When women were children, most of them wanted to be princesses, to be saved by their beautiful prince and to be taken to a land far, far away and live happily ever after; as women grow up and their idea of ​​happily ever after changes, so does their ideal heroine. Times have changed with women's suffrage and the equal rights movement, just as everyone's perception of the modern woman has changed. Soon there was nothing women couldn't do; no dream too big, no star too high. These changes in attitude have also been seen on the big screen. “Fictional characters have great value in the ongoing process of creation and serve as building blocks for the development and expansion of our culture.” (Kurtz, 2013) Lead female roles have taken on a stronger action role; the princesses no longer wait in the tower, now they are saving Prince Charming. Today's female action hero is nothing like her previous incarnations. Even Rothman notes that Hollywood has become “heroin chic” and that today's female action star is smarter and stronger than any “totalitarian regime.” She is not afraid, but in her soul she is still a woman who must save humanity (2014, page 52). He has goals and strives to surpass them; she is not willing to stay with the flashlight in her hand so that the man can read the inscription. Hollywood's new female protagonists are solving mysteries, stopping the bad guy and saving the world. Although most female heroines of the past could not reach their full potential without their prince or some mystical source, today's female heroine is more focused, more independent, and even more popular than her predecessors. The first aspect of the new era of women is that they are more focused, they have goals. Before women became followers, they didn't have...half the paper...(2008). Twilight United States: Summit Entertainment.Hiller, A. (Director). (1966). Penelope United States: Metro-Goldwyn-Mayer.Hogan, D. (Director). (1996). Barb Wire United States: PolyGram Video.International Communication Association. (2008). Assessing gender-related representations in top-grossing G-Rated films. California. Choueiti, M., Granados, A., Pieper, K., Smith, S..Kurtz, L. Fictional characters and real people. University of Louisville Law Review, 51, 435.Liman, D. (Editor). (2005). Mr. & Mrs. Smith United States: 20th Century Fox .Niccol, A. (Director). (2013). The Guest United States: Universal Studios Home Entertainment.Vadim, R. (Director). (1968). Barbarella US: Paramount Pictures.York, AE From chick flicks to millennial blockbusters: transforming female-led narratives into franchises. The newspaper of popular culture, 43, 3-25.