Hailey Bieber's dad Stephen Baldwin reacts to her selling Rhode for $1 billion after rift with her and Justin
'It took her three years,' the actor told Adam Carolla during a recent episode of The Adam Carolla Show.
'What, did you think that was just some rotten tomatoes journey? The cool part of it is she's super smart, smart in business,' he continued of the 28-year-old.
His kind words came in the wake of a family rift after he publicly urged fans to pray for her and her husband Justin Bieber, which she considered to be him meddling in their affairs, a source told DailyMail.com.
'Succeeded as a model prior to everything she's doing now. But the cool part was she actually had an offer to do something pretty big and cool in the cosmetics a couple years ago and didn't.'
Stephen, 58, went on to explain that Hailey didn't just endorse a brand someone else came up with, she made products that she would use herself.
'The reason its succeeding is people are responding to it,' he noted. 'It actually works as hydration and all of that.'
Stephen is also dad to 32-year-old daughter Alaia Baldwin Aronow and he revealed he takes a hands-off approach to his kids' careers.
'I let my kids do what they're doing,' he shared. 'And if they want to throw a boomerang at me, I'll call them back.'
Plus, both of his girls are married to successful men and he gushed over Justin Bieber and Alaia's husband Andrew Aronow.
As Stephen added, 'I'm blessed that my two daughters married two great guys.'
He also insisted that family comes first.
'The sweet part of my kids, too, is, in the wake of whatever their success is, their dad remains the same,' he gushed.
'I've always been the same way. You know you're going to tell your daughter the truth.'
'What, did you think that was just some rotten tomatoes journey? The cool part of it is she's super smart, smart in business,' he continued of the 28-year-old.
Stephen, 58, went on to explain that Hailey didn't just endorse a brand someone else came up with, she made products that she would use herself. Seen here November 18, 2024
And he's crediting Hailey with helping Justin through the hard time he's having lately.
The Usual Suspects actor said: 'I am just glad he connected with a great gal to help him survive.'
Stephen added: 'Their happiness and their wellbeing and their health is more obviously now better than ever.'
In August 2024, Hailey and Justin welcomed their first child, son Jack Blues, and his grandad Stephen gushed with pride about the newborn describing him as 'incredibly cute'.
Asked about the new parents, who got married in 2018 after a whirlwind romance, Stephen said that new parenthood has been 'very relaxed' for the couple.
He added: 'They're just spending really sweet, private quality time with Jack and we're just getting ready to watch him come out on the world here, come out on the scene.'
He also offered his babysitting services: 'Sometimes grandpa can clean up. You know what I'm saying?'
Hailey is allegedly choosing to keep her parents away from her baby son Jack amid her ongoing tensions with the pair, according to sources who say she has long clashed with Stephen and Kennya Baldwin over religious and political beliefs.
Though her father celebrated the birth of his grandson with a post on Instagram, which Hailey did not like from her own account, the model's mother raised eyebrows after choosing not to mark the moment on her own social media feed.
It highlights Hailey's strained relationship with her parents, which reportedly started to 'break down' further when the beauty mogul fell pregnant.
'Hailey's relationship with her family has been eroding for some time now,' a source told DailyMail.com exclusively.
'She was closer with her mom, but that started to break down when she fell pregnant because she didn't want to tell her family for months.'
The insider explained that the situation that ultimately pushed Hailey over the edge was when her father shared a post asking fans to pray for Hailey and Justin, something which sparked concern for the couple.
