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The success of The Golden Girls revival streams, the cultural chokehold of Hacks (Jean Smart at 73 winning Emmys), and the box office of 80 for Brady prove a simple truth: the audience over 40 has disposable income and a desperate desire to see themselves on screen. Studios are slowly learning that excluding mature women is not just artistically bankrupt—it is financially stupid.
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Despite progress, we are not in a utopia. The term "mature woman" still often acts as a genre unto itself rather than a natural demographic. There is still a dearth of roles for women of color over 50, and the industry remains obsessed with "how" a mature woman looks (fit, "ageless," stylized) rather than simply accepting the reality of a 60-year-old face. The success of The Golden Girls revival streams,
We are seeing the rise of the "para-social" fanbase for older actresses. Social media has allowed icons like (65), who famously stopped dyeing her hair on screen, to become symbols of natural beauty and resistance. Demi Moore (60) has undergone a career renaissance by embracing her vulnerability in body-horror films like The Substance —a film explicitly about the horrors of ageism and the pressure to remain "consumable." The term "mature woman" still often acts as
Shows like The Crown (starring the imperious Imelda Staunton and the devastating Lesley Manville), Mare of Easttown (Kate Winslet, playing a middle-aged, exhausted, brilliant detective), and Happy Valley (Sarah Lancashire, the 58-year-old tour de force) have proven that audiences will binge-watch stories about complicated older women.
Furthermore, the romantic comedy—the genre that once defined female stardom—remains largely gerrymandered away from women over 50, unless it is packaged as a "weird" experiment.
Cinema is finally catching up to life: that the most interesting stories don't begin at 25. They begin when you have something to lose—and nothing left to prove.
