The Female Fascination with Twilight
So, this post was originally going to be about postmodernism and our culture’s current fascination with fantasy, but I’m going to delay that for next week. The reason being I, as well as many screaming hordes of teenage girls, went to the midnight showing of New Moon last night. I have to add immediately that I went because I wanted to spend time with my friend who was going, not because I was one of the screaming hordes. Just so we’re clear.
I also have to preface this and say that I don’t dislike Twilight or think less of anyone who loves it (though I might tease you mercilessly and I don’t apologize for that. ☺) These are just thoughts regarding the whole saga, especially since I saw the second movie last night.
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There’s so much hype and interest about the Twilight saga that I’m not even going to bother giving much background, either about the book or the author. My summary below will be brief and leave a lot out. If you need more back story for this article to make sense, I’d recommend Wikipedia’s article on Twilight or New Moon.
New Moon as a movie picks up where Twilight left off: Bella is happily in her relationship with Edward and all seems to be well. Well, there is that minor detail that he’s a vampire and has a primal desire to drink her blood. And the fact that’s she’s flipping out about growing older while he always remains the same. Oh, and let’s not forget that Bella’s best friend Jacob, who is in love with her, also happens to be a werewolf, a species violently opposed to vampires. But other than that, things are peachy.
The drive and heart of New Moon is what happens when Edward breaks up with Bella and how Bella copes with this loss. She mopes for several months, not really eating or leaving the house. Then she discovers that she has hallucinations of Edward whenever she’s near a dangerous situation. As this is the only way she can prove Edward was ever real, she seeks out adrenaline rushes in order to see and hear these phantom Edwards. To continue pursuing this, she decides to ask her childhood friend Jacob to reassemble a couple of motorbikes.
Enter complication #2 and the heart of every romance novel: the rival. The rival who happens to be a werewolf and has all the same squishy-melty “Oh, how can I protect you when I’m so much more powerful and can hurt you?” desires that Edward does. Bella sees Jacob’s company as a relief and a balm from the hole Edward’s absence has left. He’s her best friend. She’s happy to keep him at friend status. He obviously wants something more, especially seeing how Guy #1 broke Bella’s heart and left town.
Through various plot twists and twirls, Bella is reunited with Edward and now must face the dilemma of choosing between these two. She chooses Edward. Jacob’s heart is understandably broken. And we won’t even mention all the delicate treaties hanging in the balance as Bella flirts between two warring races. The point is, the movie ends with the happy couple reunited despite unhappy circumstances paving the way for the next sequel. The end.
To be fair, the movie was skillfully crafted. I loved the cinematography, which makes use of colors and soft filters extremely well. The whole movie has a very dreamy quality to it and fits the tonality of a young adult romance. The contrasting bright reds and yellows and the classic architecture of Italy were a treat to watch, especially after the gray quality of Forks, WA. The soundtrack only added to the mood, blending the right amount of rock ballads with sweeping orchestral strings.
The acting was fair. There was great chemistry and tension between the three leads. Bella’s friends provided a great background ensemble against the main drama. The adult cast, though their scenes were brief, were fantastic (especially Billy Burke as Bella’s father Charlie and Peter Facinelli as Edward’s father Carlisle.)
But overall, I didn’t love it. I didn’t mind watching it, but I’m uneasy about the story itself. Maybe I’m jaded. Maybe I’m just an anomaly as a female. There’s just one point about this franchise that truly bothers me: the theme of obsession and placing one’s value in a romantic relationship.
Obsession as a theme is woven throughout the story. When Bella loses Edward, she loses the will to live, and only thinks about the gaping hole in her life. Now, granted, that kind of shock and grieving is to be expected – I’ve been there myself – but her continued response in this is very unhealthy. Rather than grieving through the break up, she puts herself in danger to cling to the remnants of Edward. This is not only counter-productive, but an incredibly harmful model to communicate to women everywhere. It places our value in whether or not we are valued by someone romantically, and that should not be the case.
It’s been time-tested and proven that people will let you down. Even wonderful, love-of-your-life people will disappoint you. If you place your entire hope and happiness in one person, I’m sorry to say they will fail you at some point. No one person can fulfill the longing inside you or even handle that amount of pressure. It’s just not possible. Setting up these mammoth expectations is so unfair to a real, living and breathing human being.
Now I know romance novels are fascinated by relationships and their dynamics. It’s part of their charm and drive as a genre. New Moon focuses on Bella’s tension with Edward and Jacob and heightens the drama between all three to make the story engaging. However, it often does so at the cost of two things: 1) it grossly mischaracterizes men as either wounded, gallant heroes or bad guys with a good side and 2) it sets up an impossible expectation for a partner in real life.
