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Content Warning: This section of the guide includes discussion of substance use, addiction, and disordered eating.
Jocko and Margaret’s marriage continued to deteriorate, and the two sold their small home in Tarzana to rent a house close to Encino. Field moved with them, waiting in limbo to see if her TV pilot would be picked up by the network. Now back with Steve, Field found solace in their relationship, and she remained close with her brother, Ricky. Field’s life changed forever when she learned that the show would continue, and she and her mother flew to New York City, where she participated in media interviews and performed at Radio City Music Hall to promote the show.
Field reveled in playing the character Gidget, whom she felt was an idealized “twin” version of her. Gidget’s perfect life and innocent adventures were a source of comfort to Field, who ended each day by driving back home to her own troubled family life. Her mother’s drinking problem had worsened, and her aging stepfather had resorted to doing rodeo appearances. Field promoted her show through magazine interviews and photoshoots. Looking back now, she is sickened by the happy, carefree image her family presented in these photos, which successfully covered up the tension and trauma she was experiencing at the time.
Shooting the TV show required Field to be fearless; after just a few surfing lessons, she was expected to surf on camera in freezing water with no wetsuit. These high expectations reminded her of Jocko’s childhood training sessions. However, Field tried to “take the reins” and commit herself to the task rather than zone out to cope with it. The show began to test her acting ability and opened her eyes to the relationship between her real life and her performance. For instance, in one scene, Gidget had to angrily confront her father, and Field was surprised to find herself in hysterics during the scene.
Field’s regular job as the show’s star suddenly made her a provider for her family, changing the dynamic between her and her parents. Field’s mother accompanied her on promotional tours, and Field loved having her fun and supportive mother to herself. However, she also felt that a wound was festering between them that she didn’t fully understand. In one promotional outing at a high school girls’ fashion event, Field felt overwhelmed by the audience’s fevered attention. As girls crowded her aggressively for autographs, Field panicked and cowered until a “guardian angel” picked her up and carried her out. This strange experience marked the end of Field’s anonymity and the beginning of her celebrity.
After a year on the air, Gidget was canceled. This disappointed Field, but she felt that she could retain some of Gidget’s confidence and optimism in her own personality. Field was offered a starring role in The Way West, a western drama about a pregnant teenage girl traveling West by wagon with her father. Filming the movie was a generally good experience for Field, but she recalls the pressure of having to land dramatic moments and cry on demand. Her feelings of failure about her acting motivated her to become a better actor with more control over her performances.
After the movie, Field was offered a starring role as a nun in a new TV show. After reading the script, Field felt strongly that the role was not for her. However, when she politely turned it down, the producers hounded her, trying to convince her to take the role, which had been written for her. Field stood strong and refused to take the part, but when Jocko visited her and insisted that she take it, Field lost her confidence in herself and agreed. She played the part for three years.
Field’s new show, The Flying Nun, was an instant hit. Unfortunately, Field couldn’t see why, as she thought it was “gibberish” and “twaddle.” The episodes were formulaic and silly, and Field was in a harness, “flying” on screen, much of the time. She felt unprepared for the role, as she had no experience doing harness work and could not sing. When the Golden Globes asked her to “fly” in as the Flying Nun to present an award, Field confronted a familiar dilemma: Say no to respect her own feelings, or say yes to please others. She likens the word “no” to a hand grenade that would kill herself and others. Field agreed to do it but declined to wear her show costume and felt embarrassed to “fly” into John Wayne’s arms and present Dustin Hoffman with his acting award.
While her acting career took off, her relationship with Steve was strained. Field worked regularly and felt responsible for helping her mother and sister, whom Jocko had abandoned, while Steve had discovered marijuana and begun to neglect his university studies. Under stress, Field found solace in overeating and soon became bulimic. Her family doctor prescribed diet pills, which kept her thin but had frightening side effects. When Field realized that her diet pills compromised her acting ability, she stopped taking them.
Field continued to struggle with self-confidence. She felt belittled by the stars of The Monkees, who often hung around the set and mocked her with inside jokes. She was further confused by the studio’s impromptu gift to her, a Ferrari, which she didn’t really want but was unsure how to refuse. Now quite bored at her job, Field began to mentally shut down and invented little tricks and mind games to keep herself engaged in her work. Making matters worse, she felt self-conscious about her weight since she was eating for comfort. One day, she collapsed on set and couldn’t perform anymore. A costar, Madeleine, helped her home, and the following day insisted that she meet her at the Actors Studio after work.
