"Linda Hamilton is my hero. She was so tough and so strong and so vulnerable at the same time. I think that's what woman action figures are allowed to be: vulnerable, in a way that women are"
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Victoria Pratt is praising a very specific kind of strength: the kind that leaves the bruises in the frame. Invoking Linda Hamilton instantly cues a cultural reference point - the Terminator-era Sarah Connor, whose toughness never reads as frictionless competence. Hamilton’s power is earned, messy, and visibly human. That’s the hook: Pratt isn’t admiring a “strong female character” brand; she’s admiring a woman who gets to look scared, hurt, and still dangerous.
The line works because it names a double standard without lecturing. “So tough and so strong and so vulnerable at the same time” is doing quiet political labor. Men in action cinema are routinely permitted vulnerability as a pathos upgrade: the wounded hero, the haunted soldier. Women, historically, get vulnerability as fragility, a prelude to rescue, or a narrative excuse for violence against them. Pratt’s phrasing argues for a third lane: vulnerability as texture, not weakness; as proof of stakes, not proof of inadequacy.
Her “action figures” metaphor is the tell. She’s talking about roles built to be consumed, collected, simplified - characters engineered to be iconic, not complicated. In that merchandising logic, women are often forced into two plastic poses: invincible weapon or breakable prize. Pratt is pushing for an on-screen body that can tremble and still throw the punch. The subtext is industry-facing: let actresses play power without pretending it’s painless, and let female toughness include the same emotional range audiences already grant male heroes.
The line works because it names a double standard without lecturing. “So tough and so strong and so vulnerable at the same time” is doing quiet political labor. Men in action cinema are routinely permitted vulnerability as a pathos upgrade: the wounded hero, the haunted soldier. Women, historically, get vulnerability as fragility, a prelude to rescue, or a narrative excuse for violence against them. Pratt’s phrasing argues for a third lane: vulnerability as texture, not weakness; as proof of stakes, not proof of inadequacy.
Her “action figures” metaphor is the tell. She’s talking about roles built to be consumed, collected, simplified - characters engineered to be iconic, not complicated. In that merchandising logic, women are often forced into two plastic poses: invincible weapon or breakable prize. Pratt is pushing for an on-screen body that can tremble and still throw the punch. The subtext is industry-facing: let actresses play power without pretending it’s painless, and let female toughness include the same emotional range audiences already grant male heroes.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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