Now, guys, this is just my guess, but it’s been my observation that women idealize what men should be in romance novels rather than what they actually are. Just seeing the differences between the novels men and women write in the same genre says that much to me. Men do care about their relationships, but they don’t care in the same way women do. Men need to be tested and drawn into a quest or a goal that’s larger than themselves. The woman is key in that journey, absolutely, but she’s not the point.
Women, on the other hand, long for their beauty to be noticed and unveiled, to be fought for and pursued. Our temptation is to demand that we become the entirety of a man’s focus – and that’s neither possible nor healthy. A real, functioning relationship means that both people have something to offer to the other, ways that they sacrifice and serve the other person. When a relationship becomes about filling the needs you have, it has shifted from love to selfishness. Even moments of personal sacrifice are rendered with the thought of “What will you do for me now?” That can ruin love.
Folks, Twilight is obviously a phenomenon for a reason. There wouldn’t be thousands of women flocking to the theatres if it wasn’t addressing some deep-rooted need or desire. The fact that not just one but two dangerous (but good) guys are fascinated with Bella draws me in. Who, as a woman, wouldn’t want to catch the attention of two honorable (not to mention attractive) guys? Who wouldn’t want to be told, “My greatest desire is to protect you and keep you safe”?
It says that women are longing for someone to care enough to protect them. It’s not that we’re incapable; it’s not that we can’t handle it ourselves. But the truth of the matter is, most of us would much rather go through life with someone than without. Even if that someone isn’t a boyfriend or a spouse, we like doing life with other people. Women long to be important in their relationships and valued in them.
Where does this come from? And how can it possibly be satiated when our longing is so great? My next thought might seem odd, but bear with me.
One of the great writers and speakers of the Christian faith, C. S. Lewis, once wrote in Mere Christianity:
“The Christian says, ‘Creatures are not born with desires unless satisfaction of those desires exists. A baby feels hunger: well, there is such a thing as food. A duckling wants to swim: well, there is such a thing as water. Men feel sexual desire: well, there is such a thing as sex. If I find in myself a desire which no experience in this world can satisfy, the most probably explanation is that I was made for another world. If none of my earthly pleasures satisfy it, that does not prove that the universe is a fraud. Probably earthly pleasures were never meant to satisfy it, but only to arouse it, to suggest the real thing. If that is so, I must take care, on one hand, never to despise, or be unthankful for, these earthly blessings, and on the other, never to mistake them for the something else of which they are only a kind of copy, or echo, or mirage.’”
–C. S. Lewis, Mere Christianity, emphasis mine
Bam.
Does this not fit the bill? Does this not describe exactly what all the craze and fervor driving this force known as Twilight? It’s not that the longing women have is impossible; it’s that the desire’s often directed at the wrong thing. Romantic love, full of its ups and downs, its soaring joys and soft day-to-day beauties is a marvel. Love truly is miraculous and encompassing and wonderful. But it’s not the point. It’s meant to satisfy on many levels – absolutely! – but it’s also meant to arouse a far deeper love and desire for someone much greater.
His name is Jesus. He came to this earth as a deity restricted and bound by mortal confinements – and he did so by choice.
Why, you ask? Why would an infinite God choose to limit his own power and authority?
He did it to ransom and win you, to interact with you in a way you could understand. His greatest desire is to love you, to protect you from all the forces and evil that would harm you:
“The Lord looked and was displeased that there was no justice. He saw that there was no one, he was appalled that there was no one to intervene; so his own arm worked salvation for him, and his own righteousness sustained him. He put on righteousness as his breastplate, and the helmet of salvation on his head; he put on the garments of vengeance and wrapped himself in zeal as in a cloak.”
–Isaiah 59:15-17, emphasis mine
Is that not badass? Is not that cool? The God of all creation is so upset that there was no one to intervene for you that he intervened himself. He pulled out all the stops to come and rescue you from your hurts and to fulfill the deep needs you have inside you. And not only is he powerful, he is so, so gentle. Look at this passage, just a little before in the same book:
“He tends his flock like a shepherd: He gathers the lambs in his arms and carries them close to his heart”
and
“’Can a mother forget the baby at her breast and have no compassion on the child she has borne? Though she may forget, I will not forget you! See, I have engraved you on the palms of my hands; your walls are ever before me.’”
