Pub Date : 2024-09-14DOI: 10.1177/15274764241277471
Jinsook Kim
This paper examines the antifeminist appropriation of cancel culture in South Korea, focusing on the controversy surrounding the finger-pinching motif, allegedly associated with Megalia, a now-defunct feminist online community. While cancel culture originated from marginalized groups challenging systemic injustices, it is now appropriated by dominant groups to reinforce social structures—in this case, to protect male privilege and undermine feminism. The study reveals how antifeminist canceling in the country has extended over the years beyond subcultural industries to companies, government agencies, and public institutions. Although both feminists and antifeminists engage in cancel practices, antifeminist canceling has led to the removal of numerous advertisements and the sanctioning of women and precarious workers, reflecting the fundamental gender power imbalance in South Korea. By examining social, public, and institutional responses, I argue that such institutional enforcement upholds and reproduces the antifeminist hijacking of cancel culture, further silencing marginalized communities.
{"title":"Calling out Feminists: Antifeminist Hijacking of Cancel Culture in South Korea","authors":"Jinsook Kim","doi":"10.1177/15274764241277471","DOIUrl":"https://doi.org/10.1177/15274764241277471","url":null,"abstract":"This paper examines the antifeminist appropriation of cancel culture in South Korea, focusing on the controversy surrounding the finger-pinching motif, allegedly associated with Megalia, a now-defunct feminist online community. While cancel culture originated from marginalized groups challenging systemic injustices, it is now appropriated by dominant groups to reinforce social structures—in this case, to protect male privilege and undermine feminism. The study reveals how antifeminist canceling in the country has extended over the years beyond subcultural industries to companies, government agencies, and public institutions. Although both feminists and antifeminists engage in cancel practices, antifeminist canceling has led to the removal of numerous advertisements and the sanctioning of women and precarious workers, reflecting the fundamental gender power imbalance in South Korea. By examining social, public, and institutional responses, I argue that such institutional enforcement upholds and reproduces the antifeminist hijacking of cancel culture, further silencing marginalized communities.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"15 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142251275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-14DOI: 10.1177/15274764241277467
temi lasade-anderson, Francesca Sobande
As Elon Musk’s takeover of Twitter highlights, platforms’ affordances extend further than UI choices and content formats emphasized. Extant work addresses that political perspectives are implicated in the affordances of platforms; however, the notion of “ideology as/of affordance” requires more scholarly attention, namely, from a Black feminist position which grapples with the raced and gendered dimensions of how such shaping of affordances is understood and experienced in digital contexts. A Black feminist analysis offers a critical intervention that examines the dynamics between ideology, digital culture, and relational experiences of autonomy. Thus, our article outlines how “ideology as/of affordance” is a helpful intervention for illuminating the power relations by which both “cancel culture” and “platform affordances” are defined. Specifically, we explicate how white supremacist ideology underpins platform affordances, which in turn shape who is “canceled,” and consider the key connections and disconnections between them.
{"title":"Ideology as/of Platform Affordance and Black Feminist Conceptualizations of “Canceling”: Reading Twitter","authors":"temi lasade-anderson, Francesca Sobande","doi":"10.1177/15274764241277467","DOIUrl":"https://doi.org/10.1177/15274764241277467","url":null,"abstract":"As Elon Musk’s takeover of Twitter highlights, platforms’ affordances extend further than UI choices and content formats emphasized. Extant work addresses that political perspectives are implicated in the affordances of platforms; however, the notion of “ideology as/of affordance” requires more scholarly attention, namely, from a Black feminist position which grapples with the raced and gendered dimensions of how such shaping of affordances is understood and experienced in digital contexts. A Black feminist analysis offers a critical intervention that examines the dynamics between ideology, digital culture, and relational experiences of autonomy. Thus, our article outlines how “ideology as/of affordance” is a helpful intervention for illuminating the power relations by which both “cancel culture” and “platform affordances” are defined. Specifically, we explicate how white supremacist ideology underpins platform affordances, which in turn shape who is “canceled,” and consider the key connections and disconnections between them.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"205 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142251274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-10DOI: 10.1177/15274764241277469
Elizabeth Farries, Páraic Kerrigan, Eugenia Siapera
Cancel culture claims, narratives and practices now play out in predominantly platformed spaces, spanning from progressive publics and accountability practices to reactionary/anti-woke/far right publics. We argue that platform affordances, architectures and cultures serve as a nodal point to bring together a disparate set of practices, discourses and ideological positions to facilitate polarized, reactionary, and or strategic networked publics in the context of digital politics and the (re)emergence of culture wars. Papers within this special issue speak to our argument in varying ways. They explore the mechanisms, sentiments, tolerances, and practices in local and global contexts. They consider how certain practices manifesting as social justice interventions apply to negatively impact marginalized groups, theorize the role of and power of platforms in propelling cancelations, and track the rituals associated with cancel culture on platforms. In doing so we encompass perspectives and case studies from the global majority to inform what has to date been a largely Western area of focus and scholarship.
