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Naomi Watts gets frank about menopause in new book that draws on her own experience

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Naomi Watts gets frank about menopause in new book that draws on her own experience

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‘Dare I Say It: Everything I Wish I’d Known About Menopause’

By Naomi Watts
Crown: 256 pages, $29
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“This will definitely end my career.” That was Naomi Watts’ initial response to the prospect of writing her first book, “Dare I Say It: Everything I Wish I’d Known About Menopause.”

Through her menopause-focused wellness brand, Stripes Beauty, and openness about her experiences with perimenopause in her late 30s while also trying to conceive her children with then-partner Liev Schreiber, Watts was already one of the foremost celebrities to address the aging process for women. “Dare I Say It,” to be published by Crown on Jan. 21, builds on her earlier efforts. It melds expert medical opinion, case studies from other women and Watts’ own experience.

“I hope it feels like an honest, cozy chat with a girlfriend and that will lead them to having that conversation in real time if they’re too scared to open up,” Watts says.

She’s candid about getting “baby Botox” (a small dose of the injectable) between jobs to preserve her facial expressions onscreen. The actor recently received Emmy and Golden Globe nominations for her performance as Babe Paley in Ryan Murphy’s “Feud: Capote vs. the Swans,” which she calls “a role of a lifetime. One of if not my best role.”

In her book, she shares an endearing anecdote about husband Billy Crudup, whom she married in 2023, assuaging her fears about exposing her hormone patch during their first tryst by pointing out the gray hairs on his testicles. “Those to date remain the most romantic words I’ve ever heard,” Watts writes.

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That levity was intentional. “I was always wanting to bring humor into it because we know the pain points,” she tells The Times.

After overcoming her fear of the unknown as it relates to being a debut author, Watts aimed to write the kind of book she wished she had when she was struggling through symptoms alone. Watts’ mother entered menopause early too, at the age of 45, but they never spoke about it until Watts mustered up the courage to bring it up with her.

“I guess these are the conversations I didn’t have with you because my mother never had them with me,” Watts recalls her mother responding in “Dare I Say It.”

“I wished there was a book when I was suffering through it, flailing and filled with shame and doubt and confusion,” Watt says.

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Perhaps the strongest part of “Dare I Say It” is when the book tackles HRT, or hormone replacement therapy, which got a bad rap in 2002 when a Women’s Health Initiative study asserted that HRT caused breast cancer and cardiovascular disease, among other health concerns. Watts writes that the study was actually commissioned to see whether HRT decreased risk of heart disease — it didn’t — and that it was stopped after researchers observed a slight increase in risk of breast cancer. Subsequent research has suggested that the benefits of the drug outweigh risks, especially for younger perimenopausal women. Advocates says HRT has been proven to help with bone density and to prevent or lower the risk of Alzheimer’s disease. This is not to mention the symptoms of menopause and perimenopause it’s most commonly used to treat.

“Women have been taught not to complain. To suck it up, this is a natural process, you must go through it,” Watts says. “But you don’t have to suffer. The bad studies that happened in 2002 just left us with so much fear.”

Watts stresses that she is not a doctor, and that everyone should discuss the best options for them with their own physician.

“But some doctors just say no without exploring that person’s medical history, and that is not OK. It’s because they’re not educated themselves,” she maintains.

“Dare I Say It” and other resources can act as a stop-gap for those without adequate support dealing with their symptoms.

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“I tried to put together these doctors that I trusted, and it’s up to the reader to draw out of it the information they feel suits them,” Watts says. “If you come in with some preparation you can have a very nuanced conversation about what you’re experiencing, what your needs are and if this is right for you.”

Watts continues: “As one of the doctors says, we are still very connected to the misogynistic, patriarchal messaging that women are at our expiration date once our eggs are gone. That’s still there, no matter how far we’ve moved as a society. It’s just ingrained.”

Watts declines to directly respond to a question about incoming Vice President JD Vance’s seeming past endorsement of the view that the purpose of postmenopausal women is to look after their grandkids, simply saying: “Let the fact that I’m saying nothing say everything.

“We’re not going off to the corner and pulling out our knitting needles,” she says, “although I do love to knit.

“We have a lot left to do and it’s up to us to alter that messaging,” Watts continues. “Experience and time on the clock really matters. Women at this point in time have more experience, and we have something to offer to the younger generations.”

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Other than grandchild care.

Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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