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Brianne Sidonie Desaulniers (born October 1, 1989), known professionally as Brie Larson, is an American actress. She played supporting roles in comedies as a teenager, and has since expanded to leading roles in independent films and blockbusters. Her accolades include an Academy Award, a Golden Globe Award, and a Primetime Emmy Award. Time magazine named her one of the 100 most influential people in the world in 2019.

Key Information

At age six, Larson was the youngest student admitted to a training program at the American Conservatory Theater, and she began her acting career in 1998 with a comedy sketch on The Tonight Show with Jay Leno. She appeared as a regular in the 2001 sitcom Raising Dad and briefly dabbled with a music career, releasing the album Finally Out of P.E. in 2005. She subsequently had supporting roles in the comedy films Hoot (2006), Scott Pilgrim vs. the World (2010), and 21 Jump Street (2012), and appeared as a sardonic teenager in the television series United States of Tara (2009–2011).

Her breakthrough came with a leading role in the independent drama Short Term 12 (2013), and she continued to take on supporting parts in the romance The Spectacular Now (2013) and the comedy Trainwreck (2015). For playing a kidnapping victim in the drama Room (2015), she won the Academy Award for Best Actress. The 2017 adventure film Kong: Skull Island marked her first big-budget release, after which she starred as Captain Marvel in the Marvel Cinematic Universe, beginning with Captain Marvel (2019). Larson has since starred in the miniseries Lessons in Chemistry (2023), for which she was nominated for a Primetime Emmy Award for Outstanding Lead Actress.

Larson has co-written and co-directed two short films, and made her feature film directorial debut with the independent comedy-drama Unicorn Store (2017). For producing the virtual reality series The Messy Truth VR Experience (2020), she won a Primetime Emmy Award for Outstanding Interactive Program. A gender equality activist and an advocate for sexual assault survivors, Larson is vocal about social and political issues.

Early life

[edit]
A picture of the Geary Theatre at the American Conservatory Theater in San Francisco
The American Conservatory Theater in San Francisco, where Larson was the youngest student admitted

Brianne Sidonie Desaulniers was born on October 1, 1989, in Sacramento, California to Heather (née Edwards) and Sylvain Desaulniers,[1][2] homeopathic chiropractors who ran a practice together. They have another daughter, Milaine.[3][4] Her father is Franco-Manitoban; French was Larson's first language.[5][6] She holds dual citizenship of Canada and the United States.[7] She was mostly home-schooled, which she believed allowed her to explore innovative and abstract experiences.[3][8][9] Describing her early life, Larson has said she was "strait-laced and square", and that she shared a close bond with her mother but was shy and had social anxiety.[3][8][10] During the summer, she wrote and directed her own home movies in which she cast her cousins, filmed in her garage.[11] At age six, she expressed interest in becoming an actress, later remarking that the "creative arts was just something that was always in me".[3][12] That same year, she auditioned for a training program at the American Conservatory Theater in San Francisco, where she became its youngest student.[4][13] She has said she wanted to become an actress after watching Jennifer Lopez in Selena (1997).[14]

Larson's parents divorced when she was aged seven.[13] She had a dysfunctional relationship with her father, saying: "As a kid I tried to understand him and understand the situation. But he didn't do himself any favors. I don't think he ever really wanted to be a parent."[13] Soon after their separation, Heather relocated to Los Angeles with her two daughters to fulfill Larson's acting ambition. They had limited financial means and lived in a small apartment near Hollywood studio lots at Burbank.[13] Larson described the experience, "We had a crappy one-room apartment where the bed came out of the wall and we each had three articles of clothing."[3] Even so, she has recounted fond memories of this period and credits her mother for doing the best she could for them.[15]

As her last name was difficult to pronounce, she adopted the stage name Larson from her Swedish great-grandmother, as well as an American Girl doll named Kirsten Larson that she received as a child.[12][16][17][18] Her first job was performing a commercial parody for Barbie, named "Malibu Mudslide Barbie", in a 1998 episode of The Tonight Show with Jay Leno.[2][8][19] She subsequently took on guest roles in several television series, including Touched by an Angel and Popular.[4] In 2000, she was cast in the Fox sitcom Schimmel, which was canceled before airing when its star, Robert Schimmel, was diagnosed with cancer.[20][21][22]

Career

[edit]

2001–2008: Early work and music career

[edit]

"I was so insecure and so hard on myself back then. But there was a moment when I started doing the math. It took me two hours to get ready every day—hair and makeup, so many clothes, trying to make sure everything matched really well—and I had this intense epiphany. I realized how much time I was spending getting ready for life—I wasn't actually living it. It was the most terrified I've ever been in my life. So I went in the exact opposite way."

—Larson recalling her early career, 2015[23]

Larson's first major role came as Emily, the younger daughter of Bob Saget's character, in the WB sitcom Raising Dad, which aired for one season during the 2001–02 television schedule.[24] Hal Boedeker of Orlando Sentinel criticized the program and wrote that its cast members were "merrily joking through the show".[25] She was next hired for the ABC sitcom Hope & Faith, but she and some other cast members were replaced after an unaired pilot.[26] In 2003, she starred alongside Beverley Mitchell in the Disney Channel film Right on Track, based on the junior drag race star sisters Erica and Courtney Enders, and played minor roles in the 2004 comedies Sleepover and 13 Going on 30.[27][28][29]

