After Moonlighting ended in 1989 (due to cost overruns and behind-the-scenes turmoil), Shepherd re-emerged in the 1990s sitcom Cybill (1995–1998). Here she played a fictionalized version of herself: an aging, divorced actress in Hollywood, dealing with a narcissistic ex-husband and a cynical daughter (played brilliantly by her real-life daughter, Clementine Ford). The show was praised for its feminist take on middle age, earning Shepherd two more Golden Globe nominations (and one win for Best Actress in a Comedy).
Cybill Shepherd remains a symbol of resilience. She was too beautiful to be taken seriously, too smart to play dumb, and too outspoken to be easy to work with. In an era before #MeToo, she called out directors who harassed her. She paid for her candor with career setbacks, but she never apologized for it. cybill troy
By the mid-1970s, Shepherd was labeled "difficult." After a high-profile affair with Bogdanovich (which ended his marriage) and the expensive failure of the musical Daisy Miller (1974), she retreated from film. For nearly a decade, she worked in regional theater and raised her daughter. The industry had written her off as a beautiful but temperamental relic of New Hollywood. After Moonlighting ended in 1989 (due to cost
She followed it up with Bogdanovich’s screwball homage What’s Up, Doc? (1972), opposite Barbra Streisand, proving she could do slapstick. But it was her pairing with Robert Mitchum in the noir The Night of the Hunter ... no, correction: she starred with Jeff Bridges in The Last Picture Show and later with James Caan in The Heartbreak Kid (1972)—a dark comedy where she plays the "perfect" blonde bride, Lila. Cybill Shepherd remains a symbol of resilience