In class during the week of April 25th, we viewed episodes from two programs that are able to take on more social issues with a direct approach.  Both Sex and the City and Weeds show the main characters doing whatever they can do get where they need to be in life.  Whether it be for personal gain or just maintaining the standard of living for their family, these women do whatever it takes to get where they need to be.

Sex and the City is a very unique show by having its four main characters represent very different types of feminists.  By having this show air on HBO, “the expanding narrative universe of pay cable” could put the main characters in more real situations to address issues.  In the episode “The Power of Female Sex,” each of the characters either references or encounters the same issue.  In the episode, Samantha and Carrie await eagerly outside a New York hotspot, Balzac’s, hoping to get in for lunch.  They encounter a female hostess who abruptly refuses to let the two in.  Samantha states that if the hostess were a man, they would be inside eating right now: referencing the power of sex that women have over men.  Later in the episode, Carrie meets up with an old friend while shoe shopping and is later introduced to a man that ends up paying her for sex.  In this episode, Miranda’s boyfriend Skipper admits to Carrie that he has become “hooked” on Miranda and that she is all he can think about.  Meanwhile, Charlotte’s attempt to get an artist to be featured at her gallery ends up with her posing for his latest piece.  Charlotte is not posing for a “normal” painting, she is posing for what the artist calls “the single most powerful thing in the universe.”  By this he means a woman’s vagina and has multiple paintings of vaginas throughout his studio.  This is not something that can normally be associated with the mild and modest manner of Charlotte, who seems slightly uncomfortable with the idea of posing, but willing to use whatever she has to get the artist’s work in her gallery.  The overall image presented by this show is ironic, because all of the characters encounter a situation that is normally suited for Samantha, with all three of the remaining characters using their “power” over men in the episode for various reasons, whether intentional or not.  Hilmes sums up this show perfectly, by saying that “Sex and the City provided a full and frank look at female sexuality, and it captivated its audience of both men and women.”

Weeds is a program, much like Sex and the City, that is aired on a pay cable network and is able to address issues that network television does not allow.  In the episode “You Can’t Miss the Bear,” Nancy Botwin is proven to be different from the typical soccer mom portrayed in movies and television today.  Much like the girls in Sex and the City, Nancy uses what she’s got to get herself where she needs to be in life.  In this case, Nancy sells pot to a variety of people throughout the community in order to make ends meet due to the untimely death of her husband.  Nancy is often seen struggling with the ideals of the typical mother with those of the drug dealer, especially in the scenes where she interacts with another local pot dealer.  In her interactions, she supplies marijuana to the younger dealer, but with a catch: he is not to sell to any kids.  When Nancy finds out that the young dealer has been selling to children that are her younger son’s age, she becomes enraged and lets her voice be heard to the kid.  Nancy isn’t seen as a bad person to viewers, mainly because of the situation she’s been dealt.  She is just attempting to bridge the gap between the income and lifestyle she once had and the one she is now dealing with in an effort to restore some kind of normalcy for her two children.  Nancy puts it all on the line in this show by using her car and what appears to be her wedding ring as collateral with her supplier so she can come up with the money to pay the bills.  Nancy appears to be a true “supermom” displaying her ability to maintain as much control over her household as she can while attempting to come up with the funds to continue her family’s way of life.

Both of these shows portray women doing whatever they can to get where they need to be in life.  Whether it be getting into the latest hotspot, having a famous artist’s work featured in your gallery, or simply maintaining the standard of living for your family; all of these women do whatever is necessary to get what they want.


In class during the week of April 18th, we viewed episodes from The Simpsons and Buffy The Vampire Slayer.  While these two episodes present two very different situations, both Lisa Simpson and Buffy figure out a way to show their feelings without speech.

In the episode “Lisa v. Malibu Stacy,” Lisa Simpson, like nearly every girl her age (as well as Mr. Smithers), frantically await the release of the new talking Malibu Stacy doll.  Lisa finally manages to get the new doll and is shocked at the  phrases it makes.  Lisa can see the effect the doll has on little girls with sayings like “don’t as me, I’m just a girl” by taking a look at her mother, who happens to make a few of the same phrases throughout the show.  Lisa comes to find that no one is really listening to what she is saying, so she decides to track down the creator of the doll so her voice can be heard.  Lisa manages to track down the creator of the doll to discuss the phrases the doll makes and comes to find that the doll and all her accessories are actually scaled down versions of the creator’s life.  Stacy Lovell, the doll’s creator, tells Lisa that the doll used to represent her lifestyle, but she had lost control over the company and the doll had moved in a different direction.  This causes Lisa to team up with the real Stacy to create a doll that represents everything Malibu Stacy is not: smart, educated, and independent.  While the sales of Lisa’s new doll are trumped by a new version of Malibu Stacy that comes with a hat, Lisa’s figurative voice is heard through one little girl buying the doll.  While Lisa is initially upset that not everyone got to hear her voice through the new doll, she becomes satisfied that she is making a difference for one little girl.  The overall message of this show is to combat the “perfect” Barbie-doll image by showing that girls don’t have to be just eye candy; they can be educated, independent women that can do so much more than just be housewives.  While this show is a cartoon and the main association with cartoons is children’s entertainment, Hilmes states in her book that “The Simpsons” appeals to younger audiences and highly sophisticated adults at the same time.”  This show does this through the incorporation of comedy as well as cartoon characters to combat and often mock what is considered to be the social norm in a lot of cases.