Larson developed an interest in music at age eleven when she learned to play the guitar. A music executive encouraged her to write her own songs, and she began self-recording and uploading tracks to her own website.[30][31] After failing to get cast as Wendy Darling in the 2003 film Peter Pan, Larson wrote and recorded a song titled "Invisible Girl", which received airplay on KIIS-FM.[15][19] She soon signed a record deal with Tommy Mottola of Casablanca Records; she and Lindsay Lohan were the only artists signed by the label at the time.[15][32][33] In 2005, she released the album Finally Out of P.E., for which she also co-wrote songs with other songwriters, including Blair Daly, Pam Sheyne, Lindy Robbins, and Holly Brook.[32][34] She titled it after a gym teacher she disliked and has said the songs she wrote were mostly about failed job opportunities.[19][34] One of her singles, "She Said", was featured on the MTV series Total Request Live, was listed by Billboard in their weekly listings of the most-played videos in the channel, and peaked at number 31 on the Billboard Hot Single Sales.[35][36][37] Larson went on tour with Jesse McCartney for Teen People's "Rock in Shop" mall concerts, opened for him during his Beautiful Soul tour, and also performed in New York City at the Macy's Thanksgiving Day Parade. Even so, the album was not a success, selling only 3,500 copies.[34][38][39] Larson later admitted to being disillusioned with her music career, saying, "I wanted to write all my own songs, and [the recording company] were afraid of that. I wanted to wear sneakers and play my guitar—they wanted heels and wind blown hair."[32]

In 2006, Larson was cast alongside Logan Lerman and Cody Linley in the comedy film Hoot, about young vigilantes trying to save a group of owls. It received poor reviews, but Ruthe Stein of the San Francisco Chronicle was appreciative of Larson and Linley for bringing "a dash of Indiana Jones to their roles".[40][41] She had a small part, the following year, in the Amber Heard-starring drama Remember the Daze, and she launched an arts and literature magazine, Bunnies and Traps, for which she wrote her own opinion columns and accepted submissions from other artists and writers.[31][42] Larson has said she frequently considered quitting acting at that point, as she found it difficult to find much work, blaming it on filmmakers' inability to typecast her.[4] She was particularly discouraged when she lost out on key roles in the films Thirteen (2003) and Juno (2007).[43] To support herself, Larson worked as a club DJ.[44]

2009–2014: Independent films and breakthrough

[edit]

In 2009, Larson began playing Kate Gregson, the sardonic teenage daughter of Toni Collette's character, coping with her mother's dissociative identity disorder, in the Showtime comedy-drama series United States of Tara. Portia Doubleday was initially cast in the role but was replaced with Larson after filming the pilot episode.[45] Reviewing the first season for The New York Times, Alessandra Stanley took note of how well Larson played a "real teenager" and Tim Goodman of the San Francisco Chronicle credited her for finding nuance in her role.[46][47] Larson has said that her character's journey to find meaning in life mirrored that of her own, and she was upset when the show was canceled after three seasons in 2011.[48][49] Also in 2009, she starred alongside Rooney Mara in Tanner Hall, a coming-of-age film about four girls in boarding school. Despite disliking the film, Betsy Sharkey of the Los Angeles Times commended Larson for providing "one of the film's funniest bits".[50] In her two other film releases that year, she played a scatterbrained cheerleader in House Broken and a popular high schooler in Just Peck.[51]

An upper body shot of a smiling Brie Larson
Larson at the London premiere of Scott Pilgrim vs. the World in 2010

At the Williamstown Theatre Festival in 2010, Larson appeared in a stage production of Thornton Wilder's play Our Town.[52] Directed by Nicholas Martin, it featured her in the role of Emily Webb, a precocious young girl. Reviewing the play for The Boston Globe, Louise Kennedy thought the production had glossed over the play's darker themes and bemoaned the lack of tragic arc in Larson's character.[53] In film, she featured in Noah Baumbach's comedy-drama Greenberg and Edgar Wright's comedy Scott Pilgrim vs. the World.[54][55] A journalist for Slant Magazine opined that these films helped raise her profile, and Larson has said the latter film, in which she played a rock star named Envy Adams, marked a turning point in her career.[3][56] In it, Larson performed the song "Black Sheep" with the band Metric.[57] Although it did not fare well commercially, Scott Pilgrim vs. the World has since developed a cult following.[58][59] She next played the troubled daughter of a corrupt cop (played by Woody Harrelson) in the drama Rampart (2011), an emotionally intense part she found herself unable to detach from.[60] A confrontation scene between Harrelson and her proved upsetting for her; the director was surprised by how well it turned out and tweaked the script to further explore the father-daughter relationship.[61][62]

In 2012, Larson expanded into filmmaking by co-writing and co-directing the short film The Arm with Jessie Ennis and Sarah Ramos. The film, about societal expectations in the near future, won a special jury prize at the Sundance Film Festival.[3][15][30] She featured as a seductive teenager in the critically panned drama The Trouble with Bliss,[63] after which she played Molly, a high school student, in 21 Jump Street, an adaptation of the 1980s police procedural television series, co-starring Jonah Hill and Channing Tatum. Larson found her acting style to be more rigid than Hill's approach and was challenged by scenes that required her to improvise with him.[64] Dana Stevens of Slate labeled Larson "a find of major proportions", adding that "she's not only beautiful but funny, with a scratchy contralto voice, and unlike the usual female in a buddy movie, she comes across as a real person".[65] With a worldwide gross of over $200 million, 21 Jump Street proved to be Larson's most widely seen film to that point.[66][67]

Brie Larson looks directly at the camera
Larson attending a screening of Don Jon at the 2013 South by Southwest

Following an appearance in the sitcom Community,[68] Larson collaborated with Dustin Bowser to co-write and co-direct Weighting (2013), a short film about a strained relationship, which was screened at South by Southwest.[60][69] Larson's breakthrough came in the same year when she starred in Destin Daniel Cretton's critically acclaimed independent drama Short Term 12, which marked the first leading role of her career.[6][70] Set in a group home for troubled teenagers, the film featured her as Grace, the emotionally distressed supervisor of the institution. To prepare, Larson interacted with staff in a children's home and watched online interviews of people with similar jobs.[71] The film had a production budget of under $1 million, and she was pleased with its intimate and collaborative work environment.[72][73] Larson's performance was acclaimed by critics.[74][75][76] Manohla Dargis of The New York Times found her "terrific" and "completely persuasive", and Ian Freer of Empire stated that she "builds into a whirling dervish of a performance, making Grace strong but scarred, damaged but compassionate".[77][78] Jenny McCartney of The Daily Telegraph predicted that it would "[mark] her out for a stellar career".[79] Larson received a nomination for the Independent Spirit Award for Best Female Lead; she later remarked that the film prompted directors to offer her a wide variety of parts, but she turned down roles of the unidimensional love interest.[43][80]

