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Small Screen, Big FeelsTelevision and Cultural Anxiety in the Twenty-First Century$
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Melissa Ames

Print publication date: 2020

Print ISBN-13: 9780813180069

Published to Kentucky Scholarship Online: September 2021

DOI: 10.5810/kentucky/9780813180069.001.0001

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PRINTED FROM KENTUCKY SCHOLARSHIP ONLINE (www.kentucky.universitypressscholarship.com). (c) Copyright The University Press of Kentucky, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in KSO for personal use.date: 28 June 2022

Live Tweets as Social Commentary?

Live Tweets as Social Commentary?

Analyzing How Gender, Race, and Sexuality Play into Conceptions of Morality in How to Get Away with Murder

Chapter:
(p.163) 8 Live Tweets as Social Commentary?
Source:
Small Screen, Big Feels
Author(s):

Melissa Ames

Publisher:
University Press of Kentucky
DOI:10.5810/kentucky/9780813180069.003.0009

As Shonda Rhimes is credited with transforming contemporary network television production and consumption practices -- and having the most avid Twitter followers -- her hit program is an ideal focus for an audience study. Chapter Eight considers fictional television's ability to engage in public pedagogy by looking at the ways in which viewers support or undermine Rhimes's social commentary. Attending to tweets focused on the main character, the female anti-hero Annalise Keating (Viola Davis), reveals the warring sentiments (and different ideological camps) that still exist surrounding identity politics involving women of color, same-sex relationships, and interracial relationships.

Keywords:   television drama, Shonda Rhimes, fandom, Twitter, social commentary, post-racism, anti-heroine, Annalise Keating, How to Get Away with Murder

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