ByFiore Mastracci, writer at

Hollywood is obsessed with the Woman Warrior agenda. This is the theory a woman can match a man in physical strength and ability. The Woman Warrior was spawned from two female movements. The first, of course, is the women’s movement. They claimed for years, now decades, females were every bit as strong as men. Some radicalized sects of the movement suggested women didn’t need men; in fact, with advances in medical science, women could rule the planet on their own with no need for men at all. I suppose Earth would be renamed Amazonia.

The other movement is one currently plaguing Tinsel Town. It is a sinister plot by the male dominated industry to quell a growing movement of women demanding an equal share of power in productions. In this arena, women should be able to wield as much force as their male counterparts, however, for a variety of reasons, they haven’t. Despite what Rosie O’Donnell, Susan Sarandon, Kate Blanchett, Emily Blunt and others of their ilk contend, women haven’t made a significant dent in the movie industry outside of acting and editing.

To demonstrate they are sympathetic to the women’s cause, the Hollywood’s male producers are in an all-out blitzkrieg to portray women as strong, independent, calculating warriors. Movies and TV shows are inundated with skinny, scrawny women bouncing rather large men around with ease. Apparently, a few lessons in some martial art is all that is required. Male producers are under the delusion by incorporating all these Women Warriors, the female furor in Hollywood will quell. It’s simply not that easy, and the viewers of movies and TV shows suffer the consequences.

Already there exists in Hollywood, a list of a dozen films, all formerly male-dominated action movies, listed for remakes, changing the principle protagonist from male to female. It is important to note these are not original female warriors, but rather a rehash of established characters who suddenly switch genders.

Most notable among these films is a planned reboot of Patrick Swayze’s ROAD HOUSE. The movie was not a box office nor critical success, but it did attract a cult audience years after its release and thanks to repeated showings on the cable superstations, gained a larger fan base after its theatrical run. Swayze made the film, along with STEEL DAWN, due to a desire to incorporate his martial arts training into his films.

ROAD HOUSE concerns a rogue, transient club bouncer, who has a reputation for cleaning up rowdy establishments. The remake will star Ronda Rousey in the role of Dalton, a character synonymous with the late Swayze. Producers do not want, indeed cannot have this film fail. It is becoming the flagship of the Woman Warrior agenda. Nick Cassavetes is writing and directing the reboot, and he alone should add considerable gravitas to the endeavor. To date, Cassavetes greatest hit is THE NOTEBOOK, the Nicholas Sparks tale that reemphasizes all the qualities in a woman the Woman Warrior agenda would like to eradicate.

Personally, as a practicing martial artist, I have no problem with Ronda Rousey or Gina Carano starring in action films, especially if one of Hollywood’s premiere fight choreographers is attached to the project. I do, however, groan audibly watching a 98 pound waif, who obviously has limited fighting experience, bounce people across the screen. Unfortunately, this is more the norm. It is a disservice to viewers, and to women. There are, perhaps, a handful of women around the world who can actually walk into a bar and toss 300 pound men around like ragdolls. You are not seeing them on screen; nor would you want to. To feed women, especially young girls with this propaganda is extremely dangerous, particularly in instances of domestic violence.

The Woman Warrior agenda must stop immediately. Viewers should not be subjected to remakes solely for gender transfer, just as they should not have to suffer the racial or ethnic changes of their favorite super heroes for the sake of political correctness. This entire agenda is nothing more than a ploy by male producers to stifle a growing creative movement by women within the Hollywood community. The sooner its façade is detected, the sooner the women in Hollywood can attain the recognition they desire.


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