I get that, too. I think the ad probably didn’t intend to push eugenics, but it’s interesting how quickly intentions can be overshadowed by impact especially with race. If it had been a Black actress, the conversation probably would’ve been about something totally different. #304F25

That makes a lot of sense. Celebrity marketing has basically been built into advertising for decades, so it’s not surprising brands still lean on big names today. But when you mix that with the racial double standards we’ve been talking about, the impact hits way differently. #304F25

Black women get sexualized and judged no matter what their bodies look like, and it’s been happening forever. The reaction would’ve been completely different if the model wasn’t white. #304F25

I’ve heard of The Watermelon Woman, but I didn’t realize how deep Cheryl Dunye’s impact really was. It’s crazy how she called out the erasure of Black queer women and then became the proof of why that visibility matters. Definitely a film people still need to talk about. #304F25

I remember when that ad dropped people were not playing. The “great genes” line was already risky, but pairing it with Sydney Sweeney made it land even worse. It’s wild how a simple pun can miss the mark and turn into a whole cultural debate. #304F25

Laurie hid and endured, but modern Final Girls fight back. In most horror films now they turned fear into fury. They took Laurie’s legacy and said, “I’m not just surviving I’m taking control.”

#304F25

For me Laurie Strode created the “final girl” image. What makes her influential is that she shifted horror from faceless victims to a protagonist audiences could root for. Laurie wasn’t just surviving Michael Myers she was outsmarting him.

The “Final Girl Theory” points out she’s usually smart, innocent, and cautious but that’s the problem. These traits aren’t random, they’re stereotypes. Horror rewards her for fitting an ideal while punishing everyone else. That makes her survival feel less empowering, more limiting.

www.jstor.org/stable/j.ctv...

This trope isn’t just a horror cliché it’s a narrative tool rooted in morality, identity, and fear. Carol J. Clover introduced the term in Men, Women, and Chainsaws (1992), arguing that she survives because she embodies what audiences root for:
purity, awareness, and socially “acceptable” behavior.