Pamela Anderson isn’t holding back when it comes to Seth Rogen.
During a recent SiriusXM radio interview with Andy Cohen, the iconic actress didn’t mince words about her ongoing frustration with the actor and producer.
Anderson called their proximity at this month’s Golden Globes ceremony “yucky,” and she’s making it clear that the wound from Hulu’s “Pam & Tommy” series remains raw.
Her candid comments reveal just how deeply unauthorized portrayals of personal trauma can affect public figures—even years later.
The Golden Globes Encounter That Stirred Old Wounds
Anderson described feeling uncomfortable when she realized Rogen was seated nearby at the Golden Globes. He was there celebrating two wins for his Apple TV comedy “The Studio,” including best actor in a comedy series and best comedy series.
But for Anderson, his presence brought back painful memories of the 2022 limited series he executive produced and starred in.
Seth Rogen… he did ‘Pam & Tommy’ without talking to me. I just felt like ugh. How can someone make a TV series out of difficult times in your life? And I am living, breathing human being over here.
She told Cohen that Rogen was positioned “in the pit” at the ceremony, close enough to make her acutely aware of his presence. The actress emphasized that despite her busy career—she’s completed five films in the past year—certain moments still trigger emotional responses.
Why “Pam & Tommy” Still Stings
“Pam & Tommy” dramatized one of the most traumatic periods of Anderson’s life: her relationship with Mötley Crüe drummer Tommy Lee and the unauthorized release of their intimate sex tape. The series starred Lily James as Anderson, Sebastian Stan as Lee, and Rogen as Rand Gauthier, the man who stole the couple’s private video.
The show was critically acclaimed, earning 10 Emmy nominations including outstanding limited series. But for Anderson, commercial and critical success doesn’t justify what she sees as exploitation.
I felt like I’m not chopped liver over here. I felt weird about it. I’ve been so busy working. I’ve done 5 movies in the last year. Sometimes it hits you and you feel kind of down. It felt a little yucky.
The Apology That Never Came
Anderson made clear what she believes should happen next, though she expressed doubt it will materialize.
Eventually, hopefully, he will reach out to me to apologize, not that it matters. When you are a public person, they say you have no right to privacy. But your darkest, deepest secrets or tragedies should not be fair game for a TV series. That pissed me off a little bit.
Her comments raise important questions about consent and privacy in entertainment. Just because someone is famous, does that give filmmakers the right to dramatize their most painful experiences without permission?
Anderson has consistently maintained that it doesn’t.
The Confrontation That Stayed Internal
While Anderson admitted she didn’t directly confront Rogen at the Golden Globes, she revealed that she played out the scenario mentally.
She told Cohen she didn’t “make a beeline” for the actor, but acknowledged thinking about it. In her mind, she said, “I really told him what I thought.”
That restraint speaks volumes. Despite feeling hurt and disrespected, Anderson chose to maintain her composure in a public setting—even while making her feelings known through media interviews.
A Pattern of Speaking Out
This isn’t the first time Anderson has addressed her feelings about “Pam & Tommy.” In a 2023 interview with Variety, she didn’t hold back her assessment of those behind the project.
She called them “assholes” and described the series as “salt on the wound,” adding a pointed message: “You still owe me a public apology.”
Her consistency on this issue demonstrates that her objection isn’t about publicity or attention—it’s about principle. Anderson has rebuilt her image and career on her own terms, recently earning praise for her stripped-down, authentic approach to public life.
Moving Forward While Looking Back
Anderson emphasized during the Cohen interview that she’s been incredibly productive, completing five films in just one year. She’s actively shaping her own narrative through work she chooses and controls.
Yet the existence of “Pam & Tommy” represents something she couldn’t control—a recreation of trauma without consent, packaged as entertainment and celebrated with awards.
The tension between public persona and private pain sits at the heart of Anderson’s frustration. Fame may put someone in the public eye, but Anderson argues persuasively that it shouldn’t erase boundaries around deeply personal experiences.
What This Means for Entertainment Ethics
Anderson’s continued willingness to speak about this issue keeps an important conversation alive. Should living people have veto power over dramatizations of their lives?
When does artistic freedom cross into exploitation? These questions don’t have easy answers, but Anderson’s perspective demands consideration.
Her use of the word “yucky” to describe seeing Rogen might sound casual, but it captures something profound—the visceral discomfort of encountering someone who profited from your pain without asking permission first.
Whether or not Rogen ever offers that apology Anderson seeks, her voice on this matter continues to resonate with anyone who’s felt their story told without their consent.