MEAT MAKES YOU IMPOTENT New limited edition tee available for two weeks only! 100% of the proceeds support my foundation to protect, human, animal and environmental rights. Get it at



I AM NOT A TERRORIST New limited edition tee available for two weeks only! 100% of the proceeds support my foundation to protect, human, animal and environmental rights. Get it at 

The Tilikum Tank - Cannes May 14, 2016

Imagine Spending a Lifetime in This box

Imagine Spending a Lifetime in This box

Cannes May 14, 2016

Sea Shepherd director Pamela Anderson was the first volunteer to step foot in the Tilikum Tank.

After the doors were closed the full impact of Orca captivity became very real.

It is hot just like the waters in the tanks at Marineland or SeaWorld where Orcas experience something they rarely suffer from in the wild – heat exhaustion and sunburn.

The floor, the walls and the ceiling are mirrors and because cetaceans can “see” with their ears, all that they perceive is the constant reflection of their own voices and that is overlaid with piped in trashy music just like the Orca prisons blast out to keep their paying human customers entertained.

The tank is a simulation for land dwelling primates of the torturous confines of the water filled cellblocks.

"Dolphins are animals "built" to travel hundreds of kilometers per day and experience their environment through their sonar. They have a whole sensorial world we cannot even begin to understand. By building the Tilikum Tank, in tribute to Tilikum, the orca that captivity have transformed into a psychotic killer, we wanted to allow people to get a slight taste of the lifetime of torture these sensient and intelligent animals are enduring for the only purpose to entertain us and our children during couple hours." said Lamya Essemlali, President of Sea Shepherd France and co director of Sea Shepherd Global.

Spending only a few minutes in this mirrored and noisy box is an extremely experience uncomfortable for a human being.

"I could not even stay the whole 3 minutes and when I got out of there, I wanted to bite someone. I can't imagine the hell it must be to spend your life in such conditions. This has to stop. I would like to see all these animals released in the wild where they belong, during my life time" stated Sea Shepherd director Pamela Anderson. 

It is difficult to imagine the misery an Orca must endure year after year, held prisoner in a hostile alien environment that weakens their immune system and shortens their life.

Around the world some 70 Orcas are prisoners kept in sensory deprivation tanks. Some Orcas like Lolita have very small tanks and others have larger tanks they have to share with other Orcas.

These are wild intelligent self aware sentient beings, they were born to swim free in the sea, born to hunt and to socialize with their own kind.  They were never meant to be imprisoned in concrete tanks and fed dead cold fish, to have humans masturbate them for their sperm and to breed them for their own amusement. 

The Tilikum Tank will be circulating in France within the three main delphinariums and the public will be invited to step inside and experience for few minutes, the life of a captive dolphin. 

The conditions are inhumane and captivity of such wondrous intelligent cetaceans is amoral and a disgrace to the human race.

Captain Paul Watson challenges the director of the Marineland, Arnaud Palu to spend 5 minutes isolated in the Sea Shepherd Tilikum tank and to emerge without feeling empathy for his prisoners.

The Leap Manifesto

The Leap Manifesto is a 15-point Canadian plan for addressing a range of environmental, societal, and social justice issues. Learn more, and sign on to show your support: The writing of The Leap Manifesto was initiated in the spring of 2015 at a two-day meeting in Toronto attended by representatives from Canada's Indigenous rights, social and food justice, environmental, faith-based and labour movements.

Pamela Anderson on Playboy, the ’90s and her latest indie film role



Not much can be said about the ‘90s without talking about Pamela Anderson. And since we talk about the ‘90s all the time, here we are. The decade’s biggest bombshell has been experiencing a renaissance as of late, starring in Playboy’s final nude issue last year and co-starring in The People Garden, a new indie flick opening this week at TIFF. The film follows Sweetpea (Dree Hemingway) who travels to Japan to break up with her rockstar boyfriend while he’s filming a music video with Signe (Anderson), a faded ‘90s icon. The parallels between Signe and Anderson are obvious, but also not obvious at all—at 48, Anderson’s as in control as ever. Here, she drops wisdom on today’s Hollywood stars and reminds us why we were into her in the first place.

How did you get involved with the film?

