With diversity finally getting a bit more stagetime in the industry (or at least discussions of diversity) it’s tempting for lazy artists to pay, effectively, lip service to the notion of having female characters. For example, having stories with more female protagonists does not mean you can just genderswap a character and end up with female male characters, women saying man-things or navigating a man-world like a man. Or as Tasha Robinson discusses in this article, you can’t just make an interesting female character then…just…forget about her:
There’s been a cultural push going on for years now to get female characters in mainstream films some agency, self-respect, confidence, and capability, to make them more than the cringing victims and eventual trophies of 1980s action films, or the grunting, glowering, sexless-yet-sexualized types that followed, modeled on the groundbreaking badass Vasquez in Aliens.
[E]ven when they do, the writers often seem lost after that point. Bringing in a Strong Female Character™ isn’t actually a feminist statement, or an inclusionary statement, or even a basic equality statement, if the character doesn’t have any reason to be in the story except to let filmmakers point at her on the poster and say “See? This film totally respects strong women!”
Very good overview (with extra links) about the mistake of introducing Strong Female Characters who then are superfluous to the plot. The concern is summarised as:
For the ordinary dude to be triumphant, the Strong Female Character has to entirely disappear into Subservient Trophy Character mode. This is Trinity Syndrome à la The Matrix: the hugely capable woman who never once becomes as independent, significant, and exciting as she is in her introductory scene.
Important stuff, and a good checklist/questionnaire for writers to help figure out if you’re inadvertently making some of these mistakes: http://thedissolve.com/features/exposition/618-were-losing-all-our-strong-female-characters-to-tr/