I can already hear it now. The rustling of feathers. The sound of people getting offended at the very idea of this movie. Knuckles cracking as the hover over keyboards, preparing to type “ain’t no b*tches gunna hunt no ghosts" (a quote from the film itself). But you should hear me out. Or not. But no matter what people hate-type, my opinion will not change because I loved this movie. This movie gives me everything I want in films, even a few 80’s songs. But really, I don’t love this film for its Kate-McKinnion-DeBarge-lip-synch scene, though that is a plus. I love this for what it stands for. For how it challenges an industry that really, really needs challenging. Ghostbusters, despite all the criticism it’s faced, has managed to be something truly great and truly needed.

This film comes at a pivotal time. In the wake of an awards season wholly devoid of women-led films and films with leading actors of color, this film is really fighting that. Not only does this film feature four powerful women at the helm, it features women of color, different body types and sexualities. And that is a major progressive step from an industry that struggles to put out films that regularly pass the Bechdel Test (two named female characters talking about something other than a man).

This film is full of women talking passionately about things like science and history (and ghosts, of course). And that is great, because this film is bringing in a large audience of children, young girls who need to see themselves in media. They need to see women represented in a positive and passionate light. They need to see women capable of doing anything. And this film shows them that. Its women that are building genius scientific equipment and getting tenure at Ivy League schools. These characters are created as great, funny and confident role models for children everywhere.

Ghostbusters isn’t just inspiring for children either. Entire generations of women who grew up seeing themselves only as eye-candy in the media are finally seeing themselves represented. They are seeing fully fleshed out charters who are unashamed to be messy, or loud, or excited. Just. Like. Real. Women. Which is exactly why these characters are so great, they’re real. They are exactly who they want to be and loving it. And they support each other. For instance, throughout the whole film, not one joke is made about any of the women’s body types. Not one. And that is beautiful. It shows that women can be who they want to be without tearing one another down or judging one another. As another example, take McKinnion’s character, Holtzman. Director Paul Feig has alluded, in an interview with The Daily Beast that Holtzman is gay, but could not be specific due to “studios and that kind of thing.” Now, while that’s not exactly major strides toward representation, its baby steps, and anyone who sees the film can kind of tell the way McKinnion is playing the character. And that’s good, it’s a good start.

Despite my undying praise, this film is not perfect, no film is. Leslie Jones’ got a short stick with screen time and some shots were unimaginative. But these are things easily looked past. Because all in all, I loved this film. As a filmmaker and a women and as a fan of the original. I am able to see its importance to modern media, its entertainment value, its solid film-making technique and its wonderful throwbacks to its predecessor. And I think a good example of that is in an ironic line delivered by the antagonist, Rowan North: “You have no idea what that’s like”. And he’s right, most films have no idea what it’s like to view as a woman or a person of color. To yearn to see yourself positively represented in entertainment. To want nothing more than great role models you can identify with. But this film does. And that is really, really important.