Also in 2013, Larson had supporting roles in two romantic dramas, Don Jon and The Spectacular Now. In the former, written and directed by Joseph Gordon-Levitt, she played the sister of Don Jon (played by Gordon-Levitt). Peter Travers of Rolling Stone praised the film's exploration of sexual themes and found Larson to be "terrific" in it.[81] In The Spectacular Now, starring Miles Teller and Shailene Woodley, she played Cassidy, the ex-girlfriend of Teller's character. Larson was drawn to the realism she found in the project's depiction of high school experiences.[72] Writing for New York magazine, David Edelstein called upon viewers to admire "the shading and intelligence she brings to Cassidy".[82] The 2014 crime drama The Gambler, based on the 1974 film of the same name, featured Larson as a literature student who has an affair with her professor (played by Mark Wahlberg), a gambling addict. The director Rupert Wyatt felt the role was underwritten and cast Larson to lend heft to it.[83] Even so, Claudia Puig of USA Today wrote that the "talented Larson is given little to do, other than react".[84]

2015–2019: Established actress

[edit]

Larson had three film releases in 2015. Her first appearance was in Digging for Fire, a largely improvised ensemble comedy-drama featuring Jake Johnson in the lead role. Filming took place without a script and Larson made several on-set decisions regarding her character's choices, including the removal of a planned romantic subplot involving her and Johnson.[85] She next played the sister of Amy Schumer's character in the comedy Trainwreck, which was loosely based on Schumer's own life. Larson modeled her role on Schumer's sister, who served as an associate producer on the film.[86][87] Tim Grierson of Screen International labeled the film "a deft blend of laughs, romance and poignancy" and found Larson to be "lively, [but] slightly underused".[88] Trainwreck grossed over $140 million against a $35 million budget.[89]

Larson then starred in Room, a film adaptation of Emma Donoghue's novel of the same name. It featured her as Ma, a young woman held in captivity, who bears a child of rape. The role proved physically and emotionally taxing for her, and she modeled it on her mother's struggle as a single parent.[15] A large portion of the film was shot inside a 10 ft × 10 ft shed created in a studio, and Larson prepared herself by spending a month isolated in her apartment.[30] She interacted with specialists on sexual abuse and researched the lack of nutrition that a person in captivity would suffer.[30] To achieve the look, she stayed away from sunlight, modified her diet, and exercised extensively to lose weight.[8] Larson collaborated closely with co-star Jacob Tremblay, who played her son, and spent time performing activities that mirrored those of their characters.[90] Room was critically acclaimed, with major emphasis on the performances of Larson and Tremblay.[91] Kenneth Turan of the Los Angeles Times called her performance "astonishing", stating that the "reality and preternatural commitment she brings to Ma is piercingly honest from start to finish, as scaldingly emotional a performance as anyone could wish for".[92] She won several awards, including the Academy Award for Best Actress, as well as a Golden Globe and BAFTA in the same category.[93]

An upper body shot of Brie Larson waving, facing left
Larson at the Japan premiere of Kong: Skull Island in 2017

Following the success of Room, Larson played a leading role in Free Fire (2016), an action-comedy about a shootout in a warehouse. She agreed to the project to call attention to gun violence.[94] Eric Kohn of IndieWire noted how different Larson's role was from that in Room and added that her "businesslike demeanor once again proves her ability to command a scene with a single glare".[95] Commercially, the film failed to recoup its $7 million investment.[96][97] She had filmed a part in Todd Solondz's comedy Wiener-Dog, but her scenes were deleted from the final cut as Solondz found her character inessential to the story.[98] The following year, Larson starred alongside Tom Hiddleston and Samuel L. Jackson in the second installment of the MonsterVerse franchise, entitled Kong: Skull Island. Shot in Vietnam, the film featured her as a photojournalist in the 1970s.[99] It marked her first mainstream big-budget release, and while she was glad to play a role not defined by her looks, she bemoaned the lack of female co-stars.[2][13] Ann Hornaday of The Washington Post praised the film's visual effects and remarked that "Larson manages to hold her own with very little to do".[100] Kong: Skull Island was a commercial success, grossing over $566 million worldwide.[66][101]

Later in 2017, Larson portrayed Jeannette Walls in The Glass Castle, an adaptation of Walls' memoir, which reunited her with Destin Daniel Cretton. It tells the story of a young woman's relationship with her nonconformist parents (played by Woody Harrelson and Naomi Watts).[102] Larson was drawn to the complex depiction of a parent-child relationship and identified with its theme of forgiveness. She collaborated closely with Walls and her siblings and observed their mannerisms.[103] Peter Bradshaw of The Guardian disliked the film's sentimentality but noted that "it is saved, just a little, by the robustness of Brie Larson's presence".[104] Also poorly received was the India-set musical romance Basmati Blues, a project she had filmed in 2013, which received criticism on social media for its white savior narrative.[105][106] The 2017 Toronto International Film Festival marked the release of Larson's feature film directorial debut, the comedy-drama Unicorn Store, in which she also starred.[107] It was later picked for digital distribution by Netflix in 2019.[108] She played a disillusioned art student fascinated with unicorns. Larson had unsuccessfully auditioned in 2012 to star in the film when Miguel Arteta was attached to direct. After the production was stalled, Larson was offered to direct and star in it.[109] She was drawn to the fanciful narrative and found a connection between her character's journey and her experience as a director.[110] David Ehrlich of IndieWire disliked the film but took note of Larson's potential as a filmmaker.[111]

