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LSU Master's Theses Graduate School

2010

Betties and broads: a qualitative examination of the maiden and Betties and broads: a qualitative examination of the maiden and

whore archetypes in "The Golden Girls," "Designing Women," and whore archetypes in "The Golden Girls," "Designing Women," and

"Sex and the City" "Sex and the City"

Crystal Jackson

Louisiana State University and Agricultural and Mechanical College

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BETTIES AND BROADS:

A QUALITATIVE EXAMINATION OF THE MAIDEN AND WHORE ARCHETYPES IN

“THE GOLDEN GIRLS,” “DESIGNING WOMEN,” AND “SEX AND THE CITY”

A Thesis

The Manship School of Mass Communication

by

Crystal Victoria Jackson

ii

This thesis is dedicated to my devoted family for their unwavering support and everlasting

love. Thank you for believing in me when I didn’t always believe in myself.

For Victor, Yolanda, Charity, and Timothy Jackson

Dedication……………………………………………………………………………….Page ii

Abstract…………………………………………………………………...…………….Page iv

Introduction…………………………………………………………………………..….Page 1

Literature Review………………………………………………………………………Page 12

Methodology………………………………………………………………………..….Page 20

Results and Discussion……………………………………………………………...….Page 25

Conclusion…………………………………………………………………………..….Page 73

Bibliography……………………………………………………………………...…….Page 75

Appendix

A Episode List…………………………………………………………………….Page 80

B Archetype and Stereotype List…………………………………………………Page 83

Vita…………………………………………………………………………………....Page 100

This study examined the maiden and whore characters in “The Golden Girls,”

1

Introduction

2

Perhaps due to the male dominated TV industry, television networks dealt with the

evolving female status in society by effectively eliminating them from a majority of

programming. They were unsure if the progressive female identity that was budding in society

would translate to the screen in such a way that would continue to garner financial success.

From 1969 to 1977, the percentage of white female characters on primetime television shows fell

under 30%. At this time, however, white women alone made up 41.6% of the American

population (Seggar and Wheeler 1973; Gerbner and Signorielli 1979; Reinhard 1980). Network

producers examined this female underrepresentation and began working to develop shows that

would depict women more often in the roles they were playing in American society. As the

1970's began, the role of women on TV started to once again emulate society as a larger

percentage of them were entering the workforce. The number of employed female characters on

television jumped from 20% to 38% from 1971 to 1973 (Seggar and Wheeler 1973). By the

1980‟s, women in general, were still underrepresented despite an increase in television shows

focusing on the lives of women (Baehr and Dyer 1987; Abelbman 1990).

It was in the mid-1980's that “The Golden Girls” and “Designing Women” debuted.

Finally, female viewers were going to be able to see shows, besides soap operas, that focused on

on television screens in 1985. Producers were hesitant to launch a series centered on four elderly

women, but the show was validated with high ratings and a large audience pool. Nielsen Media

3

cast. The show was nominated for 23 recognitions including four nominations for an Emmy; it

won 14 awards. Producers began noticing that regardless of age, shows about women (especially

the groups of four) were garnering amazing success because female audiences were able to see

television screens. It was by far the raunchiest series; however, it amassed even more success

because the producers dared to reveal women‟s most intimate secrets regarding taboo issues such

as sex, men, the dating world, and their expected societal role (Markle 2008). Award wise, the

show was the most successful of the three according to its number of nominations and awards. It

was nominated nearly 130 times and won 36 awards including eight Golden Globes. Nielsen

Media Research also ranked the show very highly both during and after its time on television.

“The Golden Girls,” “Designing Women,” and “Sex and the City” were extremely successful

television shows that proved to networks that complex female characters could be both popular

and profitable.

Regardless of their garnered success from shows centered on women, television

producers continue to posit female characters within certain parameters. Each of the three

shows, contains archetypes or stereotypes embedded in popular literature. These are the whore,

crone, maiden, and mother characters. The maiden character is a stark contrast to her whore

counterpart. The mother character is balanced by the crone figure. For example, in “The Golden

4

For the purposes of this study, we will examine two of the four characters: the maiden and the

whore.

The groups of four women on these shows have made a name for themselves due to their

intriguing dynamic and their ability to function despite their overwhelming individual

because they are able to see themselves reflected in one or more of the personalities. When

taking a closer look, these four women have been around as long as literature, audio and visual

media. The three specified television shows were chosen because they depict the lives of four

women experiencing societal norms, pressures, and benefits at different life stages. They have

also achieved incredible success allowing them to reach large TV audiences and giving them the

ability to influence a generation. The characters complement each other in order to create the

sense of completeness that Dr. Anne K. Kaler, author of “Golden Girls: Feminine Archetypal

Patterns of the Complete Woman” mentions in her studies as a key factor in a show‟s success.

The observations and qualitative findings for this study will be rooted in Jungian

important to the field of mass communication to understand these characters, their relationships,

and their positive, negative, or neutral presence.

Before examining “The Golden Girls,” “Designing Women,” and “Sex and the City,” it is

necessary to have an understanding of the role female characters have played in television, how

previous studies have contributed to the field, and how this study will bridge a gap in published

research. A general knowledge of women on television is necessary to understand the

foundation of their presence, the progression, if any, that has been made in regards to

stereotypical roles, and how the three chosen shows garnered such success. An investigation into

previous similar studies is vital in knowing what research has found thus far and what

unchartered territory is left to explore.

“Television is one of our most powerful cultural institutions” claims Andrea L. Press, “In

a society in which more people have television sets than indoor plumbing, where children spend

more time in front of the television set than in any other activity, few would deny televisions

symbolic power” (Press 1991 p. 8). Technology has advanced so much allowing for a large

array of media outlets. For this study, television was chosen because it has been a media icon for

decades and continues to be influential in Western civilization, particularly in the United States.

