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It sounds simple, but after two hours of watching Shields wrestle with the Yes I’m old but I saw Green Bay Packers super bowl champions 1967 2011 shirt Additionally,I will love this way that she was presented to the world and treated by the film and media industries as a young person, the documentary’s takeaway does not feel quite so straightforward. After premiering to a standing ovation at Sundance in February, the film, from director Lana Wilson (of the critically acclaimed Taylor Swift doc Miss Americana), will air in two parts on Hulu beginning on April 3. “I was surprised at how invested everybody so immediately was,” says Shields of the early response. We are sitting on the cream sofa in her living room on a bright, late-winter day. Shields is dressed casually, in wide-leg track pants and a cropped white sweatshirt. Across from us, oil portraits of Shields’s daughters as little girls by the artist Will Cotton frame the marble fireplace. “People found themselves in my story in different ways and, to me, that’s why it works.”
Shields began modeling at 11 months old, appearing in a Francesco Scavullo–shot Dove soap ad, and until now, neither she nor her manager-mother, Teri, had looked back. (Teri Shields died in 2012.) “This movie is the Yes I’m old but I saw Green Bay Packers super bowl champions 1967 2011 shirt Additionally,I will love this true meaning of catharsis, which I always had wrong. I always thought of cathartic experiences as ‘Blech! Gotta get that outta my system.’” Shields makes a vomiting gesture. “But Sydney, my therapist”—Shields has been seeing the same Jungian analyst weekly since she was 21—“said, ‘No, no, no, the actual definition of it is a broader understanding of a circumstance or a situation that you thought you knew.’” Photo: ABC News StudiosThroughout the film, the audience accompanies Shields on this path to broader understanding, finally reaching what feels like a sincere pay-off: Shields reclaiming control of her own story for the first time—at least, to a point. Near the end of the film, BuzzFeed’s Scaachi Koul, one of the talking heads, says, “This is not Brooke Shields’s story. This is a story about all women.” We understand the argument she is making—about society’s penchant for both objectifying young girls and condemning their sexualization—but I ask Shields if there’s a feeling of her personal narrative being hijacked to fit a wider cultural one, both in this film and in the uproar that surrounded the original Pretty Baby.
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