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Kevin Hart sued by an ex-friend for allegedly botching a deal to clear that man's name

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Kevin Hart sued by an ex-friend for allegedly botching a deal to clear that man's name

Kevin Hart is being sued for allegedly botching a settlement agreement that was meant to clear the name of a former friend, Jonathan “J.T.” Jackson, as it related to the events surrounding the comic’s sex-tape cheating scandal.

In a lawsuit filed Wednesday in Los Angeles County Superior Court, Jackson accused the “Get Hard” actor of not using the “meticulously negotiated” and agreed-upon wording from their 2021 settlement when he addressed the scandal in an Instagram post that same year, resulting in a $12-million breach of written contract lawsuit. The civil lawsuit, which lists Hart, Hartbeat LLC and several Does among the defendants, also accuses them of fraud and intentional infliction of emotional distress.

The 23-page complaint, obtained Wednesday by The Times, said Hart was contractually obligated by their July 2021 settlement to use “specific verbiage” that would “publicly exonerate” the Navy veteran, professional bowler and actor, who was entangled in legal issues in the wake of the scandal.

“The wording of Hart’s statement — which was meticulously negotiated and detailed in the Contract — was absolutely crucial to repairing and remediating the severe damage inflicted upon Plaintiff’s reputation by the baseless extortion allegations that Hart aggressively promoted and publicized,” the complaint said.

Jackson, 47, was the target of a January 2018 raid at his home in which he and his wife were held at gunpoint by investigators with the Los Angeles County District Attorney’s Office who were looking into allegations of extortion, which he believes Hart initiated. The charges were eventually dropped by prosecutors (whom Jackson also sued in December), but Jackson claimed that his “reputation was unjustly tarnished due to a series of malicious actions by the defendants,” including when Hart and Hartbeat released the 2019 Netflix docuseries “Don’t F— This Up.”

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The docuseries mentioned extortion and alleged that Jackson had been involved in the creation and dissemination of a sex tape that showed Hart and a woman who was not his wife getting intimate in a Las Vegas hotel room. (Both Jackson and Hart were also sued for $60 million by model Montia Sabbag, the woman who purportedly appeared with Hart in the tape, but that lawsuit was ultimately dismissed, and Jackson was cleared of all allegations.)

According to the new lawsuit, Jackson did not receive any money from his settlement agreement with Hart, as he believed their contract was “not about seeking compensation, but was a means to an end” that would clear Jackson’s name. Hart’s public statement, which was to include agreed-upon language, was crucial for Jackson’s exoneration, the complaint said, and Jackson entered into that contract “with the expectation that it would finally restore his reputation and allow Plaintiff to resume his professional life with integrity.”

Jackson alleged that Hart explicitly agreed in their written settlement to “pursue and advocate for the dismissal of all criminal charges” against Jackson and make a public statement exonerating him. Hart, he said, was required to say that criminal charges against Jackson had been dismissed, that Jackson had been fully cleared of any involvement in an extortion plot and that the legal debacle had cost Hart “a valuable friendship.”

The complaint further said that Hart was supposed to say that he had “lost someone close to me that I loved and still have very much love for or high levels of love for and I’m proud to say that all charges against JT Jackson have been dropped and he is not guilty and had nothing to do with it and this matter at hand that once was so tough to deal with and so heavy for me and my household is now put to bed.”

Instead, Hart’s Oct. 27, 2021, Instagram video “blatantly broke” their agreement and “manipulate[d] the narrative,” the complaint said. Hart ultimately said that “J.T. Jackson has recently been found not guilty, and those charges have been dropped against him, and I can finally speak on what I once couldn’t.” The comedian also said that their friendship “was lost” due to the legal process and noted his relief about the legal saga being over. He did not mention that Jackson “had nothing to do with it.”

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“Hart’s statement deviates significantly from the agreed-upon verbiage in several crucial aspects,” Jackson’s attorney, Daniel L. Reback, argued in the complaint. “First, Hart’s stipulated verbiage explicitly required him to state that ‘all charges against [Jackson] have been dropped and he is not guilty and had nothing to do with it.’ However, Hart’s actual statement lacks the explicit declaration of Plaintiff’s innocence or non-involvement. Also, Hart’s agreed-upon statement was to acknowledge the incident’s heavy impact on the loss of a valuable friendship due to the legal matter, but Hart’s actual statement focuses entirely on Hart himself ‘moving on’ and does not directly acknowledge the significant personal and professional toll on Plaintiff as outlined in the Contract.”

In addition to $12 million, Jackson is seeking punitive damages to be determined at trial, legal costs and fees and injunctions requiring the defendants to exonerate him, as well as the removal of “all the false statements” about him in “Don’t F— This Up.”

In a statement to The Times, Reback added: “The facts in the complaint speak for themselves. We are confident that the lawsuit will end with Mr. Jackson’s complete victory and vindication.”

A spokesperson for Hart was not available Wednesday to respond to The Times’ request for comment.

Hart has spoken publicly about the sex-tape saga repeatedly over the years, apologizing to his wife, Eniko Parrish, who was pregnant with their first child at the time the tape was allegedly recorded in Las Vegas. Amid reports that an unidentified woman allegedly tried to extort him for a video featuring sexually suggestive content, Hart apologized to Parrish in a September 2017 Instagram video.

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“I gotta do better and I will. I’m not perfect and have never claimed to be,” he wrote in the video’s caption. Months later, he confessed to the infidelity, telling “The Breakfast Club” in December 2017 that he had been “beyond irresponsible.”

“That’s Kevin Hart in his dumbest moment. That’s not the finest hour of my life,” he said. “With that being said, you make your bed, you lay in it. You can’t say what were you thinking, because you weren’t thinking.”

Times staff writer Alexandra Del Rosario contributed to this report.

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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