Larson promoting Captain Marvel in 2019

After a year-long absence from the screen, Larson starred as Carol Danvers / Captain Marvel in the Marvel Cinematic Universe superhero film Captain Marvel (2019), which marked Marvel Studios' first female-led film.[112][113] She was initially skeptical about taking on such a high-profile role, but later accepted the part after viewing it as a platform to empower young women and found a connection with the character's flaws and humanity.[2][114] In preparation, she underwent nine months of judo, boxing and wrestling training, and interacted with service personnel at the Nellis Air Force Base.[115][116][117] Stephanie Zacharek of Time wrote that "Larson, a perceptive, low-key actor, carries the whole affair capably" and took note of how much she stood out in the film's quieter moments; David Sims of The Atlantic bemoaned the lack of depth in her role, but credited the actress for effectively portraying her character's struggle for independence from authoritarian men.[118][119] Larson reprised her role in Avengers: Endgame, which she had filmed before Captain Marvel.[120] Endgame grossed $2.79 billion worldwide to briefly become the highest-grossing film of all time, and Captain Marvel became the first female-led superhero film to gross over $1 billion worldwide.[121][122]

Also in 2019, Larson teamed with Destin Daniel Cretton for the third time in Just Mercy, based on Bryan Stevenson's memoir about death row inmate Walter McMillian's wrongful conviction, starring Michael B. Jordan and Jamie Foxx. She agreed to take on the supporting part of Eva Ansley, an advocate for the Equal Justice Initiative, to lend her support to Cretton's storytelling.[123] Owen Gleiberman of Variety took note of how well she channeled her character's "antsy, cigarette-smoking defensiveness."[124]

2020–present: Brief hiatus and career expansion

[edit]

During the COVID-19 pandemic, Larson took a break from acting, stating that the roles she was being offered were variations of the one she played in Room. Feeling the need to recalibrate, she instead focused on personal interests such as podcasting and vlogging.[125] In 2020, she produced and appeared in an episode of The Messy Truth VR Experience, a virtual reality series created by Van Jones, for which they won the Primetime Emmy Award for Outstanding Original Interactive Program.[126][127] In 2022, Larson reprised her role as Captain Marvel for the Disneyland Paris theme park ride Avengers Assemble: Flight Force and the Disney Wish cruise ship ride Avengers: Quantum Encounter.[128][129] She collaborated with Disney+ on two projects. She created, directed and hosted the docuseries Growing Up and starred in the augmented reality short film Remembering.[130] She also featured as the character Paradigm in the online video game Fortnite Battle Royale.[131]

After a three-year hiatus, Larson returned to acting in the action film Fast X (2023), which marked the tenth installment of the Fast & Furious series.[125] Paste's Kevin Fox Jr. opined that she "shines when on screen, but feels wasted in a surprisingly small role".[132] Larson once again played Captain Marvel in the superhero sequel The Marvels.[133] It received mixed reviews from critics;[134] its receipts were far less than those of Captain Marvel, and it emerged as a box-office bomb.[135] She briefly voiced her role as Envy Adams in the animated series Scott Pilgrim Takes Off.[136] Larson also served as the guest narrator at the 2023 Disney's Candlelight Processional at Disneyland.[137]

Larson hired producer Lee Eisenberg to develop Lessons in Chemistry, an adaptation of Bonnie Garmus's novel of the same name.[138] The miniseries, which released on Apple TV+ in 2023, is about chemist Elizabeth Zott who begins hosting a feminist cooking show in 1960s America.[139] Serving as an executive producer, Larson spent two years working on the project, and was pleased by the rare opportunity to prepare for her character while the crew developed the show.[140] Slant Magazine's Ross McIndoe took note of Larson's "commanding presence" and appreciated her ability to not turn Zott into a "caricature".[141] She received nominations for the Primetime Emmy Award for Outstanding Lead Actress and Golden Globe Award for Best Actress – Miniseries.[142][143]

Larson made her West End debut in 2025 at the Duke of York's Theatre in Anne Carson's translation of the Sophocles play Elektra.[144] To play the title role of the vengeful Elektra, she got a buzz cut.[145] She said that she accepted the opportunity to engage with "audiences who are not on their phones".[146] Evening Standard's Tim Bano dismissed the production as an "impenetrable slog", but was appreciative of Larson for "bringing layers of bitterness, resentment and desperation to the lines".[147] Writing for The New York Times, Houman Barekat was more critical, writing, "Larson, for all her energy, has a weirdly perfunctory, one-note intensity".[148]In 2025, Larson released a cook book titled Party People: A Cook Book for Creative Celebrations co-authored with Courtney McBroom. [149]In December 2025, Larson will be a celebrity guest narrator at the Walt Disney World Candlelight Processional.[150]

Advocacy

[edit]

Larson is a gender equality activist and an advocate for sexual assault survivors.[151] She has used her celebrity to speak out on social and political issues, asserting in 2018, "I'd put it all on the line and be an activist for the rest of my life because it doesn't feel right to me to be quiet."[152][153][154] By 2025, Larson became less assertive in expressing such opinions, declining to engage in these topics.[146]

A head shot of Brie Larson as she looks away from the camera
Larson at the Crystal + Lucy Awards in 2018

At the 89th Academy Awards, she presented Casey Affleck with the award for Best Actor; she hugged him but did not clap for him during a standing ovation from the audience. When asked if accusations of sexual harassment against Affleck made her do so, she said that her action "spoke for itself".[153] In 2018, Larson collaborated with 300 women in Hollywood to set up the Time's Up initiative to protect women from harassment and discrimination.[155] Later, at the 2023 Cannes Film Festival, where she served as a jury member, she evaded questions on Johnny Depp, whose film Jeanne du Barry was premiering at the festival, and who was accused of abuse by his ex-wife Amber Heard.[156]

