English 1102: Television and Feminism

Grey’s Anatomy, with no hesitation, knows how to break and make up your heart (at the same time) in a blink of an eye. In other words, you never know what to expect. However, although this may be true 99 percent of the times, there is one enormous exception: Gender representation in the show.

Grey’s Anatomy is a series that encourages inclusion of all gender and sexual orientation. With this, both men and women are represented as equally important. Nevertheless, it is vital to highlight that female to tend to be reinforce as a strong and dominant gender throughout the entire series. An example of this can be seen on the fact that almost all head of surgical departments are women (Arizona Robbins- head of pediatrics, Meredith Grey- Head of general surgery, Maggy Pierce- Head of cardiothoracic surgery, Miranda Bailey- Chief), and most of the scenes are focus on what goes around the life of each of this characters (meaning that yes, female gender does receive a bit more of representation in the show).

Meredith Grey- happy and successful (the mirror image of how all women should feel about theirselves)

Additionally, the now 15 entire seasons show, has always been centered in Meredith Grey, the protagonist. This is important as little by little we’ve seen the rite of passage she has gone through to become a strong and “bad-ass” women. Since the beginning, Meredith felt that she was under the shadow of her famous mother and her successful lover, however, the producers have made a great job of allowing her to see that she is actually the sun of her own life and that she’s capable of everything, which is something all women should learn from and act upon it.

In general, not only Grey’s Anatomy, but Shonda Rhymes as a whole, does a great job in exhibiting female gender as strong, important, and powerful as male. Knowing this, we shall not take this representation slightly, we should reflect on it and try to act based on the things we’ve learned from it.

Not Just a Housewife – Fresh off the Boat

By Arvin Poddar

On October 26, 2018

Even though “Fresh off the Boat” is written about Eddie Huang’s life, I believe that his mother is actually the main character. Most of the show’s plots are centered around some conflict related to her, or about some fear of her. So for this gender analysis blog, let’s take a look at the real main character of “Fresh off the Boat” – Jessica Huang.

There isn’t too much of a gender spread on “Fresh off the Boat” – a majority of the main characters are male, except for Jessica and Louis’s mother, Grandma Huang. Jessica is a house-wife turned real estate agent, but don’t let that fool you. She is far from a typical TV housewife – she is the matriarch of the Huang family. The entire family (except for Grandma Huang) lives in fear of her, closely following the boundaries and rules that she has set. Jessica is also a very powerful and capable character, frequently shown as naturally good at many skills and a hard negotiator. In spite of her toughness, the show also demonstrates that she is capable of putting her tough love aside to show warmth to her family. Her decisions and actions are the primary fuel for the show’s plots. So “Fresh off the Boat” did a great job in representing Jessica as a powerful female, but what about everyone else?

In terms of gender, there is little active representation beyond Jessica. The show only portrays males and females, and outside of Jessica, a majority of females depicted are the rather ditsy women that share the neighborhood. However, “Fresh off the Boat” shines in terms of merging race and gender. It’s the first ABC show to depict an Asian family as its lead, and while it is a Western stereotype that Asian women are quiet and submissive, Fresh off the Boat went out of its way to ensure that it would not contribute to this image in any form. Its lead female is respected by everyone, both in and out of her family, and the only person she somewhat fears is her mother-in-law. Thus, even though “Fresh off the Boat doesn’t extend its arms into many other representational axes, it did a fantastic job in what it did choose to represent. It broke stereotypes and created one of the most iconic families to currently exist on ABC, and showed that being a housewife is anything but a sign of weakness or incapability.

It was very early in the show, but this scene is a perfect demonstration of how Jessica gets stuff done.

Dr. Model in Grey’s Anatomy

By Caroline Turner

On October 19, 2018

One of the major aspects of Grey’s Anatomy is that it features a female lead who is independent and intelligent. This in itself is a move towards equality in television. In episode 4 “No Man’s Land”, gender issues over capability and appearance come starkly into focus.

