Monday, April 22, 2013
Dance Moms
One of Lifetime's most popular shows is the reality series, Dance Moms. In it, we follow the lives of seven young girls studying dance at a studio which specializes in training dancers for careers. Owner Abby Lee Miller is notorious for her tough love, no nonsense attitude when it comes to teaching, but is also just as well known in the competition circuit for her cutting edge, limit-pushing choreography, which almost always wins a first place prize. In a style unconventional of most studios, Abby places her dancers in direct competition with their teammates, either on the actual competition day, or just within her eyes. Using her pyramid style of ranking, Abby begins each week in the studio with a team meeting, and tells the girls just where they stand in her eyes.
Her reasoning behind this has always been explained as such: the girls are going to grow up and go out looking for jobs; jobs for which they will have to compete...likely against each other. It is a lesson they will eventually have to learn, so why not teach it to them now right? Maybe she's harsh in her critiques, and the girls might cry when she's particularly hard on them, but they all come back and work that much harder next time. (Maybe this is out of fear, but whatever the reason, Abby still gets results). Whenever she sees one of the girls crying, Abby lays her famous line on them, and tells them to "save their tears for the pillow!" meaning, get over it, cry at home, where no one can see you, because it is a waste of time to sit and cry at rehearsal rather than work. It sounds harsh, but is actually practical in its basis; we're just not supposed to agree with Abby, we're supposed to think she's unreasonably harsh and cruel to the children.
The "interesting" part of the story is that when she pits these girls against each other, it rarely forms any outright animosity among the girls, but the mothers end up in vicious arguments almost weekly, based upon who was placed at the top of the pyramid, who was chosen to have the special part in the group dance, who got solos, duos, trios, as if they were personally affronted, as if it were their own hard work not being noticed. The mothers are portrayed as living vicariously through their daughters, some seem to be living out their own unfulfilled dreams, others reliving their past, and others actually enjoying seeing their daughters perform and enjoy themselves on stage.
Whatever the reasoning behind their behavior, these mothers get viciously protective of their daughters, and any slightly tense situation spins wildly out of control into a cat fight at the slightest push. The show makes women look bad by perpetuating the stereotypical bitch that is the "bad" character, and the catty women, the well-educated one looking down on the others, the ditzy, looks-obsessed trophy wives, the one who's always fake, and always sucking up to the person in charge, and the bitter one who's stuck in the past. By either casting women who fit so easily into these roles, or by coaching them and semi-scripting them into these scenarios, the producers of the show set themselves up to be demoralizing and demeaning to women.
Another example of the ways in which the television show poorly displays girls and women is they way they allow the girls (all under age 15, by the way) to dress when they appear on the show. We rarely ever see the girls in a full shirt in rehearsals, and even on stage their costumes typically consist of tiny shorts, and a crop top to match, unless the dance is of a more classical style, in which case that style of dress would not only be age-inappropriate, but also inappropriate for the genre, which would lose them points. The girls are often dolled up in highly sexualized manners - a style they often times carry over into their publicity shots. Dressed and made up far more maturely than their real ages warrant, they pose provocatively for the camera, at ages 9, 10, 11, and 12.
While it is not clear that the show is directly responsible for the way the girls dress (they may not be telling them to do so) they are responsible for being the ones to broadcast these scantily clad girls on primetime television each week, regardless of the consequences to girls watching it, and these girls living out their lives on screen.
Below are just a few examples of the inappropriate dress and make up the girls are seen in every week:
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Her reasoning behind this has always been explained as such: the girls are going to grow up and go out looking for jobs; jobs for which they will have to compete...likely against each other. It is a lesson they will eventually have to learn, so why not teach it to them now right? Maybe she's harsh in her critiques, and the girls might cry when she's particularly hard on them, but they all come back and work that much harder next time. (Maybe this is out of fear, but whatever the reason, Abby still gets results). Whenever she sees one of the girls crying, Abby lays her famous line on them, and tells them to "save their tears for the pillow!" meaning, get over it, cry at home, where no one can see you, because it is a waste of time to sit and cry at rehearsal rather than work. It sounds harsh, but is actually practical in its basis; we're just not supposed to agree with Abby, we're supposed to think she's unreasonably harsh and cruel to the children.
