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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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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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