In 2014, Larson teamed with Alia Penner to launch Women of Cinefamily, a monthly program to call attention to films directed by and starring women, for the nonprofit cinematheque Cinefamily, in which Larson served as an advisory board member.[8][157] In the wake of sexual assault allegations against two of the company's male executives, she released a statement in support of the victims and calling for action to be taken against the men.[158][159] Larson joined the Academy of Motion Picture Arts and Sciences in 2016, and was later among the finalists for the organization's board of governors.[160][161] In 2017, she was one of several celebrities to raise funds for the Motion Picture & Television Fund, a charity that offers assistance to elderly members of the industry, and co-hosted an event for the Women in Film organization, during which she urged filmmakers to be vocal against Donald Trump's presidency.[162][163] She took part in the Women's March on Washington and condemned Trump's policies on transgender rights.[164][165]

At the 2018 Women in Film Crystal + Lucy Awards, where she was honored, Larson bemoaned the lack of diversity among film reporters and called for better representation of minority voices in film criticism.[166] She announced a twenty-percent quota for underrepresented journalists at the Sundance and Toronto International Film Festivals.[167] Also in 2018, she became one of the first actors to incorporate an inclusion rider provision in her film and press junket contracts.[114] In a 2019 interview, she remarked upon diversity among film critics and journalists, finding them to be "overwhelmingly white male", and supported diversity in the industry.[168] This comment led to trolling and review bombing of the Captain Marvel page on Rotten Tomatoes.[169][170] In 2019, she guest-edited an issue of Stylist magazine and used the platform to bring attention to diversity and social inclusion.[171] At the Women in the World Annual Summit, she spoke out against the gender pay gap in Hollywood.[172] Also in 2019, Variety honored Larson for her work with the Equal Justice Initiative.[173] In 2020, she endorsed the "defund the police" movement.[174]

Personal life and media image

[edit]
A side shot of Larson as she poses for the camera
Larson at the 2019 Toronto International Film Festival

Larson is reticent to discuss her personal life, and refuses in interviews to answer questions that make her uncomfortable.[4][8] On her desire to be private, she has said she fears being judged for her flaws, and that the privacy allows her to play a wide variety of roles without being typecast.[23][94]

Larson began dating Alex Greenwald, lead singer of the band Phantom Planet, in 2013; the couple were engaged from 2016 to 2019.[23][175][176][177][178] They had lived together in the Hollywood Hills neighborhood of Los Angeles.[2] She credited Greenwald for creating a safe space for her and for empowering her to take risks in her work.[179] In 2019, Larson was in a relationship with actor-filmmaker Elijah Allan-Blitz.[180] In 2023, she stated that she was single.[125][181]

Describing Larson's off-screen persona, Holly Millea of Elle wrote in 2016 that she "carries herself like an athlete, lean and solid, surefooted [and] yet her energy is warm and familial, literally embracing".[13] The writer Anne Helen Petersen finds her to be "incredibly warm" and adds that she is "a serious nerd, with the endlessly tunneling knowledge of a homeschooler".[23] Jennifer Dickison of Porter states that Larson's "fully formed" personality made it difficult to categorize her into a conventional slot.[182] The Daily Telegraph's Claire Allfree wrote in 2025 that Larson can quickly transform from being friendly to "prickly and unresponsive".[146]

Larson has said she is interested in films that illustrate the "human condition" and which "make people feel more connected to themselves [and] the rest of the world".[152] She is drawn to roles that differ from her own personality and which involve themes of social activism.[94][183] Fan Zhong of W magazine has identified a theme of "sex appeal, inner torment, and a quick, playful wit" in her characters, while Allfree believes that she specializes in roles that are "marked by an unmistakable grit".[146][184] Lenny Abrahamson, who directed Larson in Room, believes that her craft has "none of that showy intensity that sometimes gets all the attention" and has said that her "awareness of tougher lives" empowers her performances.[13] Destin Daniel Cretton, who directed her in Short Term 12 and The Glass Castle, has praised her ability to improvise, stating, "I never know what's going to happen, and often she doesn't know what's going to happen."[13]

Larson maintains an active social media presence and uses it as a platform to share opinions and posts that she writes herself.[2][152][needs update] In 2020, she started her own YouTube channel.[185] She also hosted a podcast named Learning Lots alongside actress Jessie Ennis.[125] Larson was featured by Forbes in their 30 Under 30 list of 2016 and was included by People in their annual beauty list in 2016 and 2019.[186][187][188] In 2018, she was named among the best American actors under 30 by IndieWire.[189] In 2019, Madame Tussauds New York unveiled a wax statue of Larson as Captain Marvel.[190] In the same year, Time magazine named her one of the 100 most influential people in the world.[191]

Acting credits and awards

[edit]
Main articles: List of Brie Larson performances and List of awards and nominations received by Brie Larson

According to the review aggregator site Rotten Tomatoes, Larson's most critically acclaimed films include Scott Pilgrim vs. the World (2010), 21 Jump Street (2012), Short Term 12 (2013), Don Jon (2013), The Spectacular Now (2013), Trainwreck (2015), Room (2015), Kong: Skull Island (2017), Captain Marvel (2019), and Avengers: Endgame (2019).[192]

Larson has received an Academy Award, a Golden Globe Award, a Screen Actors Guild Award, and a British Academy Film Award, among other accolades, for her performance in Room.[193][194][195][196] She also won the Primetime Emmy Award for Outstanding Original Interactive Program for producing the virtual reality series The Messy Truth VR Experience (2020).[127]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Brie Larson

