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Women, Politics, and Popular Culture University of Kentucky UKnowledge Women's Studies Gender and Sexuality Studies 4-16-2009 You've Come A Long Way, Baby: Women, Politics, and Popular Culture Lilly J. Goren Carroll University Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Goren, Lilly J., "You've Come A Long Way, Baby: Women, Politics, and Popular Culture" (2009). Women's Studies. 14. https://uknowledge.uky.edu/upk_womens_studies/14 You’ve Come a Long Way, Baby YOU’VE COME A LONG WAY, BAby WOMEN, POLITICS, AND POPULAR CULTURE Edited by Lilly J. Goren THE UNIVERSITY PRESS OF KENTUCKY Copyright © 2009 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 13 12 11 10 09 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data You’ve come a long way, baby : women, politics, and popular culture / edited by Lilly Goren. p. cm. Includes bibliographical references and index. ISBN 978-0-8131-2544-2 (hardcover : alk. paper) 1. Women in popular culture—United States. 2. Women in mass media. 3. Women—United States—Social conditions. 4. Feminism—United States. I. Goren, Lilly J. HQ1421.Y588 2009 302.23082’0973—dc22 2009002854 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Member of the Association of American University Presses CONTENTS Acknowledgments vii Introduction: Feminism, Front and Center 1 Linda Beail and Lilly J. Goren Part I: Feminism and the Idea and Constraints of Freedom 1. Extreme Makeover and the Classical Logic of Transformation 15 Emily Askew 2. Smart, Funny, and Romantic? Femininity and Feminist Gestures in Chick Flicks 35 Laurie Naranch 3. From Madonna to Lilith and Back Again: Women, Feminists, and Pop Music in the United States 53 Rachel Henry Currans-Sheehan Part II: Housewives and Presidents: Cultural Understandings of Television Dramas 4. The Reformer and Her Work: Transgression, Alienation, and Feminine Identity in the Police Procedural 73 Peter Josephson and Rebecca Colton Josephson 5. The City, the Suburbs, and Stars Hollow: The Return of the Evening Soap Opera 93 Linda Beail 6. Why Are All the Presidents Men? Televisual Presidents and Patriarchy 115 Linda Horwitz and Holly Swyers Part III: The Mommy Brigade 7. Baby Lit: Feminist Response to the Cult of True Motherhood 137 Melissa Buis Michaux and Leslie Dunlap 8. Supermom: The Age of the Pregnant Assassin 159 Lilly J. Goren 9. The Mommy Track versus Having It All: The Reality of the Modern Workplace 177 Julia Wilson Part IV: What Do Women Want? 10. It Was Chick Lit All Along: The Gendering of a Genre 201 Cecilia Konchar Farr 11. The Personal Is Political: Women’s Magazines for the “I’m-Not-a-Feminist-But” Generation 215 Natalie Fuehrer Taylor 12. The Money, Honey: The Rise of the Female Anchor, the Female Reporter, and Women in the News Business 233 Mary McHugh Selected Bibliography 253 List of Contributors 261 Index 265 ACKNOWLEDGMENTS It is difficult to write acknowledgments on behalf of fifteen authors, and mostly, I am in debt to these wonderful people for committing to this project and writing such enjoyable, interesting, and insightful chapters while jug- gling their myriad other responsibilities. I have been honored to work with fourteen learned and thoughtful scholars who come from diverse academic backgrounds and who bring unique and enlightening perspectives to their respective analyses. I thank them all for taking up this challenge and for responding to my many e-mails. They have all been a delight to work with. Though I do not know all the partners and spouses of the contributors, I still want to thank them all, as well as other friends and family, for help- ing in the many ways they did—making dinner, running errands, reading over drafts, taking care of the kids, and all the other things that need to get done—so the contributors had the necessary time and mental space to think and write (and rewrite). There are other specific people and institutions that also deserve thanks. This project first started to come together when I was on the faculty at the College of St. Catherine, the nation’s preeminent Catholic college for women. In many ways, the regular hallway conversations with my colleagues and students sent me in the direction of creating a book about feminism as seen through the multiple lenses of popular culture. Joanne Cavallaro, Amy Hilden, Brooke Harlowe, Sharon Doherty, Cecilia Konchar Farr, Jane Car- roll, Lynne Gildensoph, Deep Shikha, Jim Ashley, Brian Fogarty, Jack Flynn, Gabrielle Civil, Amy Kritzer, and