I have chosen to analyze the first and second seasons of the television series “Lipstick Jungle.” I will examine the contradictions between the general ideas of the show with its content. I will analyze in the way that Bonnie Dow (1996) qualified her arguments in the book “Prime-Time Feminism: Television, Media Culture, and the Women’s Movement Since 1970.” My assertions are based upon my perception of the show. I do not intend to impress that my perceptions are the only way to interpret the show, nor are they the best. This show can be seen in many different lights and many may disagree with my opinions. I do hope that people may consider my arguments and reconsider their evaluations of the show.
The show is based on the best-selling book written by Candace Bushnell, writer of the beloved “Sex and the City,” and very similar to it. I will first introduce the general underlying concepts that the show represents in its entirety. These concepts were established in the very first episode. The show is about three high-powered New York women. They’re beautiful, successful, “independent,” and they each carry a feminist bitterness, especially in Nico, the blonde editor in chief with aspirations of becoming her company’s next CEO. These women are supposed to represent the “new woman.” They are women equal to men and more in both the workplace and at home, initially at least. As the show proceeds, more and more does the content and dialogue contradict these ideas.
Nico begins the show as the most feminist of the three friends, and in the very first episode, clings to the idea that she wants nothing to do with a family for fear it will knock her out of the running for the CEO position. When describing the basis for her feelings, reflecting on career women as a whole, she says, “If you want to start a family you’re distracted, and if you don’t then there’s something wrong with you: you’re unnatural, you hate men, you’re hiding testicles under your skirt.” She’s constantly comparing herself to men and ascertaining that she is equal to them. However, as you watch on, Nico becomes exactly what she was against. Suddenly, her dead husband’s illegitimate child is dropped into her lap. She immediately falls in love with the child, becoming unexpectedly matronly, and suddenly wanting to start a family. She neglects her job, expects her 25 year old boyfriend to become daddy, and she becomes the “irrational girlfriend.”
As far as the other main characters go, this is a brief summary for each of them. Victory Ford is a clothing designer constantly in need of a man. She is sad, alone and in constant pursuit of her “soul-mate.” Wendy starts the show at the top of a movie studio. She loses her job and becomes the jealous, insecure housewife, temporarily I hope. While the feminist undertone is ever present, it is not always reflected by the main characters, and is at times contradicting to the general ideas that the first episode introduced as the umbrella for the show. The first episode emphasizes embracing the women’s strengths, excelling, and not apologizing for it. When speaking of Wendy’s fight with her husband over Wendy’s success, Nico closes the episode with, “you deserve to be loved for your strengths not in spite of them.” As the show proceeds, it becomes a disservice to the career woman, affirming the existence of a glass ceiling, and incapability of women based upon their “hardwiring.” In this sense, the show functions as a post-feminist text.
