At the Dissolve, Tasha Robinson discusses why having a Strong Female Character in a film isn’t good enough if her presence is superficial. Robinson cites Valka from How To Train Your Dragon 2 as an example, as well as Strong Female Characters from other recent films:

And Valka’s type—the Strong Female Character With Nothing To Do—is becoming more and more common. The Lego Movie is the year’s other most egregious and frustrating example. It introduces its female lead, Elizabeth Banks’ Wyldstyle, as a beautiful, super-powered, super-smart, ultra-confident heroine who’s appalled by how dumb and hapless protagonist Emmet is. Then the rest of the movie laughs at her and marginalizes her as she turns into a sullen, disapproving nag and a wet blanket. One joke has Emmet tuning her out entirely when she tries to catch him up on her group’s fate-of-the-world struggle; he replaces her words with “Blah blah blah, I’m so pretty.” Her only post-introduction story purpose is to be rescued, repeatedly, and to eventually confer the cool-girl approval that seals Emmet’s transformation from loser to winner. After a terrific story and a powerful ending, the movie undermines its triumph with a tag where WyldStyle actually turns to her current boyfriend for permission to dump him so she can give herself to Emmet as a reward for his success. 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. (Director Chris McKay sorta-acknowledged the problem in a DailyMail interview presented as “The Lego Movie filmmaker promises more ‘strong females’ in the sequel,” though his actual quotes do nothing of the sort.)

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