the Cliches

by Calliope C. Valmonte

Barney Stinson? If there is anything we have learned by now, love decides to love. Love does not determine who cares, values, or desires more. This cliche trope exposes one of the painful and unique truths of love: at its intensity, love is irrational.

The Makeover

The old tale of an ugly duckling turning into a beautiful swan has earned its timeless appeal. Almost everyone has desired to become extraordinary. Watching a ‘nobody’ become remarkable overnight from an extreme makeover feeds on the ‘Cinderella’ fantasy. Movies like ‘The Princess Diaries’ and ‘Mean Girls’ are famous for life-changing makeovers. Deriving pleasure from monumental changes can also stem from needing control in a chaotic life. Even if critics of this trope claim that beauty cannot be obtained from the surface, it validates women and understands the determination to become better.

Forbidden Love

Shakespeare truly understood this assignment. A tale of forbidden love scrapped by tragedy has stood as a beloved story even after many centuries. A taboo love trope is basically a heart on a leash. Due to differences that triumph over their desires, love becomes more rewarding and fulfilling. It is a test of whether love can endure in its scarcity. The complications of being seen, possibilities of separation, and repressed passion supply a sad tune to the melodramatic theme of forbidden love. ‘The Notebook,’ for instance, has given a snapshot of unconditional love that was once shattered by social status and distance. Though forbidden love sits on an irresistible desire, it also believes that love does not forget.

Enemies to Lovers

Love is not rational–even if we hate someone so much. The chemistry between two characters holding hatred for each other stems from a visceral human desire; to be loved wholly, with flaws. Popularized by Jane Austen’s ‘Pride & Prejudice,’ this classic novel gave birth to the highly beloved Enemies to Lovers trope. The witty banter, the unexpected brush of hands, or the quick glances from one another drives people closer to emotional catharsis. The dramatic tensions enveloped in one’s intense hatred sometimes thin the line between love and loathe. Only then do these characters know they are falling in love. After all, the opposite of love is only indifference. Hate is nothing less than passion.

The Strongwoman

No, the damsel is not in distress; she must take matters into her own hands. The rise of mainstream feminism has finally portrayed women not as mere ornaments but as solid and badass characters bewitching the spotlight. The rejection of the traditional woman has manifested a cliche trope of fierce women who take charge. It does not conform to the idea that women are only fit for love, ultimately raking the possibility that they may be qualified to conquer. Wanda Maximoff best portrays this by adding complexity, nuance, and depth to her character. Young girls adore this cliche trope as they become empowered by role models. It is a trope that holds multitudes of inspiration, connecting the stars to build a multidimensional space for women.

Only some people are fans of predictability. But for others, the sense of familiarity is like a blanket casting a spell of comfort. If not, like a mug of coffee that gives warmth to mundane reality. Cliche books and films exist because life is unexpected, but there is a chance of escaping it. There must be no shame in unapologetically enjoying a cliche story, even if it does not seem as remarkable or original because the very nature of pleasure does not have to look impressive nor does it need to be explained.