–Isaiah 40:11 & 49:15-16, emphasis mine
He also swears a vow of unbreakable love for you. For you:
“’Though the mountains be shaken and the hills be removed, yet my unfailing love for you will not be shaken nor my covenant of peace removed,’ says the Lord, who has compassion on you.”
–Isaiah 54:10
Ladies, the desire you have deep, deep inside of you to be loved by someone, to matter is not wrong. It’s not invalid. It’s just sometimes misplaced. No matter how sweeping your longing for the man you will someday marry or are married to, he will let you down. No matter how wonderful he is, he will never fully satisfy you because he was never meant to. It was meant to remind you that there is a God who loves you and who gave everything for you.
I don’t think the Twilight saga is a bad thing, not at all. It can be beautiful if it points you in the right direction. Shortly after the first movie came out, I remember talking with my friend Renee about all this, and she said something very insightful: “I think this fascination with Edward is really a longing for Jesus. We all want someone who’s powerful, but also gentle to pursue us. Edward holds himself in check with honor, but still wants Bella absolutely. It’s the female heart crying out for a Savior.”
That, I think, is the right way to view the books – as a signal flare for something much, much bigger. When a story like this points me to Jesus, I think it’s fantastic. However, with the void many girls feel from fatherless homes or absent/abusive fathers, I’m concerned that Twilight might breed a destructive view of men and relationships. There are loving and strength-giving relationships to be had, but even the most wonderful men are only foreshadows and hints of who our God is.
I feel like I could write a series of posts about this dynamic of women running after love, but there are books much better qualified to do so. I would recommend Captivating by John & Stasi Eldredge first. It addresses a woman’s longing for beauty and romance in the context of God aptly and accurately. I’ve linked their website below if you’d like more information.
Thanks for sticking with me on this post, as it’s much longer than the others. Please share your thoughts in the comments box below. We’ll see you next week!
(References/Resources:
Ransomed Heart Ministries → Captivating
Google Images
Internet Movie Database
Stephenie Meyer Website
The Twilight Saga
Wikipedia: Twilight
The Twilight saga is © Stephanie Meyer and Summit Entertainment, all rights reserved. Images were only used to illustrate Jamie’s point. No infringement on copyright is intended.)
Pixar’s the In-Word
Apologies, all! I was at a conference this weekend and had no Internet connection to post this Friday. Here it is, a few days late:
If you haven’t figured it out by now, I tend to think about things a lot, and a lot of deep things at that. However, this Friday’s post isn’t going to be as insightful as much as… fan-ish
As you’ve probably gathered from the title, I’m going to talk about Pixar today, specifically their newest release Up. If you’re disappointed that there’s not some new, profound truth about our world or ourselves, please cut me a break. My brain can’t work that hard all the time, you know. ☺ I’ll try again next week or the week after that, I promise.
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Pixar’s the in-word lately when it comes to computer animation. Granted, while there are other titanic companies like Dreamworks Animation to compete, I would still maintain that Pixar holds a corner on the market when it comes to fan loyalty. I mean, when you have people who mark their calendars in anticipation of Up’s DVD release and who run out first thing in the morning to buy it for $15.99 at Target, you know you have loyal fans. Not that I’m talking about myself or anything.
But seriously, what is it that generates such positive support for a company with now ten feature length films to their credit, not to mention a whole host of animated shorts, which have garnered just as much praise?
In two words: quality and loyalty. Let me expound.
In a Hollywood world where billions upon billions of dollars are thrown both upon actors and special effects budgets, I would say that Pixar instead focuses on making a good story first; the actors and special effects come second to the story, and they are there to enhance the story rather than the other way around. How many movies have you seen that had so much hype because so-and-so was in it, but then utterly flopped in the theatre? And how many times have you heard of that no-name film that had a quarter of the budget, but got rave reviews? The secret, folks, is quality story over quantity of budget.
Hollywood is also not a place for loyalty or fans of it. Hollywood, from what I’ve seen, is about the capitalistic bottom line and the bottom dollar. This does not bode well for the loyal fan I am. I could care less if movie X or book Y is shiny and pretty and has the latest effects; I want quality of story and quality of character development. Once I’ve found it, I’m incredibly devoted and incredibly hard to please when new fandoms are introduced. To put it shortly, Hollywood wouldn’t like me very much because I’m not their frantic consumer. I’m a bit of a selective movie snob.
So, how does Pixar fit these two qualities and often exceed and confuse Hollywood expectations?
Let’s look at Up since that’s what sparked this Friday’s post. (And there will be SPOILERS, so be wary if you haven’t seen the movie already and want to.)
