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That trope is dead. Films like Good Luck to You, Leo Grande (starring an extraordinary Emma Thompson at 63) explicitly and tastefully explored a widow’s sexual reawakening. The Lost Daughter (Maggie Gyllenhaal’s directorial debut, starring Olivia Colman) explored the raw, often unflattering desires of a middle-aged woman.

Furthermore, the industry still struggles with intersectionality. The progress for white actresses has been significant, but for women of color, Indigenous women, and those with disabilities, the battle for complex, non-stereotypical roles in their "mature" years is just beginning. The success of Viola Davis, Andra Day, and Octavia Spencer is notable, but they remain exceptions rather than the rule. Looking forward, the trend is irreversible. Generation X is now entering their 50s and 60s, and they are a demographic that grew up on MTV and feminism. They have no interest in playing "granny" in a rocker. That trope is dead

By demanding richer scripts and refusing to go quietly into that good night of supporting roles, these women have done more than extend their own careers. They have rewritten the script for every girl in the audience, promising her that the story does not end at forty. The third act, it turns out, is just the beginning. Looking forward, the trend is irreversible

Shows like The Crown (featuring Olivia Colman and Imelda Staunton), Mare of Easttown (Kate Winslet), and Big Little Lies (Nicole Kidman, Reese Witherspoon, Laura Dern) placed mature women in morally complex, physically demanding, and sexually active roles. Mare of Easttown (Kate Winslet)

For decades, Hollywood operated under a cruel, unspoken arithmetic: a man’s value increased with his wrinkles, while a woman’s disappeared with them. Once an actress crossed a certain age—often forty—the scripts dried up, the romantic leads vanished, and the only offers left were voiceovers for animated mothers or the vaguely threatening "grandmother in a horror film."