"I've never played a character where I've had so much fun on the physical end. I don't want to say I like it too much but it's fun having a gun on you and getting to manhandle men"
About this Quote
There is a little mischief in how Ross tiptoes up to the line and then pretends not to cross it. "I don't want to say I like it too much" is a classic actor’s half-disavowal: a wink that acknowledges the taboo (women enjoying violence, dominance, weaponry) while giving herself cover. The sentence is engineered to let audiences feel the thrill without forcing them to reckon with what that thrill means.
The real spark is in the collision of "physical end" with its almost polite industry cadence and the blunt jolt of "gun" and "manhandle men". She’s talking about stunt work and blocking, sure, but the phrasing makes it about power: the bodily pleasure of taking up space, of being the one who drives the scene. When an actress says she’s having fun physically, it’s rarely just about cardio. It’s about being allowed to move through the frame like an agent rather than an object.
Context matters: this is the language of an era of TV and film that increasingly marketed "tough women" as both empowerment and spectacle. Ross leans into that tension. The gun reads as a prop and a symbol - a permission slip to be intimidating. "Manhandle men" flips an old cinematic default on its head, and she knows it lands because it’s still slightly transgressive. The enjoyment is the point; the coyness is the strategy.
The real spark is in the collision of "physical end" with its almost polite industry cadence and the blunt jolt of "gun" and "manhandle men". She’s talking about stunt work and blocking, sure, but the phrasing makes it about power: the bodily pleasure of taking up space, of being the one who drives the scene. When an actress says she’s having fun physically, it’s rarely just about cardio. It’s about being allowed to move through the frame like an agent rather than an object.
Context matters: this is the language of an era of TV and film that increasingly marketed "tough women" as both empowerment and spectacle. Ross leans into that tension. The gun reads as a prop and a symbol - a permission slip to be intimidating. "Manhandle men" flips an old cinematic default on its head, and she knows it lands because it’s still slightly transgressive. The enjoyment is the point; the coyness is the strategy.
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