Television’s historical narrowcasting towards an unambiguous, predominantly male, niche demonstrates the industry’s ability to create gendered spaces and influence hegemonic viewing experiences. This postmodern perspective - which aims to target media messages to specific, favored demographics - has neglected diversity in female representation and has lacked significant address of feminist issues, and in doing so, has prompted submissive internalization of sexist ideologies and stereotypes. The potential of women's television and network’s address to women to redefine standards of femininity and adequately acknowledge women has not been prioritized; however, some television shows today have picked up on issues such as female empowerment, women's rights and plurality in representation. More television today casts women in roles not commonly held before; taken out of the home and challenging mainstream stereotypical assumptions that have for so long dominated television’s discourse surrounding women. Specifically, there has been a substantial lack in coverage of female representation in business settings. The over-saturation of male characters in career and business-oriented roles implicitly undermines female capability to hold power and be successful in these sectors. Television today has made a concerted effort to combat preconceived notions and stereotypical standards of femininity and amplify female voices. Dynasty, Selling Sunset, Queen of the South, Dead to Me and Jane the Virgin demonstrate just how empowering female independence can be by showing women in positions of leadership and providing a raw account of the struggles they must face to succeed and reach their full potential. With reference to these shows, this paper will shed light on television’s newfound attempts to tackle fundamental feminist issues head on by exploring themes such as women’s rights, freedom of choice in sexual expression, competitive empowerment and women in the workplace as well as address topics such as abortion, virginity, feminine leadership and the gendering of ‘catfights’. This paper will examine television’s evolving discourse about women by displaying how the aforementioned shows modernize approaches to female representation, offer refreshing perspectives on feminism and showcase the immense power of women supporting other women.

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Dynasty

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            In the Netflix original Dynasty, Fallon Carrington is the star of the show. She embodies boldness and competence, and her audacious and extremely charismatic personality makes everyone around her feel as though they must always bring their ‘A’ game. Dynasty's plot revolves around Fallon’s self-driven ambition and competitive urge to take the lead in her family's oil business, Carrington Atlantic. Fallon does not settle for anything less than the best, is always up for a challenge and has no problem with some friendly competition. While always the center of discussion regardless of its genre - whether in social, corporate or familial settings - Fallon defies the stereotypical standards expected of women in career-oriented roles that have for so long dominated television’s discourse about women. Dynasty explores the theme of women in business by centering its plot around Fallon, an independent Boss woman and no-nonsense leader that refuses to be intimidated or have her hustle for corporate leadership undervalued by her male or female competitors. The show addresses women’s rights by displaying how women can hold leadership roles in the workplace just as men can work their way up corporate ladders too. Dynasty contests to the stereotypical gendering of ‘catfights’, showing them as a symbol of empowering female competition rather than as unproductive jargon. Fallon’s ambition is evident in her motivation to contribute to the success of her family business, rather than sitting back and relishing in the monetary rewards from the comfort of her designer bedsheets. The show implicitly tackles issues of women's rights and equality in the workplace and in family life by showing Fallon as a progressive, diligent and valuable figure in the corporate oil industry. Her strong female role puts her in direct competition with Krystle, her father's new wife, and they bring out the competitive edge in each other’s personalities. Although their mindsets often conflict, Fallon’s motivation to take the lead always ensures there is something worthy of arguing for or against. This intensifies Fallon’s determination to overtake her father’s business and become the company’s most valuable asset.

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            Krystle’s warm and nurturing disposition differs from Fallon who is more rigid and overtly insensitive. This plurality in feminine representation shows that there is no one way to portray femininity; Dynasty embodies this idea quite well, which is why I feel it is a worthy watch. As a spin-off of the original 1981 Dynasty, the 2017 version shows women running businesses rather than households and challenges traditional gender norms by casting females where males would otherwise be oversaturated in representation.

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            The show targets a broad audience of young-adults and mature males and females in its progressive address to gender intersectionality and equality. Fallon leaps over obstacles in the male-dominated business industry and though this is something not commonly televised, it is important in showing young audiences that sometimes competition can spark ambition to veer outside of comfort and achieve the unimaginable. In the end, Fallon realizes that her career ambition and assertiveness is her greatest asset, and this can be quite inspirational to female viewers especially.

 

Selling Sunset

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            Brought to you exclusively by Netflix, Selling Sunset is yet another American reality tv series based in Los Angeles California. While other reality tv shows like the Real Housewives and Keeping up with the Kardashians feature women focused on the drama in their everyday lives as wealthy elites and building their social statuses and reputations, Selling Sunset provides a refreshing view of real challenges faced by female real estate agents working the Hot Los Angeles housing market. The show explores themes of female strength and career optimism, determination and the contributive capabilities of women in male dominant business cultures. The show intertwines the “female in real estate” narrative with fashion, designer clothing and luxury. While this can attest to the idea that women must sometimes use their bodies or physical appearances to help them sell, make connections and leave clients with good impressions, it can also help strengthen the mark they leave on their female viewers by exemplifying a ‘dream’ lifestyle and making financial independence look achievable.

