The Demonisation and Glorification of the Ultra-feminine 'Mean Girl'
*Note: throughout this piece, I will be using the term ‘woman/women’. However, this phrasing is not meant to exclude anyone, as this topic is not restricted to cis-gendered individuals, and is purely used for legibility.
There are a few stereotypical “mean girls” out there. Teen media in particular loves them — the Sharpay Evans’ and Regina Georges of the world — but what do these characters teach the girls watching about femininity? For whenever a character is cruel, or speaks her mind, or steps beyond her place, she is cast as the villain. In fact, by simple observation, we begin to see the undeniable link between a woman’s femininity and her manner, and thus her likability or standing in society. This causes us to question the role of femininity in a wider context, since if it has such negative impacts on others, it seems to be something we should not do, akin to swearing in front of children or spreading a malicious rumour. On the other hand, the ultra feminine is seen as powerful, be it the ‘girl boss’ archetype or our favourite celebrities. Thus, let us explore femininity in all its graces and vices, perhaps finding our own truth along the way.
What is ultra-femininity?
While we may traditionally think of bright pinks, lipgloss, and short skirts, ultra-femininity may be broken into ‘sub-categories’. As Shanspeare states in their video essay ‘How Hollywood demonises ultra-femininity’, there are four key tropes. Firstly, we have the mean girl: she is so toxically feminine that she is catty and cruel, taking on the “inherent” nastiness of teen girls to fix herself at the top. Counter this with the tomboy: a potentially surprising stereotype for the umbrella term, but nevertheless included. Through the very fabric of this character is the feminisation of the male figure, where what is praised in masculinity is transferred into the female body, adding a degree of sexuality. Finally, the air-head and the femme fatale/siren utilise their femininity in opposing ways: while the former encompasses the naive, silent, and thoughtless archetype of woman, the latter requires cunning, but not without an oozing sexuality which is not required of men with the same mental rapidity.
Demonisation
Modern society is highly gendered. From even before we are born, we are instilled with pink or blue, dolls or cars, through the deeply inbuilt need for humans to categorise. This early distinction between “boy” and “girl” sets people apart and, significantly, against each other. Their polarisation builds an image of disparity that cannot accept their co-existence in any one person. In this way, the extremes of the ultra-feminine or machismo male are antithetically the very things we are taught to aspire to, leaving people unfulfilled even if these archetypes are not realistic.
Another byproduct of a binary system is the ranking above the other. Through this, feminine traits are disregarded, causing many women to take on more traditionally “masculine” characteristics in order to be valued. Indeed, the ‘girl boss’ trope shows us this very thing, since it is through the wearing of pantsuits and outspokenness of voice that leads a woman to the top of the business ladder. The arbitrary categorisation of traits, however, into these two sub-groups is highly biased and plainly ill-natured. For if women are not supposed to be vocal or men not supposed to be shy, then the route to being a fully rounded human being becomes littered with complications.
Femininity and feminism have an intricate relationship. While anyone can be a feminist if they hold the according values, some within these circles abstain from traditionally feminine activities, such as applying make-up, as (in their opinion) they are a mode by which women appeal to the male gaze. Some would even go so far as to reject those who partake, as in the second wave of feminism from the 1960s to the 1980s. This is an interesting point of contention: from my perspective, I believe it to be possible for a woman to embrace her “femininity” (whatever that may be defined as) while still being a free agent, advocating or believing in liberation for women, female-presenting, and all people around the globe. It is undeniable that we have been indoctrinated with our assigned genders from birth, but this does not negate our beliefs nor stifle our ability to raise our grievances.
Boys and men do not escape from this culture easily. In fact, the stifling of their emotions from a young age impacts themselves and their relationships. The assurance of these messages makes closeted emotion a fundamental part of their character, alongside other traditionally “masculine” traits and activities. Thus, in the words of the video essayist Khadija Mbowe, challenging the patriarchy feels like a personal attack. The ensuing reinforcement of gender roles through the supporting actions of men further solidify the female tropes that not all of us may fit. It is not necessary to deny yourself access to these ideas because you want to disrupt the system, but it is vital to accept that these cannot and do not determine our value as people.