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The Guardian
33 minutes ago
- The Guardian
Paula Bomer: ‘If you describe yourself as a victim, you're dismissed'
When I arrive at Paula Bomer's apartment building in south Brooklyn I am briefly disoriented in the lobby, until I hear the yapping of dogs and amid them, her voice calling my name. Bomer is tall and striking, in her mid-50s. I met her last year at a reading in Williamsburg, Virginia, where she seemed like someone who cared almost manically about literature and also like someone who would be fun to hang out with, two qualities not always confluent. I had heard of these anxious dogs before, when she and I met for dinner a few months ago, and she disclosed that her life was now spent managing canine neuroses. 'I got them when my dad died,' she says, in between offering me matcha, coffee, tequila or wine (it's 2.30pm on a Sunday; Bomer doesn't drink any more, save a glass of champagne on selling her book, but doesn't mind if others do). 'The dogs were a mistake,' she says, 'But that's OK, I'll survive it.' Bomer was involved with the cohort of mid-2000s US writing broadly characterised as 'alt lit', an irreverent internet vernacular-driven movement personified by Tao Lin. She published anonymously on the website HTML Giant and had her first novel, Nine Months, in a drawer for 10 years. Mark Doten of Soho Press picked it up in 2012. Since then she has been widely admired in the literary world for her transgressive, vivid work, which often examines women at points of great pressure from an uncanny perspective – her fans include Sam Lipsyte and Jonathan Franzen. This admiration has not yet fully broken through to a mainstream audience, but her new book looks set to do so. Bomer's latest novel, The Stalker, is all about the nastiest, most parasitic kind of survival. Its antihero, Robert Doughten Savile or 'Doughty', is the bearer of an entitlement so groundless and infinite that it obliterates anyone he approaches. Born to a once-wealthy Connecticut family but now without material means, he uses his charisma and total confidence to live in New York as he believes he deserves. He lies effortlessly, inventing lavish real estate deals while in fact whiling away his afternoons watching George Carlin specials, smoking crack in the park, and allowing older men to perform oral sex on him in Grand Central for a little extra cash. In the evenings, meanwhile, he is primed to identify and zone in on women who may prove useful. This is Doughty's great gift, knowing what a woman needs and what she will tolerate to get it, how his cruelty is best deployed or concealed. To nauseating effect, his skill escalates operatically as the book continues. It's a knockout novel, one I've passed around to friends, scenes from which I still feel a thrill of horror to recall. 'Originally I wanted him to be the devil,' she says. 'The actual devil, evil incarnate. But then I found myself humanising him. And I kind of regret it.' By the simple relentlessness of his presence, his unwillingness to allow the women enough space or thought to disengage from his influence, he comes to represent male intrusion on female life. 'On a daily basis, if you leave your building you are dealing with some shitty man spewing garbage,' she says. 'It wears on us, and that's why I have a problem with critics being weary of the survivor-victim thing: 'Oh just get over it, it's boring, you can be strong.' It's like, I did try that. I did that: 'I'm strong. I'm going to shoot pool with the guys.' Although, I really do like to shoot pool.' We derail here while she leads me to her office, pleasantly cluttered with paintings like the rest of the flat, so that she can show me her pool cue, which she has had since she was 19. I ask if she was good. 'You rank 'em out of six, I was a solid three. But on a good day I could beat a six.' We return to the question of victim fatigue, something that has been on my own mind lately, having just read a brilliant memoir called Trauma Plot by Jamie Hood, which exists partly in conversation with the cultural malaise around making art about having survived violence and abuse. Both Hood's book and Bomer refer to a New Yorker essay by Parul Sehgal titled The Case Against the Trauma Plot, which argues that overuse of trauma as a narrative device has led to constricted, rote work. Sehgal subsequently panned Sarah Manguso's autobiographical divorce novel, Liars, describing it as 'thin and partial', and asking: 'What is this vision of womanhood, of sexually indiscriminate infants running households?' Bomer, on the other hand, was so moved by Manguso's depiction of infidelity and the violence of being lied to that she wrote Manguso a fan letter (one of seven she has written in her life, Philip Roth and Franzen among recipients of the others). 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The Independent
33 minutes ago
- The Independent
Sean 'Diddy' Combs gets standing ovation from inmates after court victory, his lawyer says
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The Guardian
42 minutes ago
- The Guardian
The Guardian view on the BBC's future: the broadcaster's independence and funding face challenges
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