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            The focus of Selling Sunset is not so much on work-life balance, but rather on giving viewers a glimpse of what it is like having to sell a property within a specific deadline. Frustration, stress and breakdowns — real emotions are shown as these women strive to be the best of the best and nothing less. This kind of genuine representation is something I appreciate and find empowering when it comes to television about women. The show's intense focus on female competition in the workplace raises questions about where the line should be drawn between female empowerment and unruly feminism. The show sheds light on motivated and ambitious women on a roll to build their wealth one house at a time, and their depiction as independent career-oriented females contrasts how most women in reality television shows are portrayed. The focus is not so much on boy drama and gossip, but rather on building their credibility as agents as well as their bank accounts. Although they work under Brett and James and consult with them from time to time, the women are not overly showcased as depending on men to get their jobs done. Instead, the show features many scenes where women are together discussing liberal and progressive topics in the office such as pubic hair growth, confessing uncertainty about their capabilities as agents, cracking under pressures of juggling mom and work life and rolling their eyes to men that call them “sweethearts”. The show depicts these women as career-oriented professionals focused on building their fortunes and establishing reputability in the LA real estate world.

            Selling Sunset does a substantial job at showing that women should by no means be seen as less of a threat than their male counterparts in the workplace; this is a powerful message to send to young, aspiring female audiences. What is still problematic for me, however, is that although women have the potential to be just as smart as men, the difference is that women are most often forced to use their bodies and their sexualities to boost their successes in the realm of fame, business, or, like in Selling Sunset, selling homes.

 

Queen of the South

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            Queen of the South’s protagonist Teresa Mendoza faces several struggles along her journey trying to escape the extremely dangerous reality of the Mexican drug industry - which she becomes subjected to after her boyfriend is murdered in result of his affiliations. The show focuses on two Latina women and their rise to power in the world of the Mexican drug cartel, an industry and business most often associated with strong men and hierarchal power. Having come from the dangerous life of being a money changer on the streets of Mexico, Teresa has known the world of the cartel all too well: a world dominated by men and where women are used as vessels of transportation and exchange to accelerate profit and amplify success in drug trade. Being captured by female drug lord Camila Vargas feeds Teresa’s desire to outsmart and rise above her current status. Through her dealings with Camila, Teresa develops a newfound desire to compete and dominate the drug world; this involves rising above Camila, her greatest competitor. Likewise, Camila Vargas finds herself in competition with her own husband for power in the world of drugs. She becomes successful in a world dominated by men but finds a new level of competition with powerful women - namely, Teresa - desiring to take reign.

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            Teresa realizes that living a privileged life meant she was living in the shadow of her boyfriend and lacking power and authority of her own. When she finally succeeds and becomes one of the top drug lords, she achieves power as well as all the luxuries that come with it. Queen of the South subverts the stereotypical male drug lord role and shows Teresa’s position on top; where the men under her must answer to her first whether they like it or not. Queen of the South’s strong female characters exemplify the type of resilience that many women must possess especially when competing in industries dominated by men. Like female directors in the realm of Hollywood cinema, Teresa’s rise to power in the drug industry demonstrates her profound strength as a role model to other ambitious women seeking their own pursuits of leadership. Teresa had been homeless, had her body used as a mule, endured emotional and physical abuse as well as sexual assault by men around her, yet continued to work her way up and demand respect for her body, her voice and her capabilities as a business leader. Queen of the South is an influential show not only for women and girls, but also for men and boys in need of a modernized perspective on the reality of the multi-gendered drug cartel and the potential for men and women to hold power and rule with force in the realm of organized crime.

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Dead to Me

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            Dead to Me explores the friendship shared between Jen Harding and Judy Hale who grow as women from the traumas and mutual grief they face from the loss of their loved ones. The show sheds light on the challenges of trying to console one another when faced with lies and deceit from men in their lives who kept them in the dark. Jen exemplifies the type of aberrant mother not commonly showcased on television. Instead of the stereotypical motherly representation - overtly caring, nurturing, sweet, gentle and the like, - Jen expresses emotions such as anger, resentment and grief in front of her children and listens to heavy metal music while swearing and yelling to console her pain. Jen takes on the dual role of mother and father and must endure extreme pain in the readjustment period; she tries to repress this pain, however, in order to hide her vulnerability in public. Likewise, Judy is faced with the loss of her unborn child and must deal with her ex-husband who vilifies her and blames her for it. Dead to Me sheds light on the reality of complicated relationships; displaying the right of women and mothers to act off script and unpredictably in the face of death and against pressures of feeling they must appear as though they have everything together in even the toughest moments of their lives.

