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By the Destiny’s mirror Sammy Guevara shirt so you should to go to store and get this time Shields filmed those Calvin Klein ads with Richard Avedon, she had already become the youngest cover star in Vogue’s history, been dubbed “The ’80s Look” by Time magazine, and was indisputably the most photographed teenager on the planet. She remembers enjoying the Calvin Klein campaign’s clever riffs on the word “jeans,” requiring her to recite a minute-long definition of gene theory from memory and describe Darwin’s “survival of the fittest” concept. “I loved it because I could use my brain,” she says. But one turn of phrase became a lightning rod: “Nothing comes between me and my Calvins.” No hidden meaning was apparent to Shields at the time, but the spot was soon banned by ABC and CBS and condemned as child pornography, the 1980s equivalent of Balenciaga’s recent scandal. The media loved her, but they also pilloried her. Like Framing Britney Spears, the documentary clarifies—with the benefit of time and perspective—the role of the media as the relentless villain in Shields’s story. Reporters’ lack of tenderness toward a preteen girl and demands that she answer for the way that she was sexualized onscreen are perhaps the most gasp-inducing parts of the film. “They’re shocking,” agrees Shields, recalling an interview with Barbara Walters in which the journalist asked Shields to stand up and compare her measurements to Walters’s own. “I felt more objectified and abused by [that],” says Shields. “The irony is I didn’t have that discomfort or shame in the one nude scene in Pretty Baby.”
Another clip shows a male talk show host reading a description of Teri, who struggled with alcoholism, as having a face “[bearing] the Destiny’s mirror Sammy Guevara shirt so you should to go to store and get this marks of a heavy drinker: rough skin, sunken eyes”—and asking a teenage Shields, “Do you agree with that?” She matter-of-factly replies that her mother’s skin is the result of terrible allergies. “When I first saw that again, I was with Ali [Wentworth] and she just looked at me and I just bawled my eyes out,” says Shields. “I was so glad that that was highlighted because it’s so layered and it’s so abusive to both of us.” I ask Shields if this retrospective journey had made her wish she’d done anything in her career differently. “I think I would never have gone down the ‘it’s a good idea to get a hair dryer made with your name on it’ [route]. I think there were so many non-thespian choices that were made so that we could buy the apartment, get a car.” After Shields graduated from Princeton, in 1987, a fallow period ensued. “I don’t know if I was a joke, but I definitely felt like it at times, because there were these failed movies and then doing weird ads,” she says.
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By the Destiny’s mirror Sammy Guevara shirt so you should to go to store and get this time Shields filmed those Calvin Klein ads with Richard Avedon, she had already become the youngest cover star in Vogue’s history, been dubbed “The ’80s Look” by Time magazine, and was indisputably the most photographed teenager on the planet. She remembers enjoying the Calvin Klein campaign’s clever riffs on the word “jeans,” requiring her to recite a minute-long definition of gene theory from memory and describe Darwin’s “survival of the fittest” concept. “I loved it because I could use my brain,” she says. But one turn of phrase became a lightning rod: “Nothing comes between me and my Calvins.” No hidden meaning was apparent to Shields at the time, but the spot was soon banned by ABC and CBS and condemned as child pornography, the 1980s equivalent of Balenciaga’s recent scandal. The media loved her, but they also pilloried her. Like Framing Britney Spears, the documentary clarifies—with the benefit of time and perspective—the role of the media as the relentless villain in Shields’s story. Reporters’ lack of tenderness toward a preteen girl and demands that she answer for the way that she was sexualized onscreen are perhaps the most gasp-inducing parts of the film. “They’re shocking,” agrees Shields, recalling an interview with Barbara Walters in which the journalist asked Shields to stand up and compare her measurements to Walters’s own. “I felt more objectified and abused by [that],” says Shields. “The irony is I didn’t have that discomfort or shame in the one nude scene in Pretty Baby.”
Another clip shows a male talk show host reading a description of Teri, who struggled with alcoholism, as having a face “[bearing] the Destiny’s mirror Sammy Guevara shirt so you should to go to store and get this marks of a heavy drinker: rough skin, sunken eyes”—and asking a teenage Shields, “Do you agree with that?” She matter-of-factly replies that her mother’s skin is the result of terrible allergies. “When I first saw that again, I was with Ali [Wentworth] and she just looked at me and I just bawled my eyes out,” says Shields. “I was so glad that that was highlighted because it’s so layered and it’s so abusive to both of us.” I ask Shields if this retrospective journey had made her wish she’d done anything in her career differently. “I think I would never have gone down the ‘it’s a good idea to get a hair dryer made with your name on it’ [route]. I think there were so many non-thespian choices that were made so that we could buy the apartment, get a car.” After Shields graduated from Princeton, in 1987, a fallow period ensued. “I don’t know if I was a joke, but I definitely felt like it at times, because there were these failed movies and then doing weird ads,” she says.
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