Feminist Frequency is a web series created by Anita Sarkeesian to analyze pop culture from a feminist perspective. The point of the series is to point out female character archetypes, mostly negative criticism towards what she regards as the Unfortunate Implications that ensue from various shows and movies. She has created a six-part mini-series on "Tropes V.S. Women" and is in the process of creating a 12-part mini-series on "Tropes V.S. Women in Video Games", both of which just so happen to use this very site as inspiration.Feminist Frequency has earned some rather...controversial reactions, so please please please observe the Rule of Cautious Editing Judgement.
The Bechdel Test - She suggests an addendum to it that interactions between women should amount to more than a minute of screen time, to clear up debate over cases where there are only one or two sentences. She also points out a corollary for the portrayal of people of color in films, where two or more of them talk to each other about something other than a white person.
Each of the "Tropes V.S. Women" episodes focuses on a particular trope she considers to be negative:
The first focuses on the definition (a woman rendered completely helpless so the hero can rescue her) and the history of the trope from some of its earliest incarnations up to the year 2000.
The second focuses on more modern games and the trope's combination with other tropes for a Darker and Edgier twist. Murdering the hero's wife and forcing him to rescue his daughter combines the Damsel in Distress with Stuffed into the Fridge. Some combine the two (called by Sarkeesian, "Damsel In The Fridge") by getting the hero to rescue the murdered wife's soul (usually from hell), and some have the twist of getting the hero to murder her himself at the end of the game to rescue her from mutilation or just to get at the villain, sometimes with her begging to be freed (combining it with Mercy Kill, called by Sarkeesian "Euthanized Damsel"). She then places the games' violence against women in the context of reality, focusing on the fact that the final combination rationalizes violence against a woman for her own good and the fact that this is typically the rationalization used in abusive relationships.
The third is about role reversal and the differences of the Distressed Dude from the Damsel in Distress. In it, she also discusses the continued use of the Damsel in Distress, portrayal of ironic sexism in indie and mobile games, and the distinction between subversion of the trope as opposed to parodies of the trope.
Twilight: Unsurprisingly, she finds it to be awful. Although in her video about it, she discusses how male viewers often hate Edward for the wrong reasons.
The Hunger Games: She likes the first book for its portrayal of Katniss as the strong, reluctant warrior but finds the premise unrealistic. She considers the later books to pointlessly distort the story into a Twilight-esque romantic Will they? Won't they? and simplify the Katniss character into sexist cliche. She likes the film adaptation but finds the Race Lift casting racist.
Veronica Mars: Praised it for interpreting women (the main character specially) for being tech-savvy and the use of non-violent conflict resolution. Panned the third season for literally villainising feminists.
Buffy the Vampire Slayer: Although she hasn't discussed the show in an episode, she has mentioned it often as one of her favorite shows and characters. She has also published one dissertation in which she compares Buffy to Bella Swan.
The Sarah Connor Chronicles: She considers it wonderfully feminist for presenting a strong, independent single mom and for having a lot of character development.
True Blood: She finds it sexist for promoting female dependence to alpha male types represented by the murderous raping vampires.
Mad Men: She considers it sexist and doesn't buy that presenting retro sexism to make us laugh at the 1960s removes the element of sexism and thinks that it ultimately serves to make sexism be perceived as acceptable.
Dexter: She doesn't like having a crazy serial-killing man as a part of popular entertainment.
Bones: As with above, she doesn't like it for having crazy serial-killing men as a part of popular entertainment. She describes it as sexist but doesn't go into why.
CSI: New York: As with above, she doesn't like it for having crazy serial-killing men as a part of popular entertainment.
Firefly: She considers Zoe an anti-feminist character because the character contributes to a society honoring the masculine and not the feminine because Zoe is so traditionally masculine she could just be played by a male actor.
Bayonetta: She describes its Fanservice pandering to the Male Gaze as misogynistic, and she especially doesn't like its marketing in Japan, where people in the subway were encouraged to take flyers covering up a wall-sized poster of the protagonist in order to undress her.
My Little Pony: Friendship Is Magic: She approves of it but hasn't gone into detail why. Although she has expressed disappointment in the idea of Equestria being a monarchy, especially in light of Twilight Sparkle ascending to the throne.
Actual Pacifist: Her continuous praise of non-violent resolutions in media suggests that she is this. She associates masculinity with violence, and femininity with non-violence, and so incorporates discussion of violence into feminist analysis.
And That's Terrible: She argues that Hollywood "should feel really guilty right now" about using the Mystical Pregnancy trope.
Black and White Morality: She believes that characters who perform violence against women should be completely evil and unsympathetic.
But Not Too Evil: Anita doesn't care much whether it's the good guys or the bad guys who are being sexist.
Not So Different: Many of her supporters point out that the tropes she criticizes in video games are also complaints levied by gamers.
Moviebob: It's okay if we say Princess Peach has been kidnapped too many damn times, but if a feminist says it, she's coming to take your balls away!
At least some gamers, however, are criticising those things from the perspective of a specific franchise, however, while Sarkeesian criticises it as part of a wider context, so it's not quite the same. Then again, some gamers (such as Moviebob himself) clearly agree with her critique on this point.
Sarcasm Mode: In the latter part of the Tropes Vs. Women videos.
Viewers Are Morons: Sometimes justified in that her videos are intended to be accessible to children as well as adults and to be played in classrooms, as well as predominant criticism indicating an ignorance of basic discussed concepts.
In the first Tropes vs Women in Video Games video, about a minute is spent describing to the audience what a Damsel in Distress is, even though the trope is very well-known.