Demi Moore’s Mind-Blowing Journey: Ahead of Her Time, Always

by

This story is part of the 2025 TIME100. Read Ryan Murphy’s tribute to Demi Moore here.

Previously, it had been anticipated that Demi Moore, the leading contender for Best Actress at the 2025 Oscars due to her exceptional performance in “The Substance,” would take home the award. However, the unexpected happened as Mikey Madison, who starred in “Anora,” was announced as the winner instead. This result was striking, given that Moore had previously won at the Golden Globes, the Screen Actors Guild Awards, and the Critics’ Choice Awards during the awards season. It was a bitter end for a woman who was once the heart of Hollywood in the ’90s but failed to secure this level of recognition. If you’ve watched Coralie Fargeat’s film “The Substance,” you would have witnessed Moore’s powerful portrayal of Elisabeth Sparkle, an actress transformed into a television fitness instructor who despised her aging body so intensely that she sought an ominous treatment to create a younger, improved version of herself—played by Margaret Qualley as Sue. When Madison’s name was called out and the award went to her instead, you could see the pain reflected in Moore’s face, a reflection of the very narrative portrayed in “The Substance.

However, there’s something you might not be aware of: Moore had bet on Madison winning the Oscar. Three weeks post the Oscars, following a short break to unwind, Moore is comfortably dressed in a sweatshirt and glasses at her Idaho home, with her 1 ½-pound Chihuahua Pilaf dozing beside her on an ivory couch. Recalling that night via Zoom, Moore shares that during the commercial break preceding the Best Actress announcement, she experienced a premonition. “I leaned over and whispered to my manager, ‘I think it’s going to be Mikey,'” she said. So when her name wasn’t called in the big moment, she felt it only validated what she already sensed. “I can’t explain why I knew, but I did,” Moore admits. “I was incredibly composed and serene. I didn’t feel upset or any of those emotions. Instead, I trusted and remain trusting of whatever will unfold in the future.

Moore’s response to her loss during awards season seems genuine because it mirrors how she addresses adversity in general. Having faced numerous hardships, including a troubled childhood, rape, addiction, infidelity, multiple divorces, tabloid abuse, and a midlife rift with her daughters, Moore has developed a unique perspective on life that enables her to cope with setbacks gracefully. She wrote about it in her memoir, “Inside Out,” discussed it during her reunion with Andrew McCarthy for his 2024 documentary, “Brats,” and is applying it now.

Moore’s belief is that life’s events occur for us, rather than happening to us. While she acknowledges that losing can be disheartening, she sees it as an opportunity for growth. As she puts it, the part of her that has ego experiences disappointment, but winning would have closed a door that now remains open, allowing her to move forward by walking through it.

At 62 years old, Moore has consistently been a trailblazer throughout her career. As a member of the famously named Brat Pack, she starred in films such as ‘St. Elmo’s Fire’ and ‘About Last Night’, which were instrumental in giving young people’s perspectives prominence on screen, leading to a significant cultural change. Moore later solidified her status as a commercially successful actress with roles in movies like ‘Ghost’ and ‘Indecent Proposal’. Not content to settle for less than her male counterparts, she demanded equal pay and secured a $12.5 million deal for the 1996 film ‘Striptease’, making her the highest-paid woman in Hollywood at that time. Despite still earning less than her husband, Bruce Willis, during this period, the media labeled her as “Gimme Moore”. To this day, she finds this nickname “very hurtful” and believes it has had a detrimental impact on her professional reputation.

Gwyneth Paltrow, a friend and admirer of Moore’s who is a decade younger, comments that it’s surprising that women who have earned over $20 million per movie aren’t getting more attention in the media. She refers to Moore as the one who endured the hardships, being the first to break through the tough barriers.

