Oh, shit. Oh dear.
Lawsuit alleges Singer “manipulated his power” to exploit 17-year-old boy
“X-Men” director Bryan Singer is being accused of “sexual abuse” of a teenage boy in a lawsuit filed Wednesday, according to court documents obtained by TheWrap.
According to the lawsuit filed in federal court in Hawaii, plaintiff Michael Egan, who was named in a press release by his lawyers, was 17 when he was forcibly sodomized by Singer, among other accusations.
Defendant, BRYAN JAY SINGER, manipulated his power, wealth, and position in the entertainment industry to sexually abuse and exploit the underage Plaintiff through the use of drugs, alcohol, threats, and inducements which resulted in Plaintiff suffering catastrophic psychological and emotional injuries. Defendant Singer did so as part of a group of adult males similarly positioned in the entertainment industry that maintained and exploited boys in a sordid sex ring. A Hollywood mogul must not use his position to sexually exploit underage actors.
The suit alleges Singer provided Egan with drugs and alcohol and flew him to Hawaii for sex on more than one occasion in 1999 and claims that Egan was not the only underage boy who was abused. Plaintiff is seeking an unspecified amount in damages.
It was filed a month before the release of Singer’s next movie, “X-Men: Days of Future Past,” is due to be released. A representative for Singer did not immediately respond to TheWrap’s request for comment. Nor did a representative for Fox.
We are about to embark on an exciting project which will fulfill a powerful desire of mine – to properly record my first opera, “Prima Donna” with a fabulous orchestra and release a double CD and vinyl of that recording. I would love for you to be a part of this journey as we move through the process and create a magnificent product.
“Prima Donna,” was written and performed during the most dramatic period of my life to date, and considering my life, that’s pretty dramatic! New arrivals, death, terrible defeat and glorious triumph line the tale of this work both on stage and off, a tale that is still unfolding and that I would both like you to know and even more importantly, be a part of.
From the early rocky days with the Metropolitan Opera, the valiant premiere at the Manchester International Festival, sold out shows in London and Toronto and finally the firestorm involvement with the New York City Opera at BAM, the tale of “Prima Donna’s” coming to life is already well deemed for a grand opera legend and seems to be growing still.
This is where you come in, the final great chorus!
It is vitally important to me that “Prima Donna” be properly recorded and released so that I can tour a concert version of it in the coming year, and I have decided to do this with the help of both PledgeMusic and the incredible BBC Symphony Orchestra which in turn requires your generous support. Quality studio opera recordings are extremely expensive and too time consuming to pull off these days, and it seems that a once vibrant recording industry is no longer what it was and new methods are needed to get the music out. Though sad, the upside is that everyone in the field agrees that this is a great time to bring the audience into the wonders of the creative process and the myriad of stages the recording of an opera requires. Exciting rehearsals, deep conversations, strange and colorful characters, not to mention many a silly moment, all of this I’m truly excited to experience with you until that glorious moment when the conductor, myself the composer, the orchestra, the singers and the recording crew turn on the red light and put down for posterity my first magnum opus, “Prima Donna.”
For those who don’t know, the opera is a two act affair set on the day in the life of a great diva who is deciding whether or not to continue her career. With Paris as a backdrop, the opera both borrows from operatic myth and legend as well as my own very contemporary personal experiences as a singer. The themes of loss, fear, hope and ultimately acceptance are deeply explored in this work by both the soloists and the orchestra, and I’m very proud that for a first venture into the operatic world I love so much, though not a masterpiece perhaps (that will come much later in my life), “Prima Donna” is a solid and viable offering that both people love performing in and audiences enjoy watching and listening to. It’s vitally important we get a quality recording for generations to come.
Thanks for taking the time to consider this unique offer and rest assured that if you decide to come along for the ride, it’s gonna be a blast, opera style….which is big.
*Please Note: a portion of your pledge will also go to the Kate McGarrigle Foundation, a non-profit organization founded by myself and my sister Martha to raise money to fight sarcoma, the rare and underfunded cancer that took our mother Kate McGarrigle’s life in 2010. The foundation is also dedicated to preserving Kate’s legacy as one of the greatest Canadian singer songwriters.
Well, he did promise too.
Club kid founder Michael Alig is to be released from jail on May 5, according to sources in the know. A check of official prison site by Alig friend Victor Corona confirmed the news. Alig, of course, has been serving time for the murder and dismemberment of drug dealer Angel Melendez on March 17,1996. He has been eligible for parole since 2006, but has been denied until now. The release, although not a surprise, has sent waves through a community who knew him and loved him, as well as those who knew him and hated him. He will be staying with a close friend, and has been recruited for creative jobs by many. His transition to the real world will be eased by a support group who, for the most part, have stuck by him for more than a decade and a half. Michael has never used a computer or cellphone but he has remained keenly aware of the world we live in. There is no chance that he will return to clubs as a way of life, but he will paint and write, and as always, try to impact the way we think.