The world of modeling has a pretty catty reputation, but do modeling agencies also have the same stigma? If you'd ask Constance Jablonski's opinion, we're guessing she'd say yes -- now that she's being sued by Marilyn Model Management, at least.

The Victoria's Secret Angel has just been slapped with a $3.3 million lawsuit by Marilyn, her former agency, New York Daily News reports. The company is claiming that Constance, who serves as the face of Calvin Klein and Christian Dior, violated a three-year contract with Marilyn when she left to seek representation with DNA Model Management. (Ms. Jablonski was legally bound to stay with Marilyn until September 2014, according to NYDN.)

The case asserts that Constance was “a virtually unknown model” before signing with Marilyn in 2008 -- ouch. Two years later, the French stunner was landing major contracts like Estée Lauder and strutting down the catwalk for her first Victoria's Secret show. Marilyn claims that losing out on that annual runway gig and Constance's lucrative beauty contract has hurt the agency.

"DNA’s wrongful conduct is for the purpose of destablizing Marilyn’s business, and causing irreparable damage to its image [and] reputation,” the model's former agency claims.

To add more intrigue, Marilyn alleges that the 21-year-old was lured to DNA "under false pretenses." We're not sure what that means, but, lucky for us, Constance addressed the drama via her Twitter account today:

“With a New Year comes new beginnings. After my bookers, many of those I began with at Marilyn and my dearest Marilyn Gaultier left the agency this past year, I decided to move on to DNA. I’m very excited with the move and I hope you are too!! Wishing all my friends from Marilyn all the best with their new beginnings. Thank you to all of you followers and fans, for always supporting me!!”
Hm, we'll just have to wait and see what happens. But, from the sounds of it, it seems like this is more of an issue between the two agencies than Marilyn and Constance. Can't everyone just play nice?

The creators of "South Park," Andrew Sullivan and comedian Louis C.K. defied conventions by going solo with their own media companies. But what does it take to ensure indie media success? Amanda Palmer, singer for The Dresden Dolls, spoke to HuffPost Live host Mike Sacks on Tuesday about going from end to end of the indie spectrum.

Palmer went from busking on the sidewalk for years, to raising over a million dollars on Kickstarter for her solo album, which became a top ten hit last year. Looking forward, she argues that there's no single answer for what will work for independent artist and journalists.

"I think there's going to be as many different systems as there are outlets and artists, and I think trying to make a blanket rule about what will work for journalists, or what will work for musicians, or what will work for authors, is kind of the wrong conversation," Palmer told HuffPost Live.

Instead, Palmer focuses on using technology to present a unique approach to fans, saying "the cool thing about the Internet now is that you can totally personalize and customize your little system."

"Donnie Darko" producer Hunt Lowry also joined the conversation, saying that "there's always a few lucky breaks" in the world of independent film production, adding that producers need to be on as many platforms as possible, including the Internet, television, cable, and home video.

"You may be small and independent, but you still want it to be seen by as many people as possible," Lowry said.

It's that time of year again when a tiny ski-resort town becomes the place to be for anyone in show business – stars and directors, distribution executives, musicians, unknown filmmakers hoping that people might want to hear the stories they tell.

Opening Thursday, the Sundance Film Festival takes over Park City for a week and a half every January. Anything resembling a theater is booked with screenings. Directors and their casts trudge snowy streets to introduce films and do interviews. Bars and restaurants are stuffed with people talking deals, or just talking about something crazy or unexpected they just saw on screen.

"It's almost like Burning Man. Once a year, this tiny little town that then transforms itself into kind of a crazy film city for 10 days out of the year," said writer-director Lynn Shelton, a Sundance regular ("Humpday," "Your Sister's Sister") who returns this year with "Touchy Feely," starring Rosemarie DeWitt as a massage therapist suddenly struck by an aversion to touching others. "It's crammed with people all there for one reason. Whatever relationship they have to the industry, they're all there for the love of films."

The top U.S. showcase for independent cinema, Sundance has grown along with the do-it-yourself film world and has played a huge role in creating opportunities for low-budget filmmakers to get their work made and seen.

Robert Redford added the festival in 1985 as an offshoot of his Sundance Institute that offers professional support to indie filmmakers.

