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Spectator
5 hours ago
- Entertainment
- Spectator
How can Gwyneth Paltrow bear so much ridicule?
There is nobody who finds Gwyneth Paltrow, 52, more interesting than the woman who was a teenager in the 1990s. This was the last era of the true pin-up, the heart-throb, the movie star as icon, rather than the whiffy melange of brand-pusher, pound-shop activist and reality star that constitutes celebrity today. I was as Nineties as the next girl living in provincial Massachusetts and when I first saw Shakespeare in Love in 1998, Paltrow's first and only Oscar-winning role as the late-16th-century actress-in-male-garb Viola de Lesseps, I'd never enjoyed anything as much in my life. And in 2025, Paltrow's career's Take Two fascinates the early middle-aged woman who finally gives in to the barrage of wellness marketing sent her way on Instagram. She now finds herself ordering 'adaptogens' (plants that are meant to help the body adapt to stress) such as reishi mushroom powder 'for immunity' and bovine collagen powder 'for hormone balance and joints'. Naturally, Paltrow's much-ridiculed lifestyle brand and newsletter Goop, which she founded in 2008 when good acting parts began to dry up, sells its own adaptogens: Paltrow was an early adopter and evangelist of almost every current wellness trend. As we learn here, she is extremely shrewd and, when it serves her, thick-skinned – a curious combination of entrepreneurial survivor and woo-woo artiste. Altogether, Paltrow's ability to fascinate and allure has served her very well, as this detailed, gossipy and slightly catty biography by the fashion journalist Amy Odell makes clear. There was something predestined about Paltrow's success, for 'as her parents and their world always taught her, she was just that special'. She was also just that talented, with her ear for languages. She learned fluent Spanish on a school exchange in just a few months and, despite being a New Yorker, managed different English accents for Sliding Doors (1998), Emma (1996) and Shakespeare in Love. Gwyneth is not just of interest to long-term viewers or followers of Paltrow, but to all students of celebrity, culture, media and the complex interactions between nepotism, talent and sex appeal. What makes it more than a repetitious biography of a movie icon is the subject's obvious complexities, beginning with her background. Her parents, Blythe Danner, a stage actress of birdlike frame, was famous, and Bruce Paltrow, a producer, was rich. They were an unusual couple. Danner was anxious, reflective, introverted and always more interested in the art of theatre – stage – than celebrity and success. She was posh and Episcopalian, whereas Bruce was 'brash' and Jewish, with a father called Buster. But they loved each other and stayed together – until Bruce, the 'love of [Gwyneth's] life', died, aged 58, in 2002 from throat cancer. The parents had tried to give their daughter and her younger brother Jake a 'normal' upbringing. Bruce cut Paltrow off financially when she dropped out of the University of Santa Barbara to pursue acting, and she waited tables out of necessity. The family was decidedly cultured, and when Gwyneth was a child went every year to the elite Williamstown theatre festival in the Berkshires, where Blythe joined huge names on stage. Theatre buffs will relish this roll call of late 1970s and 1980s acting aristocracy. Gwyneth the precocious child was popped into a range of parts, including one in a Chekhov play. Later, when a movie star, she returned in a highly acclaimed turn as Rosalind in As You Like It. She was born the definition of white privilege and has always been hated – and envied – for it. She got screen roles easily through connections, and with her love of partying, willowy frame and ethereal beauty soon became an haute couture clothes horse and It Girl. Much is made of the importance of being Brad Pitt's girlfriend in the mid-1990s when he was the world's biggest heart-throb, but it made her increasingly miserable because, in part, he just wasn't good enough. He was from ultra-conservative Christians in Missouri and couldn't understand her Upper East Side sophistication. There were bad parts and failed movies (Hush, Great Expectations, View From the Top), but her work with Harvey Weinstein at Miramax – she was the studio's 'muse' for a decade – clinched her reputation as a quality superstar. Somehow she survived Weinstein's rapacity and manipulativeness, but her account of his predatory behaviour when filming Emma, when she was 24 and he was 43, provided key early testimony for the first major #MeToo story, broken by Jodi Kantor in the New York Times in 2018. We see how Paltrow