Image via Warner Bros
Back in the summer of 2014, there was a tectonic shift in the perception game around mixed martial arts. It may have gone relatively unnoticed at the time because tectonic MMA shifts were happening all over the place back then, but in the July 28 issue of The New Yorker, that paragon of cerebral sophistication and literary fussiness (the very opposite of the blood-splattered, manic world of MMA), there was a profile of Ronda Rousey, who earlier that month had demolished Alexis Davis in just 16 seconds, further solidifying the commonly held belief (echoed in that profile) that the women’s bantamweight champion was a culture-changing figure, an unprecedented athletic force single-handedly dragging her sport and the whole human race into the future by pure will and talent. Hollywood was already knocking at her door. The future was wide open and paved with gold and victory. The New Yorker had written about MMA!
Yesterday The New Yorker published its latest story involving Ronda Rousey. This one, though, is about the newest movie mogul in Hollywood, Adam Fogelson, and his attempts to revolutionize the industry in our era of superhero franchises and little else, and it casts Rousey in just a small role. Still, it’s a significant one to those of us interested in mainstream culture’s still-tentative interest in MMA and in the bargains one makes (and the shifty worlds one enters) upon achieving fame in America.
Rousey, who has played small roles in three huge Hollywood movies since that New Yorker profile was published in 2014, has recently been making the move to star status. First came the news that she would be playing the lead in Nick Cassavetes’ reboot of the 1989 Patrick Swayze cult absurdity Road House, and then it was announced that producer/director Peter Berg (Hancock, Friday ….View full article