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These archetypes reflected a broader societal discomfort with female aging, equating wrinkles with a loss of value. As actor Meryl Streep noted, ��쏷he body is a vector of meaning��� in cinema, and for older women, that meaning was historically coded as irrelevance.
: Older women are four times more likely to be portrayed as "senile" or "grumpy" than older men. Streaming and cable platforms (HBO, Netflix, Amazon) created
Streaming and cable platforms (HBO, Netflix, Amazon) created an appetite for character-driven stories. Shows like The Crown (Claire Foy, then Olivia Colman), Mare of Easttown (Kate Winslet), Happy Valley (Sarah Lancashire), and Grace and Frankie (Jane Fonda and Lily Tomlin, both in their 80s) proved that audiences crave stories about mature women��셲 complexities��봥rief, rage, sexuality, and resilience. We need stories about mature queer women (think
The future lies in intersectionality. We need stories about mature queer women (think Gentleman Jack ), mature disabled women, and mature women of all economic backgrounds. mature disabled women
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These archetypes reflected a broader societal discomfort with female aging, equating wrinkles with a loss of value. As actor Meryl Streep noted, ��쏷he body is a vector of meaning��� in cinema, and for older women, that meaning was historically coded as irrelevance.
: Older women are four times more likely to be portrayed as "senile" or "grumpy" than older men.
Streaming and cable platforms (HBO, Netflix, Amazon) created an appetite for character-driven stories. Shows like The Crown (Claire Foy, then Olivia Colman), Mare of Easttown (Kate Winslet), Happy Valley (Sarah Lancashire), and Grace and Frankie (Jane Fonda and Lily Tomlin, both in their 80s) proved that audiences crave stories about mature women��셲 complexities��봥rief, rage, sexuality, and resilience.
The future lies in intersectionality. We need stories about mature queer women (think Gentleman Jack ), mature disabled women, and mature women of all economic backgrounds. |
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