Mindy Kaling in her personal narrative, “Types of Women in Romantic Comedies who are not Real,” criticizes the movie industry in a humorous way. Kaling uses her love and extensive knowledge of Romantic Comedies to begin to expose the unrealistic images of women that Hollywood immortalizes. She provides extensive details throughout her essay to prove her overall point. Kaling applies allusions, segmented organization, and sarcasm to prove the improbability of these women in real life. Mindy Kaling frequently incorporates allusions in her essay. The titles which Kaling gives her different paragraphs alludes to the different archetypes of women in the Romantic Comedy genre: “The Klutz,” “The Ethereal Weirdo,” or “The Sassy Best Friend.” All
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Kaling is quite sarcastic throughout her piece but she mainly points out the way someone looks and how the media comes up with a flaw that does not fit the character, that the actress “despite being five foot nine and weighing 110 pounds, she is basically a drunk buffalo who has never been a part of human society.” When describing “The Klutz,” Kaling purposely uses sarcasm to point out that there is no probable way a women could be like this. The woman she describes is someone who has no foreseeable flaws so the industry creates one to make her more approachable in the movie goers mind. Kaling again applies sarcasm later in her essay to describe “The Woman Who Is Obsessed with Her Career and Is No Fun at All,” Kaling critiques that “having a challenging job in movies means [that] the compassionate, warm, or sexy side of your brain has fallen out.” In this she is trying to highlight that the movie industry suggests that the only way for a woman to be powerful is that she has to be devoid of all feeling and has not done anything else except for work every day of her life. Kaling showcases the improbableness of the archetypes that the movie industry creates in the sheer amount of sarcasm she uses by expressing that this almost never happens in real
Kaling is quite sarcastic throughout her piece but she mainly points out the way someone looks and how the media comes up with a flaw that does not fit the character, that the actress “despite being five foot nine and weighing 110 pounds, she is basically a drunk buffalo who has never been a part of human society.” When describing “The Klutz,” Kaling purposely uses sarcasm to point out that there is no probable way a women could be like this. The woman she describes is someone who has no foreseeable flaws so the industry creates one to make her more approachable in the movie goers mind. Kaling again applies sarcasm later in her essay to describe “The Woman Who Is Obsessed with Her Career and Is No Fun at All,” Kaling critiques that “having a challenging job in movies means [that] the compassionate, warm, or sexy side of your brain has fallen out.” In this she is trying to highlight that the movie industry suggests that the only way for a woman to be powerful is that she has to be devoid of all feeling and has not done anything else except for work every day of her life. Kaling showcases the improbableness of the archetypes that the movie industry creates in the sheer amount of sarcasm she uses by expressing that this almost never happens in real