Megyn Kelly reignited a heated debate over Hollywood’s obsession with beauty, youth, and the relentless pursuit of aesthetic perfection following Sunday night’s Oscars. In her latest commentary, the former Fox News anchor shared an unvarnished take on actress Demi Moore, who recently found herself at the center of a public discussion after her Best Actress loss at the Academy Awards.
Kelly scrutinized Moore’s evolving appearance, suggesting that the 62-year-old actress had once again fallen victim to the industry’s intense pressure to conform to youth-driven beauty standards. “Demi Moore had some sort of strange thing done to her face a couple of years ago… She looked shocking, there had been so much work, and then she went to a surgeon who undid that, and she looked much better. She started to look normal, just like a normal woman again, and she looked great,” Kelly remarked. However, she expressed concern that Moore might be slipping back into the trend of excessive cosmetic procedures, particularly pointing out the actress’s cheeks as a “bit too much.”
The sharp critique came after Moore’s standout performance in The Substance, a film that mirrors the very pressures Kelly discussed. In the movie, Moore plays Elisabeth Sparkle, an aerobics instructor who injects herself with a youth serum, only to face disastrous consequences. The film has been hailed as both a dark satire and a biting commentary on Hollywood’s obsession with defying age.
Despite sweeping awards such as the Golden Globe, SAG Award, and Critics’ Choice Award, Moore was passed over by the Academy in favor of 25-year-old Mikey Madison, whose role as a sex worker in Anora appeared to capture the Academy’s attention at the last minute.
Moore, who has been candid about her career struggles, opened up during her Golden Globe acceptance speech in January, reflecting on how she had been written off as a “popcorn actress.” She admitted that she initially thought her career was over when she received the script for The Substance, but was later inspired by the film’s message: “One thing that I think this movie is imparting is in those moments when we don’t think we’re smart enough, or pretty enough, or skinny enough, or successful enough, or basically just not enough.”
While Kelly expressed sympathy for Moore, acknowledging the immense pressures women in Hollywood face, she remained staunch in her criticism of extreme cosmetic procedures. Kelly, who has long been a proponent of Botox, stated, “I have a message to my fellow women: It is okay to have lines on your face. It’s fine. And honestly, like, I’m big on Botox. I’m very anti-filler because all it does is make you look bloated and kind of fat.”
Kelly also addressed the pressures women in Hollywood face, pointing out the cruel double standard: “Being in Hollywood, it’s a lot of pressure. I’m like torn, because I feel for these women. They can’t have a career past a certain age unless they get all the stuff done, but then you do need the best friend, or like the husband, to be like, ‘Sweetheart, you’ve gone too far.’”
Moore has been known for her ageless beauty and impressive physique, which she has maintained throughout her career. Reports in the early 2000s claimed she spent nearly $250,000 on plastic surgery to transform her appearance for her role in Charlie’s Angels: Full Throttle. However, Moore denied these reports, asserting in 2007 that she had “never” had cosmetic surgery. “I don’t like the idea of having an operation to hold up the aging process – it’s a way to combat your neurosis,” she said at the time. “The scalpel won’t make you happy.”
In 2019, Moore shared her more recent outlook on aging, revealing that she was embracing the natural process, even though there were moments when she didn’t recognize herself in the mirror. “Gravity is going in some directions I’m not fond of. I can look in the mirror occasionally and say, ‘You’re lying, I don’t look like that,’” she admitted. “But for me, it’s about acceptance… embracing it and no longer looking for what’s wrong – just being accepting of everything.”
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