Gina

Gina Gershon considers herself a storyteller, first and foremost. When we connect via video call, Gershon admits this is the first interview she’s done since submitting the manuscript for her latest book, “AlphaPussy: How I Survived the Valley and Learned to Love My Boobs.”

“I don’t have my spiel yet!” she warns, inquiring for the first of a few times what I thought of it and whether I enjoyed it. Despite the many decades Gershon has been treading the boards, starring in indie films and Hollywood star vehicles, and stalking the stage as a singer-guitarist, she still really cares about what you think, even if it won’t change her own mind. Perhaps that’s the key to her professional longevity.

“AlphaPussy” is neither a memoir nor a guide to self-betterment, but elements of both feed into Gershon’s stories. Each wittily titled chapter plunges readers into Gershon’s freewheeling 1970s childhood, defiant adolescence, burgeoning performance career and collaborations with some of the biggest names in film (including Sharon Stone, Paul Verhoeven and Tom Cruise). Most of the stories take place in the San Fernando Valley, where young Gershon was discovering weed, mushrooms and rock ‘n’ roll. This is not a titillating tell-all, and all the better for it.

“AlphaPussy” by Gina Gershon

(Akashic Books)

“This book realistically started during COVID,” Gershon explains from her New York home. “I’d told my book agent, a friend, some stories one day when we were drunk, and he kept prodding me to write a book. I was hesitant, though. I’m not a tell-all gal, that’s not my MO.”

She adds, “It was during lockdowns, and I think his mother was sick and he was having a hard time, so when he said, ‘Just write me stories to keep me cheered up,’ I started to write stories in no particular order, whatever bubbled up, because otherwise I figured I’d forget them one day.”

At the same time, Gershon had observed that young women weren’t feeling empowered to advocate for themselves in their personal relationships and workplaces.

“I noticed that especially with younger women friends of mine, they’d tell me about things they were going through on set or with their bosses, and I don’t know if it’s a millennial thing, but I said, ‘Why don’t you just look him in the eye and tell him to stop?’ and there was this sense [for me] of ‘Why can’t you do that? Because if you don’t, you’ll always be prey to these guys.’ ”

She clarifies that she means “annoying” men rather than abusive men.

“I’m not that tough,” admits Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”

In her new book, Gina Gershon recalls the industry vitriol toward her 1995 erotic film “Showgirls.”

(Evelyn Freja / For The Times)

And also to steer herself through well-intended advice, both personal and professional, to follow her instincts.

“Listen, it’s not like I’ve had the most normal career. I’ve done most of my projects despite warnings from other people and from my agents saying, ‘You can’t do this, you’ll ruin your career.’ I’m like, ‘Why? I like this project!’ ”

One of those projects, most infamously, was “Showgirls,” which gets plenty of mentions in the book.

As Gershon recalled, it was 1994, and an astrologer had predicted her major breakout role would arrive in October that year, testing the young actor and her ability to cope with notoriety. Great, thought Gershon, bring it on.

Months later, Gershon was hanging from the ceiling, dressed in bondage gear, reflecting upon her early acting goals to perform Chekhov, portray Medea and stun audiences into silence.

She was on the set of “Showgirls” (or “Survival of the Titties,” as she nicknames it), dressed in one of the many glittering, spangled, flimsy outfits that her character Cristal Connors parades about wearing as a veteran of Vegas striptease. That role, and the vitriol from within the industry toward the movie (a flop turned cult favorite), still stings.

“I was super excited going into ‘Showgirls.’ As I talk about in one of the chapters, it was just very different when I got there. It was a completely different show than I thought I was going to be doing. … I thought it was gonna be one of [director Paul Verhoeven’s] dark Dutch films.”

Realizing that it was something else, to say the least, Gershon pivoted.

“I learned how to deal with an insane environment while keeping focused on what it is that I was trying to achieve with the part, without getting swallowed up by the insanity, which is a valuable lesson, you know? I mean, it’s a good lesson to learn no matter what you’re doing.”