aggressively covets the fine things in life – demanding private jets and suites at the Ritz as a breakthrough star, and she can clearly be a cold, bitchy diva. This is a feature Odell returns to repeatedly, interviewing people who knew her at school, who worked with her on set at different times, and who went from being useful to not useful or, like erstwhile friends Madonna and Winona Ryder, somehow annoyed her. But for all the garbage, there is also an impressive resilience. Most people who endure half as much loathing and ridicule as Paltrow would be having public mental health struggles. She famously doesn't care what most people think, and seems to concentrate mainly on her children and her next winning hand. There is a shrewd simplicity and perceptiveness to some of her pronouncements. Of the idea to start Goop, she says: I was privy to such good information, and I thought, 'Well, if my girlfriends want to know this information, surely other girls and guys may want to know too. So, if they do, I'll do it, I'll just put out a newsletter. This is perfectly sensible. 'I would rather die than give my child a Cup-O-Soup' she said in 2005, making everyone hate her, again. But her point, brand and personality was at least succinctly presented. And she can be wise. At one point when her star crested in the late 1990s, her father sat her down for a talk with his bratty daughter: 'You know, you're getting a little weird… you're kind of an asshole.' Instead of blocking him, as her contemporary equivalent might have done, Paltrow felt 'devastated' and thought: 'Oh my God, I'm on the wrong track.' This led to an important reflection. By the age of 26, she didn't have to wait in line at a restaurant, and if a car doesn't show up, someone else gives you theirs. There is nothing worse for the growth of a human being than not having obstacles and disappointments. Her life in the 21st century as a businesswoman is less interesting than her late-20th-century one because it is a far more commonplace story. But her antennae for the next big thing are nonetheless remarkable. Long before MAHA tsar Robert Kennedy Jnr was saying the sun 'is good for you' – cancer be damned – Paltrow was saying the same. But few in the MAHA movement ever won an Oscar.
Geek Culture
6 days ago
- Entertainment
- Geek Culture
Take-Two CEO Assures 'BioShock 4' Won't Be Cancelled Despite Development Woes
Things are not looking good for Take-Two's much-anticipated shooter follow-up, BioShock 4 , as the title has been plagued with troubles after reportedly being in development for over a decade, but still, the company is adamant that the game is in no danger of cancellation. Speaking to IGN, Take-Two CEO Strauss Zelnick was quick to rebut speculation when asked if the game was in any danger of being cancelled. 'It's going to come out,' he replied. 'That I can say hand on heart, without question.' Despite this, he did admit that development isn't going smoothly, a fact that was previously made known with a recent Bloomberg report by Jason Schreier detailing a change in leadership and a narrative overhaul after the title failed a review by 2K Games executives. 'We don't talk about how long our development cycles are. We have had some ups and downs along the way. That is accurate. And we have had changes in studio leadership,' he continued. 'we have very big shoes to fill because of the legacy of Ken Levine, the legacy of what has gone before, which has been so successful.' 'And we need to make sure that this experience is true to the BioShock DNA on the one hand, and a massive step forward on the other hand. That's always challenging. We think we're up to the challenge, but it has not been seamless.' Zelnick also touched on the topic of lengthy game development cycles, and how modern titles tend to have a longer gestation period as audiences are not only expecting the product to not just be good, but rather surpass expectations. While this isn't exactly the news that fans who have been waiting for the next title want to hear, at least they can rest easy knowing that the team is taking the time to get it right. This sentiment is further echoed by a statement 2K Games issued to Bloomberg on the state of BioShock 4 , which reads: 'We are working hard to set BioShock up for the best possible future. Right now, we have a good game, but we are committed to delivering a great one. We are working closely with leadership at the studio to define this path.' Kevin is a reformed PC Master Race gamer with a penchant for franchise 'duds' like Darksiders III and Dead Space 3 . He has made it his life-long mission to play every single major game release – lest his wallet dies trying. 2K Games bioshock bioshock 4 Take-Two Interactive
