Deconstructing Woman

In 2006, the new drama Heroes enjoyed great success with audiences. Its superhero theme and archetypal characters appealed to many TV watchers bored with the ubiquitous detective and procedural programs that clog the airlines. In a recent article posted in the feminist blogosphere, Susie Hume gives an incisive feminist critique of Heroes and its treatment of gender roles. She discusses, in particular, the vulnerability and victim status of many of the female “heroes.”

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Last season, millions of women tuned in to watch Dr. Meredith Grey nearly die of an apparent suicide. As Meredith herself put it, she simply stopped “struggling.” Gave up the fight. Let go…

But what exactly is she supposed to be struggling against? After watching only one episode, it is made abundantly clear that Meredith is living the good life: she has a “dreamy” boyfriend who adores her, a support system of true friends who are ready and willing to provide her with anything she needs, and a blossoming career as a successful surgeon. The only glitch in her otherwise perfect life was a nasty, uncaring mother dying of Alzheimer’s. But it hardly seems likely that a sick, judgmental mother could cause an adult child to kill herself. And certainly not in light of the extended support system that is constantly available to Meredith.

And then there’s that inescapable feeling that Meredith and her unnamed neurosis seem disturbingly familiar: Another bright, successful career girl on the brink of realizing her dreams suddenly becomes completely dissatisfied with her very successful life.

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In the teen flick She’s the Man (2006), Amanda Bynes plays the likable Viola, a young girl who is passionate about soccer and willing to do just about anything to play her favorite sport. When her high school cuts the girls’ soccer team and the coach refuses to let her try out for the boys team (“Everybody knows girls aren’t as fast or strong or athletic as boys”), Viola decides to impersonate her brother Sebastian and try out for a rival school’s boys’ team.

Not surprisingly, many women and feminists have hailed the movie as pro-feminist, and there are several scenes in the movie that support this contention: When Viola’s boyfriend fails to support her, she immediately dumps him; she resists external influences that attempt to coerce her into a typical feminine stereotype; and she doesn’t shy away from competition. In fact, she seems brazenly comfortable making her own choices and she is not afraid to go after what she wants, no matter how challenging. But in our excitement over finding a fun, spunky, independent female lead, have feminists overlooked some of the traditionally stereotypical and sexist messages found in She’s the Man despite its obvious “girl power” theme?
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