women in speaking roles

adweek.com
Men Appear in Ads 4 Times More Than Women, According to Research Revealed at Cannes
Men also have seven times more speaking roles than women.

“Advertising, just like television and film, doesn’t represent as many women as men on screen. Men appear in ads four times more than women and have seven times more speaking roles, according to new research from J. Walter Thompson and the Geena Davis Institute on Gender in Media that was revealed during a panel at Cannes.

The agency and institute also found that there are twice as many male characters as female characters in advertising. To conduct the research they looked at 10 years (2006 to 2016) of audio and video content from Cannes’ film and film craft shortlists and winners, according to a rep for the agency. (Though, it’s worth noting that they only looked at English speaking work.)

The research, which used the Geena Davis Institute’s tool, the GD-IQ or the Geena Davis Inclusion Quotient, also revealed that 25 percent of ads feature just men while only 5 percent of ads only show women. Men are the only speakers in 18 percent of ads compared to just 3 percent of ads with women as the sole voice.

Read the full piece here

buzzfeed.com
Being “Polite” Often Gets Women Killed

In late January, Kristen, a member of the My Favorite Murder podcast Facebook page, wrote a post about a woman who “probably saved my life.” She had driven to a restaurant to get some food and iced tea for dinner late at night, alone since her boyfriend was sick. After getting her order, Kristen went back outside toward her car, but a woman stopped her. “It’s so good to see you!” she said. “How have you been?” Kristen assured her that she had the wrong person; they’d never met before. The woman whispered to her to pretend that they were friends. “There’s a man hiding behind your car,” she said.

They walked over to Kristen’s car together while the woman explained that she had a bad feeling about the man who was lurking and decided there would be power in numbers. “Sure enough,” she wrote, “we get to my car and a man in a hoodie stands up from behind my passenger rear side and nonchalantly walks into the dumpster alley.”

As Kristen said goodbye, the woman smiled and said, “Stay sexy and don’t get murdered.”

For the uninitiated, this is hardly a normal way to say “you’re welcome,” but it’s a calling card of sorts for fellow “Murderinos,” which is what fans of My Favorite Murder, a hugely popular true crime podcast based out of Los Angeles, call themselves.

MFM, the weekly show hosted and researched by Karen Kilgariff, a comedian, musician, and writer, and Georgia Hardstark, a TV host for the Cooking Channel and co-host of the Slumber Party podcast, has been up and running for just over a year now. Their Facebook page is currently creeping past 100,000, and though the duo started it, fans now run it. Their live shows across the country routinely sell out and they have an extensive merchandise line with tees, mugs, and beanies bearing their own quotes. (“Stay out of the forest.”) As of writing, their iTunes rating is four and a half out of five and they’re ranked 6th under Top Comedy Podcasts, and 49th overall. (One of the very few one-star reviews suggests that the show is, “for chicks only. They may as well be talking make up [sic] and pumpkin spice.”) Intentionally or not, the show speaks to women.

we need more women

Our generation needs women.

Not girls who are trying to be men.

We need more women who are excited and enthusiastic about becoming wives, mothers, homemakers, and nurturers.

Not women who think that assuming these natural roles will make them weak or ignorant.

We need more women who understand the strength and empowerment that comes with embracing femininity.

We need more women who understand the value of looking soft yet having a strong heart.

We need more women who want to serve and honor their husbands in return for endless protection and cherishment.

We need women who can’t wait to begin their lives as mothers, and not see having children as the end of their youth.

We need more women who value their appearance not only for their husbands but for themselves as well.

We need more women who are not frightened by the abounding love their hearts have to give, and do not wish to suppress their natural inclination towards emotional nurturing.

We need more women who are excited to submit to their husbands, instead of constantly competing with them to be the man in the relationship.

We need more women.

theguardian.com
Female nudity almost three times as likely as male in Hollywood films
Study finds far more women than men appear nude or partially nude in film, while Latin and Asian women make up only 4% of characters on screen, despite Latinos now being the largest demographic in California
By Ben Child

Posting this article as a casual reminder that women, despite being only 30% of speaking roles in Hollywood films and only 12% of lead roles, are 3x more likely to appear nude or partially nude than a man. 

Also makes some great points about the underrepresentation of Asian and Latina women

Wonder Woman isn’t a movie without flaws, but some of the criticisms I’ve read or heard from reviewers seem to be asking more from the movie, and it can only do so much as an origin story set in world war I. 

The movie absolutely needed more women of diverse ethnicities in speaking roles (which I hope they address in the second movie!) and Diana would gravitate to women’s groups, and be outraged about the injustice of the women at that time. 

