![]() ![]() She’s a legit actress.” He calls himself a Paulson “early adopter,” admiring her in New York stage productions like The Gingerbread House and Crimes of the Heart in the aughts. “There are a lot of incredible actresses out there who are stars because they play themselves,” the Obie Award–winning playwright Branden Jacobs-Jenkins tells me on a phone call a few days later. If this sounds pretty elementary, you are probably not a Hollywood star, with all of the correlating concerns about likability and marketability that particular occupation entails. ![]() People are, myself included, reactive and reacting to the environment around them.” “I try not to think about how they’re going to be perceived, because I don’t think many people are thinking about how they’re coming across in any given moment. (Her CV includes roles like 12 Years a Slave’s harrowing Mistress Epps, Linda Tripp, and One Flew Over the Cuckoo’s Nest’s Nurse Ratched.) “I try not to judge them,” she says finally. On a cool, early fall day in Los Angeles, the actor Sarah Paulson, a person of palpable charm and sincerity, pauses over lunch to consider how she came to embody a series of unlikable, and occasionally truly awful, women. ![]()
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