Entertainment
Heather Gay says 'Housewives' rescued her. And she's got the receipts to prove it
Not so long ago, Heather Gay was a middle-aged mother of three, struggling to reclaim her sense of self. She’d spent most of her adult life embodying the “Molly Mormon” stereotype — a devoted wife, mother and member of the Church of Jesus Christ of Latter-day Saints. Then her marriage fell apart, and with it her entire identity. Financially dependent on her ex-husband, she was determined to get her medspa business off the ground. Becoming famous was hardly an option.
“I was just set out to pasture. I had no plausible hope for the future. I was just trying to be a good mom and morally upright citizen, turn my face to the wall and die. That, literally, was the plan,” she recalls.
Then Bravo came calling. Gay was cast in “The Real Housewives of Salt Lake City,” which premiered in 2020 and distinguished itself by looking at how the women in the cast were influenced by organized religion, particularly the LDS church. Gay instantly became the show’s breakout star — the smart, self-aware and hyper-relatable one who was quick to share her insecurities or crack a self-deprecating joke. She wasn’t model thin, didn’t dress in head-to-toe Chanel or travel with a glam team. She did, however, get very excited about eating meat on a stick and sometimes wound up with her head in the toilet after drinking too many espresso martinis.
Reality TV can be a lot of things — a bid for attention, a cash grab. But for Gay, it turned out to be a calling.
“It’s the most important work I’ve ever done,” she says, perched at the bar of a hotel in midtown Manhattan. Gay is in town for a watch party for Season 5 of “RHOSLC.” With her taut jawline, blazing white teeth and recently slimmed-down physique, she has embraced the prototypical Housewife look.
“‘Housewives’ rescued me. It gave me a second lease on life,” she says. “It scooped me up and pulled me out of the church, pulled me into financial independence and fame.”
Lisa Barlow, left, Heather Gay and Britani Bateman in the Season 5 premiere of “The Real Housewives of Salt Lake City.”
(Fred Hayes / Bravo)
Gay has leveraged her popularity by writing a bestselling memoir, “Bad Mormon,” with a second book, “Good Time Girl,” due in December. She has faced some ups and downs, including a rough patch when she exasperated fans with her unflinching loyalty to castmate Jen Shah, who went to prison last year for her role in a telemarketing scam, and may have given Gay a black eye. But she cemented her place in the pantheon of “Real Housewives” greats last season by confronting cast member Monica Garcia, linking her to a social media account that trashed her co-stars. A clip of Gay’s tirade went viral, particularly the line, “Receipts, proof, timeline, screenshots.” It has been quoted by congressional lawmakers, spoofed by Marvel and slyly referenced on “Jeopardy.”
She has also undergone another dramatic transformation, losing more than 25 pounds by taking Ozempic. She has approached the subject with her typical candor, speaking openly about using the weight-loss drug.
“This last year has been the best year of my life,” she says, sipping a glass of lime and basil infused water. (No, she has not given up her beloved espresso martinis; the bar is not yet open.)
Now, with Season 5 underway, Gay is at a crossroads: Can she enjoy the fruits of her “Housewives” celebrity while also maintaining the down-to-earth appeal that made her a fan favorite? Based on our conversation, which includes digressions about “Degrassi High,” “The Parent Trap” and her $29 ring from Zara, Gay appears determined to remain a friendly proxy for Bravo’s pop culture-obsessed audience.
“The most rewarding part of this job is taking someone, and watching them go from obscurity to really finding their voice and taking the opportunity and soaring. Heather is an amazing example of that,” says executive producer Lisa Shannon. “Heather serves as the voice of the audience because she’s so honest. She’s very observant, she doesn’t sit back on her opinions, and her opinions are usually correct.”
“The most rewarding part of this job is taking someone, and watching them go from obscurity to really finding their voice and taking the opportunity and soaring. Heather is an amazing example of that,” says “Housewives” executive producer Lisa Shannon.
(Sean Dougherty / For The Times)
Co-star Meredith Marks says that Gay “uses humor to deflect from her own pain.” She met Gay while working together on an event at the Sundance Film Festival but bonded with her on the way home from a cast trip to Zion National Park in Utah. Marks had just lost her father and believed some of her co-stars were making light of his death. “It was really hurtful, and I was in a lot of pain. I was terrified to get on the Sprinter van,” Marks says. “Heather grabbed me, and she’s like, ‘Come sit with me.’ I sat in the back with her, and she had me laughing the entire ride home. That is Heather. She knows how to take a tough situation and make you smile and laugh and pull you through.”
For her part, Gay suggests her relatability stems from the fact that she was a fan — of reality TV in general, but especially ‘The Real Housewives” — before she became one herself.
