Mark Wahlberg Piles on the Pounds as Boxer-turned-priest

Mark Wahlberg, seen here with 'Father Stu' director Rosalind Ross, had to get out of shape to play the titular boxer-turned-priest Mat Hayward GETTY IMAGES NORTH AMERICA/AFP
Mark Wahlberg, seen here with 'Father Stu' director Rosalind Ross, had to get out of shape to play the titular boxer-turned-priest Mat Hayward GETTY IMAGES NORTH AMERICA/AFP
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Mark Wahlberg Piles on the Pounds as Boxer-turned-priest

Mark Wahlberg, seen here with 'Father Stu' director Rosalind Ross, had to get out of shape to play the titular boxer-turned-priest Mat Hayward GETTY IMAGES NORTH AMERICA/AFP
Mark Wahlberg, seen here with 'Father Stu' director Rosalind Ross, had to get out of shape to play the titular boxer-turned-priest Mat Hayward GETTY IMAGES NORTH AMERICA/AFP

Mark Wahlberg has a famously punishing physical routine that has kept the 50-year-old in enviable shape.

But for his latest outing, "Father Stu," he had to ditch the training and eat. A lot, AFP said.

"Porterhouse steaks, baked potatoes, a dozen eggs every morning, a dozen pieces of bacon, two bowls of white rice, a glass of olive oil," he tells AFP.

"Lots of high protein for the first two weeks; second two weeks, we had lots of starch. And then the last two weeks, we had lots of sodium to kind of get the bloating effect, but not fun at all."

The physical transformation from taut athlete to out-of-shape and overweight was in aid of his role as Stuart Long, an amateur boxer who hangs up his gloves after an injury and moves to Hollywood to become an actor.

Odd-jobbing in a supermarket, Long meets Carmen, played by Teresa Ruiz ("Narcos"), and sets out to win her heart by going to her church.

His avowed agnosticism gives way to genuine faith, and he decides he will become a priest, despite the skepticism of his parents, played by Jacki Weaver (Oscar-nominated for "Silver Linings Playbook") and Mel Gibson ("Braveheart").

He must also face his biggest challenge: a diagnosis of a degenerative disease that will rob him of the use of his body.

For Wahlberg, who also produced the movie, the real-life story of "Father Stu" is a departure from previous action outings like "Mile 22" and "Uncharted" -- but, he insists, not unexpected.

"It's an unusual role, but it's also (a) pretty obvious choice if you kind of know me and my own personal journey and what I'm looking to do as I get older and try to find things that have a little bit more meaning and purpose," he told AFP.

"But I always felt like I was... tasked to do it for a reason.

"This is for God's greater good and so to do that, and utilize my talents and gifts for that particular purpose is something that I embraced," he said.

Reflection of community
Along with its unabashedly religious theme -- the film will be released in the United States ahead of the Easter Weekend -- "Father Stu" also zooms in on family, and on human kindness.

For Ruiz, these elements all came together in her character.

"I liked that she was very kind and very generous and she had a very rooted faith," Ruiz said.

"That was something that I've seen in my community, it's something that I've seen in my mother, so I really enjoyed being able to portray that for a worldwide audience."

The cast of "Father Stu," which also includes Malcolm McDowell ("A Clockwork Orange"), afforded Ruiz the chance to work alongside a different generation of actors -- at close quarters.

"My camper was right next to Mel (Gibson's) camper. So sometimes I would peek and hear him, how he prepped and that was very important to me as a young actor, you know, to hear how one of the greats works.

"And then I would go on set with him and it was just this presence that he has, and his incredible talent."

For Weaver, Wahlberg was one of the biggest revelations of the project.

"I thought he might be a bit of a ruffian, because he always played those tough roles," the Australian told AFP.

"But he's a wonderful person."



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."