Field accepted Madeleine’s advice and began attending workshops at the Actors Studio, which she found challenging and exhilarating. Unlike her acting job on The Flying Nun, these improvised workshops were challenging and helped Field learn acting as a craft. Field’s work schedule dictated her life, either taking up all her time or, if the show was on hiatus, none of it. She began therapy but was dismayed when her therapist, a strict and condescending man, prescribed group therapy, in which Field felt humiliated due to her fame as the “Flying Nun.”
Field reflects on her relationship with her younger sister, Princess, who took after Jocko in her personality and athletics. Princess adored Jocko and suffered greatly when he abandoned the family. Although she and Field had grown up together and had become good friends, Field also felt a distance between them. She tried to parent Princess during her difficult teenage years as the family fell apart, but their friendship was complicated by the fact that Field was financing Princess’s life. Field wanted to help repair the family unit, and she took Princess and Margaret on a vacation. However, when Field began to express her resentment toward Jocko, Princess defended him, and Field lashed out at Margaret, who had been drinking. Her mother and sister, hurt, felt that she had ruined their trip.
Grasping for better family relationships, Field visited her father, Dick, and his wife, Peggy. The visit soured when Dick asked for $5,000, and Field reluctantly gave him her business manager’s information. She felt frustrated with her father’s inability to connect emotionally and his sudden demands, but could tell that he cared about her in his own strange way.
While bracing for the second season of filming The Flying Nun, Field prepared for her first performance in the Actors Studio, which legendary acting teacher Lee Strasberg (for whom many wanted to perform) would moderate. Field heard that he had a strict 15-minute time limit on scenes and sometimes even stopped them before then. She performed as Lizzie in Jean-Paul Sartre’s The Respectful Prostitute, immersing herself in her performance. She was amazed that Strasberg allowed her scene to go on for 45 minutes. Afterward, he complimented her, calling her “quite brilliant,” an unusual gesture that stunned Field and everyone else in the room.
Field’s experience at the Actors Studio gave her a new source of inspiration and confidence. When she met with Harry Ackerman, the executive producer of The Flying Nun, she asked him if the show could include scenes or episodes that featured “honest human problems” (295). Ackerman immediately rejected the idea, claiming that audiences did not want to think too deeply, but Field felt pleased with herself that she had the confidence to ask for what she really wanted.
Field’s mother, Margaret, continued to give her advice and emotional support. Field reflects on how Margaret grew up with her generation’s “confining set of boundaries” (297) as well as her mother’s jealousy toward her relationship with her dad. She wonders how these experiences limited her mother’s confidence, despite her intelligence, abilities, and beauty. In hindsight, she realizes that when she was in her early twenties and her mother was in her mid-forties, they both felt alone.
Her fear of isolation influenced her decision to marry Steve, who had become her on-again, off-again boyfriend. When Steve revealed that he was engaged to another young actress and begged Field to marry him or he would marry the other woman, she agreed out of fear. Her family reacted with acceptance rather than excitement, and she knew she was not certain about her choice. When her mother expressed her doubts about Steve, Field felt betrayed and suspected that her mother was worried about being replaced in her life. She went ahead with the wedding, marrying Steve in Las Vegas without any family present.
That year, Field learned that she was pregnant. Personally, she was happy to become a mother and experienced a sense of wonder about her developing baby. Professionally, she felt more protective of herself, as she knew that the show’s producers would be upset about the inconvenience of her pregnancy, which could not be written into the show. She began having vivid war nightmares and, in one instance, realized that she was acting and was applauded for her performance in the war scene. She continued working on The Flying Nun throughout her pregnancy and, after a frightening labor experience, gave birth to her son, Peter.
Living in their new house in Bel Air, Field and Steve took care of Peter together, and Steve was a reliable partner. Even though he was unemployed, they never considered him a stay-at-home dad. Field wonders whether her poor experiences with her father or stepfather made her feel afraid to depend on Steve’s parenting too much. With her third and final season of The Flying Nun looming, Field asked her mother to quit her job and take care of Peter, promising to always provide for her financially if she did so. Margaret happily agreed and began to drink less as she became Peter’s caregiver.
