Does the Oscars still have a female ageing issue in 2024? Why Hollywood might finally be turning a corner
Goldie Hawn’s character in The First Wives Club summed it up best: “There are only three ages for women in Hollywood: babe, district attorney, or Driving Miss Daisy.”
That was almost 30 years ago, but we’re still having the conversation.
A land of airbrushed perfection, Hollywood has always had an issue with ageing – reflected in who wins what at the big awards. For decades, there has been an age disparity between Oscar-winning actors and actresses, with veteran male stars feted, while for women it has typically been the younger “ingenues” collecting the gongs.
There has been much talk of change in the industry in recent years – but is it actually happening?
Sky News analysis of the Oscars acting categories across 10-year periods shows there has typically always been a gap between the average age of female winners and male winners.
However, following the results at recent ceremonies – cemented with wins for Everything Everywhere All At Once stars Michelle Yeoh (now 61) and Jamie Lee Curtis (now 65) in 2023 – the average age gap closed for the first time last year.
Oscars gender age gap
What happens if you look at single years?
The graph above shows the average ages during 10-year periods to show when trends emerge, but taking single years into account the difference has often been even starker.
In 2000, for instance – the age gap between the then 25-year-old Hilary Swank (best actress) and 24-year-old Angelina Jolie (best supporting actress) was small. But in the equivalent male categories, the gap was almost 30 years – between Kevin Spacey (40 at the time, best actor) and Michael Caine (then 67, best supporting actor). This means that, across both the male and female categories that year, the average age gap was 29 years.
In 2013, the average age gap was 29.5 years, with Jennifer Lawrence (22 at the time) and Anne Hathaway (30) winning the female acting awards, and Daniel Day-Lewis (55) and Christoph Waltz (56) picking up the trophies for the men.
That’s not to say this doesn’t occasionally happen the other way around. In 1990, the acting age gap was 29 years but this time with the female average the higher number. The winners? Daniel Day-Lewis and Denzel Washington (then aged 32 and 35); Brenda Fricker (45) and Jessica Tandy (80) – for, interestingly, her performance in Driving Miss Daisy.
In 95 years of the Oscars, this is the only time the female average age has been more than 20 years higher than the male average age – something that has happened 14 times the other way round. Hawn really did have a point.
Perhaps unsurprisingly, the honouring of older men and younger women was all particularly prevalent in the 1990s and 2000s; in the 20 years from 1990 to 2009, the average age of female winners was higher than the male winners on just three occasions.
But in the last 10 years, there have been five years when the female average age has been higher, and five years when the male average age has been higher.
Equality!
Well, not quite. If things go as predicted this year then the two male winners will be on average about 16 years older than the two female stars – but then again, last year, the average age for the women was nine-and-a-half years more than that for the men.
It’s too early to say for definite that Hollywood has turned a corner – but the data certainly shows promise following years of conversations about the need for improving and diversifying roles for women of all ages on screen.
‘In the ’60s, I never saw another woman’
Jodie Foster won her second Oscar for best actress in 1992, for her performance in Silence Of The Lambs. Pic: AP/NewsBase
Jodie Foster was just 12 when she controversially starred as a child prostitute alongside Robert De Niro in Martin Scorsese’s Taxi Driver in 1976 – the film that earned the star her first Oscar nomination, for best supporting actress, at 14, and made her one of the youngest nominees ever.
She went on to win the Academy Award for best actress twice, for The Accused and Silence Of The Lambs in 1989 and 1992 – both before she was 30 – and is now, more than 30 years later, up for best supporting actress once again for her performance in Nyad. The film stars Annette Bening (nominated for best actress) as endurance-swimmer Diana Nyad, who at 60 decided to re-attempt the punishing 110-mile swim from Cuba to Florida which eluded her in her youth, and Foster as her friend and trainer Bonnie Stoll.
Read more:
Nyad’s real-life trainer on how Jodie Foster nailed the role
Foster as Bonnie Stoll and Annette Bening as Diana Nyad. Pic: Kimberley French/Netflix
Foster, 61, says the industry has come “a long way” since she started out starring in adverts as a child in the 1960s. “I’ve been in the business for 58 years,” she tells Sky News. “When I first started in the ’60s, I never saw another woman… sometimes it was the lady who played my mom, or sometimes a make-up artist, but for the most part it was really just an entirely male environment.
“That’s changed, little by little by little, with [female] technicians coming in and female producers and now, really just recently for the United States, women directors. That was the last bastion of change, where we now have more women directors… I have seen that change, for sure.”
