Ideology and American Television Analysis of Nip/Tuck Essay Example

Ideology and American Television: Analysis of Nip/Tuck Paper Anything Goes as Long as the System Never Changes Introduction The best form of fantasy is a depiction of what we covet and cannot attain, as mere viewers. As a result, most television series will depict fantasy as a form of entertainment, and it is usually labeled the â€Å"American Dream. † Achieving the American Dream without sacrifice, however, is unrealistic and suggests an ideal in itself. There is always a price to pay to become self-made and successful, and this type of sacrifice becomes be the grounds for a familiar subtext, much like the subtext in the series Nip/Tuck. Incorporating satirical comedic content and ethical dilemmas, the two surgeons around whom the series revolves, each represent their own ideological delivery systems. The two characters often collide, and question the values and importance of the American dream, and of success. Dr. ’s Troy and McNamara each represent polar opposites who use questionable means to an end, and end up representing both a modern approach to television, which involves nihilism and disloyalty to only one ideology, and justifying flexible values as a representation of modern life. Additionally, the Dr. ’s question what the viewer may see as positive, or negative, by corrupting values and ideologies otherwise commonly accepted, such as family, ethical practice, greed and fidelity. Ultimately, however, the plot does not stray far from the norm, no matter how much superficial distraction is incorporated. Blood and gore equal success – the satirical content behind the thirst for glamour and success One of the most shocking, yet consistent themes in Nip/Tuck is the unforgiving visuals of surgical procedures. We will write a custom essay sample on Ideology and American Television: Analysis of Nip/Tuck specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Ideology and American Television: Analysis of Nip/Tuck specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Ideology and American Television: Analysis of Nip/Tuck specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Although it is plastic surgery, the depth in which Nip/Tuck creators go to depict every aspect of these procedures seems to have an impact both on the meaning, and the ideological views the show portrays. Vanity being the most common motivation for plastic surgery, the question posed to the audience is–does this turkey-carving type of surgery really justify the means to becoming a better looking, better feeling person. I think that the reason behind depicting the horror-film style gore may not only be a critical view of plastic surgery, but also contributes to the satirical nature of the show. There is often an ironic musical score in the background as the surgeons begin to slice open faces and torsos, without any hesitation what so ever. This cold disconnect from performing invasive and grueling procedures to vain and vacuous clientele epitomizes the subconscious message of how we, as Americans, view the importance of achieving the dream. Although plastic surgery is seen as somewhat controversial, it is also a type of glamorous privilege associated with American culture. Perhaps rubbing all of the blood and gore in our faces is a way of conveying that message, without shame. We, as viewers, can watch it, and are almost desensitized to it, because it not only embodies what we have already accepted as a natural part of life, but it is also something appealing that symbolizes our consumerist nature. Nothing could be more blatant, in terms of consumerism, than actual physical mutilation, which also happens to be a privilege unattainable to most. This depiction of the shallowest parts of American culture feeds into the â€Å"deceptive notion of how the world works, an ideology favoring the rich and powerful while deluding the majority of the population† (Mittell 276). Surprisingly, however, both the ironic nature of this theme, and the fascination with glamour do not contradict one another. While watching Nip/Tuck, I had expected to find some sort of disgust with the two main characters and disdain for their practice, however, as much as I found some of the irony amusing, I still couldn’t help but be fascinated and even justify some of the surgical procedures being done. After all, plastic surgery and glamour do seem to go hand in hand, and both are directly liked to financial gain. This seems to be a simple equation that equals to the American Dream. However, there is still some sort of imbalance in the message portrayed in Nip/Tuck; the viewer is still confronted with some unsettling and somewhat shocking, outlandish sequences of events depicted. This aspect of the show, as the unthinkable is eased in to the plot, is what forms the satirical nature of Nip/Tuck. There are often