It's all about money and controlBeauty and the Businessman With today's blockbusters as diverse as our global economy, a growing genre of films is emerging from obscurity and into mainstream culture. The ever-popular chick flick is becoming a phenomenon not just for “girls.” With a predictable template and fantasy plots that can be explained in a few words, as well as a heroine who finds inner peace and becomes one with the world around her, it's no wonder how chick flicks have transcended the boundaries of the public. In films like “The Devil Wears Prada” and “Whatever Happens,” we can find the ultimate chick flick archetypes with an added contemporary edge, increased gender roles and stereotypes. The chick flick is here to stay, and so are the heterosexual and relationship stereotypes etched into it. But where did this madness begin? The movie “Pretty Woman” gave birth to the chick flick we know today. While some may argue that contemporary films promote neofeminism, if one examines the film closely, the logical flaws are evident. In its attempt to recreate the classic fairy tale in a contemporary film, the film "Pretty Woman" promotes female objectification and the financial rat race of consumerism. “Pretty Woman” recreates the timeless story of Cinderella, with the main protagonist, Vivian, wearing her heart on her sleeve. She is a damsel in distress, an archetype commonly found in chick flicks, and cannot fend for herself due to her low status in society and lack of determination. She says she had good grades in high school, but followed a male to Hollywood in search of true love and found herself desperate and alone. He's a clumsy, naive, exaggerated person... middle of paper... whatever they say, it's all about the money." Journal of Popular Film and Television Spring 10.1 (92). Print.Radner, Hilary. Neo-Cinema Feminist: Girly Films, Chick Flicks, and Consumer Culture New York: Routledge, 2011. Print.Smelik, Anneke And the Mirror Cracked: Feminist Cinema and Film Theory, Margaret. ""She doesn't let age define her"1: sexuality and motherhood in recent "middle-aged girl films."" Sexuality and Culture 10.2 (2006): Print.Thompson, Natalia M. "The Chick Flick Paradox: Derogatory? Feminist? Or both?" Off Our Backs July 1, 2007: 43-45. Print.Todd, Janet M. Women and Film. New York: Holmes & Meier, 1988. Print.York, Ashley E. "From Chick Flicks to Millennial Blockbusters: Transforming women-led narratives into franchising. " The Journal of Popular Culture 43.1 (2010). EBSCO. Web. 08 March. 2012.