Desperate Housewives
Escapism and the Social Audience:
Desperate Housewives as a Model for the Modern Soap
I
noticed something peculiar lately: Even years after closing its final season, Desperate Housewives remains a popular,
closely-followed, often-replayed television phenomenon. Running for an
impressive eight seasons, Desperate
Housewives almost immediately acquired an obsessive cult-like following,
and the degree of its widespread popularity prompts an immediate question: Just
what is it about the show that viewers find so appealing? It is the consideration of the
interactions between show and audience that make Housewives such an interesting point of departure for an analysis
of mass culture, especially as it pertains to the American female. In her essay Soap Opera and Utopia, Christine Geraghty interacts agreeably with
critic Richard Dyer’s contentions, regarding soaps as escapist modes of
entertainment. “Dyer proposes that
entertainment functions by offering ‘the image of something better to escape
into, or something that we want deeply in our day-to-day lives” (Geraghty,
217). Desperate Housewives certainly finds itself well within the bounds
of this assertion. On a base
level, the sex of the protagonists (if not merely the very title of the show)
immediately establishes a common identity between characters and primarily
female audience.
The
women in the show are relatable on the basis of gender and their positions as
mothers and wives. Yet this does
not alone sustain interest; there is a dire need for something more
provocative, something fresher.
The escapism afforded by Desperate
Housewives is operated by a simple means. The women in the show are attractive and wealthy. They provide something to be wished
for. The primarily female audience
is provided with a glimmer of hope– that the drab, monotonous life of a
housewife can, indeed, evolve into something sexy.
I
would suggest also that the beauty and material wealth– or as Geraghty and Dyer
call it, abundance– of the housewives
is not believable enough to maintain a substantial audience. The popularity of television has
exposed the audience to such a wide range of soaps that there must be a far
more complex threshold of relatedness in order for a show of such a nature to
attain success. Thus, current
renditions of utopia in television must be corrupted on a sub-surface level in
order to solidify themselves as legitimate. The image of the happy, wealthy housewife is instantaneously
(and stupidly) gratifying. Yet, it
is the gossipy, violent, and overtly sexual tensions underlying this glamorous
foreground that make the show that much more appealing.
Desperate Housewives provides a mode of
escapism not only because of its extravagance but because of the chaos
underlying it. The show is in a
complex subliminal dialogue with its female viewer, telling her that the lives
of the housewives are also marked by daily strife. This is the threshold of a raw and provocative relationship
between viewer and soap. Yet this
common ground is not sensational or attractive as it is. The difficulties of the women in the
show could not be those of the female viewers. A real housewife
would not want to watch Bree struggle to fix a vacuum or watch Gabrielle scrub
dog feces from her child’s jeans.
So, the show sexualizes and romanticizes the struggles of life as a
housewife, so that the audience member not only escapes into a world in which
she is an attractive, sexual, and wealthy individual, but also one who’s
problems are romantic and even dangerous.
It’s inherently clear that the housewives of the soap are, indeed,
desperate. They’re all severely
depressed, egomaniacal, possessive, and sexually frustrated. But their desperate situations– unlike
those of their giddy home-making viewers– concern murder, infidelity, suicide,
alcoholism, and sensuality. Desperate Housewives achieves such high
levels of popularity precisely because it sexualizes and romanticizes not only
the basic roles of its characters but also the struggles that they face. The bad is made sexy and fresh as well
as the good.
As
a whole, the show seems to muddle many of the preconceptions about the
organization and strategic appeals of American soaps. Like it’s dynamic approach to utopian escapism, the show
seems to tinker with certain soap-genre stereotypes. Geraghty claims that the “energy” inherent in US soaps can
be attributed to strong male characters, as opposed to being provided by strong
female characters in British soaps.
But Desperate Housewives is
different. Men in the show, while
often intelligent and attractive, are rarely viewed favorably. While complex and appealing, the men
are often cheap, perverted, misogynistic, and wholly flawed. For instance, Bree’s husband is a
masochistic sex addict; Gabrielle’s lover is an attractive young man who mows
her lawn– and a high school student.
Somehow, regardless of their surface appeal, the men in the show are all
somewhat corrupted, inadequate, and only temporarily satisfying. For the most part, the housewives–
however vain– are in control, not the men. Geraghty’s claims about “abundance” are relatively
well-aimed. The utopia of Desperate Housewives is set agains the
backdrop of materialism– wealth is an ever-present reality in the show. The women rarely want for anything,
setting the stage for more dramatic and complex problems. “Intensity” and “transparency” are what
eternalize the drama of the show.
The viewer knows and sees all, while the public in the show might
not. The characters are all
vulnerable and prone to unexpected outbursts of emotion; as women, this
furthers certain controversial stereotypes. The women all seem to be at least partially unstable and
psychologically discombobulated. I
would argue that this is a further strategy to employ viewer escapism– which is
nearly synonymous with a gross attachment to the show. While the female viewer indulges in the
pleasures and scandals of the housewives’ lives, she is also fed the message
that these women are unstable.
This is a trick of good screenwriting. The show makes it obvious that the characters are all
slightly luny. This obviousness
fuels the viewer’s ego: If she is smart enough to realize that the characters
are crazy, she can indulge shamelessly.
