The 25 Cringiest “Girlboss” Moments in Modern TV History

Television writers often attempt to create strong female characters by giving them empowering dialogue or triumphant scenes. These moments are intended to inspire audiences and showcase female agency in male-dominated spaces. The execution of these scenes sometimes lacks nuance and results in awkward or forced interactions. Characters may deliver speeches that feel like marketing slogans rather than natural conversation. The following list highlights instances where the attempt at empowerment landed poorly with viewers.

‘Riverdale’ (2017–2023)

Veronica Lodge confronts her father in a business negotiation and refers to herself as the She-Wolf of Wall Street. This line attempts to establish her dominance and business acumen despite her high school age. The dialogue feels disconnected from reality and comes across as unintentionally comedic. Viewers found the reference forced rather than intimidating or impressive. The moment highlights the show’s tendency to give teenagers unrealistic corporate dialogue.

‘She-Hulk: Attorney at Law’ (2022)

Jennifer Walters explains her ability to control anger to her cousin Bruce Banner during a training session. She claims she controls her rage infinitely more than him because she deals with street harassment daily. This speech dismisses the extensive trauma and suicide attempts Bruce endured in the films. The comparison aims to highlight female struggles but minimizes established character lore. Many fans felt the monologue lacked necessary empathy and nuance.

‘Batwoman’ (2019–2022)

Kate Kane puts on the Batsuit for the first time and asserts her new identity to Luke Fox. She tells him the suit will be perfection when it fits a woman. The line was featured heavily in marketing but felt like forced exposition within the episode. It prioritizes a slogan over organic character development or storytelling. The dialogue attempts to distinguish her from Batman in a heavy-handed manner.

‘Game of Thrones’ (2011–2019)

The Sand Snakes introduce themselves to Jaime Lannister with a synchronized speech and fight routine. They speak in unison about their father and their desire for vengeance. The choreography and dialogue feel cartoonish compared to the show’s usually gritty tone. Their battle lacks the tension and realism found in earlier seasons of the series. This introduction failed to establish them as the formidable threats the narrative required.

‘Emily in Paris’ (2020–Present)

Emily Cooper pitches a marketing campaign involving a masculine noun for a feminine product. She argues about the gender of the word vagina with a French client during a business meeting. The scene attempts to showcase her progressive American perspective against traditional French views. It frames her lack of cultural knowledge and linguistic understanding as a moral victory. The moment simplifies complex linguistic differences into a shallow argument.

‘Supergirl’ (2015–2021)

Kara Danvers fights a villain who mocks her gender during the pilot episode of the series. She responds by asking why being a girl is perceived as a negative thing while punching him. The fight choreography pauses specifically for this verbal exchange. It establishes the show’s early tendency to tell rather than show female strength. The villain is defeated shortly after this direct declaration.

‘Fate: The Winx Saga’ (2021–2022)

Terra confronts Riven about his behavior in a garden setting during the first season. She delivers a speech about mansplaining that uses terminology pulled directly from social media. The dialogue uses buzzwords that seem out of place in a magical fantasy realm. It attempts to modernize the character but alienates the viewer with clunky phrasing. The scene prioritizes a lecture over natural character interaction.

‘The Flash’ (2014–2023)

Iris West tells Barry Allen that he is not the Flash alone during a couple’s therapy session. She asserts that they are the Flash together as a team. This line attempts to highlight her emotional contribution to his superhero journey. Viewers found the statement confusing since she does not possess speed powers herself. It became a notorious example of forced shared credit in superhero dramas.

‘And Just Like That…’ (2021–Present)

Che Diaz performs a comedy set that functions more as a lecture on identity than a routine. The characters in the audience laugh uproariously despite the lack of recognizable jokes. The scene aims to introduce modern gender concepts to the legacy characters of the franchise. It feels disjointed from the comedic tone of the original series. The performance prioritizes messaging over humor or entertainment value.

‘Inventing Anna’ (2022)

Anna Delvey dismisses her lawyer during a jail visitation while awaiting trial. She claims she is building an empire and has no time for his negativity or realism. The show frames her delusion as a form of ambitious grit and determination. Her arrogance is presented as a girlboss trait rather than a criminal flaw. The dialogue tries to make fraud look like a legitimate business hurdle.

‘Girlboss’ (2017)

Sophia Marlowe creates a public scene on eBay regarding a vintage jacket auction. She screams at people online and in person to get what she wants for her business. The show portrays her erratic behavior as quirky and driven. This adaptation of the memoir makes the protagonist difficult to root for due to her entitlement. Her rudeness is framed as necessary for female entrepreneurial success.

