Hollywood’s Misguided Approach to Gender Representation

Hollywood’s tendency to sidestep scientific understanding regarding gender dynamics has significantly detracted from many beloved franchises.

• Charlie’s Angels
• Men in Black
• Star Wars
• Indiana Jones
• Wonder
• Super Girl
• Terminator
• Star Trek

James Gunn, who once seemed like a visionary in his role at Warner Bros. overseeing DC superhero films with Guardians of the Galaxy, now feels quite outdated, much like studio co-founder Jack Warner appeared in 1966. Society has evolved, yet Hollywood seems to cling to tired tropes and exhausted formulas that no longer resonate—similar to how bloated musicals like Dr. Dolittle fell out of favor. Viewers today crave fresh experiences, like those offered in Obsession, Citizen Vigilante Group, and even Bonnie and Clyde.

Blockbusters like Toy Story 5 continue to be successful largely because they cater to what audiences find appealing—yet Gunn seems to overlook this essential principle.

But who exactly is Super Girl aimed at?

I wouldn’t claim to have all the answers, but I suspect that Super Girl and similar series should focus more on young, straight audiences.

Storytelling has followed certain rules for millennia. If franchises want to regain their former glory, they might consider these guidelines: “Men are from Mars, women are from Venus.”

• Young men are drawn to action and adventure films.

For years, Hollywood has undermined franchise after franchise, often relying on the “the Force is female” narrative that Kathleen Kennedy, then-president of Lucasfilm, pushed forward with Star Wars. This misguided approach ultimately damaged the franchise.

Kennedy aimed to expand the existing (predominantly male) fan base by reaching out to female viewers. On paper, that seems reasonable, but in practice, it largely backfired. Rather than attracting women, the push away from a traditional male-centered narrative alienated many male fans. It seems there’s a misconception in Hollywood that diminishing male representation will automatically draw in female audiences. Spoiler alert: many women actually enjoy male characters.

It’s time to return to basics. Action and adventure films should target young men, full stop.

Regarding the Super Girl opening weekend, statistics show a 60% male audience compared to 40% female. Just imagine how many more men might have shown up if Gunn’s version of Supergirl had aligned more closely with traditional appeals.

• Young people are interested in masculine heroes.

The essence lies in letting audiences vicariously experience the adventures of male protagonists, whether it’s John McClane, James Bond, Han Solo, or Indiana Jones. We seek to save the day, win the girl, or simply overcome challenges. Imperfections in these characters deepen our connection and make their transformation all the more rewarding—like when John McClane learns to value his wife or when Han Solo comes back to assist Luke Skywalker. These elements inspire us to strive for growth ourselves.

• Young men enjoy watching attractive women.

Sex appeal has been a staple since the dawn of cinema. Even when you hear the title Super Girl, it’s important to remember that this is still an action-adventure flick, primarily targeted at men. So, casting someone like Millie Alcock, who diverges from the classic beauty archetype, doesn’t quite hit the mark. Even Jack Warner recognized that lesson, albeit long ago.

• Women prefer films that cater to their preferences.

Consider something like The Devil Wears Prada 2. That’s what resonates with female audiences—films that envelop them in romance, fashion, and relatable charm. Women are inherently interested in narratives from their perspective.

Now imagine adding bar fights or car chases to a film like The Devil Wears Prada. Sounds absurd, right? Yet, that’s the odd direction Hollywood often takes.

Sure, exceptions exist. Some women do enjoy action and horror films. They always have. But it’s the “always have” that matters. Women, like men, don’t enjoy seeing their heroes diminished. Plus, they enjoy watching aesthetically pleasing female leads since they can relate to their stories.

• Women enjoy being rescued by male heroes.

Hollywood has, unfortunately, phased out the popular trope of the “damsel in distress” in an attempt to align with modern gender discourse. However, it’s in men’s nature to want to rescue beautiful women, just as many women hope to be saved by a heroic man followed by a romantic conclusion. This is a fundamental aspect of human relationships.

At its core, women seek assurance that their partner can protect and care for them. These instincts are basic, yet somehow have been overlooked.

• There’s nothing wrong with the “male gaze.”

Whether it’s Ursula Andress in Dr. No, Marilyn Monroe in The Seven Year Itch, or Cindy Crawford in a Pepsi commercial, ordinary individuals appreciate admiring the beauty of the opposite sex.

The current trend in Hollywood is quite concerning, with the disappearance of sex appeal in films—just look at the recent Charlie’s Angels reboot.

Eliminating seductiveness from movie narratives is perhaps one of the most misguided decisions ever made.