Field contrasts her lighthearted sitcom characters with the difficulties of her personal life, which further develops the theme of The Personal Reality Behind the Public Image. Field’s memories of her first TV character, Gidget, emphasize the stark differences between her protagonist’s cheery world and the one she was really living in. Her attitude at work was influenced by Gidget’s character, as both were “joyously buoyant” and “constantly on the move” (175), and this image of a carefree teen became intertwined with Field’s public persona. However, her home life was another story. She borrows T.S. Eliot’s phrase “rat’s feet over broken glass” to describe the horrible tension in the house as her mother’s alcoholism worsened, Jocko became a washed-up actor, and her sister endured adolescence (176).
Field’s newfound celebrity as Gidget unnerved her, but the teenage Field was obligated to do press and public appearances to advertise her show. Her revulsion at her representation in the media underscores the inauthenticity of her public image at the time. She admits, “As I look at the faded, brownish pictures of my family scattered through these magazines it makes me almost physically ill […] They’re the same kind of stiffly posed photos that were taken of our ‘happy little group’ when I was six” (177-78). Field includes photos of herself with Jocko and her sister, which present the false narrative of a happy family to advertise her show.
Field’s public persona and private reality continued to diverge when she was cast as The Flying Nun. Field’s character, Sister Bertrille, was a sweet and naive nun who navigated trivial problems at her convent in Puerto Rico. The show’s success established Field as a recognizable TV star, but privately, Field struggled with the pressure of being a breadwinner for her family while working on a job she hated. By detailing her struggles with disordered eating and her tumultuous family and romantic life at the time, Field gives readers a realistic glimpse into her daily life during this period, showing the pain that she hid so well behind her comical performances.
Her continued focus on her personal life develops The Legacy of Family Relationships as a theme. Field’s experiences with her mother, father, and Jocko taught her to comply with other people’s demands. She points to her forced visits with her father, Dick, in which her mother repeatedly told her that everyone had to do things they did not want to do, teaching her that she could not say no. She attributes these early lessons to her difficulty in standing up for herself and asserting her own wishes. For instance, Field dreaded the humiliation of appearing at the Golden Globes as The Flying Nun character Sister Bertrille. However, she struggled to refuse the request, as she was scared of disappointing others: “Why was that word, that tiny word, so hard for me to utter? NO. It was a frightening, dangerous word, like the pin in my personal hand grenade, and if I pulled it, I could explode myself, plus everyone around me” (246). Field’s comparison captures the terror she felt about asserting her needs over those of others.
Her reflections on her family relationships thematically overlap with The Psychological and Emotional Impact of Trauma. By discussing how certain challenges continued into her adulthood, Field presents her childhood trauma as a haunting experience that impacted her mental health, personal relationships, and professional development. For instance, she recalls how her acting work challenged her to overcome her mental fog and her tendency to allow part of her mind to drift off, away from the present. While working on Gidget, Field had to surf in freezing water, prompting her to fully engage with the challenge. She remembers, “I was terrified, yes, but instead of letting some other part of me perform the task while the rest of me floated away, I had held the reins and fearlessly, without thinking, told myself to just go” (206). By using the image of holding the “reins” of her mind, Field suggests that she began to reclaim power over her thoughts, which the traumatic events of her childhood had scattered.
However, not all of Field’s issues were easily resolved. She suggests that her early experiences of feeling controlled and afraid impacted her mindset as a young woman, leading her to make fear-based decisions. For instance, despite hating the script for The Flying Nun, Field eventually caved to her feelings of self-doubt, which her stepfather, Jocko, only encouraged. His warning that she may never work again if she turned down the part filled her with “icy-cold fear” (233). She remembers, “I was afraid. Because of that, for three years I was The Flying Nun” (233).
Field contrasts the anguish and powerlessness of her fear-based decisions with the empowerment she felt while acting in workshops at the Actors Studio, where she felt like “an entirely different person” (242). Overcoming her insecure feeling of being a “ragamuffin” in a “wordless world” in which she acted out others’ wishes, at the Actors Studio, she felt empowered to explore her craft how she wanted (242). By finding a safe space to develop her skills, Field discovered that her passion for acting could be a boon to her mental and emotional health.



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