Chris Pine may not be the first and only white man to aid in the continual evolution of onscreen masculine identity, but in 2017, he appears to have gotten further than most. — Sheryl Oh, FSR. Read more:
The ending of the highest-grossing live-action film ever made by a female director speaks volumes. Love is the most effective way to defeat evil. —Victoria Berggren, The Hollywood Reporter. Read More:
Director Patty Jenkins’ response to director James Cameron’s recent comments on Wonder Woman:
“James Cameron’s inability to understand what Wonder Woman is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman. Strong women are great. His praise of my film Monster, and our portrayal of a strong yet damaged woman was so appreciated. But if women have to always be hard, tough and troubled to be strong, and we aren’t free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven’t come very far have we. I just believe women can and should be EVERYTHING just like male lead characters should be. There is no right and wrong kind of powerful woman. And the massive female audience who made the film a hit it is, can surely choose and judge their own icons of progress.” — Twitter, Aug 25, 2017.
Hollywood double-standards are a tougher opponent than KGB thugs or acid-blooded aliens. Theron, Johansson, Gadot … could do with female screenwriters to fully free them from the tendency to make their characters secondary. But in 2017, the fight is moving on. — Nick Hasted, Independent. Read more:
“While missing person statistics are compiled for every other demographic, none exist for Native American women.” ̶ from Wind River, screenplay by Taylor Sheridan. Read more from Mary Kaye Schilling, Newsweek: