This book looks at how the classic television series fits into the cultural milieu of mid-century America. I Love Lucy incorporates key themes of the 1950s American political scene and classic American values of family, social mobility, community, individualism and work, keeping in mind that “Luck” as Machiavelli said “is the arbiter of half of what we do.” As the beloved American TV queen, Lucy Ricardo is a psychologically complicated character, conflicted between her role as a 1950s housewife and her wish to be a star. She is an icon of social mobility, going from a small New York City apartment to a country house in a swanky suburb, and an example of the “transitional” woman who wants to have it all. Is she a feminist? Is she a conformist? Does she prefer the country to the city? Whether she is working on the chocolate factory assembly line, baking bread, or achieving the American dream, Lucy is always “speeding it up!”

The contemporary consumer is bombarded with fear-inducing images and information. This media shower of imagery is equalled only by the sheer quantity of fear-assuaging products offered for our consumption. "The Politics of Everyday Fear" addresses questions raised by the saturation of social space by capitalized fear. Emphasizing the relatively neglected domain of what might be called "ambient" fear - continually rekindled, low-level fear that insinuates itself into people's daily routine, subtly reshaping their lives - "The Politics of Everyday Fear" approaches fear less as a psychological fixation than a fluid mechanism for the social control order of late capitalism. Brian Massumi is the author of "User's Guide to Capitalism and Schizophrenia: Deviations From Deleuze and Guattari" (1992) and with Kenneth Dean of "First and Last Emperors: the Absolute State and the Body of the Despot (1992)". He has translated many books and written many essays on contemporary discourses. This book is intended for undergraduates and graduate students in media studies, interdisciplinary cultural theory, comparative literature, postmodernism, Marxism and post-structuralist media theory.

Self-interest is an important human motive and this book explores its evolution in the United States and its consequences for politics, business, and personal relationships. In the postwar era American understandings of self-interest have moved away from Alexis de Tocqueville’s concept of “self-interest well-understood” – in which people recognize that their interests are served by the success of the community of which they are part – towards “individualism” – by which he meant narrow framing that often leads people to pursue their interests at the expense of the community. The book documents this evolution through qualitative and quantitative content analysis of presidential speeches, television sitcoms and popular music, before exploring its negative consequences for democracy.

The Beverly Hillbillies includes the portrayal of rich versus poor, the American dream, wealth, and social mobility in popular culture. The Hillbillies was a phenomenon of post-World War II America, the second wave after the 1950s, the dustbelt Depression meets the promise of opportunity achieved through luck. Luck counts in liberal society. It is, said Machiavelli, “the arbiter of half of what we do.” But is success based on luck really the American dream? And who is the bigger success story—the Hillbillies or those who have earned their wealth? Whom do we want to be or be like? Everyone wants to win the lottery, but is everyone willing to do what it takes to achieve financial independence without winning the lottery? Does winning the lottery bring social status or can it only be achieved by labor? In sum, Paul Henning’s brilliant comedy series The Beverly Hillbillies is replete with political ideas and has come to occupy a special place in popular culture as a classic television icon because of its deeper meaning and relationship to how we think about wealth, status, social mobility and the American dream.

This work examines the unique and ever-changing relationship between politics and comedy through an analysis of several popular American television programs. Focusing on close readings of the work of Ernie Kovacs, Soupy Sales, and Andy Kaufman, as well as Green Acres and The Gong Show, the author provides a unique glimpse at the often subversive nature of avant-garde television comedy. The crisis in American television during the political unrest of the late 1960s is also studied, as represented by individual analyses of The Monkees, The Smothers Brothers Comedy Hour, Rowan and Martin's Laugh-In, and All in the Family. The author also focuses on more contemporary American television, drawing a comparative analysis between the referential postmodernism of The Simpsons and the confrontational absurdity of South Park.

