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The Hulu series The Great , an ahistorical satire of the eighteenth-century Russian Empire, set at the courts of Peter III and Catherine II, doubles as a critique of contemporary politics and culture. Created for Anglophone audiences with little knowledge of history, but aware of stereotypes of Russia as a despotic, dysfunctional backwater, the show's appeal rests on the love-hate relationship between Peter the bro-emperor and the “girlboss” empress Catherine, as well as the expectation that Catherine, ultimately, will “have-it-all.” This article examines the gender dynamics structuring Peter's and Catherine's narrative arcs and argues that Catherine's trajectory from naïve, self-declared enlightened European princess to skilled, pragmatic ruler undermines Peter's attempt to liberate himself from an outdated model of masculinity.

In the middle of this century's first decade, \"bromance\" emerged as a term denoting an emotionally intense bond between straight men. Yet bromance requires an expression of intimacy that always toys with being coded as something other than \"straight\" male behavior, even as it insists that such intimacy must never be misinterpreted. In Reading the Bromance: Homosocial Relationships in Film and Television, editor Michael DeAngelis has compiled a diverse group of essays that address the rise of this tricky phenomenon and explore the social and cultural functions it serves. Contributors consider selected contemporary film and television texts, as well as the genres that historically inspired them, in order to explore what needs bromance attempts to fulfill in relationships between men—straight or otherwise. Essays analyze films ranging from I Love You, Man to Superbad, Humpday, I Now Pronounce You Chuck and Larry, The Hangover, and the Jackass films, and include studies of representative examples in international cinema such as Y tu mama tambien and classic and contemporary films of the Bollywood genre. The volume also examines the increasingly prevalent appearance of the bromance phenomenon in television narratives, from the \"male bonding\" rituals of Friends and Seinfeld to more recent manifestations in House, The Wire, and the MTV reality series Bromance. From historical analysis to discourse analysis, sociological analysis, and queer theory, this volume provides a broad range of methodological and theoretical approaches to the phenomenon in the first booklength study of the bromance genre. Film and television scholars as well as readers interested in pop culture and queer studies will enjoy the insights of Reading the Bromance.

An introduction to the key debates concerning the representation of masculinities in contemporary television programming.

This collection of essays presents a sampling of film and television texts interrogating images of U.S. masculinity. Rather than using \"postfeminist\" as a definition of contemporary feminism, this collection uses the term to designate the period from the late 1980s on--as a point when feminist thought gradually became more mainstream. The movies and TV series examined here have achieved a level of sustained attention, from critical acclaim, to mass appeal, to cult status. Instead of beginning with a set hypothesis on the effect of the feminist movement on images of masculinity on film and television, these chapters represent a range of responses that demonstrate how the conversations within these texts about American masculinity are often open-ended, allowing both male characters and male viewers a wider range of options. Defining the relationship between U.S. masculinity and American feminist movements of the twentieth century is a complex undertaking. The essays collected for this volume engage prominent film and television texts that directly interrogate images of U.S. masculinity that have appeared since second-wave feminism. The contributors have chosen textual examples whose protagonists actively struggle with the conflicting messages about masculinity. These protagonists are more often works in progress, acknowledging the limits of their negotiations and self-actualization. These chapters also cover a wide range of genres and decades: from action and fantasy to dramas and romantic comedy, from the late 1970s to today. Taken together, the chapters of Screening Images of American Masculinity in the AgeofPostfeminism interrogate \"the possible\" screened in popular movies and television series, confronting the multiple and competing visions of masculinity not after or beyond feminism but, rather, in its very wake.

More than three decades have passed since the establishment of the Islamic Republic of Iran in 1979. In that time, theories of modern revolution would suggest a retreat from ideological goals, heralding a phase of institutional development. However, Hamad Albloshi argues that Iran is unique: the current rhetoric of conservative Iranian leaders implies the regime has not left its revolutionary stage. Through an examination of the hardline conservative ideology in Iran-personified by the former president, Mahmoud Ahmadinejad-this book explores how the usual development seen in revolutions from radical discourse to pragmatic rhetoric has not been the case in Iran. Albloshi explores the evolution of the hardline conservatives and their main ideas about the nature of the Iranian regime, their position toward other groups within the system, and their approach to the international community. By doing so, he sheds new light on the group's position in the country and the ideological roots of major shifts that occurred in Iran's internal and external policies in the period between 2005 and 2013.

Men with stakes builds on recent discussions of television Gothic by examining the ways in which the Gothic mode is deployed specifically to call into question televisual realism and, with it, conventional depictions of masculinity. Released from the mandate of realism to describe the world as it is supposed to be, television Gothic calls attention to the constructedness of gender – and therefore to the possibility of re-imagining men’s agency, authority and the legitimated forms of knowledge with which men are traditionally associated (science in particular). In this context, after an overview of Gothic television’s larger history, this study discusses in some depth seven series from the last two decades: American Gothic, Millennium, Angel, Carnivàle, Point Pleasant, Supernatural and American Horror Story.

The Paramilitary Hero on Turkish Television: A Case Study on Valley of the Wolves explores the representation and reception of nationalism and masculinity in Turkey through an examination of the popular television serial, Valley of the Wolves which has been aired on Turkish television since 2003. This detailed examination of the show demonstrates a particular discourse of nationalism, namely the Turkish Islam synthesis embedded in a gender-specific regime in which the paramilitary hero is pla.

In the FX drama, Sons of Anarchy, an all-male outlaw motorcycle club defends its territory against rival gangs, all the while dealing with internal tensions that threaten to dismantle the brotherhood. The relationships between the men, especially those of fathers and sons, comprise a narrative full of gender display and performance. Using rhetorical visual and discourse analysis, the author found Sons of Anarchy communicated gender roles and identities through images, actions, and language. The dual analyses showed hyper-masculine, hegemonic ideals of manhood as well as a strong patriarchal social hierarchy. The characters also exhibited a devotion to family ties amongst biological and non-biological persons. This specific type of masculinity reflects traditional views of American manhood with the added adherence to a rebel lifestyle within familial bonds.

Never before has period drama offered viewers such an assortment of complex male characters, from transported felons and syphilitic detectives to shell shocked soldiers and gangland criminals. Neo-Victorian Gothic fictions like Penny Dreadful represent masculinity at its darkest, Poldark and Outlander have refashioned the romantic hero and anti-heritage series like Peaky Blinders portray masculinity in crisis, at moments when the patriarchy was being bombarded by forces like World War I, the rise of first wave feminism and the breakdown of Empire. Scholars of film, media, literature and history explore the very different types of maleness offered by contemporary television and show how the intersection of class, race, history and masculinity in period dramas has come to hold such broad appeal to twenty-first-century audiences.

Ostensibly a film about a missing female poet, slam unfolds into a saga about duty, grief and the need to stand up for one's culture, religion and sense of self. Writer/director Partho Sen-Gupta speaks to Stephen A Russell about deconstructing preconceived notions about Muslim women and masculinity, and dismantling systems that uphold prejudice and disadvantage.