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 Name something comparable
to the pop culture phenomenon

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of child stardom.

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As someone whose professional
career initially spiked

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at 11 years old and
whose face is now

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the cover of clickbait articles
titled "10 Shocking Ways

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These Child Stars Died," it's
been a harrowing 80 years.

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And I'm 27.

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While traversing extreme peaks
and valleys of global fame,

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hidden medical hospitalizations,
artistic milestones,

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rapid adultification
and multilayered abuse

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I wish on no one,
I narrowly survived

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the toddler-to-train
wreck pipeline.

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In fact, nothing was
designed for me to end

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up normal, stable, alive.

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The toddler-to-train
wreck pipeline

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is a notorious and
thriving industrial complex

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around child entertainers.

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It was first documented in
1885, when Elsie Leslie made

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her theatrical debut
at four years old,

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becoming an American
celebrity at six.

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Since then, a full-fledged
system has emerged.

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It's expertly constructed.

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And it's bolted in place by
censoring the harm happening

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behind the scenes, manicuring
aspirational lifestyles

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and outcomes, and then watching
young lives tragically implode.

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You may recognize the pipeline
by specific press campaigns,

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like "shocking rebellion"
or "miraculous comeback."

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It prophecize pitiful
and shameful fates

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for little tots with big
talent while conveniently

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remaining in denial of
its own violent blueprint.

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Instead, the damage
manifests as illness

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or questionable behavior and
gets projected onto the child,

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as if they are an
isolated problem.

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Now, this does not dismiss
their personal responsibility

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or negate the positives
and privileges

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that accompany the spotlight.

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Simply, the records
are consistent.

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How can children
unwittingly copy and paste

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the same horror
stories, cries for help,

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and humiliating spirals?

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How come there have been
no signs of improvement

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for centuries?

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As someone who lived it
and witnessed thousands

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endure alongside me, I can
attest that what is missing

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from the pipeline
narrative are clear

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action plans for intervention,
long-term prevention,

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and accountability from studios,
agencies, and guardians.

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On behalf of the current
children being abused right

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now, there is an
opportunity for us

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to empower each other
through honest conversation

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and collaborative action.

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I invite you to revisit this
script with a broader lens.