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movies Uncategorized What is a complicated woman?

I Don’t Want To Be A Strong Female Lead

I Don’t Want To Be A Strong Female Lead — that’s the title of actress, writer and producer Brit Marling’s NYT opinion essay, which Kate and I broke down on our podcast. We dig deep into what it means to be masculine or feminine, and how those traits are often linked to, but not the same as, male and female. 

In her career, Brit Marling has seen many Hollywood executives call for a “strong female lead” when it’s just code for “give me a man but in the body of a woman I still want to see naked.” And we’re with Brit — we are done with that prototype of the strong female lead.

But we don’t think you have to blow up the whole hero’s journey model or throw it away completely. We still love a more traditional hero’s journey — with some meaningful feminine weight. After all, Fleabag and Claire break out of their empty and cold hearts (respectively) by connecting with one person, not coming into community. 

So I thought about the ways that the complicated women of our first dozen episodes were strong female leads that combined masculine and feminine traits in a way that made them so compelling and original. 

  • Fleabag makes so many mistakes, often conflating sex and love, but she always learns from her choices. Sometimes, more mistakes come from over-correction but she never gives up on herself. She deserves love too.
  • Erica Barry becomes unglued in love, but she’s ready for it and happy to embrace it. She loves and wants Harry, but she doesn’t need him. In fact, she finds meaningful success in the play she writes during her heartbreak. All the more reason to dive right in!
  • Daisy Jones doesn’t value anything that comes easily in her life. She wants people to listen to her. 
  • Marianne needs to feel so deeply. She knows that a man who sees you is not someone to let go of, even if she doesn’t always know how to communicate that.
  • Lainey Dalton changes on her own terms, with the loving support of a man, but not according to his wishes, timeline or demands.
  • Sally Albright holds out for a man who not only accepts her bossy, Type-A “faults”, but embraces them, making them some of the qualities he loves most about her.

Our ideal strong female lead moves from the masculine fruits of ambition — meaning, knowledge, fame, beauty, power, wealth — to the bounty of the feminine — acts of service, friendship, parental love, romantic partnership. She is a “strong” woman who “wins” when she finds vulnerability and dares to open up to the beauty of connecting. 

While there is no one word to encapsulate all of these strong female leads, we know for sure they are so much more than men in a woman’s body. More of THESE strong female leads, please.

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I Hate You Harry Burns

This is a partial transcript of the When Harry Met Sally episode discussing the final New Years Eve scene:

Kate: the romantic in me likes the scene, so it was one of my favorites but then it’s also a little problematic for me and I don’t know if I’m thinking too hard about it. And I mentioned to you maybe I’ve researched too much, but you know this whole, Harry listing all her faults. So what now they are acceptable? Because they’re man approved. You know now all these quirks are okay because he said so? And then I wonder if a man said all those things to me, would that really make me want to be with him?

I know that he delivers them in a very endearing way and at that point they’ve gotten to know each other so much that you do believe him, but I don’t know.

Carinn: so I have a question for you. Why isn’t what he’s saying, the ultimate act in “seeing” Sally? That’s how I see this moment.

Harry: I’ve been doing a lot of thinking thing is I love you what I love you.

Sally: How do you expect me to respond to this?

Harry: How about you love me too?

Sally: How about I’m leaving?

Harry: Doesn’t what I said mean anything to you?

Sally: You can’t show up here. Tell me you love me and expect that to make everything alright. It doesn’t work that way.

Harry: Well, how does it work? How about this way? I love that you get cold when it’s 71 degrees out. I love that it takes you an hour and a half to order a sandwich. I love to get a little crinkle above your nose when you looking at me like I’m nuts. I love that after I spend a day with you. I can still smell your perfume on my clothes and I love that you are the last person I want to talk to you before I go to sleep at night. And it’s not because I’m lonely and it’s not because it’s New Years Eve.

I came here tonight because when you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible.

Kate: that is that’s a fair point and it’s a good question. You’re right that if you’re going to really see someone you have to see both the good and the bad and you have to accept it.

Carinn: and really even the quirks or the faults that he mentions are not really faults. 

Kate: I mean it takes her half-hour to order a sandwich?

Carinn: Yes. Yeah, they’re representational. I think he’s using really sweet examples instead of saying you’re a big pain in the ass and you know, you’re wishy-washy on this. He takes deep insecurities of hers and makes them sweet and romantic and then says I love all of it. That’s my interpretation. That is the ultimate moment of I see you Sally Albright. I see you and I love you.