An incredible casting director Heidi Levit called me and let me know that Nadia Litz’s award winning screenplay was being made into a film, finally. They wanted me to play a “past her prime” sex symbol/muse—slightly overdramatic, a little Sunset Boulevard. I have been curious lately about pushing the envelope with ageing and the dynamic we deal with as women in this industry. They shot me in very harsh light and made me look as bad as possible. It was interesting. But rewarding to not be self aware or obsessed with trying to look 20 when I’m not.

Your character Signe feels very much like a caricature—do you relate to her? 

I feel she is in a bubble— memories of a life that isnt anymore. She is an artistic character. Flying in the rain was my favorite part.

How do you reconcile your turn to art-house films with your return to Playboy

I love art house and I love that people can see the departure from my “more real” Playboy life. Which is funny. It almost seems backwards.

I love what you said in the Times about a new generation looking at you differently—do you think a big part of that is ’90s nostalgia? 

There is still mystery surrounding my generation. I think that it’s intriguing to not know everything about an artist. These days, it feels like overload. I’ve given up on any personalized social media. I have no desire to keep up with the Joneses (Kardashians?).

And speaking of nostalgia, how did it feel on the Baywatch set? 

They were so kind. And Dwayne (The Rock) and I have met before. The producers really went to bat for me. And, I felt appreciated and respected. I miss it so much. I love action and being outdoors. It was just a cameo. Let’s hope they make more.

What do you remember most about the ’90s? 

Whirlwind. Playboy parties. Rock stars. Having children. Just a wild time. I miss those days. And I’m sad that Playboy as it was is over.

What’s different about coming up today, specifically as a woman, versus when you did in the ’80s and ’90s?

I don’t like it at all.

Do you see yourself in any of today’s young stars?

Absolutely not. Even my children look at this business in a new way. I never wanted it that bad. And I can’t waste my time on trying to get people to love me. It’s an epidemic of insecurity.




Nadia Litz’s The People Garden (which premieres today at the TIFF Bell Lightbox) is a modern art film. It reminds me of the work of Antonioni (in particular, L’Avventura), films that were stylish and saddening, haunting and opaque, sumptuous surfaces that form like pools of water and later, sadness. In a beautifully inspired move, Litz cast Pamela Anderson in the role of Signe, a hardbodied model who becomes an adversary to Sweetpea (played by Dree Hemingway), who is searching for her missing rockstar boyfriend on set of his video shoot in Japan. “We banged around, everybody bangs,” explains Signe, simply and sadly, before descending onto a swing in the rain, in one of the most beautiful and luminous sequences this year.

Anderson plays the role with a sense of detached narcissism that hints at something far more bruising below the surface. It’s a performance that doesn’t rest on camp, a woman who knows who and what she is and is content to sink into all the layers of meaning she creates. It’s also a perfect parallel to the way we’re used to seeing Pamela Anderson — a modern muse who is quickly turning the camera back on itself by collaborating with a whole new generation of emerging filmmakers. 

In this incredible exchange between director and performer, filmmaker and muse, Nadia Litz and Pamela Anderson discuss feminism, art cinema, inspiration and the betrayal of rock star boyfriends. You can watch The People Garden at the TIFF Bell Lightbox, starting today with a filmmaker Q&A at 7:10.


