Lux Pascal's Deluxe Debut
Miss Carbón, will debut domestically on Netflix later this year after hitting theaters in Spain this month. In the film, set in 2008 and based on a true story, Pascal stars as Carlita Rodríguez, a trans woman who became the first female coal miner in her hometown of Río Turbio, Argentina. Pascal, 33, was offered the role just as she was finishing Juilliard, but initially hesitated — uncertain about a project centered around a transition journey.
More from The Hollywood Reporter
Netflix's 'Perfect Match' Brings Together 'Love Island USA,' 'The Bachelor' Alum and More for Season 3
Paprika Studios and Seefood TV Execs Talk Formats - and No, This Is (Mostly) Not About Cooking Shows
Netflix's "Liver King" Arrested After "Picking a Fight" With Joe Rogan
'I was a little bit afraid of it because I really wanted to expand my possibilities as an actress,' says Pascal, who had already played a wide range of female characters during her training. But after spending time with the real-life Rodríguez — and reframing the story as one about women in the workplace — she changed her mind. 'When I met her, I was mesmerized by this air of disappointment of how the world has treated her,' Pascal recalls. 'I didn't want to shy away from showing how sometimes that sadness is just impossible to hide.'
Like her Miss Carbón character, Pascal describes herself as a survivor. She was the youngest of four children growing up in Orange County; her father, José, had fled Chile during the Pinochet dictatorship. Her mother, Veronica, died by suicide in 2000, when Lux was 7. 'We all have trauma,' she says, 'and I know my own trauma, and I survived it.'
Her brother Pedro, 17 years older, moved to New York in his 20s to pursue acting but would visit home twice a year. From a young age, Lux was determined to follow a similar path — telling her kindergarten class she'd become a professional actor and, when she got a bit older, gravitating toward the edgy films of David Lynch and Terrence Malick. She later appeared in Narcos alongside her brother, and in the 2019 Chilean prison drama The Prince.
'There's something very, very few people have — talent and skill that is married with a camera that is in love with your face,' Pedro Pascal tells The Hollywood Reporter. 'She has that. I am stunned when I see her act in a close-up. I'm not surprised, just stunned. Like seeing Michelle Pfeiffer's first close-up in Tequila Sunrise.'
Lux Pascal was Miss Carbón director Agustina Macri's first and only choice for the project, with the filmmaker telling THR that the star's 'beauty, talent and presence on screen' made her casting a no-brainer. 'Although the story is inspired by real events, Lux and I always understood that we had the freedom to create a new Carlita — one shaped by her own sensibilities and emotional palette,' says Macri. 'She was attentive to every detail and often proposed subtle changes to the script that made the character more honest and grounded. For me, that kind of creative dialogue has enormous value.'
Up next: comedy. Pascal is currently in Montreal shooting Love & Chaos, her first lead in an English-language indie rom-com. ('She's a tremendous listener with a deliciously dark sense of humor,' says Love & Chaos director Drew Denny.) Big-budget fare is also on Pascal's radar, and having trained in martial arts, she dreams of joining the X-Men universe as Jean Grey: 'I feel so connected to her, both physically and mentally, and how she becomes Phoenix because she's corrupted by the world.'
Horror is another goal, and she hopes for a shot at The Lord of the Rings ('I would really love to kill as an elf'). And yes, she'd love to act opposite her brother again — who just so happens to be joining the Marvel Cinematic Universe this summer in The Fantastic Four. 'It would be beautiful to finally engage in the conversations we would have when I was a kid and he was a young adult, and we were both dreaming about movies,' she says about her desire to star with Pedro in another project. 'I would love that.' For his part, Pedro couldn't agree more: 'Seeing Miss Carbón feels like a rehearsal for us.'
She's no stranger to red carpets, either, appearing with Pedro at events like last year's Emmys and the Gladiator II premiere. 'He's such a goofball, and he's so intelligent as well,' she says of her relationship with her brother. 'He's been extremely generous with me, and I think that he draws a lot of inspiration from me as well.' Her own public profile has grown recently, especially as Pedro has been vocal in his support — slamming a J.K. Rowling anti-trans post as 'heinous' and wearing a 'Protect the Dolls' shirt in a show of solidarity.
'Particularly now, there's definitely a pressure for girls like me to live in stealth, in the sense of not talking about our identities,' Lux Pascal says. 'I've always been concerned: Will I be more respected in the industry if I hide who I am?' She's discussed those challenges with her brother, who encouraged her to be open: 'He says, 'At the end of the day, you just have to be yourself, and that's when the world really starts coming together for you.''
A version of this story appeared in the June 11 issue of The Hollywood Reporter magazine. Click here to subscribe.