There has long been a divide between men and women on their expectations of what should or shouldn’t be done. The “double standard” is continually debated on and talked about. Some people don’t think that it’s real or anything to be concerned with. The writers of Grey’s Anatomy took a very definitive stance on this issue in episode 4. One of the interns, Izzie, is attending a middle-aged man who needs a biopsy for his prostate cancer. The man refuses for her to be near him during his surgery or even to attend to him because he has seen her photos in a modeling campaign. It turns out that he is attracted to her and didn’t want Izzie to see his prostate surgery. This reasoning is reasonable in some ways, especially since it is the patient’s choice. However, the other interns treating Izzie differently due to her photos is presented in a different way.

One of the pictures of Izzie modeling that was posted on the elevator doors.

Alex, a male intern, posts Izzie’s pictures all around the locker room and calls her “Dr. Model”. Izzie, however, retaliates by saying that due to those pictures she was able to graduate debt free. There is certainly the implication, also, that if one of the male interns were to have a similar set of photos or something sexual in nature published about him, it would have been applauded. For Izzie however, being both attractive and a surgical intern is seen as an impossibility.

Grey’s Anatomy has taken on a strong position on this issue. They make it out that Izzie should be celebrated both for her medical achievements and for being able to do what she had to in order to graduate without debt. It is clear from the show that femininity can be seen as a sexual thing without being demeaning to women. Gender should have no role in determining capability or in deciding which options should be open to different people.

Gender Norms and Culture- Sense8

By Sierra Villarreal

Sense 8 is a very unique show. I’ve never seen a show that has so many subplots attached to the main plot. Eight different stories are told. Not just different in that different events are happening in each story, but different in almost every aspect. Each character has a unique cultural background that brings something unique to the show. These unique cultural backgrounds of the characters allow different gender norms to be represented from across the globe. Of the eight main characters there are 4 that identify as female and 4 that identify as male.

For an example of the way that gender is represented differently dependent on the cultural background of the character, lets compare and contrast the characters Sun and Lito.

Sense8 Season 2

Sun is a business women from South Korea but she has a secret hobby. She fights. Not just women but also men. She is tough and hard willed. Yet, she is always undermined by her father and brother. Even though her brother stole from her father’s company that she worked so hard for with no credit, Sun takes the blame so that her father’s company will not fall through. She is a woman that makes endless sacrifices and in part because of that she is strong. She is forced to fulfill a role she wasn’t meant to be in.

Lito is a male actor in Mexico that also has a secret. He is gay but must hide this from the public because of the machismo male culture of not only his country but the entertainment industry. He presents himself as this tough heterosexual male with a great body because, like Sun, that is what is expected. Both characters are tough because they are forced into a box they do not belong, yet they still conform to gender norms- much like us all.

It’s a text-mergency!!

By Carson Hulsey

Crazy Ex-Girlfriend uses several strategies in the cinematography and direction of the show in order to convey the emotions of the characters in the show. In season 1 episode 11 Rebecca Bunch accidentally sends a text to Josh Chan expressing her love for him, and has to figure out a way to delete the text before he sees it. Bunch goes through a rollercoaster of emotions during this episode due to the gravity of the situation and her severe anxiety. She has to find ways to deal with the problems happening in the episode along with this recurring anxiety.

Most of the show is shot with medium shots. You can see the character from the waist up and the background. It is very effective within the show because it shows the characters’ facial expressions and emotions up close, but also what’s going on in the background. There are some close-up shots which truly convey the characters’ emotions and the anxiety experienced by Bunch specifically. There are some long takes, such as the scene where Bunch is in a meeting at work and accidentally sends the text to Chan, but most are quick cuts. It matters because emotions are a significant theme in the show and using certain shots when filming is an effective way to convey them.

The lighting in the show is usually bright. When Bunch is at work, the colors are mute and serious. The colors became dark when Bunch got back to her apartment and Chan figured out that Bunch had fabricated her story as to why her apartment had gotten broken into. However, in general, the color scheme of the show is bright and cheery due to the light-hearted nature of the show. The episode stands out visually from many other episodes because it has more dark colors. The color scheme leans more to the dark side in this episode.

Women Off the Boat, in New Places of Power

By Frank Ketchum

Throughout the first season of Fresh Off the Boat, gender roles remained very static and I’d go as far as saying they were very stereotypical. None of the characters really break any molds; most everyone is a typical character and there aren’t any radical characterizations regarding gender. One may argue that Jessica’s place of power in the Huang family challenges the typical patriarchal scheme of a family that we see emphasized through the rest of the neighborhood moms. While this is certainly the case, she is still very dependent on Louis to make all of the money and she fits into the whole “tiger mom” stereotype. I guess all of this is passable since the series is loosely based on Eddie Huang’s book, so this may very well have been how these people existed and interacted.

