“Drastic change” is needed to end the “backwards” British stunt industry’s use of men in wigs pretending to be women, according to leading female stunt experts.
“From my point of view, it’s heartbreaking,” says stunt co-ordinator Tiger Lilli Rudge talking to Sky News at Space Studios in Manchester.
A stunt performer for 15 years, she now helps train other women with the skills needed to work in film and television, all too aware from her own experience that they will be fighting on multiple fronts.
“Women put in all the time and effort and are more than capable to do a job…and then you put a wig on a man,” she says.
Image: Some stuntwomen say the industry remains a “boy’s club”
She adds: “The excuse that they use is that they had to use the man because there wasn’t a woman to do the job, and I can tell you that that is absolutely rubbish because I know hundreds of women that are capable car drivers, bikers, whatever, there’s so much talent out there.”
Decades ago back when male-centred action films were more en vogue, the practice of “wigging” used to be quite common. Today it is largely frowned upon.
It is a term, used within the industry, to describe the process of a wig being put on a stuntman so that they can double as a female character for some of the more dangerous action scenes.
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On Amazon Prime’s big-budget spy show Citadel, as you might expect, all the primary cast have their own assigned stunt doubles who are gender and race-appropriate.
But Sky News obtained photos of a stunt driver wearing a wig and given heavy make-up to pass as female.
Image: Tiger Rudge, stunt co-ordinator
Filmed just a couple of months ago, it is understood it happened after an incident with the original female driver meant they turned to a last-minute replacement – and a man happened to be the only person available quickly with the right set of skills.
To some female stunt performers and drivers, this explanation is familiar – there just aren’t enough women in the trade – but we’ve been told even those with the prerequisite skills are not often being booked because, they say, the stunt world remains a “boys club”.
“It’s very backwards,” Ms Rudge insists. “America is much better…we are massively behind here and I think it needs drastic change.”
She says: “The opportunities for women are much lesser so… they have to get all these skills, the bikes, the cars, the horses, yet when it comes down to hiring they’re not getting an opportunity.
“Anything with a weapon, anything with danger, it will automatically go to men….there is a stereotype with women for some reason that they aren’t as good as men.”
A recent study carried out by academic Dr Laura Crossley – a film lecturer from Bournemouth University – found that despite an increase in female action roles women still struggle to get into core stunt teams.
Image: Dr Laura Crossley
“The overwhelming evidence is that it’s very difficult for women to progress to the roles of the stunt directors and stunt coordinators,” Dr Crossley explains.
“They tend to be the people who will determine who gets brought onto the stunt teams and predominantly they are men.”
She adds: “I don’t think it’s necessarily something that’s being done that’s mendacious or that it’s deliberately trying to freeze women out, I think there’s just this ongoing culture… because stunt workers have existed in this sort of shadowy area for quite a long time… they just don’t tend to get that kind of transparency.
“It is jobs for the boys… if a stunt woman is brought in, she isn’t always part of the core team, she might just be brought in for a scene and then if there’s something else that arises along the way and she’s no longer around, the stunt director probably turns to his core crew and just goes ‘okay, you’re up, you’re going to do it’.”
In 2024, she argues, it’s hard to justify that a man in a wig is the only option.
“This is something that we knew was happening in the 60s and 70s, to a certain extent, but I didn’t realise it had carried on for so long….it should absolutely be industry standard that men cannot double for women and white stunt workers cannot double for people of colour,” she says.
Given the nature of closed film and television sets, it is hard to say for certain how often men double for women.
In relation to the photos we obtained from the set of Citadel Season 2, Sky News understands Amazon MGM endeavour to find gender and ethnic-specific stunt doubles and that stuntmen dressing as women happens only with the rarest of exceptions.
But Ms Rudge argues it shouldn’t be happening at all.
She said: “This comes from the top – production need to acknowledge female stunt coordinators, female coordinators will acknowledge women….unless there is more hiring of women, this isn’t going to change.”
Alan Yentob, the former BBC presenter and executive, has died aged 78.
A statement from his family, shared by the BBC, said Yentob died on Saturday.
His wife Philippa Walker said: “For Jacob, Bella and I, every day with Alan held the promise of something unexpected. Our life was exciting, he was exciting.
“He was curious, funny, annoying, late, and creative in every cell of his body. But more than that, he was the kindest of men and a profoundly moral man. He leaves in his wake a trail of love a mile wide.”
Yentob joined the BBC as a trainee in 1968 and held a number of positions – including controller of BBC One and BBC Two, director of television, and head of music and art.
He was also the director of BBC drama, entertainment, and children’s TV.
Yentob launched CBBC and CBeebies, and his drama commissions included Pride And Prejudice and Middlemarch.
Image: Alan Yentob (left) with former BBC director general Tony Hall in 2012. Pic: Reuters.
The TV executive was made a Commander of the Order of the British Empire (CBE) by the King in 2024 for services to the arts and media.
In a tribute, the BBC’s director-general Tim Davie said: “Alan Yentob was a towering figure in British broadcasting and the arts. A creative force and a cultural visionary, he shaped decades of programming at the BBC and beyond, with a passion for storytelling and public service that leave a lasting legacy.
“Above all, Alan was a true original. His passion wasn’t performative – it was personal. He believed in the power of culture to enrich, challenge and connect us.”
BBC Radio 4 presenter Amol Rajan described him on Instagram as “such a unique and kind man: an improbable impresario from unlikely origins who became a towering figure in the culture of post-war Britain.
