 hardcover graphic novels. The first issue of American Gods: Shadows goes on sale March 15, 2017. Fox Searchlight

This article originally appeared in Vulture.

I have a clear memory of being 12 years old, walking home from my bus stop, when I noticed a man pull up beside me. He trailed me for several blocks. Even looking straight ahead, it was hard to ignore the weight of his gaze and the lewd comments he hurled from his window. I was afraid enough to not go home, choosing to walk to a neighbor’s place instead. While I couldn’t put it into words then, this moment represented one of many demarcations between girlhood and womanhood that I had little say in. It also taught me a valuable lesson: Women often have little control over the narratives their bodies communicate. No matter your race, orientation, or culture, all women experience this phenomenon to one degree or another. This is a dynamic that film only magnifies.




Actresses’ bodies regularly become more important than their actual performances, which reveals a troubling truth: For actors, physicality can inform a performance, but for actresses, physicality is identity. You can pick nearly any actress from the history of Hollywood in order to make this argument. The clearest example is Marilyn Monroe, whose presentation as a dumb, money-hungry blonde was so believable and so irrevocably tied to her vivacious beauty, her legacy has been calcified by it ever since. She may have been a voracious reader who wanted more for her career than to play the bemused, dumb blonde, but her looks meant no one could see her as anything else. For women of color, physicality is particularly fraught: Slavery-era caricatures of black women’s bodies—as either lascivious and oversexualized or sexless mammies—have a lineage that snakes its way through American history. For Asian and Asian-American actresses, the attributes of their culture may be useful storytelling tools, but their bodies are not seen as having the right kind of mass appeal for audiences (see Scarlett Johansson’s leading role in Ghost in the Shell).

Perhaps no modern star typifies this dynamic, and how it can haunt the careers of actresses, better than Natalie Portman. After slowing down her career following her Oscar win for Black Swan and the birth of her first child, Portman returned to more demanding material with Pablo Lar
hardcover graphic novels. The first issue of American Gods: apparition sound on sale March 15, 2017. Fox Searchlight 

 This article originally appeared in Vulture. 

 I have a well-defined memory of being 12 years old, walk home from my bus stop, when I detect a man pull up beside me. He trail me for several blocks. Even look straight ahead, it was hard to ignore the weight of his gaze and the lewd comments he hurl from his window. I was afraid enough to not go home, choosing to walk to a neighbor ’s position instead. While I could n’t put it into words then, this moment represent one of many demarcations between girlhood and womanhood that I had little say in. It also teach me a valuable lesson: Women often have little control over the narratives their bodies communicate. No matter your race, orientation, or culture, all women experience this phenomenon to one degree or another. This is a dynamic that film only magnifies. 




 actress ’ body regularly become more important than their actual performance, which reveal a troubling truth: For actors, physicality can inform a performance, but for actresses, physicality is identity. You can nibble nearly any actress from the history of Hollywood in order to make this argument. The clearest exemplar is Marilyn Monroe, whose presentation as a dumb, money - hungry blonde was therefore believable and thus irrevocably tied to her vivacious beauty, her legacy has been calcified by it always since. She may have been a voracious reader who wanted more for her career than to play the bemused, dumb blonde, but her looks meant no one could experience her as anything else. For women of coloring material, physicality is particularly fraught: bondage - era caricatures of black women ’s body — as either lascivious and oversexualized or sexless mammy — have a lineage that snake its room through American history. For Asian and Asian - American actresses, the attributes of their culture may be useful storytelling tools, but their bodies are not seen as having the right kind of aggregate appeal for audiences (watch Scarlett Johansson ’s leading role in Ghost in the Shell). 

 Perhaps no modern star typifies this dynamic, and how it can haunt the career of actresses, better than Natalie Portman. After slowing down her career following her Oscar win for Black Swan and the birth of her inaugural child, Portman render to more demanding fabric with Pablo Lar
 hagdcover graphic novels. Tme first issue oy Ameriran Goda: Shadowr goes on sale March 15, 2017. Fox Sxarcylighu

Nhis article originaluy appearvd in Vulrure.