I ask her to elaborate, and she tears up (one of several times in our conversation). “You want me to cry?” she says, doing just that as she remembers getting hooked on early seasons of “The Real Housewives of Orange County.”
She lived vicariously through women like Tamra Judge (formerly Barney), as she bluntly told her then-husband she wanted a divorce. “I wanted a divorce when I saw that scene, but I could never say that out loud. I could never even think it to myself,” Gay says. “I’m grateful to these women for putting their lives on television, for showing the good, the bad and the ugly, for giving me escape and … showing me a life that I never would have seen because my bubble was so insular.”
Before “RHOSLC,” Gay was what she calls a “PIMO”; physically in, mentally out of the LDS church. She had a Keurig but would leave only hot chocolate pods out, lest her family or neighbors think she was drinking coffee. “That’s an absurd thing for a divorced adult woman to be concerned with,” she says now.
Participating in the show finally enabled her to leave the church for good. Without it, she thinks she’d still be a “PIMO.” But “Housewives” notoriety also contributed to Gay’s estrangement from most of her family.
If she had chosen to walk away from the church in private, they would have been upset but accepted it, Gay says. “But I’ve done it loudly and proudly, and I’m unapologetic about it. I’m also successful, which is even scarier if I were in the streets, addicted to drugs, or all the things they promised would happen to me if I left,” she says.
Like Gay, most of the original “RHOSLC” cast has ties to the LDS church. Between the crazy Sprinter van rides, it has also broken new ground by exploring heavy subjects such as excommunication and religious trauma.
It also helped kick the door open for “The Secret Lives of Mormon Wives,” a hit Hulu reality series that debuted in September and follows a clique of young Utah influencers whose modern choices (divorce, swinging) don’t always conform to church teachings. Its debut coincided with deafening discourse about the “trad wife” phenomenon, epitomized by LDS influencer and mother of eight Hannah Neeleman, a.k.a. “Ballerina Farm.”
The cultural fascination with pressures faced by women in the church is “incredibly validating,” Gay says. “It’s what I’ve been screaming from the rafters. I’m like, ’Thank you, women, for showing up and showing how we’re manipulated in our marriages, how we are exclusive in who can attend our religious events, and how we have double standards.’”
Gay hopes the conversation continues: Despite the accountability faced by many institutions in the wake of movements such as Black Lives Matter and #MeToo, the LDS church “remains unchanged,” she says. “No one’s tearing down statues of Brigham Young even though, historically, he’s done much worse than Christopher Columbus.”
Heather Gay finds the recent fascination with Mormon women validating: “I’m like, ’Thank you, women, for showing up and showing how we’re manipulated in our marriages, how we are exclusive in who can attend our religious events, and how we have double standards.’”
(Sean Dougherty / For The Times)
Like elite athletes, Housewives have good seasons and bad seasons. Gay’s popularity took a hit in Season 3, as she stood by Shah, who repeatedly denied involvement in the telemarketing scheme only to plead guilty just before she was set to go to trial.
Gay’s allegiance to Shah was so blind, she even refused to say how she’d ended up with a black eye after a night of partying in San Diego. She dodged questions for months; then in the Season 4 finale, alleged that Shah caused the injury, as many viewers already suspected. (For the record, Gay tells me she doesn’t remember the incident and knows how she got the black eye only because Shah told her. Shah has denied responsibility.)
Gay sees a connection between her devotion to Shah and a religious upbringing that “taught me to protect everybody but myself,” she says. “I thought my only way to contribute was to put my head down and be loyal. That was behavior I learned from decades of Mormonism: put up, shut up, don’t criticize, don’t look for evidence of fault,” she says, tears again welling up in her eyes. “I was f— up. I came out of a cult after 40 years and suddenly I had money, freedom and opportunity. I didn’t want to mess that up.”
Shah’s betrayal is part of what made Garcia’s relatively minor violation — setting up a troll account that few people were even aware of — so activating. “Her refusal to be accountable reminded me a lot of when we would confront Jen with things,” she says. To Gay, it also felt like Garcia was betting against her own team and had violated the cardinal rule of reality TV: Don’t bite the hand that feeds you.
Gay has taken the zeal and devotion she once felt for the LDS church and brought it to her role as a housewife. “I traded the church for the cult of reality television,” she jokes.
But being on TV comes with downsides, like scrutiny over her physical appearance. Co-stars have called Gay names such as “Shrek” and likened her body to that of a Lego figurine. Viewers have said even worse. “There’s a weird, cruel irony: Just when our bodies are giving out, we’re on TV. We’re not supermodels. We’re aging, middle-aged women,” Gay says.
