"We still want to idealize moms, and sometimes we want to idealize actresses who are moms, too. I know that's something I've experienced, but we're all just doing the best we can and we're all trying to raise our kids and talk to them about everything that needs to be discussed"
About this Quote
Bening punctures a cultural double-bind with the kind of calm candor that feels radical only because the script is usually so rigid. The first move is “we”: she pulls the listener into complicity. This isn’t a celebrity confession; it’s a diagnosis of a shared habit. “We still want to idealize moms” names a stubborn nostalgia for the saintly mother archetype, then sharpens it with the celebrity twist: “actresses who are moms.” Hollywood already sells an edited life; motherhood adds a moral halo the public is eager to buy.
The key word is “still.” It implies we’ve had decades of feminist critique and parenthood discourse, and yet the fantasy remains. Bening’s subtext is less about individual pressure than about how audiences use mothers as emotional infrastructure. If “mom” equals purity, selflessness, and endless competence, then everyone else gets to outsource their anxieties about family, care, and failure onto a single flawless figure.
Her mid-sentence pivot, “I know that’s something I’ve experienced,” is doing two jobs: admitting she’s felt the pull to idealize other women, and acknowledging she’s been turned into an ideal herself. That humility matters because it refuses the easy villain (the media, the fans) and points to a broader social appetite for perfect caretakers.
Then she lands on the anti-myth: “we’re all just doing the best we can.” It’s not a platitude here; it’s a demand to reframe motherhood as ongoing, imperfect labor, grounded in the unglamorous work of “talk[ing] to them about everything.” The cultural ask is simple: stop treating mothers as symbols and start seeing them as people managing real conversations in real time.
The key word is “still.” It implies we’ve had decades of feminist critique and parenthood discourse, and yet the fantasy remains. Bening’s subtext is less about individual pressure than about how audiences use mothers as emotional infrastructure. If “mom” equals purity, selflessness, and endless competence, then everyone else gets to outsource their anxieties about family, care, and failure onto a single flawless figure.
Her mid-sentence pivot, “I know that’s something I’ve experienced,” is doing two jobs: admitting she’s felt the pull to idealize other women, and acknowledging she’s been turned into an ideal herself. That humility matters because it refuses the easy villain (the media, the fans) and points to a broader social appetite for perfect caretakers.
Then she lands on the anti-myth: “we’re all just doing the best we can.” It’s not a platitude here; it’s a demand to reframe motherhood as ongoing, imperfect labor, grounded in the unglamorous work of “talk[ing] to them about everything.” The cultural ask is simple: stop treating mothers as symbols and start seeing them as people managing real conversations in real time.
Quote Details
| Topic | Mother |
|---|---|
| Source | Help us find the source |
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