The main excuse given by the IeSF seems to be that women are segregated in order to better promote women’s esports, giving women opportunities to compete without being dominated by higher numbers of male competitors.
If this reasoning were sincere, we’d be seeing women’s tournaments given the same coverage and support as men’s events. The Hearthstone World Championship, to be held at Blizzcon in November, boasts $250,000 in prize money. The Starcraft World Championship Series offers up $100,000 for first place alone (and, of course, also uses male pronouns as default throughout its site). Esports are serious business, not chump change, and relegating women to separate brackets on the sidelines under the guise of supporting them sends a very clear message about how seriously the IeSF takes female competitors.
Narelle Battersby’s epic smackdown on the Hearthstone bullshit: “When it comes to women in esports, separate is not equal”
The Telegraph gives her the inaccurate but far more positive rating of “the most (the first?) complex female role in the Avengers franchise to date.”
Apparently he failed to notice Pepper Potts (40-year-old tech company CEO), the four central female characters of the Thor movies, Peggy Carter (World War II intelligence agent), Maria Hill (deputy director of an international spy agency), and half the main cast of Agents of S.H.I.E.L.D.
Like Jennifer Connelly in The Hulk, Olson is merely The Woman Who Cries, her face acting as a register for audience emotion. Despite Olsen’s clear skill at conveying shock and horror (what one might call “actual acting”), Godzilla never gets around to suggesting that she’s more than a narrative prop, a footnote in the story of some boring white guy.
But even when women are allowed to save the world, they’re still something of a side character and a curiosity, rather than an actual lead. Rinko Kikuchi became an audience favorite for her role in Pacific Rim as the tortured Mako Mori, a brilliant trainee fighting personal demons. The character’s inner turmoil, as seen in flashback, offers the film’s most powerful scenes, as she struggles with the memory of losing her family. There’s no reason that she (or Idris Elba’s Stacker) shouldn’t be the center of the film, except that this isn’t the way things work.
Nico Lang, “’Godzilla’ and Hollywood’s boring white guy problem”