CNA
6 days ago
- Business
- CNA
Take-Two soars after forecast signals mobile gaming rebound
Take-Two Interactive Software shares rose 5.6 per cent on Friday as the Zynga owner's strong forecast signaled a rebound in the mobile gaming industry following a years-long post-pandemic slump. Once seen as the video-gaming industry's next big growth driver, the mobile market sputtered over the past few years as people spent more time outdoors after lockdowns and high inflation deterred non-essential spending by consumers. That left investors waiting for payoffs from mobile gaming deals such as Take-Two's 2022 buyout of Zynga for $12.7 billion. But Take-Two's raised annual forecast and better-than-expected results for the April-June period offered the clearest sign yet that the U.S. mobile-gaming market was bouncing back. "We've seen so much momentum in a lot of our big titles and some of our titles that have really started to take off since the fourth quarter of last year and into this first quarter," finance chief Lainie Goldstein said. Take-Two, whose fiscal year runs from April to March, makes puzzle-based mobile titles such as "Match Factory," "Color Block Jam" and "Toon Blast." Those games helped it post a nearly 17 per cent jump in bookings - a revenue indicator - in its fiscal first quarter. "Raises after first-quarter beats are generally rare in this industry, particularly with major releases still to come, but the ongoing strength in mobile leaves ample room for a simple passthrough of the upside," TD Cowen analysts said. The mobile-gaming market is also benefiting from the growing integration of live-service features into titles to keep players spending. That helped in-app purchase revenue rise to $81.7 billion last year from $78.6 billion in 2023, Sensor Tower data showed. Take-Two is set to add over $2 billion to its market cap if premarket gains hold. Apart from the mobile business, Take-Two has large premium titles in its pipeline including "Mafia: The Old Country," set to release on Friday, as well as "Borderlands 4" and "Grand Theft Auto VI," all of which are expected to sell millions of copies. "Between Take-Two's current performance, their upcoming releases like Mafia and Borderlands, and, of course, GTA VI, the firm should be optimistic," said Joost van Dreunen, games professor at NYU Stern School of Business.
Yahoo
6 days ago
- Business
- Yahoo
Take-Two soars after forecast signals mobile gaming rebound
By Zaheer Kachwala (Reuters) -Take-Two Interactive Software shares rose 5.6% on Friday as the Zynga owner's strong forecast signaled a rebound in the mobile gaming industry following a years-long post-pandemic slump. Once seen as the video-gaming industry's next big growth driver, the mobile market sputtered over the past few years as people spent more time outdoors after lockdowns and high inflation deterred non-essential spending by consumers. That left investors waiting for payoffs from mobile gaming deals such as Take-Two's 2022 buyout of Zynga for $12.7 billion. But Take-Two's raised annual forecast and better-than-expected results for the April-June period offered the clearest sign yet that the U.S. mobile-gaming market was bouncing back. "We've seen so much momentum in a lot of our big titles and some of our titles that have really started to take off since the fourth quarter of last year and into this first quarter," finance chief Lainie Goldstein said. Take-Two, whose fiscal year runs from April to March, makes puzzle-based mobile titles such as "Match Factory," "Color Block Jam" and "Toon Blast." Those games helped it post a nearly 17% jump in bookings - a revenue indicator - in its fiscal first quarter. "Raises after first-quarter beats are generally rare in this industry, particularly with major releases still to come, but the ongoing strength in mobile leaves ample room for a simple passthrough of the upside," TD Cowen analysts said. The mobile-gaming market is also benefiting from the growing integration of live-service features into titles to keep players spending. That helped in-app purchase revenue rise to $81.7 billion last year from $78.6 billion in 2023, Sensor Tower data showed. Take-Two is set to add over $2 billion to its market cap if premarket gains hold. Apart from the mobile business, Take-Two has large premium titles in its pipeline including "Mafia: The Old Country," set to release on Friday, as well as "Borderlands 4" and "Grand Theft Auto VI," all of which are expected to sell millions of copies. "Between Take-Two's current performance, their upcoming releases like Mafia and Borderlands, and, of course, GTA VI, the firm should be optimistic," said Joost van Dreunen, games professor at NYU Stern School of Business.