{"title":"The Platformisation of Cancel Culture","authors":"Elizabeth Farries, Páraic Kerrigan, Eugenia Siapera","doi":"10.1177/15274764241277469","DOIUrl":"https://doi.org/10.1177/15274764241277469","url":null,"abstract":"Cancel culture claims, narratives and practices now play out in predominantly platformed spaces, spanning from progressive publics and accountability practices to reactionary/anti-woke/far right publics. We argue that platform affordances, architectures and cultures serve as a nodal point to bring together a disparate set of practices, discourses and ideological positions to facilitate polarized, reactionary, and or strategic networked publics in the context of digital politics and the (re)emergence of culture wars. Papers within this special issue speak to our argument in varying ways. They explore the mechanisms, sentiments, tolerances, and practices in local and global contexts. They consider how certain practices manifesting as social justice interventions apply to negatively impact marginalized groups, theorize the role of and power of platforms in propelling cancelations, and track the rituals associated with cancel culture on platforms. In doing so we encompass perspectives and case studies from the global majority to inform what has to date been a largely Western area of focus and scholarship.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"43 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142219601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-07DOI: 10.1177/15274764241277473
Daniel Jurg, Marc Tuters, Ike Picone
“Cancel culture” has gained tremendous attention in contemporary political discourse. On platforms like YouTube, reactionary ideological entrepreneurs often employ what Ng terms second-order discourses on cancel culture, that is, portraying call-out practices such as shaming public figures as left-wing censorship efforts stifling free speech. This article argues that such call-out practices, generally ascribed to progressive communities, also occur internally within reactionary communities where fans hold ideological entrepreneurs accountable for adhering to potentially extreme political canons. Adopting a fan studies perspective, this exploratory investigation used “close” and “distant” readings on 1.8 million comments from the now-canceled “The Alex Jones Channel” on YouTube (2017–2018). Focusing on Jones’ recantation of the “Sandy Hook Hoax,” the authors show that, akin to traditional fandom conceptions, radical audiences engaged in call-out practices demanding “character” and “narrative” fidelity. This contribution, theorized as “audience capture,” emphasizes the bottom-up efforts of audiences to maintain the radical views of ideological entrepreneurs.
