even when she refers to them again, later, as
"conservative-ass motherfuckers."
She says she has come to consider her own sexuality -- even
her own gender identification -- fluid. "I am literally open to every
single thing that is consenting and doesn't involve an animal and everyone is
of age. Everything that's legal, I'm down with. Yo, I'm down with any adult --
anyone over the age of 18 who is down to love me," she says. "I don't
relate to being boy or girl, and I don't have to have my partner relate to boy
or girl." She says she's had romantic entanglements with women that were
just as serious as the ones (Liam Hemsworth, Patrick Schwarzenegger, Nick Jonas)
that ended up in Us Weekly. "I've had that," she admits. "But
people never really looked at it, and I never brought it into the
spotlight."
She recalls confessing to her mother, at age 14, that she
had romantic feelings toward women. "I remember telling her I admire women
in a different way. And she asked me what that meant. And I said, I love them.
I love them like I love boys," she says. "And it was so hard for her
to understand. She didn't want me to be judged and she didn't want me to go to
hell. But she believes in me more than she believes in any god. I just asked
for her to accept me. And she has." These days, Cyrus only wants to grant
others the same clemency.Since leaving the Disney cocoon for a pop career,
Cyrus has accrued equal amounts of public adoration and derision. At times the
naysayers have been loud, nearly gleeful. There is, for example, a four-minute
YouTube montage titled "Miley Cyrus Worst Moments" that features her
jokily simulating various sex acts on her buddies, smoking alone in a parked
car and crying while singing. To which I say: who among us has not had that
kind of day? There's also a sizable amount of twerking, the move for which
Cyrus is infamous: hands on knees, back pitched into a perfect arc, buttocks
outstretched, cheeks gyrating so wildly they appear to be operating independent
of the rest of her body. It is strange, now, to think this was ever considered
subversive. With Cyrus, there were initial rumblings of cultural
misappropriation -- that she was not entitled to perform this dance, this way,
with the partners she chose -- but then twerking got cute, trickled down,
became one of those buzzwords local news anchors over-enunciate with forced
bemusement while inwardly fantasizing about the first scotch of the evening. What
is less discussed is that Cyrus is a very good pop singer and occasionally a
great one. She has a porous, burly voice that recalls Rumours-era Stevie Nicks
-- the kind that's good for communicating particular strains of duress
(specifically: what it feels like to love too hard). But what she has managed
to do better than nearly anyone -- save, perhaps, Andrew W.K. -- is legitimize
partying as an ideological choice. In Cyrus' hands, "La da dee da dee / We
like to par-tee" becomes a resonant generational credo. That she has been
persecuted for these things -- or at least openly mocked -- makes her
commitment to love-yourself-no-matter-what activism even more poignant. As for
the next record, she's moving forward on her own terms, despite some
nail-biting from her camp: "They're like, 'Don't make it too weird, don't
make it avant-garde; you can't go from Miley to Björk!'" She's recording
at all hours in a studio she recently built out of her garage in Los Angeles.
"I don't have to have writers, I don't have to have fuckin' producers in
there. Mike Will text me a beat, and I'll go in my studio and work on it
by myself." She says she's been listening to the Flaming Lips "almost
exclusively." (Lips frontman Wayne Coyne, whom she calls "the most
closest fucking human in my life," is a recent collaborator.) Also a
little Gucci Mane. A little Waylon. For Cyrus, it's less about renouncing her
past than imagining a wild new future, one in which people are free to buck
expectations and live whatever kind of life feels truest to them. She remains
refreshingly cognizant, meanwhile, of everything that's left for her to learn.
Which sounds unremarkable, maybe, but is anomalous among people for whom all
the traditional signifiers of success (fame, adulation, profit) have been
realized. It gives her a specific charm -- an uncommon openness. I believe her
when she says she's the least judgmental person ever. "As long as you're
not hurting anyone," she says, "your choices are your choices."