Gillian Anderson has warned homelessness is a growing problem in the UK – one that will only get worse if we enter a recession.
The award-winning actress, who is playing a woman facing homelessness along with her husband in her latest film, The Salt Path, told Sky News: “It’s interesting because I feel like it’s even changed in the UK in the last little while.”
Born in Chicago, and now living in London, she explained: “I’m used to seeing it so much in Vancouver and California and other areas that I spent time. You don’t often see it as much in the UK.”
Her co-star in the film, White Lotus actor Jason Isaacs, chips in: “You do now.”
“It’s now becoming more and more prevalent since COVID,” said Anderson, “and the current financial situation in the country and around the world.
“It’s a topic that I think will be more and more in the forefront of people’s minds, particularly if we end up going into a recession.”
Image: Gillian Anderson and Jason Isaacs in The Salt Path. Pic: Steve Tanner/Black Bear
The film is based on Raynor Winn’s 2018 memoir, which depicts her and her husband’s 630-mile trek along the Cornish, Devon and Dorset coastline, walking from Minehead, Somerset to Land’s End.
Written from her notes on the journey, The Salt Path went on to sell over a million copies worldwide and spent nearly two years in The Sunday Times bestseller list. Winn’s since written two more memoirs.
Isaacs, who plays her husband Moth Winn in the movie, told Sky News that Winn told him she “hopes [the film] makes people look at homeless people when they walk by in a different light, give them a second look and maybe talk to them”.
With record levels of homelessness in the UK, with a recent Financial Times analysis showing one in every 200 households in the UK is experiencing homelessness, the cost of living crisis is worsening an already serious problem.
Image: Pic: Steve Tanner/Black Bear
The film sees Ray and Winn let down by the system, first by the court which evicts them from their home, then by the council which tells them despite a terminal diagnosis they don’t qualify for emergency housing.
Following the loss of their family farm shortly after Moth’s shock terminal diagnosis with rare neurological condition Corticobasal Degeneration (CBD), the couple find solace in nature.
They set off with just a tent and two backpacks to walk the coastal path.
Isaacs says living in a transient way comes naturally to actors, admitting like his character, he too “lives out of a suitcase” and is “away on jobs often”.
Shot in 2023 across Somerset, Devon, Cornwall and Wales, Anderson says as a city-dweller, the locations had an impact on her.
Anderson reveals: “As I’ve gotten older, I have become more aware of nature than […] when I was younger, and certainly in filming this film and being outside and so much of nature being a third character, it did shift my thinking around it.”
Meanwhile, Isaacs says he discovered a “third character” leading the film just the day before our interview, when speaking to Winn on the phone.
Isaacs says the author told him: “I feel like there’s three characters in the film,” going on, “I thought she was going to say nature, but she said, ‘No, that path'”.
Isaacs elaborates: “Not just nature, but that path where the various biblical landscapes you get and the animals, they matter.
“The things that happen on that path were a huge part of their own personal story and hopefully the audience’s journey as well.”
The Salt Path comes to UK cinemas on Friday 30 May.
A weapons supervisor who was jailed for involuntary manslaughter over the fatal shooting of Halyna Hutchins on the set of the Alec Baldwin movie, Rust, has been freed.
Hannah Gutierrez-Reed was released on parole from the Western New Mexico Correctional Facility in Grants on Friday, after serving her 18-month sentence, NBC News, Sky’s US partner said, quoting New Mexico Corrections Department spokesperson, Brittany Roembach.
Gutierrez-Reed was released to return home to Bullhead City, Arizona, where she will be on parole for a year for the manslaughter case.
Image: Hannah Gutierrez-Reed in court as she was jailed for 18 months for involuntary manslaughter. Pic: Rex/Shutterstock
Image: Halyna Hutchins pictured in 2017. Pic: Rex/Shutterstock
She was in charge of weapons during the production of the Western film in Santa Fe, New Mexico, in October 2021, when a prop gun held by star and co-producer Alec Baldwin went off during a rehearsal.
Cinematographer Hutchins died following the incident, while director Joel Souza was injured.
Gutierrez-Reed was acquitted of charges of tampering with evidence in the investigation, but will be on probation over a separate conviction for unlawfully carrying a gun into a Santa Fe bar where firearms are banned weeks before Rust began filming.
Image: Alec Baldwin reacts after the judge threw out the involuntary manslaughter case against him. Pic: AP
Involuntary manslaughter means causing someone’s death due to negligence, without intending to.
At her 10-day trial in New Mexico in March last year, prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of Rust and for failing to follow basic gun safety protocols.
The 18-month sentence she was given was the maximum available for the offence.
Baldwin, 67, was also charged with involuntary manslaughter, but the case was dramatically dismissed by the judge during his trial last July over mistakes made by police and prosecutors, including allegations of withholding ammunition evidence from the defence.
The actor had always denied the charge, maintaining he did not pull the gun’s trigger and that others on the set were responsible for safety checks on the weapon.
Rust was finished in Montana and released earlier this month, minus the scene they were working on when Hutchins was shot, Souza, speaking at November’s premiere in Poland, said.
Rust is billed as the story of a 13-year-old boy who, left to fend for himself and his younger brother following their parents’ deaths in 1880s Wyoming, goes on the run with his long-estranged grandfather after being sentenced to hang for the accidental killing of a local rancher.