The second-season glow-up has become something of a trope on “The Real Housewives,” with many veteran cast members radically altering their appearance after seeing themselves on TV. But Gay’s was belated; she focused on her “emotional glow-up” first. She is one of a few “Housewives” stars who have admitted to taking a weight-loss drug, though many others have been suspected.
“Listen, everybody and their dog is on it,” she says. “I’m grateful that it worked. But if it hadn’t, I would still be here. I just wouldn’t be wearing shorts.”
Gay was recently quoted saying that losing weight helped her realize that body positivity was “a big lie.” The point she was trying to make, that people treat you better when you’re thinner, got lost in the click-bait furor that ensued. “I wish it wasn’t that way,” she says. “I’ve been fat and I’ve been thin. I liked myself either way, but the way people respond to me is different.”
Gay has to leave soon for the premiere watch party. As our conversation winds down, she describes the wild emotional roller coaster ride that each new season brings. Usually, she gets to see the episodes just a day or two before they air on Bravo, and fans render their verdict — loudly and passionately — on social media.
“It’s 16 weeks of not knowing whether you live or die by the sort of the episode. You could have a week of wonderful reviews, and then you are slaughtered the next,” she says. It’s nauseating, but exhilarating. “I f— love it. At my age and at this stage of life, where else would I ever get this type of adrenaline?”
Movie Reviews
‘Project Hail Mary’ Review: Ryan Gosling and a Rock Make Sci-Fi Magic
In contrast to other sci-fi heroes, like Interstellar’s Cooper, who ventures into the unknown for the sake of humanity and discovery, knowing the sacrifice of giving up his family, Grace is externally a cynical coward. With no family to call his own, you’d think he’d have the will to go into space for the sake of the planet’s future. Nope, he’s got no courage because the man is a cowardly dog. However, Goddard’s script feels strikingly reflective of our moment. Grace has the tools to make a difference; the Earth flashbacks center on him working towards a solution to the antimatter issue, replete with occasionally confusing but never alienating dialogue. He initially lacks the conviction, embodying a cynicism and hopelessness that many people fall into today.
The film threads this idea effectively through flashbacks that reveal his reluctance, giving the story a tragic undercurrent. Yet, it also makes his relationship with Rocky, the first living thing he truly learns to care for, ever more beautiful.
When paired with Rocky, Gosling enters the rare “puppet scene partner” hall of fame alongside Michael Caine in The Muppet Christmas Carol, never letting the fact that he’s acting opposite a puppet disrupt the sincerity of his performance. His commitment to building a gradual, affectionate friendship with this animatronic creation feels completely natural, and the chemistry translates beautifully on screen. It stands as one of the stronger performances of his career.
Project Hail Mary is overly long, and while it can be deeply affecting, the film leans on a few emotional fake-outs that become repetitive in the latter half. By the third time it deploys the same sentimental beat, the effect begins to feel cloying, slightly dulling the powerful emotions it built earlier. The constant intercutting between past and present can also feel thematically uneven at times, occasionally undercutting the narrative momentum. At 2 hours and 36 minutes, the film feels like it’s stretching itself to meet a blockbuster runtime when a tighter cut might have served better.
FINAL STATEMENT
Project Hail Mary is a meticulously crafted, hopeful, and dazzling space epic that proves the most moving friendship in film this year might just be between Ryan Gosling and a rock.
Entertainment
James Van Der Beek ‘became what we used to just call a good man,’ Joshua Jackson says
Joshua Jackson says he knows he was “really just a footnote” in James Van Der Beek’s life, despite the “amazing” time they spent together as stars of the series “Dawson’s Creek.”
The star of “The Affair” is reflecting publicly for the first time about his former castmate, who died Feb. 11 at age 48 after a battle with colorectal cancer.
The time they shared on set was “formational” for them, Jackson said on “Today.” When the “Dawson’s Creek” pilot aired in January 1998, he was 19 and Van Der Beek was almost 21, playing characters who were 15.
“I know both of us look back on that time with great fondness, but I will also say that I know that I’m really just a footnote in what he actually accomplished in his life.”
Jackson spoke with great respect for his friend, who he said “became what we used to just call a good man, a man of the kind of belief, the kind of faith that allowed him to face the impossible with grace, an unbelievable partner and husband, just a real man who showed up for his family and a beautiful, kind, curious, interested, dedicated father.”
On the one hand, the 47-year-old said, “that’s beautiful.” On the other, “The tragedy of that loss for his family is enormous.”
Since Jackson and Van Der Beek played Pacey Witter and Dawson Leery three decades ago, both men had kids of their own — a 5-year-old daughter for Jackson, born during the pandemic with ex-wife Jodie Turner-Smith, and six kids for Van Der Beek with second wife Kimberly Brook. The latter couple’s children — two boys and four girls, ranging in age from 4 to 15 — were what Van Der Beek said changed everything for him.