In her book Defining Women: Television and the Case of Cagney and Lacey, Julie

D‟Acci claims “TV depictions…may have a very real correlation to our conceptions of what

Portrayals of women during television‟s earliest years showed them as docile, timid, and

domesticated (Chaudhuri & Strobel 1992). With iconic figures such as Lucille Ball and Vivian

Vance of I Love Lucy and Barbara Billingsley of Leave it to Beaver, women were constantly

portrayed as the heiresses of housekeeping and the divas of dishes and dinners. Segueing out of

the 1950's and 1960's era, television began portraying women as fantasies by highlighting their

sexuality. Women were also seen more often in the work place rather than in the home – a stark

contrast to their earlier portrayal (Pribram, 1988). David Atkins suggests that these female

stresses traditional values, although conservative media may occasionally incorporate

nontraditional characterizations” (Atkins, 1991 p. 518).

Ginia Bellaffante, in a 2002 interview with Bob Garfield explained, “the relationship

among the four [Sex and the City] women, and many single women living in cities across

women relate to in SATC, I think predominantly is the friend group as family” (Garfield 2002).

to be the highlight of numerous feminist works. This study will also seek to comprehend how

three sitcoms successfully bring to life friendships that serve as families and will bridge that gap

between studies that have focused on them individually.

friendship that keeps it balanced. Gerhard goes as far as to describe the women‟s solid, balanced

relationship as an elected family structure. “What made SATC different was that it regularly

suggested that this family of four could be enough to make up a life, a life still worth living

without the husband and baby, a life outside the historic feminine and feminist script” (Gerhard

2005 p. 46). This family of four was able to succeed because it reflected the Jungian archetypes

as examples of how the “family of four” is able to survive during troubling times and how they

grow stronger and flourish. The characters also show that archetypes are time specific and

change according to a particular era.

highlight of numerous episodes: can women have sex like a man? In her quest for the answer to

this question, Markle closely examines the characters on the hit television series to understand

why they behave so unconventionally in regards to men, husbands, children, and a number of

other items women often long for. (Markle 2008) “The highly valued relationships the women

have with each other are the foundation of the series,” Markle explains, “Feminine discourse

provides a safe space among women where they can speak freely, where listeners validate their

closeness is not achieved without balance. The female characters are able to build such a strong

individual differences join to make a balanced whole which is a reflection of Jungian archetypes

theory. (Dow 1996) “„Designing Women,‟ by virtue of its focus on a group of women rather

than a single lead character, offers a multiplicity of viewpoints. Each character is a distinct

personality, and the perspective offered by each is valued within the program” (Dow 1996 p.

118).

In her 2004 study, Anne Kaler discovered that “the success of a show is often based on

the right mix of archetypal patterns which the viewers may recognize only subconsciously but

which the producers have consciously planned” (Kaler 2004 p. 49). Kaler observed a number of

“women shows” including the Mary Tyler Moore Show, Cagney and Lacey, and most

followed the quaternity archetype pattern. Kaler does admit that the idea of a television show

archetypes that formed the quaternity. This balance allows most people to find some connection

with the show either because one part of the whole is a reflection of her or because there is a

character that she secretly wishes to be more like. (Kaler 2004)

show‟s success. “The easiest way to categorize [“The Golden Girls”] is through the Greco-

Roman triad of Dorothy as the Athena/Minerva figure, Rose as the virginal Kore/Artemis/Diana,

In her 2008 study, Belinda Southard researches female situation comedies and postfeminism.

“Sex and the City” is one of many television shows that she studies to understand the importance

of female friendship depictions and how viewers relate to the characters. She finds that the

that viewers can identify with. The characters‟ individualism is also valued because it provides a

balance from the others that make up the whole (Cramer 2007; Southard 2008).

Arvind Singhal and Kant Udornpim studied archetypes shown in the hit Japanese television

soap opera Oshin. The show followed the life of Oshin, an Asian woman who lived during the

quaternity) as being embodied in this one woman. The authors found that the show was an

international success for a number of reasons, one being the familiarity of archetypes (Singhal &

individual [and are] identities of experience” (Jung 1958 page 130). These common “life

experiences” are embodied in Oshin, a contributing fact to the show‟s incredible success.

In her 2008 doctoral dissertation, Deborah Ann Macey studied the importance of archetypes

particular shows are not by coincidence; rather they are representative of ancient, Western

archetypal patterns of women. The four female archetypes repeatedly occur in a vast array of

mediums including music (Meredith Brooks 1996 song Bitch), film (The Sisterhood of the

Traveling Pants), books (Little Women), and television (“The Golden Girls,” “Living Single,”

and “Sex and the City”) (Macey 2008).

These previous studies support the notion that the characters on the three chosen shows

bring to life the Jungian archetypes. They are not stereotypical characterizations of Western

society‟s expectations of womanhood rather they are neutral, relatable embodiments of the

female gender. Other studies have come to a very different conclusion regarding these

characters.

In her 2002 study Developing Media Literacy Skills to Challenge Television’s Portrayal

of Older Women, Harriet L. Cohen of the University of North Texas works with focus groups to

but also how in this particular television series, each character embodies a different part of the

about older women. Through dialogue and action, the program attempts to interrupt negative

attitudes about older women in this society…In addition, each of the four female characters

work to remain balanced in order to survive in their old age. She discovers that there is a unique

balance that the four protagonists work to maintain, but their individualities are steeped in

stereotypes.

In their book Rereading Sex and the City, Kim Akass and Janet McCabe discuss the four

in one section of the book and note that it supports Mulvey‟s notion that cinema female

characters are not reflections of society but over exaggerated images employed to entice men and

their sexual desires. Akass and McCabe set up their argument by using an example from the

series. When Charlotte throws her engagement party, Carrie, Samantha, and Miranda all arrive

wearing attire that reflects their individuality while still harping on enticing the male gaze.

sensual fantasies (Akass & McCabe 2006).

“Performance of Feminine Discourse in „Designing Women.‟” After observing the women and

finding them to be both empowering to women and disappointingly playing to their male

appeal, the characters of “Designing Women” do little to challenge the belief that „femininity as

73)” (Dow 1992 p. 139).

The fine line between archetype and stereotype can be seen throughout all three shows

and is the topic of numerous academic works. This study seeks to determine under which

category the characters fall into specifically the maiden and whore characters.