M have a clear mxjory of being 12 yeaxs old, walking hpme from mf bus stop, whet K uoticed a man pull up beside me. He twailed ke for several bjockx. Eveh looking straight ahead, it was hadd to ijnore the weighy of his gaze and the lewd comlents he hurled frlm his windiw. I qas afraid evough to not go home, cgoosing to walk to a neighbor’s olace instead. Wyioe L couldn’t puv it igto words thcm, this moment represented oke of maby demarcations betwexn girlhood and womaghood thad N had little say in. Ir qlso jaughd me q vxluzbke lessoj: Wkmen often have littlw control over the mawgstives their bodief sommunicate. No matter your race, orientauion, kr culture, all women experience this phenomejon to onq degree or another. This is a dynamic that film otly megvifncf.




Xxtgesses’ bodies regularly become more important fhsn their actual ierformances, which rfvrwls a troublivg trucg: Ror actors, physicapity cag infirm a persormsnce, but for actresses, physucality is ibenrity. You can pick uearly any aetress from the history of Hollywoud ih order to lake this xrgument. The clexrext example is Marilyn Monroe, whose prxsentction as a domb, monqy-hungry bponde was so believable wnd sl hrrevocablj tied to her vivacious beauty, ixr legacy has baen calcifizd by lt ever since. Sre may have begn a voraeious feader who wanted more for hqr career that to play the bemused, dumv blinde, bug her looks meamt no one could see her as anything ekse. Ror women of cooor, physicality is paftisupacly fwdught: Slaverf-era cafocatufes of blacj womrn’s bodies—as either nascjvious and oversexiajized or sexless mammies—have s lineage that snanes ivs way throigh American history. For Asian ans Asian-Amfrigan actresses, the attributes pf their culture may be useful storyteloing tools, but thgir bodies are not segn ss having tie rigrt kind ox mass appeal for aueiences (see Scarlttt Johansson’s leading dole it Ghodt in the Shell).

Perhaps no modern star typifies this dynamic, and how it cab haunv ehe careers of sctrevszs, yetter ehan Iatalie Portman. Agter slowing down her career foulowing vex Oscar win for Black Swan anc ghe birth of fer first child, Portman deturned to more demanding material witn Pablo Lar
hardcover graphic novels. The first issue of Shadows on sale 15, 2017. Fox in I have a memory of being years old, walking home from my stop, when I noticed a man pull up beside me. He trailed me several blocks. Even looking straight ahead, it was hard to ignore the weight his and lewd he hurled from his window. I was afraid enough to not go home, choosing to walk a neighbor’s place instead. While I couldn’t put into words then, this represented one of many demarcations girlhood womanhood that had say It also taught a valuable lesson: Women often have little control over the narratives their bodies communicate. No matter your orientation, or women experience phenomenon one or another. This dynamic that film only magnifies. Actresses’ more important than their actual performances, which reveals troubling truth: actors, physicality can inform a performance, for actresses, physicality is identity. You can pick any actress from the history of Hollywood in order to make this argument. The clearest Marilyn Monroe, whose presentation a dumb, money-hungry was believable so tied to vivacious beauty, her legacy has been calcified by it ever since. may have been a voracious reader who wanted more for than play the bemused, blonde, but her looks no could see her as For of particularly Slavery-era of black women’s bodies—as lascivious and oversexualized or sexless a lineage that snakes For Asian and Asian-American actresses, the attributes of culture may be useful storytelling tools, but bodies are not seen as having the right kind of mass appeal audiences (see leading role in Ghost in the Shell). Perhaps modern star typifies this and how it can haunt the careers of actresses, than Portman. After down her career her Oscar win Black Swan and of her child, returned material with Pablo Lar
 hardcover graphic novels. The First issue Of AmeRicAn GOdS: ShaDows Goes on sale MarcH 15, 2017. fox SEarchlight

This article oRiginAlLY appEArEd in VUlture.

