Aubrey Plaza says grief after husband Jeff Baena suicide feels like a giant ocean of awfulness
The White Lotus and Parks and Recreation star shares emotional details of loss, friendship and finding resilience in her first interview since Baena’s death.
Aubrey Plaza speaks for the first time about the death of husband Jeff Baena
Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
• Aubrey Plaza speaks for the first time about husband Jeff Baena’s death. • The actor compares her grief to an “ocean of awfulness.” • Plaza describes coping as “a daily struggle” but says she feels grateful. • Baena, a filmmaker, died by suicide in January aged 47.
Aubrey Plaza has opened up for the first time about the death of her husband Jeff Baena, describing her grief as “a giant ocean of awfulness.” Speaking on Amy Poehler’s podcast Good Hang, the White Lotus star shared how the director’s suicide has left her navigating life one day at a time. Plaza, who starred in several of Baena’s films, admitted that although she is functioning, it remains “a daily struggle, obviously.”
Aubrey Plaza speaks for the first time about the death of husband Jeff Baena Getty Images
What did Aubrey Plaza say about her grief?
Plaza told her longtime friend and Parks and Recreation co-star Poehler that she is learning to live with loss in real time. “Right in this very, very present moment, I feel happy to be with you,” she said. “Overall, I’m here and I’m functioning. I feel really grateful to be moving through the world. I think I’m OK, but it’s like a daily struggle, obviously.”
She then used a striking analogy from the 2025 sci-fi film The Gorge to explain her feelings. “In the movie there’s a cliff on one side and a cliff on the other, and a gorge in between filled with monster people trying to get them. I swear when I watched it, I was like: that’s what grief feels like. At all times there’s a giant ocean of awfulness that’s right there, and I can see it. Sometimes I just want to dive into it and be in it. Sometimes I just look at it. Sometimes I try to get away from it. But it’s always there.”
Her candid words have resonated with listeners who have experienced bereavement, with many praising her ability to put into words the constant presence of grief.
Aubrey Plaza says grief feels like a “giant ocean of awfulness.”Getty Images
Who was Jeff Baena?
Jeff Baena was a screenwriter and director known for offbeat comedies. He co-wrote I Heart Huckabees with David O. Russell and later made films including Life After Beth, The Little Hours, and Spin Me Round, all of which featured Plaza in leading roles. Critics described his films as “enjoyably twisted,” and his work attracted a loyal following in independent cinema.
Baena died by suicide at his Los Angeles home on 3 January 2025. He was 47. At the time, a joint statement from Plaza and his family called his death “an unimaginable tragedy” and asked for privacy. The couple had been together since 2011 and married in 2021.
Jeff Baena suicide leaves Aubrey Plaza facing ocean of awfulness and daily struggleGetty Images
How has Aubrey Plaza coped since her husband’s death?
Plaza has largely stayed out of the spotlight in the months since Baena’s death, apart from a short Instagram tribute. Speaking to Poehler, she admitted that coping has been uneven. “Sometimes I feel grateful, sometimes I just feel like I’m drowning,” she said, adding that support from close friends and her dog Frankie has helped her through the darkest moments.
Her openness on the podcast marks the first time she has publicly discussed her husband’s death in detail. Fans online have responded with messages of support, many sharing how her words made them feel less alone in their own experiences of loss.
Fans praised Aubrey Plaza for her honesty and bravery in speaking about grief.Getty Images
What is next for Aubrey Plaza?
Despite her personal tragedy, Plaza continues to work. She can next be seen in Ethan Coen’s upcoming comedy Honey Don’t, alongside Margaret Qualley. Her recent projects include the Marvel series Agatha All Along and a Golden Globe-nominated performance in season two of The White Lotus.
While she admits each day remains a test, Plaza said she feels determined to keep moving forward. “Overall, I’m here and I’m functioning,” she repeated. “I feel really grateful to be moving through the world.”
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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