Episodes from season one (“Honeymoon”) and five (“The Softer Side”), although differing in terms of new characters, continue to portray patriarchal ideals in various ways. In seasons one and five the male to female ratio of main characters, especially within House’s team is skewed, giving men the majority position. Additionally, in both episodes analyzed, the sole female member of the team is depicted as ‘wrong’ in her ideas, actions, and/or conclusions. In “Honeymoon”, Cameron’s diagnosis is admonished by House and ultimately proved wrong. In “The Softer Side”, Dr. Hadley otherwise known as thirteen, goes against instructions in revealing information to a patient. She is subsequently proven wrong and chastised by the patient’s parents and Cuddy. This speaks to Allan Johnson’s concept that, according to patriarchal society, “females can’t be trusted” (35). It also relates to the patriarchal idea that men are, according to dominant society, considered more intelligent and competent in professional matters. Thus such a media portrayal attempts to legitimize the gender segregation that exists in professional occupations. In addition, the fact that Dr. Hadley is called thirteen, a dehumanizing term that objectifies her existence as a person, further bolsters the shows overall male dominant orientation.

Both episodes also feature a theme of relationships concerning the sole female team member. In season one this involves Cameron and House and in season five it exists between Dr. Hadley and Foreman. This not only portrays the heterosexist stereotype held by dominant society but also bears another subtle connection to patriarchy. In both cases the male is a work authority figure and holds more ‘power’ over the woman. This heterosexist ideal, appearing in both seasons, is connected to our class lecture on February 11, 2009 in which “what is your body expected to do?” (Feb. 11, 2009) was discussed. During the discussion one of the expectations of people is that they “be heterosexual” (Feb. 11, 2009). Shows such as House thus perpetuate the idea that heterosexual relationships are expected and pervade many areas of life, including work.

Abad, Erika G. Washington State University, Pullman, WA. 11 Feb. 2009.

“Honeymoon.” House: Season Two. Exec. Producer Katie Jacobs. FOX. DVD. Universal Studios, 2005.

Johnson, Allan G. “Patriarchy, the System (1997).” Women’s Lives: Multicultural Perspectives. Ed. Gwyn Kirk and Margo Okazawa-Rey. 4th ed. New York: McGraw Hill, 2007. 28-37.

“The Softer Side.” House. Co-Producer Allen Marshall Palmer. FOX. 16 Feb. 2009. 9 March 2009 <http://www.fox.com/fod/play.php?sh=house>.

Blog 6

The You Tube video chosen, “Bootylicious”, consists of a collection of clips featuring Cuddy and is an obvious example of the objectification of women’s bodies that occurs in media. Among other scenes, the video contains clips of Cuddy in low cut clothing, night gowns, and clips that focus more on her butt and her walking away. These scenes and the entire video as a whole, used in conjunction with its theme song “Bootylicious” by Beyonce, are symbolic of how “women are systematically objectified and commodified in the media” (Gwyn and Okazawa-Rey 251). By doing this the video negates the professional standing, skills, and abilities of Dr. Cuddy and portrays not only how the show, but “dominant culture often reduces women to bodies, valuing us only as sex objects” (Gwyn and Okazawa-Rey 121). This negation of Cuddy’s professional image in light of her beauty/sex image favors “the separation of body and mind as a fundamental element of Western thought” (Gwyn and Okazawa-Rey 124). This can be combined with the idea that “the main use of any culture is to provide symbols and ideals out of which to construct a sense of what is real” (Johnson 34). Thus, according to this view and ideal media works to show that “what is real” (Johnson 34) is that women are expected to be judged foremost by their bodies, not by any professional position or accomplishments they’ve achieved.

The video also has an obvious connection to the idea that equates “women’s attempts to be thin [to being] a third job” (Gwyn and Okazawa-Rey 123). The opening scenes of the You Tube video depict Cuddy exercising and then putting on make-up. This provides a subtle connection to what Gwyn and Okazawa-Rey depict in their discussion of the efforts women take to live up to beauty ideals put upon them by dominant society.

The end depicts House grabbing Cuddy’s butt and making a joke while Cuddy laughs. This is especially concerning in terms of what it symbolizes about male-female interactions. The fact that this scene is not only a part of a popular TV show but also included in a fan video shows the impact it has on a wide audience. It appears that the creator of the fan video included this scene not to critique its demeaning undertone but to further emphasize the part of Cuddy that serves as the focus of this video, her butt. This supports the idea that such portrayals of women are instilled and ingrained into culture in such a way that “when we hear or express sexist jokes…we may not recognize it, and even if we do, we may say nothing” (Johnson 36).

“Dr Cuddy – Bootylicious.”: Lililo78. YouTube. 2007. <http://www.youtube.com/watch?v=Ay-lvSwAJX0&feature=related>. 2 March 2009.

Johnson, Allan G. “Patriarchy, the System (1997).” Women’s Lives: Multicultural Perspectives. Ed. Gwyn Kirk and Margo Okazawa-Rey. 4th ed. New York: McGraw Hill, 2007. 28-37.

Kirk, Gwyn and Margo Okazawa-Rey. “Women’s Bodies and Beauty Ideals.” Women’s Lives: Multicultural Perspectives. Ed. Gwyn Kirk and Margo Okazawa-Rey. 4th ed. New York: McGraw Hill, 2007. 121-130.

Kirk, Gwyn and Margo Okazawa-Rey. “Violence Against Women.” Women’s Lives: Multicultural Perspectives. Ed. Gwyn Kirk and Margo Okazawa-Rey. 4th ed. New York: McGraw Hill, 2007. 249-263.