I think the reviewers fail to consider how short a time the movie actually spanned, it’s what? three, four days? I would love to watch Diana be in support of the suffrage movement, but I don’t think Diana knows what it actually means. 

She’s laser-focused in her mission to kill Ares that almost everything falls off her radar. It’s only when Diana is confronted with the reality of war, the cost, and its horrors that Diana gets distracted to her laser-focused ‘kill Ares’ glasses. 

Crossing No Man’s Land and saving Veld was a side mission that helped define who Diana is, to herself and to people around her. 

Now, the interesting story for me happens post-war. After Belgium, when Diana returns to England with the remaining members of the Blackhawks, after all the post-war celebrations, and things finally settle down. 

Diana would still be fresh from her choice to believe in humanity but then the real tests come with the rampant misogyny, racism, and classism of its time period. This is when Etta would introduce the suffragette movement to Diana, she will be a fierce advocate for suffragette movement, against all the injustices that she was blind to because of her laser focus. 

I feel her connections to Etta, and Etta’s friends, the way she keeps in contact with Sameer, Charlie, and The Chief (Napi!) keeps her connected to the good of humankind. 

Respect the Dynamic

The D/s dynamic is not limited to the bedroom.

Respect his leadership in your relationship.

Acknowledge her feelings, but do not let them dictate your decisions. 

Remember that he always has your better interest in mind.

Do not ignore her counsel. Always listen to what she has to say.

Obey his rules. He does not ask much of you.

Comfort her when she needs to collapse.

Console him when he needs to vent.

Encourage her when she makes progress towards bettering herself.

Thank him when he does something special for you, even if it’s small.

Remind her that she is beautiful, but that is not the only reason that you love her.

Reassure him that you are happy, and tell him when you are not. He cannot read your mind.

Never stop appreciating what your partner sacrifices for you.

Always respect the dynamic. 

❤️

Happy Playland Casting Update

Hey fandles,

We have some good news and some bad news.

The bad news is, we haven’t been able to cast a disabled actress in the role of Zara. Due to several reasons (Wellington-based filming, production management, comfortable with kissing a woman, chemistry with lead, acting and singing talents…) it is something we have been unable to do for this webseries. :(
 As we feel it is important to cast disabled actors in disabled roles we have chosen to re-write the role of Zara for an able-bodied person, rather than putting an able-bodied person in a wheelchair. In future we aim to represent physical disabilities in the media we create. Because diversity and people seeing themselves on-screen is really important to us.

Now, for the good news, we have a #HPLW cast. We have a Billie, a Zara, and a Cris. We’ll tell you which actors are playing these roles very soon (before this Wednesday!), but in the meantime we wanted to address the series as a whole. It is still a musical, it is still incredibly gay, and it is still starring three women (well… generally speaking) in the roles. Our cast also show some of the ethnic diversity in New Zealand. Queer roles are played by queer actors, and this webseries looks to be as fierce, funny, and feminist as we can make it.

We’re super excited to share this story with you all,
Claris, Elsie, Minnie, Sally, and Robbie xx

Women are not allowed truth, not allowed speaking roles, not allowed to be precise. They say in a rhythm of lying, I’m almost equal now, children, embrace me.
—  Alice Notley

anonymous asked:

Hey, I have a question. How do you feel about feminism? Like, would you consider yourself a feminist? I'm not talking about the type that hates men, since that's not what feminism is, though.

The feminism that I DON’T agree with:
• women are better than men
• abortion is okay
• all men are inherently bad
• homemaking/being a full time mom and wife is degrading and stupid
• if a woman says that she has been raped we should all take her word for it immediately no matter what
• women need to be in the workplace to be worth their salt

The feminism I DO agree with:
• women deserve equal rights
• real, legitimate oppression that happens to women needs to be stopped, as well as oppression to men
• women deserve a voice and a place in government and jobs according to their qualifications and the terms
• men and women are equal but do have different strengths and roles, generally speaking

brooklynrogcrs  asked:

Regarding your post on marriage and traditional gender roles, what are your opinions regarding such things? Do you think gender roles are healthy within and/or without marriage? Are they necessary for a "proper" catholic marriage?

Great question, Ella! And thank you for asking! There are definitely people more qualified than I to talk about this, but I can give it a shot.

I think it comes down to what you mean by gender roles. I do believe that men and women are different and so are, generally speaking, better equipped for different roles in a marriage, in a relationship, in a society etc. 