    Subject: Fwd: Nadia.
    I'm sending these quickly because I know there is a rush. Please forgive any typos. I can barely see on my phone ;)
    • NADIA
      TO: PAMELA
      I'm not sure if I ever told you this, but one of the reasons I wanted you so much for The People Garden was because a few months before approaching you, I had seen you on The Ellen DeGeneres Show. You had chopped your famous locks in exchange for a pixie cut. You looked like a Godard muse. You were on the show talking about how you were about to run the New York Marathon for the Haitian relief fund. You were smart, witty, poised. At the end of the segment, they changed you out of your demure clothing and put you in a tight white t-shirt in front of a greenscreen, made you run on the spot against a wall mocked up like a New York backdrop and shot at you with water guns. I thought immediately of Signe because you struck me as a woman who wanted to be allowed change and grow, but who was in an environment where people wanted you to stay the same and be your old self, which is really the theme to Signe (if not the entire film!). Do you remember the place in your life where you were at on that Ellen segment? What drew you to want to play Signe around the same time?
      • PAMELA
        TO: NADIA
        I wish my hair was still in the pixie cut for you. I think it would have been great in the rain! It was fun to play an older character too. I had to leave any vanity out of this. It was a little surreal. We shot this film before the short I did with Luke (Gilford), called Connected.  It really set me up for that. I hadn't worked in a while. I'm always threatening to quit the business. But I think if I can remain brave enough — this is a whole new world. Not chasing youth. But embracing the now, the future without Instagram filters. I don't mind women coming on this journey with me. 
        • NADIA
          TO: PAMELA
          You are a muse for so many artists: filmmakers, photographers, designers. You are so playful with it and seem so at ease taking on "personas." (Even though you are one of the most deeply full of humanity humans I've ever met!) You have to have such a strong sense of self to have people project on you all day. Can you talk at all about what your relationship is to being a "muse?"
          • PAMELA
            TO: NADIA
            I've looked around me, and have said — "You're an artist, you're a painter, you're a director, you're an actor, you're a photographer. What do I do?! How do I make a living and survive?" I know I'm an activist. And have had a TV and Playboy career. But — I love these raw edgy indie films — I hope to do more. You helped ignite this new road for me. I've never felt beautiful. So maybe that's why I can let all hang out. I don't understand the actresses that complain about roles for women. About being discarded. I think I'm just beginning. I've never been on an audition. Werner (Herzog) told me never to audition. If directors don't get it. They just don't. That they should see what I've accomplished on my own and be inspired to draw something new and better out of me.
            • NADIA
              TO: PAMELA
              One of my favorite parts of working with actors is collaboration on shared inspirations. You were the most fun of any of the cast to do that with! I cherished getting your references in my inbox! I remember a YouTube clip you sent me from a Louis Malle film called Elevator to the Gallows with Jeanne Moreau... Heaven! We also talked about the women of Fellini a lot... For me, this clip between Marcello Mastroianni and Claudia Cardinale from 8 1/ 2 was the inspiration/ backstory between Jamie and Signe. I love when Claudia Cardinale repeats at the end of the segment — "because he doesn't know how to love... because he doesn't know how to love." What actresses give you the most inspiration either in your acting work and/ or in life? Who are your muses?
              • PAMELA
                TO: NADIA
                I love 8 1/ 2. (We all look better in black and white.) I love Fellini, Godard, Russ Meyers. David Lynch, art house films. I have no idea what's popular. It drives my kids nuts.
                • NADIA
                  TO: PAMELA
                  There are a few people who have a hard time understanding Dree's character Sweetpea. They wonder why this determined young woman is so drawn to this missing rockstar who appears no good for her. I wrote the character, so clearly I empathize with the predicament (despite being a determined young woman myself). Any comment?
                  • PAMELA
                    TO: NADIA
                    Well.... Music is seductive. When women fawn all over these flawed hungry characters? Why does it feel like an accomplishment to be loved by men who don't know how to love? It's a slippery slope. It's painful and maybe a bit addictive. I get it.
                    • NADIA
                      TO: PAMELA
                      Finally, so many young feminists consider you their hero. I think it's because you are a woman who embraces the freedom to be many things. Why do you think it is? Are you a feminist? What does that mean to you?
                      • PAMELA
                        TO: NADIA
                        I never thought Feminist was a good word to describe me. I feel like there are roles to play as women, men, gay or transgender. It's romantic to be a woman. But I absolutely believe in being self sufficient. And equality is important so we can be that. In this social media world, family dynamics have changed and being single is more common. I'm not sure how I feel about it all. Thank God for art and artists. And expression. We are all a mess — searching. And, it's fun to cross paths with others in the same boat — I loved working with you too. I hope we do more together.  It's all new to me!

After the Bombshell: Pamela Anderson's Next Act

Following the fallout of a messy divorce, the sex icon is back—and confronting middle age head-on in a new short film. "Getting older isn't the end," she says in a revealing interview

by Sandra Ballentine

Many of the words the world uses to describe Pamela Anderson start with the letter “B”: Buxom, blond, babelicious, bombshell, bodacious. But while the 48-year-old can still rock an itsy-bitsy bikini (see her record-shattering 14th Playboy cover this past January, shot by Ellen von Unwerth to commemorate the magazine’s final nudie issue), there’s more to Anderson than meets the eye. Indeed, in a limo Saturday night on the way to the New York screen premiere of her new short film, “Connected,” Anderson revealed qualities even deeper than her storied cleavage.

