Tina Fey, Cate Blanchett, and Meryl Streep have already given the proverbial finger to Hollywood’s sexism this award season. Here are a few ways other stars can follow in their footsteps.

As a fitting end to a year during which one Hollywood star after another proclaimed her devotion to feminism (see here, here, here, and here), awards season is shaping up to be a great platform for women in Hollywood who are tired of the status quo.

At the Screen Actors Guild Awards, Cate Blanchett called out a camera man on the difference between how he was shooting female stars and male stars: Men on the red carpet are filmed from the torso up, whereas women are subjected to a full body pan, with the camera beginning at their feet and traveling up to their faces, giving viewers a chance to admire their shoes, dress, figure, jewelry, and hair. Blanchett, tired of being more objectified than her male colleagues, knelt down to camera level just as it was beginning it’s voyeuristic trip up her body and asked, “Do you do that to the guys?”

At the National Board of Review gala, Meryl Streep presented the best actress award to Emma Thompson with a heartfelt, funny, and excoriating speech on Thompson, Disney, and Hollywood. Referring to Thompson as “a rabid, man-eating feminist, like I am,” she went on:

Not only is she not irascible, she’s practically a saint. There’s something so consoling about that old trope, but Emma makes you want to kill yourself, because she’s a beautiful artist, she’s a writer, she’s a thinker, she’s a living, acting conscience. Emma considers, carefully, what the fuck she is putting into the culture. Emma thinks: Is this helpful? Not: Will it build my brand?

Thompson took the stage and continued the not-so-subtle jabs at Hollywood culture:

You mustn’t forget that us old people really love to be surrounded by the young. It’s so exciting. There you are, taking over. Hah hah, good luck! … I’ve taken my heels off as a feminist statement really, because why do we wear them? They’re so painful. And pointless, really. You know, I really would like to urge everyone to stop it. Just stop it. Don’t wear them anymore. You just can’t walk in them, and I’m so comfortable now.

Then there was the Golden Globes, hosted by Tina Fey and Amy Poehler, two women who are not afraid to use the word “feminist.” The evening began with Elisabeth Moss giving the finger to the “mani-cam”—a camera set up on the red carpet to capture stars’ manicures up close. Then, during the awards, Fey joked about Matthew McConaughy: “For his role in Dallas Buyers Club, he lost 45 pounds—or what actresses call being in a movie.” Regarding the lack of roles for older women, she quipped, “Meryl Streep is so brilliant in August: Osage County, proving that there are still great parts in Hollywood for Meryl Streeps over 60.”

The biggest awards show of the year is yet to come, so I thought I’d provide rebellious stars with a list of things they can do to challenge the sexist status quo in Hollywood at the Academy Awards, whether on the red carpet or at the mic.

1. Take a cue from Emma Thompson and don’t wear heels. You can still wear designer shoes and show them off to the cameras, but make them flats, or sparkly tennis shoes, or better yet, combat boots.

2. Dress in drag. Women look hot in well-fitted tuxedos, and this way you won’t have to squeeze yourself into any kind of Spanx/corset, and you won’t have to worry about your boobs falling out.

3. Don’t wear makeup, or wear only light makeup that emphasizes your natural beauty instead of trying to make your face look photoshopped.

4. Only two of the nine nominees for Best Picture are about women; only three even have a woman in a leading role. None of the directors and only one of the writers nominated are women. You can use your acceptance speech to call out the Academy’s critical preference for male directors, male writers, and movies about men by thanking only women. At the end, say something like, “There are many men I could thank, too, but since the Academy is disproportionately honoring them tonight, I thought I’d do my part to balance the scales.”

5. Bring a woman as a date so the camera shows an audience full of ladies. Though women buy half of all movie tickets, Hollywood continues to promote the canard that “movies about women don’t sell,” even to women. Maybe being present as more than half the audience will help us become at least half as visible.

6. If you’re a dude, wear a dress. Show everybody how absurd it is to have to compress your body to fit into an hourglass. If that’s too far for you to go, at least insist that the camera do the full-body pan from your feet up, and be sure to put your hand in front of the mani-cam.

7. For those of you watching at home, play a drinking game. If you want to get wasted, drink every time a man wins a non-acting award. If you’re a lightweight, drink when a woman wins. Don’t worry, you probably won’t even get buzzed, even if you include the gender-specific acting awards.

I doubt that any Hollywood stars will take me up on these radical suggestions, though not wearing heels doesn’t seem like too much to ask. But as long as there are even a few moments at the Oscars along the lines of what Cate Blanchett, Meryl Streep, Emma Thompson, Elisabeth Moss, and Tina Fey have done, I’ll be pretty pleased. Home, in comfortable clothes, no heels, and no makeup. But pretty pleased.

