Details
| Original language | English |
|---|---|
| Pages (from-to) | 361-378 |
| Number of pages | 18 |
| Journal | Television and New Media |
| Volume | 19 |
| Issue number | 4 |
| Early online date | 30 Nov 2017 |
| Publication status | Published - 1 May 2018 |
| Externally published | Yes |
Abstract
This article examines the Netflix revival of Full House, the family sitcom about three single men raising three girls that was part of the family-friendly “TGIF” (Thank Goodness It’s Funny) lineup ABC aired on Friday nights in the 1980s and 1990s. The 2016 release of Fuller House, I argue, was driven not only by the possibility to exploit an existing property with ongoing media and cultural presence in times of “peak TV” but also by Netflix’s strategic efforts to revive the bygone days of TGIF-style programming and reinvent family-friendly viewing in the era of complex television and online streaming platforms. In analyzing the Full House revival—its production and reception contexts, its carefully crafted text and paratexts, its position among complex dramas and edgy sitcoms—I will also trace the ways in which Fuller House engages in postfeminist discourse and raises pertinent questions about family values, gender roles, and ethnic diversity.
Keywords
- family-friendly viewing, Fuller House, Netflix, peak TV, postfeminism, TGIF, TV series revival
ASJC Scopus subject areas
- Social Sciences(all)
- Cultural Studies
- Arts and Humanities(all)
- Visual Arts and Performing Arts
Sustainable Development Goals
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In: Television and New Media, Vol. 19, No. 4, 01.05.2018, p. 361-378.
Research output: Contribution to journal › Article › Research › peer review
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TY - JOUR
T1 - “Whatever Happened to Predictability?”
T2 - Fuller House, (Post)Feminism, and the Revival of Family-Friendly Viewing
AU - Loock, Kathleen
N1 - Funding Information: The author disclosed receipt of the following financial support for the research, authorship, and/ or publication of this article: The work leading to this publication was supported by the German Academic Exchange Service (DAAD) with funds from the German Federal Ministry of Education and Research (BMBF) and the People Program (Marie Curie Actions) of the European Union’s Seventh Framework Program (FP7/2007-2013) under REA grant agreement n° 605728 (P.R.I.M.E. – Postdoctoral Researchers International Mobility Experience).
PY - 2018/5/1
Y1 - 2018/5/1
N2 - This article examines the Netflix revival of Full House, the family sitcom about three single men raising three girls that was part of the family-friendly “TGIF” (Thank Goodness It’s Funny) lineup ABC aired on Friday nights in the 1980s and 1990s. The 2016 release of Fuller House, I argue, was driven not only by the possibility to exploit an existing property with ongoing media and cultural presence in times of “peak TV” but also by Netflix’s strategic efforts to revive the bygone days of TGIF-style programming and reinvent family-friendly viewing in the era of complex television and online streaming platforms. In analyzing the Full House revival—its production and reception contexts, its carefully crafted text and paratexts, its position among complex dramas and edgy sitcoms—I will also trace the ways in which Fuller House engages in postfeminist discourse and raises pertinent questions about family values, gender roles, and ethnic diversity.
AB - This article examines the Netflix revival of Full House, the family sitcom about three single men raising three girls that was part of the family-friendly “TGIF” (Thank Goodness It’s Funny) lineup ABC aired on Friday nights in the 1980s and 1990s. The 2016 release of Fuller House, I argue, was driven not only by the possibility to exploit an existing property with ongoing media and cultural presence in times of “peak TV” but also by Netflix’s strategic efforts to revive the bygone days of TGIF-style programming and reinvent family-friendly viewing in the era of complex television and online streaming platforms. In analyzing the Full House revival—its production and reception contexts, its carefully crafted text and paratexts, its position among complex dramas and edgy sitcoms—I will also trace the ways in which Fuller House engages in postfeminist discourse and raises pertinent questions about family values, gender roles, and ethnic diversity.
KW - family-friendly viewing
KW - Fuller House
KW - Netflix
KW - peak TV
KW - postfeminism
KW - TGIF
KW - TV series revival
UR - http://www.scopus.com/inward/record.url?scp=85045051923&partnerID=8YFLogxK
U2 - 10.1177/1527476417742972
DO - 10.1177/1527476417742972
M3 - Article
AN - SCOPUS:85045051923
VL - 19
SP - 361
EP - 378
JO - Television and New Media
JF - Television and New Media
SN - 1527-4764
IS - 4
ER -