The Genre of Situational Comedy on the Example “Sex & the City”

When we analyze the genre of situational comedy (referred to as sitcom) it can be said that this is one of the more popular genres in television and it is known for a number of generic conversations. Some of these conversations include sarcasm, cracking a joke, a laugh track and so on. Even Though some of these conventions have changed throughout the years, one important feature has been prevalent is the thematic features or significance of exploring topics such as gender and sexuality (Rabinovitz 144). The author further states that due to these feminist movements in the 1970’s “ Feminist sitcom “ which are “ recognized by its specific interest in female characters and and Women’s issues” were popular during this time (Rabinovitz 145).

Sex and The City is one of those tv series that addresses a number of socially relevant issues and for the purpose of this assignment, season 5 episode 6 is chosen as it displays various gender roles and the expectations that follow.Set in the big apple, SATC follows the lives of four women, Carrie, Samantha, Charlotte,and Miranda, who are also fine pals. The TV show grew in recognition because of theways wherein ladies were portrayed inside the collection of the series. The 4 main characters are proven to be impartial girls who are financially strong, and extraordinarily nearwith one another. This aspect pertains to a function of the sitcom genre, which isto attention as families or a close-knit circle as the protagonists (Olson and Douglas409).

This good rapport among the characters is imperative, because it suggests how the protagonists “characteristic as a family” (Gerhard 44), and it additionally makes an emphasis on how the friendships between the 4 girls are greater critical thanrelationships any of them have with men. Gerhard reiterates this when he statesthat Carrie Bradshaw “reveals pride beyond the ones presented with the aid of men through her dedicated relationships with her girlfriends” (Gerhard 43).On tv, women are historically depicted to be “emotional and chaotic…needing to be tamed by “means of men” (Simmons and rich 5). but, after the 1970s, this expectation began shifting as SATC indicates the four essential characters to be headstrong and confident, not needing a person to create order of their lives.In the scene throughout which the 4 protagonists meet, the conversation amongCharlotte and Miranda (04:35-05:10) is extensive in depicting the female genderrole.

Charlotte is targeted and decided when discussing her divorce settlementwith Miranda, fiercy pointing out what she needs. once she does, she switches returned to being sweet and pleased in seconds. This illustrates how she does not abide with the aid of stereotypical gender roles, wherein men do as they please and women take what they are given. She is assured, and inclined to fight for what she wants.When we talk in terms of gender and sitcoms, SATC repeatedly objectifies men, accordingly challenging the conventional perspectives of television as an entire, which generally tend to regard women as a commodity. SATC is specific in terms of ways it depicts men to be “objects of consumption by both the characters and female viewers” (Brunner 87). This could be seen actually within the characterisation of Samantha, who seems to be very sexually assured, however not doing so to appease a man.

In crucial situation, Samantha is going to a store (15:17-16:52) to purchase a brand new vibrator. on this scene, she is proven to be very confident together with her sexuality, which is a stark comparison to the notion a lady become anticipated have with regard to it. She is very ahead with the worker, unashamed of the subject of communique, and direct with pointing out what she wanted. The nature of this exchange portrays the person to appear not so good as Samantha, whichdefies the expectancies of gender roles on the time.She additionally is going directly to recommend other women there approximately which devices work best for self-pride. By way of publicly discussing such an intimate topic, Samantha “managed to blur the lines between public and private spaces” (Southard 160-161). A hyperlink among “sitcom’s preferred ideological ability [and] the social statement that has been part of comedy from its classical beginnings” (Dow 36) may be made thru now not best Samantha’s boldness as a man or woman to brazenly talk the subject of sexuality, but additionally by the boldness of the show as an entire, to permit such a topic to be openly mentioned.Whilst on the smartphone with Carrie discussing the amount of sleep she managed to get (09:10-09:25), Miranda says, “Actually, it was a good night. I got a whole hour. Can’tbelieve I have to go and pretend to be a lawyer now. Can I wear a baseball cap toWork? ” (Hobbes S5E6) to which Carrie responds asking her, “with what shoes?” (Bradshaw S5E6).

This communique is a clear depiction of the way Miranda has taken up a powerful position in terms of employment, being a sought-after lawyer, and taking over the duty of being the breadwinner (Brunner 92), which is emphasized by way of her asking Carrie if she ought to put on a baseball cap, that’s a right away reference to the male stereotype, which Carrie then responds to with a reference to shoes. This casual verbal exchange among friends straight away attracts the target market’s attention to gender stereotypes and societal expectations, at the same time as simultaneously illustrating how the protagonists defy them.I also selected this precise episode because of the reality that marriage is discussedpassionately between two women, as opposed to the standard argument of the topicamong a man and a woman (21:55-23:50). in this scene, Charlotte and her attorney Harry Goldenblatt are at a assembly with Charlotte’s ex-mother-in-law, Bunny, and her attorney, discussing divorce settlements. It become thrilling to me as, even though at least one generation apart, the two women both lived in a society that stereotype women.