This thesis will implore a cultural studies framework because it highlights subcultures

and how they are maintained within the mainstream. It works to understand how particular

phenomena thrive in cultural settings (Best & Kellner 2001). As noted before, television

centered on the lives of women was a relatively new wave of entertainment at the time these

shows first aired. Specifically, this study focuses on how the phenomena of four female

characters become beloved by fans worldwide yet are portrayed as generic Westernized women.

Kellner argues that a culture‟s ideology is crucial to cultural studies and that those notions

pertaining to gender are at the root of how women specifically are portrayed in the media

(Kellner 1995).

In order to successfully come to an ultimate decision regarding the characters in these

television shows, I plan to answer the following four research questions.

language differ from the whore characters in their respective shows?

Research Question 2: How does the maiden characters‟ language and conversation etiquette

differ from the whore characters in their respective shows?

Methodology

According to Sardar‟s Introducing Cultural Studies, textual and discourse analysis

examine subject matter in terms of cultural practices and their relation to power. It has the

objective of understanding culture in all its complex forms and of analyzing the social and

political context in which culture manifests itself (Sardar 2001). Employing this approach

through textual analysis required an evaluation of the culture‟s moral stance and how it was

manifested in the studied material. This segued into the overarching issue at hand: are the

women of these three shows portraying archetypes in which there is neither a positive nor a

negative reflection of morality or are they embodying and ultimately encouraging stereotypical

images of women that often have negative stigmas?

In order to better assess the characters in the three shows, it is crucial to gain an

understand historical facts of the time. During the 1980‟s production time of “The Golden Girls”

reevaluated the Equal Employment Opportunity Commission prohibiting sexual harassment,

which was another shield of protection for women as they continued building their careers.

became the first female to be nominated for Vice President by a major party, and The Oprah

Winfrey Show began airing nationwide (Heinemann 1996). Just as the lives were changing for

characters in their respective shows?

the whore characters. The whore character is more flamboyant and noticeable in both her dress

seductive; her clothes emphasize her breasts and pelvic areas with flashy textures and slinky

drapes. Her nightclothes especially are intended for seduction with their see-through fabrics and

daringly low cut designs” (Kaler 2004, p. 54). Kaler continues by describing the maiden

makes herself comfortable flirting with the brothers at the front door, Rose walks into the living

room through the kitchen door – opposite of where Blanche is positioned. She is clothed in a

flower-patterned shirt, a cream-colored skirt and an apron. Her shirt is completely buttoned

covering her neck, her skirt hangs well below her knees, and she is accessorized in modest,

simple jewelry including stud earrings and a simple ring band.

This first scene in this episode is a perfect example of the difference in the two

characters‟ outward appearance and body language. Blanche‟s peach-colored dress is symbolic

of the dress exemplifies her need to be sexy. The flowing nature of the dress material represents

Blanche‟s free spirit and open-mindedness. It is also symbolic of an aging whore who is unable

to wear more form fitted outfits due to her body changing, but still longs to give the allusion of

vibrant sexuality. Throughout the season, Blanche repeatedly discusses her bosom and hints that

it is one of her most valued body parts. The low cut of the dress allows her to market her best

assets in order to maintain the façade of sexiness. She strategically wears the oversized sparkling

necklace to draw even more attention to her bosom. Her flashy accessories represent Blanche‟s

need for attention. Blanche often wears jewelry that are family heirlooms, however, in this scene

she is accessorized in costume jewelry. The fact that Blanche is wearing fake, sparkling costume

jewelry hints that she is an actress. She uses her attire to put on a show in order to lure men into

her sexual trap. Rose, on the other hand, is the complete opposite of Blanche. Her mostly pastel

having her shirt completely buttoned up to her neck and wearing a skirt that falls below her

delicateness and innocence.

This trend of opposition in outward appearance continues throughout the chosen

episodes. In the episode entitled Son-in-Law Dearest, Blanche invites Rose to join her for an “I

Love Lucy” marathon. As the women prepare to stay up all night watching television, they

prance around the house preparing food and blankets and Blanche and Rose once again display

outward differences in their wardrobe choices. Blanche is wearing a floor length cream-colored

silk nightgown with lace cut outs near her bosom. The gown has a very high split that shows her

legs when she walks and it is covered by a floor length green satin robe that is completely open.

She completes her night attire with a pair of cream heels and a gold chain around her neck. Rose

is wearing a pastel yellow-colored, cotton nightgown that is floor length and buttoned to cover

nightgown besides the subtle floral pattern that is barely noticeable. It has a few pleats in the

front, a collar that sits high on her neck, and she has rolled up the sleeves to show her forearms.

She is wearing white fuzzy house shoes. As in the previous example, both characters continue to

allow their wardrobe choices, whether for daytime or nighttime activities, to serve as visible

representations of their inner selves.

is symbolic of her modest character. She is not a fancy, flamboyant person like Blanche rather

she embodies a simpler elegance. Her white, fuzzy slippers are somewhat childlike and

represent her innocence and naivety.

“Designing Women”

Charlene, a naïve romantic often sees good in everyone she meets. Her naivety and

hopeful outlook on all situations often leads her to offer seemingly childish advice and

suggestions. Her outward appearance reflects who she is on the inside as she is the most modest

behavior and provocative ensembles. Suzanne loves being the center of attention and her outfits

often attest to this fact. She believes that beauty is her only asset and often says that winning

beauty pageants was the highlight of her life. Whenever she is amidst a crisis, she becomes a

stronger sounder woman, but after it is over, she quickly returns to her selfish ways, which is

evident in the episode, Anthony, Jr. Similar to the relationship between Blanche and Rose,

Charlene and Suzanne also display direct differences in their outward appearances. While

the episodes, instead of being placed side by side like Blanche and Rose, Charlene and Suzanne

are often wearing the same color. By wearing outfits that look completely different but are the

In the episode Anthony, Jr., Suzanne is hosting a small dinner party at her home. She is

dressed in a royal blue dress that cuts low across her chest, stops above her knees, and is form

a large ring on her finger. She completes her ensemble with high heels and dark makeup that

accents her eyes. On the other hand, Charlene is dressed in a royal blue suit that seems to hide

her curves. She is wearing panty hose, low-heeled shoes, stud pearl earrings, and very little

emphasis to her chest area.

