Search

Extant literature from within the fields of star studies and gender theory remind us that women have long been interested and indeed invested in the sartorial tastes, beauty regimes and diet programmes of film stars. Likewise, female celebrities have given us access to their homes, fridges and handbags in order to seek the attentions and possible approval of the woman in the traditional women’s magazine and gossip sector. More recently a myriad of recognisable women from the entertainment sphere have shared their pregnancy fashions and mummy makeovers with an interested audience. Indeed, we have begun to witness these women discussing their most private, personal experiences by way of their childbirth stories. What is important here are the ways in which famous figures speak about differences between ‘natural’ and ‘medicalised’ experiences, and the issues of legitimacy, appropriateness and worth that stem from these narratives. In much the same way as we are asked to judge, rank and qualify these women for their fashion purchases, fitness choices and maternal practices in line with the ‘mommy wars’, so too are we now being asked to value (or otherwise) their experiences of labour. This article will look at a range of celebrity birth stories and examine the ways in which they can be seen as evidence of the ways in which tensions between working and stay-at-home mothers have escalated so as to include new rivalry and resentments over maternal bodies. [ABSTRACT FROM PUBLISHER]

Jade Goody was publicly diagnosed with cervical cancer in 2008, and prior to her death in 2009 she remained a permanent presence in the celebrity and tabloid press. And although popular commentary refers to the ‘Jade Effect’ whereby young women, who otherwise would not have gone for testing, are seeking out cervical screening programs after the death of Jade Goody, it is important that we understand the ways in which tabloid readers engage with celebrity news stories. With this in mind this article draws on focus group discussions with young female OK! readers to explore the ways in which they make use of, find comfort in, or take umbrage at the news coverage of celebrity illness, concluding that readers were at best frustrated and at worst angered by a lack of authenticity and candid imagery, which is surprising given the ‘airbrushed’ and ‘orchestrated’ nature of their chosen publication. [ABSTRACT FROM PUBLISHER]

Although the growth of celebrity gossip publications has recently outstripped that of the traditionally orientated women's weeklies, comparatively little work exists to account for the meaning and pleasures afforded by these particular texts. Although current research has proposed a textual reading of these magazines, this work has yet to engage with the ways in which audiences make use of such titles. Therefore, the present article will look at heat magazine and examine reader responses to this particular publication, highlighting the importance of star fashions and celebrity gossip for the target 'twenty-something' female reader. [ABSTRACT FROM AUTHOR]

The author analyzes the appeal of the supernatural teen series Charmed for the grown woman in the audience. She suggests that, although teenagers and little girls are regular fans of the show, the more mature female audience responds to the ideas of sisterhood and style that are routinely showcased in the Charmed universe. [ABSTRACT FROM AUTHOR]

The article focuses on feminism themes in WB Network's "Charmed," as viewed by a discussion group of women. "Charmed" espouses feminist themes of personal, social, financial, sexual and fashion independence, as well as bonding to become a force of their own. The very concept of women acting collectively to push their objectives is the most common method by which issues concerning women have entered the societal mainstream. The women characters in "Charmed" serve as role models for contemporary feminism.