Regardless, the alternate of societal norms over the passing of time has truely played a hand at the methods wherein every lady perceived marriage and the ‘proper’ behaviour of a marriage women. Greater curiously, it changed into Charlotte’s ex-husband, a man, who stopped the argument between the both of them that is reiterated via the fact that both women’s lawyers are male. Gender norms have painted and depicted a picture where it’s nearly ‘a mans world’ and set up a as an alternative ‘women against the world’ mindset. However , this specific scene shows the shift within the paradigm, wherein norms are contradicted, and women have a disagreement on a topic that changed into, and still can be, a famous subject matter of interest in terms of gender roles and expectancies. moreover, one woman is seen to be very crucial of any other, every other characteristic of the scene that defies gender norms and expectancies.“When I think of the heartache and shame you caused my dear boy, I’m amazed youcould even come here and look me in the face” (MacDougal S5E6). This indicates almost a reversal of gender expectancies, wherein the person is defined to have grieved over and endured public disgrace because of the ending of the marriage. over the years, we’ve encountered numerous versions of the same line getting used, however most usually than not, it is almost about women.

The concept of being ‘ashamed’ in phrases of relationships has been normally associated with women, and it also added approximately the notion of being inferior inside of the relationship. Men have been portrayed to be the ones who were able to keep on dwelling as although if not anything out of the ordinary had occurred, at the same time as women were visible to be grieving for days in certain instances, now not being able to expose face in public because of the idea that the ending of her relationship was all everyone would care and worry about. This declaration made by using Bunny additionally helps result in a sense of cognizance in regards to the fact that no matter gender, we are people who’ve the same feelings instilled in us, and t we are all entitled to feeling those emotions.

At the end of the scene, as Bunny is set to depart, Charlotte stops her and attempts to atone for the animosity among the two of them. Bunny however in this situation virtually brushes her aside whilst calling out to her attorney after which she leaves the room. This is an additional depiction of how gender roles and expectancies have modified over time. The more juvenile female is seen to try to rebuild the inspiration that ‘women stick collectively’, while the older woman holds firm to her ideals and refuse to Cooperate.With reference to problems of the various gender roles which are in this episode,and encapsulated through the collection as a full, are pivotal. The numerous gendersrepresented within the series, consisting of Carrie’s ‘gay best friendl’ Stanford, do well in transcending the stereotypical male-female genders. However, critics sense that the display does now not make sufficient attempt to symbolize all gender troubles well. Take Stanford, the ‘gay best friend’, arole that is stereotypical for gay men in tv. This stereotypical casting reiterates the belief of stereotypes for homosexual characters in sitcoms, as does the “minimum characterization of homosexuals” (Feasey 27) at the display.

Important circumstance in addition highlights this problem with the inclusion of a communication taking place between Carrie and Stanford, wherein it’s far clear that Carrie treats her dating issues with a way more importance than she does with Stanford’s.“When it comes to life and love, why do we believe our worst reviews?” (Bradshaw,S5E6). This topic of norms and expectations, and being the challenge of grievancerecurs inside the episode, wherein all four ladies are concern to varying stages ofcriticism and judgment from diverse resources. The final scene (25:45-28:32) became pivotal, not clearly as the last scene for the episode, however how it gave the audience a reaction to the question Carrie’s narrative posed at the beginning of the episode. Moreover, the scene acts as a connection with thoughts added about with regard to the series holistically. Even though a relationship is rarely absolutely everyone else’s business than the two humans concerned in it, Carrie became adamant to locate Nina and explain her aspect of the tale to her, despite the fact that she became extra a stranger than even a acquainted face. Stanford importantly factors this reality out to her whilst he asks her “why? You know what you and Aidan had” (Blatch S5E6). This is reiterated when Carrie’s narrative is heard in the course of the very last minute of the episode, telling the target market that “the truth is, at any given moment, someone, somewhere, could be making a face about you. But it’s the reviews you give yourself that matter” (Bradshaw S5E6).

In conclusion, sitcom as a genre has usually managed to keep a mild air attitude whilst concurrently addressing pivotal topics such as family, gender, and sexuality. No matter the fact that SATC did no longer comply with all characteristics of a conventional sitcom, it rose to fame because of the truth that it explored those very important themes in approaches wherein its audience could relate to on a broader scale.