In "When Chick Flicks Get Knocked Up," Alissa questions the happy ending substitute of baby love and emphasizes their conservative bent. She also notes that these "embryo pics" invert film themes of yore:
The prenatal pics don’t mean to irk their viewers, of course: they are simply are a corny replacement for the serrated romantic comedies of the 1940s, in which sparkling, independent female protagonists, sporting sharply tailored suits and sharper repartee, wound up getting their comeuppance in the form of a rake who could finally domesticate them. In fertility movies, the rake taming all female powerhouses is an infant. Worse, embryo pics have inverted another film theme. Women who once chose an unusual life path picked child-free independence—liberated Klutes or unmarried women. Now, conceiving of an infant without marriage or even love is the filmic symbol of independence. In this way, these films recast the "pro-choice" narrative of feminists' personal and political past as a different, less politically dangerous sort of pro-choice story—a woman's right to choose from a smorgasbord of late fertility options. Once, in the recent age of “Murphy Brown” having a baby as a single woman was the most rebellious and politically radical thing our heroine could ever do. Now becoming a single mom onscreen makes a film heroine more conventional.Thoughts?!