Outside the limelight, Demi Moore stirred up a media frenzy with a bold cover for Vanity Fair, featuring her nude and embracing her pregnant form – an image considered shocking by 1991 standards. At the age of 40, her physique once again grabbed headlines as she dared to wear a bikini onscreen in Charlie’s Angels: Full Throttle, challenging societal norms about what a woman “should” look like at that stage of life. The same year, she made a powerful statement about family values by gracing a red carpet alongside Bruce Willis, their three daughters, and her then-younger boyfriend, Ashton Kutcher. While Moore was more frequently subjected to stares or criticism rather than praise for challenging conventional norms, her influence is now undeniable. She played a significant role in sparking debates that continue today: pay equality, objectification, body acceptance, the politics of motherhood, and even intergenerational romances. “Throughout my life,” Moore reflects, “it seems I have always been part of challenging certain social norms.

Paltrow notes that Moore exhibited an “energetic influence from Wall Street” in her early business ventures. She adds, “Moore’s star power was unique for a woman at the time – think of Julia Roberts, Sandra Bullock, and even Margot Robbie today. She paved the way for female actors to receive fair compensation for their work.

Currently, Moore’s work titled “The Substance” sparked discussions about society’s devaluation of aging women. A scene in the movie that has garnered much attention is not related to jump scares or graphic content. Instead, it showcases Moore by herself in front of a mirror. As Elisabeth grapples with her self-worth following the admiration shown towards Sue’s youth and beauty, she arranges a date with an old schoolmate. Just before leaving, she applies red lipstick, but the proximity of Sue, who lies unconscious and radiant, lingers in her mind. Upon returning to the mirror, Elisabeth adds some blush to her cheeks, glosses her lips, and considers covering her chest with a scarf and brightening her complexion with concealer. Each adjustment leads to more aggression until she is scratching at her face, causing harm to her skin. The scene concludes with Elisabeth slouched on the edge of her bed in the dark, awaiting messages from her date on her phone. In traditional horror films, viewers often yell at the protagonist not to venture into the ominous basement; for “The Substance,” this moment serves as that warning. The audience knows that Elisabeth is beautiful and deserving of respect—the terror lies in the self-inflicted harm she endures because she can no longer recognize it.

As a movie reviewer, I found it truly captivating when Moore delved into the intriguing perspective of redefining our perception of women in their sixties. She probed deep into the essence of this phase, challenging societal norms that have confined us, but more crucially, the self-imposed limitations we’ve accepted. The world seems to want women to believe they lose vitality with age, but Moore passionately argues against this notion. Instead, she emphasizes that this period is not only powerful but also vibrant and full of life.

It was far from certain that Moore would ever have the opportunity to participate in such discussions. Following a challenging childhood spent moving between various states, she departed her Los Angeles home with her mother at just 16. At 19, she landed a role on the soap opera “General Hospital,” and by 20, she had secured the part of Michael Caine’s daughter in “Blame It on Rio.” At 21, she appeared in “St. Elmo’s Fire.” By this point, Moore was already hooked on cocaine. She managed to kick the habit during the filming of “Elmo,” thanks to the intervention of studio executive Craig Baumgarten and director Joel Schumacher, who mandated her participation in a brief rehab program and required her to work with a counselor throughout production. For Moore, this was a sign of cosmic intervention: without the movie to strive for, she may never have overcome her addiction.

Over the course of seven thrilling years in the ’90s, I graced the silver screen with my presence in films like “Ghost,” “A Few Good Men,” “Indecent Proposal,” “Disclosure,” “The Scarlet Letter,” “Striptease,” and “G.I. Jane,” among others. The success I achieved allowed me to reinterpret the hardships and adversities of my upbringing, making them a powerful force in my life.

Reflecting on the idea of growing up in a more supportive, dependable family is intriguing, as it might have fostered better self-esteem for me. However, it could also have kept me content, potentially diminishing the motivation I needed to create a fulfilling life on my own terms. As I navigated through life in survival mode, I didn’t realize it at the time, but I possessed an undeniable strength, determination, and resilience.

Being born with no safety net, I was willing to take risks because I had nothing to lose. Looking back now, I can appreciate that these experiences have shaped me into who I am today, and I wouldn’t change a thing.