{"title":"“Alex, DO NOT BACKPEDAL ON SANDY HOOK!”: Reactionary Fandom, Cancel Culture, and the Possibility of ‘Audience Capture’ on YouTube","authors":"Daniel Jurg, Marc Tuters, Ike Picone","doi":"10.1177/15274764241277473","DOIUrl":"https://doi.org/10.1177/15274764241277473","url":null,"abstract":"“Cancel culture” has gained tremendous attention in contemporary political discourse. On platforms like YouTube, reactionary ideological entrepreneurs often employ what Ng terms second-order discourses on cancel culture, that is, portraying call-out practices such as shaming public figures as left-wing censorship efforts stifling free speech. This article argues that such call-out practices, generally ascribed to progressive communities, also occur internally within reactionary communities where fans hold ideological entrepreneurs accountable for adhering to potentially extreme political canons. Adopting a fan studies perspective, this exploratory investigation used “close” and “distant” readings on 1.8 million comments from the now-canceled “The Alex Jones Channel” on YouTube (2017–2018). Focusing on Jones’ recantation of the “Sandy Hook Hoax,” the authors show that, akin to traditional fandom conceptions, radical audiences engaged in call-out practices demanding “character” and “narrative” fidelity. This contribution, theorized as “audience capture,” emphasizes the bottom-up efforts of audiences to maintain the radical views of ideological entrepreneurs.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"1 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142219602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-04DOI: 10.1177/15274764241277465
Shangran Jin, Gwen Bouvier
Using Multimodal Critical Discourse Analysis, this paper examines a sample of X hashtags supporting or criticizing Johnny Depp or Amber Heard in their 2022 domestic abuse/defamation trial, where in both cases there were calls to cancel each. The analysis explores how the acts carried out by the targets for canceling, along with concrete details of their personal circumstances, become set aside as what we call “trigger-ready” interest groups become activated by a perceived transgression in relation to their own more narrow and heterogeneous concerns. Hashtags become an entanglement of vaguely articulated discourses relating to matters including fandom, gender, abuse and conspiracy. These discourses stack up against the target and coalesce into growing outrage. The analysis suggests that intensity of canceling bares little relationship to any actual transgression but to the extent to which these “trigger-ready” groups become involved. This may be a characteristic of wider patterns in online cancel campaigns.
{"title":"Cancel Culture and Trigger-Ready Fragmented Interest Groups: The Case of Depp Versus Amber Heard","authors":"Shangran Jin, Gwen Bouvier","doi":"10.1177/15274764241277465","DOIUrl":"https://doi.org/10.1177/15274764241277465","url":null,"abstract":"Using Multimodal Critical Discourse Analysis, this paper examines a sample of X hashtags supporting or criticizing Johnny Depp or Amber Heard in their 2022 domestic abuse/defamation trial, where in both cases there were calls to cancel each. The analysis explores how the acts carried out by the targets for canceling, along with concrete details of their personal circumstances, become set aside as what we call “trigger-ready” interest groups become activated by a perceived transgression in relation to their own more narrow and heterogeneous concerns. Hashtags become an entanglement of vaguely articulated discourses relating to matters including fandom, gender, abuse and conspiracy. These discourses stack up against the target and coalesce into growing outrage. The analysis suggests that intensity of canceling bares little relationship to any actual transgression but to the extent to which these “trigger-ready” groups become involved. This may be a characteristic of wider patterns in online cancel campaigns.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"1 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142227370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-31DOI: 10.1177/15274764241277476
Nicola Bozzi
This paper outlines a cultural critique of the Joe Rogan Experience. Framing the podcast as an adaptive cultural platform, I emphasize how it is ideologically informed by both the established infrastructure and dynamics of communicative capitalism and Joe Rogan’s ethos as a comedian. The paper discusses three ways Joe Rogan and his format negotiate their relationship with platform infrastructures. The first is Rogan’s relationship with Spotify and his interest in shaping “cancel discourses” and, subsequently, his own role as an embedded, “uncancellable” skeptic. The second is the combination of Rogan’s roast universalism and pioneering speech-a-ton format, designed to establish an infrastructure for platforming his cohort of podcasting comedians on YouTube. The third is Rogan’s relationship with platform-owner Elon Musk, whose communicative capitalist agenda has political implications. The paper establishes a theoretical connection between studies of platformisation and the under-studied cultural influence of podcasting comedians.
