Tag Archives: Top 5

Top 5 Anime Clichés I Wish Would Die

…Well, “die” is a strong word. Maybe they should just…go away? Quit their day jobs? Take a vacation?

Don’t get me wrong; I love me some good Japanese animation. I’ve grew up with it, even if it was mostly terrible, kiddy-fied dubs of adult shows done by 4KidsEntertainment at first.

By middle school, I was frequently sneaking downstairs at 3am on a school night to catch Adult Swim on Cartoon Network, which broadened my horizons with shows like Inuyasha, Case Closed (a.k.a Detective Conan), .hack//SIGN, and Wolf’s Rain. That was when I really learned that, despite its silliness, anime had so much more dramatic, mature potential. I certainly preferred it to live-action teenage schlock like Degrassi and One Tree Hill.

This was the closest I ever came to being a hipster, by the way.

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All compliments aside, anime can be weird. I mean really, really weird. Like used underwear in a vending machine weird…even though those don’t really exist.

Here are some things that annoy me about anime:

 

5) The Tsundere Character

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While it may be true that there is a fine line between love and hate, most average people don’t behave this way. It’s extremely bipolar.

I suppose it’s only to be expected. There’s a prevalent stereotype that women date men who are no good for them so that they can “fix” them, so why shouldn’t the opposite be true for some men? It might make sense that they’d want to melt the beautiful, frigid harpy’s heart. In theory, the greater the challenge, the more satisfying the reward, so if you could just tweak her the teensiest bit, she’d be the perfect wife!

I’ve never personally felt the attraction to people who treat me like crap (unless you count a few odd two-faced friends), and while I can understand why it’s a popular fantasy, I’ll thank it to stay out of my escapism as much as possible.

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Wait no, just kidding! NOTICE ME, SENPAI!

 

The Tsundere character is, as you might have guessed, a belligerent female character. She either runs hot, cold, or jumps schizophrenically back and forth between the two, almost as though she’s in need of some serious therapy. Even more so in the cases where the woman seems unaware or in denial of this fact.

But I’d never suggest something like that. This behavior is obviously totally normal and healthy. Why, just look at how often it shows up:

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It’s not cute and charming. It needs to be treated immediately.

 

4) Too Many Harems

Ah, I remember being young and having 7+ super attractive male friends who all had a stupendous crush on me and constantly fought for my attention.

Oh wait…

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I can buy some people making lots of friends, even if it’s predominantly with one gender. What I can’t buy is an unremarkable dude (or girl, for that matter) being surrounded by hotties, all of whom seem intent on winning this Joe Schmoe’s heart.

There is nothing subtle about this setup; it’s a shallow fantasy for the viewer at home to mentally port themselves into. Even if the main character has something of a genuine personality, which is unlikely, there’s usually a very flimsy explanation given as to why they’ve suddenly become the clueless anime Bachelor.

Even if I could believe it more often, I’m getting sick of it. Save it for the dating simulator games. To make it work effectively in a un-interactive visual medium is to make the protagonist so bland that you could close your eyes and lose nothing whatsoever. It’s junk food sprinkled over many generic anime shows, particularly poorly-written ones like Sword Art Online. Probably the best use of it was in Ouran High School Host Club, which was an affectionate parody of the genre and ended over a decade ago.

 

3) “You Had Me Worried”/”I’ll Never Forgive You!”

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I see this attitude as an extension of Japan’s highly collectivist culture, and in truth, there is something to be said for it. It’s not wrong to keep others (especially your loved ones) in mind when deciding how to live your life, and in anime, protagonists frequently run off and risk their lives, and not always for the sanest reasons.

However, coming from a country where mental illness is skyrocketing, I find something distinctly off-putting to this as well, at least in the anime context. Particularly when it appears to be presented as the only reason that the protagonist should feel bad.

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You might have just as easily destroyed the world, rather than saving it, but who cares? Your bae was worried about you!

The two basic flavors here are sadness and anger. Either the character is trying to guilt our hero into an apology, or he or she is trying to scare them into one.

