I think there are certain tenets set in place for all different

"I think there are certain tenets set in place for all different types on genres. For thrillers, women usually die first. I can't say exactly why, and it's kind of a bummer... But I also can't explain why the wallflower girl in the romantic comedy always gets the guy in the end. That's just the way those movies go." These words from Katie Aselton point to the archetypes and tropes that have become deeply embedded in popular storytelling. Aselton reflects on how certain patterns, especially in thrillers and romantic comedies, follow established conventions—patterns that seem to repeat themselves regardless of the uniqueness of each story. The thriller genre often follows the rule that the woman, usually the most vulnerable character, dies first, while in romantic comedies, the quiet, often overlooked, wallflower character is destined to win the heart of the romantic lead. While these conventions are not based on any particular reason, they persist because of the deep-rooted traditions that govern the genres themselves, shaping not only the way we tell stories, but the way we understand the human condition through narrative.

In the ancient world, the concept of archetypes was deeply ingrained in the storytelling tradition. The Greek myths, for example, are filled with stories that repeat certain patterns—the tragic hero who falls from grace, the sacrificial figure who dies for the good of others, or the reluctant hero who answers the call of destiny. Take the story of Persephone in the Underworld, for instance. While Persephone is often depicted as a victim of abduction, she becomes a powerful figure of rebirth and transformation as she spends half the year in the dark realm below. The archetype of the female sacrifice is evident in the way stories repeat these themes: Persephone’s descent and return mirror the cycles of nature, a universal theme that has resonated through the ages. Similarly, the thriller genre, where women often die first, can be traced to the sacrifice or vulnerability of the female character—an archetype that has existed in stories for centuries.

Even in the romantic comedies, we find ancient echoes of the same patterns. In many ways, the wallflower archetype—the character who is unassuming, often overlooked, yet ultimately wins the love of the romantic lead—mirrors the ancient figure of the humble hero, someone who, though not initially seen, possesses inner strength and beauty that ultimately leads to a transformative relationship. Consider the tale of Cinderella, whose quiet goodness and kindness were rewarded with the love of the prince. This humble, unnoticed character who rises above her station and wins the ultimate prize—love—is a story that has been retold for centuries in various forms. The romantic comedy trope, with its predictable conclusion of the wallflower character gaining the affections of the lead, reflects this ancient desire to see goodness and patience ultimately triumph.

The lessons embedded in these archetypes are profound, for they speak to the human longing for justice, fairness, and reward. The pattern of the woman dying first in thrillers reflects, perhaps, society’s historical tendency to see women as vulnerable and disposable in the face of greater conflict or danger. This unfortunate reality has shaped not just the storytelling of thrillers, but also our perceptions of women’s roles in society. The romantic comedy, on the other hand, offers an antidote to this—showing that quiet strength, patience, and genuine character will ultimately win the heart. It is a celebration of the underdog, the one who does not fit the mold but still finds love and acceptance. It suggests that true beauty is not always what is visible on the surface, but lies in the depth of character and the authenticity of one’s heart.

Both genres, then, hold up a mirror to the human condition, with all its contradictions and complexities. The woman who dies first in thrillers represents the fragility and vulnerability that society often imposes on women, but in doing so, it also highlights the deeper sacrifices that are often made in the name of survival. The wallflower in romantic comedies, conversely, embodies the quiet strength that often goes unnoticed until it is finally celebrated. Both archetypes reflect our expectations of love, of life, and of justice, and in their predictability, they offer comfort, showing us that no matter the genre, we yearn for stories that ultimately affirm our deepest desires and fears.

In our own lives, we must recognize these patterns, not just in movies or stories, but in the way we interact with others and the expectations we place on ourselves. Are we, like the wallflower, often overlooked but possessing the quiet strength that will, in time, be recognized? Or are we more like the tragic figures in thrillers, where our vulnerability leads to sacrifice or premature loss? Understanding these archetypes can help us find strength in the roles we occupy, whether they are celebrated or uncelebrated. Like the characters in both genres, we must learn to navigate our vulnerabilities with grace and patience, knowing that ultimately, the true reward is found in the depth of our character and the love we give.

So, take this lesson forward: in life, we may be both the sacrificed and the victorious, the silent and the loud, but always remember that it is our inner strength and true character that will carry us through. Like the archetypes of old, the stories we tell, whether they are tragic or comedic, ultimately reflect the complex truths of our human nature. Let us embrace these roles, knowing that we are both the storytellers and the characters in the tale of our lives.