Last year, Gershon watched the movie for the first time in decades.

“I hadn’t seen it in a zillion years, and when I saw it, I understood it a little bit more. It made me feel tense, but I also thought, ‘Oh, interesting.’ Some scenes that I thought shouldn’t have been there and others that absolutely have to be there. I saw it with a different lens.”

She says, “Weirdly, I feel like I’m not supposed to be talking about ‘Showgirls,’ although I think I have five chapters about ‘Showgirls’ [in the book]. I did the ones that I thought were kind of funny and fun and had some sort of growth in it for me.”

Having recently wrapped filming on “an independent film, a trans love story” in Palm Springs, penned a script and midway through writing another, Gershon doesn’t intend on writing another book anytime soon. Still, “there’s so many stories I left out,” she concedes.

“I could write three more books with things, but I really wanted to stay on point with the themes of manipulation, survival, and moving around and being able to stand on your own two feet and know who you are and to have agency over your life, especially as a woman, especially as an actress, especially in this world.”

“I’m not that tough,” says Gina Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”

(Evelyn Freja / For The Times)

Rousey will return to MMA for the first time in nearly a decade when she challenges ⁠Carano on ⁠May 16 in California.

Ronda Rousey and Gina Carano will end their lengthy retirements from mixed martial arts (MMA) to fight each other on May 16 at Intuit Dome in Inglewood, California.

The two pioneering fighters announced their returns on Tuesday for a bout that will be staged by Most Valuable Promotions, the combat sports promotion established by influencer-turned-boxer Jake Paul and his business partner, Nakisa Bidarian. The show will be broadcast on Netflix.

The 39-year-old Rousey hasn’t fought since 2016, while the 43-year-old Carano’s eight-bout MMA career ended in 2009. They’ll fight at 145lb (66kg) for five five-minute rounds.

Despite their lengthy absences, Rousey and Carano remain two of the most iconic fighters in MMA history for their trailblazing careers. Carano led their once-outlawed sport into the mainstream of broadcast television, while Rousey secured the enthusiastic acceptance of women’s MMA by Dana White and the UFC.

Rousey (12-2) rose to become arguably the biggest athlete in all of MMA after winning an Olympic medal in judo in 2008. Her armbar finishes and cage charisma single-handedly prompted White to begin the promotion of women’s MMA, with Rousey at the centre of his plans.

Rousey won the UFC’s first-ever women’s bout in 2013 to claim the bantamweight title belt, and she still holds the promotion’s record with six title defences.

After ending 11 of her first 12 fights in the first round, her career abruptly stalled when she lost back-to-back bouts to Holly Holm and Amanda Nunes, prompting her to move on to acting, professional wrestling and motherhood.

“Been waiting so long to announce this: Me and Gina Carano are gonna throw down in the biggest super fight in women’s combat sport history!” Rousey said. “This is for all MMA fans past, present and future.”

Carano (7-1) fought in the first Nevada-sanctioned MMA bout between women in 2006, and she won a series of fights that made her a network television draw in the sport’s early days. She was stopped by Cris “Cyborg” Justino in her most recent fight in August 2009, and she moved on to an acting career despite repeated rumours of a return to the cage.

“Ronda came to me and said there is only one person she would make a comeback for, and it has been her dream to make this fight happen between us,” Carano said.

“She thanked me for opening up doors for her in her career and was respectful in asking for this fight to happen. This is an honour. I believe I will walk out of this fight with the win, and I anticipate it will not come easy, which I welcome. This is as much for Ronda and me as it is for the fans and mixed martial arts community.”

Carano, who turns 44 in April, landed several prominent film roles and became a cast member of Disney’s “The Mandalorian” before her contract failed to be renewed in 2021, after she expressed controversial right-wing views in a series of social media posts.

Carano settled a lawsuit last year against Lucasfilm and The Walt Disney Company over her claim that she was fired for the posts.