I just thought it was a really interesting concept. I didn’t have a good answer, because I agreed that sometimes the constraints of writing in a sexist world might accidentally perpetuate sexism, but I felt that dismissing sexism totally because the future and let’s not deal with it wasn’t always the answer, either. Chuck is angered by Makos lack of experience and Raleigh’s lack of control inside the Drift. Once theyre successful, Chuck and his father convene with Pentecost in his office. The second thing to note is that when the sparring does occur. When Mako Moris first Drift goes awry, Chuck tries to help Tendo Choi and his father deactivate Gipsy Danger from the LOCCENT. Given that Stacker is Makos father and her attraction to Raleigh has already been established, his refusal is clearly meant to evoke the imagery of a father who doesnt approve of his daughters new boyfriend. ![]() I was having a really interesting chat with someone yesterday about the way that fictional worlds have different gender role constructs (say, the way that Kara Thrace and Brienne of Tarth have very different lives based on the sexism they have to face in their respective universes) and whether it’s more feminist to create more equal fictional worlds or to use fictional worlds to examine sexism. The first is that Stacker does not want Mako to be Raleighs partner. The movie has one great female character, but in terms of characters with actual development and plot, there were… 7 dudes? Raleigh, Idris Elba, science bros, both Australians, maybe bowtie guy? Maybe a percentage marker is better? Most of those characters weren’t so heavily gendered that they all needed to be men- they were men because men are default in movies about giant robots. ![]() ![]() I don’t think the Bechdel test is perfect, but I think “one female character with an independent arc” isn’t really quite enough, either.
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