This dinner scene comes just after Suzanne has been in a serious car accident and only

sustained minor injuries. She claims that she has been living a sinfully frivolous life and

promises God and the other women that she is going to start living a life full of charity and good

deeds. She claims to put away her selfish, vain habits and to become more modest and

change her inner self as she claims to have done. She vows to live a life more befitting of

Charlene, but her attire still hints at who she really is at her core. With her tight fitting, revealing

ensemble, Suzanne flaunts her inner self through her risqué attire. Her entire outfit along with

her big hair and dramatic makeup resembles a typical, experienced beauty queen but her

ways which shines through due to the cut and fit of the outfit versus trying to become more like

and jewelry choices testify to her contentment with not being the focus and center of attention –

a stark contrast to Suzanne.

The same color scheme is often used in the show to highlight differences between

Charlene and Suzanne; however, at times their choice of attire is so blatantly opposite it is not

necessary. In the episode entitled Return of Ray Don, the two women‟s attire could not be more

befitting of their polarized personalities. When the Atlanta police department calls the

Sugarbaker office in search of Suzanne, the women become worried for her safety. Just as the

tension is rising, Suzanne storms into the office in a bright red, skin tight dress that falls above

her knee covered by a floor length fur coat, red high heels, and an oversized black leather purse.

Her theatrical entrance into the room forces all eyes on her, as she stands in the entry ready to

that her trusty accountant has stolen all of her money and that she will now have to live as a

situation is devastating, but even amongst tragedy she remains frivolous. She explains to the

women that she will have to sell her home, clothes and other belongings in order to survive. In

her dramatic monologue, she tells her friends that she hopes they like her outfit because it is the

only one she will be wearing after she sells her other items. She often confesses to the women

that winning beauty pageants was the highlight of her life; therefore, it is logical that if she were

forced to keep only one outfit, it would hint at her glory days of yesteryear.

hair, better dressed” (Designing Women Season 2, Episode 16, 14:44-14:56). She is often

explaining to the women how she is superior to others; therefore wearing a fur coat is a visible

dramatic makeup are all expected trademarks of Suzanne, but her large purse is ironic. A

woman‟s purse is used to hold beauty items such as a hairbrush or makeup and usually their

wallet. If this is the case with Suzanne, it is the ultimate irony symbol because she has no use for

a wallet because she has no money. However, it is befitting her personality to wear the largest

handbag she is seen with throughout the chosen episodes in the one scene where she is revealing

one of her darkest secrets. Her large handbag is a symbol of her frivolous nature because her

wallet is empty; therefore, the enormous purse is most likely full of beauty products. Even in the

midst of her crisis, she must still give the allusion that she is a perfect southern woman

unfamiliar with the difficulties of everyday living.

On the other hand, Charlene is wearing a sky blue, loose fitted dress that falls below her

knees with a high neck and long sleeves. Once again, she is accessorized in modest jewelry

including stud earrings and a bracelet. Her outfits consistently demonstrate her lack of desire to

be the focus of attention. Just as she is charming and quaint, Charlene‟s attire is befitting to her

calmer self. In this scene, she is everything that Suzanne is not. Charlene is modest while

Suzanne exudes sex. She is calm while Suzanne behaves as though she were in a Broadway

musical. She is soft spoken while Suzanne is loud. In addition, she is content with blending into

herself because she is a refreshing sight in comparison to the vivid sex symbol, Suzanne. This is

befitting of the women‟s outfits as well. When Suzanne makes her dramatic entrance into the

office, Charlene is sitting next to the doorway at her desk. Her sky blue dress balances the scene

and is a visible representation of Charlene‟s gracious behavior amidst Suzanne‟s drama.

“Sex and the City”

Samantha and Charlotte are the last pair that continues the trend of outward distinctions

representative of inner differences. Charlotte enjoys art, shopping, and searching for her soul

mate. She believes that she will one day find her prince charming and often scoffs at Samantha‟s

lustful views towards men and how she sometimes treats them as disposable toys. Samantha is

the oldest of the four friends, but refuses to let her age dictate how she should behave. She is a

loyal friend, savvy public relations practitioner, and a sex fanatic. She rarely censors her

emotions and often disregards societal appropriateness especially in conversation with her

friends (Gerhard 2005; Brasfield 2006). The two women‟s different personalities continue the

trend of polarized outward appearances that Kaler suggests.

In the episode, Four Women and a Funeral, a popular fashion designer has passed away

apartment, she is dressed in a light blue suit with a cream fur coat. She completes her outfit with

white gloves, a cream purse, and high white heels. Carrie is shocked by the unique wardrobe

selection but lets the issue go when Samantha defends her choice claiming it is appropriate

Charlotte‟s simple, modest ensemble attests to her traditional and meek personality. The

color black is accepted by western tradition as a symbol of grief and has been deemed the

appropriate color choice for persons attending sad events such as wakes and funerals. By

Charlotte following western etiquette, it demonstrates her preference of tradition rather than new

prudish personality. Charlotte completes her look with pearl earrings and a fashionable handbag.

The pearls serve as a visible sign of her embodying the delicate side of womanhood while her

expensive handbag represents her being accustomed to being well taken care of with little worry

to her finances. Samantha, on the other hand, completely disregards western tradition and

comments that she is dressed inappropriately. The low cut suit top shows off her ample bosom

and she wears her fur coat off her arms so her top is completely exposed. Her blatant disregard

of appropriateness.

When the women arrive at the funeral, it is Charlotte and Carrie that stand out amongst

funeral, Charlotte asks Samantha if she may borrow her hat so she can fit in with the other

attendees. Samantha reluctantly says yes and after Charlotte places it on her head, a gust of wind

blows it away. After chasing the hat through the graveyard, Charlotte finally retrieves it and

of character. Charlotte looked ridiculous in Samantha‟s hat and once it was returned to its

rightful owner, the balance was restored as both women fell back into their polarized roles.