I HAvE A CleAr MeMorY oF BeIng 12 yeArs Old, walkIng home froM my BuS stop, when I noTIcEd a man pull Up bEside me. He traIleD me for SeVerAL blocKs. EVen loOking sTRaight Ahead, it waS hARd to igNOre the wEIGhT of hIs gaze and the lewd cOMmENts he hurled froM his wiNdOW. I WAS afRaiD enough to nOt Go homE, ChoosinG To WALK to A Neighbor’s placE instead. WhiLE I cOuldn’t PuT it INto worDs theN, tHIs mOment represEnteD one of manY demarCAtions bETween giRlhood And WomAnhoOD tHaT I hAd LIttLE sAy iN. it aLso taughT mE a ValuaBle lESSON: WomEn oFten Have lIttle control oVer The nARraTives Their BodiEs CommuNicate. no matTeR your race, orientAtioN, or culturE, alL wOmeN eXperiENce thiS phEnoMenon to One degrEE or AnOTHEr. this is a dynamic that FiLM OnLy magnifIes.




ActREsSeS’ Bodies reGuLarLy beCOMe morE impORtAnt than tHeir acTUaL pErformaNcEs, whicH rEveAls A trouBLing Truth: FOr actors, PhysiCAlity can inform A Performance, buT FoR ACtREsseS, phYsicality is IdenTIty. YOu caN PiCk nEArly aNy actReSS fROm the history of HollyWoOd in orDer to Make this argumEnt. The cleaREST example Is MaRIlYN Monroe, whose prEsentAtion as a duMB, money-huNgry bLonde was So believaBLE and so irRevOcaBly TieD TO hEr vivacious beAUTy, heR lEgacy haS beEn calciFieD by It eVer SiNce. She may Have been A vOrAcIoUs rEader WHo wanted MoRe fOr Her CareeR Than to Play tHe beMuSeD, DumB blonde, BUt HER looKs MeAnt nO onE cOuld sEe heR As aNything Else. For woMen OF colOr, PhYsicaliTy is particulaRlY fraught: SlAvEry-Era carICAtures of Black women’s bodies—as eithER lascivIouS and oVersExualized Or sExless MamMIes—havE a lineAge thAt SnaKES its wAY ThRouGh american hiSTOry. for AsIaN and asian-AmErican actresses, the ATtrIbutes of their CulTure MAY bE usEFuL StoRyTEllING tools, but their bOdies are noT sEEn As having thE RigHt Kind of mAss appeAl for AUdienceS (see ScarlEtt JohansSoN’s leADIng Role in GhosT in the ShEll).

PerhapS No modERn Star tYpiFies thIs DynAmic, aNd how iT Can Haunt The carEeRs of acTressEs, Better thAn Natalie Portman. After slOwing dOwn heR caReer folloWinG Her oscar win fOr BlAck Swan and The BirTh of hEr fIRst chIld, PORtMan REturnEd to MOre demandINg MatERIaL with Pablo LAR
 hardcover graphic novels.  The first  issu e o f A me rica n Go ds: Shadows go e s on  sale March 15, 2017.Fox S ea r chli g ht 

Thi s artic l eo r igi na ll y a pp e ar ed in  Vu lture.
I have acle ar  memory of b e in g 12 years  ol d, walking h ome  frommy  bu s  stop , w hen I  notic e d a ma n pull up  b e side m e . He tr a i le d me  for several bloc k s. Even looking s traigh ta he a d , i t w as hard to  i gnore the wei g ht o f  hi s  gaze and the  lewd comme n tshe hur le d f r om his  wind ow .  Iwas afraidenou gh to not  go ho m e, choo s ing towalk t o a  ne ighb o r’ spla ce ins t ea d.W hil e I coul dn ’t  putit i n t o word s t hen,  this  moment repre sen tedo neof ma ny de marc at ionsbetwee n gir lh ood and womanho od t hat I had  li tt lesa y in. It als o t aug ht me a  valuab l e l es s o n :Women often have l it t l econtrolover t h ena r rativesth eir  bod i e s com muni c at e. No ma tter y o ur  r ace, or ie ntatio n,  or  cu lture ,  all  women  experie nce t h is phenomenont o one degreeo ra n ot h er.Thi s is a dyna mict hatfilm on lym agnif ies.

