The sequence fosters their sacred sisterly bond and the perfect chaos they invoke in their quaint house. Meg, an anchor of responsibility and grace; Jo, fiercely family-oriented with a boyish charm and an affinity for action; Amy, a rambunctious spirit with a mischievous personality and Beth, a do-no-wrong pianist with love and generosity for all. They were the spitting image of hope: hope of having grandiose lives for small-town women. She intentionally emphasizes these flashbacks to show the amount of potential all of the March sisters had. Gerwig proceeds to draw a startling comparison between their huge hopes and disappointing realities, paralleling the reality of most women in the 1800s. But Gerwig provides the young girls with justice and ensures it doesn’t end here for the Little Women.