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‘It was an entirely male environment’
The actress has most recently been seen in the latest season of the hit series True Detective, in which she stars as a police chief alongside Kali Reis as a state trooper, investigating mysterious disappearances from a research station in Alaska.
After “playing strong women my whole life”, Foster says two female characters leading a show should not be headline news – but what has changed for women on screen is the way characters are developed. “The world of complexity hasn’t always been reserved for women. We were ‘the mother of…’, ‘the sister of…’, ‘the prostitute’, you know. It has taken a lot of work by women to flesh out female characters in the industry over time.”
‘You don’t pay us as much – but we still have some clout’
Olivia Colman accepts her best actress award at the Oscars in 2019. Pic: Matt Petit/AMPAS/Reuters
British actress Olivia Colman, who won the Oscar for best actress in 2019 for her portrayal of Queen Anne in The Favourite, and can currently be seen starring in mystery comedy Wicked Little Letters, says things are getting better but there is still a way to go – when it comes to roles and pay.
“Let’s fight for that journey,” she tells Sky News. “Over half the world’s population is women. We are interested in seeing ourselves reflected in stories, as all people are – wherever you’re from, you want to see yourself reflected in a story.
“I don’t stop watching telly once I’m 31, or films or stories or theatre, I still want to watch. And although you don’t pay us as much, we still have some clout. So – don’t underestimate women!”
‘More great roles – and not just for Meryl Streep’
Film critic Anna Smith, co-host of the Girls On Film podcast, says there has been a history of Hollywood casting younger women alongside older male stars.
“Whereas you can be a sexy George Clooney getting older, women – even in their 40s – can struggle to get work. I know some actresses that say when they reach a certain age, there’s a couple of decades where they’re a bit stuck because they either play the mum role or they have to wait and play the grandmother role. There aren’t as many meaty roles for women of all ages as there should be – and when they do happen, sometimes the older roles, they can be very cliched.”
However, Smith thinks that while there is still more work to be done to level the playing field, there has definitely been a shift in the last decade – and since the rise of the #MeToo and Time’s Up movements especially.
“We are seeing more great roles for older actresses and a variety – not just Meryl Streep, you know, there’s a little bit more out there for everybody. You look at Frances McDormand in Nomadland [in 2021]… she gives a wonderful performance and [it was] great to see that recognised at the Oscars and many other ceremonies.”
Michelle Yeoh in Everything Everywhere All At Once. Pic: A24
There is one thing she points out about Everything Everywhere All At Once, though. “The central role was originally conceived for Jackie Chan, and then they flipped it. And what you actually often find in recent years, when you get a film that is recognised well at the Oscars etc, when it’s a strong female character, a complex female character, it was often planned for a man…
“I have mixed feelings about that. On the one hand – great that people are open-minded enough now to go, hang on a minute, let’s just check our bias here, why is this role going to a man when it could go to a woman? That’s great, to challenge your bias, but at the same time, that does suggest complex roles for women aren’t being written specifically for women.”
So what needs to be done?
“I think there needs to be more investment in independent film and also people keeping an eye on the Hollywood machine,” says Smith. “Anyone working in the diversity area within big studios, I think, has got a real influence and the potential to make a change.
“The more people of different ages and ethnicities and backgrounds who are working in film and keep an open mind and are challenging their own biases, the more interesting and complex older characters we get. But I would also love to see people judging women less by their looks. I think there’s a real issue still in Hollywood, where some women feel pressured to have cosmetic surgery at a certain age in order to conform to some kind of unrealistic beauty standards.
“I think it’s a problem that is hopefully going away slightly, because you do look at the likes of Jamie Lee Curtis and she looks like an ordinary woman of her age, which is incredible. I would like to see more of that.”
In the Oscars acting results of recent years at least, it does feel like Hollywood has moved on from the ages of babe, district attorney and Driving Miss Daisy only.
Now Tinseltown just has to continue allowing women to grow old on screen, gracefully or otherwise – exactly the same as the men.
Reports of a “board-level orchestrated coup” at the BBC are “complete nonsense”, non-executive director Sir Robbie Gibb has told MPs.
Sir Robbie, whose position on the BBC board has been challenged by critics in recent weeks, was among senior leaders, including the broadcaster’s chair, Samir Shah, to face questions from the Culture, Media and Sport committee about the current crisis.
