The Strong Woman, the Vulnerable Woman, the Woman
In many respects the visibility of women in popular culture today is the best we’ve ever seen. The invisible barriers that once denied the voices and creativity of women are being torn down. Audiences are seeing female characters in an expanse of roles and genres that were under the monopoly of men. It’s not perfectly equal, but it’s steadily getting there. Women are making real progress.
Sadly, that’s not the whole story.
For every positive change one can find there is a reminder of the past. For every hurdle women have overcome in society there is resistance, fueled by ignorance and hostility. To some the increasing presence of women across popular culture is not something to be celebrated. Old-fashioned and poor representations of women can still be seen regularly in film and television.
The progressive vision of women in popular culture is at loggerheads with outdated images and concepts of gender roles. The two are incompatible, and the discourse has gotten ugly.
So, what’s going on? What arguments do either side have about the changing cultural landscape? What offenses have occurred in the past, survived, or arisen with women’s representation?
Historically the majority of women in film and television were archetypes based on patriarchal constructs. Women could be wives and mothers. Women were damsels in distress who needed men to rescue them. Women were love interests. Men were the focus of the story, leaving women to be sidelined. Female sexuality was presented as dangerous and irrational (femme fatales, bunny boilers), but the objectification of a woman’s body was an accepted facet of mainstream media.
The depiction of women in popular culture was designed to reinforce the model of masculinity.
Clichés and stereotypes associated with poor depictions of women continue to permeate film and television. Women are reduced to simplistic labels, written in broad terms, without the nuance and introspection afforded male characters. Screenwriters prioritize the physical description of a woman ahead of their personality and intellect. The Bechdel and Mako Mori tests reveal the continuing shortfall of filmmakers and their inability to present woman-to-woman relationships and female narrative arcs.
The feminist movement, media criticism and new voices in film and television have challenged cultural inequality. The practices and attitudes long considered the norm were called into question and deconstructed. Female characters were liberated, open to express themselves and inhabit any role a man could. In today’s popular culture we view women with reverence and respect — they can be leaders and innovators and fully realized sexual beings. Young and old, strong-willed and vulnerable, a reflection of the world. Thanks to the efforts of filmmakers, showrunners and critics women have the representation that had been distorted and denied them.
In recent years a counter-culture has grown in opposition to the emergence of women’s increased presence in popular media. Organized through online communities sexist and misogynistic rhetoric aggressively targets films, television and video games that are women-centric or feature women in substantial roles. This counter-culture accuses popular media of political correctness, subversive feminist propaganda and cultural emasculation.
Supporters and participants in women’s cultural uprising have been and continue to be the subjects of personal attack online, especially via social media. In the most extreme cases people have been threatened with violence and had their personal lives exposed in an effort to publicly shame them. In the absence of a considered and open discussion about gender equality in popular media such groups turn to extreme and vulgar measures to suppress and silence their opponents.
The scale of this counter-culture is uncertain, but its effects are deeply felt. This vicious masculinity views feminism as a threat which needs to be quashed.
This regressive attitude in recent years against women in popular media appears to be closely related to the wider debate about the role of women in society. Particularly in the US traditionalist views and conservative ideology has seen a resurgence, which it can be argued has spawned the sexist and misogynist subcultures that demonize gender equality and its proponents.
Attempting to address the issues of women in popular media with this counter-culture is a largely futile effort. Vague terms such as ‘social justice warrior’ and ‘cuck’ are dispensed without further examination into the underlying reasoning for their hostility. And confrontation, in the mindset of the counter-culture, is a call for retaliation.
Perhaps the greatest source of contention for this group is women in positions of power and leadership. Specifically, the new wave of action heroines. Genre and adventure films have seen women assume roles that display their strength and abilities, drawing inspiration and admiration by audiences around the world. In the last several years, however, each new film with a heroine as its principal lead is accused of being ‘feminist nonsense’, having a ‘leftist agenda’, or similar. In many instances such complaints are not confined to female characters — racial and cultural diversity is regularly scrutinized and viewed in a negative light.
The two most recent entries in the Star Wars film franchise, The Force Awakens and Rogue One, have faced sexist attacks online because both feature young women in prominent roles. In The Force Awakens the character Rey is shown to be a capable pilot and fighter who is resourceful and whip-smart. Upon the film’s release and popular reception online forums and social media was filled with claims of Rey being a Mary Sue — a female character who is too good at everything. Her adeptness and skill set are viewed as liberal Hollywood pandering and smug indulgence against masculinity. To the sexist counter-culture, Rey is a representation of womanhood they despise.
In Rogue One Jyn Erso is seen as the person who moves the Rebellion into action and leads the troops into battle against the Empire. Much like Rey she is shown initially to be a survivor who must fight to live, but by the film’s end risks her life for a cause greater than herself. Like Princess Leia before her (or should that be after her?) Jyn is a strong leader in the struggle against insurmountable odds. Once again, upon the film’s release online communities were beset with claims of feminist, liberal and politically correct agendas, plots and conspiracies to brainwash viewers. In the eyes of the counter-culture the establishment and masculinity is being threatened by these images of female representation.
When heroines like Ellen Ripley were the exception in popular culture the response was less divisive. In contemporary film and television, where the balance between male and female heroes is narrowing, the reactionary language from opponents has become venomous. While they appear to be a minority voice their words and actions are producing incendiary results. Their belief is that continued attack will stem the flow of female-centric narratives and viewpoints.
Thankfully that is not happening. I see the majority of people view the shift towards equality on our screens as a good thing. The sexists and misogynists are losing ground, and they know it.
I value the depictions of strong women on our screens. However, my feeling is the greatest transformation we’ve seen in popular culture is the candid and honest approach to modern female characters. Perfection is no longer expected of women on the basis of patriarchal values. Women can be fallible. Women don’t have to be models of male sexual fantasy. We’re seeing real women.
Abbi Jacobson and Ilana Glazer of Broad City. Lena Dunham of Girls. Issa Rae of Insecure. Phoebe Waller-Bridge of Fleabag. Flawed but truthful women with real and imperfect lives on our screens.
The most important change in our cultural vision of femininity is not of difference, but of connection and empathy. Good or bad, we’re all human. We each have the capacity to lead by example, to make mistakes, to teach, to learn, to influence, to say the worst thing at the most inappropriate time.
Because no group, man or woman, non-binary or trans, is above all others.
Coming soon: Confessions of a Pop Culture Heretic
