Anastasia Hayes: On Mary Tyler Moore

Marie Tyler Moore died, leading to the usual post-mortem parade of people commenting on her life and times. When asked about her influence, Larry King grumbled into the mic about her role on The Dick Van Dyke Show: “She was one of the first to appear in pants, one of the first TV housewives; you can’t imagine how revolutionary that was.”

As someone who strives to fare la bella figura (and may be too concerned with its cult), the ways in which people present themselves through fashion fascinate me. From Sparta’s “controllers of women” to today’s debates over whether or not to free the nipple, how women present their bodies has been heavily policed. The 1960s represents an interesting period in that women (the affluent, at least) had made significant strides in control over their presentation, only to see many of their gains reversed after the war. Women, despite their service during the conflict, were largely shepherded back into the home or confined to lower-paying jobs that fit into the category of women’s work. The feminine mystique as identified by Betty Friedan settled over society, culminating in an environment in which a woman in trousers seemed shocking.

For all of the challenging of gender roles featured in the episode we watched in class, I was struck by the reason Mary Tyler Moore’s character gave for needing time to herself: she needs time to make sure she looks good for her husband. It illustrated how even as the character pushed boundaries, she remained boxed in by them. Her clothes allowed her to assert a modicum of independence, yet her conception of why she should look a certain way was still very much founded on pleasing men (her husband specifically).

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