Towards the end of the first season and certainly in the second, there is some shifting of power regarding gender. Jessica gets a job and is able to provide for the family and move her character away from its previous positioning as a strong matriarch that is only concerned with the performance of her kids. In season 2, episode 3, she also demonstrates her ability to negotiate with salespeople and scores her family a new car for significantly less than its sticker price. As such, she definitely has a big effect on the plot of the show and begins to break away from the more typical role she previously occupied.

Additionally, Nicole, Eddie’s neighbor, is expanded from just being Eddie’s crush to also being a strong, plot-driving character. In episode 5, she demonstrates a lot of power over the boys in school by scaring them away from Jessica’s real estate property. This is definitely a shift towards a more progressive role than she previously held as more of just a pretty face.

Image result for fresh off the boat nicole

Nicole scares off some boys.

This is probably the lone example of something in the show shifting into focus without becoming the butt of a joke, as with sexual orientation. The show brings this up a lot, but it’s never really explored. It’s always used to convey a joke, which I hope will change in the way we’ve seen the show’s representation of gender evolve. In addition, the rest of the female characters occupy very stereotypical roles, as stay-at-home neighborhood moms and a trophy wife. The same can be said for the men, who are mostly rich country club members. At least each gender is accounted for in near equal numbers. I guess the directors just take a lot of time to push the plot in new directions and are slow to approach new facets of representation.

The Denim Turtle, Jessica’s escape. Also happens to be a lesbian hang-out.

Killjoys – Revolutionizing Gender Norms on Television

By Man Wo Lui

By now you should have now realised KillJoys is known for having a female show creator, and it shouldn’t surprise you the way women are portrayed in KillJoys is unlike most other TV Shows.

Female show-creators, although aren’t rare, isn’t common either. KillJoys is exceptional because it has a female creator who truly had her own say, allowing the adoption and portrayal of characters which is unlike most popular TV shows. Female characters in the show consist of a wild spectrum, from the lead protagonist and hero such as Dutch to the antagonist and extremely evil characters such as Delle and Aneela. Although all the female characters may have varying motives, they can all be called a hero as each of them undoubtedly had their own heroic moments. Even the most nefarious female villain in the show, who have unquestionably committed unspeakable crimes, are presented their other side of their sense of inarguable rightness and greater motive, which manages to win over the audience’s sympathy and admiration over the long run.

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Delle Seyah Kendry in Killjoys

Just as female villains aren’t necessarily manipulative like how they are often portrayed in popular culture, a protagonist is neither always heroic or selfless. Dutch as a prime example has often veered off to her self-desires during missions, most notably trying he save her “mentor” regardless of knowing the crime he had committed. On the other hand, Dutch’s background is also gradually revealed during season 2 – turns out she was from a wealthy family. From Dutch’s perspective, here background is full of sorrows, although this was questioned in season 3 when alternatives of Dutch’s background events were revealed. Afterall just like the villains maybe Dutch was trying to gain sympathy.

But then when you add the questionable acts of “The Company ” and Killjoys and the story mostly told from Dutch’s perspective, who knows who’s the actual villain of the Quad.

Nonetheless, the portrayal of Dutch as the captain of the team and the ship, while seemingly holding a monopoly over power allow females to reach a new height within popular TV culture. This also defies the social norms TV shows have always been engraining us with. Dutch is a fighter, an assassin, a killer and a strategist; something females wouldn’t have been portrayed as in TV just a decade before. At the same time, Dutch doesn’t lead a team of female fighters. Instead, both of her team members – John and D’avin – are both men. Dutch as a female dominates men, reversing the stereotype of males being dominant over women. The character of Dutch on television definitely revolutionize popular culture while its appeal towards the audience and the success it has achieved speaks for the gender imbalance in television women have always been enduring.

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Dutch leading the charge in season 1 episode 4

Killjoys have certainly made a great stride forward in how females are portrayed in television shows. However, apart from how women are portrayed, KillJoys have also made a breakthrough in season 3 – the cast of a large number of disabled actors. Read more about it here.

