Sophia

“The woman dies.

She dies to provide a plot twist. She dies to develop the narrative. She dies for cathartic effect. She dies because no one could think of what else to do with her. Dies because there weren’t any better story ideas around. Dies because her death was the very best idea that anyone could come up with.

‘I’ve got it! Let’s kill her off!’

‘Yes! Her death will solve everything!’

‘Okay! Let’s hit the pub!’

And so, the woman dies. The woman dies so the man can be sad about it. The woman dies so the man can suffer. She dies to give him a destiny. Dies so he can fall to the dark side. Dies so he can lament her death. As he stands there, brimming with grief, brimming with life, the woman lies there in silence. The woman dies for him. We watch it happen. We read about it happening. We come to know it well.”
― Aoko Matsuda

“Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it's all a male fantasy: that you're strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren't catering to male fantasies is a male fantasy: pretending you're unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur.”
― Margaret Atwood, The Robber Bride