the Sisters of St. Joseph of Carondelet all contributed by helping me think about these ideas in an open and exciting intellectual environment. As the project evolved, its scope expanded, as did the need for additional authors. I thank my many friends and colleagues who recommended some of the authors who subsequently contributed chapters to this book. Specifically, I thank Carroll University for a faculty development grant that covered part of the cost of the index for this book. I also thank my colleagues and friends at Carroll for providing intellectual engagement and assistance as I worked on this project. Kevin Guilfoy, Abby Markwyn, vii viii Acknowledgments Susan Nusser, Kimberly Redding, Deirdre Keenan, Lara Karpenko, Jason Badura, Jim Grimshaw, Bill Humphreys, Rebecca Imes, and Eric Thobaban all bounced ideas around with me, asked questions, and helped me think through various dimensions of this project. And I am especially grateful to Joanne Passaro, who arrived just in the nick of time. I also thank the Politics, Literature, and Film Section of the American Political Science Association for accepting our proposal for a panel on Femi- nism and Contemporary Popular Culture. This panel, presented in Chicago in 2007, was extremely helpful for the contributors, many of whom had a chance to meet face-to-face and discuss their respective work in an open and congenial setting. In addition, I appreciate the amazing team at the University Press of Kentucky; they made this project a painless process and at every turn were helpful, professional, and enthusiastic. Will, Leila, and especially Anne Dean were great colleagues in this undertaking. Mostly, I thank the women who have long inspired me, providing perfect examples of feminism as they pursued the lives they chose and managed the multiple aspects of their lives: being good friends, good sisters, good mothers, good colleagues, and good professionals. My sisters-in-law Susan and Naomi are the sisters I never had; they are consummate professionals, mothers, and friends. Patricia Siplon, my “partner in crimes—political and otherwise,” not only regularly inspires me but also works hard to help many women who are truly invisible. Tracey Merwise is indeed superhuman. Carolyn Krahnke Schugar is my favorite spy. Ann Davies’s quiet power and constant friendship have been with me for more than two decades. Katrinka Mannelly and Paula Kaplan-Lefko have long provided smiles and humor and loyal friendship. Pam Jensen and Sharon Doherty, my mentors and friends, continue to inspire me and make me laugh. This book focuses on the give-and-take among and between genera- tions of feminists and the learning, mentoring, and disagreeing that open, loving, respectful conversations and relationships foster. This connection, generation to generation—l’dor vador—is a backbone of the Jewish religion. And the works in this book suggest that l’dor vador is also a backbone of feminism. In many ways, the generational connection is both obvious and a given, intellectually, religiously, and culturally. I would not be who I am, nor be curious about so many important and meaningful questions and ideas, if it were not for my mother, Sally Goren. My mother, who has taught me so much, continues to inspire me, encourage me, love me, and set the example of tikkun olum, the responsibility to heal the world. My hope for the future Acknowledgments ix rests with the continued work of all these wonderful women (and, of course, the many men who believe in, work toward, and support the ideal of equal- ity) and the opportunities for the next generation—my children, beautiful Eli and lovely Sophia. Thus, this book is dedicated to the generations of feminists who preceded us and the many generations to come. For Sally, l’dor vador. Introduction FEMINISM, FRONT AND CENTER Linda Beail and Lilly J. Goren It was an interesting experience to be working on this book during the 2008 primary season. Whatever one’s politics, the historic runs of Senator Hillary Rodham Clinton and Senator Barack Obama for the Democratic presidential nomination led to quite a few conversations about both race and gender in the United States, especially as culturally consumed through the media. This primary season prompted more public discussions about second- and third-wave feminism, postfeminism, the absence of feminism, misogyny, gender, racial and sexual discrimination, and so forth than have been heard in quite some time.
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