But I also think it’s important not to take the idea of “roles” too far. Everyone is unique; people have different strengths and weaknesses and so generalizing can be dangerous. And gender roles, if taken too far, can be used to put people in boxes that don’t allow them to fulfill their true potential. 

Keep reading

i’m sorry but who the fuck thought it was a good idea to have scarjo, someone who has victim blamed a woman who was sexually abused and who takes on roles meant for women of colour to speak at a women’s rally for “all women” like there are so many other actresses that would have made so much more fucking sense to have been giving a speech

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Some of the actresses of colour suggested by my mutuals for Rey*, following the news that Devery Jacobs had been up for the role. Because Star Wars needs more women of colour in non-CGI speaking roles, stat.

* This casting is based on the assumption that Rey is not Han and Leia’s daughter.

Devery Jacobs
Jessica Sula
Lana Condor
Chloe Bennet
Yityish Titi Aynaw
Tara Emad
Sydney Park
Courtney Eaton
Hailee Steinfeld
Naomi Scott 

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Fun fact: if you eliminate all the characters with facetime from the Original Trilogy (Obi-Wan, Anakin, Palpatine, the Lars family), all the characters related to them (Shmi and Padme Skywalker), and all the characters playing decoy for said characters (Padme’s decoys)…you get a staggeringly diverse cast for the prequels. Do most of the women not have speaking roles? Yes. Are there very, very few women? Also yes. Should Swan never be allowed to make collages again ever? Yeah…

But despite all of this, you can see that the casting crew–Lucas in particular–really tried to diversify.

Two major props have to go to the casting of Jimmy Smits and Temuera Morrison (and by extension, Rebecca Mendoza and Daniel Logan), who became Bail Organa and Jango Fett: one of them was the unseen-but-very-significant foster parent of Leia, and the other was the template for the most notorious background character in cinematic history. These two were icons who excited everyone with their presence in the prequels, and they went to non-white actors.

Samuel L. Jackson got to be the Jedi Master who stood beside Yoda and was only killed by the combined efforts of Darth Vader and the Emperor; Ahmed Best was cast as one of the first fully-CGI-characters in history (the discussion of the disastrous backlash from THAT is a topic for another post), Captain Panaka was the stalwart protector of Naboo, and most of the more memorable background Jedi were women. The roles of non-white characters were extremely limited by the central cast, and Lucas’s desire to expand the diversity of the Star Wars universe itself beyond human boundaries further limited a lot of these actors’ facetime (one arguable misstep is that Qui-Gon could have been played by a non-white actor, but…).

There is an admittedly surprising lack of Chinese and Japanese actors to be found here–especially considering everything Star Wars owes to Japan–but the fact remains that there was clearly an aggressive movement to diversify the Star Wars universe. The franchise would then, of course, fight to close the gender gap with The Clone Wars–Ahsoka Tano and Asajj Ventress played central roles, while many of the once-background Jedi had their roles expanded to become major characters. Rebels continued the franchise’s quest to diversify the universe, and now The Force Awakens has taken yet another step with Rey, Finn, and Poe. 

I believe it should be noted, then, that the expansion that is being accomplished with the latest movie is not a dramatic change for Lucasfilm or the franchise, but instead the most notable step forward. Is there still work to do? Yes, but Star Wars is nothing if not tireless. 

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Agents of SHIELD’s ladies in 4x05: Lockup

Feminism and Man of Steel

For the record, I think that Man of Steel is the most feminist superhero movie SO FAR. I think that sets the bar a little lower, which is something we need to do in the first place because when I’m looking for a feminist movie I’m not really going to reach first for a movie starring a man that is really more of an alien-othered sci-if thriller. For this particular genre though, Man of Steel is startlingly and refreshingly feminist, in the way that the female characters are handled, in the way that masculinity is portrayed and performed, and in the thematic bones themselves of the film. It’s a little frustrating to have to defend why a Superman movie is feminist in the first place because a Superman movie SHOULD be. The source material itself demands a feminist lense, it demands the presence of multiple kinds of social justice, and given my view of the canon I would argue that any adaptation lacking those particular elements is not a success.

Man of steel is about a man, but the women in this movie are equally complex and interesting, and fill multiple roles. Martha rises to extraordinary challenges in terms of motherhood, and in my opinion is one of the bravest characters in the whole film, Lara (the scientist) conspires with her husband in defiance of the law and custom of their planet to have the first organic conception and live birth in what might have been centuries, and then is finally the person who launches him toward his new home. Since the movie is so thematically focused on fatherhood when it comes to legacy, it’s easy to overlook these intentional moves to show both of Clark’s mothers as vibrant spirits of their own. And it’s not just mothers, it’s warriors, professionals, subordinates, and natural leaders like Lois Lane filling out the character list.