On some level, it comes across as battling selfishness with more selfishness, just from a different source. And then the other person (usually the protagonist) mumbles a “sorry” and either all is pretty much instantly forgiven or the worrier is mollified for the time being. It feels like a lip-service to the worrier, and trust me, there is a world of difference between someone who shows concern for others and someone who feels the need to play the martyr.

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This can often be the dutiful girlfriend/boyfriend character, which also pairs well the Tsundere. It’s more obnoxious when the punishment doesn’t fit the crime, so to speak. Even when it seems genuine, it’s still an attitude that doesn’t sit well with me, but to be fair, I am an individualistic Westerner. Maybe its value is just lost in translation.

 

2) Blandly Unlikeable (Or Just Bland) Protagonists

This is very in-line with trope #4 above, but whether the character gets a bunch of interchangeable love interests or not, bad writing is still bad writing, regardless of how much bad writing there is.

People often debate about what makes someone a Mary Sue, and to what extent that title is warranted. Why would some complain about Rey from Star Wars: The Force Awakens, when she is no more inexplicably gifted and lucky than Anakin or Luke Skywalker before her? Is it just because she is female, and the largely male Star Wars fanbase can’t easily picture themselves in her shoes without having to sprout a uterus in the process?

I understand that the term “Mary Sue” gets thrown around to the point of near meaninglessness these days, but think about it’s classic definition. And think about this: the lead character, as you might expect, usually has to carry the story (unless you’re particularly clever and talented)

 

*cough* deathparadevisual1 *cough*

 

and while you can fill the screen with quirky side-characters to balance things out, you’re better off putting some real time and effort into your main man (or woman) right off the bat. Who that person is can determine what your story is really about (for example, growing up vs saving the planet).

If all you can say is “she’s pretty and nice,” but then have her instantly become an all-powerful witch who can bend reality to her whims…that’s when it can become a problem.

Believe it or not, a character can be unlikeable, yet still easy to sympathize with. Characters can do bad things or think bad thoughts, but the point is to make them work with their flaws, not be ignorant or dismissive of them. Real people are admired for overcoming adversity, and so too are their fictional counterparts. We like to see that we’re not alone, and furthermore, we want to believe that, regardless of the obstacle life has thrown at us, we can beat it.

On the flip side, you can also find characters that are so ridiculously upbeat and happy-go-lucky that you pretty much never find them in the real world. Or if you did, they’d likely annoy the living hell out of you.

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It’s fine though. They’re just too good for this world, kind of like Jesus or Nausicaa.

Being too nice and generic is by no means the worst that can happen, though. In fact, I’d prefer that to a character who is despicable, yet inexplicably coddled.

Involving the every-man in a world-changing story can be a great way to build character, drama, and intrigue in a way that doesn’t feel too forced or contrived, but giving a boring, unremarkable, sometimes actively contemptible character mad skills or a remarkable destiny doesn’t endear us to them automatically.

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Nor should it.

Huh…maybe Sword Art Online is just the perfect barometer for everything I can’t stand about anime.

Speaking of which…

 

1) Gratuitous/Surprise Nudity and Perversion

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But seriously, guys. If the show is not labeled as an Ecchi, Hentai, or whatever sexual genre, I don’t want to see stuff like this popping up. It’s very off-putting.

If I know to expect it, that’s one thing. While I think the “don’t like, don’t read” sentiment is too often used as an excuse not to write better,  it does have some practical, necessary uses. I take the “Mature Audiences” label with as big of a grain of salt as I can muster, especially if I’m familiar with the studio, director, channel, or even time of day that I’m watching. But I don’t think I should just expect to see some “hilarious” (MASSIVE air quotes) sexual harassment just because I happen to be watching an anime. To me, it’s like a happy kids movie being suddenly interrupted by a vicious grizzly bear mauling. Where did that come from? Why?

Did it add something meaningful to the story or the tone that I’m just not getting?

If there is one thing that puts me off about Japan and Japanese culture as a whole, it’s the portrayal and representation of women. And I say this as someone who has become significantly less prudish since I left high school.  I realize that my country has a very different religious background, among other things, and that we have this weird double-standard where extreme violence being easily visible and accessible is a-okay, but sex isn’t.