Viewing The Substance served as a reminder for Moore of the various aspects in which she’s grown over time. In her book Inside Out, she opened up about her persistent attempts to regulate her physical appearance during her acting career, always striving for a look that would make her feel at ease on-screen. During her nursing period with her second child, she trained incredibly hard in preparation for the military uniform she’d wear in A Few Good Men, which ultimately affected her daughter’s development. Now, Moore has seized every chance to promote the film’s message, a message she strongly endorses: that it’s not the embarrassment or expectations imposed by others that causes the most harm, but our own choice to let these factors dictate our self-perception.

At the Golden Globes, while accepting the Best Actress award, Moore recounted an incident where a producer had labeled her as just a “popcorn actress,” someone who could attract audiences but lacked artistic credibility. Now, she reflects on this remark not with animosity towards the speaker, but with understanding that it was her decision to internalize his viewpoint. As she puts it, “I surrendered a part of my power, thereby I might have closed off potential opportunities and restricted myself.

Jamie Lee Curtis, a friend of Moore’s, felt a deep sense of pride as she watched Moore accept awards and grace red carpets for the movie “The Substance,” since it reminded her of her own journey in the industry. As Curtis herself won an Oscar at 64 for her role in “Everything Everywhere All at Once,” she understands the sudden attention that comes with success, saying, “It was a beautiful sight to behold because she truly embraced it. She didn’t shy away from it – this woman put up a fight. She was there to perform.

Although Moore has been working diligently for over four decades, she has recently taken on fewer leading roles. However, with the recent triumph of “The Substance”, there’s been a surge of calls coming in, and she and her team are contemplating the optimal course of action. As she puts it, “Going from feeling excluded last year to being recognized critically for my work this year has ignited a renewed faith in the potential of greater opportunities.

Moore is cautious about making predictions for the future, but she’s clear about her ambitions working alongside talented directors, writers, and actors. As she explains, “I try not to get ahead of myself too much, but that doesn’t mean I don’t have aspirations or wishes. It’s simply a matter of staying focused on the present.” However, she does hint at one potential project: an unconventional, slightly comical action film with Michelle Yeoh, whom she developed a connection with while promoting their respective movies. Cynthia Erivo and Gwendoline Christie are also names that she’s grown fond of this year, and they would be welcome additions to this imagined project.

For the upcoming months, Demi Moore will be busy shooting season 2 of Taylor Sheridan and Christian Wallace’s show “Landman”, which gives her some breathing room. Not long ago, she completed filming for Boots Riley’s production titled “I Love Boosters”, a science fiction adventure comedy focusing on a shoplifting gang aiming at a ruthless fashion magnate. As Riley explains, Demi chooses intriguing projects to be part of, and his films are not the typical ones Hollywood agents would encourage their top-tier clients to take on. He mentions that her involvement makes this film potentially bigger due to audience recognition and trust in her choices.

The main group of performers in “Boosters,” including LaKeith Stanfield and Keke Palmer, are typically around 30 years old. According to Riley, some actors on set take pride in their wild behavior, but Keke was able to outdo them with her witty banter and impromptu performances. “She’s fearless,” Riley says. “She’s a true artist in that sense.

She’s capable of accomplishing this not just due to being Demi Moore and her innate versatility, which may have gone unnoticed in the past, but also because she’s acquired enough knowledge to seize opportunities as they come, regardless of what lies ahead. As she explains, “The true beauty is when you fully immerse yourself in understanding the universe’s natural rhythm, rather than clinging tightly and trying to control things. Instead, you learn to go with the flow.

Although my Oscar journey didn’t culminate in a fairy tale conclusion as some might have hoped, just like Paltrow notes, “I’m still here.” What I’ve learned from portraying characters, such as in the film The Substance, is that with age comes wisdom and experience, which in turn fosters confidence. A woman in the latter part of her life is not only ripe with knowledge but also overflowing with potential.

Outfit styled by Brad Goreski, set decorated by Gille Mills, hairstyling by Hos, and makeup applied by Kara Yoshimoto Bua. The entire production was handled by Petty Cash.

On the cover:

Suit by Victoria Beckham, shoes by Christian Louboutin, earrings by De Beers

On the inside:

Read More

2025-04-16 16:08