controversial and disturbing themes integrated into the plot, which makes it difficult for the audience to comprehend in which way these themes fit into their own cultural context (Mittell 290). Conflict and the American man – family and ethics vs. reedom and deviation In coherence with its ideological representation, both protagonists of Nip/Tuck are male, they are surgeons and, therefore, have to be male. There can be no deviation from the expectations of the viewer, as outrageous as the content of the program may be, the skeletal structure of typical American television ideology remains and gender roles are maintained. Therefor, the ethical quest ions raised in the plot are often related to the audience only via the male protagonist’s perspective. Both protagonists represent both sides of the American male’s conundrum: Dr. McNamara, who is the devoted family man and Dr. Troy who is the irresponsible, philandering playboy. Both, however, seem to constantly be battling with their life choices, and seem to encompass two radical sides of one male character. Furthermore, as the plot progresses, the ideological standards behind each character are questioned, and corrupted. Dr. McNamara, the family man, ends up losing his family and committing the most predictable violation of trust within his marriage, by having an affair with one of his patients. Dr. Troy, the playboy, eventually comes to terms with his inexcusable behavior and maltreatment of women, and tries to compensate for his cruelty by adopting a child. As a viewer I found the message behind this ideological corruption less disturbing then it seemed, superficially. Losing respect for the false values of an ethical man, and gaining respect for those values of the typical violator still did not dissuade me from making the connection to the same values of consumerism and naturalized conformity depicted to begin with. There is no questioning the means to an end when it comes to achieving wealth and success in a world where money can fix anything, even interpersonal problems. This value is precisely the hidden message within the American Dream, because the line between the freedom and amorality can be so easily blurred. As viewers we are demanded to feel empathy toward Dr. Troy, no matter how profound his cruelty towards others is. Dr. Troy is constantly humiliating women, and often humiliating his friends, however all can be forgiven, because, after all, he was molested as a child. Not to mention he does posses extraordinary physical beauty, which also reinforces consumerist, superficial ideologies regarding how we respect and admire a character. Dr. McNamara, on the other hand is constantly struggling with his masculinity; fighting the stigmas that equate ethical behavior to a lack of backbone (commonly known as femininity) and his greed for success and sexual freedom. Ultimately, both characters cannot survive without each other, and they both represent the classical model of conflict depicted with achieving success. The â€Å"Rosebud† effect is often the center of plot culmination throughout Nip/tuck, as Dr. ’s Troy and McNamara are constantly struggling with each other, and with themselves over the sacrifices being made in order to maintain their business, and earning as much money as possible. Both characters are at ease and cooperation in one setting alone–the hunger for cash. Otherwise, Dr. troy will be endlessly envious of Dr. McNamara’s family and intimacy, and Dr. McNamara, on the other hand, will be terminally ridden with jealousy over Dr. Troy’s numerous sexual conquests. Ultimately, any flaw in character and conduct can always be forgiven, as long as the need to succeed is maintained. Dr. McNamara will still be a good provider, and Dr. Troy will always be a loyal partner. They are both self-made men, living the dream. Nothing is ever good enough, and no amount of success is ever sufficient; more sacrifices must be made. This aspect of Nip/Tuck epitomizes, although ironically, the quest for success within televised American culture, and is something viewers can easily identify with. Gender and sexuality – spineless Julia, ballsy Liz and other afflictions of gender based stereotyping As Nip/Tuck revolves endlessly around the imperfections of the human body, and the importance of vanity and superficiality, there is some room for redemption. The anchoring character who humanizes both main characters is Julia, the wife of Dr. McNamara, and the eternal love interest of Dr. Troy. Julia is a housewife with little aspirations other than going to Yoga-Pilates and poorly parenting both of her upper-middle-class, affected children. However, Julia is still a representation of everything that is feminine and maternal, and the cause for much of the two Dr. ’s personal struggles for acceptance. Despite her flaws, both physically and emotionally, Julia seems to be the only