While personal choices may play a role in shaping the paths women take, these choices are often overshadowed by systemic discrimination. Because for many women, the reality is harsh. As we age, workplaces become more hostile, opportunities dwindle, and the pressure to “stay young” intensifies. Jobs that were once attainable now slip away as industries favour younger candidates. This is evident in the case of Shelley Gardener, Pamela Anderson’s character in The Last Showgirl, whose show is cancelled at 57 after three decades. The difficulty of finding work that was once second nature to her becomes painfully clear, especially in an industry that no longer values older dancers.  

Globally, women experience higher unemployment rates than men, and this disparity worsens in older age groups. For women aged 50 to 64, the economic inactivity rate is significantly higher than that of men. In the UK, for example, this rate was 31.3% in 2024 compared to 23.2% for men. Additionally, women in this group are twice as likely to cite “looking after home or caring for family members” as the primary reason for not working — 17.6% versus 8.9% for men. 

And it gets worse. A recent study from Anglia Ruskin University (2025) highlights the challenges older women face in re-entering the job market. Despite having similar qualifications and often more experience, older women are up to 25 times less likely to be offered an interview than younger candidates. This stark disparity underscores the deep-rooted ageism that continues to hinder their employment prospects. 

 The issue of ageism, however, is not confined to the corporate world. Hollywood reflects this broader societal trend, and this is why films like The Last Showgirl are so important. In the entertainment industry, actresses often “age out” of roles, with careers built over decades suddenly derailed by a desire for youth. 

The “Ageless Test,” which tracks the representation of women over 50 in film, highlights how rare it is for these women to be portrayed as fully developed characters, rather than background figures or stereotypes. Only one in four films passes this test. The Last Showgirl stands out as a powerful exception, centering an older woman in a lead role — a striking departure from Hollywood’s usual focus on younger women or men. 

In response to this glaring lack of representation, a new wave of festivals is emerging to challenge the norm. These festivals, like the Women Over 50 Film Festival (WOFF), are dedicated to showcasing films that highlight the lives and experiences of older women, both on-screen and behind the camera. The Last Showgirl aligns with this movement, offering a compelling narrative that resonates with a predominantly older female audience. As covered by This Curious Life, these festivals are breaking down ageist barriers and amplifying the voices of older women in cinema.  

Across the globe, many women are redefining what it means to age, stepping into entrepreneurship and creating their own opportunities in a world that often refuses to make space for them. Films like The Last Showgirl, told through the lens of a 57-year-old woman, mark a significant shift in this narrative. Older women are increasingly reclaiming the spotlight — from Nicole Kidman exploring her sexuality in Babygirl, to Demi Moore proving her worth in The Substance, and Renée Zellweger discovering new romance as a 52-year-old mother in the latest Bridget Jones film. 

A growing group of financially independent, high-caliber actresses are also taking matters into their own hands by producing their own films, carving out the space that was once denied to them. Nicole Kidman, for instance, has publicly committed to starring in projects directed or produced by women. Reese Witherspoon founded Hello Sunshine to develop female-led stories like Big Little Lies and Little Fires Everywhere. Viola Davis co-founded JuVee Productions to center marginalized voices, while Margot Robbie’s LuckyChap Entertainment has backed bold, female-forward films like Promising Young Woman and Barbie. These women — and many others — are reshaping the creative landscape, ensuring that the stories they want to tell, and the stories that offer a more realistic representation of what is truly happening in the world, are finally being made.  

In The Last Showgirl, Anderson’s character grapples with losing her place in an industry that once celebrated her. The challenges are real, but so is the potential for change. As more women speak out, share their stories, and refuse to be sidelined, the narrative begins to shift. And maybe, just maybe, one day society will finally recognise the immense value and wisdom older women bring to every table and stage. 

For now, the question remains: How do we, as a global society, ensure that no woman feels like her last show has already come and gone? The answer lies in policy changes, cultural shifts, and, most importantly, in listening to the voices of older women themselves. Their stories are far from over — they’re just beginning a new act.