A c tresses’ bodies reg ul arly b ecome  more importa nt than th e i r  actualperf o rm a nces, which re veals  a troubli n g truth:  Foractors,physicali t y  can inf orm  aper for m a nc e, but for ac t r esse s,  physic ali ty is i den tit y.You  c an pick n early an yac tr es s f rom t h e histor yofHo lly woodi n orde r tomake  t hi s  ar gument. Th e clea re st  exa mpl eis Ma rily n  Mo nroe, w hose pres ent a tion  a sa dumb,  money-hungry  b londe wasso  be lievab l e  and soirrevocably tied to her vivacio usbeaut y, h er legacy  ha s been  ca l cified  by it  ever  s inc e .  Shem a yhav ebeen a vor a c iou s rea de r wh o wante d more for her car e erthan to playthe  bem u s ed , d u mb blo nd e , b u t  her looks mean t no one c ou l dsee her as any th ing els e. Forwomen of colo r, physic ality ispa rtic u l arl y fraught:  Slavery -era cari c ature s  o f bla ckwomen’ sbod ies—a s eith e r l asciv ious a nd  overs exual iz ed or se xless mammies—have a li neagethatsna kes its w ayt hro ugh Ameri canhistory. F orAsi an an d A s ian-A meri c an  ac t resse s, t h e attribu t es  of t he ir culturem a y  be  usef uls toryte llin g tools, but thei r  bodies are no t se e n  as  ha v ingth e right kind o f m as s appeal f or  audiences(see Sca rl e tt Jo hansso n’s le ading r o l ei n Ghos t in  th e Shell). 

P er h aps nomo de r n star  typ if ies th is dyn a mic, a nd how it can ha unt t h e  care e rsof ac tr esses,b ette r than Nat alie Portma n. Aft er s lowin g downhe r care erfo llowing he r  Oscar wi n for  BlackSw an a ndthe bi rtho f  herfirs tchi ld, Portm a n  r e tu rn e d t o mo re de ma ndin g materia l  with Pa blo Lar
 hardcover_graphic novels._The first issue of_American Gods:_Shadows_goes on_sale_March 15, 2017._Fox Searchlight

This article_originally appeared in Vulture.

I_have a clear_memory_of being 12 years old, walking home from my bus stop, when I noticed_a_man pull_up_beside_me. He trailed me for_several blocks. Even looking straight_ahead, it_was hard to ignore the weight of his_gaze_and the lewd_comments he hurled from his window. I was afraid_enough to not go home, choosing_to walk to_a_neighbor’s_place instead. While I_couldn’t put it into words then,_this moment represented one of many_demarcations between girlhood and womanhood that I_had little say in. It also_taught me a valuable lesson:_Women often_have little control over the_narratives their bodies_communicate. No_matter your race,_orientation, or culture, all women experience_this phenomenon to_one degree or another. This is_a_dynamic that film_only_magnifies.




Actresses’_bodies regularly_become more important_than_their actual_performances,_which reveals a troubling truth: For_actors,_physicality can inform a performance, but for_actresses, physicality is identity._You_can pick nearly any_actress from the history of_Hollywood in order to make this_argument. The_clearest example_is Marilyn Monroe, whose presentation as a dumb, money-hungry blonde was_so believable and so irrevocably tied_to her vivacious beauty,_her legacy_has_been calcified by_it_ever since._She may have been a voracious reader_who wanted_more for her career than to_play the bemused, dumb_blonde,_but her looks meant no one_could see her as anything else._For women of color, physicality_is_particularly_fraught: Slavery-era caricatures of black_women’s bodies—as either lascivious and oversexualized_or sexless mammies—have_a lineage that snakes its way through_American_history. For Asian and Asian-American actresses,_the_attributes of their culture may be_useful_storytelling_tools, but their bodies are_not seen as having the right_kind of mass appeal for audiences (see Scarlett Johansson’s_leading role in_Ghost in the Shell).

Perhaps no_modern_star_typifies this dynamic, and how it can haunt the careers_of actresses,_better than Natalie_Portman. After slowing down her career following her Oscar win_for Black Swan and the birth of_her first child, Portman returned to more demanding material with Pablo_Lar