Buffy The Vampire Slayer’s main character, Buffy, is an “average” girl with the abilities of a superhero.  While Buffy doesn’t have the ability to fly or super strength, she still manages to use spells on vampires and other mythical monsters that she combats in every episode.  In the  episode “Hush,” Buffy talks about her struggle to tell Riley,a guy she hangs out with, how she feels about him.  Buffy has a dream about a little girl singing a song about everything being silent.  When this dream comes true and everyone in the town wakes up without a voice and people are ending up murdered and heartless by strange floating men, it is up to Buffy and Giles to stop these mythical villains.  Along the way, Buffy is able to show her true feelings for Riley without using her voice.  Buffy is much like the crime fighting trio seen in Charlie’s Angels, in that, she is a female playing the part that is historically played by men and much like the three Buffy is very strong willed and independent.  She doesn’t appear to play the role of the damsel in distress in this episode, but she does work with the assistance and direction of Giles throughout the episode.  This show, much like The Simpsons, manages to capture the eyes of viewers of multiple age groups.  To quote Hilmes, the characters in Buffy “faced adult-type problems with articulation and style, in a way that drew in older viewers while still capturing younger ones.”

Both shows present the problem of the main character trying to find a way to overcome obstacles and show their feelings and beliefs without the direct use of speech.  While Lisa uses a doll and Buffy has to do so without the use of her actual voice, both programs show that you can get people to hear what you’re trying to say without the actual use of your voice.

During class on the week of April 11th, we viewed episodes from two fairly recent sitcoms: Roseanne and Ellen.  These shows are essentially nothing alike, other than the overall makeup of the scenery within the programs.  Both programs take on, and in some cases mock, traditional beliefs of females in an attempt to alter what is considered to be the norm.

The episode of Roseanne that we viewed in class was “The Clip Show: All About Rosey.”  Roseanne, the main character of the show, is played by Roseanne Barr.  Barr uses her comedic background as the foundation of the show and according to Hilmes’ book, “Roseanne sparked a genre of comedies based around stand-up comedians.”  Douglas is quoted in her book saying that “[Roseanne] spoke to women who had seen through June Cleaver and Donna Reed years ago, and were struggling to see through the supermom image now.”  This is both a figurative and literal reference in this episode of the program, because towards the end the typical pearl-wearing “supermoms,” as Douglas would put it appear at Roseanne’s kitchen table to discuss the differences between her show and the shows from the past.  This show effectively escapes the image previously established in television and is representative not of what the typical “perfect” household in America should be, but of what the majority of households in America actually are:  blue collar.  Throughout the running of Roseanne’s show, Rosey holds a various amount of jobs ranging from working in a factory to working as a waitress at a local diner.  The show’s success is not a result of having a set of loyal viewers tuning in to the program to see the ideal household; it is a result of having a program that a vast majority of families can relate to.  What happens in these episodes is not a manual of “what-to-do” when raising a family, but more of poking fun at situations that almost everyone encounters at one point in their lives.  This show not only combats the previous image established by shows like The Donna Reed Show and Leave it to Beaver, but it mocks everything that these shows represent.  Roseanne is an equal partner in her marriage to Dan and while the two aren’t perfect, they work together in their joint struggle to raise their family.

“The Puppy Episode: Parts I & II” of the show Ellen proved to be extremely controversial, due to Ellen DeGeneres’ “coming out of the closet” on national television.  While the framework of the show appears to be very similar to that of Roseanne, consisting of main scenes set in either Ellen’s home or workplace, the message and struggles the program portrays send a message from a different perspective to viewers.  Ellen is single and living by herself.  These two episodes, in particular, present the viewers with an internal struggle that had never been seen before.  Hilmes says in her book that “Ellen DeGeneres made history by coming out as gay, both in real life and in character, before millions, in a funny and controversial lesbian storyline that the show explored in its last two seasons.”  Hilmes is not suggesting that the fact that Ellen came out was something to laugh at, but the way she did it was certainly entertaining to viewers.  Ellen was at an airport and accidentally stated that she was gay into a microphone for everyone within an earshot to hear.  Ellen uses comedy in her program to address a very important issue in society:  the acceptance of everyone for who they are without prejudice.  Ellen effectively changed the way women are viewed and used television to show that not all women fall into the “cookie-cutter” image of what a woman should be that programs of the past presented.  This show not only rejects the single-minded image of what a woman should be, but also paved the way for other programs that have gay lead characters.

