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Renée Zellweger Says She's Open to Reprising Her Role as Bridget Jones


After a few years out of the spotlight, Renée Zellweger is back in our lives in a big way. The actor was just nominated for her fourth Academy Award, for her critically-acclaimed performance as Judy Garland in Judy. (She won for Best Supporting Actress in 2004 for Cold Mountain.)

The actor has played so many memorable roles over the course of her career but none is perhaps as beloved as Bridget Jones. Based on the best-selling novel by Helen Fielding, Zellweger made her onscreen debut as the titular character in Bridget Jones’s Diary in 2001, followed by Bridget Jones: Edge of Reason in 2004 and Bridget Jones’s Baby in 2016. And in a new interview with Vanity Fair, she said she’s open to revisiting the lovably messy character once again.

When asked if there would be another installment of the hit franchise, she said…maybe: “It would be fun, yeah. I know people are coy. I’m not. I promise I’m not. I just don’t know.”

“I mean, that’s a Helen [Fielding, the author] question, but I hope she would want to,” Zellweger continued. “I know she wrote a book , so maybe. I’m always the last to know. They’re already building sets, and they call me and say, “What do you think?” It’s fun. It’s so much fun. Man, I’d love the experience of revisiting her. I love her. I just think she’s so much fun. She’s the best. Sure, if I got invited to do that, that sounds like fun.”

Well, that sounds incredibly promising, doesn’t it? When last we left our dear Bridget on the big screen, she was a new forty-something mom and finally married to Mark Darcy (Colin Firth). Though the plot of Bridget Jones: Mad About the Boy (which was written before Bridget Jones’s Baby) offers up plenty of fodder for a possible new film.

And considering nostalgia-inducing reboots, revivals, and sequel are all the rage in Hollywood, we wouldn’t be surprised (but very thrilled) if this became a reality in 2020.



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Renée Rouleau Triple Berry Smoothing Peel Review


The peel contains five acids to exfoliate—mandelic, lactic, salicylic, tartaric, and malic—as well as three different berries to provide antioxidants and soothe your skin. It’s a professional-grade peel (meaning it’s definitely not an everyday thing), and has a mix of BHAs and AHAs to work on two levels to clear pores and smooth your skin’s surface. The laundry list of concerns the brand says it’ll help with include: clearing blemishes and clogged pores, fading post-breakout marks, lifting discoloration, stimulating cellular renewal, smoothing out the texture of your skin.

I’ve been consistency using the mask for about a month (once a week), and I have to say, I’m really impressed. After one use I wasn’t convinced, but after four weeks (two of which were spent traveling to extremely different climates), I’m a believer. Not only does it not aggravate my skin, but I’ve seen a major improvement. While it hasn’t helped with my larger inflamed breakouts, I’ve seen a significant reduction of clogged pores and whiteheads that I’ve been dealing with on my cheeks over time. I like to follow it with Rouleau’s Rapid Response Detox Mask to further fight breakouts while my pores are open from the peel. It’s also helped keep flakes at bay, which is something I always struggle with this time of year, and makes my skin feel smooth as hell.

And then there’s the glow. As someone who has a pretty negative relationship with my skin, I don’t toss around words like “radiant” often, but the day or two after I use this mask, my skin can only be described as such. I look well-rested for once in my life, my skin texture feels much more uniform, and my makeup goes on smoother. The best part is that despite all the different types of acids, it’s not harsh on my sensitive skin. There’s a slight tingle when the mask is on, but as soon as I rinse it off after about seven minutes there’s no stinging or redness.

Not only can I thank this mask for bringing my skin back to life, it’s also restored my faith that sometimes things are worth the hype. You might just need to give them time.

Renée Rouleau Triple Berry Smoothing Peel

Renée Rouleau Triple Berry Smoothing Peel

$88.50

Buy Now

Bella Cacciatore is the beauty associate at Glamour. Follow her on Instagram @bellacacciatore_.





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Judy Review: There Will Only Ever Be One Judy Garland—But Renée Zellweger Gets Close


My grandmother is a highly accomplished pianist—though if she heard someone put it that way, she might object, humble to the heart. Born in middle America during the Great Depression, she began playing after my great grandparents noticed her plunking out pretend concerts on a windowsill, as though it were a keyboard. Lessons cost a nickel, she told me once. They were worth it. Before she was even a teenager, my grandmother earned money playing at local venues with her father in a family band.

As far back as I can remember, I’ve been mesmerized by her ability to pluck any melody from the air and translate it through her fingertips. And when I started piano as a child, she would often watch over my practicing. Sometimes, she would play and I would sing. “Somewhere Over the Rainbow” was one of our favorite duets. Back then, I thought it was beautiful—still do. But while I have long known every lyric, it took years for me to recognize the sorrow beneath the song.

The Wizard of Oz, for which the tune was written, premiered in 1939 and was adapted from Frank L. Baum’s novel of nearly the same name, published at the turn of the century. Judy Garland was a tender 16 when she appeared in the film, a touchpoint of her career. Born Frances Ethel Gumm to vaudevillian parents, she began performing onstage as a child and signed a contract with MGM at 13.

But though Judy Garland would grow into a screen icon over the next decade, headlining beloved hits like Meet Me in St. Louis and Babes in Toyland, stardom came at the cost of her childhood. She was failed by the people who should have been her protectors and advocates. The consequence was an adult life riddled with addiction, financial troubles, failed relationships, and abuse.

David Hindley / Courtesy of LD Entertainment and Roadside Attractions

These elements of Garland’s story have been explored in biographies before and with brutal specificity in Peter Quilter’s play End of the Rainbow, set during a stint of performances Garland did in London months before she died, at 47, from an accidental overdose. That same era is the backdrop for Judy, which stars Renée Zellweger as the titular lead and is now in theaters.

Directed by Rupert Goold, the movie pivots between Garland’s teen years and troubled adulthood: lascivious threats and cruelty from Louis B. Mayer, the MGM head at the time she was filming The Wizard of Oz; extreme dietary restrictions courtesy of the studio; pills to stay awake, pills to go to sleep. According to the film, Garland takes a gig—a nightly act for sold-out crowds at a posh club called Talk of the Town—to pay off debts and make money so she can provide a more stable home for her two younger children.



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What's Going on With Renée Zellweger's Knees in What/If?


This week, as I sweat the last shivers of Game of Thrones withdrawal out of my body, I decided to settle into a new drama series, one that’s equally as immersive, erotic, and brimming with betrayal: Yes, I’m talking about Renée Zellweger’s new Netflix show What/If.

The series follows Anne Montgomery—an extremely extra venture capitalist who does things like monologue into a tape recorder and shoot archery in her skyscraper apartment—who offers an “indecent proposal” to Lisa Donovan (Jane Levy). Anne offers to invest $20 million into Lisa’s financially flailing company for one night alone with Lisa’s husband. It’s all very steamy and deceitful and the show flies off the rails before the opening scene ends—it’s great. But through it all, there’s been one thing plaguing me since the moment I pressed play: What the hell is going on with Renée Zellweger’s knees?

They are prominently featured in this show. In fact, I’d argue that her knees are the breakout star of the series. The first time we see them is less than three minutes into the first episode, when they grace the cover of Anne Montgomery’s book, aptly titled At Any Cost:

Netflix

That’s just beginning. The high visibility of her knees is, frankly, jarring—but the way they’re styled is even more intriguing. In each shot, we see one angular knee greased and oiled to slick perfection draped over the other like a silk scarf, ready to be seductively slipped off Zellweger’s taught skin. Case in point:

A scene from Netflix's What If
Erik Voake/Netflix



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