Intriguingly, it seems that many people socialised as female, even having previously been a fairly “girly” child, undergo a sudden aversion to all things feminine. For those of my generation, one may recall the “not-like-the-other-girls” trope, with its pop-hating, flowerless edge. Notably, this trope is built on negative emotion towards the “blonde bombshell” stereotype, serving as a mode by which women are placed in conflict with other women. The “other girl” or “tomboy” is yet another classification for those deemed to be feminine, even if they themselves feel they reject it. Girls may move into the blurry lines of this archetype by simply being, or through a sense of disillusionment with what society is telling them to be, particularly in their teenage years. It is also a mode of acceptance: the “tomboy” is innately masculinised and therefore proximal to the highest value societal group, making them feel more accepted while still, in the boys’ circles, being an idealised or easier reward — they are the best friend, with sex on the side.
Characters that represent this trope can be found throughout literature and film, be it Elizabeth Bennet or the modern inception of Scooby Doo’s Daphne Blake. In the latter case, Blake’s primary virtue is her ultra-feminine charm — she is the “damsel in distress” against Velma’s undesirability. However, particularly when considering the time post-Sarah Michelle Gellar, Daphne’s beauty has been translated into confidence, authority, and wit. In becoming three dimensional, Daphne has become a role model for girls who want to be both powerful and pretty, while still pulling on some of the qualities of a “tomboy”. Nevertheless, it becomes confusing when we try to pinpoint a woman’s standing on the ‘acceptability’ scale; for to what degree can we truly say that she has escaped the male gaze?
The desiring and denouncing of femininity
The aversion to overt femininity is difficult to place. Its beginnings are convoluted, be it on the societal scale or the personal, but perhaps with a little exploration we can come to some answer.
If there is anyone reading this unlucky enough to have never seen high school musical, I’m upset for you. A keystone part of my childhood, this set of movies (yes, they made three!) was both the birth of Zac Efron and one of the first exposures of many young girls to relationships, drama, and chasing your dreams. These films certainly gave me an image of what high school would be, so much so that I couldn’t wait to be a teenager — they were so cool! And how wrong I was.
Upon looking back with adult eyes, there is another layer to Gabriella and Troy’s story. Gabriella is built to be our favourite character: she is intelligent but also talented, pretty, sweet, and naive. Importantly, she is not too openly clever (because who would want a woman like that) as Taylor is, whose blackness relegates her to the role of the “quirky friend”. Sharpay, by contrast, is a bubblegum pink princess, relying on her beauty and ensuing popularity to cement her rise to the top. She is confident and unafraid to say what is on her mind. Nevertheless, in this franchise, as in many others, the feminine is synonymous with evil. Boy obsessed, make-up and fashion: “the seductress” is ruthlessly woman, but left open to the entitlement of the men who desire her. By making us dislike Sharpay, young girls are placed directly on Gabriella’s side, guiding us to identify with her.
High School Musical is primarily aimed at young girls. Troy Bolton dreams of singing (a “feminine” wish), whereas his father wants him to pursue basketball (a “masculine” wish). Firstly, I’d argue whether we can gender these things at all — on both sides, it’s arbitrary at best and exclusionary at worst. At the conclusion of the film, Troy is allowed to follow his dreams, singing with Gabriella and gaining acceptance from his dad. This is a fantastic message for young boys, enabling them to confidently embrace what they want without having to feel emasculated. But how many boys actually saw it? As for the female characters, they may succeed in “masculine” tasks (such as Gabriella in the mathematics competition) but the desires of the man are the focal point of the film’s narrative. This teaches the viewer to prioritise the desires of the men in their lives, particularly the one they want to love.