Later in the season in the episode Shortcomings, Charlotte‟s brother comes for a visit to

escape the stress of his pending divorce. She is excited for her friends to meet him but worried

that Samantha will entice him into her web of allurement and sex. Unfortunately, for Charlotte,

her worries become a reality. The following morning, as she walks into her kitchen for

breakfast, Charlotte, dressed in a modest, frilly nightgown finds Samantha making coffee in her

brother‟s college t-shirt. As the only two people in the kitchen scene, Charlotte and Samantha

could not be more different. Charlotte is wearing a light pink nightgown that stops right at her

knees. Her hair is brushed down and looks rather kept for someone just getting out of bed.

a given situation, she always acts accordingly and it shows in her feminine tailored attire. Even

after waking up, when most would be disheveled and discombobulated, Charlotte waltzes into

her kitchen as though she had just walked out of a fairy tale book instead of rolling out of bed.

As Charlotte stands to confront her friend in her all white kitchen, Samantha, dressed in a dark

navy blue Duke t-shirt looks like a stark contrast to the all-pastel scenery. The t-shirt only stops

in the middle of her upper thigh exposing most of her legs. Her hair is a tangled mess and she

looks as though she has just survived a serious ordeal. In comparison to the all white

Blanche is always trying to teach the other women how to be more like her in some form

or fashion. She often claims to be younger, more beautiful and more sophisticated than the other

three, so it comes as no surprise to see that she confesses to not being wholeheartedly happy to

reunite with old sorority sisters but more so thrilled at the opportunity to flaunt that she is still

hint at her insecurity towards her aging body. She often claims to be in her early 40's, which is

untrue. When she is rejected by men, she blames her age and she refuses to celebrate her

birthday and even becomes depressed around the big day. Blanche telling the women that she is

looking forward to seeing her sorority sisters is a reflection of her thinking she is better than

other women are, but it is also a way to mask her inner doubts about the toll age is taking on her

physical beauty.

Rose concludes the scene by completely disregarding Blanche‟s shallow comments and

explaining how her sorority, the Alpha Yams, did not discriminate against other women wanting

to join the organization. Just as it seems Rose has finally made a descent, sensible comment, she

adds that the women wanting to join had to castrate a sheep. Though the comment is outlandish,

it suggests that Rose is not like Blanche in the sense that she does not judge on outward

members to castrate a sheep seems unpractical, but it serves as a reminder that she is very

different from her counterpart. She does not judge people, friends, or potential sisters based on

“Designing Women”

Charlene and Suzanne continue to show their differences in their conversation etiquette

and language just as they did in their outward appearances. While Charlene is soft spoken,

Suzanne is overly confident in her speech and often adds outlandish comments. In the episode

Second Time Around, Charlene is smitten with a colonel, but is disappointed when she returns

from errands and has no messages from him. The women come together to offer their advice.

Charlene: Hi! Any messages?

Mary Jo: (singing) Let it please be him! Oh, dear God it must be him, it must be him or I shall

Charlene: Mary Jo, cut it out. (looking through the messages) Suzanne, he didn‟t call?

Charlene: Oh, I can‟t believe he hasn‟t called!

Suzanne: Who‟s Bubba and Dwayne?

Mary Jo: Oh, just some guys who told us they loved us at the stop light. They were in a big red

truck, gun rack in the back, duck hunter hats on, playboy key hanging from the rear view mirror.

that Japanese soldier that stumbled out of the forest eight years after World War II. I mean I just

wanna shake them and be like Bubba, Dwayne, it‟s over!

Mary Jo: No, you don‟t.

Julia: Yes, Charlene I am. I remember because I was trying to work and Suzanne was talking.

Suzanne: Well Charlene you better wise up and start playing a little more hard to get!

same glacier! Women don‟t do that anymore.

Julia: Oh pooey! They do it! They just do it behind Gloria Steinem‟s back!

Charlene: Anyway, what do you mean advertise and then withhold?

Suzanne: I mean, you should greet them at the door in something seductive and skimpy, then

busy. It never hurts to hurt them a little in the beginning.

door completely naked and then slam his hand in it?

Suzanne: Ok! I‟m just trying to be more helpful!

The women‟s personalities shine in this humorous conversation. As the maiden

character, Charlene is unfamiliar with men. She is the least experienced and is unsure of how to

win over her love interest, so she turns to the others for help. In this conversation, her input and

comments make her sound like a teenage girl with a crush rather than an adult woman seeking a

mature relationship. She has a whimsical fairy tale hope of her crush marrying her, which she

names on women‟s dance cards after they had asked them for a dance. The last man on a

he had won her over. Charlene hints at the romantic age of courtship as she describes her

feelings for the colonel. This reflects her innocent and hopeful personality. Being at a lost for

what to do, she turns to her three friends. Suzanne, of course having the most experience with

men, offers a majority of the suggestions.

Suzanne‟s advice is tried and true. She explains to Charlene that although she does not

like the games that come along with modern dating, she is going to have to learn to play them if

must advertise what she has and then withhold. Charlene, being completely unaccustomed to the

woes of dating, does not understand what Suzanne is suggesting which once again highlights her

maiden characteristics. This trend of opposition continues throughout the season in other

episodes.

In the episode Half an Air Bubble Off, Mrs. Clifton, an old friend of the Sugarbakers,

stops by the office to share some exciting news. She has been selected to represent her

retirement home in a senior beauty pageant. Upon her arrival, the following conversation occurs

highlighting differences between Charlene and Suzanne.

Mrs. Clifton: Yoo-hoo! Anybody home?

Mary Jo: Mr. Tyson and Mrs. Clifton in the same day! There must be a full moon!

Mrs. Clifton: Alright, dear. So long as you promise to give it back. Well, I just got the most

exciting news. I had to come right over. Maybe you all had better come over here and sit down.

I mean this is big!

Suzanne: It‟s mother. She‟s met someone in Europe and their getting married?

All I do is sit in front of the television set and since it‟s broken, there‟s no pictures so now I can

Mary Jo: What happened?

Contest!

