More often than not, I find myself in a situation where I want to watch something, but I don’t want to start something new because it’ll consume too much of my time, or I’ll get hooked.
So, I turn to shows I’ve already seen a million times. These are my comfort shows, tried and true, and I already know what will happen next, so I’m not fully immersed. My go-to is always The Office, but recently, I decided to go back to How I Met Your Mother.
A few episodes into this show that I watched over and over again when I was younger, I started to realize that it’s actually awful. Not in terms of production but the premise of the content.
I couldn’t go through an episode without hearing multiple condescending remarks about women, their intelligence, their standards, or their bodies.
Of course, every show has flaws, but I began to think about other shows I watched and loved when I was younger, like That ‘70s Show and Two and a Half Men, and I realized that they were all heavily embedded with layers of misogyny.
This pattern made me wonder: what was happening a few years ago that allowed all these shows to have female disdain at their core, and how did it go unnoticed for so long?
The simplest answer is that the majority of male writers and male higher-ups. I mean, really, what is funnier than laughing at and about women?
It’s so easy for male-dominated decision-makers to greenlight these shows because they reinforce a narrative that they find entertaining: the mockery of women. If there is one thing we know, it’s that men tend to believe that everything can be made fun of, and of course, women are no exception.
Unfortunately, the predominance of male writers is a common occurrence in visual media globally. The problem is that men truly cannot write about women because they know nothing about them! To prove my point, let’s start with the show that sowed the seed: How I Met Your Mother.
- ‘How I Met Your Mother’: Misogyny Disguised Through Romance
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The Most Obvious Red-Flag Character
Barney’s use of the “Playbook” and his desire to sleep with as many women as possible, regardless of their feelings or consent, is a blatant example of misogyny. His constant, persistent remarks about women’s lack of intelligence and their inability to turn him down demonstrate just how central this character is to the misogynistic undertones of the show.
Barney’s entire persona revolves around using manipulative tricks to sleep with women, treating them as gullible, naive creatures who will fall for anything, including him — a man who fundamentally disrespects women. This behaviour is never challenged but is instead played for laughs, making it seem like the male characters’ disrespect towards women is just a quirky part of their personalities.
The Hopeless Romantic or Just a Man Who Cannot Accept Rejection?
Ted is portrayed as a charming, hopeless romantic who is just looking for his one true love. In reality, Ted is simply a man who cannot accept rejection. His inability to take no for an answer is often framed as romantic determination, and his charm and endearing traits are used to disguise these dangerous habits of blurring boundaries.
A great example of Ted’s tenacity is his pursuit of Robin, even though he knows they want different things in life. It becomes clear that Robin is not interested in him and that they don’t work as a couple, but Ted keeps pushing, hoping she will eventually fall for him. This unwavering drive is ultimately rewarded by the show because Ted gets what he wants — Robin. This relentless effort reinforces the idea that persistence leads to success, even when boundaries are disregarded.
The Women Who Reinforce the Show’s Misogyny
An unfortunate element of the show is the writing of the female characters, Lily and Robin. Both characters tend to hold strong misogynistic views, which not only enable the toxic male behaviour around them but perpetuate it. They often criticize each other’s sexual behaviour, having double standards between what Barney is allowed to do sexually and what Robin is allowed to do.
For example, Barney’s sexual exploits are treated as just part of his nature, as if he is just Barney being Barney. Meanwhile, Robin’s sex life is constantly scrutinized and criticized. This only highlights the gendered disparities at the core of the show.
What makes it even worse is that the male writers have created women who don’t challenge these misogynistic views but rather mirror them, reinforcing the very ideas they are subjected to.
The Madonna-Whore Complex
The show creates a hierarchy of women where characters like Victoria and, to an extent, Robin are portrayed as the ultimate prize, the women worth working toward. Meanwhile, the women who engage in casual sex, especially those who sleep with Barney, are treated as stepping stones along the way. These women are depicted as younger, more naive, and less emotionally mature, reinforcing the idea that men should have fun with them before eventually settling down with a more “elevated” woman.
The promiscuous women are disposable, just a phase to go through before reaching the goal of a “serious” relationship. This binary view of women reflects the Madonna-whore complex, an outdated and harmful way of categorizing women based on their perceived purity, where those seen as “wholesome” are rewarded with commitment, while those deemed “promiscuous” are discarded.
Ted and Barney’s Objectification of Younger Women
Barney repeatedly states that younger women are better, constantly making references to their inexperience, insecurity, and impressionability. His infamous “newer is always better” motto implies that women have an expiration date and that their desirability decreases with age. There are several instances where he specifically seeks out college-aged or just-turned-18 women, reinforcing the idea that young women are easier to manipulate and that older women lose their value.