‘Dynasty’ (2017–2022)

Fallon Carrington constantly reminds everyone in her vicinity that she is a CEO. She uses corporate buzzwords in casual conversation with her family members. The writers substitute actual business acumen with aggressive posturing and insults. Her empowerment often comes at the expense of belittling other women in the cast. The repetitive assertions of power undermine her actual competence.

‘The Lord of the Rings: The Rings of Power’ (2022–Present)

Galadriel threatens aggressive diplomacy in the court of Numenor while demanding a ship. She demands an army and ignores the political nuances of her precarious situation. The show attempts to portray her as a warrior with no patience for bureaucracy. Her demeanor comes off as petulant rather than commanding or wise. The scene lacks the diplomatic skill usually associated with her elven heritage.

‘Velma’ (2023–2024)

Velma Dinkley critiques the other characters and the mystery genre itself throughout the pilot. She makes meta-commentary about social dynamics that breaks the fourth wall. The writing aims for clever satire but often lands as mean-spirited venting. Her superiority complex is framed as intellectual empowerment. The constant judgment of others alienates the audience from her perspective.

‘Charmed’ (2018–2022)

Mel Vera aggressively lectures a professor about the male gaze in the pilot episode. She creates a hostile environment to assert her feminist credentials immediately. The scene relies on stereotypes of activism rather than genuine character beliefs. It establishes a combative tone for the reboot right from the start. The dialogue feels like a checklist of talking points rather than human conversation.

‘Cowboy Bebop’ (2021)

Faye Valentine welcomes an opponent to the ouch during a fight scene. The line attempts to replace her original femme fatale persona with a tougher archetype. It falls flat as a generic action movie one-liner. The show tries too hard to make her sound cool and detached. The result is dialogue that feels unnatural and scripted.

‘Grey’s Anatomy’ (2005–Present)

Amelia Shepherd adopts a superhero pose before a major surgery to calm her nerves. She explains that standing like that boosts confidence and performance. The scene is meant to be an inspiring moment for female surgeons. It became a meme due to the visual awkwardness of the stance. The moment leans heavily on pop psychology instead of medical skill.

‘House of Cards’ (2013–2018)

Claire Underwood declares that it is her turn during a tense Oval Office scene. She demands power simply because she has waited for it alongside her husband. The show pivots to make her the primary protagonist without earning the narrative shift. Her ruthless ambition is stripped of the nuance that made it interesting. The entitlement replaces the calculated maneuvering seen in earlier seasons.

‘The Morning Show’ (2019–Present)

Bradley Jackson screams about the truth during a chaotic broadcast in the first season. She positions herself as the only honest person in the corrupt media industry. The monologue is delivered with intense shouting that feels unearned. It frames emotional outbursts as a sign of journalistic integrity. The scene simplifies complex ethical dilemmas into a shouting match.

‘Pretty Little Liars’ (2010–2017)

Spencer Hastings corrects the grammar of a threat while in immediate danger. She prioritizes her intellectual superiority over her personal safety. The writers use this to emphasize her intelligence in a clumsy way. It breaks the tension of the thriller elements in the scene. The character trait becomes a caricature of an academic achiever.

‘The Idol’ (2023)

Jocelyn allows her team to manage her life while claiming she is in control. The dialogue insists she is a master manipulator despite evidence to the contrary. Characters describe her genius while she is actively being exploited by those around her. The show confuses agency with submission to toxic influences. It attempts to frame her passivity as a calculated power move.

‘Resident Evil’ (2022)

Jade Wesker lectures a guard while breaking into a secure corporate facility. She uses high school social dynamics to threaten a grown armed man. The dialogue feels written for a teen drama rather than a horror series. Her confidence feels unearned given the danger of the situation. The scene undermines the threat level of the antagonist organization.

‘Gossip Girl’ (2021–2023)

Julien Calloway treats her influencer status as a high-stakes political career. She gives speeches to her followers about authenticity while orchestrating lies. The show treats her social media metrics as serious power indicators. It attempts to frame superficial popularity as genuine influence. The dramatic weight given to Instagram likes feels trivial.

‘Scandal’ (2012–2018)

Olivia Pope repeats the phrase that she is a gladiator in a suit. It becomes a catchphrase that loses meaning over time. She uses it to justify morally gray decisions to her team. The repetition turns a strong identity into a corporate slogan. It simplifies her complex crisis management work into a brand.

‘Glee’ (2009–2015)

Rachel Berry demands solos as a birthright throughout the series run. She frames her selfishness as artistic temperament and ambition. The narrative often rewards her bullying behavior as driven passion. Other characters are forced to apologize for standing in her way. Her empowerment is inextricably linked to silencing others.

Share your own examples of awkward TV moments in the comments.