Nicole Eggert has faced cancer and 'Baywatch bimbo' backlash. Now she feels fearless.
Ask Nicole Eggert what makes her feel like a badass, and she laughs. 'I never feel like I've got this,' she tells me. 'I always feel like I'm just winging it as I go along.'
But ask her what she's unapologetic about — this is, after all, Yahoo Life's Unapologetically series — and she doesn't hesitate. 'I think it's really important that I unapologetically love on myself now.'
A lot of that has to do with her breast cancer diagnosis in 2023. Eggert — best known for roles in Charles in Charge and Baywatch — is currently on targeted therapy after undergoing chemotherapy, radiation and a mastectomy. While the process has been grueling, it's also given her a new sense of 'fearlessness' she didn't have pre-diagnosis.
'I spent so many years picking my body apart, picking myself apart, and all of a sudden one day I realized, This body is what makes me be able to have a day. This body is what makes me get up and be able to be sad or be happy, to be able to laugh. This body works hard for me every day, and I'm sitting there criticizing it,' the actress, host of the Perfectly Twisted podcast and advocate for Susan G. Komen and the American Cancer Society, tells me over Zoom.
But she's had it with that mentality. 'I just have never loved myself more — and my body looks crazy right now!' the 53-year-old mom of two says with a laugh. 'My body looks crazy, and I love every bit of it and I am so thankful to it.'
Below, Eggert sounds off on shaking off the 'Baywatch bimbo' label, going into menopause and being open to dating (so long as she can have her own bedroom).
I think when we were shooting Charles in Charge. … That's when things started to click that people were watching the show, people recognized me, people were looking at me differently. And it was hard, because those are pretty awkward years. When you're a teenager like that, you're pretty self-conscious and you're growing and your hormones are crazy. I was in those years of [thinking], 'Nobody look at me, I'm so embarrassed about everything.' And yet you're on this TV show, and everybody's looking at you everywhere you go.
Baywatch just kind of took it worldwide. Baywatch was a funny time for me because I took acting seriously, and then all of a sudden, I was on the show that, on one hand, is the No. 1 show in the world. And on the other hand, it's just getting ripped in the press. We didn't have great reputations, and the same opportunities weren't there anymore [because of] being associated with that show. So my focus was more on like, How do I get away from this and how do I navigate this and still be taken seriously in this world of Baywatch?
It was 'Baywatch bimbos' and 'Baywatch babes' back then. It was just really hard to escape. So that was sort of a frustrating time of being acknowledged, because [the attention] was a little bit more negative. It was more of like a bimbo thing. [I felt like] Wait a minute, don't throw me into that. I was a little defensive about it. And so it was kind of harsh when I switched over to Baywatch and was being called a bimbo and stuff. And it was like, I couldn't [farther] from that.
Definitely. I mean, it's taken a lot of years, but it was 'Baywatch bimbos' and then it was 'Baywatch babes' and now it's 'Baywatch icons.' … I think people look back with appreciation, and although they criticized it at the time, now you look back at it and it reminds you of fond memories … and you can reminisce with it. And that's sort of why I produced the documentary on Baywatch, because I wanted to reintroduce people to who the actors were and that they were people with stories and lives … that were so heavily affected by the show. At the time, everybody was thrown into just this sea of hair and boobs and beautiful bodies.
When you really look at it, [the show's characters] were lifeguards. … They're wearing what lifeguards wear on the beach. It wasn't like it was exaggerated or anything like that. I mean, I don't think Pamela's body was like what most average lifeguards look like, to be fair, but the rest of us, we very much look like what you would see if you go to a beach in Southern California; this is what lifeguards look like.
Now that everybody's opening their mind a bit more these days, I think you can kind of see what it was supposed to be. It turned into [something] fluffier than we would've liked. But it started out to be a true depiction of beautiful Southern California beaches and their lifeguards.