Both of these programs address important issues within themselves and their lifestyles in an attempt to change the mold of what a woman should be.  These women stand on the shoulders of pioneers before them in an attempt to forever change the cookie cutter mold that is a woman’s image and to cause people to believe, and accept, that there are different types of people out there and there is not one specific way that every woman should live her life.

During class on the week of April 4th, we watched episodes from two popular shows from their eras:  Charlie’s Angels & Cagney & Lacey.  While both programs are about women crime fighters, they take two different approaches in portraying the image of strong, independent women.

Cagney & Lacey takes a very direct approach in presenting the two main characters as strong, independent women.  Christine Cagney is a single woman who makes some direct references to the feminist movement.  When she discovers that she and her partner, Mary Beth Lacey, are teamed up with a new woman brought in, she becomes frustrated.  To show her frustration, she is quoted as saying “just because we’re women means we have to stick together?”  This quote is a direct blow at the antifeminist movement, where a common theory was that all women stuck together no matter what.  Cagney appears to have a different set of beliefs and feels that the new girl should earn her place within the workplace in order to gain respect.  Mary Beth Lacey is a married woman that seems to be the more level headed one of this duo.  Lacey shows that she does everything by the book and makes an attempt to work with the new girl, who appears to jump to conclusion without taking the proper measures.  In the episode, you can see that Lacey is in a very loving relationship with her husband; but this remains separate from work.  The inclusion of the scene with Lacey and her husband outside of work also works to combat some antifeminist beliefs as well.  Another belief of antifeminism that Douglas mentions in her book is the fear that women are looking to reverse the roles within the home and effectively take all of the power held by men.  This scene, however, gives viewers the idea that the two are equal partners.  Douglas sums up this show perfectly in her book by saying “Here were women who wore guns and mascara, who loved each other and fought with each other, who told sexist men where to get off and sued their butts for sexual harassment, and who consciously changed the masks they wore as they changed roles throughout the day.”

Charlie’s Angels takes a different, and possibly more effective, approach in presenting the main characters as strong, independent women.  To quote Douglas “here, feminism and antifeminism stood in perfect suspension.”  The program has three exceptionally attractive women in lead roles, unlike Cagney & Lacey where the lead women appeared to be average looking women.  Throughout the course of the show, the three women, especially Farrah Fawcett, are looked at as sexual objects by both men and women.  Another surprising thing discovered in this show, was the sex of the “bad guy.”  Throughout the show, viewers are drawn to the conclusion that the warden of the prison, who is running a prostitution ring using the inmates as prostitutes at special cocktail parties, is a man.  The biggest curveball in the show is that the warden is, in fact, a female.  This unconventional villain also symbolizes a strong, independent woman mainly by her position, but also the way she is treated by the people working under her.  Both the male and female guards as well as the sheriff appear to treat her with nothing but respect.  The character Bosley plays a critical role in this show, because he appears to work with these women equally.  Charlie, however, is presented in this program to have direct power over the three women.  He assigns the women to some especially dangerous cases sometimes without their approval.  Although, at the end of the episode Charlie is seen negotiating with the women about doing another case in a women’s prison.  The end scene may contradict original assumptions about Charlie, because he is seen negotiating with the girls about another possible case.  Douglas perfectly describes this show, by saying “Charlies Angels pulled off a neat trick:  while it reinforced traditional male power through Charlie’s faceless voice and agenda-setting instructions, it also tried to pretend that there was no such thing as patriarchy, at least the way feminists had characterized it.  Instead there were just a few bad men, isolated deviants, and if only these guys were exterminated or locked up, women would have nothing to fear.  There wasn’t a system that oppressed women, only a few power-hungry bad guys.  And if women worked together to ferret them out, all would be fine.”

Both programs present strong, independent women in a variety of ways.  While some of these portrayals may be in a negative fashion, like the warden in Charlie’s Angels, it is the idea that these women are shown in predominantly male roles doing the same things men do that speaks volumes for feminism.

This week in class, we viewed three programs that showed women having the sole power over their own lives and their struggles to deal with difficult situations.  These problems vary from an unexpected pregnancy, trying to reignite a dream, and running a household as a single parent and the reactions of each of these women to the problems they face.