That first year, the festival showed a couple of dozen films. This year, Sundance is playing 119 feature films from 32 countries, culled from about 4,000 that were submitted.

"It's gotten pretty overwhelming," Redford said. "I never dreamed when we started – we didn't even know that we would last – and then when it lasted and grew, it became huge. I never anticipated that it would get to this size."

Now the name Sundance is almost a synonym for the possibilities of independent film. The festival helped launch the careers of filmmakers such as Steven Soderbergh, Kevin Smith and Quentin Tarantino and has premiered such Academy Award winners and nominees as "Little Miss Sunshine," "Precious," "Winter's Bone" and last year's top Sundance prize winner, "Beasts of the Southern Wild."

This year's lineup includes Ashton Kutcher as Apple co-founder Steve Jobs in director Joshua Michael Stern's film biography "jOBS"; Amanda Seyfried as porn star Linda Lovelace in Rob Epstein and Jeffrey Friedman's "Lovelace"; Shia LaBeouf and Evan Rachel Wood in Fredrik Bond's romance "The Necessary Death of Charlie Countryman"; Dakota Fanning and Elizabeth Olsen in Naomi Foner's teen tale "Very Good Girls"; Daniel Radcliffe as Allen Ginsberg in John Krokidas' beat-poet story "Kill Your Darlings"; and Ethan Hawke and Julie Delpy in Richard Linklater's "Before Midnight," a follow-up to "Before Sunrise" and "Before Sunset."


There's also a reunion for two "Little Miss Sunshine" stars: Steve Carell and Toni Collette co-star in Nat Faxon and Jim Rash's Sundance premiere "The Way, Way Back."

Redford has insisted on giving documentaries equal time with dramatic features, and this year's festival has a wild range of nonfiction topics, including Barbara Kopple's "Running from Crazy," a study of Mariel Hemingway and her family's history of mental illness and suicide, including that of grandfather Ernest Hemingway; Alison Ellwood's "History of the Eagles Part 1," a portrait of the pop super-group; Alex Gibney's "We Steal Secrets: The Story of WikiLeaks"; Foo Fighters singer Dave Grohl's "Sound City," a look at a venerable recording studio; Freida Mock's "Anita," a portrait of Anita Hill, who accused Supreme Court nominee Clarence Thomas of sexual harassment; and R.J. Cutler and Greg Finton's "The World According to Dick Cheney," an examination of the former vice president.

"The company is such good company. The programmers at Sundance, their taste is impeccable," said Lucy Walker, who premiered her 2010 documentaries "Countdown to Zero" and "Waste Land" and returns this year with "The Crash Reel," chronicling the recovery of snowboarder Kevin Pearce from a traumatic brain injury. "I feel like right now, the documentary field at Sundance, it's just such a remarkable collection of top-quality films."

Actress and filmmaker Lake Bell, who directed a short film that premiered at Sundance in 2011 and co-starred in last year's festival feature "Black Rock," said coming to Park City in January reminds her of going back to college.

In an age when airbrushing the naked body has become a photography standard, the works of Nadav Kander are absolutely refreshing. The Israel-born, UK-based artist captures a wildly diverse survey of form and flesh, exquisitely displayed in a new exhibit titled "Bodies, 6 Women, 1 Man" at London's Flowers Gallery.

Kander's exhibit harkens back to Renaissance masterpieces, featuring classically styled female and male nudes baring and contorting their bodies. Covered in white marble dust, the models appear like pristine sculptures or a figure from an ethereal period painting.

Yet as photographs, the works are innately modern, a characteristic not lost in the subjects' tendency to actively hide their faces from the camera. Unlike the pensive gaze that can be seen in works by Raphael or Bellini, the eyes of Kander's alabaster nudes almost always avert the lens, hiding behind outstretched arms or backwards facing bodies. Present yet private, archaic yet contemporary, familiar yet newly distinct; the efficacious project puts forth a new definition of the nude that alerts us to paradox after paradox.

“I don’t want to make art that’s simple, ‘correct for the times,’ or merely to fit a gap in the market," Kander explained in a recent interview with TIME magazine. "I make things that nourish me.”

The unabashed artist will be showing his work until February 9 at Flowers Gallery in London. Scroll down for a preview of his work and let us know what you think of his "Bodies" in the comments section.