AsiaOne
6 days ago
- Entertainment
- AsiaOne
'More like a trip with friends': Cast of K-drama Love, Take Two recall bonding in the countryside during filming, Entertainment News
Filming for their new drama almost turned into a retreat for actors Yum Jung-ah, Choi Yoon-ji and Kim Min-kyu. AsiaOne recently spoke to the cast of new K-drama Love, Take Two about their experiences portraying their characters, as well as filming in the countryside. The comedy-drama follows the story of construction site manager Lee Ji-an (Jung-ah) and her medical student daughter Lee Hyo-ri (Yoon-ji), who move to Cheonghae Village in the countryside to start a new chapter in their lives. There, Ji-an bumps into her first love Ryu Jeong-seok (Park Hae-joon) and Hyo-ri crosses paths with his son Bo-hyun (Kim Min-kyu), a bright young farmer. The cast spoke to AsiaOne about the memorable times when they bonded on and off set. Min-kyu, 30, regaled: "One memory that comes to mind is the three-day shoot we had in Gangneung with our Cheonghae Village friends. We went to arcades, worked out together and enjoyed great food. "It honestly felt more like a trip with friends than work. We all got a lot closer during that period so it really stands out in my memory." Actors Kim Mi-kyung, Kang Ae-shim, Jung Young-joo and Park Soo-young played residents of the village. He added: "While filming, we visited so many beautiful places across South Korea. Each time, we'd have meals together and share stories together and those little moments became such a source of healing for me." We asked the actors if they would consider living in the countryside, now that they've had a taste of the fresh air and wide-open spaces. Min-kyu told us he would still pick living in the city. "It's mostly because I love food so much - I need delivery options even late at night. But rather than a big, bustling city, I prefer somewhere quieter. A city where I can enjoy time alone." Jung-ah, 53, said: "It's hard to choose between the convenience of city life and the comfort of the countryside but because we filmed most of this drama outside the city, the cast became closer than ever. "We even made fun little videos together like Shorts and Reels while watching funny clips. I hope viewers will enjoy these behind-the-scenes moments as much as we did." For Yoon-ji, it was through the drama that she found herself thinking: "Life in the quiet countryside might be wonderfully peaceful too." The 28-year-old added: "At times, the landscape even speaks for the characters' emotions. I think viewers will naturally find themselves immersed in that atmosphere. The calm, seasonal music woven throughout adds to a sense of peace, making the entire watching experience comforting." Living vicariously through their characters Despite having portrayed mother-daughter relationships in past shows, Jung-ah said it was different this time. "This was the first time the story felt so personal - like a reflection of my own life. That made it easier to fully immerse myself. As a mother myself who shares both tender and tough moments with her daughter, I naturally found myself blending into my character." In their likeness, she relates to her no-nonsense character Ji-an in more ways than just being mothers. The veteran actress shared: "No matter what role I take on, it's impossible to completely separate myself from the character. Ji-an's independence and boldness are qualities that really resemble who I am in real life. And like her, my children always come before work." "But honestly, she has more lovable sides than I do. In portraying these qualities, I found myself living vicariously through her at times." While Yoon-ji was never a rebel in her youth, she resonated with her character in other ways. "From the moment I first read the script, I felt that Hyo-ri's personality had a lot in common with mine and I really wanted to play her. She's a multi-dimensional character who lived a simple life but begins to grow through a major turning point and experiences a wide range of emotions. As an actor, I was drawn to that challenge. "However, because she doesn't openly express her feelings, I felt it was even more important to convey her inner world through silence and glances - nonverbal, subtle expressions rather than lines. "I don't see Hyo-ri as defensive. I think she's a girl who knows more than she lets on. Even in her cold tone, I felt there was a quiet desperation hiding beneath and I tried to reflect that in my performance." Love, Take Two is now available for streaming on Viu. [[nid:721111]] No part of this article can be reproduced without permission from AsiaOne.
