(This post originally appeared on DuckOfMinerva where I am a regular contributor)
My students and I have unlocked the key to writing a blockbuster romantic comedy script. When lecturing on masculinities in my Gender and Human Rights course I gave students the following challenge: think of an stereotypical, ideal-type character that symbolizes one form of hegemonic masculinity. Remembering that hegemonic masculinities are fluid ideal types that vary across history and context, students came up with answers like “the macho rugby player,” “the workaholic CEO,” “the playboy” and “the quiet, rugged cowboy.” After getting them to list the qualities that define these masculine types, I asked them to imagine a scenario or event that would completely challenge, undermine, or seemingly contradict these masculine identities and to talk about how their immediate community and society might react. Well, the answers produced almost every romantic comedy script you can imagine.
Here are a few examples:
Scenario 1: Rugby player decides to be a stay at home dad
Result: fans and teammates are shocked, hilarity ensues. I think there is an entire sub-category of comedies dedicated to macho men trying to raise babies: “Three Men and a Baby,” “Kindergarten Cop,” Vin Deisel’s “The Babysitter”
Scenario 2: star athlete reveals a secret love of ballet/opera etc, or, more specifically, hockey player reveals a secret love of figure skating
Result: his mates initially ostracize him but end up being impressed with is skills. This is loosely the real plot line of “The Cutting Edge”, a cheesy 90s romantic comedy.
Scenario 3: playboy falls in love
Result: “Crazy, Stupid Love”and a million other romantic comedies premised on the macho main character ‘softening’ as his goofy sidekick ‘hardens’ up- the result is that both find true love.
Scenario 4: Rugged cowboy comes out of the closet
Result: you see where I’m going here.
So what’s the take home message? Romantic comedies could not exist without very specific and stereotypical ideas about masculinity (and femininity). We tend to over-examine the representation of women in popular culture (for good reason) but are less apt at looking at how the construction and unraveling of masculinity is key to almost any Rom Com script. Never mind the fact that there is almost always a great example of complicit masculinity- those characters that do not fit the stereotype of hegemonic masculinity but who benefit from the power structures associated with the identity. Think “Pretty Woman”, where a hardened CEO softens under the spell of employee while his jerk of a partner grapples with the situation. Go on, think of your favorite Rom Coms and spot the hegemonic masculinity/complicit masculinity at play. Have fun.