But I agree with you. It bothers me that I’m always told that I do strong female characters. When in reality, I look at my characters and I feel like they were all broken. They all came from a very devastating past. They were trying to achieve something, they had hope, and they wanted to get someplace, like everything other character that has a meaningful and relevant arc in the story.

It’s because we don’t really know women. We don’t write women accurately. We don’t see women the way that we should see women as a society, as a human race. When you see a real woman, you shouldn’t be saying she’s strong, you should be saying she’s real.

I’m not saying that Gamora is an exception, but you look at my character in Columbiana, and she’s stealthy, she’s agile, she’s physical. But even if I wasn’t physically agile, she would still carry the baggage of whatever happened in my childhood. And I handle myself in the way that I feel a woman should be. I don’t create it. It’s just something that comes natural.

So when people think they are paying me a compliment, in reality what we are saying as a society and as an art society, is that we need to focus more on the real aspect of what a woman is, and not the superficial cosmetic features of a woman as a muse to inspire us to create calendar girls. To create bombshells. To create serviceable characters, beautiful paintings of the girl with a pearl earring: if there’s nothing there behind it, it’s just her face - what’s the story?


— Zoe Saldana, speaking to Den of Geek. These musings in particular are so wonderfully expressed. (via pixiegrace)

(via itreallyisthelittlethings)

"A lot of different men will come on as day players or guest parts, and I recognize that there’s a certain strength that I have now, or a certain command that I have being one of the leads on the show that I hadn’t had before…. Just owning that space and not being expected, as a woman, to shrink, or curtsy, or any of those sort of things."

— Nicole Beharie on how being the female lead on Sleepy Hollow has given her a position she’s never known before. (x)

(Source: -sleepyhollow, via lovershour)

(Source: sizvideos, via daenerysknope)

Because I actually WENT to comic con this year I feel like I missed out on an integral part of my blogging year: blogging about comic con. 

"RPF has existed for as long as there have been celebrities. Any media ‘based on a true story!’ is RPF. Any historical fiction narrative that co-opts a real person or real group is RPF. Shakespeare’s Julius Caesar is RPF, and reflects reality just as accurately as the better and more lovingly, carefully written internet RPF of today: virtually not at all. The names remain - Julius Caesar, Mark Antony - as do certain simplified traits, the archetypal roles they play. In lieu of actual Julius Caesar and Actual Mark Antony, we get AU!Caesar and an AU!Antony in a simpler, more dramatic narrative."

— V. Arrow, “Real Person(a) Fiction,” in Fic: Why Fanfiction is Taking Over the World  (via silencewhippersnapper)

(via psycholinguistic)

"Male writers — and I say this with all love and respect — often want to make a woman either the angel or the whore, make her the witch, or put her on the pedestal. When people ask me about Margaery [on ‘Game of Thrones’], I say they’re not mutually exclusive. You don’t have to be practical and politically savvy and not be a good person. You can be a good human being and just be shrewd."

— Natalie Dormer giving me life at SDCC’s “Women Who Kick Ass” panel (via HitFix)

(Source: megsokay, via themanwiththegoldengun)


Agent Carter Panel at San Diego Comic Con

(via fetchhappened)