![](https://d3ilqtpdwi981i.cloudfront.net/wrwvS-ATMBUoULQ7qTK9oTQ4Jlo=/425x550/smart/https://bepress-attached-resources.s3.amazonaws.com/uploads/14/e1/42/14e14216-d319-44e8-9b74-c038fae60985/thumbnail_c6a4830a-4a40-42ec-ad92-711c4c702807.jpg)
In this paper we position gendered affluence as a representational trend in dramatic comedies (e.g., Sex and the City [SATC]) and docusoaps (e.g., The Real Housewives [TRH]) that coalesces around themes like hyper-femininity, nouveau riche values, and conspicuous lifestyle. Through our analysis we suggest that institutional practices (identity politics, cybernetic commodification, and post-feminist technological interactivity) situated in a neoliberal context and a remediated environment enable the systematic reproduction of gendered affluence in the broader landscape of women’s television. The process of remediation is used as a lens to examine how the docusoap differs from (the immediacy of mediated self-performance) and resembles (the hypermediacy of mediated irony and post-feminist interactivity) the fictional portrayals of gendered affluence found in dramatic comedies like SATC. Our case analysis of TRH demonstrates the specific way non-fictional portrayals of gendered affluence are transforming genre (via an ethos of affluence and a consumerist ethic) and artfully maintaining the status quo in terms of gendered, raced, and classed intersections. Ultimately we argue that the docusoap is accomplishing this in a remediated environment that promotes a neoliberal agenda via affective engagement grounded in mediated self-performance and rational disengagement grounded in mediated irony.
Available at: http://works.bepress.com/mari_castaneda/79/