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Slut Teens Movies


A handful of young girls grow up striving to embody the characteristics of a "good girl." The idea of a "good girl" is perpetuated by society and reiterates harmful gender stereotypes. A "good girl" is someone who is obedient; a girl who sits in the back of the room. Her opinions and thoughts do not matter. In pop culture, a "good girl" is someone who is not promiscuous and who does not stand up for herself when men behave inappropriately. In order to begin resolving this serious issue that provides impressionable viewers with distorted ideas of what a healthy relationship entails and shames promiscuous women, we must analyze a few movies that are part of this issue.

Mean Girls is, unquestionably, the most popular movie among teenagers. Cady Heron, played by Lindsay Lohan, moves from Africa to the suburbs of Illinois. Cady begins attending a public school, and she learns that her school is separated by cliques. She is able to join the "cool" girls at school, who are called "the Plastics." By the end of the movie, Cady comes to learn that she, along with her friends, values shallow aspects of life over real, authentic ones. Throughout the movie, there are several instances of slut-shaming.

The word "slut" is used as a weapon by all the girls at school. Girls use "slut" to belittle other girls. One of the most notable scenes in Mean Girls is when Regina George, the most popular girl at school, pretends that she has been slut-shamed. This causes a school-wide fight betweengirls, where a handful of girls call each other sluts, whores, and tramps, among many other offensive names. Promiscuous girls are seen as being impure or disgusting, which clearly connects to the concept of a "good girl."

The slut-shaming in Mean Girls is not unique among movies. Easy A is one of them. Olive Penderghast is the epitome of a "good girl" until she pretends to be a "slut." A rumor travels around the school regarding Olive's promiscuity, and immediately, her "good girl" persona is forgotten. There are several sections in the film where Olive's classmates treat her badly and unkindly merely because of the rumors surrounding her sexuality. In fact, Olive's classmates create a protest against Olive's promiscuity. A protest sign has "Exodus: 20:14" written. Exodus 20:14, one of the Ten Commandments, states, Thou shalt not commit adultery - This commandment forbids all acts of uncleanness, with all those desires, which produce those acts and war against the soul." Even though the film's creator may have had good intentions by trying to illustrate that one's sexual choices should not define them, Olive's sexual behavior is still an essential part of the plot.

On this basis, Tony Williams argues that, while 1980s horror film heroines were more progressive than those of earlier decades, the gender change is done conservatively, and the final-girl convention cannot be regarded as a progressive one "without more thorough investigation." [8] Furthermore, in many slashers, the final girl's victory is often ambiguous or only apparent. The fact that she is still alive at the end of the movie does not make her a victorious heroine. In many of these movies, the end is ambiguous, where the killer/entity is or might be still alive, leaving viewers uncertain about the future of the final girl (a notable example being Jess Bradford in 1974's Black Christmas). The viewers wait for a send-off or sequel bait, and are felt that they are left with an apparent victory. Tony Williams also gives several examples of final girls in the heroines of the Friday the 13th series, such as Chris Higgins from Part III. He notes that she does not conclude the film wholly victorious and is catatonic at the end of the film. Williams also observes that Friday the 13th: The Final Chapter does not have a final girl, despite Trish Jarvis surviving at the end. Additionally, Williams notes that final girls often survive, but in the sequel they are either killed or institutionalized. A notab


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