The September issue is, as we know, the most important issue. And this is American VOGUE’s 125th anniversary. So it’s Jennifer Lawrence on the cover. Good decision or bad decision?

Jennifer stars in Darren Aronofsky’s upcoming mother! so the timing works – for her. But for the magazine, for this particular issue, this particular year, is the choice to put Jennifer Lawrence on the cover the right one? Whoever’s on the cover of this milestone has to hold up for the next milestone. Jennifer Lawrence has an Oscar and several more nominations. She’s a legitimate movie star. She carries her own movies. She’s fronted two blockbuster franchises. She’s a household name. In 2042, 25 years from now, it’s almost guaranteed that people will still know her, that no one will pick up a dusty old archived copy of this magazine and be like, who the f-ck is this?

So, yeah, I get it. It’s definitely not a gamble. In fact, it’s about the safest choice you can make.

But 25 years from now, in 2042, when someone picks up a dusty old archived copy of this magazine and sees that it was Jennifer Lawrence on the cover, what will that tell them about this brand, this year, and these times? VOGUE seems to be telling us, right now, that Jennifer Lawrence is the standard. Then again, VOGUE hasn’t been radical in a long, long time.

This is a classic Jennifer Lawrence interview. She’s goofy and honest. She’s self-deprecating. She tells a story about her house and about crystals that made me laugh because now I’m trying to imagine her at a goop conference and what she would do there, surrounded by crystals and auras. The point: Jennifer Lawrence is not pretentious. She hates when actors talk about acting because it’s a motivational eyeroll. She generally avoids people who went to Harvard because all they ever want you to know is that they went to Harvard. She doesn’t share too much about her boyfriend, Darren Aronofsky, but she doesn’t go out of her way to not talk about him either. Rather he comes up easily, in conversation, without dominating the conversation. And even though he’s refined and art-elite, and disapproves of the kinds of entertainment she consumes, she does it anyway, because she’s obsessed with the Kardashians and all the Housewives so you can’t say she’s changing for her man. If she’s going to change, she’ll change for herself. So she’s quick to take ownership of her professional shortcomings, in particular the storyline in Passengers, which was basically about a man who, without consent, makes a decision for a woman, her body, and eventually her life. There’s skill in this, as I’ve always said about Jennifer Lawrence. She’s really, really good at this part of her job. Jennifer acknowledges why people were disturbed by the premise of Passengers. She does not insult anyone with whom she worked on the film. Instead, she calls herself out for not asking more questions, for not more thoroughly examining the narrative so that she could challenge it at the time.

“I’m disappointed in myself that I didn’t spot it.”

I mean, where are you supposed to go from there? “Be MORE disappointed in yourself, Jennifer! It’s not enough!”?

So, yes, this interview and this profile can be added to the pile of “Jennifer Lawrence is so down to earth and so damn relatable” examples we’ve seen and read over and over again. She’s done her job, again. But to go back to the beginning, has VOGUE done its job? Does VOGUE need to keep telling us how relatable Jennifer Lawrence is? Or should VOGUE be taking us to places and introducing us to people that are “relatable” too, only they just haven’t had the opportunities to show us? Nobody needed VOGUE to give us the version of Jennifer Lawrence that was relatable. It was already out there. It was already the status quo. That, then, is what VOGUE does. It upholds the status quo.

Click here to read the full Jennifer Lawrence article at VOGUE and to see more photos and video.