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90’s television shows commonly centered on the urban life of children. Few shows give a relatable example of the world children in this decade saw outside of their televisions sets. Hey Arnold! (1994) was unique in that way. The Nickelodeon cartoon pressed the bounds of children’s shows by displaying every aspect of urban life; the good, the bad and the ugly. The creators shunned the cookie-cutter storyline and painted a diverse cast with vibrant palette of characters from different races and religions, and fought gender stereotypes.
Hey Arnold! (1994), which spanned over a decade, centered on the lives of a class of fourth-graders at PS. 118. Episodes dealt with fairly adult subject matters including race, complex family dynamics, and gender
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Including the formerly mentioned interracial characters, a wealthy Hispanic P.S. 118 student, and three distinctly identified Asian characters of Vietnamese, Japanese, and Korean backgrounds. In fact, two tenants of Arnold’s home are immigrants whose back stories are shown in detail.
Helga Pataki, a character briefly mentioned earlier is perhaps the most interesting and entertaining character on Hey Arnold! Rather than embrace the schoolgirl stereotypes, the creators of this show shaped Helga into a multi-dimensional character. Helga was full of contradictions. While her personality was hard and “tomboy”-esque she wore a pink, dress, pigtails, and a bow. Protagonist, Arnold brought out the worst in her because she was (not so secretly) in love with him. That being said, she Helga Pataki is probably the most complex female cartoon character to date. While she was an outright bully who came across as a brat, in private Helga is gentle, creative and intelligent. Her layers, when peeled back, made her a fan favorite and viewers cheered for her love for Arnold to be requited. Their interactions overthrew the typical gender roles of crushes. The cliché of boys picking on the girls they like was flipped as Helga displayed the typically “masculine traits”, being aggressive, rude, and insensitive to her classmates. At the same time, Arnold exhibited what could be considered feminine aspects by being compassionate and caring for his friends, even
The first time Arnold Friend is mentioned in the story is when Connie is leaving the restaurant and walking through the parking lot with a boy named Eddie. She sees a man in a gold convertible that is watchin...
Connie first encounters Arnold in a parking lot while she is out with her friends, but she does not yet know who he is. She notices him standing near his car, a gold colored convertible jalopy, staring at her. When she walks by he says he is going to "get" her, but Connie does not think anything of it and just turns away.
The first example of threatening her is when he says “Connie, don't fool around with me. I mean- I mean, don't fool around(7).” He starts to make Connie feel scared and nervous. He refuses to let her go and for them to leave. It seems as if he is on a mission to capture as many women as possible such as the numbers might represent. In the same way, it seems as if connie is letting him because she is lonely and she did catch his attention. Arnold portrays a guy who knows how to persuade people and then when he doesn't get his way it leads to violence. His personality and tactics are different from a normal stalker or stranger. At one point in the story he mentions how he is going to “come inside[her] where it's all secret and [she'll] give in(8),”. When he said that he was finally labelled as a kidnapper, rapist, or still a stalker officially. Connie knew what was going to happen and she wanted to do something but she couldn't. All the things Arnold says and does didn't help him in the long run because he had to turn into the mean old man or eighteen year old, like he said, and it ruined his chance of being able to capture
Characterization: At the beginning when she first meets Pat, her character is very dark and broken. She seemed deeply flawed. It also seems as if she is mentally defeated.
That’s right. Come over here to me… Now come out through the kitchen to me, honey, and let’s see a smile, try it, you’re a brave, sweet little girl’”(Oates 7). “She put her hand against the screen. She watch herself push the door slowly open as if she were back safe somewherein the other doorway, watching this body and this head of long hair moving out into the sunlight where Arnold Friend waited”(7). What had gotten into Connie, why would she go out with Arnold knowing that all he is going to do is hurt her. Readers may think she is a state of shock and the only thing she can do to protect her family is by going with Arnold.
Being sexualized by the boys around her, Connie is self-conscious and finds her worth in beauty. The story even states, “She knew she was pretty and that was everything” (Oates 422). She is concerned about her appearance and what others think of her because she has been taught that she lacks any value outside of physical beauty norms. Arnold Friend, even tells Connie, “...be sweet like you can because what else is there for a girl like you but to be sweet and pretty and give in?” (Oates 432). Between this coaxing and the consistent message about the importance of beauty, Connie is nearly forced to conform to this mentality, which displays the lack of respect for young females as human beings. This in turn leads women to self-degradation as they are consistently viewed as sexual
Nella Larsen wrote Helga to be ahead of her time. She’s a fiercely materialistic and intelligent woman of bi-racial ethnicity in a time that did not allow for bending of social norms and roles. Because of these strict societal barriers and her own self-doubt and internal struggle, Helga continually lets herself drown in the quicksand that is her isolationist feelings and life.