Capturing Comfort

By Maya Krajeck

Every episode of Murphy Brown follows a similar setup in its composition. Most notable is the intro. Each episode begins with a focus on an individual character and is sound tracked by a famous soul song. This is the title sequence which plays the actors names. Many episodes have a meta component with the song choice as the characters sing along and the lyrics give the viewer a glimpse into what the show will be about. This important sequence shows the camera following the character around the room and highlighting the do mundane actions they take. The actions manage to display the characters emotions without any need for dialogue. In this particular episode (season 1 episode 21, “The Bickners”) Frank sits on elevator as doors open and close without exiting, when he finally moves he gets a muffin and throws away the edible part, only keeping the wrapper. In the background “This is A Man’s World”. As the camera often does when a viewer is supposed to perceive the actor’s emotions, the camera goes up close to face. These scenes always end with a fade out of music and dialogue begun by another character entering.

Murphy Brown is a sitcom, and thus it follows the trend of having a laugh track. This is to aid in the humor. Whenever a joke is made at the expense of someone it zooms into their reaction. The show features many long shots, yet occasionally adds short ones to keep an interesting flow and follow conversations. In between major scenes, the show fades out to a video of the office building and then zooms into top floor, this is possibly to suggest the importance of their work and give the audience a concept of location.

The show has three settings, Murphy’s house, the bar (even though Murphy is a recovering alcoholic), and the office. It only strays from these when following a specific story. This creates a comforting feel. As with the similar settings, all episodes have generally subdued tones, with earthy browns, grays, and pastels. The way episodes parallel each other make Murphy Brown an enjoyable and easy show to watch. One that takes on issues yet manages to not be too aggressive about it and keep viewers comfortable.

1/3 settings: Phil’s Bar and Grill

Bringing the Dead “Back” To Life

By David Veres

In Review Topic 4

As we continue on with the third episode of West World, we have come to find that the park is not only enveloping and immersing their customers, but it is also consuming the creators of the park with the possibility that a consciousness could evolve into the androids which exist in the park. Although the potential for the idea has been omnipresent throughout the series for some time now, it has been presented to us through the interaction of the two leaders of the park, Bernard and Dr.Ford. Dr.Ford reveals to Bernard that his co-creator of the park, Arnold, fantasized about bring the park to literal life, almost like a science experiment, instead of turning it into a capitalist moneymaking scheme.

In this episode, we see the power of Bernard’s expression of grief in plastering a human existence onto Dolores, an android in the park, in order to fill the hole left by the loss of his son. Through the mechanics implemented through memory, humanistic mannerisms, and even improvised behaviors, the androids can come to life. This awakening, described by Dr.Ford, involves the pre-programmed thoughts of the androids to appear as an omnipotent presence in the mind of the machines, causing for them to believe that it belongs to a God-like figure. If we apply that concept to the future of artificial intelligence we have many ideas to unpack with such a notion.

Bernard having a secret talk with Dolores about his son and his plan to allow her to develop consciousness.

Considering such a predicament, we will have the independent evolution of a consciousnesses into machine assisted by man. While this theme is quite intriguing, I am far more fascinated in the similarity in which the once archaic lines of code will evolve around a similar concept that many, if not a majority of humankind, practices today with a belief in a more powerful figure such as a one or many God who bestows agency on each individual in mankind to sacrifice and do good for others. However, what the future of the episodes hold and the debate for us is whether or not something with the power and capability of artificial intelligence will be able to become a more evolved version of mankind, and if they are able to learn from their mistakes faster than humans and use their knowledge to manipulate us. On the other hand, we could live in a symbiotic society of coexistence where we use androids to supersede our human mortality.

More Than Just Criminals

By Adhav Arulanandan

In Review Topic 4

I thought I was going to have to search really deep in order to find a central theme of a single Orange is the New Black episode, as episodes of the show often feature several plotlines that each try to advance a certain theme or narrative, something the show is able to do in its 55 minute format without seeming too scattered. In comes Episode 4 of Season 1, “Imaginary Enemies.” The episode, while still featuring multiple plotlines with only surface level overlap as far as characters go, relates these plotlines by using them to drive home an overarching theme.

