ABSTRACT

The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.

摘要

21 世纪的电视格局以高光质量的电视剧、实验性单镜头喜剧和导演剧为主。这些节目使用虚无主义和讽刺来表示他们被纳入最新的社会政治相关万神殿：Woke TV。然而，对《一次一天》（Netflix/Pop，2017-2020）和《保姆俱乐部》（Netflix，2020-）的文本分析挑战了唤醒电视典型的讽刺性超然。通过对电视翻拍的怀旧情怀，这些节目提供了一个蓝图，为该类型的更认真和积极的版本提供了一个蓝图，它不依赖于超然，而是依赖于观众对当代社会、政治和经济问题的情感参与。一天一天拥抱多镜头情景喜剧的艺术保守主义，以真正的 Woke TV 时尚，阐明支撑资本主义霸权和白人至上的制度结构。同样，保姆俱乐部采用儿童节目的真诚和认真的框架，在私人和公民话语中倡导乐观、责任和公平。总而言之，这两个节目体现了 Woke TV 类型的更加民粹主义的分类，它吸收而不是拒绝电视类型和格式的传统。