Routledge Advances in Popular Culture Studies – serie

This book interrogates the significance of the revival and reformulation of the romance genre in the postmillennial period. Emma Roche examines how six popular novels, published between 2005 and 2015 (Twilight, Fifty Shades of Grey, Gone Girl, Sharp Objects and The Girl on the Train), reanimate and modify recognisable tropes from the romance genre to reflect a neoliberal and postfeminist cultural climate. As such, Roche argues, these novels function as crucial spaces for interrogating and challenging those contemporary gender ideologies.Throughout the book, Roche addresses and critiques several key attributes of neoliberal postfeminism, including a pervasive emphasis on individualism and personal responsibility; an insistent requirement for self-monitoring, self-surveillance, and bodywork; the celebration of consumerism and its associated pleasures; the prescription of mandatory optimism and suppressing one’s ‘negative’ emotions; and the endorsement of choice as a primary marker of women’s empowerment. While much critical attention has been devoted to those attributes and their pernicious effects, Roche argues that one crucial repercussion has been largely overlooked in contemporary cultural criticism: how these ideologies function together to effectively sanction gender-based violence. Thus, Roche exploits textual analysis to demonstrate the subtle ways in which neoliberal postfeminism can augment women’s vulnerability to male violence.

This book interrogates the significance of the revival and reformulation of the romance genre in the postmillennial period. Emma Roche examines how six popular novels, published between 2005 and 2015 (Twilight, Fifty Shades of Grey, Gone Girl, Sharp Objects and The Girl on the Train), reanimate and modify recognisable tropes from the romance genre to reflect a neoliberal and postfeminist cultural climate. As such, Roche argues, these novels function as crucial spaces for interrogating and challenging those contemporary gender ideologies.Throughout the book, Roche addresses and critiques several key attributes of neoliberal postfeminism, including a pervasive emphasis on individualism and personal responsibility; an insistent requirement for self-monitoring, self-surveillance, and bodywork; the celebration of consumerism and its associated pleasures; the prescription of mandatory optimism and suppressing one’s ‘negative’ emotions; and the endorsement of choice as a primary marker of women’s empowerment. While much critical attention has been devoted to those attributes and their pernicious effects, Roche argues that one crucial repercussion has been largely overlooked in contemporary cultural criticism: how these ideologies function together to effectively sanction gender-based violence. Thus, Roche exploits textual analysis to demonstrate the subtle ways in which neoliberal postfeminism can augment women’s vulnerability to male violence.

The idea of metatextuality is frequently framed as a recent television development and often paired with the idea that it represents genre exhaustion. US television, however, with its early “live” performances and set-bound sitcoms, always suggested an element of self-awareness that easily shaded into metatextuality even in its earliest days. Meta Television thus traces the general history of US television’s metatextuality throughout television’s history, arguing that TV’s self-awareness is nothing new—and certainly not evidence of a period of aesthetic exhaustion—but instead is woven into both its past and present practice, elucidated through case studies featuring series from the 1970s to the present day—many of which have not been critically analyzed before—and the various ways they deploy metatext to both construct and deconstruct their narratives. Further, Meta Television asserts that this re- and de-construction of narrative and production isn’t just a reward to the savvy and/or knowledgeable viewer (or consumer), but seeks to make broader points about the media we consume—and how we consume it.This book explores the ways in which the current metatextual turn, in both the usual genres in which it appears (horror and sci-fi/fantasy) and its movement into drama and sitcom, represents the next turn in television’s inherent self-awareness. It traces this element throughout television’s history, growing from the more modest reflexivity of programs’ awareness of themselves, as created objects in a particular medium, to the more significant breaking of the fictive illusion and therefore the perceived distance between the audience and the series. Erin Giannini shows how the increased currency of metatextual television in the contemporary era can be tied to a viewership well-versed in its stories and production as well as able and willing to “talk back” via social media. If television reflects culture to a certain extent, this increased reflexivity mirrors that “responsive” audience as a consequence of the lack of distance that metafiction embraces.As Robert Stam traced the use—and implications—of reflexivity in film and literature, this book does the same for television, further problematizing John Ellis’s glance theory in terms of both production and spectatorship.

