One of the producers frowns. “People still love explosions.”

Tina smiles slightly. “Sure. But explosions cost money.” She clicks to another slide. “That desert base sequence you just showed? Eight million for the pyro simulation. Another five million for digital destruction. Add stunt coordination, safety compliance, insurance premiums….” She glances up. “You’re looking at a multi-million dollar set piece.”

The room goes quiet.

“And what does it buy us narratively?” she continues. “The hero runs away from an explosion, carrying a woman who hasn’t spoken in twenty minutes.”

Another executive sighs. “Listen, there’s a reason there’s a bidding war to make this movie… this is a money maker… everybody knows what’s old is new again. I say we be the first studio to bring back good old-fashioned action movies… nothing wrong with the guy being the hero here, Tina…”

Tina leans back in her chair. “Which brings me to the bigger issue.” She pauses. “The female lead.”

A producer shrugs. “She’s the emotional stakes.”

Tina tilts her head. “She’s not a character,” she said. “She’s a plot device.”

Another small ripple of discomfort moves through the room.

“She gets kidnapped so the hero has motivation,” Tina continues. “That was standard in 90s action films. Back then, audiences accepted the damsel-in-distress trope.” She looks around the table. “Today? That reads lazy.”

“What are you suggesting?” An executive asks.

Tina leans forward again. “I’m saying if Alphaville is going to spend one hundred fifty million dollars, we should make a movie that actually feels like it belongs in this decade.” She points to the screen. “Give the woman agency. Maybe she’s the scientist who designed the tech everyone’s fighting over. Maybe she’s the one who knows how to stop the weapon, “she shrugs. “Hell, maybe she’s the one who triggers the fucking explosion.”

A couple of men exchange annoyed glances.

“That way,” Tina continues, “when we spend fifteen million dollars blowing up a base in the desert, the audience understands why it matters.”

Aaron studies her for a moment. “Yeah. Great notes, Tina, good points…” He then points back to the screen. “But I think this works…” He then looks around the table with a smile. “So, who are we thinking?”