That said, both the U.S.A. and Japan have their share of problematic elements, and we seem to be on a similar page when it comes to how we view ladies. Whether they are competent fighters or damsels in distress, 14 year olds who look 20 or 20 year olds that look 14, there is nothing quite like the unparalleled character development we get from naughty up-skirt shots.

And it seems my cup runeth over with them, no matter where I go.

Notice that I’m not calling  for a ban. If that is your thing, power to you. Just because I like chocolate doesn’t mean I’ll necessarily like chocolate covered ramen noodles, but you totally can, if you catch my drift. I’m just asking that we give it a point, or ease up on it a little bit, because plenty of people do find it creepy.

At least when it comes right out of nowhere and is particularly mean-spirited. You have the entirety of the internet for that, if you really want it.

 

*None of these images in the article above are owned by me.

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My Top 5 Modern Adult TV Shows, Part 1

Time to bust out your remotes, everyone!

I’m definitely more of a movie person than a T.V. person, but I’ve never really been able to articulate why. I love good stories and good characters, and television is arguably the better medium for that because it has all the time in the world to flesh them out.

As with many things, both have their individual pros and cons. Movies have an exciting, rewarding feel to them due to their spectacle; it used to be much more of a treat to go see movies in the theatre than it is today.

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Cinema is intrinsically unique and massive, and can get away with some subjects, words, and images that T.V. shows can’t, but its products are sometimes rushed due to limited run times. Especially in the process of adaptation, important elements and morals can be sacrificed in the name of pacing, and while some cuts are understandable and necessary, others are downright criminal.

Sometimes even worse, in my opinion, are the stories that are whittled down for pandering purposes. Simple, feel good romps have their place, but it’s tragic when a powerful narrative is senselessly broken down and altered, simply because it might not have sold well in its original incarnation.

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T.V. shows, by contrast, feel smaller, but often more casual and approachable. They have more flexibility when setting the pace and structuring the narrative. Outside of books, television can offer the most accurate depiction of how events would play out in real time; for example, over the course of weeks or months. Where a film would need to resort to time transitions, a T.V. show could choose to break things down, one by one, focusing on the impact that such events might have on a character. What would be background elements in a movie could come to the foreground in a show, and sometimes it’s those little details that make a story transcend from mindless escapism into something profound and relatable.

The downside of television is that great stories can become labored, meandering, and directionless. Long production time can translate to more changes in cast, directors, producers, writers, and sponsors, and shows without a somewhat clear end game can lose meaning, or just overstay their welcome in the public consciousness. And, much  like movies, they can also dumb down an otherwise important experience.

Conversely, what might have once been lofty or difficult to comprehend can become more accessible, especially when trying to teach morals and concepts to younger viewers.

In essence, films are often a whole greater than the sum of their parts, and shows are comprised of many great parts, but sometimes make for a weaker whole. They both can have similar pitfalls, especially when money becomes more important than the artistry, but they can also produce great, stirring, memorable stories that are beloved long after their initial theatrical or broadcasting run.

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Today, because I don’t do it so often, I’d like to shine a brief light on T.V. shows. Specifically, I would like to honor and endorse the recent shows which, while enjoyable in general, have also really made me think, whether it be about myself, society, or life as a whole.

It’s going to get very adult up in here, so as much as I love these series, unfortunately I will have to leave off talking about Gravity Falls and possibly more Steven Universe for a later time.

 

5) Last Week Tonight

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I’ll start out with a comedy show that has some lighter moments.

Much like his predecessors John Stewart and Stephen Colbert, John Oliver is funny, witty, poignant, and never takes himself too seriously. Unlike them, however, Oliver seems distinctly more balanced politically, taking shots at wackos and assholes on both sides of the aisle. Also, due to his flexible network, he seems to be far less driven by agendas and endorsements.

