Dirty Little Secrets - Kerry Cohen [10]
Naomi Wolf calls the sexy-but-not-slutty images “flattened beauty,” attractiveness defined by a cultural ideal that has nothing to do with girls’ organic, individual beauty.10 Airbrushed bodies and flawless faces sit on the cover of every popular women’s magazine. The television runs a reel of size zeros and twos, of symmetrical faces and perfectly styled hairdos. Such people populate some of the most popular shows teenagers watch—iCarly, Gossip Girl, The Vampire Diaries, and Glee. Models, celebrities, and pop stars plaster advertisements, billboards, and screens. These people are all we see, which is a constant reminder to average-looking people that we are not that, but that we should certainly spend every moment trying to be that if we, too, want to be seen.
The most pervasive and scrupulous of these images, however, are the ones pertaining to sex and romance. Everywhere we look is a carefully designed suggestion of sexiness and the clear message that girls’ primary interest should be getting a boy’s attention through her looks. Open any teen magazine. Watch any commercial aimed at teen girls. She washes her face, wears a tampon, buys school supplies, and wears sneakers all in some sexy manner that reveals the intention of getting boys to notice her. And it starts way earlier than the teen years—just about every Disney princess plot revolves around snagging a man. The Little Mermaid is a perfect example. The main character Ariel doesn’t even speak, and then she gives up her entire identity as a mermaid and singer to get her guy. The meaning has been the same for decades: be available but not too available and, most important, get male attention at all costs. Girls have limited choices in how to respond to these messages. If they want social acceptance, though, the options vanish and there is really only one message left: “be sexy but not sexual.” The message is only made worse by the sheer number of outlets available to deliver it.
Even those images that seem to support independence and strength—ass-kicking girls like Buffy the Vampire Slayer and Veronica Mars, or self-contained girls like Bella’s character in the Twilight movies or Elena Gilbert on The Vampire Diaries—often maintain impossible standards of attractiveness. More important, they are almost always caught up in the process of trying to make a boy love them or of keeping a boy’s love. Bella, for instance, is painted as an everygirl. In the Twilight books she is not supposed to be anywhere near as attractive as the actress who plays her in the movies. But even in her ordinariness, a stunningly gorgeous vampire wants her and only her. He has eyes for no one else. Bella begins as a self-contained teenage girl who knows who she is and is not swayed by others’ opinions of her, but soon after Edward falls for her, her entire existence hinges on his love. Stephenie Meyer encourages a fantasy most all girls have: to be as plain as they are but to be adored and chosen by a really hot, really respectful guy.
Elena from The Vampire Diaries is exceedingly attractive, so it makes perfect sense that two hot vampire brothers spend much of their time trying to get with her. Although Elena’s character, like Bella’s, is supposed to be independent, not swayed by boys, the plot shifts soon enough so that her entire life depends on the love she shares with the brothers.
Yes, we’ve had shows like Ugly Betty, starring a more realistic looking female someone who didn’t have that “flattened beauty,” who didn’t spend all the episodes trying desperately to be loved. But the show was so unique in this way that the entire plotline had to involve the fact that she wasn’t our cultural ideal. The show’s name even called this very attractive woman “ugly”! And