Bialik tells her story: I entered the Hollywood machine in 1986 as a prominent-nosed, awkward, geeky, Jewish 11-year-old — basically a scrawnier version of the person I am today. Back then we didn’t have the internet or social media or reality TV, but I didn’t need any of that to understand that I didn’t look or act like other girls in my industry, and that I was immersing myself in a business that rewarded physical beauty and sex appeal above all else.
Nothing has been a harsher reminder that I work in an industry that profits on the exploitation of women — and not just on screen — than the accusations of Harvey Weinstein as a serial sexual assaulter, particularly of aspiring young actresses. Though I am shocked and disgusted by the scope of his alleged predation, the fact that he may have abused his position of power does not surprise me in the least.
I have always had an uncomfortable relationship with being employed in an industry that profits on the objectification of women. Though pressure to “be like the pretty girls” started long before I entered Hollywood, I quickly learned even as a preteen actress that young girls with doe eyes and pouty lips who spoke in a high register were favored for roles by the powerful men who made those decisions.
I grew up constantly being teased about my appearance, even from members of my family; my nose and chin were the main objects of discussion. As a teenager I started obsessing over the possibility of a nose job so that I would look more like Danica McKellar, with a chin job to balance things out. Soon I wondered if I should get breast implants to look more like Christina Applegate, who got so much attention for her curves. I consistently felt like a troll compared to many of my contemporaries. A “TV Guide” critic described me, in a review of the pilot episode of “Blossom,” as having a “shield-shaped” face of “mismatched features.” I never recovered from seeing myself that way.
I always made conservative choices as a young actress, largely informed by my first-generation American parents who were highly skeptical of this industry in general — “This business will use you up and throw you away like a snotty tissue!”— and of its men in particular: “They only want one thing.” My mom didn’t let me wear makeup or get manicures. She encouraged me to be myself in audition rooms, and I followed my mother’s strong example to not put up with anyone calling me “baby” or demanding hugs on set. I was always aware that I was out of step with the expected norm for girls and women in Hollywood.
I eventually left the business when I was 19 to pursue a doctorate in neuroscience at the University of California, Los Angeles. I craved being around people who valued me more for what was inside my brain than what was inside my bra. After 12 years away from Hollywood, I returned to acting, largely because I had no health insurance and missed performing and making people laugh.
As a “nontraditional”-looking woman, I came back to an industry that had me auditioning for the “frumpy friend” or the “zaftig secretary,” though I eventually landed a role that has earned me four Emmy nominations. Is it a surprise that I play an androgynous, awkward, late bloomer?
I am grateful to bring Amy Farrah Fowler to life on the No. 1 sitcom in America. I am honored to depict a feminist who speaks her mind, who loves science and her friends and who sometimes wishes she were the hot girl.
I can relate. I’ve wished that, too.
And yet I have also experienced the upside of not being a “perfect ten.” As a proud feminist with little desire to diet, get plastic surgery or hire a personal trainer, I have almost no personal experience with men asking me to meetings in their hotel rooms. Those of us in Hollywood who don’t represent an impossible standard of beauty have the “luxury” of being overlooked and, in many cases, ignored by men in power unless we can make them money.
I still make choices every day as a 41-year-old actress that I think of as self-protecting and wise. I have decided that my sexual self is best reserved for private situations with those I am most intimate with. I dress modestly. I don’t act flirtatiously with men as a policy.
I am entirely aware that these types of choices might feel oppressive to many young feminists. Women should be able to wear whatever they want. They should be able to flirt however they want with whomever they want. Why are we the ones who have to police our behavior?
In a perfect world, women should be free to act however they want. But our world isn’t perfect. Nothing — absolutely nothing — excuses men for assaulting or abusing women. But we can’t be naïve about the culture we live in.
I believe that we can change our culture, but it won’t be something that happens overnight. We live in a society that has treated women as disposable playmates for far longer than Mr. Weinstein has been meeting ingénues in luxury hotel rooms.
One major bright spot: We are seeing more women taking on prominent roles behind the camera. Women like Jenji Kohan and Jill Soloway are showing the kinds of female characters on their shows that we all know in real life but never got to see on TV. And more women and men are waking up to the fact that it is on us all to sound the alarm on unacceptable behavior.
In the meantime, I plan to continue to work hard to encourage young women to cultivate the parts of themselves that may not garner them money and fame. If you are beautiful and sexy, terrific. But having others celebrate your physical beauty is not the way to lead a meaningful life.
And if — like me — you’re not a perfect 10, know that there are people out there who will find you stunning, irresistible and worthy of attention, respect and love. The best part is you don’t have to go to a hotel room or a casting couch to find them.