The hearing took place in the wake of the fallout over the edit of a speech by US President Donald Trump, which prompted the resignation of the corporation’s director-general and the chief executive of BBC News, and the threat of a lawsuit from the US president.
Former BBC editorial adviser Michael Prescott wrote the memo that was leaked. Pic: PA
Former editorial adviser Michael Prescott, whose leaked memo sparked the recent chain of events, also answered questions from MPs – telling the hearing he felt he kept seeing “incipient problems” that were not being tackled.
He also said Mr Trump’s reputation had “probably not” been tarnished by the Panorama edit.
During his own questioning, Sir Robbie addressed concerns of potential political bias – he left BBC News in 2017 to become then prime minister Theresa May’s director of communications, a post he held until 2019, and was appointed to the BBC board in 2021 by Boris Johnson.
BBC board member Sir Robbie Gibb appearing before the Culture, Media and Sport committee. Pic: PA
“I know it’s hard to marry the fact that I spent two years as director of communications for the government… and my genuine passion for impartiality,” he said.
“I want to hear the full range of views… I don’t want the BBC to be partisan or favour any particular way.”
Asked about reports and speculation that there has been a “board-level orchestrated coup”, Sir Robbie responded: “It’s up there as one of the most ridiculous charges… People had to find some angle.
“It’s complete nonsense. It’s also deeply offensive to fellow board members… people of great standing in different fields.”
He said his political work has been “weaponised” – and that it was hard as a non-executive member of the BBC to respond to criticism.
‘We should have made the decision earlier’
BBC chair Samir Shah also answered questions. Pic: PA
Mr Shah admitted the BBC was too slow in responding to the issue of the Panorama edit of Mr Trump, which had been flagged long before the leaked memo.
“Looking back, I think we should have made the decision earlier,” he said. “I think in May, as it happens.
“I think there is an issue about how quickly we respond, the speed of our response. Why do we not do it quickly enough? Why do we take so much time? And this was another illustration of that.”
Following reports of the leaked memo, it took nearly a week for the BBC to issue an apology.
Mr Shah told the committee he did not think Mr Davie needed to resign over the issue and that he “spent a great deal of time” trying to stop him from doing so.
Is director-general role too big for one person?
Tim Davie is stepping down as BBC director-general
Asked about his own position, Mr Shah said his job now is to “steady the ship”, and that he is not someone “who walks away from a problem”.
A job advert for the BBC director-general role has since gone live on the corporation’s careers website.
Mr Shah told the hearing his view is that the role is “too big” for one person and that he is “inclined” to restructure roles at the top.
He says he believes there should also be a deputy director-general who is “laser-focused on journalism”, which is “the most important thing and our greatest vulnerability”.
Earlier in the hearing, Mr Prescott gave evidence alongside another former BBC editorial adviser, Caroline Daniel.
He told the CMS committee that there are “issues of denial” at the BBC and said “the management did not accept there was a problem” with the Panorama episode.
Mr Prescott’s memo highlighted concerns about the way clips of Mr Trump’s speech on January 6 2021 were spliced together so it appeared he had told supporters he was going to walk to the US Capitol with them to “fight like hell”.
‘I can’t think of anything I agree with Trump on’
Mr Trump has said he is going to pursue a lawsuit of between $1bn and $5bn against the broadcaster, despite receiving an official public apology.
Asked if the documentary had harmed Mr Trump’s image, Mr Prescott responded: “I should probably restrain myself a little bit, given that there is a potential legal action.
“All I could say is, I can’t think of anything I agree with Donald Trump on.”
He was later pushed on the subject, and asked again if he agreed that the programme tarnished the president’s reputation, to which he then replied: “Probably not.”
Read more:
Experts on why Trump might struggle to win lawsuit
Why are people calling for Sir Robbie Gibb to go?
Mr Prescott, a former journalist, also told the committee he did not know how his memo was leaked to the Daily Telegraph.
“At the most fundamental level, I wrote that memo, let me be clear, because I am a strong supporter of the BBC.
“The BBC employs talented professionals across all of its factual and non-factual programmes, and most people in this country, certainly myself included, might go as far as to say that they love the BBC.
He said he “never envisaged” the fallout that would occur. “I was hoping the concerns I had could, and would, be addressed privately in the first instance.”
Asked if he thinks the BBC is institutionally biased, he said: “No, I don’t.”
He said that “tonnes” of the BBC’s work is “world class” – but added that there is “real work that needs to be done” to deal with problems.
Mr Davie, he said, did a “first-rate job” as director-general but had a “blind spot” toward editorial failings.