I think it’s fair to say that Pixar delights in setting expectations and surpassing them (and they obviously have so much fun doing it, how can you not love it?) Look at it: Up is about an eighty-plus year old man named Carl Fredericksen who’s trying to figure out his life after losing his beloved wife. In defiance of being placed in an assisted living home, he instead pursues his and his wife’s life-long dream of world travel by using balloons to convert his normal house to a flying house.
…oh yeah. I can hear the kids just flocking to the theatres now.
I mean, REALLY. Our protagonist is at the Medicare age! I can already hear Pete Docter and Bob Peterson (the directors) rubbing their hands together and cackling with glee at sucking us into the story anyway.
Granted, there are a ton of charming and funny appeals. There’s a Golden Retriever named Dug with a collar enabling him to talk (and if dogs would say anything, I have no doubt they would say the things they do in Up.) There’s a young Wilderness Explorer named Russell who’s optimistic and cheerful. There’s also a mythic dodo-esque bird that Carl and Russell are trying to save from being hunted by Dug’s owner. It really is a charming and well thought out story with as many humorous moments as thoughtful.
Because while the movie does touch upon some great, great gags (“I do not like the cone of shame”), it touches upon very difficult aspects of real life – which, in my opinion, makes the humor all the funnier. In the first ten minutes, we watch a recap of Carl’s life with his beloved Ellie, from their first meeting to her death. In the first ten minutes! If that’s not gusty for an animated movie targeted toward children, I don’t know what is. We see throughout the course of the movie that Russell’s father is absent and his family is broken. We even have compassion for Dug, who overcomes the bullying of his pack to be top dog.
My point is, by not avoiding the reality and sorrow that life has as well as the joy, Pixar creates a texture and depth in their movies that many other animated films miss. Dreamworks Animation, Pixar’s closest counterpart in the industry, creates fun movies, but that’s all they are – fun. Pixar makes you think as well as laugh, and that, I think, is the primary reason they win so much critical acclaim as well as a multi-aged fan base.
And the fact that they’ve done this with a majority of their films makes me respect Pixar all the more. For a corporation in modern day America – in Hollywood nonetheless – to maintain such a vision and standard is nothing short of miraculous.
So if you’ll excuse me, I’m going to take my shiny new copy of Up and spend some time in front of the TV, laughing, crying, and being very grateful there’s such quality movie making for me to experience and share.
(Up is (c) Pixar & Disney, all rights reserved. Images are only used to illustrate Jamie’s point. No infringement on copyright is intended.)
Fantasy-Romance v. Fantasy-Quest
I recently read a YA (young adult) fantasy book called Graceling by Kristin Cashore. It was a decent enough book: good fight scenes, interesting characters, a fairly engaging plot. But somewhere toward the middle (specifically when Katsa and Po… well, I won’t spoil it for you), I found myself losing interest, dropping away from the story. Yes, the protagonist gets her true love, saves the day, matures and evolves, but something about it was still unsatisfying. As I pondered why this was, I began jotting down my reactions. This jotting soon became a sweeping journal-esque essay about my thoughts on the fantasy genre and the differences between masculine driven fantasy versus feminine driven fantasy.
First, both genres have a distinct tenor and often share many similarities. For example, here are some basic patterns I’ve seen in fantasy books intended for a female audience (specifically a YA audience):
The protagonist of adventure-fantasy for women is a woman (duh) who is strong and intelligent, sometimes athletic, and sometimes beautiful. Protagonist Lady (PL) is usually gifted (or cursed) with some ability or insight that separates her from society. Due to said circumstances, she has been deeply wounded by people. PL has a hard time trusting others who have abused her or simply misunderstood her because of her gift or gender. PL at the story’s start is generally guarded and strong.
Then comes Love Interest Man. LIM is the exception to everyone else she’s ever met. He disregards the ways society has treated her and treats her just the opposite — like a person. And an intelligent/strong/athletic/beautiful person at that. He often also annoys her or challenges her or just goads her in a way no one else can. Therefore, she hates him. And thus, they are extraordinarily compatible.
(Here the reader slaps his/her head and goes, “OH COME ON, PL!!! Just KISS LIM already!”).
LIM and PL fight, literally and mentally, because in a feminine fantasy book, both are equally important. Because they fight, they bond. And suddenly, though PL swears she hates LIM, he rises in her respect.
And lo. Something happens. There is the Moment of Weakness (this comes in all varieties and flavors: she emotionally breaks down, she’s wounded, he’s wounded, the kingdom’s falling apart, etc.). Suddenly PL reveals to LIM a vulnerable side she’s not shown anyone. It scares her; she anticipates rejection again — and somehow it’s worse because she’s let LIM closer than anyone else.
