Last week, it was announced that Sony Pictures would once again be getting back into the Ghostbusters game. A new film was revealed, to be directed by Jason Reitman, the Oscar-nominated director of Juno and Tully, who also happens to be the son of the original director Ivan. This project will also be a sequel to the first two films directed in the 1980s, rather than an independent story set within a new timeline or universe. This means that the 2016 reboot of the same name, directed by Paul Feig, will not be part of the Ghostbusters canon. Explaining his decision to Entertainment Weekly, Reitman said, “I have so much respect for what Paul created with those brilliant actresses, and would love to see more stories from them. However, this new movie will follow the trajectory of the original film.” Otherwise, very little is known about the project, including whether the surviving cast members of the original movie will appear. But that news that the much maligned and unfairly controversial reboot will essentially be side-lined as part of this franchise’s history remained disappointing, if not especially surprising. Even Leslie Jones had a few things to say about the news.

In the 1990s, Mimi Leder was a formidable name in television. As a producer and director on the military drama China Beach and the smash hit ER, she helped invent a more robust, cinematic form for a medium that had long existed in the shadow of feature films. Landmark ER episodes like “Love’s Labor Lost” and “The Healers” proved that TV could tell compelling stories on a scale that felt dynamic and epic, using long Steadicam shots and hefty effects budgets to pack a visual punch. So it was no surprise when Leder moved on to film, directing the blockbuster action movies The Peacemaker (1997) and Deep Impact (1998).

“Emotional.” The word refers not to the experience of having emotions, but to being overwhelmed by them, to becoming a vector for their messy, difficult expression. It conjures up images of puffy red eyes, snot oozing over trembling lips, voices twisted by grief into unintelligible squeaking.

It’s also a word used almost exclusively to refer to women. Our culture has a deep aversion to the uglier aspects of women’s inner lives—not just tears and anger, but the things that fester inside us from our girlhoods to our deathbeds. Our deepest resentments, our smothered dreams, our cruelly cultivated hatred for our own bodies.