Show notes
Diane Keaton was one of those rare public figures who seemed to collapse the space between celebrity and the rest of us. She was relatable, ethereal, warm, effervescent. She was magic in corporeal form.
That’s probably why for so many of us the news of her passing hit especially hard. Maybe you first met her as the unbearably charming Annie Hall in “Annie Hall,” or mom extraordinaire Nina Banks in “Father of the Bride,” or as reformed doormat Annie in “First Wives Club,” or as yuppie girlboss J.C. Wiatt. Regardless, you probably fell in love with her through the screen.
As Rhonda Garelick wrote of Keaton in a tribute for the New York Times: “In seeming so authentic and unfettered — both physically and personally — Ms. Keaton felt like a reminder of those promises [of 1970s feminism], like a rare bird soaring in from bygone days when progress and growing freedoms for women seemed inevitable.”
The two of us were struck by how genuinely sad we were when we learned over last weekend that Keaton had passed away at the age of 79. We knew that we wanted to use this week’s Rich Text episode to explore what she and her work meant to us. We contemplated rewatching a beloved movie of hers to discuss, and then realized that both of us had the same gap in our Diane Keaton knowledge: 1987’s “Baby Boom.”
“Baby Boom” follows yuppie self-described “Tiger Lady” J.C. Wiatt. She’s married to her high-powered job, having four-minute sex with her live-in boyfriend Steven (Harold Ramis), and gunning for partner at her firm. A wrench is thrown into her carefully constructed plans when she ends up saddled with a (very cute) baby after her distant cousin dies and designates her as the guardian. Hijinks — so many hijinks — ensue. She and Steven break up, she ends up mommy-tracked at her patriarchal office, and eventually she buys a Vermont estate on a whim and moves to the country, where she meets a very handsome veterinarian (Sam Shepard), and she manages to launch a multimillion-dollar business of artisanal baby food within approximately six months.
In a 2020 Vulture interview, Keaton spoke warmly about the experience of making “Baby Boom” and her adoration of J.C. Wiatt. “I love the woman I was playing,” she said. “I mean, it was fun. And let’s not forget Sam Shepard. Let’s not forget him … because wow. [Laughs loudly.] That was really fun too.”
Watching the 1987 film in 2025, we found that after nearly 40 years, the themes still resonate. Women are still navigating inequities in the workforce, and negotiating the motherhood penalty, and contending with the allure of the cottagecore fantasy. And for all of “Baby Boom’s” imperfections — including some fairly egregious plot holes — Keaton’s performance stands the test of time.
So cheers to you, Diane. We’re so glad that your work gets to live forever.
Related reading:
“Why Diane Keaton’s Death Hits Harder,” Rhonda Garelick, NYT
“A Delightful Conversation with Diane Keaton,” Rachel Handler, Vulture
“FEMINIST HEROINES; Women As Victims,” Charles Shyer & Nancy Meyers, NYT
“FILM VIEW; Are Feminist Heroines An Endangered Species?,” Caryn James, NYT
“Putting Down The Independent Working Woman,” Chicago Tribune
“Film Review: Satire That Lowers The ‘Baby Boom,’” Kevin Thomas, LA Times
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