I have finished chemotherapy for now. I finished radiation. I've had one mastectomy. I'm having the other at the end of the month. And I am on targeted therapy because it is in my lymphatic system. So I'm on a lot of heavy-duty hormone blockers, which are pretty intense. We're just really trying to keep it at bay.
I just didn't know. I mean, you rationalize these things … It's such a waiting game, so once you feel the lump, you have all this time before you have any answers. So you try to say, 'It could be my high estrogen,' 'It could be because it's menopause,' 'It could be hormones' … you hope for all of these things until you get the bad news.
Oh, for sure. I had to look at menopause right in the face because chemo threw me right into it. … I wasn't even pre-menopausal [before treatment]. I was still getting my monthly [periods] regularly. So it just brought it on sooner, and it was like, Oh God, do I have to go through this too? But in a way, [you think] Let's just get it all over with.
It makes you just look at the body a little bit differently. It definitely takes the emotional side out of it. I'm not emotional about it at all. I don't feel sad. I have my babies. I had my kids and I don't want any more. I am happy to be on the other side of it.
I think it's really important. It's amazing how many people are embarrassed or ashamed when they get diagnosed. What I got out of it was that I got to show people who I am and that there's more to me, and this is what I'm going through as a human being and a mother. And then for other people, it's to show them that I'm just like you and we are alike, and you can come to my page and you can not feel alone. Because the great thing about sharing on social media is that people who keep it a secret and don't talk about it, they can go [online] and feel like they're being heard. It's helpful to people who aren't that open about it in their public life, because a lot of people do keep it quiet.
Keeping it quiet wasn't me because I feel like, if I've learned anything at all, it's that keeping things quiet can make you sick. It adds to your sickness. The more I'm open and the more I am at peace with what's happening, the healthier I'm going to be. The truth is, you can be in support groups, I can do all my research, I can talk to all the doctors. But there's nothing like opening up the conversation for women who are also going through it in real time or have gone through it. … It's saved me.
I definitely would be more open to it as I get older. I wasn't when I was younger. I've always been very independent. I like my space. Even now, I feel like if I were to find something, I really hope they would want maybe their own house, and I have my own house. Or if we live in the same house, they have their own room and bathroom and closet, and I have mine. I like my peace and I like my quiet, but I'm not opposed to sharing this journey and having a life partner.
And I have a lot of love to give, so I am open to it. My youngest is 13 now, so my eyes are opening up a little bit more to that. Before, I was being two parents for both of my girls and there was not really a lot of time for dating and distraction. And I love hard. I really needed to focus on my life and my girls and being there being for them. … Now I'm getting some independence and I have free time, so I am warming up to that idea more.
And ask me out! The truth is, I don't get asked out anymore. Probably my energy doors have been closed, so it's like, no wonder it hasn't happened. But I'm slowly starting to peek out the window. I'm opening the blinds. … Some people are meant to have a life partner early and to rely on somebody. And that works for a lot of people, but it just wasn't how I was built.
This interview has been edited for length and clarity.