Get it, drive home, because they lose a screwdriver in the episode haha I’m hilarious

This show does not want you to judge its characters before knowing their stories, their backgrounds, and their motivations first. Where this episode pushes this theme most blatantly is in this episode’s flashback storyline, which features Piper Chapman’s new roommate, Miss Claudette. Throughout previous episodes, Miss Claudette has been portrayed as mean without reason and overly controlling. The first two flashbacks explain why this is. We first see her as a young girl who, it can be assumed, is subject to indentured servitude as a way to pay off her parent’s debt. In the second flashback she is a grown woman whom we see has risen the ranks and now runs the cleaning service she worked for. She is shown in the second flashback being as stern with her young workers as her boss was to her in the first flashback. Her reason for asking discipline of others in prison is now understood; it is what she has known her whole life. Outside of flashbacks, the episode also shows that Miss Claudette is capable of sympathy, something that most in the prison thought impossible, after Piper stands up to her.

The episode also approaches this theme from another angle, dealing with some of the mental health issues that inmates deal with and how they often stay hidden. The lunchtime conversation that occurs between Piper and Nichols reveals that both of them are having a hard time coping with their conditions, and Piper even assume Nichols has found a way to deal with them, asking her when the depression ends, to which she responds “I’ll let you know.” Nichols also has a conversation with Alex, in which Alex breaks down and reveals that she too is experiencing depression.

This theme is tied in with the rest of show through the storyline involving the lost screwdriver, which shows that inmates are often dehumanized and thought of as nothing more than criminals. Caputo even explicitly emphasizes that the women in the prison are criminals during the search for the screwdriver as a way to ensure the guards do not show them sympathy. This is something the entire show combats: by following the lives of the women in this prison, we see how they are human and can be sympathized with.

Not all Heroes Wear Capes…Or Smiles: Exploration of a Common Theme in Jessica Jones

By Aniket Venkatesh

In Review Topic 4

The last episode of the first season of Jessica Jones, titled “AKA Smile”, was quite a packed one, from Luke Cage’s revival from Jessica’s reluctant gunshot on him while he was under control of the mind-controlling Kilgrave to the astonishing death of Kilgrave from Jessica’s bare hands. This sudden death of who has been the show’s main antagonist raises several interesting points, from putting the plots of coming episodes in question as the show has suddenly lost a focal character, to the shift in general perceptions of the townspeople of Jessica. From the beginning of the season till the moment she snaps Kilgrave’s neck to his death, it could easily be seen how the general surrounding around Jessica, excluding those who have genuinely gotten to know her over time, such as her step-sister Trish, neighbor Malcolm, and “love” Luke Cage, viewed and treated her much like her own personality: sassily and rather harshly. Even the people supposedly representing the law who she had to testify her innocence to multiple times throughout the episodes, including those who questioned her following her “unlawful murder” of Kilgrave after him taking control over multiple people throughout his life and unlawfully murdering many of them, treated her similarly to her personality and her possession of superpowers rather than her actions. This show therefore presents Jessica Jones as an ideal example of someone who is constantly judged based on most any other factor than her actions and the overall benefit she is truly providing to the people around her and many more, and argues that though they do not contain superpowers like Jessica, there are many people in our society whose positive actions also go unnoticed since they are judged based on other less important factors.

In addition to her actions and physical powers, the show also presents multiple instances where Jessica displays immense mental strength, the most common one being her withstanding the trials, questions, and often going about unnoticed or even looked down upon. The last episode of the first season itself displays many of the other instances of her mental strength, such as the way she kept herself from breaking down consistently as she witnessed Luke Cage being transported to the ER after she shot him and as the nurses tried but failed to perform many medical procedures on his indestructible skin. But perhaps the strongest instance will have to be the moments before Jessica succeeded in her mission of Kilgrave’s death, which included her having to pretend to be under his control and listen to him as he falsely declares his love for her step-sister and promises to torture her until he thought she was actually under his control and let his guard down. In the end, the only people who actually witnessed Jessica’s actions and strengths, such as Trish in the scene above, over time grew to support her along the way, a recurring theme in the show that closely mirrors the real world.

Jessica pretending to be under Kilgrave’s influence.

Does hip hop make him supreme – or is it all a scheme?