{"title":"Platforming the Joe Rogan Experience: Cancel Culture, Comedy, and Infrastructure","authors":"Nicola Bozzi","doi":"10.1177/15274764241277476","DOIUrl":"https://doi.org/10.1177/15274764241277476","url":null,"abstract":"This paper outlines a cultural critique of the Joe Rogan Experience. Framing the podcast as an adaptive cultural platform, I emphasize how it is ideologically informed by both the established infrastructure and dynamics of communicative capitalism and Joe Rogan’s ethos as a comedian. The paper discusses three ways Joe Rogan and his format negotiate their relationship with platform infrastructures. The first is Rogan’s relationship with Spotify and his interest in shaping “cancel discourses” and, subsequently, his own role as an embedded, “uncancellable” skeptic. The second is the combination of Rogan’s roast universalism and pioneering speech-a-ton format, designed to establish an infrastructure for platforming his cohort of podcasting comedians on YouTube. The third is Rogan’s relationship with platform-owner Elon Musk, whose communicative capitalist agenda has political implications. The paper establishes a theoretical connection between studies of platformisation and the under-studied cultural influence of podcasting comedians.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"307 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142219607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-31DOI: 10.1177/15274764241277475
Michael M Reinhard
This article looks at the appropriation of cancel-culture activism by anti-queer parental rights activists online. By examining their digitally mediated anti-queer rhetoric, this paper studies how these activists drive public outrage to promote cultural censorship. Surveying digital campaigns by Libs of TikTok and Moms for Liberty, this paper analyzes how their media amplifies “grooming” and “pedophilia” discourses to dynamize older anti-queer stereotypes. Drawing upon the language of child protectionism from 1970s educational debates, this mediated rhetoric demonstrates how anti-queer activists have appropriated the social justice origins of cancel-culture online. By using social media to frame conservative activists as marginalized, these campaigns invert the history of anti-LGBTQ+ media and educational environments to rationalize anti-LGBTQ+ censorship. By looking at how this rhetoric flows from social media into conservative TV journalism, this paper uncovers how this digital activism shapes a broader reactionary media ecology with corrosive democratic effects in the United States.
{"title":"Parenting a New Moral Panic: Anti-Queer Digital Activism and Reactionary Media Ecologies","authors":"Michael M Reinhard","doi":"10.1177/15274764241277475","DOIUrl":"https://doi.org/10.1177/15274764241277475","url":null,"abstract":"This article looks at the appropriation of cancel-culture activism by anti-queer parental rights activists online. By examining their digitally mediated anti-queer rhetoric, this paper studies how these activists drive public outrage to promote cultural censorship. Surveying digital campaigns by Libs of TikTok and Moms for Liberty, this paper analyzes how their media amplifies “grooming” and “pedophilia” discourses to dynamize older anti-queer stereotypes. Drawing upon the language of child protectionism from 1970s educational debates, this mediated rhetoric demonstrates how anti-queer activists have appropriated the social justice origins of cancel-culture online. By using social media to frame conservative activists as marginalized, these campaigns invert the history of anti-LGBTQ+ media and educational environments to rationalize anti-LGBTQ+ censorship. By looking at how this rhetoric flows from social media into conservative TV journalism, this paper uncovers how this digital activism shapes a broader reactionary media ecology with corrosive democratic effects in the United States.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"4 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142219603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-29DOI: 10.1177/15274764241271200
Olli Hellmann
Much of the environmental communication literature follows the consensus-building perspective and thus explores how to communicate climate change in ways that can diffuse politico-ideological conflict. My paper, on the other hand, builds on the critical debate approach—which asserts that the depoliticization of climate change acts as a barrier to transformative socio-ecological change—and argues that animated parody offers a powerful rhetorical tool to re-politicize climate change. I develop the paper’s argument through a case study of the Rick and Morty episode “A Rickconvenient Truth”—a parodical take on the 1990s children’s TV show Captain Planet and the Planeteers. By applying reflexive thematic analysis to a dataset of >7,600 Reddit user comments, I reveal that the episode prompts fans to question “standard” ways of thinking about climate change and deliberate radical alternatives for combatting the ecological crisis.
