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Goldman was raised in a liberal, middle-class family in north London, the only child of a Jewish father and a Buddhist mother. She attended the King Alfred School, an independent school in Hampstead, until the age of 15 before moving to the United States to follow Boy George on tour.[2] Upon her return to the UK, she took a job as an entertainment reporter with the Daily Star. When she was 16, she met TV presenter Jonathan Ross. They married in 1988, when Goldman was 18 years old. The couple have three children: two daughters and a son.[3]
Between 2003 and 2004 she had her own television series. Jane Goldman Investigates researched the paranormal and was transmitted by channel Living between 2003 and 2004.[8] Goldman is also in the production teams of a number of TV shows, such as The Big Fat Quiz of the Year.[9][10]
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She made the jump to screenwriting, and was part of the writing team for David Baddiel's short-lived sitcom Baddiel's Syndrome, in 2001. Later, she co-wrote the screenplay of Stardust (2007), based on the novel of the same name by Neil Gaiman and directed by Matthew Vaughn. Gaiman introduced Goldman to Vaughn to provide the director some help with the adaptation process. The film received many accolades[12][13] and gave the screenwriters a Hugo Award for Best Dramatic Presentation, Long Form.
After Stardust, Goldman became a frequent collaborator of Vaughn. In a 2011 interview, the writer said that when she works with the director she does the "construction work" and the "interior designing" while Vaughn acts as the "architect."[14] Goldman co-wrote his next films, the comic-book adaptations Kick-Ass (2010) and X-Men: First Class (2011). Both films won strong praise amongst film critics. Kick-Ass nowadays has a cult following, while X-Men: First Class is considered by many critics to be one of the best of all X-Men franchise. Rotten Tomatoes consensus says: "With a strong script, stylish direction, and powerful performances from its well-rounded cast, X-Men: First Class is a welcome return to form for the franchise."[15][16][17][18] Goldman has described the film as an "alternate history" for the X-Men, saying that while rebooting, the writers did not want to go fully "against the canon of the X-Men trilogy", comparing to the various approaches the comic had in over fifty years of publication.[19]
She continued to work in adaptations, and was also a co-writer with Vaughn and Peter Straughan for the 2011 drama-thriller The Debt, which was based on the 2007 Israeli film HaHov and directed by John Madden. Goldman also adapted for Hammer The Woman in Black, a gothic horror film based on Susan Hill's novel. The project marks the first solo screenplay by Goldman. The film was directed by James Watkins.[20] It was released in 2012 and met positive reviews.[21][22] In March 2013, The Woman in Black won the Empire Award for Best Horror.[23]
She is credited on X-Men: Days of Future Past, the sequel to First Class, as writing the story with Matthew Vaughn and Simon Kinberg.[24][25] After that project, she co-wrote with Vaughn the script for Kingsman: The Secret Service (2015), based on the comic book by Mark Millar and Dave Gibbons.[26]
She wrote the script for Miss Peregrine's Home for Peculiar Children, an adaptation of the Ransom Riggs novel of the same name, which was directed by Tim Burton.[27] The project was followed by The Limehouse Golem, an adaptation of Peter Ackroyd's 1994 murder mystery novel Dan Leno and the Limehouse Golem. Goldman read the book years before she was a professional screenwriter and kept it in mind as a potential project. She said in an interview for ScreenCraft: "What's funny is that I read the book long before I was screenwriting. I think it was the only time that I can remember when I read a book and thought, 'Gosh, I hope somebody makes a movie of this!' ... Weirdly, years later I was on a film jury together with the producer whom I had read had the rights and I asked him whatever happened to the adaptation and said that I loved the book. That is how this came about, because he said the rights were free again and asked, 'Do you want to do it?'"[28]
In May of that year, HBO announced Goldman was one of four writers working on a potential pilot for a Game of Thrones spin-off. In addition to Goldman, Carly Wray, Max Borenstein, and Brian Helgeland were also working on potential pilots.[29] Goldman worked with George R. R. Martin, the author of A Song of Ice and Fire, the series of novels upon which the original show is based[30] and Game of Thrones showrunners D. B. Weiss and David Benioff would also be executive producers for whichever project.[30][31]
In June 2018, it was confirmed that Goldman's pilot had been greenlit by HBO, and would focus on "the world's descent from the golden Age of Heroes into its darkest hour", thousands of years before the events of Game of Thrones.[32] Naomi Watts was cast in a lead role and S.J. Clarkson was the chosen director for the opening episode. In late October 2019, it was announced that HBO would not be moving forward with the pilot.[33]
On 6 December 2017, it was announced Goldman would write a screenplay for Disney's live-action adaptation of The Little Mermaid with Rob Marshall being eyed to direct.[34] The film was released on May 26, 2023[35] and Goldman was not credited in the final script.
