Search results

AbstractThis paper draws on two favourite characters from British reality television show,Love Island2018: Jack Fincham, a former stationery sales manager, and Alex George, an Accident & Emergency [A&E] doctor, to explore how heterosexual norms are constructed and challenged. We study the romantic on-screen relationships these characters have with the female contestants, and between the two male characters themselves through the notion of 'bromance'. Through a textual analysis of the spoken words and physical interactions between characters in episodes forming the fourth series ofLove Islandand analysis of social media posts and articles in popular press outlets, we use the notion of gender performativity to explore how these characters perform both hegemonic and, what we argue is, 'threatened' masculinity. We use the 'Male Gaze' to methodologically lens the performances by characters and their romantic interactions on the television show. In particular, we focus on Jack and Alex's budding relationship and the condemning of this relationship by the public amid Alex's termination of his romantic relationship. The decision by Alex to end this relationship led to many viewers questioning his sexuality, with specific reference to his adoration for Jack. Whilst broadly, this paper contributes to debates on the sociological potential of reality television shows, such asLove Island, its specific contribution is to a small, but growing body of international scholarship on homosocial relationships and male love stories in television and film. With this paper, we also contribute towards redressing the marginalization of women within the study of bromance.

Through a textual analysis of four episodes comprising the 2019 ITV 1 psychological thriller Cheat, this article explores a fictional representation of the United Kingdom (UK) Higher Education (HE) setting in a television drama. We discuss our analysis in the context of growing marketisation of UK HE, where academics are increasingly viewing students as powerful consumers. We focus on one of the central characters, final-year undergraduate student Rose Vaughan, and the staff with whom she interacts in a fictional HE institution – St. Helen's College. This article engages with the following themes: 'The powerful student consumer' and 'The commodified academic'. Insight gleaned through the textual analysis of this dramatised depiction of UK HE allows us to attempt to understand how both students and academics might be navigating the neoliberal university and negotiating place and status as (paying) students and (commercial) academics. Although heralded as powerful student-consumers in much literature, our analysis of this television drama shows how students can potentially disrupt the united front often attempted by HE institutions, but ultimately are faced with a 'the house always wins'1 scenario. Our article offers an important contribution to the psycho-sociological literature into how the television drama depicts that the student experience has been transformed and impacted by HE's marketisation. This includes a reconsideration of how the television drama portrays what it means to be a student, by exploring how one student is conceptualised, understood, and represented in the psychological thriller.