Mrs. Clifton: Oh, please call me Bernice! Anyway, I was hoping that maybe Suzanne would be

Suzanne: Oh, I‟m sorry. I-I-I would just love to but you see I‟m busy planning this fundraiser

Julia: Suzanne, could I speak to you over here for just a minute?

Julia: No. What does she want?

Suzanne: Oh, it‟s just goofy stuff ya know? Like don‟t I think that dance Bill Cosby does right

before his show starts is just a little bit silly.

Julia: Well I don‟t care. Mother would be appalled if we don‟t help her.

has to put up with it.

(Julia and Suzanne rejoin the group)

help you out after all.

Charlene: And I would love to do your hair and makeup!

deciding what to do for their talent, O‟Lita spoke up and said that for my talent maybe I could

Charlene: (Helping Mrs. Clifton into her coat) What is your talent?

Though there is an added voice in the conversation, Charlene and Suzanne still manage to

let their conversation accurately depict who they are. As soon as Mrs. Clifton arrives, Charlene

is gracious and hospitable offering to take her coat and usher her into the room. She is actively

engaged in Mrs. Clifton‟s exciting news while Suzanne is disengaged and annoyed. After Mrs.

Clifton makes her big announcement, all of the women verbally congratulate her while Suzanne

She is not interested in elderly woman‟s excitement because she is not involved in the

commotion. However, Charlene is the loudest of the group to congratulate Mrs. Clifton on her

nomination showing her sincerity and kindness.

When Mrs. Clifton asks Suzanne to be her beauty coach, she immediately finds a reason

to decline the offer. Her older sister sees through answer and asks to speak to her in private.

intimate talk between the sisters reveals that Suzanne is very selfish and has a low tolerance of

those she does not particularly care for, but does have a good heart. She at times, when forced, is

willing to put her vanity aside for the sake of others.

After Julia and Suzanne reunite with the other women, she reluctantly announces that will

be able to help with the pageant. Charlene does not have to be convinced as she happily offers to

do Mrs. Clifton‟s hair and makeup. This scene shows a clear distinction between selfish, self-

centered Suzanne and gracious Charlene. Though it is a relatively short scene with no direct

reveal their inner selves and reflect their true personalities.

“Sex and the City”

Like the previous maiden-whore duos, Charlotte and Samantha‟s conversation and

language choice continue to show their differences. In the episode, Was it Good for You?,

Charlotte is disheartened after a lover falls asleep while making love to her. The topic comes up

while the women are sitting at a diner having breakfast.

Samantha: Storing up for winter?

Miranda: Ok. One more time. You are not bad in bed!

Samantha: No, but I once fell asleep when a guy was doing me. It was the loot.

Miranda: I know how to please a man. You just give away most of your power.

Charlotte: Look, I have a trainer for the gym. I can have a trainer for…

Samantha: Fucking!

Charlotte: Please stop saying that!

Carrie: Are you actually going to do this?

Charlotte: Yep! And, um, seating was limited so I signed you guys up. Please! Please? I can‟t

go alone. And if Brim ever falls asleep on me again, I will die! Please? Pretty please! Pretty

Carrie: Christ, I‟m in.

Miranda: What the hell. I don‟t exactly have the hanging from the rafters.

Samantha: “How to Please a Man!” I could teach the damn class! Alright!

experience and because no man (or woman) has ever fallen asleep while in bed with her, she uses

accept being “bad in bed.” While Samantha claims to be extremely talented and would consider

throughout the season.

In They Shoot Single People, Don‟t They? the friends gather at Carrie‟s apartment to go

see a movie. While Carrie is in the bathroom, Miranda and Samantha are making martinis and

waiting for Charlotte to arrive. The following conversation takes place.

Samantha: What is this thing that guys have these days about wanting to shave your pubic hair?

Samantha: Well actually, in Forest‟s case, it was more like being branded.

Samantha: He shaved me into a shape. A lightning bolt!

trainer of Samantha‟s shaved her crotch in the shape of a lightning bolt!

Carrie: Oh! Really? That‟s very creative. It‟s sorta like X marks the spot.

Samantha: You know it‟s a very neglected area, but people are really starting to pay attention.

Miranda: Uh huh.

Samantha: You can‟t just let it grow wild anymore. There‟s an entire business these days

devoted to the upkeep and management of pubic hair. It says as much about you as your shoes.

(Knock on the door. Charlotte enters)

Charlotte: Hey! Sorry I‟m late.

Miranda: Why not? You did your hair.

Samantha: Lydia? Who‟s Lydia?

Charlotte: I am not a lesbian. I‟ve just have some new lesbian friends.

go native.

Charlotte: Where‟s Carrie?

Miranda: If she doesn‟t get out of the bathroom soon we‟re gonna miss the movie.

Samantha: Is everything ok in there?

Carrie: Actually, no. I need help. It‟s embarrassing, but I got a new diaphragm and it‟s stuck.

Miranda: How long has it been in there?

Miranda: You mean while you were out getting your teeth cleaned this morning it was…

Carrie: Yep! Now, listen. I‟m either gonna have to make an emergency visit to my

gynecologist or one of you is gonna have to give me a hand.

(Referring to Charlotte).

Samantha: Go! Uh! And I just had my nails done!

reveal her intimate moments to her girlfriends with no hesitation. She does not fear being judged

or looked down up because she is so comfortable with the subject. Charlotte often shies away or

contributes very little to conversations regarding sex, but Samantha, as shown here, discusses it

The maiden character is a prude and views sex as a sacred act between lovers. She

perceives romantic relationships as being important in life and places a high value on

monogamous relationships and the sanctity of marriage. The whore character does not place a

high emphasis on the importance of sex; rather she is accustomed to having many partners.

Although she will commit, she prefers the freedom of having a large number of beaus to choose

from instead of tying herself down to one in particular.

“The Golden Girls”

Blanche constantly reminds the audience why she is classified as the whore character.