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            An appreciation of motherhood, which is not often depicted on tv, is heightened by showing Jen as a superhero mom juggling working, trying to figure out who killed her husband and dealing with an unruly mother in law. Having to do all of this, despite her internal suffering and struggles, is shown clearly in this series and with raw emphasis on the ‘ugly’ when these times persist. This, to me, makes the show worth watching. Dead to Me's main characters are both middle-aged women, and as the “Boxed In” report reveals, most shows cast younger female protagonists as opposed to ones that are older and carry more ‘baggage’ (3). The show was created by a female director; this is realizable through the types of female representations proliferated and accuracy and detailed realism imbedded in each storyline. The genuine account of the reality of hardships in marriage, friendship and loss, cheating, divorce and deceit allows viewers of all ages, but especially older women and those in similar life situations, to resonate with Jen and/or Judy. The show targets a broad audience in its welcoming of several perspectives - whether relating to the busy or grieving viewer or to the overwhelmed businesswoman.

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            Dead to Me challenges grief via dark comedy and prompts an appreciation for strong women despite their being viewed as mad, incapable and falling apart without a man to structure their lives and families. Dead to Me displays that friendships can be just as empowering as romantic relationships. Together they fight back against men who sexually assault, harass and manipulate them, and refuse to be framed as crazy even if they must resort to physical violence to protect themselves: “no means motherfucking no”, in Jen’s words (“Try to Stop Me”). 

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Jane the Virgin

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            Jane the Virgin uses satire to mimic the traditional soap opera storyline. It tells the story of Jane Villanueva who becomes accidentally artificially inseminated and touches on a wide array of issues that can, for the most part, be seen from a feminist perspective. From the undocumented Latina immigration experience in America to issues around sexuality and sexual expression to discourse and ideologies surrounding abortion and its moral and ethical viewpoints in Catholicism, Jane the Virgin touches the surface of these social issues. The show provides a historical perspective on three generations of strong, independent women in the Villanueva family all with unique personalities and opinions regarding sexual expression and ambiguity. The show explores themes of sex and virginity, autonomy in sexual expression and freedom to do what one pleases with one’s body and livelihood. More broadly, the show addresses coming of age but with a riveting feminist twist that encompasses motherhood, hardships in single and co-parenting, preserving personal values and morals and female support and empowerment. Jane is depicted as a hard-working writer juggling work, home and mom life. The show does an exemplary job of not merely ignoring men or deeming them as unnecessary, but rather more realistically uplifting a notion that women can be independent and are capable of raising children successfully and making ends meet financially without them.

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            Jane grew up without a prominent father figure. Her ability to come to terms with his neglect at a young age and for her to forgive him and not resort to relying on him despite his fame shows her independence and self-integrity. The show focuses on Jane's choice: her devotion to virginity, and makes symbolic reference to the flower that her conservative abuela continuously reminds her will never revert back to its original shape once deformed or crushed. Conversely, her mother Xo’s sexual expression is more liberal and open; displaying the show’s plurality in representation of sexuality and freedom to make these choices.

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            Jane holds full control to choose; whether it be to have an abortion, to stay in school, to have sex, to forgive or to choose the man she wants to be with. This is something that is not often overemphasized in television’s presentation of women. The female gaze can be recognized here as Jane’s growth and journey to self-understanding is inspirational for many women trying to understand their identities, achieve their goals and bounce back from unplanned life event. The show casts a wide net in terms of its audience because women of all ages can, in one way or another, relate to Jane, her mother or her abuela, or at least realize similarities in their own passed down family ideologies. Jane the Virgin’s presentation of strong, independent women inspire other women to create security for themselves before looking to a man.

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            Women have been strategically undermined and disproportionately represented in television. The potential of television for, and, by and about women to remake feminism and fill the confidence gap created by historical narrowcasting has not been appropriately realized. Today, however, television more progressively welcomes female voices and diversity in representation. In proliferating new standards of female representation, feminist television takes positive steps towards addressing various feminist and social issues such as inequality in treatment, underrepresentation in historically male-dominated industries, demeaning portrayals of gender and reductive categorization of female potential. The historical gendering of television and the stereotypical assumptions that come with it reproduce problematic and highly inaccurate discourses about the capability of females in positions of power, in leadership and in the realm of business. Dynasty, Selling Sunset, Queen of the South, Dead to Me and Jane the Virgin feature strong independent women at their center; showing them in career-oriented roles, taking initiative and building their own fortunes. Whether in the corporate world, in personal and social lives or in friendships, the women in these shows stay true to themselves, embody strength, resiliency and power, and have as their greatest asset, their femininity. As they work to achieve their desired successes, these women show that power is not gendered, despite ubiquitous historical representation, and that although not always taken seriously initially, female leaders can leave just as bold of a mark as their male counterparts and should be equally accredited.

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References

 

Lauzen, Martha M. “Boxed In 2019-20: Women On Screen and Behind the Scenes in Television.” Boxed In, 2020, pp. 1-16. https://womenintvfilm.sdsu.edu/wp-content/uploads/2020/09/2019-2020_Boxed_In_Report.pdf.

 

“Try to Stop Me.” Dead to Me. Netflix Canada, 3 May. 2018, Netflix, www.netflix.com/ca/. Accessed 1 Oct. 2020.

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