The premiere capped off “Seeding,” a day of events at midtown’s Museum of Arts and Design celebrating Pin-Up magazine’s eco-centric garden and landscape design issue. Perfect context for a pin-up who has sworn off plastic and powers her home with solar panels.

As the actress settled gracefully into the car’s back seat, sheathed in a spare, stark-white dress by Hamel, a Serbian label known for seriously body-con frocks, and shod in sky-high nude stilettos (faux leather, of course, since the PETA supporter eschews animal skin), she mused on “Connected.” “This is the first time I’ve ever been in a serious role,” she said. “I’ve done Baywatch, and other things on TV that I could do with my eyes closed—run around in a bikini, et cetera. But it was fun to play a really dramatic character.”

Directed by the 29-year-old photographer and filmmaker Luke Gilford, “Connected,” which also stars Dree Hemingway, is an eerie, 10-minute, sci-fi-tinged window on aging, insecurity, and the desire for physical transformation and spiritual enlightenment in a technically evolving, image-obsessed society. Anderson’s character, Jackie, is a weary spin instructor seeking inner and outward change through meditation, yoga, green shakes, supplements, oxygen treatments, and self-improvement podcasts (voiced by Jane Fonda). We’ve all seen a lot of Anderson over the years, but never seen quite like this—pared down, vulnerable, and visibly frightened of what lies ahead.

“The film is a metaphor for how women are treated after a certain age,” Gilford explained. “Of course, it’s larger and more universal than just women, but it speaks specifically to women and beauty—and how after a certain age, they are just kind of discarded.” Ouch.

Anderson can relate to Jackie on a few levels. “Aging is something we all deal with,” she said. “At a certain age, you can find yourself at a loss. Your children are grown. You may have gone through a divorce. You’re trying to find meaning. What’s your purpose now? You’ve raised your kids, and now they think you’re a little crazy, because you’re trying to do all these self-help things. You become distant from everybody. You’re searching for answers. If I do all these things to look younger—the creams, the classes, the supplements, the procedures—I’ll be more accepted by my kids, my friends, men. You’re dealing with so much loss at this age. It seems like everything is behind us, so what’s next? We took a lot of things for granted—youth, beauty. But now what?”

Her artistic timing is uncanny. Anderson was emotionally flayed after a brutal (second) divorce from Rick Salomon last year, which helped her get into her character’s fragile state of mind. “I look back at pictures of myself when I was in this awful relationship, and I looked 20 years older,” she said. “I know it sounds like a cliché, but happiness has a lot to do with beauty. Calm, peacefulness and not-constant stress are very, very important to feeling beautiful and confident. And that comes across whether you’re wearing makeup or not. I remember looking in the mirror during filming and saying, ‘Who is this person? How did I let myself get to this place?’”

Romantic turmoil behind her, one gets the sense she’s in a really good place these days. And unlike her character in “Connected,” she isn’t apprehensive about her age. “I actually like aging. I have great older female role models in my life, including my amazing mom, who have glitz, glamour, and all sorts of fun. Getting older isn’t the end. I know I have so much to look forward to.”

When asked if she regrets anything she’s done in the name of beauty, Anderson rolled her eyes down towards her chest. “Not that we need to point it out,” she said, laughing. Her longtime makeup artist, Alexis Vogel, piped up from the front seat: “Let’s just say that at some point, we all realize that less is more!”

In the film, Anderson doesn’t even wear mascara, a bold move for a girl who like lashes as much as she does. Her maquillage was toned-down accordingly for the screening, too. “I like to try different looks,” she said. “If I’m doing a photo shoot, for example, I like to play with the artist’s interpretation of me. I’ll try anything. I’m not one of those people who always has to look a certain way.”

Which could help explain why Anderson has been a prolific art-world muse through her career, inspiring works by the likes of Richard Prince, Jeff Koons, Ed Ruscha. and the photographer David LaChapelle, whose portraits of her are like a mash-up of Cindy Sherman and Jenna Jameson. “I went to a Jeff Koons museum show with his mom,” she said. “She was like, ‘This is your leg, this is your hair, this is your shoulder.’ I had no idea. It was such a huge compliment.”

