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The Living Television: Alloy Entertainment and the Brand New Girl

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The Living Television: Alloy Entertainment and the Brand New Girl THE LIVING TELEVISION: ALLOY ENTERTAINMENT AND THE BRAND NEW GIRL _______________ A Dissertation Presented to The Faculty of the Department of English University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Brandon K. Hernsberger May, 2014 THE LIVING TELEVISION: ALLOY ENTERTAINMENT AND THE BRAND NEW GIRL _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of English University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Brandon K. Hernsberger May, 2014 ABSTRACT Alloy Entertainment has fundamentally changed the landscape of teen media (YA fiction and the television adaptation) by decentering the teenager (especially the teenage girl) and instead focusing squarely on how the teenager in media can help promote Alloy’s own brand mission of advertising itself as a marketing corporation within the spaces of its products (books and television programs). Alloy does this through the semiotic marking of gender in and through its products to resemble the way that it, Alloy Entertainment, markets itself as well as through the repetition of seven brand principles (of Alloy’s design) seen especially in Alloy’s three most popular (and most socially shared) book to television properties: Gossip Girl, The Vampire Diaries, and Pretty Little Liars. These properties can be seen as three separate parts of the same thing—that is, different versions of one singular brand mission: the promotion of a real company within the fictional spaces of narrative. The Alloy girl is: (1) sexually depraved; (2) terrorized; (3) highly dependent on a male counterpart for self-actualization; (4) surveilled; (5) marked by class and/or race; (6) representative of a nationalist gender identity (a social agent); and (7) a child acting as an adult. These brand principles can all been in the three properties mentioned above, though not all seven are always used at the same time. Alloy Entertainment has all but taken away the possibility for the televisual teenage girl’s exploration of her own liminality (this exploration was always possible in teenage television of the past, up until Alloy eliminated it in its first television property: Gossip Girl); and because of this, the teenage girl in the audience likely has a more difficult time understanding her own liminal position given how much time young people spend with various media as a way to, at least partly, learn what it looks like to grow up. There is no such thing as a teenage girl on television anymore; there is only the Alloy teenage girl, the branded teenager. iv ACKNOWLEDGEMENTS Television has had a profound impact on who I am today and who I will be tomorrow and forever. Because of that I would be remiss not to first and foremost thank Zack Morris. Growing up I found that some of the closest relationships I had were with the people on television. I have always trusted television implicitly to provide a map for how to live, how to speak, how to find happiness. Zack Morris was the first character on television who spoke directly to me (sometimes literally, kind of) and who spoke directly to the teenage sensibilities of a generation of boys (and I assume girls as well, though I might be wrong) fraught with what seemed like immeasurably difficult problems like how to fight for the right locker or why and how a first date was the easiest thing in the world (turns out Zack was wrong on that one). Zack Morris was my best friend for a very large portion of my life, and this dissertation would not have been possible without him. There were many people who helped guide me through the process of writing this dissertation, from finding the right books and articles stage through the never having enough books and articles and therefore greatly inhibiting the actual writing due to the overwhelmingly high stack of pages sitting next to my desk begging to be read stage through the draft upon draft upon draft and realizing that I may never finish this thing stage through the take a deep breath you can do this stage through the finally I have a completed draft ready to be read stage through this, the completed stage. Dr. Jennifer Wingard, my dissertation director, has been there through it all; and without her I could never have gotten here. Jen has been a constant inspiration and I could never imagine having gone through this process without her. Talking TV and what TV means and should mean is never better than with Jen; she challenged me to be better, to write longer or to write shorter, and always to think higher. I also must thank my dissertation committee members, Drs. Margot Backus, James Zebroski, Paul Butler, and Rachel Riedner, for their generous help and willingness to push me through when I needed it most. Dr. Elizabeth Kessler has been, for