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Los Angeles Times
6 hours ago
- Los Angeles Times
In ‘Murderbot,' an anxious scientist and an autonomous robot develop a workplace-trauma bond
Alexander Skarsgård was initially worried 'Murderbot' would be too dark. The actor had come off a string of intense films, including 'The Northman' and 'Infinity Pool,' and he was looking for something more comedic. The title of the series, based on Martha Wells' popular science fiction books, didn't suggest it would be particularly funny. 'I wasn't familiar with Martha's novellas, so I just heard the title and I heard 'sci-fi,' ' Skarsgård says, speaking over the phone from Los Angeles. 'If you're not familiar with the books, you think it's probably going to be an incredibly testosterone-driven, tough guy android kicking ass in space. But I was pleasantly surprised when I started reading [the script]. I had never encountered a character like this.' The actor was so struck by the titular character that he not only signed on to star in the Apple TV+ series but also joined as an executive producer alongside creators Paul Weitz and Chris Weitz. 'Talking to Chris and Paul and getting to know them got me even more excited,' he says. 'They're so brilliant, and their vision for the character and for the show got me fired up.' Season 1, which began streaming in May, is based on 'All Systems Red,' the first book in Wells' futuristic series 'The Murderbot Diaries.' It follows a private security cyborg, known as a 'SecUnit,' who hacks its governing module, allowing it newfound autonomy. An eclectic group of researchers, led by Dr. Mensah (Noma Dumezweni), are forced to accept the SecUnit as part of a planetary mission, and it slowly begins to learn the way of humans. The relationship between Mensah and their SecUnit, who refers to itself as Murderbot, is charmingly awkward. The pair are forced to trust each other as the mission goes awry, leading to an unlikely friendship. In 'Command Feed,' the sixth episode released on Friday, Mensah saves Murderbot from destruction by reluctantly performing surgery on its wiring. 'Is that what they call trauma bonding in this day and age?' Dumezweni says of the scene in a separate interview over Zoom from New York, where she is preparing to star in 'Duke & Roya' on Broadway. 'Filming it was extraordinary because the special effects guys were amazing. It [Murderbot] was literally in front of me, but that obviously wasn't Alexander. It looked so real.' 'That dynamic was led by the script, and it was very interesting,' Skarsgård adds. 'It was clear that Mensah would be an empathetic character. And Murderbot is not used to being treated respectfully by humans or even being treated as a sentient construct. He's always been a piece of equipment. Noma and I talked a lot about it. It was a gold mine to explore because there's so much comedy in their differences.' Leading a TV series is a first for Dumezweni, who has previously been cast in smaller roles. She wasn't convinced by the initial pitch at first because sci-fi hasn't traditionally had a lot of major roles for actors of color. 'Usually I'd come in and play the receptionist,' she says. 'I love to watch sci-fi. But I wondered: Who am I going to be in this sci-fi world?' However, once she learned more about the world and the character, the actor changed her mind. 'It was an absolute joy to discover that there was nothing that Chris and Paul had to change to make it representational,' Dumezweni says. 'It's lovely not to have to fight for people's positions in the world based on their skin color.' Both actors were drawn to the series in part because of its unique tone, which lands somewhere between action, comedy and drama. Murderbot is stoic but awkward and unaccustomed to human emotions, which it learns about by surreptitiously watching hours of soap operas. Mensah's Preservation Alliance team is composed of misfits, including David Dastmalchian's Gurathin and Sabrina Wu's Pin-Lee, who often confound Murderbot's expectations. The laughs don't come from intentional punchlines, but instead from situational circumstances and Murderbot's dry voice-over, as well as its disinterest in dealing with humans. 'The writing was so surprising and different and had such a unique tone from the beginning,' Skarsgård says. 'What works is that it has this instant combination of being a big, action-packed sci-fi show, but it's also a workplace comedy.' Because the voice-over is essential to the story, getting it right took a lot of trial and error. Skarsgård says he worried about how it would be incorporated during shooting, particularly because Murderbot is so expressionless and not very verbose in many of the actual scenes. 