Dating and romance are nebulous, universal concepts, and are therefore very common subjects for dialogue. This makes them perfect themes for comedy, as they provide the opportunity to highlight humorous differences apparent in men and women. In recent years, however, one popular attitude towards relationships has emerged, namely the “the friend zone.” This refers to the situation a person (typically male) finds himself in when a friend rebuffs his attempts at sex or romance. The label of “the friend zone” is a frame for this predicament, which is only humorous from the perspective of the “friend-zoned,” when it is actually a very narrow-minded and demeaning concept. When a television show, film, or comedian presents a similar relationship, and categorizes it as “friend-zoning,” women are portrayed in a negative light, and the relationships between men and women are grossly skewed. The comedic concept of “the friend zone” only promotes sexist and degrading gender roles. Before analyzing the comedic content in question, it is important when drawing on a variety of sentiments from comedians to understand that many performers use a character or parody for their humor. Others choose to voice opinions and views contrary to their own, in the hopes of receiving a certain reaction from a specific audience. In referring to the material of writers and comedians, one must respond to the beliefs they promote (which can be known), rather than those they espouse, which cannot. The concept of difficulties arising in opposite sex friendships has long-standing roots in comedy. Take for example, in 1974, Richard Pryor broke ground in comedy, by discussing taboo topics (including women’s sexuality) extremely bluntly. The divisions drawn by Pryor t... ... middle of paper ... ...stand-up formula, “men are like this, women are like this.” It seems that there are certain unchangeable and permanent systems in place. Just as comedy has the power to solidify these assumptions, it also has the opportunity to force an audience to reconsider the reasoning behind the concepts we apply to dating. This is the central reasoning behind my creative piece, which seeks to make an audience realize how backwards this way of thinking can be. I chose to present my creative piece in the form of a stand-up, as that is the format in which the issue was popularized. If discussing the sexual differences of men and women leads to successful comedy, why shouldn’t lampooning the sexist attitudes of men be just as effective? The first part of the stand-up routine is mostly making fun of comedians (and people in general) who complain about being in “the friend zone.”
Why do relationships commonly end in disaster or slowly wither away to nothing? That question could be answered in many ways. Whether the answer lies within the women’s actions, the men’s actions or both, it is something that has been an ongoing occurrence for many years. A valid explanation is that society has different expectations for acceptable male and female behaviors, which ultimately ends is a double standard that ruins relationships. However, another idea that has been more commonly researched in today’s society is that women and men think completely different and just do not understand each other. Steve Harvey’s book, “Act like a Lady, Think like a Man” is a prime example of the assumption that women do not understand how men think or how they feel when it comes to relationships. This book specifically, gives a direct representation of how most men function in relationships and it provides guidelines and advice for women from a man’s perspective about how to have a successful relationship. Furthermore, Steve Harvey’s book also explains many stereotypes that are common in today’s society about relationships and sex.
The world enjoys pigeonholing both men and women. It can be exhausting living in our judgmental society, where there is an expectation for each gender to fit into a rigid box of stereotypes. That is why, when Dave Barry is given the negative stereotypical question, “‘Why do men open a drawer and say, ‘Where is the spatula?’ Instead of, you know, looking for it?’” (1), he goes into a ranting frenzy. Barry responds and challenges this negative question in his column, on February 4, 1999, by writing the essay, “From here on, let women kill their own spiders”. Dave Barry utilizes the rhetorical devices of sarcasm, anaphora, and hyperbole to prove that is is pointless and ludicrous to create platitudes and stereotypes about each gender.
Since the advent of the word “sexist”, the label itself has carried numerous negative connotations, regardless of whether or not it has been applied to the male or female set. This idea of the modern teenager became initiated by the proliferation of visible sex symbols in the 1950’s such as Elvis Presley and Marilyn Monroe and has since become increasingly more prevalent in American society. While the connotations may be well deserved, we as culture rarely seem to remember that most stereotypes are originated as a result of an observed pattern in the behavior of certain groups of people. John Updike is merely trying to embody the mind of the modern American teenage male in “A&P”, and not expressing his own opinion as to whether the thoughts going through Sammy’s mind are acceptable or not.
Both Brady's and Barry's diversity allows their distinctive views and attitudes towards men and women to flow. Both writers have relevant satirical points of view. The differences in the authors and their writing prove that men and women have many discrepancies. Though their audience, humor, and purpose differentiate, they are still able to get their points across.
Kimmel, Michael. “ “Bros Before Hos”: The Guy Code.” Rereading America: Cultural Contexts for Critical Thinking and Writing. Colombo, Gary, Robert Cullen, and Bonnie Lisle. 9th ed. Boston: Bedford of St. Martin's, 2013. 464. Print.
HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.
Sproull, L. and Kiesler, S. (1986). Reducing social context cues: Electronic mail in organizational communication. Management Science, 32, 1492-1512.
