Superheroines Week: The Roundup
Check out all of the posts from our Superheroines Theme Week here.
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Daisy Johnson, Superheroine of ‘Agents of S.H.I.E.L.D.’ — And Why She Matters
What makes Daisy special among superheroes is that she embodies all of these tropes as the centerpiece of a network television series — and is also a woman. Not only that, she is a mixed-race woman — and not a token one, but one surrounded by other women, of various ages, races and backgrounds.
Why Scarlet Witch May Be the Future of Women in the Marvel Cinematic Universe
Having a superhero grapple with the right use of their power is hardly a new theme and it’s central to the broader narrative of ‘Captain America: Civil War.’ But allowing a female superhero to tackle the same dilemma on a deeply personal level feels quietly subversive. …Women superheroes can be inhumanly powerful without being reduced to a boringly infallible female badass caricature.
‘Honey Pot’: The Super Fun Experience of Writing a Female-Driven Action-Comedy
Writing women as interesting, multi-layered individuals with a rich inner life isn’t impossible, so the fact that men continue to write women with so little substance isn’t because they can’t. It’s that they won’t. And the fact that there aren’t more female-driven comedies isn’t because (sorry to bring this nonsense up again) they aren’t funny, it’s because mostly men run the show and most of them don’t value women as anything other than wives and ‘yacht girl in bikini.’ They don’t see women as funny and interesting and smart and worthy of 90 minutes, so they don’t write for them and they don’t include them. It’s. A. Choice.
The Manipulative Woman in Sci-Fi: Bending Time and People to Her Will
Individually, each film presents interesting, tough, somewhat complex female characters – which could be considered feminist in its own right. Taken together, however, I can’t help but see a pervasive trend that doesn’t reflect well on women. Why do filmmakers see women as master manipulators so readily? Is it simply because they believe women to be cold and calculating? Or, conversely, are they relying on audiences not seeing how tricky these women are, banking on their innocent façades to make the ending a real surprise (i.e. the ‘Basic Instinct’ effect)?
Let’s Talk About the Children: War and the Loss of Innocence on ‘Game of Thrones’
Children have always figured prominently in ‘Game of Thrones,’ but their presence seems especially meaningful this [fourth] season, as we get a clearer glimpse of the war’s effect on bystanders, people not entrenched in political intrigue and behind-the-scenes strategizing.
“Get Back In Your Kennels, Both of You”: The Bitchy Diversity of ‘The Adventures of Priscilla, Queen of the Desert’
The traditional family is marked as a hostile space of enforced hypocrisy.
‘Supergirl’ Episode 1.2, “Stronger Together”: Boozing with RBG and Saving Snakes
Overall, the show remains a fairly entertaining hour, with a refreshing take on femininity and power. In 2015, a superhero show with a likeable female lead and assorted other strong women characters and a little girl who loves her pet snake should not really be groundbreaking, but the sad fact is, it is, and while it has its flaws, I’m still grateful that it exists.
TV and Classic Literature: Is ‘The 100’ like ‘Lord of the Flies’?
On the contrary, Octavia moves away from the explicit sexuality of her role in the pilot, and although her initial training is linked to Lincoln, she gravitates toward a warrior’s life to gain the respect of Indra. Although some critics have seen this as a drastic change in her characterisation, looking back at her first scene in the pilot, where she is held back by Bellamy while trying to attack the others for repeating rumours about her, it feels more like a development.
Frankenstein and His Bride: Mapping Maternal Absence
However, Whale challenges Shelley’s automatic association of the maternal with the absent female: the Bride’s rejection of Frankenstein’s monster shows that the maternal can be absent even when the woman is present, while the blind man’s nurturing care suggests that man can embody the noblest maternal impulse.
Jo March’s Gender Identity as Seen Through Different Gazes
The male gaze either holds Jo back from the start, or else shows an “educational” transformation from an “unruly” female into a “desirable” young woman who knows her place.
“You’re Not My Mother!” Bodies, Love, and Survival in ‘Advantageous’
In these moments, and in those unspoken moments when she savors placing long sweet kisses on Jules’s cheek, we see Gwen’s resistance. “Know your value,” Gwen tells Jules. It’s not found in good grades, not in getting into the best school, not in a newer and “better” body, but in sensory and emotional human pleasures.