The idea of metatextuality is frequently framed as a recent television development and often paired with the idea that it represents genre exhaustion. US television, however, with its early “live” performances and set-bound sitcoms, always suggested an element of self-awareness that easily shaded into metatextuality even in its earliest days. Meta Television thus traces the general history of US television’s metatextuality throughout television’s history, arguing that TV’s self-awareness is nothing new—and certainly not evidence of a period of aesthetic exhaustion—but instead is woven into both its past and present practice, elucidated through case studies featuring series from the 1970s to the present day—many of which have not been critically analyzed before—and the various ways they deploy metatext to both construct and deconstruct their narratives. Further, Meta Television asserts that this re- and de-construction of narrative and production isn’t just a reward to the savvy and/or knowledgeable viewer (or consumer), but seeks to make broader points about the media we consume—and how we consume it.This book explores the ways in which the current metatextual turn, in both the usual genres in which it appears (horror and sci-fi/fantasy) and its movement into drama and sitcom, represents the next turn in television’s inherent self-awareness. It traces this element throughout television’s history, growing from the more modest reflexivity of programs’ awareness of themselves, as created objects in a particular medium, to the more significant breaking of the fictive illusion and therefore the perceived distance between the audience and the series. Erin Giannini shows how the increased currency of metatextual television in the contemporary era can be tied to a viewership well-versed in its stories and production as well as able and willing to “talk back” via social media. If television reflects culture to a certain extent, this increased reflexivity mirrors that “responsive” audience as a consequence of the lack of distance that metafiction embraces.As Robert Stam traced the use—and implications—of reflexivity in film and literature, this book does the same for television, further problematizing John Ellis’s glance theory in terms of both production and spectatorship.

Tapping into a growing interest in American culture with the occult and new spiritualism, this book is the first scholarly work devoted entirely to the unique place of Ouija in American culture.On the one hand, Ouija has at different moments in history pointed to a deep fascination and openness with the supernatural in the American psyche. On the other hand, Ouija resides squarely outside of orthodox religious belief, and, as we shall see, garners suspicion and even outright rejection from various Christian traditions especially. Thus this cardboard doorway to the supernatural continues to reflect some of the most interesting paradoxes in American life.Bringing together an international team of scholars, this book shows that what qualifies as religious remains an open question, and how Americans continue to grapple with what practices lie within and without the traditions they inherit and pass on.

This is the first book‑length study of The Golden Girls, which ran for seven award‑winning seasons from 1985 to 1992 and produced two spin-offs.Through a cultural studies approach, this collection examines a wide range of topics, including race, sexuality, queerness, memory, familial mythmaking, aging, health, and financial precarity. Featuring contributions from an international team of scholars, this book highlights the enduring relevance and cultural impact of the show, even 30 years after its original airing.Offering fresh insights into its cross‑generational and cross‑cultural appeal, Down the Road and Back Again is intended for scholars of pop culture and fans of the show.

This multinational, multidisciplinary collection of essays focuses on Hallmark Channel movies and Hallmark’s position in the changing North American media landscape.This book covers the ‘Countdown to Christmas’ offerings, year-round productions, made-for-TV mysteries and romances, Hallmark’s use of specific filming locations, and its relationship to viewer desires. Chapters examine Hallmark’s position in a changing sociopolitical context and the tensions the company must navigate in creating more “progressive” content; they discuss issues of gender, race, sexuality, and place, as well as analyzing the extensive ranges and reactions of social media participants and interrogating the nature of Hallmark’s popularity.Suitable for scholars and students of film and tv and popular culture studies, this is a multifaceted look at both Hallmark and its viewers at a particular moment of Hallmark’s market dominance.

This multinational, multidisciplinary collection of essays focuses on Hallmark Channel movies and Hallmark’s position in the changing North American media landscape.This book covers the ‘Countdown to Christmas’ offerings, year-round productions, made-for-TV mysteries and romances, Hallmark’s use of specific filming locations, and its relationship to viewer desires. Chapters examine Hallmark’s position in a changing sociopolitical context and the tensions the company must navigate in creating more “progressive” content; they discuss issues of gender, race, sexuality, and place, as well as analyzing the extensive ranges and reactions of social media participants and interrogating the nature of Hallmark’s popularity.Suitable for scholars and students of film and tv and popular culture studies, this is a multifaceted look at both Hallmark and its viewers at a particular moment of Hallmark’s market dominance.

What lies beyond death? This book brings together a diverse collection of scholarly voices to explore how popular culture imagines—and reimagines—the afterlife. Drawing from film, television, video games, literature, advertising, and digital technologies, this book examines how narratives about Heaven and Hell, ghosts and gods, memory and immortality shape contemporary understandings of morality, death, and what may come after.From Pixar’s Coco to The Good Place, Ghostbusters, Upload, and Westworld, these chapters interrogate the enduring power of afterlife narratives to provide existential comfort, moral guidance, and cultural critique. Whether through the lens of theology, philosophy, or secular imagination, contributors consider how popular media blurs the sacred and the profane, challenging dogma, reframing ethics, and offering new possibilities for how we remember the dead and live among the living.Spanning topics such as queer love in the afterlife, Indigenous cosmologies, digital resurrection, and the theological implications of robots, Depicting the Afterlife in Contemporary Film and Media: Morality, Religion and Death is a timely exploration of how the afterlife continues to haunt and inspire modern culture.Essential reading for scholars of media studies, religious studies, cultural theory, and anyone fascinated by humanity’s oldest and most enduring question: what happens when we die?

