Any story about a powerful woman owning herself in any way is automatically deemed feminist.
'In the Cut' was not what readers expected of me. Before it was published, I was seen as a women's writer, which meant that I wrote movingly about flowers and children.
I think what 'Four More Shots' wanted to do from the word go is to create a narrative where women have the agency. None of the characters are perfect. They have their flaws.
'Spiderwoman' was wonderful. I think that show is a very important piece of theatre.
Obviously, the 'Glow' show is a real feminist story. I knew it would be about female empowerment, and that was really exciting to me. Having some distance on a period show, I think you can really delve into those kinds of political topics in an in-depth way, and a lot of that reverberates today.
It was really great to be part of the Philip Roth story as a woman in a very complete way.
When I was going to get ready to take 'Dietland' up, I have to say I was surprised to find that I felt like maybe we wouldn't find a home for it because it's unlike anything else that I've done.
I read the script for 'Guncrazy' in 1985 and loved it because it was one of the few scripts I'd come across that revolved around a strong female character.
She watched the first episode and she was like, 'This is feminism?' And then by the end of the season, she was like, 'This is feminism.' The tone changed completely. She was really psyched about it.
When there is a strong woman character in a story - that always grabs me.
It's not my business to remedy deaths! It's my business to tell stories. Lyra and the other heroines didn't come with placards saying, "Make this a feminist story!" I'm glad people enjoy seeing a female protagonist in a big adventure story, but I didn't do it for political reasons.
By accepting what the external structures have told us we need to do, we have given the power of our realities and ourselves to others. It is time to tell a new story for women, and that can only start with women.
All the female characters in 'The Gifted' are stronger than the men. We're not waiting around to be saved but spearheading the missions.
In Mahesh Manjrekar's films, women find their way into a realistic story in the most convincing way.
'Mulan' is an iconic story for the Asian American community.
In 'UnREAL', for me, just being so openly feminist, just being so overtly, like, 'This show is about women who are not necessarily likable, doing a job that is despicable, and we are not going to be afraid of that.'