By Sofia Soto-Tredunlo

In Review Topic 2

One of my favorite parts about Fresh off the Boat are the voice overs. Eddie Huang, a middle schooler, narrates the first and final scene of every episode, but as an older post-pubescent man. As the main character, he is telling the story from his perspective and how he views the plot. Therefore, this implies that this is how Eddie sees himself. This is just a hilarious ploy by the writers to me.

The voice of this character is unique to say the least. He reflects Eddie’s love of hip hop by using popular slang terms, because those terms are ~cool~. The speech used by this narrator is based off the speech of the popular hip hop artists who act as Eddie’s role models. The voice drastically contrasts with the voice of the real Eddie Huang which is high pitched, and the slang terms don’t sound quite as natural, because he’s a little kid. When Eddie uses the same slang it looks like a kid who is pretending to be cool when in reality he’s not, but the narration voice really is. Again, what this says about Eddie is that he genuinely believes he’s really cool.

This says a lot about Eddie’s character. Eddie’s character struggles to make friends. He is often rejected by the kids at school. In season 1 episode 5, the episode starts out by Eddie narrating how he doesn’t get invited to any sleepovers. This statement alone is a bit odd, considering the narrator is an adult and adults don’t exactly have sleepovers (in the traditional sense of the term…). The narrator continues by saying he was “mad siked” about getting invited to the sleepover which is something a ~cool~ person would say. And then the shot pans to Eddie, a small pudgy middle schooler who lacks in eyebrows (no offense Eddy, still love you). Despite this you might start thinking Eddie was actually a cool kid, because he finally got invited to a sleepover and was making friends. But again, the show reminds us that he is not. The next shot is of Eddie’s mom telling Eddie that there is “no way” he’s going to that sleepover. Again we’re reminded that he’s just a little awkward kid (again no offense).

I mean look at him… his cheeks are so chubby.. he has baby fat!

This really just serves as a constant reminder that people view themselves as a little bit cooler than we actually are. Not just kids, adults too. If the joke didn’t apply to adults, it wouldn’t be funny. Obviously low self esteem is a real thing, but the way we view ourselves is never exactly how the outside world views us.

Juxtaposition of an Awkward Position

By Alex Mealey

I’m not sure how the rest of you feel, but when I think of cinematography I think of CGI explosions and huge blockbuster movies like Star Wars or The Avengers.

This means when looking at the cinematography of a show like New Girl my mindset required an adjustment. But since then, I’ve realized the importance of direction in all forms of media, including television shows. These shows are filled with purposeful decisions made by the director that alter the way in which the show is delivered. And today I’m going to go more into depth on how these nuances guide the production of a New Girl episode!

The most recent episode of New Girl, Naked, was by far my favorite. The concept of this episode is that Jess walks in on a singing and very naked Nick before a big date which results in him losing all self confidence. At the same time Winston is having a hard time finding a job due to his love of basketball. The clever aspects of direction I will focus on are the juxtaposition of setting and action, and the running of parallel story lines.

While watching this episode I had to pause it multiple times because the image on the screen was hilarious. For evidence of this: Please look below.

What makes each of these funny is the fact that the actions being preformed don’t make sense in the given setting. Examples: Dancing naked… in front of a (semi-close) friend, discussing embarrassing moments… in an elevator with a stranger, checking your friend out… while he’s using the urinal. These images all host a contrast between conventional setting and unconventional actions. This is purposefully done by the directing team to make the character’s seem every more ridiculous and hilarious. I think this is a common tactic by the crew for New Girl because of the contrasting nature of the show based in the stark differences between Jess and the guys.

The second aspect of the show which was cleverly directed was the running of similar plot lines. Both Nick and Winston are having confidence issues (Nick with dating life and Winston with his career). Jess and Schmidt respectively work to boost Nick and Winston’s confidence. And as the similar story progress the show quickly pans back and forth between the two parties at play. This move by the director is done to show both the similarities and differences of our characters.

Through this rapid back and forth from scene to scene the audience see’s how Nick and Winston both are doubting themselves and their decisions. The director uses this to create sympathy for the characters. The director also shows the different ways in which characters deal with their doubts (dancing to Jamaican music and crying over one’s wikipedia page). This hilarious contrast is used to get laughs, successfully so I might add.

New Girl certainly isn’t a blockbuster action movie but it’s cinematography and direction should not be ignored.

Lights. Camera. ACTION!

By Elizabeth Glass