'How would we juxtapose that with an inner monologue that is more expressive?' he says. 'How do you find a fun and interesting balance between the way Murderbot speaks and the way he thinks?' The voice-over became an evolving component of the episodes. On set, an assistant director would sometimes read the narration off camera if it felt relevant for the actors to hear during a particular scene. After filming, Skarsgård, Chris and Paul got together in Stockholm, New York and Los Angeles for several recording sessions to try out different versions of the voice-over lines. 'It was quite exhausting, but also quite fun creatively because you could see how much the tone of the scene changed when we tweaked the voice-over a little bit,' Skarsgård says. 'You could have a moment where there's no voice-over, and it's like a non-moment where nothing happens. But then just by adding a little commentary by Murderbot, it suddenly pops into a funny little moment.' Although the series adheres to Wells' book, some aspects of the characters have been expanded. In the show, Mensah struggles with anxiety in a few vulnerable moments, which differs from her portrayal on the page. Dumezweni says she has observed some pushback from fans of the book about the changes, an experience she understands from playing Hermione Granger in 'Harry Potter and the Cursed Child' when it opened in the West End. 'That's what you have to do in film and TV,' she says. 'You have to expand, not change. You have to fill in. I love it because only Murderbot can see what's happening to her in that moment. None of her team can see it until Episode 4. I love those moments. For me, they grow her.' For Dumezweni, these scenes give Mensah a point of connection for the audience, as does the way Murderbot is 'autism-coded,' as some fans have noted. Skarsgård says the creators didn't set out to make the character overtly neurodivergent in the series. 'It's very clear when you read the novellas and the scripts that it is a character who is not always comfortable in settings with other people and can find interactions with humans tricky to navigate,' Skarsgård says. 'To me, it was a character we hoped would be relatable to people in the neurodivergent community, but also in a lot of fans in the LGBTQ community. Murderbot not having a gender or being subscribed to binary sexuality could be relatable, but it's natural to Murderbot. That was important — this is how Murderbot was created, and none of this [identity] is a big deal to Murderbot.' At the core of the show is the concept of Murderbot's free will, something that gets more fully explored in upcoming episodes. 'It's now understanding it has free will truly and that there are choices to be made in the world,' Dumezweni says. 'Meeting these people gives it a chance to understand that not all human beings are idiots.' 'For me, the inner journey for Murderbot over the course of the season is about what to do with that autonomy,' Skarsgård adds. 'The character has unleashed something inside of itself by hacking the governing module and gaining this independence. The journey becomes: I have this autonomy now, but who am I? What am I capable of? What am I willing to do? What are my desires?' Although 'Murderbot' has yet to be renewed for a second season, there is a lot of source material available. Wells has written seven books featuring Murderbot, and Skarsgård is excited about the potential for more episodes. 'I love Murderbot,' he says. 'I love playing Murderbot. Chris and Paul are not only supremely talented but incredibly nice and generous. If you talk to anyone who worked on the show, I guarantee that everyone had the time of their lives.' The remaining four episodes will reveal the antagonist behind the attacks on the Preservation Alliance and whether they'll successfully be able to escape the planet. They also offer essential backstory into characters like Mensah and Gurathin. 'I can't wait for people to see each and every story,' Dumezweni says. 'And what Alex does in the last two episodes is amazing. I don't care if I'm in no more seasons, but Alexander Skarsgård has to carry on making seasons of 'Murderbot.' He does so much with the tiniest movement of his face. He is extraordinary and he honors the character beautifully.' 'Murderbot's job will get harder and harder trying to protect these very lovely but also quite naive and inexperienced humans,' Skarsgård says. 'It's not a spoiler to say that eventually Murderbot will care about these humans, but we didn't want to rush into that. We leaned in slowly. So much of the comedy results from the character's absolute reluctance to save their lives.'
