Over the past 20 years, the study of eighteenth-century British actresses has blossomed into an emerging interdisciplinary field. Early works on actresses in the 1990's coincided with a heightened interest in recovering non-canonical eighteenth-century texts by female authors as well as the publication of Judith Butler's ground breaking Gender Trouble in 1992. Actresses became, in many ways, the perfect vehicle for looking at how ideologies of femininity, performance, and embodiment materialized in eighteenth-century culture. The publication of Felicity Nussbaum's Rival Queens in 2010 signaled a new phase in actress studies. This article looks closely at the ways in which scholarship on eighteenth-century actresses and celebrity produced since 2010 responds to and/or complicates Nussbaum's invitation to move beyond the parameters of the lady/prostitute divide in actress studies towards more "productive frames of reference" and methodologies. In 2016, actress studies is a truly interdisciplinary field intersecting with art, music, literature, history, economics, psychology, anthropology, sociology, and fashion. Scholars in actress studies have pioneered new theoretical approaches to theater history, archives and evidence, re-enactment and performance, as well as studies of sound and material culture. Studies of actresses have contributed significantly to the history of early modern women specifically focusing on maternity, professionalism, marriage, domestic life, and kinship networks. Considering "Actress Studies" as a distinct field highlights an important legacy of paradoxical ideologies about women, power, and fame that still operate today.