A captivating and analytical compendium to the hit show -and its creation, story, and impact on contemporary media and popular culture. This one-stop primer offers a succinct analysis of one of the most skillfully produced, artistically innovative, and culturally resonant scripted series in modern television. It opens by explaining how Mad Men (AMC, 2007–2015) functions as a representative example of much deeper and more profound structural changes happening in television since the 2000s. Gary R. Edgerton highlights influences driving the creation of the show, including creator Matthew Weiner’s personal connections to the subject matter and the development of the main character, Don Draper (Jon Hamm). Analysis of the show’s story progression is delineated by a pivotal shift from a culturally relevant Zeitgeist phenomenon to a narrative more concerned with Draper’s introspective and existential journey to reconciliation and self-awareness. Cultural reflections are also explored with interrogations of privilege and prejudice, the American Dream, ethnicity, race, gender politics, and class as witnessed through the program’s complex and conflicted characters. Following its debut, Mad Men quickly became a bellwether of contemporary culture. The award-winning series set the creative standard in drama over the span of its initial run and is now recognized as a milestone in the history and development of scripted television. Throughout its seven seasons, the series struck a delicate balance of being both complex and cerebral while also entertaining and accessible, a balance that Edgerton skillfully carries over to this book.

Questioning society and one’s place in it is a common theme in both comedy and sociology. Understanding and subverting hierarchies and norms, exploring deviance and taboos, and relating lived experience to broader questions all hold a crucial place for them both. Introduction to Sociology Through Comedy teaches foundational sociological concepts using comedy, first considering the history of sociology before employing examples from comedians – including standalone comedy bits, sketches, characters, and scenes – to illustrate a specific theory, concept, or social phenomenon. The profession of comedy is then used as a case study for the application of sociological concepts, such as impression management, social stratification, racial segregation, deviance, and stigma, allowing readers to gain familiarity with the concepts while simultaneously practicing their application. This book explains why we laugh by applying theories of humor, which will bolster students’ understanding of sociological principles by forcing them to question their own assumptions – helping them to put why they laugh into sociological terms.

In these essays I often refer to social contracts such as the Declaration of Independence, the Constitution of the United States, the Universal Declaration of Human Rights, and other international conventions that describe a vision of just human relations, especially in the area of culture and health care. We do not live behind a veil of ignorance where we enter into contemplation of questions of right and wrong without an awareness of our own particularities. Moreover, we do not always determine what is right based on reason. But, we do make decisions every day about how we will live within the social contracts that govern our lives. Many of us go along to get along with a let's-not-rock-the-boat-preserve-the-status-quocaution. Then there are those of us who use the documents of our social contracts to secure more justice and more peace. The purpose is to rock the boat and to disrupt the status quo when it is unjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I understand Christ as a title not as a person. It is a designation of an anointing. This, in my opinion, is the anointing of radical love. Christ is the human incarnation of divine love. We each ought to strive to become this whether or not we are Christian, whether or not we are even believers. Those of us who are Christians believe that Jesus paid it all. There is no more need for blood-shed sacrifice. Murder is never holy. God does not need it or want it. Our work now is to become living sacrifices that will redeem this world through justice and peace. That is the meaning of these essays. (From the Introduction)

The Politics of Pictures is a history of looking, from Aristotle to TV audiences, from the invention of photography to the meaning of picnics, from Leviathan to synchronised swimming, Dr Johnson to the sexualization of war. John Hartley's wide-ranging and sometimes bizarre journey of discovery looks for the public in the realm of media, where citizens are now literally represented on screen and page. The book investigates popular media reality by showing how pictures and texts are powerful political forces in their own right, using a variety of primary texts to explore the way publics have been created, and exploring the political uses of media audiences. The unconventional approach is designed to show how popular reality looks to itself, and how its peculiar forms and connections actually challenge some venerable political and philosophical truths.

From The Wire to Intervention to Girls, postmillennial American television has dazzled audiences with novelistic seriality and cinematic aesthetics. Yet this television is also more perverse: it bombards audiences with misogynistic and racialized violence, graphic sex, substance abuse, unlikeable protagonists, and the extraordinary exploitation of ordinary people. In Uncomfortable Television, Hunter Hargraves examines how television makes its audiences find pleasure through feeling disturbed. He shows that this turn to discomfort realigns collective definitions of family and pleasure with the values of neoliberal culture. In viscerally violent dramas, cringeworthy ironic comedies, and trashy reality programs alike, televisual unease trains audiences to survive under late capitalism, which demands that individuals accept a certain amount of discomfort, dread, and irritation into their everyday lives. By highlighting how discomfort has been central to the reorganization and legitimization of television as an art form, Hargraves demonstrates television’s role in assimilating viewers into worlds marked by precarity, perversity, and crisis.