The "interesting" part of the story is that when she pits these girls against each other, it rarely forms any outright animosity among the girls, but the mothers end up in vicious arguments almost weekly, based upon who was placed at the top of the pyramid, who was chosen to have the special part in the group dance, who got solos, duos, trios, as if they were personally affronted, as if it were their own hard work not being noticed. The mothers are portrayed as living vicariously through their daughters, some seem to be living out their own unfulfilled dreams, others reliving their past, and others actually enjoying seeing their daughters perform and enjoy themselves on stage.
Whatever the reasoning behind their behavior, these mothers get viciously protective of their daughters, and any slightly tense situation spins wildly out of control into a cat fight at the slightest push. The show makes women look bad by perpetuating the stereotypical bitch that is the "bad" character, and the catty women, the well-educated one looking down on the others, the ditzy, looks-obsessed trophy wives, the one who's always fake, and always sucking up to the person in charge, and the bitter one who's stuck in the past. By either casting women who fit so easily into these roles, or by coaching them and semi-scripting them into these scenarios, the producers of the show set themselves up to be demoralizing and demeaning to women.
Another example of the ways in which the television show poorly displays girls and women is they way they allow the girls (all under age 15, by the way) to dress when they appear on the show. We rarely ever see the girls in a full shirt in rehearsals, and even on stage their costumes typically consist of tiny shorts, and a crop top to match, unless the dance is of a more classical style, in which case that style of dress would not only be age-inappropriate, but also inappropriate for the genre, which would lose them points. The girls are often dolled up in highly sexualized manners - a style they often times carry over into their publicity shots. Dressed and made up far more maturely than their real ages warrant, they pose provocatively for the camera, at ages 9, 10, 11, and 12.
While it is not clear that the show is directly responsible for the way the girls dress (they may not be telling them to do so) they are responsible for being the ones to broadcast these scantily clad girls on primetime television each week, regardless of the consequences to girls watching it, and these girls living out their lives on screen.
Below are just a few examples of the inappropriate dress and make up the girls are seen in every week:
Army Wives
Lifetime network has created a variety of shows geared towards a range of ages, with Army Wives seemingly most geared towards women in their mid 20's-40's. It depicts the lives of several women who married into Army life and are now living on Fort Marshall in South Carolina. We watch the group of women, and man, band together as they deal with every horrific life event that could ever happen. They deal with everything from the death of a child, to abuse, drug addiction, hostage situations, adultery, and post-traumatic stress disorder.
On the surface, it appears to be a strong, empowering show for women, demonstrating the benefits of having a good support system of friends, and the ways in which being that good friend makes us all feel better at the end of the day. And it does demonstrate that aspect, very well. The show also does a good job of embodying nearly every stereotype there ever was of women.
The group shows strength in numbers but rarely achieves anything independently from one another. Several story lines include misunderstandings due to gossip spreading through the grape vine, perpetuating the stereotype that all women do is talk - to each other, about each other, all the time. One of the most pivotal elements of the show is the fact that nearly every one of the women has faced consequences either at the hand of the Army, or at home because her actions "reflected poorly" on her husband and brought consequences upon him. We see on several occasions that each woman's social standing is dependent upon her husband's ranking within the Army. The dynamics of the friend group featured in the show is repeatedly declared unconventional by the women themselves, as well as outside characters, because it features women ranging from the general's wife, to the young, new wife of a PFC soldier. The class difference is vast and unusual, and while it is refreshing to see a show openly depicting such scenario, they do so with very obvious cues, and not so subtle stereotyping along the way.
We see Claudia Joy, the General's wife as this conservative, well-put-together, mother of two, who also runs the FRG, the base's Family Readiness Group, which supports families on base as they move in, and in times of need and crisis. We see her effortlessly pull together grand parties in their home when the General needs to host important guests on base. In stark contrast, we are introduced to Roxy, the rough-around-the edges, no nonsense young woman from Tuscaloosa, with two young boys from a previous, unstable relationship, who married a soldier after knowing him less than a week and now finds herself stumbling through life on the Army base. The small blonde woman is constantly seen in high wedge heels, mini skirts and halter tops, as she works at a bar off-base. She is smart, if not always sensible, but especially in the first season, when compared to Claudia Joy, Roxy doesn't know which way is up and is "incredibly lucky" to have Claudia Joy and the other women take her under their wing and show her the ropes. Even without words we see the ways in which they stereotype the women:
On the surface, it appears to be a strong, empowering show for women, demonstrating the benefits of having a good support system of friends, and the ways in which being that good friend makes us all feel better at the end of the day. And it does demonstrate that aspect, very well. The show also does a good job of embodying nearly every stereotype there ever was of women.