“Your life becomes shared, and your joys become shared joys in a really beautiful way that expands your level of circuitry out to other people instead of just keeping it all for your own gratification,” the actor told “Good Morning America” in May 2023. “And the lessons, they keep on coming. It’s the craziest, craziest thing I’ve ever done, and it’s the thing that’s made me happiest.”
Knowing his colleague’s love for his family, Jackson said on “Today” that “for me as a father now, I think the enormity of that tragedy hits me in a very different way than just as a colleague, so I think the processing [of Van Der Beek’s death] is ongoing.”
The “Little Fires Everywhere” actor was on the morning show Tuesday to bring attention to colorectal cancer screenings.
Van Der Beek’s diagnosis, which went public in November 2024, was among the factors prompting Jackson to get involved with drugmaker AstraZeneca’s “Get Body Checked Against Cancer” campaign, which takes a lighter approach to a serious subject — cancer screening — through a partnership with Jackson, the National Hockey League and the Philadelphia Flyers’ furry orange mascot, Gritty.
“It is … true, the earlier you find something,” said “The Mighty Ducks” actor, “the better your possible outcomes are.”
Movie Reviews
Dan Webster reviews “WTO/99”
DAN WEBSTER:
It may now seem like ancient history, especially to younger listeners, but it was only 26 years ago when the streets of Seattle were filled with protesters, police and—ultimately—scenes of what ended up looking like pure chaos.
It is those scenes—put together to form a portrait of what would become known as the “Battle of Seattle” —that documentary filmmaker Ian Bell captures in his powerful documentary feature WTO/99.
We’ve seen any number of documentaries over the decades that report on every kind of social and cultural event from rock concerts to war. And the majority of them follow a typical format: archival footage blended with interviews, both with participants and with experts who provide an informational, often intellectual, perspective.
WTO/99 is something different. Like The Perfect Neighbor, a 2026 Oscar-nominated documentary feature, Bell’s film consists of what could be called found footage. What he has done is amass a series of news reports and personal video recordings into an hour-and-42-minute collection of individual scenes, mostly focused on a several-block area of downtown Seattle.
That is where a meeting of the WTO, the World Trade Organization, was set to be held between Nov. 30 and Dec. 3, 1999. Delegates from around the world planned to negotiate trade agreements (what else?) at the Washington State Convention and Trade Center.
Months before the meeting, however, a loose coalition of groups—including NGOs, labor unions, student organizations and various others—began their own series of meetings. Their objective was to form ways to protest not just the WTO but, to some of them, the whole idea of a world order they saw as a threat to the economic independence of individual countries.
Bell’s film doesn’t provide much context for all this. What we mostly see are individuals arguing their points of view as they prepare to stop the delegates from even entering the convention center. Meanwhile, Seattle authorities such as then-Mayor Paul Schell and then-Police Chief Norm Stamper—with brief appearances by Gov. Gary Locke and King County Executive Ron Sims—discuss counter measures, with Schell eventually imposing a curfew.
That decision comes, though, after what Bell’s film shows is a peaceful protest evolving into a street fight between people parading and chanting, others chained together and splinter groups intent on smashing the storefronts of businesses owned by what they see as corporate criminals. One intense scene involves a young woman begging those breaking windows to stop and asking them why they’re resorting to violence. In response a lone voice yells their reasoning: “Self-defense.”
Even more intense, though, are the actions of the Seattle police. We see officers using pepper spray, tear gas, flash grenades and other “non-lethal” means such as firing rubber pellets into the crowd. In one scene, a uniformed guy—not identified as a police officer but definitely part of the security crowd, which included National Guardsmen—is shown kicking a guy in the crotch.
The media, too, can’t avoid criticism. Though we see broadcast reporters trying to capture what was happening—with some affected like everybody else by the tear gas that filled the streets like a winter fog—the reports they air seem sketchy, as if they’re doctors trying to diagnose a serious illness by focusing on individual cells. And the images they capture tend to highlight the violence over the well-meaning actions of the vast majority of protesters.
Reactions to what Bell has put on the screen are bound to vary, based on each viewer’s personal politics. Bell revels his own stance by choosing selectively from among thousands of hours of video coverage to form the narrative he feels best captures what happened those two decades-and-change ago.
If nothing else, WTO/99 does reveal a more comprehensive picture of what happened than we got at the time. And, too, it should prepare us for the future. The way this country is going, we’re bound to see a lot more of the same.
Call it the “Battle for America.”
For Spokane Public Radio, I’m Dan Webster.
——
Movies 101 host Dan Webster is the senior film critic for Spokane Public Radio.
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