Lois, in this movie, by the way, is all Lois. Adam’s performance is a different flavor from actresses of the past in this role, she brings something softer that naturally complements a rather introverted and troubled Superman, but she’s still right there in the middle of things, Clark or not. What is the first half of this movie without Lois Lane? She’s involved in his business practically before he gets involved in his business, and she continues to roll the plot along until we get to Zod, the ultimate agent of action in this film. Lois is the character who jumps out of planes without parachutes, and that is extra extraordinary in this film because she has no expectation that Superman is going to swoop out of the sky to catch her. Maybe the implication in this movie is that she really never does.

The diversity among the actresses in Man of Steel could certainly stand to improve but given where the bar is set in the genre, we are forced to call two women of color in speaking roles progress, and casting Israeli actress Ayelet Zurer as Kal El’s mother was a breath of fresh air compared to what is typically cast a ridiculously and inexplicably European planet of Krypton. In fact, we finally have a probable explanation for Krypton’s historically awkward homogeny: enforced genetic engineering. The crowd shots on the planet earth, in contrast, meet a diversity bar that few major Hollywood productions do, edging toward an actual realistic level of diversity that we are unaccustomed to seeing on screen. This movie also manages to cast four speaking roles for characters of color without once maiming or killing a single one of them, which, if you’ve been watching TV at all lately, seems like an impossible feat for white people.

I’ve talked a little about the way masculinity is handled in Man of Steel but I just want to highlight how incredibly incredibly important post modern masculinities are in our superheroes. Superheroes are to masculinity what Disney princesses are to femininity, they model the gender tools and they hand out the roles. Which means that superheroes who either reject or even undermine toxic masculinity or embrace parts of the traditionally feminine are just as powerful to the culture as ambitious or ass kicking princesses are. This often gets overlooked because, surprise surprise, we are much more focused on how we can change women’s behavior in the name of feminism than how we change men. A canon superman in live action is so powerful because Clark embodies a new masculine ideal focused on protection, true justice, patience, and kindness.

His expressions of sorrow in Cavill’s performance swing from explosive to helpless. We get tears from Clark, we get fear, we get to watch his heart break not once but twice. We get a hero for whom the safety and protection of others comes before ego. This particular Jonathan Kent doesn’t get enough credit for modeling those behaviors, either. This Jonathan is not withholding, he doesn’t deal with his fears for his son by keeping him on a short leash or teaching him obedience the way that Kents of the past have when written by obviously conservative “spare the rod spoil the child” writers. Instead, he shows Clark who he could be through patient explanation and consistent love and affection. He models doubt, he models devotion, and he models faith in ways that have profound effects on who Clark becomes as a person.

Much has been said about the themes of fatherhood and religion in this film, but for all the trumped up horror about the destruction in the third act, very little actual analysis has been done on those scenes to try and figure out what they mean. I think the relationship between feminism and violence is a really complicated one because we have so many feminists out there arguing that feminism and violence are antithetical to one another. I just don’t think that’s true, and I think it’s so flawed because as an oppressed group women are held more responsible for their violent reactions to oppression than the violence against them, culturally and institutionally. So when we have a fictional portrayal of violence, we can’t just write that off as unfeminist unless we examine why the violence is happening and what the cause is.

What Zod and the rest of the Kryptonians are doing to the planet Earth in this movie is nearly the literal application of colonization. In order to inhabit the planet, they could do as Kal has done and assimilate to the dominant culture and live among the human beings there, but instead they want to literally change the land and destroy its people in order to meet their specific needs. They’re not just taking what they need, either, because Kryptonians have a ridiculously unsustainable culture of mass rapid consumption that led to their demise in the first place, they are taking the entire planet in order to repopulate it with Kryptonians who haven’t even been born yet. In order to protect these unborn Kryptonians, this idea of Krypton in his head, Zod is more than willing to commit genocide against the entire planet. There is SO much there that is political, and once you start dissecting the metaphors and pulling apart the themes, putting these particular villains up against Superman can’t help but become a very feminist move.

i saw rogue one and liked it but what stuck out horribly to me was the lack of women. the lack of women in major roles. the lack of women in supporting roles. the lack of women in background and environmental roles.

like, besides jyn i’m pretty sure mon mothma is the only other woman who’s even in more than one scene? and the only other women with distinct speaking roles i can remember are jyn’s mom and the rebel senator pamlo (whose name I had to find on imdb). there were a couple of female pilots that were maybe on screen for five seconds. 