The actress moves easily in the art world, and has amassed an impressive collection over the years. “All my friends are artists,” she said. “I love people who are creative and really pushing the envelope and reaching for new things. Artists are the freedom fighters of the world.”

Just then, her phone rings. It’s her son Brandon, 19. He will be slightly late to the screening because his Uber just blew a tire. Dylan, 18, couldn’t make the event, as he’s in school. One senses her children are her rock. “Are you okay? Okay, don’t worry, sweetheart. See you when you get here,” she said on the phone.

The car pulled up to the museum, where there is a photographer waiting to take photos for this story. Anderson posed obligingly. As a crowd of bystanders started to amass around her, she smiled sweetly, and disappeared into the building.

Jewish Values Award

Jewish Values Award- presented by Rabbi Schmuley
Pamela Anderson Speech
recipient of "The Lover of Israel" Award
May 5/2016

I am truly honored,
Thank-you, very much, for inviting me, to speak with you, on this very special day.

It has been my privilege, to have visited, both Jerusalem and Tel Aviv, and to see, first hand, the miracle, that is, the modern state of Israel.

As humanity moves forward, it is imperative, that we learn from the past.
Humanity must never tolerate genocide. We must never,  surrender to intolerance. We must never, forget that each, and every day,
we lay the foundation stones of tomorrow,
within this wondrous continuum of life.
We must look towards what unites us, and not, what divides us.

No matter who we are, or where we live, we depend on each other, and we depend upon the diversity of life, for our survival.
Israel shares The Mediterranean Sea, with 23 different, and very diverse, nations. All of these nations, are dependent upon a healthy sea,
as the entire world is dependent, upon a healthy ocean.

When the sea is diminished by over-fishing, and pollution, all of humanity is diminished. No matter what philosophies divide us, the one thing that must always bring us together, is our mutual dependence, upon the Ocean, for life.
No matter what are faith, our race, our politics, or our status, we must understand one fundamental truth – if the Ocean dies, we all die.
The Ocean provides us with over 50% of the oxygen we breathe, and it regulates the climate.
The Ocean is life.
The laws of ecology, are diversity, interdependence, and finite resources.
Humanity must work within the boundaries of these laws to survive, and we must embrace diversity, both ecologically, and socially. We must embrace interdependence, both ecologically and socially, and we must understand that there are limits, to what we can exploit, and how much we can grow.
The production of meat each year requires the slaughter of 65 billion animals on land, and many, many more in the sea. The production of meat, contributes more greenhouse gases into the atmosphere, than the entire global transportation industry.
And one of the things I am so proud of Israel for, is that Israel is one of the leading countries in the world, practicing, and encouraging, vegetarianism, and vegan-ism.
This makes Israel, a world leader, in advancing, the ethical, and environmental, measures that this planet, needs to survive.
Of Israel’s 8 million people, one million no longer eat meat.
This is a national agenda, of kindness ,and growing ecological awareness.
Vegan-ism is now so popular, that vegan meals are offered to soldiers, in the Israeli Defense Force, and the IDF provides for non-leather boots, on request.
Israel has historically been a nation of determination, courage, imagination, and compassion, and these, are the virtues that improve the world.
I believe, that evolution, includes ever evolving humane behavior. It means learning from the past, adapting in the present, to our obligations to all future generations of humanity.
Our future survival, depends upon learning, to live in harmony, with our fellow humans, and, with all other species, that we share this planet with.
We exist, because of them.
Without the bees, the trees, the worms, the birds, and the fish, we cannot survive. Without phytoplankton, in the sea, and trees on the land, we cannot breathe.
It is from the Middle East, and on the shores of the Middle Sea,
that civilization sprang, and. it is, in this region,
that the clash of cultures, over the years, has led to tremendous heart-break.  
However, tragedy has one important, positive consequence – it illustrates, the need, to adapt, and, to change.
Israel lies in the center, of centuries of conflict, and, for centuries, lessons, have been learned, and people, have adapted, to ever-changing pressures, and have, learned, to cope, and survive.
I would like to see Israel’s, evolution of compassion, grow, ever stronger. I would like to see this growing reverence for life, be the guiding light, for not just Israel, but, for all of humanity, and I believe, that Israel can help guide humanity, along the path, towards a kinder, more compassionate world.
Thank you,