Jennifer Coolidge’s recent quip about the best part of being a woman in Hollywood in 2025 – being able to eat whatever she wants – sparked a reflection on the complex and often contradictory realities faced by women in the entertainment industry. While Coolidge’s statement might be true for her, it unfortunately doesn’t reflect the experiences of many other female actors who continue to face immense pressure to conform to unrealistic beauty standards. The pervasive use of weight-loss drugs like Ozempic highlights the ongoing obsession with thinness, suggesting that the freedom to indulge without consequence remains a privilege enjoyed by few.
This pressure to maintain a youthful appearance extends beyond body size. While there’s been a noticeable shift towards casting older actresses in leading roles, even these women are often subject to the expectation of appearing unnaturally young. The widespread use of Botox and other cosmetic procedures underscores the enduring value placed on youthfulness in Hollywood, often prioritizing a smooth, ageless facade over the ability to express emotions through facial expressions. This pursuit of eternal youth creates a paradox where actresses are expected to portray a range of human experiences while simultaneously denying the natural progression of aging. The result is a homogenized aesthetic that limits the range of roles available to older women and perpetuates unrealistic beauty standards for women of all ages.
The film ”Babygirl,” starring Nicole Kidman, offers a fascinating case study in this complex dynamic. The film centers on a successful businesswoman who risks everything for an affair with a younger intern, exploring themes of power, desire, and the potential pitfalls of pursuing unchecked ambition. Kidman’s performance, characterized by a restrained, almost emotionless demeanor, adds a layer of claustrophobia to the narrative. While this aesthetic aligns with the pressure for women in Hollywood to maintain a youthful, composed appearance, it also serves a powerful narrative purpose in this particular film.
Kidman’s Botox-smoothed face and limited range of expression become a visual metaphor for the character’s carefully constructed facade of control. Her restrained demeanor reflects the internal struggle between her carefully curated public persona and the simmering desires threatening to unravel her meticulously crafted life. The film’s exploration of female desire, vulnerability, and the potential consequences of pursuing forbidden passions is heightened by Kidman’s performance, which effectively conveys the character’s internal turmoil despite, or perhaps because of, her limited facial mobility.
“Babygirl” challenges the conventional narrative of female empowerment by questioning the limitations of rationality, control, and independence. It presents a scenario where a woman seemingly possesses all the hallmarks of success – a thriving career, a loving family, and material comfort – yet chooses to jeopardize it all for a passionate affair. The film doesn’t condemn or condone her choices, but rather presents them as a complex exploration of human desires and the inherent contradictions within feminist ideals. It raises the question: How truly liberating is the pursuit of control and independence if it comes at the expense of exploring one’s own desires and vulnerabilities?
This exploration of female complexity opens a door to a new era of storytelling, one that moves beyond the tired tropes of the “damsel in distress” and the “strong female character.” “Babygirl” suggests a path forward where women are allowed to be messy, flawed, and driven by desires that don’t always align with societal expectations. It envisions a cinematic landscape where female characters are allowed to exist in their full complexity, embracing the contradictions and vulnerabilities that make them human. This progression signifies a potential shift away from the rigid, often unrealistic portrayals of women in Hollywood, towards a more nuanced and authentic representation of female experience.
