Back in 2021, Gilpin told Collider, “I have all these ideas that I wanna do and all this grotesque, layered, clown-y, mezzanine-hitting depths of despair, touching stuff that I wanna do, but role-wise, I’ve played a lot of women who are, like.orchids and have organized purses and none of that stuff going on.” In April of this year, she told W Magazine, “I’m an actor and a creative from the neck up from the neck down, I am a posing person whose job is to suck it in for the wide shot and keep qualifying for health insurance and other jobs.” Then, to The Guardian in May: “I’m a character actress! I am more than the sum of my cheekbones and areolas!” Finally, to me-also in April-she says, “The things that I love about being an actor have nothing to do with the comment sections thinking that I’m hot for now.”
That, perhaps, is an interesting notion in Hollywood, where actresses are-to pull one example-directed not to reveal their forehead wrinkles during crying scenes. At every possible opportunity, whether in interviews or her own personal writing, she seems bent on flashing her audience an SOS: I know I’m hot.
But Gilpin-the 35-year-old actress known for Netflix’s GLOW and, most recently, the Starz drama Gaslit, which just aired its finale Sunday night-is one of the relative few airing her confusion over this industry pigeon-holing in real time. That’s not exactly a groundbreaking notion in Hollywood actresses have complained for decades about looks-based typecasting and its correlation to the glut of two-dimensional women onscreen.
Betty Gilpin has what perhaps could be called character dysmorphia: the feeling that, as an actress, her body isn’t right for the roles she wants to play.
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