And I wonder whether you’ve noticed a character that can be found in practically every movie made today? I call her the “all conquering female.” Almost without exception, she is underestimated by men and then proves herself more intelligent, cleverer, more courageous, and more skilled than any man. Whether we’re talking about a romantic comedy, an office-drama, or an adventure movie, the all conquering female will almost inevitably show up. And she has to show her worth in a domineering way, that is to say, over and against the men. For her to appear strong, they have to appear weak. For a particularly good case in point, watch the most recent Star Wars film.
Now I perfectly understand the legitimacy of feminist concerns regarding the portrayal of women in the media as consistently demure, retiring, and subservient to men. I grant that, in most of the action/adventure movies that I saw growing up, women would typically twist an ankle or get captured and then require rescuing by the swashbuckling male hero — and I realize how galling this must have been to generations of women. And therefore, a certain correction was undoubtedly in order. But what is problematic now is the Nietzschean quality of the reaction, by which I mean, the insistence that female power has to be asserted over and against males, that there is an either/or, zero-sum conflict between men and women. It is not enough, in a word, to show women as intelligent, savvy, and good; you have to portray men as stupid, witless, and irresponsible. That this savage contrast is having an effect especially on younger men is becoming increasingly apparent.
In the midst of a “you-go-girl” feminist culture, many boys and young men feel adrift, afraid that any expression of their own good qualities will be construed as aggressive or insensitive. If you want concrete proof of this, take a look at the statistics contrasting female and male success at the university level. And you can see the phenomenon in films such as Fight Club and The Intern. In the former, the Brad Pitt character turns to his friend and laments, “we’re thirty year old boys;” and in the latter, Robert De Niro’s classic male type tries to whip into shape a number of twenty-something male colleagues who are rumpled, unsure of themselves, without ambition — and of course under the dominance of an all conquering female.
It might be the case that, in regard to money, power, and honor, a zero-sum dynamic obtains, but it decidedly does not obtain in regard to real virtue. The truly courageous person is not threatened by another person’s courage; the truly temperate man is not intimidated by the temperance of someone else; the truly just person is not put off by the justice of a countryman; and authentic love positively rejoices in the love shown by another. And therefore, it should be altogether possible to hold up the virtue of a woman without denying virtue to a man. In point of fact, if we consult the “all conquering female” characters in films and TV, we see that they often exemplify the very worst of the traditional male qualities: aggression, suspicion, hyper-sensitivity, cruelty, etc. This is what happens when a Nietzschean framework has replaced a classical one.
Bishop Robert Barron, “The Trouble With the ‘You Go Girl’ Culture”, Word on Fire, 2016-10-18.
July 30, 2020
QotD: The “strong female protagonist” in movies and on TV
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