MUA Taylor Tomlinson Quarter Life Crisis Comedian Analysis Discussion

reply to 2 discussion watch Taylor Tomlinson’s Quarter Life Crisis netflix and read accteched

1) On the cover of the magazine, Tina Fey poses serenely, wearing tasteful makeup and lipstick, her hair arranged in loose waves down to her shoulders, but her head sits on a male torso wearing a white dress shirt and a tie. More than that, the sleeves are rolled up to reveal huge, hairy, male forearms and hands an unnerving way to picture the woman who “wears the pants” as secretly, monstrously

male .

Taylor Tomlinson said that she is introverted but did not have trouble talking about her sexual encounters and how she would test guys to see if she would have sex with them. Tomlinson made many points to display how masculine/ feminism, and liberalism character to her audience, by poking fun at women who desire to be married, using example of them as headed and high minded because they are engaged to be married, so they are better than anybody else, and at another time she talked about when she was engaged to be married and after she got what she wanted she broke off her engagement. Second wave feminism may not have been as diverse as the third wave feminism but it open the door for women for equality in areas of opportunities on the job and in the home and many other things.

Third Wave feminism similarly drew on this model of female strength as opposed to male oppression as its axiom, but while girl power tended to reproduce middle-class whiteness as an ideal,Third Wave feminism prioritized difference and diversity—sexual, racial,class, ethnic, physical.

2) Mizejewski’s chapter touched base on a wider range of social issues than I initially anticipated the article would. When taking the information I gathered from Mizjewski’s work and the Netflix special of Taylor Tomlinson’s Quarter Life Crisis is the fact that her appearance played a role in her even being able to qualify for having this type of special on Netflix. Unless the comedian is a household name or aesthetically pleasing Netflix is open to giving them show time—when it comes to women. From a personal perspective, the greater majority of Tomlinson’s special was generic and expected; namely, she makes jokes of how she embraces a new persona once she becomes engaged, jokes about her sex life, pokes fun of the fact that she still messages her ex boyfriend’s mother—so on and so forth. Mizejewski was able to eloquent express the fact that women are often expected to embrace a certain persona, depending on their physical appearance, in the comedic world and discusses the disadvantages it has on society. Mizejewski expresses, “… reflects feminism as a diverse set of discourses that range from “women’s lib” to the queer-friendly politics that veer away from acknowledging “women” as a category at all” when disclosing her perspectives on the need for women of all kinds to be reflected on the comedic spectrum.