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Gwyneth Paltrow Expected to Testify in Ski Collision Trial

Gwyneth Paltrow enters the courtroom after a lunch break in her trial, Thursday, March 23, 2023, in Park City, Utah, where she is accused in a lawsuit of crashing into a skier during a 2016 family ski vacation, leaving him with brain damage and four broken ribs. (AP Photo/Jeff Swinger, Pool)
Gwyneth Paltrow enters the courtroom after a lunch break in her trial, Thursday, March 23, 2023, in Park City, Utah, where she is accused in a lawsuit of crashing into a skier during a 2016 family ski vacation, leaving him with brain damage and four broken ribs. (AP Photo/Jeff Swinger, Pool)
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Gwyneth Paltrow Expected to Testify in Ski Collision Trial

Gwyneth Paltrow enters the courtroom after a lunch break in her trial, Thursday, March 23, 2023, in Park City, Utah, where she is accused in a lawsuit of crashing into a skier during a 2016 family ski vacation, leaving him with brain damage and four broken ribs. (AP Photo/Jeff Swinger, Pool)
Gwyneth Paltrow enters the courtroom after a lunch break in her trial, Thursday, March 23, 2023, in Park City, Utah, where she is accused in a lawsuit of crashing into a skier during a 2016 family ski vacation, leaving him with brain damage and four broken ribs. (AP Photo/Jeff Swinger, Pool)

Gwyneth Paltrow and the man who broke four ribs after the two collided at a Utah ski resort seven years ago are both expected to testify on Friday in a trial over his claims that the movie star's recklessness caused his concussion and lasting physical injuries.

Paltrow and Terry Sanderson, the retired optometrist suing her, are expected to answer questions about the crash as their attorneys jostle to convince the 10-member jury who was responsible for the collision and who had the right of way as the skier farther downhill. Paltrow claims Sanderson was responsible for the crash, The Associated Press said.

In a trial that Judge Kent Holmberg and attorneys for both parties have agreed will last eight days, with each side getting four to call witnesses, Friday marks the final day that Sanderson's attorneys can compel Paltrow to testify. Next week, Paltrow's team is expected to call medical experts, ski instructors and her two children, Moses and Apple.

The trial thus far has shone a spotlight on Park City, Utah — the posh ski town known for rolling out a red carpet for celebrities each January for the Sundance Film Festival — and Deer Valley Resort, where Paltrow and Sanderson were skiing on a Friday in February seven years ago. The resort is among the most upscale in North America, known for sunny slopes, après-ski champagne yurts and high-amenity lodges.

The proceedings have delved deep into the 76-year-old Sanderson's medical history and personality quirks, with attorneys questioning whether his deteriorating health and estranged relationships stemmed from the collision or more innate phenomenon, like aging or anger problems.

The trial has touched on themes ranging from skier’s etiquette to the power — and burden — of celebrity. The amount of money at stake for both sides pales in comparison to the typical legal costs of a multiyear lawsuit, private security detail and expert witness-heavy trial.

Sanderson claims Paltrow recklessly crashed into him while the two were skiing on a beginner run at Deer Valley Resort, breaking his ribs and causing a concussion. He is seeking “more than $300,000.” Paltrow has countersued for $1 and attorney fees.

Lawyers for Paltrow, an actor-turned-lifestyle influencer, spent much of Thursday raising questions about Sanderson's mentions of her wealth and celebrity as well as his “obsession” with the lawsuit.

The first three days of the trial through Thursday featured testimony from medical experts, Sanderson's personal doctor, a ski companion and his daughter, who said she noticed post-concussion symptoms less than a year after the accident and realized something had gone terribly wrong.

Paltrow's attorneys have cast doubt on Sanderson's medical experts and asked about whether his prior remarks suggest the lawsuit could be an attempt to exploit her fame and celebrity. Her lawyers Thursday asked Sanderson's daughter whether her father thought it was “cool” to collide with a celebrity like Paltrow, the Oscar-winning star of “Shakespeare in Love” and founder-CEO of lifestyle brand, Goop.

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Movie Review: A Weird ‘Superman’ Is Better than a Boring One

Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
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Movie Review: A Weird ‘Superman’ Is Better than a Boring One

Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.