Playing the fake, eye candy, and klutzy Elle Woods, Reese Witherspoon’s performance gave us a few laughs while crafting a powerful narrative with Elle transforming into an ‘independent’ and strong woman by the end of the film. With Reese Witherspoon’s exciting announcement earlier this year, we are now sure about a third installment in the Legally Blonde series. Read More: Upcoming Horror Remake Movies 9. Having set a new standard in women powered storylines, the film deserves a second chance since the audiences did not have enough of the characters from the original. No one has admitted that the film is going to production but both Anne and Emily who played the roles of assistants to Meryl Streep’s cold-hearted, emotionless, and diabolic Miranda Presley, have shown joyous excitement each time asked about the sequel. Well, Andrea Sachs played by Anne Hatheway in the acclaimed ‘Devil Wears Prada’ is rumored to be in developments waiting to come back with a more spirited and invigorating sequel. Having her haunt you at midnight with phone calls and importunate demands is even tougher. While a lot of fun is expected out of these chick flicks, we are more excited to witness a lot more twists and turns and some novel storylines instead of the cliched portrayals these chick flicks have been known for.
Here is the list of upcoming chick flicks that might come out in 20 which either have a certain release date or are yet to announced and remain rumored. Most of these films get mixed reviews but it looks like the sun will finally shine on them in the session of 2020 and beyond. In other terms, those female characters who do not correspond to the neo-feminist mould (i.e., the empowerment of women through the celebration of preconceived and conventional feminine traits) are not recognized as deserving of lead characters.Every year there are several new chick flicks come out. Retrospectively, this definition implies a set of beliefs and values mainstreamed by a heteronormative system. Such companionship ceases to exist only to be recaptured at the end of the film.
In addition, main female characters tend to be defined in contrast with other female characters, mostly to their expense, which drives the narrative towards the creation of unhealthy environment and relationship dynamics as far as female companionship is concerned.
As Radner (2010) further argues, “the aspects of these films that unite them revolve around the way in which the heroine herself is defined” (Radner, 2010. In all of them, the action of buying feminine clothes, makeup, or shoes represents a large part of women’s identities. In fact, the films presented before act as evidence of such an argument. Radner (2010) contends that “what sets the girly film apart from other films geared towards a female is its focus on consumer culture.” (Radner, 2010. To begin with, the first productions were not directly labeled chick flicks: instead, they were categorized as "Girly Films". Therefore, the aim of this article is to present how such implications have launched the evolution of the genre since the 1990s and how it has clashed with postfeminist theory. Race and ethnicity are topics which chick flicks do not usually approach in depth: as such, they are already found lacking in that department. However, their implications go beyond plot-related issues which this article will explore, such as sexuality, gender, and male-dominated spaces. Works such as Mean Girls (2004), The Princess Diaries (2001), Clueless (1995), or Pretty Woman (1990) have become quite iconic to the chick flick genre. In its early developments, chick flicks were understood as white female-targeted films which involved white feminine-related topics and whose main female white characters “are often strong, confident and quick-witted, engaging in verbal battles to achieve their ‘happily ever after’ either with their lead male character or with fellow female characters, or sometimes both.” (Wilkins, 2017.
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