Hayworth changed her name, and went through a rigorous beauty make-over and regime to anglocize and glamorize her appearance--a conscious creation of the desire to be desired, a creation of a mask in relation to the male gaze. On screen, Gilda was exoticized sexually, but in order to pass, her mask must be whitened, thus pointing to the constructedness of race, as well as gender. She had her forehead heightened through electrolysis, and her hair lightened and stylized. Hayworth later went on to make a movie, Cover Girl, which documents a similar transformation from homeliness to sex-goddess status with Hayworth starring as the fictional cover girl. Jeanine Bassinger comments, "Since this film [Cover Girl] shows us how the glamorous Rita Hayworth is manufactured, we can only assume that magical men in white coats create one every generation" (148). An entire industry exists, then, to strengthen the gender divide, and yet it points to its construction by insinuating that beauty can be created with the right attention, race, class, and personal acoutrements. A New York Times article from 1941 titled, "Miss Hayworth Arrives: Wherein the Season's New Glamour Girl Is Introduced to a Star's Chores" states: Since then Miss Hayworth has been a very busy girl, she spends two and a half hours each morning in preparing her hair-do and make-up before reporting on the sound stage at 9:30...She admitted that this didn't leave much time for her domestic chores as the wife... (Strauss). The double bind persists, however, for glamour girls must do their "chores", or else feminine excess might become all too volatile. Hollywood industry gambles, however, precisely on the marketability of Hayworth's volatility: it is essential to comodify her excess, to channel it into a profit-making industry. One reviewer said, "'a Hayworth movie is a kind of medicine show, attracting as much attention as possible to a single product.'"