Most importantly, and perhaps a first for any political comedian, Oliver gets some things done. Sure, he clowns around while drawing attention to important issues that sometimes go under our radar, but then he also does things like buying and forgiving an ungodly amount of zombie debt, and delivering questionably acquired food to clothing makers who produce cheap clothing with foreign workers in dangerous working conditions. He is less passive than other political comedians, and his show offers a refreshing balance of being told what you want to hear and what you don’t. Oliver can call us all out when our desire for freebies and instant gratification might actually be destroying something that we need, while at the same time catering to our growing desire to be edu-tained, if we have to learn anything at all.

It seems like it should be contradictory, and yet…not really. Or at least, he’s making the current system work for him, and that is definitely not something we can scoff at too much.

Whatever you want to call his methods or his ideologies, that dorky, British rat-faced bastard is breaking new ground in comedy and activism.

 

4) Rick and Morty

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Here we have another comedy show, though much blacker and less audience-driven than number 5.

Rick and Morty is about so many things, but first and foremost, it tells the story of an average boy with an eccentric, alcoholic, downright sociopathic scientist grandfather. Morty seeks validation and guidance from Rick, and Rick often takes advantage of Morty for his own selfish pursuits, barely disguising them as “grand adventures” across time and space. There are morals, references, and frequent call outs to the elephant in the room, whether that “room” is the episode, pop culture, or the rest of society.

Meanwhile, Morty’s parents, Beth and Jerry, are constantly trying to resuscitate a dying marriage, unable to completely stop resenting one another for their failings. Morty’s older sister, Summer, often shifts between “semi-popular girl” and “disaffected teen”, but is by no means a one-dimensional character. She deals with the stress of being the oldest child, often overlooked, and later, she feels bitterness and guilt at being what caused her parents to “settle” for each other.

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There is so much more to the show than that, and it is genuinely funny (sometimes in not so dark ways), but the characters are what really makes the show work. Much like in Family Guy, everyone has their “asshole tendencies,” and somewhat like Archer, those traits and instances are presented at face value. You can either take them as they are, or leave them, and should you choose to take them, you begin to see things that you may not necessarily like, but you definitely understand or relate to.  The “good guys” won’t always win in the end, but often times, there was no perfect “good guy” to begin with.

Shows like this officially killed my belief in karma, or at least how it is presented by most people. Very few people are objectively good or bad, but it comforts us to think that because we are all egotistical to some degree. We don’t like to imagine a world that isn’t fair, but especially not when it’s going to be unfair to us.

Rick and Morty plays with reference humor, almost by definition digging up the past, and then reminds us that life is not so black-and-white, as we liked to think as children. Wubba Lubba Dub Dub.

 

Orange is the New Black

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Speaking of black-and-white…

This show deals with so many themes that we either haven’t seen before, or haven’t seen in this degree of scrutiny and popular discourse. Most prominently, it talks about lesbianism, racial tension, and the life and treatment of prisoners, specifically women, in the American Correctional System.

There is some comedy involved, especially during the culture shock episodes, but there is also very gritty drama.

The main character, Piper Chapman, is at first a sheltered, entitled Caucasian woman, implicated in drug smuggling by her ex-girlfriend, Alex. She is then thrust into a world she has never really known before, where no one cares who she is beyond what she did and what she’ll do now. The outsiders who seem to care more about her are fleeting, only really hoping to bolster themselves in some way.

More than ever before, Piper must deal with feelings of powerlessness, isolation, and remorse, and making matters even more complicated is Alex, who lives in the same facility.

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Much like Walter White in Breaking Bad, Piper undergoes a startling character shift, but in this case, it is borne from the desire to survive prison. The series is far from over, but one this is already clear: a part of her hasn’t survived.

The prison bunks and tables are segregated by groups, and each collection of characters has their own problems and stories, taking spotlights away from Piper every episode. What they did to end up in prison is, of course, important, but again, it is not so important as the consequences and new decisions they must face in order to continue moving forward. Relationships are established, rekindled, and lost, sometimes very quickly, but even the strongest, most likable characters have to use and trample each other. Beyond that, they must either have crazy inner strength, whatever privilege and influence they can claim, or strength in numbers.

