"I was a goth girl in high school. Perhaps the powdered white face and the black lipstick were not the most attractive. I felt fabulous at the time but looking back, uh, probably not the best idea"
About this Quote
Hendricks’s joke lands because it’s a miniature coming-of-age story disguised as a fashion confession. She’s not really litigating the aesthetics of black lipstick; she’s staging the familiar gap between who you were allowed to be as a teenager and who you’re expected to be as a public-facing adult. The phrase “I felt fabulous” is the tell: goth isn’t framed as a cry for help, it’s framed as a tool. The look is armor, theater, self-authorship. That confidence is the point, not whether the powder matched her undertone.
Then comes the pivot: “looking back, uh, probably not the best idea.” That “uh” is doing heavy work. It’s a small, practiced shrug toward the audience’s presumed judgment, an acknowledgment of the cultural script that treats teenage intensity as adorable in hindsight and embarrassing in real time. As an actress with a glamorous brand (and a career built partly on a hyper-polished, period-perfect image), Hendricks is negotiating likability: she signals self-awareness without disowning the girl who needed the costume.
The subtext is also about the tyranny of “attractive” as the default yardstick. She names it, then undermines it by admitting the look made her feel “fabulous” anyway. That’s a quiet rebuke to the idea that teen girls’ experiments must be optimized for male approval or future photographs. The story is a wink, but it’s also a defense of the messy, performative, slightly cringe freedom that adolescence is supposed to provide.
Then comes the pivot: “looking back, uh, probably not the best idea.” That “uh” is doing heavy work. It’s a small, practiced shrug toward the audience’s presumed judgment, an acknowledgment of the cultural script that treats teenage intensity as adorable in hindsight and embarrassing in real time. As an actress with a glamorous brand (and a career built partly on a hyper-polished, period-perfect image), Hendricks is negotiating likability: she signals self-awareness without disowning the girl who needed the costume.
The subtext is also about the tyranny of “attractive” as the default yardstick. She names it, then undermines it by admitting the look made her feel “fabulous” anyway. That’s a quiet rebuke to the idea that teen girls’ experiments must be optimized for male approval or future photographs. The story is a wink, but it’s also a defense of the messy, performative, slightly cringe freedom that adolescence is supposed to provide.
Quote Details
| Topic | Nostalgia |
|---|---|
| Source | Help us find the source |
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