Jimmy Cliff, a musical artist who helped bring reggae to an international audience, has died aged 81.
Known for hits including You Can Get It If You Really Want, The Harder They Come, and Many Rivers To Cross, his career spanned six decades.
Cliff performing on the Pyramid Stage, at the Glastonbury Festival in 2003. Pic: PA
His wife, Latifa Chambers wrote on Instagram: “It’s with profound sadness that I share that my husband, Jimmy Cliff, has crossed over due to a seizure followed by pneumonia.
“I am thankful for his family, friends, fellow artists and coworkers who have shared his journey with him.
“To all his fans around the world, please know that your support was his strength throughout his whole career. He really appreciated each and every fan for their love.”
Thanking the medical staff who helped during his illness, she added: “Jimmy, my darling, may you rest in peace. I will follow your wishes.”
Signed by his wife, and two of his children, Latifa and Lilty, the statement concluded: “We see you Legend.”
Tributes to the singer included those from Jamaican Prime Minister Andrew Holness, calling him “a true cultural giant whose music carried the heart of our nation to the world… Jimmy Cliff told our story with honesty and soul. His music lifted people through hard times, inspired generations, and helped to shape the global respect that Jamaican culture enjoys today.”
UB40 star Ali Campbell, who covered Cliff’s song Many Rivers To Cross in 1983, also paid tribute, saying he was “absolutely heartbroken to hear about the passing of a Reggae forefather” in a post on X.
Campbell also called Cliff “a pillar of our music, and one of the first to carry reggae out into the world”.
Jimmy Cliff (L) stands with Wyclef Jean at his Rock and Roll Hall of Fame induction in 2010. Pic: Reuters
A legend of music and screen
A two-time Grammy-winning artist, Cliff was awarded the Jamaican Order of Merit in 2003, the highest honour in the arts and sciences, from the Jamaican government.
Over the years, he would work with stars including the Rolling Stones, Sting, Elvis Costello, Annie Lennox, Paul Simon and Wyclef Jean.
He was inducted into the Rock and Roll Hall of Fame in 2010.
A prolific writer, frequently expressing his humanitarian views through his work, his 1969 track Vietnam was reportedly described by Bob Dylan as “the best protest song” he had ever heard.
Cliff was also well known for cover versions of songs, including Johnny Nash’s I Can See Clearly Now, which appeared on the soundtrack of the 1993 movie Cool Runnings, and Cat Stevens’ Wild World.
He twice performed on high-profile US chat show Saturday Night Live.
An actor and a musician, as well as singing the title track of 1972 cult classic The Harder They Come, Cliff also starred in it.
One of the first major commercial releases to come out of Jamaica, the movie is credited with bringing reggae to the world, as well as showing a grittier and more realistic side to the country.
During this time, Cliff’s fame rivalled Bob Marley as the reggae’s most prominent artist.
The storyline, which revolved around Cliff’s character, Ivan, moving to Kingston, Jamaica, to make it as a musical superstar, had parallels with his own.
Cliff at the MOBO (Music of Black Origin) Awards at the London Arena in London’s Docklands in 2002. Pic: PA
‘Hurricane Hattie’
He was born James Chambers, during a hurricane, on 30 July 1944, in St James Parish, northwestern Jamaica.
In the 1950s, he moved with his father from the family farm to Kingston, determined to succeed in the music industry.
He began writing as Jamaica was gaining its independence from Britain, and as the early sounds of reggae – first called ska – were being developed.
At just 14, he became nationally famous for the song Hurricane Hattie, which he had written himself.
Cliff would go on to record over 30 albums and perform all over the world, including in Paris, in Brazil and at the World’s Fair, an international exhibition held in New York in 1964.
The following year, Island Records’ Chris Blackwell, the producer who launched Bob Marley And The Wailers, invited Cliff to work in the UK.
Jimmy Cliff during the Love Supreme Jazz Festival in 2019. Pic: Shutterstock
‘I still have many rivers to cross!’
Speaking about his burning passion for life during a 2019 interview, when the star had begun losing his sight, Cliff said: “When I’ve achieved all my ambitions, then I guess that I will have done it and I can just say ‘great’.
“But I’m still hungry. I want it. I’ve still got the burning fire that burns brightly inside of me – like I just said to you. I still have many rivers to cross!”
Cliff’s last studio album, Refugees, made with Wyclef Jean, was released in 2022, and the singer said he wrote the title track “due to emotional feelings towards freedom taken away from human beings”.
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