Abstract
A 2017 study conducted by San Diego State University’s Center for the Study of Women reported that almost 70% of television programs have more male than female cast members. When women are portrayed in television series, they continue to be portrayed in traditional female roles of wives and mothers.
Mass communication educators searching for a book that provides a strong theoretical focus on feminism, gender, and excellent textual analysis of NBC’s Parks and Recreation (2009-2015) need look no further than Erika Engstrom’s well-written book Feminism, Gender, and Politics in NBC’s Parks and Recreation. The book is an option for both undergraduate and graduate courses in media studies, gender studies, and communication studies. The book provides ample examples and analyses that bridge theory with practice in television production. Engstrom’s goal is to examine the role of Parks and Recreation in promoting feminist advocacy.
The program is a mockumentary produced by Craig Daniels and Michael Schur, known for their series The Office (2005-2013) based on the original British program. Parks and Recreation’s lead character, Leslie Knope, played by Amy Poehler, identifies as a feminist and has the goal of making the small, fictitious town of Pawnee, Indiana, a better place for the residents, and her goals include finding ways to improve gender equality. Leslie Knope’s upbeat character differs from Tina Fey’s Liz Lemon of 30 Rock, who is intelligent yet very unhappy and lacks a supportive social network.
In Chapter 1, Engstrom defines feminist theory as it has been used in examining a number of television series with female lead characters including Maude, played by Bea Arthur, whose character contrasts with Poehler’s Knope because Arthur’s feminism is privileged because of her upper-middle-class status that fails to portray the daily struggles of many women especially women of color. In contrast, Poehler represents a funny, enthusiastic, self-described feminist, who works as a low-level bureaucrat and strives to remove archaic laws that negatively affect women and gender equality. She works to make Pawnee a better place for all citizens. Chapter 1 does an excellent job of placing Parks and Recreation within the context of television programs that touch on feminism.
The second chapter provides an analysis of Pawnee as a small Midwestern city representing America and its core values. The chapter title, “Pawnee: Portrait in Patriarchy,” examines episodes focusing on ridiculous laws still on the books from the 1800s including one which forbids women from exposing their elbows outdoors and considered a Class A felony. Other episodes question that femaleness and intellect are antithetical. Knope jokes about the progress the city council has made because widows are no longer burned for studying arithmetic. Although her comment is humorous, it does point out that contemporary educational opportunities remain skewed toward men.
Parks and Recreation writers contrast Knope’s professed feminist values with a variety of masculine characters, portraying masculinity outside of its traditional definition of the strong, powerful, rational, and emotionless man. Most of Knope’s male allies express both masculine and feminine traits. Although character Ron Swanson, played by Nick Offerman, embodies traditional masculinity as a hunter with a cabin in the woods, he expresses a softer side by crying over the death of Pawnee’s mascot and demonstrating joy and love as he cares for his infant son. Chapter 3 explores a continuum of masculine prototypes including metrosexual Tom Haverford, played by Aziz Ansari. Tom’s character readily demonstrates his feminine side and comes to terms with being vulnerable, which contrasts with traditional views of masculinity. Engstrom demonstrates that a man can exhibit masculine and feminine traits and still be a man. Her analysis makes clear that the gender binary of masculine and feminine is outdated and likely never existed except in cultural ideals.
Chapters 4 and 5 explore women and politics in the public and private spheres. In her role in Pawnee’s parks and recreation department, Knope finds herself serving as a judge for the Miss Pawnee beauty pageant. April Ludgate, played by Aubrey Plaza, criticizes Knope for supporting pageants because they are not compatible with feminism. Pageants emphasize beauty over intelligence and are rife with viciousness. Knope’s response is she will ensure the judges focus on the intelligence and poise because the winner will represent womanhood for Pawnee.
Leslie Knope represents a woman who from childhood aspired to work in politics even running for the Oval Office. She succeeds in Pawnee by reaching out to her male colleagues and creating a focus on making Pawnee a better place for everyone. She holds true to her feminist ideals and many of the men around her express the same values. Knope breaks into the “boy’s club” and makes strides in creating a better environment for women in Pawnee.
Engstrom’s detailed analysis of the series provides excellent insight into mediated examples of second- and third-wave feminist theory. Her book gives insight into how a television comedy can teach us how to read television as text and how those insights result in a clearer understanding of the everyday applications of feminism, gender, and politics in American life. This book provides an exceptional opportunity for faculty to watch episodes of Parks and Recreation and discuss those episodes with the guidance of a theoretically-grounded analysis of cultural production.