Today, that calculus has been shattered.

The problem was structural. Writing rooms and director’s chairs were dominated by young men, who largely wrote stories about young men. Female characters existed primarily as love interests, trophies, or damsels. If a woman over 50 appeared on screen, she was likely a comic caricature (the nosy neighbor) or a horror trope (the vengeful spirit). The inner life, the desires, the ambitions, and the wisdom of the mature woman were deemed unmarketable.