Best of The Hollywood Reporter
Wes Anderson's Movies Ranked From Worst to Best
13 of Tom Cruise's Most Jaw-Dropping Stunts
Hollywood Stars Who Are One Award Away From an EGOT
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Gizmodo
an hour ago
- Gizmodo
‘KPop Demon Hunters 2' is Looking More Likely
Since KPop Demon Hunters came out in June and took the world by storm, fans have been clamoring for more. Netflix sure would like to, given how well this one film's performed, but it seems to be a question of whether the stars will align for it and Sony to make a sequel together. In a recent story from Puck's Matt Belloni, he lays out some of the film's financials, namely that it cost Sony over $100 million to produce, and only about $20 million is going to the studio, even with the film's brief, upcoming theatrical run. (It can also release the film in China, should the government allow it.) Sources told the reporter the deal between studio and streamer allows for Sony to make more KPop movies, and it's already entering negotations with co-directors Maggie Kang and Chris Applehans. Netflix isn't obligated to renegotiate, so if that happened, the sequel could be shopped around elsewhere or come to the big screen. Why didn't Sony just put out KPop Demon Hunters in theaters itself? Per Belloni, it made two deals with Netflix in 2021: one deal, a 'direct-to-platform' arrangement, made so the streamer could greenlight and release a minimum number of Sony-made movies for animation and live-action, and Sony would be paid a $20 million premium on top of each film's individual budget. With all this laid out, it's a question of what'll happen with KPop Demon Hunters 2, distribution-wise. Industry people told Belloni they doubt the first movie would've taken off like this if it came to theaters first, largely because original animated movies have had a rough go in theaters, and KPop itself steadily built up momentum over time. But Netflix's dislike of theatrical releases has just resulted in Stranger Things creators Matt and Ross Duffer going over to Paramount, and Sony knows how to market and distribute movies for the big screen. Whether Netflix comes along for the ride, it probably won't be long before we're hearing from Huntr/x again. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.


Cosmopolitan
an hour ago
- Cosmopolitan
The 12 most shocking bombshells from Fit for TV: The Reality of The Biggest Loser
If you've seen Netflix's new documentary, Fit for TV: The Reality of The Biggest Loser, then you'll understand why everyone – like, literally, everyone – is talking about the series right now. And, if you haven't seen it, then you need to get onto it pretty sharpish. From headline-making transformations to near-death experiences, and a massive friendship fall out, there's so much drama surrounding The Biggest Loser, which was one of the most popular programmes of the 2000s and 2010s, running for 18 series. It's no wonder then, that Netflix decided to take a deep-dive into The Biggest Loser, interviewing former contestants, coaches, and health experts to expose what it was really like to appear on the hit show. With that being said, here's 12 of the most shocking revelations that Fit for TV uncovers... In Netflix's Fit for TV: The Reality of The Biggest Loser, several contestants recall feeling rushed to sign their contracts or potentially miss out on the chance to appear on the show. Season eight cast mate, Tracey Yukich, describes her contract as "very thick", going on to say: "I remember reading it and thinking, 'I am not qualified to read this'." Further to that, she says that when she requested an attorney, producers hinted that a delay like this could put her position on The Biggest Loser in jeopardy. "[Producers said] 'Sure, we can get you an attorney... But I got 10 other people waiting for your spot... So sign it and move on'," she claimed. Similarly, season eight winner, Danny Cahill, describes being "worried" about the terms in his contract. He claims the contract outlined the possibility of death, but regardless, he didn't want to miss out on the opportunity of appearing on this potentially life-changing show. "What do you do? Not sign it and walk away?" he asks. Season two's Suzanne Mendonca also appears in Netflix's Fit for TV. She alleges that The Biggest Loser's producers discouraged her from getting healthier ahead of the show. "They would say, 'No, we don't want you to do that. We want you to gain more weight'," Mendonca says she was told after revealing to producers that she had started exercising and eating a heart-healthy diet. "I wanted to be on the show so badly that I did gain extra weight." Elsewhere in Netflix's documentary series, Mendonca recalls being advised by The Biggest Loser's coaching team to eat as little as 800 calories each day. This is backed up by season eight's Cahill, who adds: "My calorie count was lower than I think it should've been." He goes on, "I was eating 800 calories and burning 6,000 to 8,000 a day. When I lowered the calories, I lost more." In addition to consuming far, far fewer than the recommended daily intake of calories – which varies from person to person, but typically sits between 2,000 and 2,500 per day, according to the NHS – the show's contestants reveal they worked out up to eight hours every day. "The first week, we needed to burn a minimum of 6,000 