If Claire (‘Elizabethtown’), Sam (‘Garden State’), or Ramona (‘Scott Pilgrim vs. the World’) were paired with a male lead who saw them as full people rather than objects to derive inspiration from (and fuck), perhaps the MPDG label never would’ve happened. … Manic Pixie Dream Girls aren’t problematic because they’re quirky and girly; that audiences only see them as such is often indicative of shitty male leads who are intent on making women fit into their fantasies.
Yet ‘Gargoyles’ is also a fantastic showcase of what can happen when creators possessing privilege write stories about the oppressed without their input. … ‘Gargoyles,’ with its “protecting a world that hates and fears them and has been fairly successful in enacting their global genocide” premise, seeks to be about marginalized peoples. At the same time, it consistently centers and prioritizes the lives of the privileged over those of the oppressed, and places the burden of obtaining justice on the latter.
The notion of Catherine as a subversive anti-hero develops when you view the film not as a story about the supposed protagonist Detective Nick Curran but as Catherine’s journey from mind games to almost domestic bliss but always returning to her basic instincts which threatens the Hollywood happy ending of established heteronormativity.
For Leslie, feminism means, rather simplistically, that she admires women who are in power, believing that gender should be no barrier for achievement. Unfortunately, despite Leslie’s determination to highlight her dedication to furthering the feminist cause, her understanding is not only crude and rather rudimentary, but can, frequently, be damaging. Her identification as a feminist is, much like Tina Fey’s Liz Lemon on ’30 Rock,’ hugely lacking in intersectionality. This is even more frustrating considering that three of the four female cast members are women of color.
It’s great to see a character whose fatness is a part of her identity without being a point of dehumanization, but the films try to make Fat Amy likable at the expense of other characters, positioning her as acceptably quirky, in contrast to the women of color, who are portrayed in a more two-dimensional manner, or Stacie, who is unacceptable due to her promiscuity. Ultimately, the underlying current of stereotype-based humor puts the film’s fat positivity in a dubious light…
With D.C. superheroine Wonder Woman recently named UN honorary Ambassador for the Empowerment of Women and Girls and her forthcoming feature film building hype, her profile could hardly be higher as a feminist symbol. Yet Wonder Woman, who the U.N. hopes will focus attention on women’s “participation and leadership,” is an image entirely created by men. She represents, ironically enough, male domination of the struggle against male domination. … Far from a step forward, ‘Wonder Woman’ is worse than more simply offensive chauvinism, because it insidiously exploits the female audience’s desire to identify with Wonder Woman’s empowerment.
Much of what makes besmirching Claire Underwood villainous is also what I can’t help but find admirable about her — and at first, this made me question myself. … But then I thought, perhaps, it could be possible that we’ve vilified every aspect of Claire Underwood because our culture is inherently threatened by her. She’s the personification of what a patriarchal society is most fearful of… Claire Underwood has to be a villain because we aren’t ready for a world where she’s a heroine.
My intent is not to claim that ‘Twilight’ is a perfect movie, but rather, I want to argue that it has more virtues than it is given credit for, and to point out that its dismissal is frequently based on pervasive sexist attitudes. I am not speaking for the other films in the series — all directed by men — but rather, the first film, which was written and directed by women (Melissa Rosenberg and Catherine Hardwicke, respectively), based on a novel written by a woman. There are many valid reasons why one may not enjoy ‘Twilight,’ but it is important to recognize that it is unfair and sexist to dismiss the film and its fans based on the fact that it is a romance told from a female perspective.
‘Arrival’ is yet another in a long line of alien invasion movies, but it’s also so much more than that. It’s the story of a single extraordinary woman who steps up to save the human race, armed with nothing more than her ability to communicate. It’s a story of hope — and it’s one that audiences need to hear right now.
‘Certain Women’ belongs to the four women at its core: Laura Dern’s fragile, exhausted stoicism, Michelle William’s neutrality laced with sharp edges, Lily Gladstone’s quietly powerful grasp of the feeling of new love, and Kristen Stewart’s almost-sweet awkwardness, are what make Certain Women worth the trip.
How did these male filmmakers make a movie marketed to men full of female characters who actually get the majority of the dialogue? I’m about to crack the code and share the secret — are you ready to become enlightened? Here’s how they did it: They included female characters and gave them lines. WHAT. Yes, it’s that simple.
With the sleeper success of ‘Crazy Ex-Girlfriend,’ the increased focus on Kimmy Schmidt’s PTSD this season on ‘Unbreakable Kimmy Schmidt,’ and Rachel Goldberg’s mental illness on ‘UnREAL,’ there seems to be a rise in depictions of mental health — in particular, women’s mental health — on television.