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She’s the everywoman, a picture of klutzy mishaps of the heart that looks more like a mirror than a photograph.

It is A’s Everywoman nature, combined with the vulnerable physicality that’s so evident in such an intimate space: her breath, her welling tears, the placating smile she puts on like a demure piece of armor when she runs the risk of upsetting a man.

“What about the person who is good until next week? Or good for three days? And what about the Everyman and Everywoman who doesn't have the means to survive, who can never take a day off of work and can't get sick, because their family depends on them?” he wondered.

Ringwald remains an icon of ’80s adolescence, a relatable teenage everywoman known for her work with John Hughes in “The Breakfast Club,” “Pretty in Pink” and “Sixteen Candles” — films that were so ubiquitous that they are embedded in Gen X’s collective consciousness.

Seeking to carve out a liberal middle lane, Ms. Porter, a minivan-driving Orange County mother of three and former law professor, leaned on her image as a kitchen table wonk — an everywoman who sees clearly how government, for better and worse, affects Californians.