Reconstructing Netflix’s House of Cards

"Success success in politics should be attributed to intelligence and hard work."

“Success success in politics should be attributed to intelligence and hard work.”

“It is not simply the appearance and practice of male power which is most problematic, but rather the constant subversive denigration of feminine traits and their place in politics.  The result of such romanticized masculine power is the legitimation of dominance exerted over those embodying any hint of femininity.”
—Joseph Loyacono Bustos, Annalise Grigereit, Gabbie Pucciarelli, Lauren Robinson, Olivia Steveson

The Original House of Cards Promotional Poster
House of Cards

“Not only does Frank embody such a form of masculinity, but he utilizes its privilege to work his way up in the political sphere.  The character of Frank reinforces stereotypes of masculinity by being represented as manipulative and determined in his grab for power.”

The Original House of Cards Trailer

“Are the women actually comparable to the men in terms of power and influence?  Or as Rosenberg suggests, is the show too concerned with “insisting that all female journalists are sleeping their way to the top” to recognize real life discrepancies in male-female job ratios in the realm of politics and journalism?  This sexualization of women asserts the sexualized body as a crux of feminine power, reinforcing the inability of women to transcend their role as sexual objects.”

The Revised House of Cards Trailer

“Hegemonic structures insinuate that power must be both dominating and physical, and above all, exemplified by the domination of those less powerful than you.  Our goal was to highlight the arbitrary nature of such a power construct, portraying power that instead, is earned by hard work and intelligence.”

Faking It—It’s Complicated

The NEW Faking It Promotional Poster

“We want the audience to understand that this story is about Amy and her struggle to figure out and navigate her sexuality.”

“While MTV’s Faking It pushes heteronormative boundaries by including queer characters in prominent positions and depicting these characters exploring their queer identities in complex ways, it ultimately privileges heterosexual relationships, continuing to marginalize its queer characters. We present a revision of the show, entitled The Trials and Tribulations of Amy Raudenfield, which presents a more sensitive and complex portrayals of Faking It’s existing queer characters.”
—Maeve O’Connor-Bethune, Lexi Davis, Tierre Allen, Casey Schuller, and Charlie Theobald

The Original Faking It Promotional Poster
Original Faking It Print

“Karma and Liam intensely lock eyes while Amy is boxed out in isolation on the right. Although this show is marketing itself as progressive with the plot revolving around a fake lesbian relationship, the ad shows no indication of this relationship besides the homecoming queen sashes […] Although Faking It has some progressive elements, the ad covers it up and plays it safe to draw in a wider audience by showing a typically desirable image.”

The Original Faking It Trailer

“Liam is highly over-praised for being an LGBTQ ally. He is seen as a good guy because he is friends with a feminist and an out gay man. This is problematic because Liam is not a supportive ally. Even though Karma is not actually queer, Liam sexualizes her perceived sexuality, discounting her feelings towards women and invalidating her relationship with Amy. Karma’s lesbianism is seen as novelty and sleeping with a lesbian is described as a ‘straight man’s fantasy.’”

The Revised Faking It Trailer

“Our trailer borrows a montage from ’s first season, when Amy has a number of dates with different women. She is an awkward, bumbling mess but in a loveable way. It simply isn’t realistic for Amy to come out and suddenly know how to do all things queer. We want her to be young and awkward and to mess things up, but we still want her to be able to find love and explore herself.”