2023/01/02 by Lennart Soberon · 1 voice
Arts and Humanities · Social Sciences · #Crime, Deviance, and Social Control #Gender, Feminism, and Media #Media Influence and Health
paper · doi:10.1080/19392397.2022.2159674
openalex publication_date 2023/01/02 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/30
In the last decade, Hugh Grant has been going through something resembling a career revival. After retreating from his roles as an English gentleman and romantic lead during the mid-2000s, Grant has recently re-emerged to garner critical acclaim in productions, such as Paddington 2 (2017), The Gentlemen (2019), and The Undoing (2020). What these roles have in common is that Grant has abandoned his days as prince charming in favour of a series of unlikeable characters and morally complex villains. This article analyses how this turn to villain signifies a renegotiation of Hugh Grant’s star image and how this career revival stands into contact with his previous persona. Combining a close reading of some of Grant’s recent films, together with a discussion of press discourse and interviews, I account for how Grant’s villain performances are shaped and mediated by different artistic, commercial, and discursive forces. As such, I elucidate how Grant’s renegotiation of his image helps distances himself from his previous career phase, is utilised by filmmakers to subvert audience expectations, and invites us to question the patriarchal and English imperialist attitudes that lay embedded in his previous performances.