Masculinity and Popular Television by Rebecca Feasey

By Rebecca Feasey

A complete and obtainable creation to the illustration of masculinities in quite a lot of well known tv genres. Rebecca Feasey reads the depiction of masculinity within the cleaning soap opera, homosexuality within the state of affairs comedy, fatherhood in prime-time animation, rising manhood within the supernatural teenager textual content, replacement gender roles in technological know-how fiction, male authority in police procedurals, masculine anxieties within the medical institution drama, violence and aggression in activities insurance, ordinariness and emotional connectedness within the fact video game exhibit, and domesticity in way of life tv. Masculinity and well known tv illuminates the development, stream, and interrogation of masculinities in modern British and American programming and realtes such photos to the "common feel" version of the hegemonic male that dominates the cultural panorama.

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We’re just like you. We’re your friends and your family. We go to school with you” ’ (Jarvier cited in Becker 2004: 397). The point here is that homosexuality is finally visible on our television screens, and such increased visibility can be seen to stand for society’s growing acceptance of the gay community (Svetkey 2000: 26). However, while Jarvier and Svetkey read greater visibility as greater social acceptance, it is worth noting that several critics are currently arguing that the ‘visibility of gay men and lesbians in the mainstream media is not unproblematic’ (Shugart 2003: 69).

Although the show has been charged with skirting the ‘realities and implications of homosexuality by desexualizing the characters . . by almost never depicting them in romantic or sexual situations’ (Shugart 2003: 69) with ‘straitlaced Will as a cop-out, so blandly gay as to seem almost asexual’ (Svetkey 2000: 28), it must be remembered that Jack is presented as a sexual omnivore (3:20 ‘The Young and the Tactless’) and Will settles down in a loving, sexual and committed relationship towards the end of the final series (8:23, 8:24 ‘The Finale’).

It is my point that although shows such as Friends and Coupling can be seen to depict men as competitive and emotionless characters who bond over sports, porn and sexual conquests, I would suggest that a more detailed examination of these friendships go beyond ‘watching a game, playing golf, or going out for a few drinks’ (Bentall 2004: 3). In fact, one might suggest that the contemporary sitcom presents male friends who can talk honestly about their careers, their dreams for the future, or the problems that they currently face in an intimate (albeit humorous) manner.

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