This book provides a critical overview of the cultural impact of the Murder, She Wrote TV series and its paratextual elements, including board and video games, podcasts, fan conventions, collectible figures, and ghostwritten novels. It also explores the series’ position within the crime genre, particularly its engagement with earlier iterations of the ‘lady detective’.Bringing together a broad range of experts, the book includes contributions from both academics and crime fiction novelists to offer a wide-ranging view of this popular series and its afterlives.Suitable for scholars and students working on popular culture, crime fiction, TV studies or fan studies, this collection provides an interdisciplinary analysis of one of the most successful and enduring female-fronted detective series in history.

This book provides a critical overview of the cultural impact of the Murder, She Wrote TV series and its paratextual elements, including board and video games, podcasts, fan conventions, collectible figures, and ghostwritten novels. It also explores the series’ position within the crime genre, particularly its engagement with earlier iterations of the ‘lady detective’.Bringing together a broad range of experts, the book includes contributions from both academics and crime fiction novelists to offer a wide-ranging view of this popular series and its afterlives.Suitable for scholars and students working on popular culture, crime fiction, TV studies or fan studies, this collection provides an interdisciplinary analysis of one of the most successful and enduring female-fronted detective series in history.

The British Royals in Popular Culture examines the intricate relationship between the monarchy and popular culture from the Tudors to the Windsors, illustrating how the institution has persistently adapted to maintain its symbolic, psychological, and theatrical significance over centuries. It underscores the intrigue and authority of the British royals, revealing the fine balance between public visibility and the maintenance of mystique that has been pivotal to their enduring presence.Popular culture is a powerful lens through which to view the monarchy. As cultural industries have shifted over time, so too has the portrayal of the royals. The British royal family has continually navigated the complexities of celebrity culture. Through curated public appearances and carefully staged ceremonies, the royals have maintained their iconic status, bolstering the monarchy’s enduring appeal and cultural significance, while maintaining a mystique essential for ongoing fascination. With the death of Elizabeth II and the coronation of Charles III, this book emphasizes a renewed global interest in assessing how royals occupy cultural and social spaces. It invites readers to critically examine why in a contemporary world, where many sovereigns live largely out of the public eye, the British royals remain a captivating subject of public gaze.Ultimately, this book highlights how the British royal family has evolved through popular culture, transforming from a historical institution into a global brand. By unpacking the fantasy and reality of the monarchy, it reveals how the royals navigate their roles, maintain their influence, and continually engage with society. In examining how they are fashioned and perceived through various cultural dimensions – from media to fashion, and weddings to state occasions – the text paints a comprehensive portrait of how the British monarchy has persisted through ongoing reinvention and adaptation.

This book examines how twenty-first century horror narratives are shaped by transmedia storytelling, digital convergence, and mediated intertextuality. Contemporary storytelling is increasingly participatory, multimodal, and intermedial. As a result, it might be tempting to argue that we are witnessing an entirely new set of horrors emerging in today’s digitised world. Despite the innovations brought about by artificial intelligence, digital connectivity and social media, this book argues that today’s horror narratives are deeply rooted in historical and cultural discourses. Age-old fears are being reimagined in a new media landscape that is both global and deeply personal. This collection offers insights into how horror narratives are evolving across various media platforms including film, television, video games, and social media such as TikTok and YouTube. It also explores the lived reality of communities who engage with horror as a cultural identity and practice, considering how fashion, make-up, and costuming operate as their own forms of transmedia. These chapters examine the relationship between media, culture, and technology, revealing how digital culture reshapes traditional horror motifs and influences social norms. Readers will gain a deeper understanding of the connections between new storytelling practices and established genres, as well as how these narratives reflect contemporary societal fears and desires. This book will be valuable for scholars of media studies, fan studies, game studies, the Gothic, and horror research. By addressing both emerging technologies and historical representations of horror, the collection provides critical perspectives for academics interested in the intersections of media, culture, identity, community, and horror. The interdisciplinary approach will appeal to those studying screen studies, sociology, media representation, and cultural practices, offering new trends and insights within the evolving field of horror studies.

This book examines the evolution of Barbie as a brand and cultural icon, analysing her impact as a model for identity and a powerful influencer within the toy, fashion, and media industries. Since her debut in 1959, Barbie has evolved from a fashion doll to a symbol of empowerment, diversity, and social commentary, reflecting broader shifts in society’s views on identity, representation, and consumer culture.Through a historical and cultural lens, this study traces how Barbie has become a dynamic force in shaping public perceptions and cultural values. Key features of the book include an exploration of Barbie’s marketing strategies, brand adaptations, and role in reflecting and challenging societal expectations. Each chapter critically analyses major campaigns and collaborations that have positioned Barbie as both a beloved toy and a lifestyle brand. Additionally, the book examines controversies surrounding Barbie’s image, offering insights into how her branding navigates consumer expectations and societal pressures. This in-depth approach helps readers understand how Mattel has continuously adapted Barbie to stay relevant in a changing cultural landscape. Targeted at academics and students in fields such as popular culture, gender studies, sociology, and marketing, this book serves as a resource for understanding the intersections of consumer culture and identity formation. Readers will find valuable insights into the role of media and advertising on children’s self-perception and societal norms.Through a comprehensive exploration of Barbie’s influence, this book offers essential knowledge for those interested in the broader implications of branding and marketing in shaping societal ideals and individual aspirations.