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The story is as much about actual prison living conditions as it is about women’s relationships with each other. Some characters you will love, and others you will hate, but those boundaries may not stay in place for very long, because change is inevitable and some limits of compassion and empathy will always exist. Murder is still a wrong, regardless of why it was committed, but considering intent is not a worthless endeavor, and some crimes are punished too harshly and/or disproportionately among our people.  Sometimes innocent people go to jail, or are forced into situations that they can’t really fight or control. We want to believe that they can because this is America, and we want to believe that we can, as long as we truly consider ourselves “good people.”

This show, along with Last Week Tonight, really cemented the fact that saying “as long as it never happens to me, I don’t care” is a poor excuse for labeling people as “just criminals”; effectively striping them of their humanity and not concerning ourselves with how they are treated, during and after incarceration.

 

To be continued…

Top 5 Worst Romantic Comedy Cliches

Don’t get me wrong; I love romantic comedy as much as the next girl. It’s like entering a sugary alternate reality where hot movie stars try to be clumsy, cute, and relatable human beings; even a “loser” can get the girl/guy; the bad guy gets his comeuppance, or at least spends the rest of his life miserable and alone; and happily ever after always wraps up nicely for two souls who were bound to be together.

It’s an alternate reality where everything is how it should be.

Romcoms are a fantasy. Not the type that invokes images of grand adventure, dragons, and wizards, but in its own right, it involves just as much suspension of disbelief. It’s a type that deals with idealism and simplicity. It’s definitely got a charm to it, but sometimes people take issue, whether it’s because it’s not a fantasy they personally subscribe to, or because all fantasies give unrealistic expectations for the complicated world we actually live in.

Sometimes we need a break from the unshakeable truth: “Life isn’t fair.”

So while I’d be a snob and a hypocrite to act like I’m above all the cotton-candy clouds and sparkly fairy dust, I maintain that romcoms are, consistently, the least challenging, most pandering genre, next to robot/monster beat-em-ups. It is emotional “porn”  for women (though some men enjoy it as well), and there are a couple of common tropes and trends constantly being used and abused that I take particular umbrage with.

1# Lack of Humility/Subtlety in the Writing

 

A lot of films (besides just romcoms) have a tendency of “breaking the fourth wall.” For those of you who have never heard this expression before, look at your T.V. or computer and image the show you are watching exists in its own separate reality, not connected to yours. “Breaking the fourth wall” is, in essence, transcending beyond the screen, the wall that separates you from them. It’s when the characters implicitly or explicitly refer to the audience. One common example is talking or “winking” to them.

If you still don’t quite get what I mean, think of the side glances into the camera you see on Looney Tunes, or comments like “gruesome, isn’t it?”. Look at Ferris Bueller’s Day Off, where the titular character isn’t narrating so much as thinking out loud in the moment, all the while smiling and looking right at you, like he knows you’re there. Games do it too. Without spoiling too much, the cult classic Conker’s Bad Fur Day‘s ending pretty much obliterates any semblance of fourth wall left standing at that point.

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This is often, if not almost exclusively used for comedy.

Sometimes, writers use a subset of this to poke fun at themselves via the trope Who Would Want To Watch Us? Other times, they like to verge on fourth wall breaking with something called Lampshade Hanging, or “spotlighting.” That is when you take a problem or an unbelievable element within your own work and drag it into the spotlight within said work, so that everyone can see it. It can’t be ignored because the creator is addressing it. They knew it was there, even before you did.

Some writers do it because they think it’s really funny, or self-mocking. Others treat it like critic repellent.

I don’t mind Lampshade Hanging here and there. I love self-referential and self-debasing humor. But it irritates me when films sneer down their nose at common cliches and tropes, only to then use them later down the line in the same work. As if somehow that makes the overdone original again. I find it pretentious, cheap, and lazy.

Here is one example:

In the movie Pitch Perfect, Jesse, the love interest, (who is downright adorkable, by the way) tries to get Beca, the snarky sound-mixer protagonist, interested in movies. She totally gets the appeal of music, but movies just bore her. Jesse insists that the endings are the best part, but Beca gives a little speech about how they are so formulaic and predictable. Why would you want to watch something when you know how it will end?

