The map of power in Hollywood is becoming increasingly pink. In the Mecca of cinema, overwhelmed by a wave of sexual scandals, women are gaining positions as managers, directors and actresses, and the number of female stories is also increasing, as shown by some remakes like Ghosbusters, with Melissa McCarthy and Kristen Wiig, and Ocean’s 8 with Cate Blanchett, Sandra Bullock and Rihanna, while The Expendables 4 is being prepared, a new chapter of the saga launched by Sylvester Stallone this time played by a group of fierce fighters struggling with a treacherous misogynist sultan.
The tendency to adapt content to the times is not limited to a fairer redistribution of genre roles, but also takes into account the LGBT categories, as evidenced by Disney’s willingness to present a sequel to the cartoon Frozen in which Elsa, her heroine, is a lesbian and does not hide having a girlfriend by her side. This real revolution started from the power list of the most sought-after management seats, so much so that several prominent executives have been replaced by women. Two out of six studios today boast a female guide, such as Stacey Snider, head of 20th Century Fox, Donna Langley, president of Universal Studios, or Jennifer Salke, head of Amazon Studios. A significant increase in this sense is also recorded at the direction of the films, as demonstrated at the AFI Fest in Los Angeles, which takes place in conjunction with the AFM market in Santa Monica, where out of 134 films 65 are directed by ladies, when last year there were less than a third. The goal of fifty-fifty, that is, complete parity, is now fixed, but perhaps the secret aspiration is even to take control of the entire supply chain, as for the name of the company of Lynnette Howell Taylor, producer of A Star Is Born and founder of “51 Entertainement”, where 51 indicates precisely the percentage of the absolute majority.