View on Grokipedia
from Grokipedia
Brianne Sidonie Desaulniers (born October 1, 1989), known professionally as , is an American , filmmaker, and occasional . Her career began with child acting roles in television and film, transitioning to supporting parts in comedies like (2010) and (2012). She achieved critical breakthrough with dramatic indie roles, particularly as a counselor in (2013) and a captive in (2015), the latter earning her the , along with a Golden Globe, BAFTA, and Award. Larson attained commercial prominence portraying /Captain Marvel in the , debuting in Captain Marvel (2019), which grossed over $1.1 billion worldwide, and reprising the role in subsequent films including Avengers: Endgame (2019) and (2023). She has expanded into directing with (2017) and producing, winning a Primetime Emmy Award for the series The Messy Truth VR Experience (2020), and earning an Emmy nomination for her lead role in the Apple TV+ series Lessons in Chemistry (2023). Larson has drawn controversy for advocating greater demographic diversity among film critics, citing data showing a heavy skew toward white males among top reviewers, which prompted accusations from critics of seeking to marginalize established voices and fueled organized online backlash, including pre-release review bombing of Captain Marvel on platforms like .

Early Life

Upbringing and Family Background

Brianne Sidonie Desaulniers, professionally known as Brie Larson, was born on October 1, 1989, in , to Heather and Sylvain Desaulniers, a couple who operated a shared practice focused on homeopathic methods. Her father, of French-Canadian descent from , spoke French as his primary language, which became Larson's in early childhood. The family included a younger sister, Milaine Desaulniers, born in 1993. Larson's parents divorced when she was seven years old, after which she and her sister were raised primarily by their mother in a single-parent household. The family relocated from Sacramento to Los Angeles shortly thereafter to support Larson's nascent interest in acting, settling into modest circumstances including a small studio apartment where the three shared living space and basic meals. Her mother played a central role in facilitating this transition, managing the household while encouraging her daughter's pursuits despite financial constraints. Larson was homeschooled throughout much of her upbringing, a arrangement aligned with the demands of her early involvement rather than traditional schooling. At the age of six, she became the youngest student ever admitted to a drama training program at the in , marking her initial structured exposure to theater through local stage work. This early immersion, bolstered by her mother's logistical support including drives to auditions and classes, laid the groundwork for her development amid the challenges of family disruption and relocation.

Career

Early Roles and Musical Pursuits (2001–2008)

Larson secured her first major acting role in the WB sitcom , which premiered on September 28, 2001, portraying , the younger daughter of widowed father Matt Stewart (played by ). The series, centered on a single father's attempts to navigate life with his teenage daughters, aired 22 episodes over one season before cancellation in 2002. She also had a minor appearance earlier that year in the sports drama Madison (2001), released on October 26, as one of the racing girls. Transitioning to film, Larson took on small supporting parts in teen comedies, including (2004), where she played Liz, a character in a group of friends competing in a to boost their . That same year, she appeared in (2004), released April 23, as one of the "Six Chicks," a clique of . In 2006, she featured in the family comedy Hoot, directed by and adapted from Carl Hiaasen's novel about environmental against development threatening burrowing ; the film, co-starring , grossed $8.2 million worldwide upon its May 5 release. Amid these acting pursuits, Larson explored , self-producing and releasing her debut Finally Out of P.E. on October 18, 2005, via under . The 13-track effort, recorded when she was 15, drew from her high school experiences with themes of adolescent frustration and empowerment, though it garnered minimal commercial traction and no chart success. This period highlighted her foundational efforts in both fields, often limited to age-appropriate teen characters amid frequent auditions.

Breakthrough in Independent Cinema (2009–2014)

In 2010, Larson appeared in supporting roles that highlighted her versatility in independent and genre films. She portrayed Sara, the niece of the protagonist played by , in Noah Baumbach's comedy-drama Greenberg, a production centered on personal stagnation and relationships. That same year, she played Envy Adams, the ex-girlfriend of the lead character and frontwoman of a fictional band, in Edgar Wright's action-comedy , where she performed the song "" in a scene depicting a concert confrontation. These parts, though secondary, allowed Larson to demonstrate comedic timing and musical ability amid ensembles featuring established actors. Larson's pivotal breakthrough arrived with the lead role of Grace, a compassionate yet haunted supervisor at a foster care facility, in the 2013 independent drama Short Term 12, directed by on a modest budget. The film, which premiered at and received wide distribution via Cinedigm, earned widespread critical praise for its raw depiction of trauma and resilience, holding a 98% approval rating on based on 174 reviews. Reviewers lauded Larson's performance as Grace for its emotional depth and restraint, with Ebert's site awarding it 3.5 out of 4 stars and noting her ability to convey vulnerability without sentimentality. This role marked her shift toward dramatic leads, garnering nominations for Independent Spirit and , though it was overlooked for major recognition despite its influence on her career trajectory. By 2014, Larson expanded her range in higher-profile independent-leaning projects. In Rupert Wyatt's The Gambler, a Paramount remake of the 1974 film, she played Amy Phillips, a student entangled with a gambling-addicted professor portrayed by Mark Wahlberg, contributing to the thriller's exploration of risk and morality. She followed with the role of Kim, the grounded sister to Amy Schumer's protagonist, in Judd Apatow's comedy Trainwreck, blending familial tension with humor in a Universal Pictures release that showcased her in ensemble dynamics. These performances solidified her reputation for adaptability across drama and comedy. The period culminated in principal photography for Room in 2014, where Larson starred as "Ma," a mother imprisoned with her young son, a role that premiered in 2015 and earned her the Academy Award for Best Actress at the 88th Oscars in 2016 for its unflinching portrayal of captivity and recovery.