calories a day. Minimum," says season seven cast member Joelle Gwynn. Explaining how they'd achieve this, Gwynn says contestants worked out for "five, six, seven, sometimes even eight hours a day." In his interviews for Fit for TV, season one winner Ryan Benson recalls intensifying his diet and workout routine so much that, during the final weigh-in, blood was found in his urine. "In the end, it worked out great 'cause I won, but I was doing what most doctors would say were super unhealthy things," he says in the Netflix series. "The last 10 days I didn't put any food in my body. I was doing the master cleanse, just drinking lemon juice and maple syrup, cayenne pepper, all these tricks that are super unhealthy just to cut weight." Benson continued: "At the final weigh-in, we had to do a urine test and they said, 'Ryan, there's blood in your urine,' which obviously means you're so dehydrated." Former coach and presenter for The Biggest Loser, Bob Harper, claims during the Netflix show that producers wanted contestants to be sick on screen. "Producers loved that shit," Harper says. "They were like, 'We want 'em to puke. We want the madness of it all." Backing this up, one of the show's former executive producers says they wanted to make the best TV they could. "One big Kumbaya doesn't make great television, I'll tell you that," David Broome tells the interviewer. As well as sharing her concerns over her contract for The Biggest Loser, season eight's Yukich says she almost died during the first challenge, which saw contestants run a mile to make the cut for the show. "I just cheated death," Yukich says, explaining she contracted rhabdomyolysis – a rare muscle injury where your muscles break down. "Rhabdomyolysis is your body saying, 'I'm going to shut down on you'," she explains. "It started with my liver, then it went to my kidneys and then it goes to your heart. And that's where I almost died." While The Biggest Loser's contestants were only supposed to lose weight through diet and exercise, some allege they were given caffeine pills to boost their stamina and energy. "At some point I was given stackers, and a stacker was like a caffeine pill," says Cahill, who claims these were "approved" by the trainer because it would "probably" help with exercise. This is something that the show's medical advisor, Dr Robert Huizenga, says went against the rules. "Caffiene, a weight loss pill, was absolutely against everything in the show," he says in the Netflix doc. "It was in the show rules, and the patients signed off to that and the trainers signed off to that, and all the producers signed off to that," he goes on. For many of The Biggest Loser's contestants, the weight they dropped during filming didn't stay off. In fact, several of the cast members who appeared on the hit series returned to the weight they were at before appearing on The Biggest Loser. Speaking about his experience, season eight winner Cahill says that despite losing 239 pounds (17 stone, 108 kg) on the show, he later gained this back as he "didn't have it all figured out" when it came to the healthy lifestyle required to maintain it. "The shame that you feel being a failure after being a success, it's a heavy load to bear," he says. Similarly, season one winner Ryan Benson told PEOPLE magazine in 2024 that within three days of the show ending, he had gained "25 to 30" pounds. This number increased as time went on, with Benson adding: "It's no secret that I gained back all the weight." Like the alleged use of caffeine pills on The Biggest Loser, in Netflix's Fit for TV, Dr Huizenga says there were other elements of the show that he didn't agree with. "As the show really got popular, some things were being done that I really took issue with," he explains. "There were times, unfortunately, when challenges were done that I didn't see or hear about." Given that many of The Biggest Loser's contestants have opened up about regaining the weight they lost on the show, it's no wonder that 'aftercare' was allegedly lacking. Cahill claims he reached out to producers to suggest an aftercare programme that would give contestants access to support, recovery, or continued exercise assistance, but didn't get a response. "No one was interested in doing anything like that," he says. Similarly, season seven's Gwynn claims: "They didn't care." In response, the show's executive producer and creator, Broome, says this wasn't possible due to costs. "We would have loved to have aftercare, but we're a television show without endless pots of money," he says. "NBC wasn't going to give it [financing] to us." Just a few seasons before it was cancelled, The Biggest Loser faced its biggest controversy: Rachel Frederickson's dramatic final weigh-in transformation. As we explore here, Frederickson started the series at 260 pounds (18.5 stone, 117.9 kg) and ended up winning the show, weighing in at just 105 pounds (7.5 stone, 47.6 kg). But her shocking weight loss prompted concern from viewers – one journalist described her as having a "now-emaciated body" – as well as criticism, and in Fit for TV, we learn that even the show's coaches were in "horror" over it. "Rachel came out, and she had lost so much weight, it was… shocking," Harper recalls in the documentary. "Jillian and I were just in horror." Fit for TV: The Reality of The Biggest Loser is available to stream now on Netflix.