Yahoo
17 hours ago
- Yahoo
Peter Straughan breaks down the power plays and personal tragedy in ‘Wolf Hall: The Mirror and the Light'
Few screenwriters working today are as adept at exploring the ins and outs of power—who has it, who wants it, and who will do anything to get it — as Conclave Oscar winner Peter Straughan. After picking up the Academy Award, he returned with another twisty, intricate tale of men plotting behind one another's backs with Wolf Hall: The Mirror and the Light, the second and final adaptation of Hilary Mantel's historical novels that just finished airing on PBS Masterpiece. "Hilary's very accurate," Straughan tells Gold Derby over Zoom. "All the externals are accurate. And then, her great gift was to make the internals come to life." More from GoldDerby The surprising scene that the 'Andor' cinematographer loved the most Clancy Brown, Joel McHale, and more actors who self-submitted at this year's Emmys 'Cross' star Aldis Hodge on building an aspirational hero - who's not a superhero Mantel's beloved novels cast a fresh look upon the court of Henry VIII, in particular his advisor and confidant, Thomas Cromwell. And though Straughan had to condense Mantel's Wolf Hall and Bring Up the Bodies into a single season, The Mirror and the Light gets a full six episodes. And Straughan relished the challenge of distilling a nearly 800-page book into six hours of TV. "It's a huge novel, but I would give anything, any day, to have books like that to adapt," he says. "The material is so great. It's full of things you can use for drama: incredible scenes, great dialogue. The task was, of all the TV dramas you could make out of this, which one do you want to make?"Ultimately, Straughan focused on the ways in which Cromwell is unable to extricate himself from Henry VIII's seductive — and dangerous — inner circle, despite more than a few opportunities. And one of the great gifts of The Mirror and the Light is getting to see Damian Lewis and Mark Rylance return as Henry and Cromwell, playing their sometimes fraternal, sometimes fractious relationship for all its worth. "It gives you tremendous confidence when you're working with actors of that caliber," Straughan says. 'It makes you feel like you can do a lot of things that might make you nervous otherwise. When you're nervous about a scene, you put a lot more scaffolding in to make sure everything's clear. When you've got someone like Mark or Damian, you can [write] it with fewer touches, because you know they're gonna fill it all in with their faces, with their eyes." Those moments are among the most memorable — not just because of the performances, but because of Straughan's unerring eye for the telling detail and his pitch-perfect selection of what will work onscreen from Mantel's book. Think of Henry VIII's disappointed eagerness with Cromwell's reaction to his fancy dress costume, or Anne Boleyn's heartbreaking trembling in the moments before her execution, which opens the series. In this version, the executioner makes a noise behind Anne, which she turns towards, still blindfolded. And in the span of that moment, he steps back to her other side and slices off her head. The moment is unnerving, a stark reminder of the very real life-and-death stakes at play in Henry's court. There's another remarkable moment in that scene that Straughan also pulled from the book and singles out: 'She puts her hand up, and Cromwell says, 'Put your hand down. Put your hand down, because he'll cut through the hand.' Which is a horrible detail, but it always gets to me.' And though casual history buffs know that Cromwell, too, will end up on the executioner's block, Straughan's scripts have a level of immediacy that allows us to forget. 'We all know death's at the end of the journey. Always. The important thing is how does it happen?' Straughan says. 'And the thing that was so interesting with Cromwell's story was it's not very linear. It wasn't a slow decline. It was more like he was holding onto a balloon, then he goes higher and higher and you get scared for him. But I do think it's amazing that I felt myself, when I was watching it, that even though you know how it's gonna end, there's a bit of, like, Anne in the end of the first season, who still hopes somehow she's gonna be saved.' Best of GoldDerby 'Cross' star Aldis Hodge on building an aspirational hero — who's not a superhero Jonathan Pryce on the 'great responsibility' of playing a character with dementia in 'Slow Horses' 'Feel good about not conforming': Christina Ricci reflects on her iconic roles, from Wednesday Addams to Misty Quigley Click here to read the full article.