The group shows strength in numbers but rarely achieves anything independently from one another. Several story lines include misunderstandings due to gossip spreading through the grape vine, perpetuating the stereotype that all women do is talk - to each other, about each other, all the time. One of the most pivotal elements of the show is the fact that nearly every one of the women has faced consequences either at the hand of the Army, or at home because her actions "reflected poorly" on her husband and brought consequences upon him. We see on several occasions that each woman's social standing is dependent upon her husband's ranking within the Army. The dynamics of the friend group featured in the show is repeatedly declared unconventional by the women themselves, as well as outside characters, because it features women ranging from the general's wife, to the young, new wife of a PFC soldier. The class difference is vast and unusual, and while it is refreshing to see a show openly depicting such scenario, they do so with very obvious cues, and not so subtle stereotyping along the way.
We see Claudia Joy, the General's wife as this conservative, well-put-together, mother of two, who also runs the FRG, the base's Family Readiness Group, which supports families on base as they move in, and in times of need and crisis. We see her effortlessly pull together grand parties in their home when the General needs to host important guests on base. In stark contrast, we are introduced to Roxy, the rough-around-the edges, no nonsense young woman from Tuscaloosa, with two young boys from a previous, unstable relationship, who married a soldier after knowing him less than a week and now finds herself stumbling through life on the Army base. The small blonde woman is constantly seen in high wedge heels, mini skirts and halter tops, as she works at a bar off-base. She is smart, if not always sensible, but especially in the first season, when compared to Claudia Joy, Roxy doesn't know which way is up and is "incredibly lucky" to have Claudia Joy and the other women take her under their wing and show her the ropes. Even without words we see the ways in which they stereotype the women:
Here we see Claudia Joy and General Michael Holden, attending a high-class function. Claudia Joy is dressed beautifully, but still demure, revealing very little, accompanying her husband in his dress uniform.
In the same season we are introduced to Roxy and Trevor, an impetuously formed couple, young and in love. They drive Roxy's old, somewhat undependable convertible car, as she struts around in barely-there miniskirts, alongside her hot new husband.
Saturday, April 20, 2013
Lifetime Leading Women?
I can admit, as I'm sure many women out there can, that I have indulged in a guilty pleasure viewing of one or two over dramatic, poorly acted made for TV movies on a lazy Saturday afternoon. I sit there watching in horror as the actors stumble through their lines, guessing an hour ahead of time how the story will end, but nevertheless glued to the screen until the final credits roll. There's just something about the predictability and inanity of these movies that has a power to draw us into their not-so-intricate webs for a few hours, that we may never fully understand. Perhaps the worst offenders of this genre is Lifetime TV with their movies that almost always center around violence against women.
As a network supposedly created with the well-being and entertainment of women specifically in mind, you would think you would find more stories about women saving the day, being their own heroes, and succeeding on their own, rather than falling victim to men time after time.
Instead, we find that not only has the intention of the network shifted from being informative on issues concerning women's health and family matters, it has now become so over dramatic and stereotypical in itself that it is now more degrading to women than it is supportive. And it's reach has gone even further, spanning everything from those same movies, to network-original dramas, and reality tv.
Below are some images advertising some of the most recent original programming on Lifetime Television:
As a network supposedly created with the well-being and entertainment of women specifically in mind, you would think you would find more stories about women saving the day, being their own heroes, and succeeding on their own, rather than falling victim to men time after time.
Instead, we find that not only has the intention of the network shifted from being informative on issues concerning women's health and family matters, it has now become so over dramatic and stereotypical in itself that it is now more degrading to women than it is supportive. And it's reach has gone even further, spanning everything from those same movies, to network-original dramas, and reality tv.
Below are some images advertising some of the most recent original programming on Lifetime Television:
The only woman portrayed in any type of strong, powerful position is Abby Miller of Dance Moms, the renowned "bitch" of the competitive dance world. Just one example of Lifetime perpetuating the stereotypes of portraying women and girls in highly sexualized, off-balance and therefore "weaker" poses, unless conveying the "bad" woman, or the "bitch".
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