Between the pre-feminist antics of Lucy Ricardo & the post-feminist musings of the women in 'Friends', the depiction of women on television has evolved in as many interesting & surprising ways as the women's movement itself.

Branded Women in U.S. Television examines how The Real Housewives of New York City, Martha Stewart, and other female entrepreneurs create branded televised versions of the iconic U.S. housewife. Using their television presence to establish and promote their own product lines, including jewelry, cookware, clothing, and skincare, they become the primary physical representations of these brands. While their businesses are serious and seriously lucrative, especially reality television enables a certain representational flexibility that allows participants to create campy and sometimes tongue-in-cheek personas. Peter Bjelskou explores their innovative branding strategies, specifically the complex relationships between their entrepreneurial endeavors and their physical bodies, attires, tastes, and personal histories. Generally these branded women speak volumes about their contemporaneous political environments, and this book illustrates how they, and many other women in U.S. television history, are indicative of larger societal trends and structures.

The Golden Girls, Designing Women, Living Single, Sex and the City, Girlfriends, Cashmere Mafia and Hot in Cleveland stand out as some of America's favorite television series. Their lovable "female foursome" characters engage in witty banter as they challenge American stereotypes about sex, love, family, work and community. These sitcoms and comedy-dramas live on as cable TV re-runs and through online fan communities, demonstrating mass appeal across generations of women and men. Connecting fan commentary with analysis by television scholars, this book explores the development of these series from the 1980s on, with a focus on the role of fan cultures in "reproducing" these popular American shows.

Long dismissed as ciphers, sycophants and "Stepford Wives," women characters of primetime television during the 1950s through the 1980s are overdue for this careful reassessment. From smart, savvy wives and resilient mothers (including the much-maligned June Cleaver and Donna Reed) to talented working women (long before the debut of "Mary Tyler Moore") to crimebusters and even criminals, American women on television emerge as a diverse, empowered, individualistic, and capable lot, highly worthy of emulation and appreciation.

Now best friends can express how they feel about each other while sharing laughs from television's all-time favorite pals, the gang from I Love Lucy. They know a best friend is one who will help you peddle your million-dollar salad dressing—on skates. If you're caught wearing a potato sack on the Champs Elysées, a best friend is right there beside you in matching burlap. When they find themselves spending the wee morning hours stealing cement blocks from Grauman's Chinese Theater, friends will know the first among many Lucy-style lessons on friendship found in this book: No matter how wacky the scheme, a best friend is with you through thick and thin!

In this book, Anna Marie Bautista delves into the increased visibility of gender inequality, largely brought about by #MeToo, that has been incorporated into representations on television series, reflecting a 'conspicuous feminism' that is explicit, activist, and commodifying in its consideration of gendered power structures and inequality.

Can comedy on television harbour elements of gender transgression or subversion? If a man is permitted to be 'funny peculiar' – playing the underdog or misfit – does a woman seem stranger in his place? Mapping examples from British and American comedy television over the past 60 years, from I Love Lucy to The Big Bang Theory and Smack the Pony to Waiting For God, this book asks: are particular forms of television comedy gendered in specific ways? Paying attention to series which have not been addressed in academic work, as well as more established shows, White offers fresh insights for the fields of television studies, gender and women's studies, cultural history and comedy.

Covering from 1900 to the present day, this book highlights how female artists, actors, writers, and activists were involved in the fight for women's rights, with a focus on popular culture that includes film, literature, music, television, the news, and online media. Women's Rights: Reflections in Popular Culture offers a succinct yet thorough resource for anyone interested in the relationship between feminism, women's rights, and media. It is ideally suited for students researching popular culture's role in the modern history of women's rights and representation of women, women's rights, and feminism in popular culture. This insightful book highlights of some of the most important moments of women taking a stand for women throughout popular culture history. Each section focuses on an aspect of popular culture. The television section covers important benchmarks, such as Julia, The Mary Tyler Moore Show, Roseanne, Murphy Brown, and Ellen. Coverage of films includes Christopher Strong, Foxy Brown, and Thelma & Louise; the literature section features the work of influential individuals such as Virginia Woolf, Zora Neale Hurston, and Toni Morrison. The book celebrates early musical ground-breakers like Gertrude "Ma" Rainey and Bessie Smith as well as contemporary artists Janelle Monáe and Pussy Riot. The work of key women activists—including Margaret Sanger, Angela Davis, and Winona LaDuke—is recognized, along with the unique ways women have used the power of the web in their continued effort to push for women's equality.

Television was one of the forces shaping the cultural revolution of the 1960s and 1970s, when a blockbuster TV series could reach up to a third of a country’s population. This book explores television’s impact on social change by comparing three sitcoms and their audiences. The shows in focus – Till Death Us Do Part in Britain, All in the Family in the United States, and One Heart and One Soul in West Germany – centered on a bigoted anti-hero and his family. Between 1966 and 1979 they saturated popular culture, and managed to accelerate as well as deradicalize value changes and collective attitudes regarding gender roles, sexuality, religion, and race.

Alison Horbury investigates the reprisal of the myth of Persephone - a mother-daughter plot of separation and initiation - in post-feminist television cultures where, she argues, it functions as a symptom expressing a complex around the question of sexual difference - what Lacan calls 'sexuation', where this question has been otherwise foreclosed.