Matthew A. Hoffman

In the past, Wonder Woman and Superman were depicted as good friends, but as of 2016, in New 52 Wonder Woman comic books, the Amazon princess and the man of steel are in a romantic relationship. The implication seems to be that romantically compatible people cannot be just friends. Thankfully, philosophy can help to debunk this notion and shed some light on the nature of friendship and romance as well. In consuming works of popular culture, people learn what is expected of them in their interpersonal lives: cross‐gender relationships must be romantic, and friendship cannot be as important as romance. The loss of Wonder Woman and Superman as an example of a stable non‐romantic cross‐gender friendship therefore represents not just a change in the treatment of the characters, but a loss of support for the idea that such friendships are possible.

Romance novels are primarily aimed at, written about, and written for women. They have been accused of being fantasies which feature sexually objectified heroines who are passive recipients of overwhelming masculine sexual energy. After shoring up these critiques of romance novels with A.W. Eaton’s account of how art can objectify its subjects, we examine a challenge to romance novels: does the sexual content in romance novels objectify its heroines? There is strong reason to think so. However, we argue that careful attention to the ways art can objectify its subject reveals that romance novels are structured to make it impossible for their heroines to be objectified. In many cases, individual signs of objectification are raised as possible outcomes and dismissed as part of the plot of a romance novel. Satisfying sex in a romance novel does not appear until it is impossible for the romantic heroine to be objectified. Understood in this way, romance novels serve as a model for one way that objectification could be avoided. The fantasy of a romance novel is not objectifying sex. It is sex free of objectification.