But lo, again. Rather than exploiting her, he sympathizes (gasp!). He shows understanding (squeal!). They have a moment (Yay!). The deep, dark crevasses of PL’s soul that she thought were unconquerable are suddenly… conquered. LIM proves by not running away from the Moment of Weakness that he “understands” her, or at least can apprehend what he doesn’t understand.
PL thusly melts. LIM is let into the deep, dark canyons of her soul. She learns to trust him. They fall in love. They ride all over the world, save the kingdom, and all is well.
The reason I point oute these characteristics (and poke some fun at them) is because I think they point very strongly to the expectations and desires of the audience, specifically women who read fantasy. (Because let’s face it, even women who love fantasy love romance.) Many women love the idea of being swept up into a larger story with someone. And women also love the complex interpersonal dynamics between people.
I personally am far more drawn to an adventure-romance than straight romance. In straight romance, I get bored because the point is the drama. It’s all about who looked at who with that squinty-eyed smile last Tuesday while that other so-and-so was eating poached eggs for breakfast. And it repeats for three hundred pages. Shoot me.
(Not to say that it can’t be done well. Jane Austin, for example, is gifted at making such a story interesting. But authors like her are few and far between.)
Fantasy-romance has a different tenor. Fantasy-romance appeals to women, who, like me, are engaged by romance being a part of the story, rather than being the story. The point of fantasy-romance is how the tension affects the quest and vice versa. Unlike the male equivalent of the fantasy genre, there is a higher focus on relational drama and interpersonal dynamics.
For example, a straight masculine-based story — say the original Star Wars trilogy — will be much more interested on the quest itself (as well as awesome fight scenes and really cool monsters). We cheer Luke because we want him to become a Jedi, to use the Force. We want him to overcome his difficulties and blow up the Death Star. Oh, and there’s a girl he somewhat has the hots for, too, along the way. (…and for those of you who have seen the rest, we won’t explore the weirdness of it. Just go with me for now)

It’s a fact: masculine literature thrives on the challenge of the quest. Men want to see the hero challenged, thwarted, even momentarily defeated before he overcomes. It’s engaging because of the transformation he undergoes, both physically and personally. You follow the hero because you want to see him become more than he was. The girl is somewhere along the way, of course, and she’s often very important. But she’s never as important as in a fantasy-romance. Here in a fantasy-quest story, the quest has more importance than the relational dynamics.
This is not to say that one is better than the other. This is just my observation of both. Personally, I love both fantasy-romance and fantasy-quest. I’d be lying if I said I didn’t tend more toward fantasy-romance — I am a woman after all. But I do love fantasy-quest because I also love a masculine perspective. I may not understand it, but I do appreciate men’s point of view and the ways they look at the same genre and see it so differently. Sometimes it’s really nice to have a lot of monster-chopping without so much relational angst. I say, chop those monsters!
I think what this post boils down to is that I love fantasy. I love the different flavors and tenors of it… and I’m a huge nerd. Gosh, who would have thought.
(References/Resources:
Graceling by Kristin Cashore on Amazon
This Is My Secret – Kristin Cashore’s Blog
Google Images
Graceling is (c) Kristin Cashore, all rights reserved.
Star Wars franchise is (c) George Lucas, all rights reserved. Images are only used to illustrate Jamie’s point. No infringement on copyright is intended.)
A Quick Promotion
Now is the time to plug those wonderful people who keep you going when you just feel like giving up. That’s right, I’m talking about you Patchwork Girl Productions (and I seem to have adopted your announcer voice. Hm.) Those of us struggling through the annual tradition of NaNoWriMo salute you.
(Oh. Wait. No, I’ve adopted the Budwiser radio commercial voice. That’s where it’s coming from. Or from this, which, we all know also pays homage to the Budwiser radio commercial.
10. Closer Than Your Skin by Susan D. Hill
9. The Chronicles of Chrestomanci by Diana Wynne Jones
8. The revived Doctor Who (featuring David Tennant as the Doctor)
7. Dr. Horrible’s Sing-a-long Blog by Joss Whedon
6. Witch Hunter Robin by Sunrise, Bandai Entertainment
5. How I Met Your Mother by Carter Bays and Craig Thomas
4. All Colour But the Black (Bleach)
3. Up by Pixar
2. Wolf’s Rain by Bones and Bandai Entertainment
1. Bleach by Tite Kubo, Shueisha, Viz Media