"I would just love to do something where I'd have to train and work really hard and do one of those types of action movies, which a lot of women are doing now"
About this Quote
Milian’s line lands like a small mission statement disguised as a wish: not “give me an action movie,” but “give me the grind.” The emphasis on training and working “really hard” is the tell. She’s preempting the skepticism that still follows pop stars and pretty women who step into physically demanding roles: you didn’t earn it, the stunt team did, the camera cheated. By foregrounding effort, she’s trying to shift the conversation from image to labor, from celebrity casting to athletic credibility.
The second half - “one of those types of action movies, which a lot of women are doing now” - quietly acknowledges a cultural opening that’s still treated like a trend instead of a baseline. “Now” is doing a lot of work: it points to a post-Lara Croft, post-Kill Bill, increasingly franchise-driven era where women can be the engine of spectacle, not just the prize at the end of it. But it also reveals the constraint: women in action are still discussed as a category, a novelty with an expiration date.
There’s an aspirational edge here, and a strategic one. Milian is positioning herself for a lane that offers longevity and authority in an industry that can treat musicians-turned-actors as disposable. She’s not only asking to be included; she’s signaling she understands the price of admission, and she wants the audience to know it, too.
The second half - “one of those types of action movies, which a lot of women are doing now” - quietly acknowledges a cultural opening that’s still treated like a trend instead of a baseline. “Now” is doing a lot of work: it points to a post-Lara Croft, post-Kill Bill, increasingly franchise-driven era where women can be the engine of spectacle, not just the prize at the end of it. But it also reveals the constraint: women in action are still discussed as a category, a novelty with an expiration date.
There’s an aspirational edge here, and a strategic one. Milian is positioning herself for a lane that offers longevity and authority in an industry that can treat musicians-turned-actors as disposable. She’s not only asking to be included; she’s signaling she understands the price of admission, and she wants the audience to know it, too.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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