other than that? nothing. not even a single random imperial engineer or rebel soldier. and it shows how even in films with a female protagonist you can be shown a world that is still completely dominated by men.

women with speaking roles in the lotr films:

  • eowyn
  • galadriel
  • arwen
  • that woman who told her kids to go to edoras
  • there’s the little girl named freda*
  • rosie says one line*
  • some female hobbits say “yeah!” at bilbo’s bday party*
  • old woman says “we are safe my lady” at helm’s deep*
  • shelob (does she have a speaking role??? i have no idea)*
  • ??? what the fuck

* = update

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You were talking earlier about Sleeping Beauty. Look at the gender stereotype within kid’s films, if you want to start right at the very beginning, and I think it’s amazing - ha pregnant brain again I’m forgetting the name, Geena Davis! With what she’s been doing. She’s actually finding statistics on how many speaking roles there are for women, this is how many women are in kid’s films that aren’t just the mum. (x)

anonymous asked:

Why do you hate rebels?

I don’t hate it. But I will criticize story choices when the writers take the easy way out (honestly the worst thing I’ve said is that the writers jump at the chance to blow Kanan. Other than that I keep it in check.)

Please don’t confuse criticism for hate. And because I’ve seen it in the fandom: Please don’t seek to silence valid criticism

But, to answer your question, I’ve got like 6 or 7 bulletin points of why this whole show falls short on the storytelling front. That’s way too many to put in this post, so I’ll focus on the biggest frustration for me.


The Gender Imbalance

Star Wars Rebels is unique in that it’s not bound as tightly by established canon. It’s a tad connected to the PT and only a smidge connected to the OT, but SWR is always creating new canon as it goes. The 100% male writers of this show are only limited by their biased imaginations.

Think of most any male character created for SWR, from the Grand Inquisitor to Commander Sato and consider: they didn’t have to be male. Kanan, Fifth Brother, Gall Trayvis, Tseebo are some of the men who could’ve all been females. 

What if the entire crew of the Ghost were women and Ezra was the only boy? Is that a strange concept?

If you think that’s weird, flip the genders. Would Luke, Lando, Han and Chewie— 4 males— on a ship with Leia, the lone girl, be a strange concept?

No. That’s Star Wars.

Almost every time a prominent girl has been introduced to SWR, a man has also come into the story to balance her out. Hera and Sabine: Zeb and Kanan. Maketh: Kallus. Ahsoka: Sato. Seventh: Fifth. Ezra’s mom: Ezra’s dad (low hanging fruit, I know). I’d even argue Leia: Bail. Ketsu is the only girl to break this pattern so far.

But I am in no way saying that the representation in the show is equal. As of “Princess on Lothal,” the ratio of female to male roles is 10:34 (info taken from @sildae’s tracker, which only counts named characters with speaking roles). Throw in the Concord Dawn guys, and that gap will be even wider.

That means for every one female to appear in the show, there are three males there to outnumber her. This is hardly representative of the current population percentages, where women outnumber men in America.

Tangentially, we’ve had very few “lady-centric” episodes (I count 4 out of 26), but in those episodes, the boys impacted the plot.

Out of Darkness: the women are stranded because the boys didn’t finish the ship diagnostic.
Wings of the Master: Kanan volunteered Hera to get the B-wing in a spectacular “I know what’s best for you” explanation straight out of the 1950s.
Blood Sisters: Ezra was in half the episode.
Concord Dawn: Kanan featured just as much as Sabine.

(However, we get guy-centric episodes like Future of the Force where we never see Hera and Sabine and nobody mentions them.)

…Now that I’m thinking of it, have we had an episode yet where there have been more than 3 prominent women? (Prominent=named, with speaking roles)

Every member of the Ghost crew is important, that’s why they were written into the story. So why aren’t we getting more footage of Hera and Sabine? Why are their backstories such safeguarded secrets than can only be divulged in “lady-centric” episodes? This show would be a lot stronger and feel a lot more fleshed out if each of its main characters was built up to the same well-rounded level that Kanan and Ezra have already attained. 

Yeah, I get that SWR is Ezra and Kanan’s show. But neither of them had to be men in the first place, because the SWR writers are literally making everything up as they go. And for whatever reason, the creators feel like piling more guys into this story and outnumbering the very few women. They’re definitely keeping the backwards feel of the male-dominant OT alive, in an era where Kathleen Kennedy called for more female focus.

Star Wars Rebels is not delivering on this focus. They’re not even trying.