Mainstream Recognition and Superhero Role (2015–2019)

Following her Oscar-winning role in Room (2015), Larson expanded into mainstream blockbusters. In 2017, she portrayed Mason Weaver, an anti-war photographer and animal rights activist, in Kong: Skull Island, directed by Jordan Vogt-Roberts and released on March 10, 2017. The film, part of Legendary Pictures' MonsterVerse, grossed $566 million worldwide on a $185 million budget, marking Larson's entry into high-grossing action fare. That same year, she starred as Jeannette Walls in the drama The Glass Castle, an adaptation of Walls' memoir about her unconventional upbringing, released on August 11, 2017, and directed by Destin Daniel Cretton. The project highlighted Larson's dramatic range in a family-centric narrative but underperformed commercially, earning $22.8 million against a $9 million budget. Larson's superhero breakthrough came with her casting as , aka Captain Marvel, announced by on July 23, 2016, at . To embody the character's physicality, Larson committed to a nine-month regimen emphasizing strength conditioning, , and under trainer Jason Walsh, enabling her to perform many stunts and achieve measurable gains in power output, such as deadlifting over 200 pounds. Captain Marvel, directed by and released on March 8, 2019, grossed $1.131 billion worldwide on a $160 million budget, becoming the first female-led film to surpass $1 billion. Later that year, Larson reprised the role in Avengers: Endgame (April 26, 2019), contributing to the ensemble's battle sequences in a film that earned $2.799 billion globally, the highest-grossing film at the time.) These roles solidified her as a draw, with combined MCU earnings exceeding $3.9 billion during the period.

Expansion and Challenges (2020–present)

In November 2023, Larson reprised her role as /Captain Marvel in , a (MCU) film directed by that faced production challenges including script revisions and behind-the-scenes changes, ultimately grossing $206 million worldwide against a reported budget exceeding $220 million, the lowest for any MCU entry amid franchise-wide audience fatigue. The same year, Larson starred as chemist Elizabeth Zott in the Apple TV+ miniseries Lessons in Chemistry, based on Bonnie Garmus's novel, where she also executive produced; the eight-episode series premiered on October 13, 2023, earning her a Primetime Emmy nomination for Outstanding Lead Actress in a Limited or or Movie. Larson appeared in a supporting capacity in the action film (May 2023), playing a mysterious operative alongside Vin Diesel's . Marking a return to theater, Larson debuted on the West End in January 2025 as Elektra in Daniel Fish's production of ' tragedy, translated by , at the ; previews began January 24, with the official opening on February 5 and run concluding April 12. In October 2025, Larson co-authored Party People: A Cookbook for Creative Celebrations with Courtney McBroom, offering 100 recipes and hosting tips drawn from personal experiences, expanding her pursuits into culinary . Larson's MCU trajectory remains uncertain; in 2025 interviews, she provided evasive responses to questions about returning as Captain Marvel in Avengers: Doomsday (2026), and sources reported her exclusion from the film's cast, signaling potential reduced prominence amid MCU restructuring under new leadership.

Activism and Public Stance

Feminist and Industry Advocacy

In June 2018, Larson advocated for increased diversity among film critics during her acceptance speech for the Crystal Award for Excellence in Film at the Crystal + Lucy Awards, highlighting data from the USC Annenberg Inclusion Initiative indicating that film critics were approximately 75 percent white and overwhelmingly male. She announced that film festivals including Sundance and the would allocate 20 percent of press credentials to underrepresented critics to address this imbalance. Larson emphasized the importance of perspectives from women and people of color in reviewing films like , stating she did not wish to hear primarily from "40-year-old white dudes" on such stories. Larson has promoted greater inclusion of female-led narratives in Hollywood, arguing in 2019 interviews that producing female-fronted films requires off-screen efforts such as hiring diverse crews and directors to achieve meaningful representation. She expressed support for expanding female representation in genres, noting in April 2019 that while Captain Marvel succeeded as a female-led project, the broader needed more diverse characters and stories beyond a single focus on white women. From 2018 onward, Larson participated in the Time's Up movement, serving on its and attending events to advance in . She voiced support for the #MeToo initiative, publicly affirming belief in victims of and in social media statements and industry panels. In 2022, Larson executive produced the Disney+ docuseries Growing Up, a hybrid documentary exploring coming-of-age experiences among diverse young individuals aged 18 to 22, using narrative and experimental formats to highlight varied personal stories and challenges. The series aimed to provide representation for underrepresented voices in media.

Criticisms of Advocacy Efforts

Larson's 2018 comments advocating for greater diversity among critics, including a call to include fewer white male reviewers to better represent audience demographics, drew accusations of undermining merit-based and alienating traditional filmgoers, particularly male fans who felt their perspectives were being invalidated. These remarks, made during promotions for Captain Marvel, were interpreted by detractors as prioritizing identity over expertise, contributing to pre-release review-bombing campaigns on platforms like , where the film's audience score dipped to 36% amid coordinated negative input. While Rotten Tomatoes adjusted policies to curb such activity, critics argued the backlash stemmed from genuine frustration with perceived dismissals of core audience feedback rather than mere . The marketing of Captain Marvel (2019), emphasizing themes of female empowerment amid Larson's advocacy, fueled boycotts and memes portraying the film as "" propaganda, with online discourse highlighting her statements as exclusionary toward male viewers. Despite grossing $1.1 billion worldwide, the project faced lower engagement from traditional Marvel fans compared to predecessors like ($2.05 billion), evidenced by polarized social media metrics and sustained review-bombing on . This pattern escalated with (2023), which opened to a record-low $47 million domestically—the worst MCU debut—and totaled $206 million globally against a $270 million budget, with analysts linking the flop to "superhero fatigue" compounded by audience exhaustion from repeated emphasis on female-led narratives perceived as agenda-driven. Accusations of selective advocacy surfaced, with critics pointing to inconsistencies such as Larson's silence on male-led successes or industry issues not aligning with feminist priorities, exemplified by her avoidance of questions on cases like Johnny Depp's amid #MeToo scrutiny. In a February 2025 , Larson deflected inquiries framing backlash against her role as rooted in , stating she would not engage such characterizations, which opponents viewed as evading accountability for alienating fans through prior rhetoric. Overall, these efforts correlated with diminished metrics for her MCU appearances, including The Marvels' 79% second-weekend drop—the steepest for any —suggesting causal ties to eroded trust among comic enthusiasts who prioritize story merit over representational mandates.