Guess what happens:

Jesse and Beca hook up in the end. The guy gets the girl. That is as predictable as the sun rising in the morning. But wasn’t that snarky little speech just so enriching and innovative?

Allow me to quote a new favorite critic of mine, TheMysteriousMrEnter, from several of his reviews:

“Pointing out your problems does not make them go away.”

This can also work out badly in the inverse. If the writers are actually doing something unique or interesting, but feel the need to bash us over the head with it as much as possible. That’s obnoxious too.

For that example, look at Disney’s self parody, Enchanted. It turns out Princess Giselle has to save her damsel-in-distress boyfriend from a giant dragon. Instead of just letting the scene play out on its own, the evil queen/dragon has to make dry remarks every few minutes about how interesting and flipped the situation is.

I THINK WE GET IT.

As with many things in life, balance is key. Also, don’t pee on your audience and tell them it’s raining.

2# I Hate You, I Love You

 

Chicks love seeing relationships where there are none. Whether characters are just friends, bitter rivals, or hated enemies, odds are that you will find a fandom for every possible couple. I think romcom writers recognize this, because they seem to get a lot of mileage the “will-they-or-won’t-they” trope, particularly when it involves open hostility.

The Ugly Truth. The Proposal. Leap Year. And those are just some of the more recent ones, to name a few. The couple starts out with one or both parties hating the other, only to find out in the end that – surprise! – they actually love each other.

In some cases, the parties may even go back and forth.

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I’m aware that there is a thin line between love and hate, and both require a level of passion and devotion, but used as often as it is, this trend quickly becomes annoying. Either put a new spin on it, or let it sleep for a while.

Also, can we do something about the awkward love triangle? You know, where the woman has a hot nice guy and a rude, obnoxious but also hot other guy, and she never fails to go for the jerk? Blah blah blah bad boys are cute. Blah blah blah nice guys finish last. How do we know life isn’t mimicking “art,” and not the other way around?

3# Obligatory Third-Act Misunderstanding

 

This is an epidemic. Not just in romcoms, but in movies as a whole. It needs to be destroyed, preferably with fire and salt.

Some stupid, contrived thing must break up the characters, all because the writers can’t figure out how to write a full story without cramming one in for pointless drama. It seriously just drags out the inevitable for another 20 or so minutes.

Yes, people can be dishonest and keep secrets. Yes, sometimes there is a liar, and he/she gets the mask pulled off at the wrong time. Stuff like this can happen in real life. But often this trope is, as I’ve mentioned, stupid and contrived.

Maybe the guy waffles around, debating when is the best time to tell his girlfriend that he was dating her only because of a bet. Or maybe he vehemently denies his growing feelings, only to have her accidentally overhear.

*COUGH COUGH*
*COUGH COUGH*

 

Or maybe he just can’t admit his feelings to her face because he’s stubborn (a man, basically) or awkward, and she’s had enough waiting.

Maybe Hugh Grant is Hugh Grant-ing it up, and the woman identifies him as an a-hole.

Take your pick, or fill in more blanks with your personal favorites. You know what I’m talking about.

And this isn’t just about nitpicking, or not acknowledging that sometimes avoidable, asinine things can happen in real life. Because they do. This is wondering why no one ever calls the police or arms themselves in a horror movie. This is wondering why they always run upstairs when a maniac is chasing them. The reasons for this trope are so idiotic; things that could easily be solved by something in the real world that we call “open communication.” Or having two working brain cells to rub together.

But then again, an open, healthy relationship is boring. And normal.

How about we put these misunderstandings in the first act and then get past them? How about that? That isn’t too overdone…yet…

4# The Woman is Always Right

 

Most romcoms, usually as a result of the totally necessary use of #3 above, end with someone (most often the woman) storming off. It is almost always up to the man to figure out what went wrong and fix it.

a la tvtropes.com
a la tvtropes.com

 

Okay, I’m a woman. I get other women. We’re emotional beings that don’t always recognize logic. I admit this. But we’re not stupid and crazy and hormonal all the time.

Half the time when I see this contrived bs, I am yelling at the woman to use her Cosmo-clouded brain.