close to a decade, a kind of second mom to me, never saying no to a five minute conversation and never forgetting to let me realize how great life can be, just about every day. I need to also thank the University of Houston Department of English, v without which I would never have been allowed to teach Saved by the Bell as a first-year teaching assistant. UH is and always will be my home. And speaking of home, Houston Community College, specifically Beverly Hixon, Dr. Pauline Warren, and Dr. Irene Porcarello all gave me the support and trust I needed to finish this dissertation while at the same time providing me the opportunity to teach the greatest, smartest, and kindest group of students in the world. HCC Southeast Campus will forever live in my heart as the place that took a chance on me. And to my family—this dissertation is in no small way because of the love I have gotten from them since I can remember what love was supposed to feel like. They gave me TV, they gave me books, they gave me balloons, they gave me trees, and especially to they who gave me hallelujah. And lastly, to the best friend a person could ever have—my sister Kimi, the little peench. Kimi, who taught me that sleeping in airports or seriously considering eating ant-infested pizza or waiting twelve hours in the blazing sun or freezing cold just to get the rail or losing car keys or ID or that hurricanes can be dealt with if there is at least bicycles and music, because at the end of everything is one immutable truth: there is always joy. vi TABLE OF CONTENTS Introduction: The Adaptation of the Transcendent American Teenager 1 Alloy Entertainment and Neoliberal Media Control 2 A New Age of Choice on Television 6 One: The History of the Teenage Girl on Television, and Where She Went Next 15 Branding becoming Meaning 16 The New Television Teenager 19 The End of Innocence on Television: 1990 and the Suddenness of Growing Up 23 Economics/Commodification of Gender on Teen Television 26 Sex Ed on Television 30 The Teen Girl as Consumer 32 The Alloy Branded Teenager 34 The Living, Branded Television 37 Two: Spotted: You and You and You and You and You Gossip Girl and a TV Revolution 41 The Internet on Television 42 The Beginning of Gossip 44 The Evolution of Gossip Girl 48 Gossip Girl and the New Teen 50 Alloy’s Seven Brand Principles 52 Surveillance as Normative 53 Passivity and Acceptance of One’s Own Sexual Depravity 56 The Alloy Brand Made More Equitable 57 The New Gossip Girl 61 The Girl as Resigned to Accepting Victimization 62 The Need to Unmask Gossip Girl for the Future of Alloy’s Teen Girl 63 The End of Gossip Girl 65 Alloy’s Emotional Market Share 66 The Extratextual World of Alloy Entertainment 68 Three: For Your Own Good: Hyper-Masculinity, Homosocial Normativity and Terror In The Vampire Diaries and its Fandom 76 Twilight and the Beginning of Contemporary Homosociality 77 The Vampire Diaries as TV Twilight 83 The Vampire Diaries and Female Agency 86 The Vampire Diaries and Homosociality 88 Homosociality and the Gaze in The Vampire Diaries 93 Alloy Entertainment and Imbedded Masculinity 97 Alloy Entertainment and Branding 100 The Vampire Diaries’ Brand 103 The Vampire Diaries and Gendered Fandom 106 vii Four: The Never Ending Math Equation Turning the Soap-Opera Into an Ellipsis of Terror One Little Liar At “A” Time 115 Pretty Little Liars and the Birth of a Narrative Machine 116 Pretty Little Liars and the Invisible Terrorist 120 The Allying of Text, Book and Television 123 Pretty Little Liars and the Seven Alloy Principles of Branding 126 Pretty Little Liars and its Mathematical Soapiness 129 The Patterning of Narrative, and Marketing 133 The Extratextual Work of Alloy 141 Surveillance in Pretty Little Liars 143 Fandom and Pretty Little Liars 147 Pretty Little Liars and Branding 150 Knowing your Audience through a Virtual Relationship 153 The Co-optation of Feminism by the Homosocial Narrative in Pretty Little Liars 155 Five: Alloy Entertainment and the Future of Gendered Fandom 161 Alloy Entertainment in the Classroom 162 Approaching Alloy Differently, for the Benefit of Students 167 Alloy’s Reach Into Non-Alloy Television 169 The Necessity of a Vocal Fandom 172 Too Much Branding? 174 Bibliography 184 viii To “A,” who helped me solve the mystery of it all. ix “Love is…” —Bo x Introduction The Adaptation of the Transcendent American Teenager The teenage girl on television1 is rapidly disappearing. In her place stands a closed and fully contained byproduct of a single company’s marketing mission—that mission being to brand their own company name, Alloy Entertainment, onto the gendered identity of each teenage girl2 under their control to create a kind of meta-marketing business model whereby they, Alloy Entertainment, end up being what is consumed while the televisual girls that Alloy constructs, along with the real girls in the audience, become equally whitewashed.
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