Her seductive flirting, provocative body language, and growing list of sex partners are a

testament to her personality. Rose, however, also reminds the viewers of her maiden

characteristics by not engaging in as many sex adventures. Although she does engage in the act,

Rose is always in a committed relationship with men she sleeps with – a key factor in the modern

when the discuss details of their affairs. Very rarely are the women shown having sex, so they

must rely on each other to reveal their views and sexual activities through discussions and

suggestive behaviors.

“[Blanche‟s] promiscuity (or the appearance of it) fits…her sultry voice and walk speak

(Kaler 2004 p. 54). Throughout the series, Blanche expresses her sexuality and views towards

Blanche: Well, what‟s everybody doing up?

Dorothy: Well, we were just talking about how dumb you were to give up Jake.

Blanche: I‟m still so upset about it. I can‟t sleep.

Rose: Well then why don‟t you give him a call?

Blanche: Oh, honey I can‟t do that. He‟d just try to persuade me to see him again and that‟s out

of the question.

compatible.

Dorothy: You mean he‟s not good enough for you.

Dorothy: Blanche?

against each other and I care too much for him to let that happen.

Dorothy: You mean you didn‟t pick Pop?

idea. There were eight unmarried girls and eight unmarried boys in the village that spring.

Sophia: Height! If I hadn‟t stood on that rock, I‟da ended up with Luigi, the pig boy.

Rose: If I ever had a chance for a second Mr. Right, I‟d want someone entirely different from

Charlie.

Dorothy: But I thought you were crazy about him.

Somebody impulsive who‟d sweep me off my feet. He‟d pick me up in his convertible Porsche

steaming cups of hot cocoa.

Rose: With little marshmallows!

love, Rose reveals her thoughts regarding her second Mr. Right. Her fantasy is very modest and

asexual. Unlike Blanche who is often telling her friends about her risqué sexual fantasies and

affairs, Rose‟s love dreams resemble innocent fairytales. She describes a girlish date – a far

fetch from the sexually charged rendezvous Blanche often discusses.

Rose does not mention anything sexual when she reveals her hopes for a second love.

Although she dreams of going to France, the home of the city of love, she does not seem to want

to relish in the act. Rather, she reveals a more modest love fantasy, one that is childish and

innocent. It reflects her reverence for the act of sex and her respect and high value she places on

making love. The innocent fantasy is also reflective of Rose‟s emphasis on the importance of

monotony. Unlike her counterpart who has repeatedly fantasized about being with more than

one person, Rose describes an intimate setting with only one man. She is satisfied and content

with having one true love rather than a string of lustful beaus. This reflects her more traditional

approach to romantic relationships and reveals her true maiden characteristics.

Rose reveals information about her sexuality during the episode, Son-in-Law Dearest.

has had an affair. While Kate is resting, Rose and Blanche console Dorothy.

Rose: Kate seems to be handling things pretty well.

was having an affair. It was at least twenty-four hours before I cut the crotches out of all of his

Blanche: You didn‟t.

Blanche: The story!

Dorothy: That‟s the word!

Rose: Well, Charlie went right to sleep! We didn‟t…well…you know…

Blanche: Oh! And he promised?

Rose: No, that was just the first time that had ever happened in eighteen years of married life.

Blanche: Get outta here!

Dorothy: You mean to say that every night for eighteen years without fail. You and Charlie…

Blanche: Well, no wonder you never heard of “I Love Lucy.”

Rose: Well of course, as it turned out I was just overreacting. I mean it was a freak one time

thing. By the next morning, everything was back to normal.

Rose: Charlie said that we didn‟t have headaches and we both had really shiny hair.

like to talk about sex.

This discussion proves Kaler‟s point of the modern maiden sometimes succumbing to

temptation. Rose embodies the modern maiden because she not a physical virgin, but stays

within society‟s moral and appropriate boundaries. She discusses having sex very often but only

with her husband. Unlike Blanche who has slept with numerous men, Rose reveals that she has

slept with her husband excessively while they were married. Rose continues to highlight maiden

characteristics when she reveals that she cried when Charlie went to bed after dinner. Her

weeping symbolizes the sanctity and high level of importance she placed on the bond of

marriage and how she felt when she believed he had broken his commitment to her. Unlike

Blanche, who previously dismissed lovers with little dismay, Rose finds herself distraught and

inconsolable until Charlie explains himself.

Rose embodies the modern maiden not because of her lack of sexuality, but because of

“Designing Women”

Charlene and Suzanne show incredible differences in their sexuality and views on

relationships. Their polarization continues throughout the chosen episodes highlighting their

personalities. For example, in the episode Heart Attacks, Julia‟s boyfriend, Reese, has a heart

attack. Suzanne tries to comfort her sister as the following conversation takes place.

Suzanne: Julia, Reese is gonna be alright!

Suzanne: Because I was over there saying a little prayer by the candy machine and I just have a

Mary Jo: What kind of a deal?

only loved two men your whole life and here I‟ve had all of these boyfriends. So, I just told

Julia: Thank you, Suzanne. I don‟t think it works that way.

highlights two parts of her personality. The first aspect is that she is a very selfish person, but in

times of crisis, she shows a stronger, more sounds side. However, the scene also highlights her

disposable view of men. As Julia sits and grieves, Suzanne anxiously thinks of what she can do

Julia: Yes, and Shefield and Mertin are perfectly capable of handling it. Here‟s a man who just

had a heart attack three weeks ago and now he is up pouring himself a drink like it was New

Year‟s Eve?

Reese: Julia, I‟m not pouring myself a drink, I‟m just using a little scotch to wash down these

pills you keep pushing on me.

Julia: You look pale! Don‟t you think he looks pale?

Suzanne: Oh, no, I think he looks cute. Kinda tassled sexy.

Shefield while Suzanne keeps you company.

Reese: What! Again? You people go to dinner every other night! What are you in some kind

Julia: Reese Watson! And right in front of Suzanne.

Suzanne: Well, I don‟t like to brag…

Reese: Yes, you do!

Suzanne is not verbally engaged in this conversation very much; nevertheless, it still

speaks volumes about her sexuality and relationships. Although Reese is teasing Julia about

being with the wrong sister, it is interesting that he only mentions it once Suzanne calls him

sexy. Once the conversation turns towards sexuality, Reese begins claiming he is dating the

is known outside of the family hinting that she is popular because of her nature.

