The Unintentional Politics of Wonder Woman

Maybe there will come a day when we can talk about big-budget Hollywood movies that happen to be female-driven in terms of whether we liked the movies or not.
But that day is a very long way off.
The problem begins because there are so few of these films, which puts huge pressure on each of them to do a yeoman’s work in the culture wars. Of the tentpole releases by Hollywood’s six major studios for the rest of this summer only two—the bawdy comedies Rough Night and Girls Trip—could be described as female-driven. Of those, only Rough Night also has a female director. (The picture looks slightly better if you look down the list at non-studio releases. Slightly but not much.)
The near total, now century-old lockout of women from the highest rung of movie production is a level of gender imbalance that the Dabney Coleman’s archetypal chauvinist boss-pig character in 9-to-5 could only dream of. If the petroleum or pharma industries dared to open so few doors to women, their headquarters would be burned to the ground.

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