In his TEDXtalk, Colin Stokes discusses the differences he observed when watching films with his daughter versus with his son. Notably, the villains in “girl” targeted films were female, while “boy” oriented films focused on male heroes or male-dominant groups fighting for a win. While franchises such as The Hunger Games teaches girls how to defend themselves against the patriarchy, it also reinforces the masculinity required of them to succeed in a male-dominated world. Interestingly, alongside Katniss’ strength surviving in her traditionally masculine traits, it is only when she is feminised in the image of the capital and made into one of a pair of hopelessly adoring lovers that she can be accepted by both camps — her home and the world beyond it. By acquiescing to the desires of the wealthy, Katniss ensures donors for her first round of the games and ultimately her and her family’s safety for the future. The message to viewers is clear: even when we do not wish to change, to be drawn into society we are expected to be beautiful. This is an interesting subversion of the demonised ultra-feminine. By intertwining what is wanted from a woman with what enables her to truly be successful (the kindling of both masculinity and femininity), Suzanne Collins’ world shows us the limits placed on feminine freedom, no matter how we may outwardly behave.
Ultra-femininity as expression
There are a lot of things, however, that one may reflect on positively regarding the ‘mean girl’. Her influence is certainly beyond that stifled in the traditional realms of the patriarchy, and the more contemporary assimilation of ultra-femininity as a form of expression has empowered female-presenting individuals far and wide. Ultra-femininity can become an armour, as adopting the confidence of a Sharpay or a Daphne enables women to enter the day with their heads held high. In other cases, ultra-femininity offers liberation from the tempered femininity that is so often forced upon many for the need of “fitting (or blending) in”. Hot pink and heels are for everyone, and countless members of the LGBTQIA+ community have embraced ultra-femininity as a form of expression.
The aforementioned phenomenon of the ‘girl boss’, rising to its pinnacle in the 2010s, is synonymous with the uptake in girl power rhetoric. As the feminised counterpart to the ‘boss’, who canonically is male, the ‘girl boss’ is unfazed, driven, and intelligent, alongside holding on to her femininity. While this archetype is used in the positive on the most part, representing a strong woman who knows what she wants, there is a darker side to every story. In fact, use of the term ‘girl’, while embracing the femininity of girlhood and circumventing the characteristics typically prescribed to it, can also be taken to be demeaning. Being a ‘girl boss’ has also become somewhat of a pressure point, another way of pitting women against other women and driving them into competition. This trope may allow women to weaponise their femininity or exist with it alongside their ambition, as is so natural for many. Here, the ultra-feminine becomes a power symbol, and if wielded in the right way, it can be a form of transcendency above what otherwise is viewed as lesser.
As someone who enjoys musicals and partaking in performing arts, if I were to be cast in, say, Heathers (I’m waiting), I’d love to play Heather Chandler. In fact, the trend carries: in multiple cases, actors have discussed their joy in playing ‘mean girl’ or ultra-feminine characters for an array of reasons, including the ability to let go or absorb their confidence. In this way, the ultra-feminine is far from demonised, but used as a positive form of liberation. Perhaps the ‘mean girl’ provides us with an outlet for the femininity within us that has been devalued in wider society, and thus hidden away. For myself, having been bullied in school and possessing low self-esteem, playing a character like Heather Chandler is both my acceptance of the femininity that I had pushed away in my teen years, as well as a way to feel unstoppable. Blonde hair and high heels aside, perhaps her nastiness confined to the musical’s narrative is the very thing some of us need. As women, we are told to swallow our grievances lest we lose our allure and our innocence. This may lead us into doomed friendships and manipulation, in which we do not say anything for risk of being alienated. While the real life ‘mean girls’ are the problem, the fictional ‘mean girls’ can be our outlet for these charged emotions, while also serving as a use of our ultra-femininity against the other powerful demographic in our lives: men.
We do not have to be ultra-feminine to be classed as woman, nor must we be hyper-masculine to be taken as a feminist. The complex spectrum of gendered characteristics and skills is out-dated and yet instrumental to the systems that have been built to assemble our modern society. This makes binary modes of expression difficult to escape, with our every motion or want being fractioned into one of two overarching categories. But maybe I just like maths, and maybe he just likes dancing — and maybe, by accepting this, we can support each other’s needs without political agenda.