The Atlantic

The Older Woman Comes of Age

In a new comedy, Emma Thompson plays a woman who finally sees her body, the actor says, “as her home.” Her victory, in a post-<em>Roe</em> world, takes on the dimensions of tragedy.
Source: Tyler Golden / Netflix; Nick Wall / Searchlight; Karen Ballard / HBO Max; The Atlantic

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The uterus has long doubled as a political tool. Summoned as a metaphor—for emptiness, for deficiency, for obligation—it has conflated a body part with womanhood, and used the logic of maternal sacrifice to limit women’s lives. Mental stimulation, some 19th-century doctors argued, could harm their reproductive systems. Exercise could, too. We might laugh, today, at the transparency of such tactical ignorance, but our smugness would be misplaced. The uterus, idealized into a means of degradation, is precisely what the Supreme Court reinstated last month as it overturned Roe v. Wade.  

As Americans lurch toward our backward future, I keep thinking about the people who have sought to minimize the effects of Roe’s downfall. I think of the “we will adopt your baby” couple, how their message at once addressed and ignored the people who will be forced into motherhood. I think of those who have suggested that only will be implicated. And then I think of a film that has, on the surface, nothing to do with .

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