Goldman is attached to various upcoming projects, including Nonplayer, an adaptation of the sci-fi comic book by Nate Simpson for Warner Bros., and a rewrite of the Pinocchio screenplay originally written by Bryan Fuller. She is also involved in adaptation of Anubis, based on a science-fiction/comedy short story by Paul Murray.[37][38][39]
In June 2020, it was announced that Goldman is the screenwriter of Edgar Wright's new thriller The Chain, which is based upon the novel by Adrian McKinty. It is set to be released by Universal Pictures.[41]
Alongside her husband, broadcaster Jonathan Ross, Goldman appeared as a character in Neil Gaiman's short story "The Facts in the Case of the Departure of Miss Finch" in 1996. Gaiman is a personal friend of the couple.[42][43]
Here at Cracked, we frequently search through foreign dictionaries to find the most kickass words that we wish we had in English. However, there are a handful of phrases from around the world that are shorthand for common situations that are so horrific, we're overjoyed we've never needed to adopt them into Americaspeak. For instance ...
Literally translated, geisterfahrer means "ghost driver." That's vaguely unsettling in a Nicolas Cage movie sort of way, but that's not why we've chosen it for this list. No, to learn why this word made the cut for "things we're glad we, as Americans, never have to say", you must consider a few things: A) The word is German, so automatically you get the sense of something sinister lurking just beneath the surface, like a troll in the basement of that delightful clock-making house in the Black Forest; B) This is a common enough occurrence in Germany to warrant its own word specifically designed to warn foreigners; and C) Germany is the home of the autobahn, which is the closest any of us will get to Mad Max 2: The Road Warrior in our lifetimes:
Why would anyone do something so objectively insane? Well, some ghost drivers do it for nothing more than the lulz, bruh. Others are straight-up suicidal, such as the ghost driver who very nearly vehicularly manslaughtered the governor of Bavaria. In all honesty, this was a very Bavarian thing to do.
Of course, the German government couldn't officially have the world thinking that their highways are haunted by a bunch of reckless ghost motorists, so they decided to try and come up with a different name: falschfahrer, or "wrong drivers." This is admittedly a much less frightening phrase, but when you're trying to convey to tourists that your supersonic roadway is occasionally plagued by maniacs trying to cause head-on collisions at hundreds of miles an hour, maybe frightening is what you want.
The Russian Gulag system is one of the greatest examples of a government succeeding in exactly what they hoped to achieve -- a place where prisoners could literally work themselves to death generating free labor for the Motherland, because maintaining prisons where the goal is to keep prisoners alive is expensive, and executions cost money, too. Why not kill two birds with one rationed potato?
Scattered all across the country, these forced labor camps were not only where the Soviet Union stashed away their most violent offenders, but also those convicted of things as petty as theft or malcontent (the legal term for speaking ill of Joseph Stalin's mustache). At the system's peak in the mid-20th century, millions of people were interned in the prison camps. Conditions there were so subhuman that the only reason the Gulag's camps takes a historical backseat to the Nazis' concentration camps is that the Soviet Union helped defeat Hitler.
The point is, anyone stuck in these camps was probably thinking about escape more than half of the time. The problem with escape, beyond somehow getting past all the armed guards, was the fact that most of these camps were located out in the middle of frozen fucking nowhere. So even if you didn't get shot by snipers or torn apart by dogs while trying to escape, you would still wind up dying of exposure or starvation somewhere in the Siberian tundra like Jack Nicholson in The Shining.
Resourceful inmates soon had a splendid solution for this, however. While they couldn't exactly pack a boxed lunch for their escape, they could pack something even more nourishing that -- best of all! -- didn't even need to be carried. We're referring, of course, to a korova: some simple-hearted, trusting (and preferably chubby) fellow inmate whom you invited to join your escape. Then, once you both made it out and into the icy wastelands, this sorry dupe became an unwitting slaughter animal, much like an actual cow.
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