Holly L. Derr is a director, professor, and feminist media critic who covers theater, film, television, video games, and comics. She holds an MFA in directing from Columbia University and has taught at Smith College, Harvard University, Brown University, The California Institute of the Arts, and the University of California at Riverside. She has been published by Ms. Magazine, Bitch Media, Women and Hollywood, XX Factor/Slate, and The Atlantic.

smaller 2It’s hard not to make the comparison: two supernatural teen romances, both adapted from Young Adult novels, both involving a Romeo and Juliet-like attraction between a human and a superhuman. For feminist spectators, the popularity of such genre films warrants an investigation of their depiction of gender roles. So how do the two films stack up?

For the purposes of this analysis, let “feminist” be a film in which 1) The women characters are subjects and not objects–they are not just acted upon, they also act. 2) The ideology of the film, as reflected in its structure and content, at least questions, if not replaces, the constructs of sex and gender that are oppressive to women in our world.

What you need to know: Beautiful Creatures, which opened on Valentine’s Day, is a coming-of-age story of a caster, or witch, named Lena (Alice Englert), who on her 16th birthday will be claimed either for good or evil. In the months before her claiming, she falls in love with a mortal boy, Ethan (Alden Ehrenreich). Her family tries to keep her away from him but to no avail, and he soon becomes enmeshed in the spiritual struggle for her soul, along with Lena’s Uncle Macon (Jeremy Irons), her aunt, grandmother, cousins and the spirit of her evil mother, Sarafine (embodied for the second half of the film in the town’s religious zealot, played by Emma Thompson).

In Twilight, the sexist Victorian notion that for women sex equals death is perfectly embodied in the dangerous love that Bella Swan has for Edward Cullen, a love that does eventually lead to her death. Beautiful Creatures, though it is also about a girl’s coming of age and a forbidden love, is only peripherally about sex. Unlike Twilight, in Beautiful Creatures a woman’s sexual desire will not determine her fate. The main problem with her boyfriend is not that choosing to be with him will kill her, it’s simply that he makes things a little more complicated. Point for Beautiful Creatures.

What about the other women characters in both films? In Twilight, the mother is fairytale-ishly absent (not so feminist). In Beautiful Creatures, the mother is first absent then present, but evil (even less feminist). In Twilight, women vampires are capable of choosing to be either good or evil (feminist), whereas in Beautiful Creatures men casters can choose to be good or evil but women cannot (not so feminist). In fact, the battle for Lena’s soul is largely fought not by Lena herself but between her Uncle and her mother, indicating that her biology and heritage play the largest role in determining her fate (not so feminist). And, though Lena’s sexuality will not determine her destiny, her evil cousin caster is clearly driven largely by a deadly sexual desire (not so feminist).

Finally, in Twilight, the story is told from Bella’s perspective, but the narrative voice is that of a perennial victim–a woman whose own desire repeatedly puts her in the way of danger and violence. In Beautiful Creatures, the narrative voice and initiating action is given to the young man, while Lena is held largely captive in her Uncle’s decaying Southern Gothic mansion. But as the movie progresses, Lena learns to master her powers, which are greater than her Uncle’s, and starts to make her own choices. Nevertheless, according to the supernatural mythology of the story, nothing she does will determine her fate. (You can work out the feminist points here, plus and minus.)

However, at the very end of Beautiful Creatures (STRUCTURAL SPOILER ALERT!), the narrative voice–handles in most of the film by Ethan’s voiceovers, is given to Lena, implying not only that she has become the central character but also that in possible sequels (the book from which the film is drawn is the first in a series of four) her character could become even more of a subject. For diehard feminist spectators, this shift may not be quite enough, but the resolution of the film manages to call into question the inviolability of gender roles in the world created by Beautiful Creatures. Whereas Bella’s death in childbirth is a foregone conclusion in the Victorian world of Twilight, Lena’s future looks bright.

Because the central character’s morality is not determined by her sexuality and because she doesn’t have to become a mother/die to become powerful, feminist fans of supernatural films will definitely enjoy Beautiful Creatures more than they did Twilight. So I say go see it: If it makes enough money, we might get a few sequels, and the more mythologies available to supplant the repressive one represented in Twilight, the better. If that doesn’t convince you, consider this: The acting is better than in the Twlight series, the writing is better (Viola Davis agreed to be in it only after insisting that her part be changed from a servant to a librarian) and the design is better in Beautiful Creatures.

Photo, clockwise from top left: Alice Englert as Lena (Beautiful Creatures), Emily Rossum as Lena’s evil cousin Ridley (Beautiful Creatures), Ashley Green as Alice (Twilight) and Kristen Stewart as Bella (Twilight).