Yahoo
2 hours ago
- Yahoo
'Night Always Comes': Vanessa Kirby, Benjamin Caron Netflix thriller unfolds in a single night of desperation
Kirby's character races through Portland, Oregon overnight to find $25,000 in this gritty new film Following their work together on The Crown, director Benjamin Caron and actor Vanessa Kirby have collaborated again on the Netflix film Night Always Comes, a thriller based on the book by Willy Vlautin. Set in Portland, Oregon, the movie takes place over one night as Lynette (Kirby) tries to secure $25,000 to buy her family's home, alongside her brother Kenny (Zack Gottsagen). "We had been looking for a project for a few years, and there were a couple that nearly happened, but for various reasons they didn't quite get over the line," Caron told Yahoo Canada. "I think [Vanessa] ... felt that the character of Lynette was something she wanted to play. ... I really wanted to make a stressful movie, and I thought this had the mechanics of that." Caron previously worked on the Apple TV+ series Sharper, a show that really utilized its New York location as a tool to tell a story that blended classic rom-com elements with a thriller. In Night Always Comes, the filmmaker tapped into the unique elements of working-class Portland. "I'm sort of well travelled in terms of the more recognizable cities in [the U.S.], and whether that's Los Angeles, whether that's Chicago or New York or Miami, and I'm also very familiar with those cities on screen. ... I was less familiar with some of the more mid-sized American cities, and Portland being one of those," Caron said. "I always think, as a filmmaker, it's great to come into somewhere and sort of look at a city through an outsider's perspective. But I don't think this story was necessarily unique just to Portland. ... The gentrification, the homelessness, it's something that I'm seeing happening all over, certainly the Pacific Northwest of America, and also not just America, but across the world." Caron added that he found Portland to be a particularly "filmic" city. "I loved all the bridges, I loved the river that ran through it," he said. "There was the fabric of this sort of old city, and then from the middle of it ... you could see this urban gentrification that was starting to push out. ... So filmically, it felt like a really good city to put on screen." 'We believe that they exist before and after the film' A distinct element in Night Always Comes is that the film is told trough Lynette's perspective as we really take every step with her on her desperate journey to get her hands on $25,000. But with each character that Lynette meets, it feels like they have their own interesting experiences and histories they bring into this story. "I think in many ways, the entire film is not just Lynette, I think it's full of desperate people who are trying to get by, by doing desperate things," Caron said. "And I think that as a allegory for the whole film is really important." "I know it's really important to me, and also I know to actors, that I really want to take care of the characters and their journeys within the moments they are on screen. So we invited all of the actors to come in and work with us on making sure that these lives that they inhabit, ... they burn brightly. Not just in the film, but that we believe that they exist before and after the film." One of those characters is Scott, played by Randall Park, a wealthy former escort client of Lynette's who she reconnects with early in the film, hoping he would give her the money she needs to buy her family's home. "He wanted to make sure that the character wasn't just a two dimensional cheating husband, that there was sort of an understanding about the pressures that character has in his life, ... even if it feels unfair to what we're seeing happening to Lynette," Caron said. "[Randall] relished that opportunity of bringing that character onto screen and it's a moment in the film where your heart just breaks. ... [Lynette] is so desperate in that moment where she's asking for something [that] probably isn't a huge amount of money to him. And he's sort of got the wrong end of the stick. He thinks she's come for something else. And ... when he just laughs it off, it just absolutely crushes your heart in that moment." Mother-daughter relationship 'you just don't see enough of' Another key relationship for Lynette is with her mother Doreen, played by Jennifer Jason Leigh. While Lynette had been coordinating with the property's landlord about the buying the home, she needed her mother to cover the downpayment. But Doreen ends up spending that money on a new car, which is what sets Lynette off on her quest to get the funds herself. "What I love about what Jennifer brought to that part is that, even at the beginning, you sort of feel that there's a mother there that has ... a 38-year-old daughter still living at home with her. And there's that sort of unspoken tension, energy in the air," Caron said. "I love the fact that she's not even able to really say these words to Lynette, that I just don't think we can together anymore, that the only way that she can do that is as a form of self-sabotaging herself by going out and buying the car." "But those two were just brilliant to watch as dancing partners on screen together. I think they brought a really unique mother-daughter relationship to screen that you just don't see enough of." 'A unique, modern tragedy' But at its core, Night Always Comes reflects larger concerns around economic challenges that many people face, including in Canada and additional U.S. cities, from housing affordability issues to other cost of living challenges. "The idea of someone that's basically doing two or three jobs and not able to afford their own home is such a unique, modern tragedy," Caron said. "And I really wanted Lynette to represent the many Lynette's out there who are one paycheque away from collapse." "We did a lot of work at the beginning to try and establish the sort of economic pressures that were on Lynette, ... but also just understanding the bigger economic, social issues that were happening in and around Portland, and also across America. ... It felt like, yes, a story of Lynette, but also a story of that American working class. ... It was a story of those single moms. It was a story of those nurses, or those caregivers that were being priced out of the cities that they were helping to run."