The way the show frames these jokes normalizes and even celebrates the idea that the younger a woman is, the better she is for male consumption. Ted shares a similar view, as seen in Season 5, Episode 4, “The Sexless Innkeeper,” where he discusses one of his students in a sexually objectifying way, implying that her clothing “invited” attention and making uncomfortable remarks about her physical appearance.
- ‘That ’70s Show’: Misogyny Disguised Through Old-School Humor
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That ’70s Show is often praised for its nostalgic humour and portrayal of the 1970s, but beneath the surface, it is laced with misogyny disguised as antiquated comedy.
The show’s treatment of female characters, sexual harassment, and toxic masculinity reflects a dated worldview that reinforces harmful gender stereotypes, making it clear that the humour often comes at the expense of women.
The “Overworked Housewife” Stereotype
Kitty is the quintessential “overworked housewife,” sweet and caring, but she is often stuck in the traditional role of domestic labour with little room to grow.
The show often treats her as a joke for being overly involved in the lives of the men, reinforcing the idea that women’s worth is tied to their ability to serve men in the home.
Feminism as a Punchline
Donna’s feminism is frequently undermined, as throughout the show, her attempts to challenge gender norms are met with mockery, reducing her feminism to a punchline. The male characters never take her independence seriously, reinforcing the idea that women’s empowerment is laughable.
The “Dumb, Shallow Girlfriend”
Jackie fits the “dumb, shallow girlfriend” trope, defined largely by her beauty and relationships with men, particularly Kelso. Her character rarely evolves beyond these traits, reflecting the show’s tendency to reduce women to their looks and romantic ties.
Sexual Harassment Played for Laughs
Sexual harassment is treated as a running gag throughout the series, with Kelso viewing women as trophies and Fez’s behaviour crossing into outright harassment. His persistent advances and inappropriate comments are played off as harmless, normalizing these actions and trivializing women’s boundaries.
Toxic Masculinity as the Standard
Finally, Red’s “real man” mentality embodies the show’s toxic masculinity. He holds rigid views of what it means to be a man, belittling those who don’t meet his standards, and his attitude toward women and relationships is never questioned but celebrated, reinforcing the idea that toxic masculinity is something to admire.
- ‘Two and a Half Men’: Misogyny Not Disguised Through Anything at All
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While That ’70s Show disguises its misogyny with outdated humour, Two and a Half Men makes no effort to hide it.
The show is upfront about its objectification of women, treating harmful gender stereotypes as comedic material. From Charlie’s womanizing to Alan’s desperate need for female validation, the humour in Two and a Half Men is rooted in the normalization of misogyny. The show never attempts to challenge these ideas, instead reinforcing them as core aspects of its humour.
The Proud Womanizer
Charlie spends the entire series treating women as conquests, with no regard for their feelings. His womanizing is framed as charming, never challenged, and often celebrated as part of his “character.”
Women as Sex Objects
The women in Two and a Half Men are reduced to one-dimensional sex objects. From Charlie’s numerous hookups to other women’s roles as his conquests, the female characters are rarely given depth beyond their sexual appeal.
The “Evil Ex-Wife”
Judith is the “evil ex-wife,” portrayed as manipulative and unreasonable, which plays into the stereotype of the “crazy ex-wife” and dismisses women’s emotions, presenting her as a villain simply for being Alan’s ex.
Misogynistic Humor
The show’s humour revolves around crude jokes and objectification of women, normalizing misogyny without ever questioning it. These jokes reinforce harmful stereotypes about women while presenting them as harmless fun.
Alan’s Desperation
Alan is constantly portrayed as desperate for female validation, reinforcing the idea that women are prizes to be won. His need for approval reiterates the show’s view of women as objects to be acquired rather than respected.
The Future is Bright and Female
Looking back at these shows now, it’s hard not to notice how much misogyny is woven into their humour. What once seemed like harmless jokes or romantic persistence now feels like a reflection of deep-seated gender inequalities.
Watching these shows today is far from the enjoyable experience they once were for me. It’s difficult not to pick them apart, as the misogyny is so central to their structure. Thankfully, we’re currently in a time when women-led shows and female writers are finally getting more attention and the opportunity to have their voices heard.
The big ups in television, once dominated by men, are now hopefully seeing a shift, with more women at the table as writers, producers, and key decision-makers. The number of women involved in storytelling is rising, leading to more stories centred on female experiences, often with women at the forefront of writing, production, and casting.
Shows like Fleabag, Killing Eve, and The Marvelous Mrs. Maisel are great examples of this shift, where female perspectives are more accurately represented and done more ethically and thoughtfully. These stories are breaking new ground in terms of authenticity, giving voice to experiences that were once overlooked.