The politics of Disney’s Frozen are indicative of symptomatic shifts within an otherwise largely entrenched ideological core.
Continuing to think about LEGO, the idea of “creativity,” and the unequal extension of that idea to different consumer groups.
Comedy Central has long courted young men with disconcerting portrayals of women, but several of its programs this spring provide small indications of a different politics of representation.
Reality Gendervision: Sexuality and Gender on Reality TV Conference, on April 26-27, 2013, at Indiana University.
Just in time for Halloween, ABC and NBC both rolled out new shows last week focusing on the basic premise that Fairy Tales are real and their protagonists, or their ancestors, are living somewhere in the United States.
Ben Aslinger, Sean Duncan, and Liz Ellcessor provide some thoughts on IR12, the 12th annual Association of Internet Researchers conference, which was held in Seattle, October 10-13.
In the second episode of Glee’s new season, “I Am Unicorn,” Kurt’s character loses the romantic lead in the school musical, West Side Story, to his more masculine boyfriend Blaine. The episode was both fascinating and confounding because instead of…
The producers/writers on Treme are under tremendous pressure: they ache to do right by New Orleans, they have to make a television show that people will continue watching, and they want to tell the truth about the city putting itself back together after the storm.
Just as Chris Colfer provides a model for queer kids who have not yet been represented, so Darren Criss provides an equally significant alternative model for queer straightness.
The popularity of Glee, and, in particular, these two singers, has made me think that American culture may finally be starting to break with the gender norms of male singing performance that have persisted for the last 80 years.
In “Chinese Wall,” barriers between personal and professional lives continue to erode, and Mad Men’s men begin to wrestle with these costs.
Unlike any other episode to date, “Waldorf Stories” stresses the importance of masculine disengagement by creating a context in which this mode is no longer available to Don.
Taking power away from a man is a dangerous thing. Or so says high-stakes attorney Patty Hewes of FX’s Damages.
To the series’ credit, it often “goes there”—into those contentious waters of clearly gendered dilemmas about women’s work, motherhood, and guilt that were a mainstay of a lot of 1980s and 1990s drama.
Looking back at Damages, I realize it would have been right at home amidst ’80s film narratives that demonized career women while asserting the proper place of women at the hearth in the home.