It has become a widely accepted fact that the plots of romantic comedies are just not realistic (for further proof, see here and here). Growing up with the now often-parodied teen flicks of the 90s and early 2000s, I can attest to the fact that the movies I watched when I was younger played a huge role in the misconceptions that I and so many of my peers had when it came to relationships. If a guy treats you poorly, he likes you. If you argue a lot with another person, it means you have chemistry. And if all else fails, you’ll probably just wind up with your best friend anyway.

I think we can agree that these misconceptions are harmful, but until recently, I didn’t stop to think just how harmful their portrayals of women could be. Most female characters fall into two categories: desperate to fall in love and get married (think of Ginnifer Goodwin in He’s Just Not That Into You), or too career-driven to ever want or attract a man (Sandra Bullock in Two Weeks Notice, The Proposal, Miss Congeniality or perhaps any other movie she has ever been in). Let’s call this second character Jane.

These movies do an incredible disservice to Jane and characters like her because they paint them as cold, out of touch and clearly Missing Something. In fact, there is usually a best friend character prone to “messy” relationships who summarizes this sentiment early in the film by stating that Jane is so set in her ways and afraid of getting hurt that she risks finding true happiness. Also, would it kill her to put on a little more makeup and wear her hair down once in a while?

Never mind the fact that Jane loves what she does for a living and is well suited for it. Pop culture tells us that the woman who focuses “too much” on her career is simply doing so to distract herself from finding a soul mate. Only when she lets her hair down (literally and figuratively) and demonstrates some form of vulnerability, perhaps by crying or getting drunk in front of the male love interest, does she open herself up to a happy life. Only then does she truly become the character we like and root for. After all, what man would want to be with a woman who enjoys her job?

In real life, there are gradients between these extremes. Women who love their careers and enjoy being in a relationship do exist. In addition, there are plenty of men who like independent women. Why do we have to box ourselves into these two very limited categories? (And for the women who don’t ever visualize themselves in a relationship, who are we to judge?)

We value a woman’s willingness to be in a relationship as a trait to be valued, but not her independence. In the movies, Jane’s “independence” is clearly just a wall she put up after someone hurt her, a wall that is meant to be broken down by the male lead. (Jane’s best friend or love interest in the film may actually use the whole “wall” metaphor in a big speech that makes her realize just how closed off she has been the entire time.)

If a woman rejects a man or decides to put her career first, pop culture labels her as cold. (Tweet this!) What the movies – and the people who watch them! – fail to think about is the fact that we all have different priorities at different points in our lives, and while a woman may hope to marry and have babies someday, she might not be ready for that stage.

There are a few exceptions to the romantic comedy genre that don’t posit relationships and careers as an either/or for women, but all too often, pop culture dictates that we must choose (and that “career” is the wrong choice). Society – and women especially – need to remember that these options are not mutually exclusive, and that they can have both.