“Confront the man, and I don’t mean like a closed-off idiot!” “Be honest and tell him what in holy hell is bothering you!” “THINK!”

Sure, the men do stupid things too. They can make mistakes and not recognize them. But romcoms like to make this a big thing that happens all the time. No one likes being wrong, and certainly not the women inserting themselves in the protagonist’s place.

This is not a romcom so much as a family comedy, but look at the Lindsay Lohan movie Parent Trap. Elizabeth (the mother) up and left Nick (the father), effectively splitting up their twins for life and content to never inform them of each other’s existence, and then she got upset that he didn’t come after her. He, on the other hand, figured that was what she wanted.

(note: I loved that movie as a kid, but I find the parents stupid, impossible to relate to, and damn near despicable)

As another example, look at Bride Wars. Emma’s boyfriend Fletcher calls her out for being crazy and catty (and stupid), and Emma and the movie frame him as the a-hole who just doesn’t understand. Sure, he isn’t gentle with his words, but he told her what none of her other girlfriends would, and he had every right to question why the woman he was marrying seemingly changed overnight into a childish, vindictive, passive-aggressive jerk. In the end, the two girls (Emma and Liv) who fought stupidly the whole movie over the “ideal wedding” become bestest friends again like nothing ever happened, and Fletcher is told off and leaves the movie entirely. Even though he was technically right, he’s wrong.

Women win, even when the conclusion makes no sense or is terribly skewed. As much as I dislike Leap Year, at least the confusion is on Anna, and she goes after Declan and proposes to him. Even Pitch Perfect tried it, with Beca driving Jesse away, only to win him back.

Contrivance and cliché can have some flavor with a little mixing up every now and then.

5# Woman as Lonely Cat Lady/Loser.

 

She’s insecure. Don’t know what fer. She turnin heads when she fix herself up mo-o-ore.

…Sorry. Just thought I could sum this one up while simultaneously mocking One Direction.

The woman in the movie is supposed to be you. Yes, you, lonely girls and aging women. She’s just like you, but hotter. She just doesn’t know it/own it yet. Again, they can insert themselves into the place of the lead woman and get a sense of catharsis from it.

Maybe she’s clumsy and awkward. Maybe she doesn’t know how to pick clothes or styles that flatter her, and just stumbles around in a baggy t-shirt and loose jeans. Maybe she has – gasp! – glasses!

Regardless of how it happened, it must be fixed. Usually with the introduction of a love interest. I guess that when I get right down to it, that’s the gist of what bothers me.

It is at its most egregious state in The Ugly Truth. But I can’t even talk about it, because it is seriously one of my most hated movies ever. Right up there with Identity Thief. That disgusting piece of trash thoroughly insults both genders, and the pig-headed man is always portrayed as being “in the right.”

My favorite romcom of all time,  My Big Fat Greek Wedding, is also guilty of this one, but I don’t mind it so much there. I thought it was used effectively. Sure, Toula sees a man and feels bad about herself, but I don’t think that is really the impetus for her fixing herself up and going to college. She didn’t need a man so much as a fulfilling purpose in life, and the backbone to put her foot down sometimes with her wacky family. The man came later, when she was much happier and more confident with herself.


The problem with mirroring real life so closely is that, at times, it tends to highlight our grievances with the real world, rather than let us temporarily forget them. Why aren’t all men dashing princes, ready to sweep you away to their castles astride gallant white stallions? Why don’t nice women with wonderful personalities and quirks always find Mr. Right at the opportune time, or sometimes ever? (ask the same question for the fellas)

I wouldn’t mind a little less simplicity, a little more variety, or at least changing things up more often. The world is complex, full of plenty of unique, possible scenarios, but here the writers are, sticking to what is familiar. Comfortable. Routine.

And so are we.

Even fantasies have become standard and predictable, when they were meant to excite and stir the imagination. So what does that tell us?

Disclaimer: Photos and gifs belong to their various owners, not me. Keep in mind that this is my list, and I’m not insulting you if you like any of the movies/things I referred to negatively. I’m also not saying that said films don’t have an original bone in their body.