Rose McGowan, an actress, recently sparked a contentious discussion on Twitter over media mogul Oprah Winfrey. Her tweet revealed a different side of Oprah, casting doubt on the public’s view of the powerful person and bringing up issues with the way she has used her influence over time. Numerous Americans were drawn to this information, which resulted in a post going viral.
McGowan accused Hollywood producer Harvey Weinstein of sexually abusing her, and in a tweet, McGowan blasted Oprah for her alleged ties to Weinstein. Using the hashtag #lizard, she criticized Oprah for allegedly backing a “sick power structure for personal gain” and even branded her out as “fake”. There wasn’t much opportunity for interpretation with this clear-cut and unambiguous remark.
It’s important to remember, though, that McGowan’s post was made nearly a year after Oprah resigned from her role as executive producer of the Russell Simmons documentary for #MeToo. Oprah clarified that she didn’t think she and the filmmakers were still on the same creative page and that more work needed to be done to fully depict the stories of the victims. Oprah stressed her steadfast conviction in and support for the women who came forward as victims in an interview with The Hollywood Reporter.
Oprah did star in a film that was distributed by Weinstein’s media business, so it is true that she had prior relationships with him. Oprah admitted her previous friendship with Weinstein when the charges against him surfaced, but she insisted she was unaware of his predatory behavior toward women. If she had known, she claimed, she would have spoken out against his reprehensible actions.
Oprah’s relationship with Weinstein serves as a reminder of the difficulties in keeping personal and professional interactions separate, as well as the complexity of the entertainment industry. It’s critical to understand that people can be victims themselves as well as supporters of victims.
Rose McGowan has attacked Oprah outspokenly, but she has also become entangled in the controversy surrounding the California Gavin Newsom election recall. Notwithstanding these events, McGowan’s tweet is significant because it emphasizes how critical it is to report abuse and hold people accountable, regardless of their standing in society or level of influence. It serves as a reminder of the strength that comes from speaking one’s truth and advancing the social justice dialogue.
Child star Mara Wilson, 37, left Hollywood after ‘Matilda’ as she was ‘not cute anymore’
The world first fell in love with the endearing Mara Wilson in the early 1990s. She was a child actor best remembered for her roles as the bright young girl in beloved family films like Miracle on 34th Street and Mrs. Doubtfire.
The rising actress, who turned 37 on July 24, looked like she was ready for big things, but as she got older, she lost her “cute” factor and vanished from the big screen.
She continues, “If you’re not cute anymore, if you’re not beautiful, then you are worthless. Hollywood was burned out on me.”
To find out what happened to Wilson, continue reading!
When five-year-old Mara Wilson played Robin Williams’ youngest kid in Mrs. Doubtfire in 1993, she won over millions of fans’ hearts.
When the California native was invited to feature in one of the highest-grossing comedies in Hollywood history, she had already made appearances in advertisements.
“My parents grounded me even though they were proud of me.” My mother would always tell me that I’m just an actor if I ever stated something like, “I’m the greatest!” Wilson, who is now 37, remarked, “You’re just a kid.”
Following her big screen premiere, she was cast in 1994’s Miracle on 34th Street as Susan Walker, the same character Natalie Wood had performed in 1947.
Wilson describes her audition as follows: “I read my lines for the production team and told them I didn’t believe in Santa Claus” in an essay for the Guardian. “But I did believe in the tooth fairy and had named mine after Sally Field,” she writes, referring to the Oscar-winning performer who portrayed her mother in Mrs. Doubtfire.
“Very unhappy”
Next, Wilson starred with Danny DeVito and his real-life wife Rhea Perlman in the 1996 film Matilda as the magical girl.
Additionally, Suzie, her mother, lost her fight against breast cancer in that same year.
“I wasn’t really sure of my identity.I was two different people before and after that. Regarding her profound grief following her mother’s passing, Wilson explains, “She was like this omnipresent thing in my life.””I found it kind of overwhelming,” she continues. I mostly just wanted to be a typical child, especially in the wake of my mother’s passing.
The young girl claims that she was “the most unhappy” and that she was fatigued when she became “very famous.”
She reluctantly took on her final significant role in the 2000 fantasy adventure movie Thomas and the Magic Railroad at the age of 11. “The characters had too little age. I reacted viscerally to [the] writing at 11 years old.I thought, ugh. I love it, she says to the Guardian.
“Destroyed”
Her decision to leave Hollywood wasn’t the only one, though.
Wilson was going through puberty and growing out of the “cute” position as a young teenager, so the roles weren’t coming in for him.
“Just another weird, nerdy, loud girl with bad hair and teeth, whose bra strap was always showing,” was how she was described.
“When I was thirteen, no one had complimented me on my appearance or called me cute—at least not in a flattering way.”
Wilson had to cope with the demands of celebrity and the difficulties of becoming an adult in the public glare. It had a great influence on her, her shifting image.
“I had this Hollywood notion that you are worthless if you are not attractive or cute anymore. Because I connected that directly to my career’s downfall. Rejection still hurts, even if I was kind of burned out on it and Hollywood was burned out on me.
Mara in the role of author
Wilson wrote her first book, “Where Am I Now?,” before becoming a writer. “Ancidental Fame and True Tales of Childhood,” published in 2016.
The book explores “her journey from accidental fame to relative (but happy) obscurity, covering everything from what she learned about sex on the set of Melrose Place, to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood.”
In addition, she penned the memoir “Good Girls Don’t,” which explores her experiences living up to expectations as a young performer.
In her Guardian column, she states, “Being cute just made me miserable.” It was always my expectation that I would give up acting, not the other way around.
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