SEX ON SOAPS looks at love and lust on television daytime dramas. It's a must read for any soap fan, student of the genre, or anyone interested in the presentation of sexual content on television. SEX ON SOAPS is divided into four sections and includes an interactive table of contents so you can easily maneuver to desired section or subsection. SECTION 1 - SEX ON SOAPS Enjoying the dual role of soap fan and soap researcher, Matthew W. Grant earned his degree in Mass Communications after completing his thesis, Sex On Soaps which includes original soap opera viewer research and analysis looking at sex on daytime soap operas. This material examines how sex and its ramifications are presented on daytime television, how men and women perceive sex on soaps differently, and how they think this portrayal affects them. Text in this section of the book utilizes inline citations to the comprehensive soap opera bibliography which contains over 50 sources including soap opera books, media websites, communications journals, and episodes of network soap operas. An annotated version of the original Sex On Soaps Viewer Survey is included in its entirety. The original version was compiled in 1992. This revised edition includes additional material added in 2006 and 2011. SECTION 2 - SOAP OPERAS: SILLY SUDS OR SOCIAL CONSCIENCE? Does your GUIDING LIGHT come from your television screen? Do your friends think your PASSIONS for soap operas are overwhelming? This essay takes a look at soap opera morality, soap medical storylines, and the way daytime dramas tackle social issues. It concludes with the value of soap operas to society and illustrates why it's perfectly acceptable to fill your afternoons with some LOVING and let those wonderful soap operas take you away to ANOTHER WORLD. SECTION 3 - DAYTIME SOAPS TRIVIA Discover fun facts about your favorite daytime soaps, past and present. Find out the answers to questions such as: Which two soap operas premiered on the same day and went off the air on the same day? Which real life twins played the same role (of a character who wasn't a twin) on the same soap opera at different times? Which actor, actress, and soap opera won the first Daytime Emmy Awards? How many times was Susan Lucci of ALL MY CHILDREN nominated as Outstanding Lead Actress before she won her first Daytime Emmy? Which four NBC soap operas were cancelled on New Year's Eve? Who convinced Elizabeth Taylor to guest star at Luke & Laura's GENERAL HOSPITAL wedding? How? Which DAYS OF OUR LIVES actress's mother was once the headwriter of the show? Which actress from THE YOUNG AND THE RESTLESS had her real-life face-lift broadcast during the show? SECTION 4 - WELCOME TO SLATERS FALLS Find out who comes out on top when a dirty cop pulls over a take-no-prisoners bitch on a deserted country road in this bonus short story featuring a crossover storyline with characters from Matthew W. Grant's novels Secrets Of Slaters Falls and Welcome To Northbridge.

This book examines the representation, impact, and issues relating to the control and regulation of sex in the media. It covers work that has been conducted around the world on the depiction of sex in the mainstream mass media, especially the audio-visual media of film, television, and video, and the alleged effects that such content may have upon media consumers. In addition to reviewing the research on the effects of media sex, the book also examines what is known about public opinion concerning sex in the media. A key theme running through the book is whether the evidence about media sex can be taken at face value. Are the methodologies used by researchers to investigate media sex problematic? Have they yielded data that can be questioned in terms of validity and reliability? Media Sex questions whether media sex poses a serious problem for most viewers of mainstream media. It acknowledges that there may be serious issues relating to the causation of public offense and the cultivation of anti-women attitudes and beliefs that need to be addressed in productions where more extreme forms of sexual conduct are combined with violent and sadistic behavior. With the unrelenting growth of media, media consumers demand and are given greater personal control over the reception of media content. The notion of freedom of speech conflicts with the view that media content needs to be centrally regulated and controlled. This conflict creates problems for regulatory organizations and the legislators in nation states in which freedom of the press is legally protected. The book examines the debate surrounding this conflict.

SOAP, SEX AND CIGARETTES examines how American advertising both mirrors society and creates it. From the first newspaper advertisement in colonial times to today's online viral advertising, the text explores how advertising grew in America, how products and brands were produced and promoted, and how advertisements and agencies reflect and introduce cultural trends and issues. The threads of art, industry, culture, and technology unify the work. The text is chronological in its organization and is lavishly illustrated with advertisements.

Passengers disco dancing in The Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertising Deep Throat in the made-for-TV movie Dawn: Portrait of a Teenage Runaway. A frustrated housewife borrowing Orgasm and You from her local library in Mary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing—or not representing—those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices. Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.

"To be continued..." Whether these words fall at the end of The Empire Strikes Back or a TV commercial flirtation between coffee-loving neighbors, true fans find them impossible to resist. Ever since the 1830s, when Charles Dickens's Pickwick Papers enticed a mass market for fiction, the serial has been a popular means of snaring avid audiences. In Consuming Pleasures jennifer Hayward establishes serial fiction as a distinct genre-one defined by the activities of its audience rather than by the formal qualities of the text. Ranging from installment novels, mysteries, and detective fiction of the 1800s to the television and movie series, comics, and advertisements of the twentieth century, serials are loosely linked by what may be called, after Wittgenstein, "family resemblances." These traits include intertwined subplots, diverse casts of characters, dramatic plot reversals, suspense, and such narrative devices as long-lost family members and evil twins. Hayward chooses four texts—Dickens's novel Our Mutual Friend (1864-65), Milton Caniff's comic strip Terry and the Pirates (1934-46), and the soap operas All My Children (1970-) and One Life to Live (1968-)—to represent the evolution of serial fiction as a genre, and to analyze the peculiar draw serials have upon their audiences. Although the serial has enjoyed great marketplace success, traditional literary and social critics have denounced its ties to mass culture, claiming it preys upon passive fans. But Hayward argues that active serial audiences have developed identifiable strategies of consumption, such as collaborative reading and attempts to shape the production process.

A television genre best known for romantic storytelling, daytime soap operas have for decades spun tales of couples embroiled in passion, lust and adventure. Yet it was not until the early 1980s that star-crossed lovers became standard and the term "super couple" was coined by the media, marking a new era of experimentation and growth in daytime soaps. This book documents the phenomenon, tracing its history, legacy and impact on the soap opera industry and on popular culture at large.