Amy Schumer labeled feminist despite misogynist ‘Trainwreck’
Actress Amy Schumer is widely, and wrongly, regarded as a feminist.
Contributing to this misconception are her ballsy, empowering speeches, including her acceptance speech for last week’s Critics’ Choice Award’s MVP Award for her performance in the 2015 film “Trainwreck,” in which she proudly introduced herself as a “plus-plus-size actress.”
She also shared a booty-call story from her college years at the Gloria Awards and Gala in May 2014.
“You will not determine my story – I will,” Schumer proclaimed. “I am not who I sleep with … I am myself.”
This is all well and good, but it doesn’t mean much considering the sexist ideals of “Trainwreck,” which Schumer both starred in and wrote.
The film follows a female journalist in her 30s who, after her father tells her as a child that monogamy “isn’t realistic,” fills her nights with drunken one-night stands with random men she meets at bars. The title of the movie in itself raises issues – a woman who enjoys alcohol and casual sex is a trainwreck? None of the movies that focus on men with similar traits are titled “Disaster” or “Mistake.”
In direct contrast to the main character, Schumer’s younger sister (Brie Larson) is married with a child, a lifestyle choice that Schumer’s character scoffs at, preferring her freedom to do whatever – and whomever – she wants. That is, until she meets a successful sports doctor (Bill Hader), on whom she is assigned to write a profile.
The two begin dating and start partaking in all the cutesy activities that we were previously led to believe Schumer’s character isn’t into: couple’s fishing trips, etc.
Their relationship goes astray when Hader wins an award and brings Schumer to the ceremony with him, but Schumer has to leave to take a call from her boss, after she receives several text messages that if she doesn’t pick up her phone, she will be fired. Hader gets mad at Schumer for leaving – what, she’s supposed to sit in the audience and look all pretty while you claim your award, but her own job doesn’t matter? The two get into a huge fight, and this is somehow assumed to be Schumer’s fault.
Schumer then has a breakdown and turns to her sister for help, who tells her that it might be time to “change her ways,” i.e., abandon her personality and start acting like a “woman” – get the man back, start popping out kids. Although this is a lifestyle Schumer mocks throughout the film, she suddenly decides that yes, her sister is right, and maybe settling down is the “right” thing to do.
With the help of the basketball team’s cheer squad — whom Schumer had made fun of earlier in the film — she squeezes herself into a tight little dress and dances for Hader in hopes of winning him back.
The man forgives the woman after she shakes her tits in his face, he doesn’t apologize for anything, they all live happily ever after and Hollywood makes yet another billion dollars for yet another sexist romantic comedy.
Schumer can give humorously self-deprecating award acceptance speeches and flaunt booty-call stories all she wants, but no matter how many articles call her a feminist, it all means nothing if she continues to write and/or star in misogynistic films.