The unexpected triumph of ‘It Ends with Us’: A wake-up call for Hollywood

A new kind of success story

This weekend, the remarkable commercial success of It Ends with Us, a romantic drama with dark undertones starring Blake Lively, has taken the movie industry by surprise. Unlike the typical summer blockbusters filled with escapist fantasies, this film has struck a chord with audiences, suggesting that Hollywood needs to diversify its offerings. However, the industry’s entrenched mindset, still clinging to outdated terms like “chick flick,” may hinder this necessary evolution.

The problematic legacy of ‘chick flicks’

For years, the term “chick flick” carried a retro, ironically feminist vibe. Personally, I never liked the term and avoided it in my reviews. Yet, I understood its appeal. The word “chick” was a relic of the ’60s, and its reclamation by women was akin to the LGBTQ+ community reclaiming “queer.” It transformed something patronizing into something empowering. Pairing “chick” with “flick” was a way to assert cultural identity.

This trend gained momentum with films like Pretty Woman and TV shows like Sex and the City. A “chick flick” was typically a romantic comedy or a tear-jerking drama that women gravitated towards. It was an update of the old “women’s picture” from the studio system era. By the ’90s, the image of a woman watching a “chick flick” alone, indulging in ice cream, had become iconic, albeit somewhat cringeworthy.

Women claiming their space

What was really happening was that women were claiming ownership of the few movies aimed at them. The term “chick flick” solidified that ownership. Even if these movies were often seen as cheesy, women embraced them, saying, “These are our stories, our fantasies, our cheese.”

Many would agree that “chick flick” is an outdated term. But the issue isn’t just the phrase itself. It’s the notion that these movies belong in a category that conflates female consciousness with kitsch.

Breaking down demographic barriers

The real problem with the term “chick flick” is the idea that movies have such neatly defined demographics. This started as marketing shorthand but has become a cultural lie. Yes, some movies may appeal more to certain groups, but that doesn’t mean they are experienced in isolation. In the ’90s, horror and action were seen as “guy” genres, yet women increasingly attended these films, making the old demographic models obsolete.

To truly understand the audience for “chick flicks,” imagine tallying every person who saw one in theaters during the ’90s and 2000s. While more than half would likely be women, what about the men? Were they all dragged there by their partners? Did they not enjoy the movies? Do men not like romantic comedies or cry at the end?

A progressive society with outdated views

We live in a progressive society where people of all genders, sexualities, and ethnicities defy stereotypes. Yet, when discussing moviegoers’ tastes, we remain stuck in the 1950s. This outdated thinking limits the types of movies that get made.

This is not the 1950s, nor is it 1985 or 1995. If we attribute the success of It Ends with Us to its female audience and say, “Of course, it was based on a popular women’s novel,” we undermine the film’s broader appeal. Is it a “chick flick” or a “women’s picture”? Perhaps. But it is also a human drama, the kind of mainstream movie we should be making more of. If women are leading the way, let’s follow them and stop boxing in their tastes.

Embracing diverse storytelling

The success of It Ends with Us should be a wake-up call for Hollywood. It’s time to embrace diverse storytelling and recognize that movies appealing to women can also resonate with a broader audience. By doing so, we can create a more inclusive and dynamic film industry.

For those interested in exploring more about It Ends with Us, you can watch the trailer here.

This article aims to provide a fresh perspective on the evolving landscape of cinema, encouraging a shift away from outdated labels and towards a more inclusive understanding of audience preferences.