Reese complains that he has not lost his mind due to the heart attack, but does not include

the physical aspect of the relationship thus the reason she is more familiar with that half of the

body.

Suzanne continues to reveal her personality through her sexual and relationship behavior

in the episode entitled, Return of Ray Don. The women are at Suzanne‟s home helping her wrap

valuable items she plans to auction for money after her accountant steals all of her money.

Suzanne describes how she plans to find her accountant and torture him when the following

conversation takes place.

Mary Jo: You‟ve given this some thought haven‟t you?

married to someone I don‟t even love!

now?

Julia: Wilmot Oliver? This is a person you have been dating for six weeks. Why on earth

would you want to marry Wilmot Oliver?

Suzanne: Because he asked me!

Julia: The man is 150 years old! Plus, he is the meanest man in Atlanta!

Suzanne: Yes, but he is also one of the richest! That‟s why I‟ve decided to accept!

This conversation exemplifies Suzanne‟s perspective on relationships. She has an

Charlene, on the other hand, is the complete opposite of Suzanne. Throughout all of the

chosen episodes, Suzanne is linked to numerous men, while Charlene is only seen with one. In

the episode, Second Time Around, Charlene is smitten with a colonel. After a romantic evening,

the two discuss their growing feelings and hopes for a future together. Though the colonel cares

for Charlene, he is still struggling to get over the passing of his wife and is torn between the two

women. He eventually breaks up with Charlene leading her to become depressed. The

following conversation occurs when Suzanne, Mary Jo, and Julia visit Charlene after her

relationship ends.

Charlene: I appreciate y‟all comin‟ over. I really do, but I‟m fine. I just need some vacation

Julia: Vacation my foot! Is that what you call sitting out on the balcony in your bathrobe?

Mary Jo: Yeah, what do you think about?

Charlene: Mostly I think about why y‟all keep drivin‟ by.

Julia: Charlene, we‟re worried about you. I understand this man has hurt you. You have a right

always been so (inaudible), but now you don‟t go out. You don‟t care anything about your

appearance.

Julia: Yes, but I kept myself up. I wore a different bed jacket every day. I ate bonbons. I

and calling the home shopping club!

Charlene: Well, if I offend y‟all then just don‟t come over.

program?

Earlier, Charlene‟s girlish ideals regarding the colonel were discussed as a testament to

her personality in conversation, but this scene captures her views on relationships. Unlike

Suzanne who carelessly tosses men aside, Charlene‟s devastation highlights her beliefs in the

importance of relationships. Because the colonel is the only man she is romantically involved

with during the chosen episodes, her grief over her one boyfriend exemplifies her wholesome,

more traditional views towards monogamous relationships. Similar to Rose, Charlene embodies

an innocent hope and a modest approach to love as she discusses how dismayed she is over the

failed relationship. It highlights her polarized views on the issue in comparison to Suzanne.

“Sex and the City”

Charlotte and Samantha continue embodying their polarized personalities when revealing

their sexuality. Throughout the sexually charged series, the women often discuss their sexual

preferences, their latest bedroom adventures, and their feelings towards men. The two women

continue to display their differences in this part of the show as well.

In the episode, The Cheating Curve, Charlotte brings a date to one of her art shows and is

devastated when she finds him kissing another woman in the back of the gallery. The following

day while shopping with her friends, the following conversation takes place.

Carrie: Well, maybe he doesn‟t consider kissing cheating.

Charlotte: So, doesn‟t that still guarantee me fidelity until the end of the evening?

Charlotte: Yeah, but it‟s completely different.

Samantha: How?

Charlotte: Because we don‟t go around randomly attacking any man that we‟re attracted to!

Samantha: Speak for yourself!

Charlotte: We‟re not driven by testosterone.

Carrie: Then what does drive us according to you?

Charlotte: Emotions!

Charlotte: No, I mean that little voice inside of me that says, “Mate for life! Mate for life!”

head! It‟ll drive you nuts!

Charlotte: Well, I don‟t tolerate it!

Miranda: That‟s because you cheat!

sensitivity and wholesome nature prevents her from understanding why someone would

forgiving point of view. It is ironic that Charlotte is upset because her date was kissing another

the notion of maidens not partaking in physical connections with the opposite sex, but rather

wanting to connect in a more spiritual manner.

Samantha, on the other hand, disregards spiritual connections or the notion of soul mates

rather she accepts cheating wholeheartedly. She seems disengaged with the notion of a spiritual,

intimate connection with the opposite sex while preferring the physical contact. Samantha

claims to be more forgiving, but the women quickly bring to her attention that she herself cheats.

the act, it highlights their differences. Samantha‟s whorish ways allow her to have sexual

relations freely and have the ability to easily forgive a partner is he cheats on her. Her

promiscuity is so extreme that she is unable to demand fidelity like her counterpart because she

and

In a later episode entitled, Old Dogs, New Dicks, Charlotte and Samantha continue to

display differences in their sexual habits and their perceptions of men. In this scene, Charlotte is

seeing a new man and discovers that he is uncircumcised. She is shocked and explains her

feelings to the other friends the next day. The following conversation occurs at the diner.

Charlotte: There was so much skin! It was like a shar pei!

Charlotte: I‟m from Connecticut.

Charlotte: Aesthetics are important to me.

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Table 1.1

Table 1.2

* Denotes episode serves as part of the sample for this study.

Table 1.3

from the whore characters in their respective shows?

Crystal Jackson is a native of Dallas, Texas. After graduating high school from The

Hockaday School, she began studying communication studies and Spanish at Southwestern

University in Georgetown, Texas. After receiving her Bachelor of Arts in May 2009, she

enrolled in the Master of Mass Communication program at Louisiana State University focusing

in public relations. Ms. Jackson was advised on this thesis by Professor Danny Shipka, Professor

Craig Freeman, and Professor Meghan Sanders. She is grateful to these three incredible

professors for their unwavering support, enlightening advice, and for giving her the green light to

graduation!