This book offers a comprehensive analysis of Barbie’s role in shaping societal perceptions of identity, gender, race, and sexuality. It traces Barbie’s journey from a post-war American doll reflecting stereotypical ideals to a significant cultural icon whose image both reflects and influences complex contemporary discussions on identity. By situating Barbie in her historical and social context, this book explores how this iconic doll has navigated and, at times challenged, is shifting societal norms. Structured thematically, this book dedicates each chapter to specific aspects of Barbie’s influence, from her portrayal of femininity and body image to her evolving representations of race and sexuality.By examining Barbie’s diverse career roles and responses to beauty standards, this book encourages readers to consider both the empowerment and the limitations embedded in her narrative. It also critically addresses efforts to diversify Barbie’s image, questioning whether these initiatives genuinely engage with diverse communities or commodify inclusivity for commercial appeal. Aimed at scholars and students in fields such as gender studies, sociology, and cultural studies, this book draws from multidisciplinary insights to enhance the reader’s understanding of Barbie’s impact.Its rigorous theoretical framework and balanced perspective make it an essential resource for those interested in consumer culture, identity formation, and media representations. By engaging with Barbie’s complex legacy, this book provides a timely and thought-provoking contribution to discussions about the intersections of identity, representation, and popular culture.

In the last decade, the popularity of ‘romance’ in the AAA game has exploded. It has become an expectation for major releases and a regular object of fan obsession. High-profile games such as Baldur’s Gate III (2023), Cyberpunk 2077 (2020) and Starfield (2023) prominently feature in-game romance in their multimillion-dollar promotional campaigns. Moreover, rampant speculation by gaming journalists and fans about who is ‘romanceable’ will regularly accompany the announcement of a new title. However, representations of romance have long been under-examined and vaguely defined by scholars. This leaves important questions unanswered. How does the digital game mediate cultural attitudes towards love and sex? How can we classify representations of romance in the digital game? Does romance simply replicate existing hegemonies surrounding gender and sexuality, or does it offer a space for transgressive play?This book positions optional romance in the AAA game as a central object of analysis. Based on the close analysis of some of the most commercially and culturally significant games of the last 30 years like Grand Theft Auto IV (2008), the Mass Effect series (2007-21) and the Elder Scrolls series (1994-2024), it is the first full-length monograph to effectively and comprehensively categorise how mainstream gaming asks its audience to engage with romance. It interrogates the idiosyncrasies of romance in the popular games to provide fresh insights into messaging surrounding normative social understandings of love, sex and intimacy.By theorising four representational categories of romance—Limerent, Physical, Domestic and Ludic—Automatic Love introduces a new theoretical framework for scholars to understand romance, gender and sexuality in gaming.

This book investigates the cultural significance of transformation and metamorphosis in popular media across diverse global and historical contexts. Bringing together interdisciplinary scholarship, the chapters examine how transformation is represented in a wide range of media—from poetry and animation to horror, games, and AI-generated music videos.With particular attention to Japanese transformation tropes and their global influence, this book rethinks the symbolic and affective power of metamorphosis in shaping identity, politics, and popular imagination. Timed to coincide with the 25th anniversary of both Kamen Rider Kuuga and Meta-Morphing, this collection marks a timely intervention into ongoing discussions of embodiment and change. It is structured in six thematic sections, addressing animated transformations, more-than-human forms, societal metamorphoses, musical and sonic transformation, body horror, and changing identities. Featuring contributions that blend phenomenology, cultural history, and media analysis, the text offers conceptual innovation and methodological diversity. The chapters also engage emerging topics, such as AI-generated content and the intersections of transformation with race, gender, sexuality, and disability. The collection combines rigorous scholarship with accessibility and features contributions from both leaders in their fields research and the emerging voices of early career researchers.This book is intended for scholars and postgraduate students in the Humanities and social sciences, particularly those working in media, cultural studies, animation, gender and queer theory, fan studies, musicology, horror, and AI studies. Its interdisciplinary framing and international scope will appeal to academics researching transnational popular culture, as well as educators seeking to integrate themes of transformation into their teaching. The collaborative structure ensures coherence across chapters, while its inclusion of historically excluded perspectives makes it a valuable contribution to global and justice-oriented scholarship.