The Impact of Chick Flicks: Sexist or Feminist?

What are Chick Flicks? 

To put it simply, Chick Flicks are known to cater primarily to a young female demographic. These films are stereotyped as merely low-quality cash-grabs compared to other “for the boys” films. Many of the films portray similar characteristics: female protagonists, feminine themes, and female audiences. The Chick Flicks to be discussed are Legally Blonde (2001), The Princess Diaries (2001), and Mean Girls (2004).

Common Tropes in Chick Flicks 

Since I will be mainly discussing Chick Flicks hailing from the early 2000s, these familiar tropes that are seen will pertain to that era. Upon viewing a few of these films, one can see the patterns that each of them partakes in. First is the strong visual representation of the conventionally attractive male love interest for our female protagonist. Although, the same can be said for the narrative structure of most classical Hollywood films. The male love interest will often drive the plot in some way or is integral to it.

In Legally Blonde, the female protagonist Elle Woods, played by Reese Witherspoon, follows her ex-boyfriend to law school after he ends their relationship. The catalyst to move the plot forward begins with the attractive male love interest. Also, in Mean Girls main plot conflict arises due to Cady Heron’s attraction to the typical handsome male love interest. Whether intentionally or not, this sends a message to the young girls watching those films that loving and being loved by an attractive man is essential to womanhood. This affirms heteronormative values and society as a whole.

Another popular trope is the titular “makeover scenes” that take precedence in many Chick Flicks. This is especially prevalent in Mean Girls and The Princess Diaries, as the female characters are given makeovers in a “miraculous transformation” to be considered more desirable. It is implied in these makeup transformation sequences that a woman needs to be perceived as beautiful by society to have worth and value. The male gaze can also be tied back to this since after our heroines’ “transformation,” they win the affections of the male love interest.

The most notable trope in these films is the demonization of the ultra-feminine. In Legally Blonde and Mean Girls, this trope is prominently showcased. Regina George, played by Rachel McAdams, is Mean Girls’ main antagonistic force. Her character is portrayed as stereotypically girly, loves wearing pink and makeup, is fashionable, and is obsessed with calorie counting, of course. In any other context, these traits don’t necessarily make a character “bad” or even “unlikable” (Elle Woods is a good example). However, Regina is depicted as casually cruel and immensely superficial––allowing for her ultra-feminine girliness to be perceived with strong negative connotations. Regina George’s intense femininity is in stark contrast with protagonist Cady Heron’s “not-like-other-girls” persona. Cady doesn’t wear much makeup, cares too much about what she’s wearing, and is awkward and unpopular at her new school. This was certainly intentional as the two characters’ foil drives the narrative until the end. However, this kind of anti-femininity stereotyping allows for the perception that all ultra-feminine presenting women are these vain, shallow, manipulative, and cruel, mean girls.

The last trope concerns the severe lack of diversity and representation seen in the early 2000s, Chick Flicks. Mostly all of them will feature our main protagonists as conventionally attractive white, cisgender, and heterosexual. Only in recent years have we seen attempts at showing women of color and other sexualities in starring roles.

So, are Chick Flicks Sexist or Feminist? 

The answer is both. The arguments made above have been made in strong critique against the problematic notions displayed in the thematic and narrative structure of the Chick Flicks discussed. However, a case can be made defending these films as being feminist too, instead of just sexist in nature.

One should be able to appreciate Elle Woods’s character development in Legally Blonde, as her character arc throughout reveals that she is more than just a beautiful and blonde “bimbo”––but showcases intelligence and wit as well. In the end, her identity isn’t simply tied to her lover but is, in fact, empowered as she finds new purpose and satisfaction in the study of law. Elle is complex, highly motivated, and becomes independent and self-assured. Legally Blonde is a notable example of one of the many well-rounded heroines in their respective Chick Flicks.

An honorable mention of what can be interpreted as a more “progressive” female heroine in a Chick Flick is the portrayal of Katniss Everdeen, played by Jennifer Lawrence, in The Hunger Games (2012-2015) franchise. Katniss is shown to be independent and headstrong but is still flawed in the ways that make her character relatable and human.

What does this mean for the future of Chick Flicks? 

Recent iterations of Chick Flicks seem to be more aware of their staunchly conservative and traditional predecessors. This past decade we’ve seen more intentional representation in terms of pushing for genuine diversity instead of just mere tokenism. Films such as To All the Boys I’ve Loved Before (2018), starring Vietnamese American actress Lana Condor gained mainstream popularity in recent years. Crazy Rich Asians (2018) in the same year starring Taiwanese American actress Constance Wu won 14 awards and 64 nominations.

Even on television, we see more genuine representations of sexualities and race depicted. Never Have I Ever (2020), Euphoria (2019), Sex Education (2019), and Pen 15 (2019), to name a few, have been well received by general audiences.

Although, the existence of films like the After (2019-2022) franchise and The Kissing Booth (2018-2020) franchise are those that remain to uphold problematic and regressive stereotypes, values, and themes across the board.

Yet, the future of Chick Flicks is one that should be approached with cautious optimism.