“Where Are You Going, Where Have You Been? “tells a story of teenage girl Connie, whose wild child antics cause her to become the special interest of Arnold Friend. Spending time at the local hangout for older kids, and committing lustful acts in alleys, Connie disregards the odd brown haired boy in the gold jalopy staring her way. Unnoticing Arnold until the Sunday afternoon his gold jalopy pulls up her drive. “ He wasn’t tall, only an inch or so taller than she would be if she came down to him … his face was a familiar face, somehow: the jaw chin and cheeks slightly darkened, because he hadn’t shaved for a day or two, and the nose long and hawk –like” (Oates 441). Intrigued by his looks, Conni...
Connie's personality also had two sides to it. The side she displayed at home is mocking and sneering, and the side she displayed in public made her look trashy. It seemed that she didn't know who she was or what she wanted to be. All she let us know is that she wanted "the caress of love," she wanted someone to be "sweet, gentle, the way it was in movies and promised in songs" (Oates 980). This could have been why she did not put up much of a fight at the end and walked straight into Arnold's arms. It seemed almost like this was what she wanted and what she had been dreaming about.
Mildred Montag, wife of main character Guy Montag, is the epitome of conformity. She is a totalitarian system’s product; a shell of a human being, devoid of any sincere emotion
The depiction of Arnold Friend runs parallel to the common conception of the Devil. Many aspects of his outward appearance, as well as his behavior, contribute to this by portraying him in a sinister manner. His nose is "long and hawklike" and he has a "slippery smile." His "greasy" boots don't fit him right, "as if his feet [don't] go all the way down." The stereotypical Beelzebub is often seen with hooves. When he draws 'his sign' – the sinister letter X – in the air, it "stays there, almost still visible," as if he supernaturally burnt it into the air. The numbers appearing on Arnold's car, 33, 19, and 17, exclude the number 18. The 18th letter of the alphabet is "r", and removing that letter from his name presents "an old fiend". Arnold knows about Connie's family, where they are at that moment, and what radio station she is listening to. This can be explained logically by the fact that that he is a stalker. As an allusion, the Devil is omniscient. Arnold also promises not to enter Connie's house unless she picks up the phone. This exemplifies the classic adage, "The Devil won't come into your home until you invite him in." Finally, the fact that Arnold is preying on someone nearly twenty years his junior (physically inferior and easily overpowered) and the methods he uses to finally convince her to come with him (threatening her family and her home) portray him as a genuinely despicable character, worthy of the epithet "Devil," if not its lit...
Connie’s clothes and infatuation with her own beauty symbolize her lack of maturity or knowing her true self, which in the end enables her to be manipulated by Arnold Friend. Connie was enamored with her own beauty; in the beginning of the story Oates states that Connie “knew
Hedda was cruel from the beginning of the play till her death at the end. She was fine when she was on top and had all the power but when her castle came crumbling down she couldn’t handle the karma that trapped her in her ruined domain. Hedda learned not to dish out into the world what one can’t take back tenfold, but sadly by the time she realized this her destruction was too far
...rian housewife in the time period. This is one of the reasons Hedda resents her so much. Hedda wishes to have the rights of the men in her time period, yet she envies Thea’s feminine persona. This is why Hedda shows her courageous personality when associating with Thea. Similar to Hedda’s conversations with Tesman, Hedda uses the same overpowering demeanor when talking with Thea. Hedda shows her courage in order to exert her dominance over thea as well as showing her hate for thea having control over loveborg. To Hedda having dominance over Thea, mean she has dominance over loveborg as well. Hedda shows her dominance over thea whith the wuote, “Now I am burning your child, Thea!—Burning it, curly- locks!” Hedda refers to the book that thea and loveborg had written together as her baby. Thea had put so much of her time and thoughts into her work and Hedda knew that
Throughout the play, there is a feeling that the room gets darker and less lively with the piano removed as well. The play takes a turn to Hedda being more clear and intentional with her manipulations. She is very bored and irritated in her general life. Her obsessive nature to cause trouble and trying to control everything is evident very early on in the play. She starts out in a quite middle-class setting and seems very annoyed at Tesman, she does not want to be close to him, yet they just returned home from their honeymoon which is supposed to be the most romantic thing at the beginning of marriage, but hers seems just tolerable. She appears to enjoy the fact that Tesman gets worried about the competition with Lovborg, it appears to give her new “fun” activity in her life. There are parts of the play that lean towards Hedda seeming slightly hysterical or bipolar as she goes from being bored and calm to loading pistols as if it is not a big deal and then grasps Thea wildly announcing her expectations for Lovborg. She seems obsessed with trying to control those around her because she has no other “outlet” to her life. Physically, she is repelled by marital sex and, however, flirtatious with the Judge, frightened by extramarital affairs. Like so many women, she is left miserable among the