Personal Life

Relationships and Private Interests

Larson dated musician , frontman of , from 2013 until their engagement ended in January 2019; the pair had become engaged in May 2016 after several years together. She has one younger sister, Milaine Desaulniers, born in 1993, with whom she shares a close familial bond but discloses little publicly. In her private life, Larson has adopted dogs, including Six-Thirty in 2023—a name the dog reportedly selected himself from options tested during —and in October 2024, expanding her pet family to two. She prioritizes , as evidenced by her involvement in promotions. Larson pursues fitness through routines incorporating , bodyweight exercises, and elements, which she has maintained beyond professional demands. Her interest in cooking culminated in co-authoring the 2025 cookbook with culinary expert Courtney McBroom, featuring 100 recipes focused on hosting gatherings. She enjoys travel, including a September 2025 getaway to , , where she paddleboarded and snorkeled. Overall, Larson emphasizes in her personal affairs, sharing select details sparingly via or interviews.

Public Image and Controversies

Media Reception and Achievements

Larson's performance in the 2013 independent drama garnered critical acclaim for its emotional depth, earning her the Gotham Independent Film Award for Breakthrough Actress and recognition at festivals including SXSW's Grand Jury and Audience Awards. Her role as a counselor in a facility demonstrated a nuanced ability to convey vulnerability and resilience, contributing to the film's certification as a breakthrough for its director and cast. In (2015), Larson's depiction of a captive mother protecting her son from trauma received widespread praise for its raw intensity and psychological authenticity, culminating in her winning the on February 28, 2016, along with a Golden Globe and BAFTA in the same category. These accolades affirmed her capacity for transformative dramatic work, with reviewers noting the performance's balance of quiet despair and fierce maternal drive as pivotal to the film's success. The 2019 release of Captain Marvel marked a commercial pinnacle, with the film grossing over $1 billion worldwide and opening to $153 million domestically, establishing Larson as a leading figure in the and underscoring her appeal in high-stakes action roles. This success highlighted her transition from intimate indie projects to blockbuster franchises, where her portrayal of combined physical prowess with character-driven authority. Larson's versatility extended to theater in 2025, with her West End debut as Elektra in ' tragedy at the earning commendation for a concentrated and fearless central performance that invigorated the classical text. That year, Time magazine included her in its 100 Most Influential People list, citing her cultural impact through advocacy for diverse representation in film alongside her on-screen achievements.

Backlash from Fans and Critics

The trailer for Captain Marvel (2019) received over one million dislikes on within days of its release, a record at the time that fans and observers linked to Larson's pre-film interviews, where she expressed desires for more diverse media critics and critiqued the demographics of , comments interpreted by some as arrogant or exclusionary toward existing audiences. Pre-release review-bombing on further amplified this, causing the verified audience score to plummet from 96% to 54% amid coordinated low ratings from users who had not seen the , prompting the site to adjust policies to curb such activity. Fans and online commentators have frequently criticized Larson's on-screen presence in the as wooden and uncharismatic, pointing to a perceived lack of emotional range and stiffness in delivering lines during high-stakes scenes, such as combat sequences where her portrayal of appeared detached or overly stoic. These critiques extended to (2023), where audience metrics reflected dissatisfaction; while ' overall audience score hovered around 81%, verified audience ratings and post-release discussions emphasized recurring complaints about her lead performance contributing to the film's narrative disjointedness and failure to engage viewers emotionally. Debates over the backlash often center on whether criticisms stem primarily from misogyny or substantive issues like acting choices and public persona; proponents of the former, including some media outlets, frame opposition as toxic targeting of female-led projects, yet fan analyses argue this overlooks verifiable performance flaws and interview moments where Larson appeared evasive or dismissive of audience feedback, such as downplaying concerns about representation in favor of broader industry critiques. In a February 2025 interview, Larson responded evasively to questions about ongoing Marvel fan hate, redirecting without addressing non-gender-based critiques of her role's execution or box office underperformance. This divisiveness has reportedly influenced her MCU trajectory, with Larson absent from the July 2024 announcement of Avengers: Doomsday's 27-actor ensemble promo despite her established role, fueling speculation—echoed in her own ambiguous 2025 statements—that studios are sidelining her character to mitigate fan alienation following flops like , which grossed under $200 million worldwide against a $270 million budget.

Accolades

Major Awards and Nominations

Larson garnered widespread critical acclaim for her role as Joy "Ma" Newsome in (2015), earning the at the ceremony on February 28, 2016. This performance also secured her the Golden Globe Award for in a Motion Picture – Drama at the on January 10, 2016. Additionally, she received the BAFTA Award for in a Leading Role at the on February 14, 2016. Beyond , Larson's producing work on the virtual reality series The Messy Truth VR Experience (2020) earned her a Primetime Emmy Award for Outstanding Nonfiction Special in 2020. In recognition of her starring role as Elizabeth Zott in the Apple TV+ series Lessons in Chemistry (2023), she received a nomination for the Golden Globe Award for Best Performance by a Female Actor in a Limited Series, Anthology Series, or Motion Picture Made for Television at the in 2024.
YearAwardCategoryWorkResult
2016Won
2016 in a Motion Picture – DramaWon
2016BAFTA AwardsBest Actress in a Leading RoleWon
2020Outstanding Nonfiction Special (as producer)The Messy Truth VR ExperienceWon
2024 in a Limited Series, Anthology Series, or Motion Picture Made for TelevisionLessons in ChemistryNominated

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