Titlebook: Working Women on Screen; Paid Labour and Four Ellie Tomsett,Nathalie Weidhase,Poppy Wilde Book 2024 The Editor(s) (if applicable) and The A

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Selling Sunset… and My Postfeminist Sexual Capital: New Sexual Subjectivities in Reality TVilton in Sexualities 15:815–33, 2012). I argue the representation of these female agents centres their use of postfeminist sexual capital, which works to bring success, or failure, to them. In this regard, the postfeminist sexual capital emerges as a double-edged sword which can accentuate neolibera

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“Millennial Dumplings” at Work: Women’s Emotional and Aesthetic Navigation of Creative Workplaces inrsects with gender).?This chapter will consider firstly, how the selected comedy dramas represent contemporary creative workplaces (journalism and video games design) and their gendered dynamics, and secondly, how the women protagonists’ embodied experiences of their workplaces are used within the n

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“I Am the Highest Paid Showrunner in Television!” Shonda Rhimes’ Work and Influence in the Media Indh a discourse analysis of several of Rhimes’ recorded acceptance speeches from 2017/2018, this chapter critically considers the intersections of race and gender that impact on the paid labour of women in television. Specific focus is placed on Rhimes’ choice of language and how she engages with acts

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“I Took a Dump on the Glass Ceiling”: ,, Incompetence, and Populist Political Cultureomen have been constructed as saviours of democracies in crisis. . does not offer the same illusion of empowerment that other quality television shows offer. .’s gender and workplace politics can thus be understood as a critique of the narrative of the White woman saviour and demonstrate the limitat

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