thing that can redeem her fellow protagonists. Julia is the shelter in the storm, and, at the same time, represents the frailty of life as she is the only maternal figure in the show and is the mother of both characters’ children. Julia sustains her fellow protagonists’ survival, and can also facilitate their demise. Although she is a pivotal character in the show, and ends up destroying both protagonists by inflicting broken hearts, she is still incapable of emerging as a strong female sub-character. Julia, as a character, is still intrinsically a part of the ongoing ideological theme, and is nothing but a helpless woman in a world of corrupt men. Julia’s role within the show is yet another reinforcement to social constructs within television â€Å"by linking masculinity with a professional role, and femininity with domesticity† (Mittell 331). Julia only really possesses some form of pseudo power over the protagonists, and she never takes advantage of it. Julia always gives up and stays compliant, often so much as to be depicted as a complete flake and lack any true backbone. Julia’s only real claim to personal empowerment comes when she finally leaves Dr. McNamara, and the clutches of her long forbidden flame, Dr. Troy, and runs into the arms of a rich and powerful gay woman, where she once again assumes her role as a housewife. This monotony in Julia’s character, despite some controversial, superficial fluxes, accommodates classic gender role stereotyping in American television. The female role does not end with Julia, however. Julia’s antithesis, Liz, plays a key role in Nip/Tuck as she represents female empowerment, even if only superficially. Liz is an anesthesiologist who works for Dr. ’s Troy and McNamara, and often displays brave and ethical behavior throughout the show. As if by chance, Liz is gay, and therefore is excused for her masculine line of work and strength of character. It seems almost absurd that the only woman with a real sense of self is a slightly masculine, gay woman, thereby not disturbing the equilibrium of televised gender expectations. Once again, conforming to the almost archaic ideology, which is the foundation for the plot of Nip/Tuck. Not only does Liz maintain the gender stereotypes, she is also eventually made to debate her true sexual identity as the series progresses. After assuming the more maternal role later on in the series, and caring for the personal interests of Dr. ’s Troy and McNamara, she eventually succumbs to her sexual desires for Dr. Troy, which, in tern, demolishes her original sexual identity. As if to make her character more palatable to the viewer, she undergoes a process to become a quasi-heterosexual. Ultimately, both main female characters Liz and Julia do nothing but support the portrayal of â€Å"the cultural norms of ideologically ‘proper’ sexual roles at any given cultural moment† (Mittell 340). Conclusion Despite the rigorous use of shocking and unusual scenarios within the Nip/Tuck plot, there is always a comforting conclusion that is based on mainstream ideologies, which seldom differ from classical structuring of American television. Nip/Tuck does include a slew of controversial, cultural concepts, yet the ideology on which the plot is based only offers raditional solutions to all of them. The question of gender equality is addressed, and then carefully dismissed. Women never do prevail as strong influential characters within the series. Even the many attempts to dabble with same-sex relations always concludes with some sort of quasi-heterosexual transformation of the character in question, or just pornography-inspired lesbianism, in which both partner s (Julia and her lover, for example) are beautiful and oversexed. Furthermore, the integrity and ethical responsibilities of both Dr. s is always flexible to the point of amorality. Yet both Dr. ’s seem to bounce back as characters of redeeming qualities, as they still support their roles of patriarchal and success-driven individuals. Like cowboys in an old western movie, the protagonists of Nip/Tuck can go as far as committing crime, as long as they stay true to their cause and win in the end. No amount of character corruption can ever be enough to divert the viewer from the naturalized, unconscious beliefs that stand for televised cultural norms. Due to the unbendable, nonnegotiable foundations of each character and their roots in classic American television norms, no real ideological violation is ever made. Finally, the irony in which Nip/Tuck resorts to in order to establish hints of dark humor is never deep enough to allow true cultural criticism. The backbone of the naturalized ideology is never compromised, and the viewer will never feel too uncomfortable. References: Mittell, Jason. â€Å"Screening America,† â€Å"Representing Identity. †Ã‚  Television and American Culture. New York: Oxford UP, 2010. Print.