"I won't be able to do what I'm doing forever. There aren't that many scripts floating around for fifty-year-old chicks"
About this Quote
Cher lands the joke with a wink, then lets the industry indictment trail behind it like exhaust. On the surface, it’s a pragmatic observation about career math: time passes, roles narrow, the pipeline for women of a certain age dries up. The phrasing does the real work. “Scripts floating around” makes opportunity sound like loose change in a gutter - random, scarce, grabbed by whoever gets there first. “Fifty-year-old chicks” is deliberately barbed: she uses the diminutive the culture uses on women to expose how unserious Hollywood can be about them. It’s self-aware, not self-pitying.
The intent is partly defensive strategy. Cher is acknowledging impermanence to justify constant reinvention - music, film, television, fashion, spectacle. She’s telling you she knows the clock the business hangs over women’s heads, and she refuses to pretend it isn’t there. The subtext: longevity for a female star isn’t rewarded as mastery; it’s treated as a logistical problem.
Context matters. Cher’s career has always been a negotiation between control and being controlled: she’s been marketed, underestimated, mocked, then canonized, often all at once. By naming “scripts,” she points to the gatekeeping mechanism - not talent, not audience desire, but what gets written, greenlit, and handed out. The line is funny because it’s blunt; it’s memorable because it’s true. She isn’t just predicting her own limits. She’s describing an entertainment economy that turns women’s aging into a genre shortage.
The intent is partly defensive strategy. Cher is acknowledging impermanence to justify constant reinvention - music, film, television, fashion, spectacle. She’s telling you she knows the clock the business hangs over women’s heads, and she refuses to pretend it isn’t there. The subtext: longevity for a female star isn’t rewarded as mastery; it’s treated as a logistical problem.
Context matters. Cher’s career has always been a negotiation between control and being controlled: she’s been marketed, underestimated, mocked, then canonized, often all at once. By naming “scripts,” she points to the gatekeeping mechanism - not talent, not audience desire, but what gets written, greenlit, and handed out. The line is funny because it’s blunt; it’s memorable because it’s true. She isn’t just predicting her own limits. She’s describing an entertainment economy that turns women’s aging into a genre shortage.
Quote Details
| Topic | Aging |
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