Thus, she can take pleasure in the fantasy while still holding herself
above the show, because she is sane and the characters are not. Despite all of its dramatic appeal and
inherent sexiness, the show nonetheless leaves its female viewers feeling
“better” than the women they’ve just watched on television for an hour. All things considered, it is the nature
of “community” that is most prevalent in Desperate
Housewives, but also most simplistic.
The illusion of community created is the very premise of the show– that
these housewives are, on a surface level, close friends. Yet the very source of entertainment in
the show is the lack of community on a sub-surface level. Beneath the title of “friendship”
exists complete and utter chaos, fueled by gossip. Thus, as Geraghty asserts, the real community is established
in the relationship with the audience.
As
technology evolves, so do the marketing strategies that supplement shows like Desperate Housewives. As social networking becomes a part of
daily life, producers and media marketers employ the powers of Facebook and
twitter in order to advance their own advertising capabilities. I find the use of Facebook in
particular to be a curious point of analysis when examining Desperate Housewives as it relates to
mass culture and Geraghty’s assertions of utopia and escapism through soaps. The Facebook page of Desperate Housewives has nearly 11
million “likes” on its profile page, meaning that many people are subscribed to
electronic updates and alerts regarding the show and its stars. Yet, the interaction between the show’s
Facebook page and its fans is not merely related to production or
tabloids. The page also
facilitates discussion, regarding what’s happened in the show, what might
happen, and how entertaining the soap itself actually is. In this sense, Facebook has furthered
the attachment discussed in Geraghty’s essay– it has expanded the utopia escape
beyond not only the television screen, but also beyond personal
interaction. “...community is not
simply present in the soaps themselves, it is also experienced in the
interaction between the programs and their audience. Soaps offer a common currency to viewers which permits the
enjoyment to be shared with those who do not watch the programs together”
(Geraghty, 221).
The
widespread integration of Facebook into daily life has magnified significantly
the show’s ability to, as Geraghty claims, “unite disparate audiences”
(Geraghty, 221). The realm of
unification now extends beyond the living room; beyond the workplace; beyond
the bar or pub. Now, interactions
are depersonalized, and a fan or follower of the soap can talk excitedly about
the next episode or the a character’s behavior on a publicly accessible and
worldwide stage, interacting with the click of a mouse with millions of other
viewers. Thus, the escapism takes
on a new and far more incestuous and addicting form. Viewers can gossip, just as the characters in the show
gossip, twenty four hours a day, seven days a week, unhindered and unimpeded by
the restrictions of phone conversations, work schedules, or to-do lists. Suddenly, the television show is as
much a part of the audience’s life as any other communicative commodity. The Facebook page lends a face and a
personality to something that previously could not transcend the bounds of an
LCD screen. The excitement on behalf
of the viewer is realized through a direct interaction with the soap. The audience can now take an active
role in a literal medium of interaction, not only with others, but with an
electronic personality of the show itself. Facebook allows a soap to bridge the gap even further
between the sphere of the private and the public, integrating itself fully into
the framework of daily life. As
Geraghty claims, the viewing of a show is merely a portion of the experience. Much of the infatuation comes with the
pleasure and excitement of carrying the gossip from the screen to the real
world, indulging in conversation and discussion with others of a mutual
experience. Facebook allows that
escapism to extend even further into the realm of real life. The question of whether or not this is
an insignificant luxury or a shallow poison prompts a separate, equally complex
point of analysis.
Desperate Housewives is an experience,
and for its primarily female viewers, it is a source of indulgence,
self-righteousness, and gossip, creating a vessel for escapism. The popularity of the soap can be
attributed to its dynamic nature as a source of pleasure and common
ground. The utopia discussed in
Geraghty’s article is thus brought to life through a complex web of linkages between
reality and fantasy, allowing viewers to identify but at the same time separate
themselves from the characters of the soap. In the context of modern drama, it seems to be this strategy
in particular that nurses viewer attachment. Modernity and technological advancement has also played a
pivotal role in expanding the sphere of escapism beyond the confines of
personal discussion to the broad forum of social media through mediums like
Facebook, which create an artificial personality for all that the show
embodies.
Bibliography
Geraghty, Christine. "Soap Opera and
Utopia." Comp. John Storey. Cultural
Theory and Popular Culture: A reader. Harlow: Pearson Prentice Hall, 2006.
Print.
I really like the points you made about technology like Facebook expanding the realm of the escapism that has always semi been present by soap operas. I love Desperate Housewives and I 100% agree that it has to do with the escapism the show provides. I sat down and watched all 8 seasons over one of the winter breaks it was so addicting. The strifes they encounter daily and the way the show shapes even these in being sexualized adds to your desire to watch this show and escape into it. Who wouldn't want life's struggles to seem sexy and dangerous and exciting?
ReplyDeleteI really loved this show and it was interesting to read this post because i never thought of it as a type of escapism, but now that i've read it i definitely agree with you that it is. This show has so much drama and different plot lines going on that it is super easy to escape reality and get sucked into this show. It makes everyday struggles that someone may be facing seem minor compared to what these women go through on their show.
ReplyDeleteI think the points you make are very interesting and valid. I also really love Desperate Housewives and I've even rewatched all of the seasons on Netflix multiple times. But I never really thought about why I was so addicted to it until you mentioned some of these reasons. I agree that the show allows you to escape from reality, which definitely contributes to being able to sit down and watch the show for hours on end.
ReplyDelete