Yahoo
18 hours ago
- Yahoo
Caitlin Clark's biceps and the bigger conversation around women and muscles
Thanks to a strain that's left her sidelined for weeks, all eyes are on Caitlin Clark's quad right now. But it's the Indiana Fever star's arms that had people talking in the days leading up to her second WNBA season. It all started in March, when 23-year-old Clark was photographed cheering on her alma mater, the Iowa Hawkeyes, during the NCAA Big Ten tournament. 'Okkkkk hello arms!' one commenter wrote, adding a flexed bicep emoji in reaction to the point guard's noticeably muscular appearance. View this post on Instagram A post shared by Bri Lewerke (@brilewerkephoto) Those muscles were on display when Clark's team photo was released in early May, prompting side-by-side comparisons to her 2024 physique. According to Clark herself, she's been intentionally bulking up since last year. 'I try to put on some weight and I've been working hard in the weight room,' she told reporters in August. That ramped up in the offseason, per the Fever's head athletic performance coach, Sarah Kessler, who told ESPN that Clark was in the weight room four to five times a week. Cue the toned courtside pic that got tongues wagging in March — and a lot of body discourse that not everyone is comfortable with. 'Speculating about women's bodies generally and speculation of women athletes' bodies is not new,' Michelle Manno, a sociologist, associate provost for community enrichment at Northwestern University and the author of Denied: Women, Sports and the Contradictions of Identity, tells Yahoo Life. 'What stands out as new to me in this case is that the speculation is positive. … For the most part, we're seeing people applauding [Clark's] effort to get stronger and gain muscles between seasons.' View this post on Instagram A post shared by Caitlin Clark (@caitlinclark22) Indeed, adjectives like 'beautiful' have been used alongside 'jacked' and 'ripped' as commenters weigh in on Clark's muscles. One X user hailed her as having the 'peak female athlete form,' while an Instagram commenter wrote, 'Girl you show off those muscles. You worked hard on those. Lookin' great.' According to Mikala Jamison, author of the newsletter Body Type, those compliments are a sign of evolving standards. 'It's hard to overstate how much conversations about women and their musculature has changed,' she tells Yahoo Life. She references a survey done by writer Leigh Peele in 2009 (which Jamison wrote about in 2022) in which 2,000 women were polled on their views about weightlifting and the attractiveness of muscles. The majority of those surveyed indicated that they didn't like the look of muscles on their own bodies and figured men didn't find it attractive either. A majority also said they'd rather be 'too thin than either too fat or too muscular,' and when asked which female celebrity exemplified the 'muscular/bulky' look, many chose Hilary Swank (43%) and Jessica Biel (36%). 'There was this sense that any shade of muscularity on a woman's body wasn't something that, at least per this survey, was desired by a lot of women. And there are a thousand reasons for that in the culture and in media messaging,' says Jamison. 'But that has definitely changed over the years, and you see that in things like more women strength training regularly than ever before.' A growing interest in lifting weights, eating more protein and paying more attention to the benefits of building muscle has roots in conversations about menopause and aging. However, the reaction to Clark's body in particular seems to be an indication that the positive messaging about stronger bodies could be reaching and influencing younger women as well. The focus on Clark's muscles follows a general shift in gears in terms of how female athletes — and their bodies — are being discussed. 'People were talking about this a lot during the [2024] Olympics with Ilona Maher,' says Jamison, referring to the U.S. women's rugby player who won bronze in Paris last summer. 'She was on the cover of Sports Illustrated and she's not a super-slender, super-skinny woman. She's very muscular.' View this post on Instagram A post shared by Sports Illustrated Swimsuit (@si_swimsuit) After nabbing the Sports Illustrated Swimsuit digital cover last fall, Maher donned a bikini again to pose for the pages of the magazine's recently released 2025 print issue, which quotes her as saying, 'I hope people see my photos and understand that strength can be so beautiful and so feminine.' The latest issue has won praise for featuring various female athletes, including fellow Olympians Jordan Chiles and Gabby Thomas. 'How different my and many other women's lives would be if these strong bodies were the center of attention when I was growing up,' one fan commented. 'If you see more different types, sizes and shapes of bodies, it gives any person who is seeing those body types an understanding that there are many different ways that your body could look, or maybe that you want your body to look like,' Jamison points out. But even still, who people praise is dependent on certain standards. 'If I think about athletes like Serena Williams or Brittney Griner, the commentary around their bodies throughout the course of their careers has been pretty uniformly negative,' says Manno. 'So when I see what's happening with Caitlin Clark, I have to think that her race and her gender expression' — i.e., being a white, straight woman — 'are really helping her in this moment.' At the end of the day, the beauty standard for any and all women continues to be a tight line to walk, especially for those in sports, according to Manno. 'A lot of women athletes still navigate this very strong tension between wanting to be strong, wanting to do the things that they need to do to excel at their sport and still be accepted societally as looking, quote-unquote, appropriately feminine enough,' she says.