大部分环境传播文献都从建立共识的角度出发，探讨如何以能够化解政治-意识形态冲突的方式传播气候变化。而我的论文则以批判性辩论方法为基础--该方法认为气候变化的非政治化是社会生态变革转型的障碍--并认为动画模仿为气候变化的再政治化提供了强有力的修辞工具。我通过对《瑞克和莫蒂》（Rick and Morty）一集 "瑞克难以理解的真相"（A Rickconvenient Truth）的案例研究来展开本文的论点--这一集是对 20 世纪 90 年代儿童电视节目 "地球船长和行星人"（Captain Planet and the Planeteers）的戏仿。通过对 7,600 条 Reddit 用户评论数据集进行反思性主题分析，我发现这一集促使粉丝们质疑气候变化的 "标准 "思维方式，并慎重考虑应对生态危机的激进替代方案。
{"title":"Can Rick and Morty Save the Planet? Re-Politicizing Climate Change Through Humor and Animation","authors":"Olli Hellmann","doi":"10.1177/15274764241271200","DOIUrl":"https://doi.org/10.1177/15274764241271200","url":null,"abstract":"Much of the environmental communication literature follows the consensus-building perspective and thus explores how to communicate climate change in ways that can diffuse politico-ideological conflict. My paper, on the other hand, builds on the critical debate approach—which asserts that the depoliticization of climate change acts as a barrier to transformative socio-ecological change—and argues that animated parody offers a powerful rhetorical tool to re-politicize climate change. I develop the paper’s argument through a case study of the Rick and Morty episode “A Rickconvenient Truth”—a parodical take on the 1990s children’s TV show Captain Planet and the Planeteers. By applying reflexive thematic analysis to a dataset of >7,600 Reddit user comments, I reveal that the episode prompts fans to question “standard” ways of thinking about climate change and deliberate radical alternatives for combatting the ecological crisis.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"71 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142219604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-19DOI: 10.1177/15274764241268529
Juan Piñón
{"title":"Book Review: Border Tunnels: A Media Theory of the U.S. Mexico Underground, by Juan Llamas-Rodriguez","authors":"Juan Piñón","doi":"10.1177/15274764241268529","DOIUrl":"https://doi.org/10.1177/15274764241268529","url":null,"abstract":"","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"3 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142227371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-30DOI: 10.1177/15274764241266252
Corinn Columpar
The television series Crazy Ex-Girlfriend and PEN15 are contemporary cringe comedies that foreground female experience. While the vast majority of cringe comedies employ documentary form and/or practice and speak insistently in the present tense, Crazy Ex-Girlfriend and PEN15 produce stories that not only unfold in the present, but also reframe the past, thereby building into their acts of narration, and by extension their cringe esthetics, a retrospective temporality. In light of themes taken up by both series—themes related to mental health and the construction of female identity and desire—this reframing has significant effects both politically and therapeutically. In this article I analyze the formal means by which a retrospective temporality of cringe is achieved in these series, including the use of musical numbers in Crazy Ex-Girlfriend and unconventional casting in PEN15, and I explore the various prosocial effects that temporality produces for the series’ characters, creators, and spectators.
{"title":"“When That Memory Fills Me With Horror and Dread, I Do the Cringe”: Retrospective Temporality in Crazy Ex-Girlfriend and PEN15","authors":"Corinn Columpar","doi":"10.1177/15274764241266252","DOIUrl":"https://doi.org/10.1177/15274764241266252","url":null,"abstract":"The television series Crazy Ex-Girlfriend and PEN15 are contemporary cringe comedies that foreground female experience. While the vast majority of cringe comedies employ documentary form and/or practice and speak insistently in the present tense, Crazy Ex-Girlfriend and PEN15 produce stories that not only unfold in the present, but also reframe the past, thereby building into their acts of narration, and by extension their cringe esthetics, a retrospective temporality. In light of themes taken up by both series—themes related to mental health and the construction of female identity and desire—this reframing has significant effects both politically and therapeutically. In this article I analyze the formal means by which a retrospective temporality of cringe is achieved in these series, including the use of musical numbers in Crazy Ex-Girlfriend and unconventional casting in PEN15, and I explore the various prosocial effects that temporality produces for the series’ characters, creators, and spectators.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"74 1","pages":""},"PeriodicalIF":2.0,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141867571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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