Skip to content
1981
Volume 8, Issue 1
  • ISSN: 2045-5852
  • E-ISSN: 2045-5860

Abstract

In just four seasons, Rachel Bloom and Aline Brosh McKenna’s musical dramedy Crazy Ex-Girlfriend (2015–2019) has established itself as an important space for contemporary explorations of gender and genre on US television. In this article, we examine how the musical numbers operate as a feminist intervention into a postfeminist diegesis. The musical numbers in Crazy Ex-Girlfriend often parody different popular music genres by simultaneously drawing attention to and subverting their conventions. In doing so, the series critiques the gender norms of traditionally patriarchal and heteronormative Hollywood musicals and misogynistic music videos. The Hollywood film musical genre is typically framed by a tension between the narrative and the numbers. Crazy Ex-Girlfriend exploits this tension to offer a feminist critique of how patriarchal neo-liberal culture encourages women to invest in romantic love and postfeminist forms of appearance-based empowerment. This article argues that the musical numbers in Crazy Ex-Girlfriend are a feminist space where the series critiques the postfeminist reality of its diegesis.

Loading

Article metrics loading...

/content/journals/10.1386/ajpc.8.1.55_1
2019-03-01
2024-06-14
Loading full text...

Full text loading...

/content/journals/10.1386/ajpc.8.1.55_1
Loading
  • Article Type: Article
Keyword(s): feminism; gender; music video; parody; television; the musical genre
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error