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#ch: dinah lance

During one of Birds of Prey’s fight sequences, Harley Quinn (Margot Robbie) identifies a teammate’s vulnerability and provides a critical assist — by lending her a hair tie. This small act of sisterhood is as familiar in an everyday context as it is surprising in the DC Extended Universe. It’s one of the many ways that Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) differs from its superhero movie forebears: It not only stars women, it was made by them, too. “There’s more women in front [of] and behind the camera than any movie I’d worked on, which is pretty incredible,” says Robbie, who also produced the film. “It was partly a conscious decision, but it also always felt like the organic, right choice to make.”

Entertainment Weekly: How the R-rated, women-powered Birds of Prey flips the bird — and the script — in high-flying style

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just thinking about the symbolism of Dinah’s job as a singer for her male boss, singing “It’s a Man’s, Man’s, Man’s World” and she shatters his martini glass, an ironically quiet act of rebellion as her boss only looks at her body and the sound of her voice, hearing none of the power behind it.

just thinking about how she watches him and other men degrade every woman around them and she forces herself to choke her voice down in their presence, while secretly using her voice to warn other women about her boss’s wrath.

just thinking about how Dinah’s power is in her voice, not only the sonic scream that shatters mens’ eardrums and forces them to listen to her, but pushes other women forward, sometimes on their roller-skates.

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