We decided long ago that the Male Chauvinist Pig was an unenlightened rube, but the Female Chauvinist Pig has risen to a kind of exalted status. She is post feminist. She is funny. She gets it. She doesn’t mind cartoonish stereotypes of female sexuality, and she doesn’t mind a cartoonish macho response to them. The FCP asks: Why throw your boyfriend’s Playboy in a freedom trash can when you could be partying at the mansion? Why worry about disgusting or degrading when you could be giving – or getting – a lap dance yourself? Why try to beat them when you can join them? (267).
Communication is a vital component of everyday relationships in all of mankind. In plays, there are many usual staging and dialogue techniques that directors use to achieve the attention of the audience. However, in the play, “Post-its (Notes on a Marriage)”, the authors Paul Dooley and Winnie Holzman use both staging and conversation in order to convey the struggles of modern relationships. The play is unconventional in how it attempts to have the audience react in a unique way. The authors use staging and conversation to portray to the audience that there are complex problems with communication in modern relationships.
Mother-in-laws can often be the bane of a man’s existence. In American culture, jokes are often made about wanting to avoid a mother-in-law at all costs. For example, a recent BMW car commercial depicts a new feature in the car which can read texts out loud by showing a man pulling into his driveway and receiving a text from his wife that his mother-in-law was over visiting. The man immediately backs out of the driveway and leaves. This is what anthropologist A.R. Radcliffe-Brown would have classified as an avoidant relationship—one common in many cultures. In addition to avoidant relationships, Radcliffe Brown also identified joking relationships. These two concepts aid in showing the functions of different social groups and the rules
Today, love, sex and romance are three main topics that presented in media as main themes discuss in contemporary popular culture. Social media is important in shaping audience value about feminism through the framework of contemporary media like films, magazines, plays, advertisements, TV shows, graphic novels, etc. The television show “Sex and the City” incorporates “pop feminism” that influences many lives of women. Sex and the City is originally talking about four single thirty-something women living in Manhattan. They are coming to New York in order to seek “love and labels” (Sex and the City). The main theme of Sex and the City is concentrating on contemporary American woman’s conception of sex, love, and romance. As we learned from lecture, sex, love, and romance have a history; they are different in different cultures; they are shaped by gender, class, race, ethnicity, nation, ability, and other differences (Lecture Notes). Sex and the City is focusing on modern American woman’s experiences and their thinks with sex, love, and romance. The four main women characters in Sex and the City represent diversity of gender, class, race, ethnicity, religion, age, able-bodiedness through their different experience and expectations of their life (Lecture Notes). Sex and the City represents that the feminism notions of sex, love, and romance are socially constructed, and this social construction of sex, love and romance are featured in these female characters’ personalities.
...ve begins generating rumors for male peers who do not qualify as a stereotypical male. For instance, Olive pretends to have sex with a male peer during a popular house party (Gluck, 2010). This imaginary hook-up benefits the male peer’s bullying dilemma. Again, gender policing occurs between men when masculinity is questioned (Kimmel, 2008). “One survey found that most Americans boys would be rather be punched in the face than called gay” (Kimmel, 2000, p.77). The gender police govern Olive’s and the male peer’s status in social standings. America’s obsession with sex disregards if a girl truly sleeps around.
For example, the representation of women on television was for a long time restricted to roles of “loving wives, dutiful daughters, gossiping girlfriends, fashion plates, and the occasional dowdy maid, nanny, or granny” (Zeisler 2008, p. 9), which is a reflection on the roles it was considered ‘acceptable’ for women to take on in real life. Often going against the hegemonic gender ideal is used as shorthand for comedy within popular culture, such as men dressed femininely being played for laughs on countless sitcoms. Popular culture that genuinely challenges hegemonic ideology often faces backlash, as was the case when Ellen DeGeneres’ character coming out on Ellen (1997), as did the actress in real life, resulted in the show being cancelled after only one more season. This is reflective of what was the pervasive belief, that heterosexuality is the only acceptable option, though the changing attitudes about this can be seen through the increased inclusion of gay and bisexual characters in pop culture over the past two decades. Looking at the relationship between gender and popular culture consequently becomes important to the field of gender studies as it provides a way to study not only what is considered to be the gender norms in a society, but how these norms have
Lorber, J. (1994). Night to His Day: The Social Construction of Gender. Paradoxes of Gender (pp. 54-67). New Haven: Yale University Press.
Ferrell’s films and his comic fame certainly raise stimulating thoughts within a grander discussion of contemporary masculinity, sexuality, and social politics. The majority of his films, present idiotically archaic varieties of “normative” masculine conduct and in nearly every case, Ferrell’s humor develops completely on devaluing and growing these gender norms. He instills both earlier and existing representations of manliness with both a juvenile approach and comedic tendency to go over the top, thus discrediting these stereotypes and opening them up for ridicule.