How To Know When To Quit Your Job
Many baby boomers—especially those at the top of their game—struggle with the decision to step down. And when they leave, the transition is often ‘painful and messy,’ says one career coach.
Many baby boomers—especially those at the top of their game—struggle with the decision to step down. And when they leave, the transition is often ‘painful and messy,’ says one career coach.
Older workers have a problem. They don’t know when to quit.
As baby boom-era CEOs, professors, lawyers, engineers and others get older and keep their jobs longer, it is raising uncomfortable questions.
Is there an art to stepping down gracefully? “I’m not sure there’s an art. I think it requires will,” says Anne Mulcahy, who was 56 when she voluntarily gave up the CEO job at Xerox to make way for her successor, Ursula Burns. She is now 68. “It’s hard. It’s not something that happens naturally if you like what you do and you’re good at it. You have to set time limits for yourself.” You also have to know what your purpose is after you retire or “you go into this void that’s really very tough,” she adds. Leaving the C-suite was one of the hardest things she’s ever done, says Ms Mulcahy, who lives in Connecticut and is now actively involved with nonprofit organizations.
Mandatory retirement at 65 ended for most jobs in the mid-1980s, giving some people the impression they could work forever. Since life expectancy has increased—from 70 years old in 1959 to about 83 for today’s 65-year-olds—many people want to work longer, for both personal and financial reasons.
At their peak, boomers, those born between 1946 and 1964, numbered almost 79 million, and their ranks include the first generation of career women and lots of people who remained single or got divorced. For many boomers, work has taken on an outsize role. It provides purpose, fulfilment and community. It creates structure and routine.
Since many work at desks or in the service industry—not manual labour—boomers also have fewer physical limitations that could cut a career short. “Retiring at 65 makes no sense. Many people are still at the height of their game,” says Gillian Leithman, a Montreal-based retirement coach who conducts seminars and corporate workshops. Nonetheless, 65 is still the line of demarcation at which everybody else thinks you should be ready to retire, regardless of whether you agree. Another career coach says it’s like having an expiration date on your forehead.
“People are turning traditional retirement age and the gas tank isn’t empty,” says Robert Laura, a Brighton, Mich.-based retirement coach and financial planner. “They can easily work til 75.”
That’s why so many people avoid planning for it. Until the pandemic, boomers were retiring at a rate of about 2 million a year. By last September, 40% of boomers in the U.S. had retired, according to a recent report by the Pew Research Center.
Dr Leithman finds that most people, even high-powered executives, put off thinking about it until the 11th hour. When she asks them what will get them out of bed in the morning in retirement, most have no idea, she says. “They’re terrified.”
The transition is so difficult that it has spawned a new industry of coaching and consulting firms that focus solely on retirement. Many are run by former corporate executives who know the difficulties first hand, like Bob Foley, former CEO of Travelodge hotels and the former human resources chief of Pyramid Hotel Group. Mr. Foley says he was called in one day by his boss, the CEO at Pyramid, who asked out of the blue if he had a plan to identify and train his successor. “I thought, ‘What, are you out of your mind?’ ” he recalls. He was 53, and the company was growing fast. “I thought, ‘Is he pushing me out? Is my life about to end?’ You go through that fear stage. Everybody does.”
He spent eight years hiring and training his much younger successor, learning to appreciate the generational differences between himself and younger workers who are more tech savvy and champing at the bit to get their turn.
Mr Foley, now a Boston-area executive career-transition coach, tells clients to retire when their skills are no longer in vogue. At Pyramid, he was against texting—he thought it too unprofessional. He didn’t think customer service could ever be entrusted to an automated chatbot. When younger employees suggested replacing an obsolete HR system that he’d created, “Boy, did I say no to that,” he says. He finally realized “these guys are smarter than I am. I finally got out of my way.” At 61, he was ready to leave.
Retirement doesn’t just happen. “The heavens don’t open up, the world isn’t at your feet when you retire,” says Mr Laura. “Retirement is a made-up phase of life. It’s nothing until you put things into it.”
He asks clients to write down how they’d spend one day in retirement; then how they’d spend a week. Often they only make it halfway through. Once people figure out retirement could last 30 years, they realize that’s a long time to play golf, knit or help register voters. They want to find something to throw themselves into, says Chip Conley, who founded Modern Elder Academy, a school in Baja California Sur, Mexico, where mid-lifers and retirees can problem-solve a career transition.
The transition is often painful and messy, says Mr Conley, 60, who founded the boutique hotel business Joie de Vivre Hospitality at age 26, sold it 24 years later, and then for a time was a strategy executive at Airbnb. “I had to end the idea that I was a CEO. I had to right-size my ego and let go of all my hotel knowledge,” he says. He likens it to “ripping off a body suit of Band-Aids.”
He warns clients about “the messy middle,” the interim period when retirees have no idea what’s next. He has them create dream boards, asking themselves, do you want to be an angel investor, author, social worker, entrepreneur? He helps them figure out what skills and experience they can apply in a new venue, as he did when he moved from the hotel industry to tech. He tells them to follow their curiosity. “If you’re passionate and engaged and curious, people lose track of your wrinkles,” he says. “They are attracted by your energy.”
Stepping down works best when you follow a plan, experts say. Don’t expect execution to be perfect. Though Ms Mulcahy knew she wanted to be in nonprofits, “the need to fill your calendar is so strong that you say yes to things you shouldn’t,” she says. “You worry about your shelf life and staying relevant.” She found in hindsight that it hadn’t been necessary to add a stint as cable news commentator to her board and nonprofit work. “It solved my itch to feel I was still part of the business world,” but it didn’t suit her, she says. “I hated it.”
She settled into a seven-year chapter chairing the board of Save the Children, a nonprofit organisation that took her all over the world. She is now focused on helping younger career women navigate the corporate world, specifically a network of 25 who meet in her apartment every quarter. “We sit around and drink wine and solve each other’s problems,” she says.
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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.
Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.
Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”
After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.
Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.