Maude aired from 1972 to 1978, starring Beatrice Arthur as the show’s main character.  Maude is married, but has been divorced many times before and has a daughter that lives with her and appears to be on the same track.  Maude also has a friend that has also been divorced a few times too.  Maude also does not have the same physical attributes or the voice to match the conventional housewife shown in the 1950’s.  This, in conjunction with the fact that she has been divorced several times, gives viewers the idea that Maude is powerful.  This is supported by the way she interacts with her husband.  Maude’s husband clearly sees her as an equal, if not more powerful, which definitely combats the newly coined term of the time “chauvenist,” which describes a sense of male superiority over women.  There seems to be a complete role-reversal, having Maude at the head of the household with her husband taking the backseat role held by women in the 1950’s programs.  When Maude discovers she is pregnant at such a late age, the decision to have an abortion is left solely to her by her husband, who said he will support her no matter the outcome.  As discussed in class, it is visible that Maude could have a negative effect on the womens liberation movement of the time due to her apparent sole seat at the head of the household.  This could be deemed as threatening to anti-feminists, giving them the idea that it is the goal of feminists to reverse the roles within the home. 

Alice aired from 1976 to 1985 and stars Linda Lavin, who is a widow trying to reginite her dream of being a singer.  Alice could also be compared to Lorelai Gilmore because both women are single struggling to raise a child on their own.  Alice, unlike Maude, is seen as a sexual object by some characters in the show.  The perverted old man that offers her a candy bar to go in the back room, along with the patron of the diner where she works that is relentless in asking her to dinner both prove that point.  Flo, another waitress at the diner, is a sexual subject and embraces the attention she receives from the old man and tries to pursuade Alice to see the young hollywood agent that continually asks her out.  This show agrees with Douglas’ book, which talks about pop culture being a balance of the demands of feminists and the resistance of anti-feminists.  The character Flo, along with Alice, show two women in complete control over their actions and decisions, which supports the feminist movement.  To go along with the anti-feminist resistance though, Alice was formerly married and a caretaker and now has to support her son, while making time for dates.  By having Alice go on the date with the supposid hollywood agent, Alice presents the idea that she isn’t opposed to finding a new husband. 

One Day at a Time aired from 1975-1984 starring Bonnie Franklin as Ann Romano, a recently divorced mother like Alice and Lorelai Gilmore, dealing with the difficulties of raising children on her own.  Ann has independence, but struggles to enforce her power and control her children when her older daughter threatens to move in with her father because Ann refused to let her go on a camping trip with boys.  Ann is also seen as a sexual object by the super of the apartment complex where she lives and constantly deals with him sneaking into her apartment and coming on to her.  Ann has a boyfriend, though, which suggests that she, like Alice, is not opposed to being in a relationship.  The one thing that sticks out clearly is the mention that the father of Ann’s children is a pushover and, especially the older daughter, allows the children to do as they please.  This shows the apparent fact that the daughter held more power than Ann while Ann was still married.  A couple of other things that stuck out in this show was Ann’s quote  saying “the one time I get to make a decision I mess it up”  along with Ann’s boyfriend stepping in to tell her how to handle the situation.This could be interpreted negatively by feminists because it may portray the idea that Ann is not fit to live on her own and needs a man in the home to enforce the power and make all of the important decisions.  This show is a perfect balance of feminist demands and anti-feminist resistance discussed earlier in the post.  Ann’s independence and the fact that she is balancing a career with the duties of managing a family supports the feminist movement, while Ann’s quote may support anti-feminist resistance with her saying the one time she gets to make a decision she screws it up. 

Two of these three shows continue to support the feminist movement discussed in Douglas’ book, while the One Day at a Time may be considered a step by due to the statements made by Ann in the show.  Since the show remained successful through the latter part of the 70’s and well into the 80’s I would have to assume that Ann eventually gets her feet under her and finds the ability to manage her family on her own without the need of a male counterpart.

During the week of March 21st, we viewed three television shows in class that display women with power.  This power is seen in the physical sense while watching Bionic Woman and also power in the form over control in That Girl and The Mary Tyler Moore Show.  Each show continues to show the audience that women can make it on their own and don’t need be restricted to lives inside the home. 

Bionic Woman was a spinoff of The Six Million Dollar Man that ran from 1976 to 1978 and follows basically the same mold as the original.  Jaime, one of America’s top tennis players, is injured in a skydiving accident and her life is saved with the use of bionic implants.  This gives Jaime supernatural powers like the ability to run at speeds of 60 miles per hour.  It is also noted that Jaime has a hightened sense of hearing in her one ear.  Over the course of the show, Jaime runs into many tricky situations where most women in previous shows would be considered “a damsel in distress” and in need of a man to save her.  Jaime, however, uses her bionic abilities to escape these situations and shows the viewers that she does not need a man to come to her rescue when she runs into trouble.  The overall message I found from watching the show and reading up on some other episodes storylines, is that women have the power and the ability to solve their own problems and they don’t need anyone to come to their rescue.  This also follows along with the women’s liberation movement ideals discussed in Douglas’ book.

That Girl aired from 1966 to 1971 and is a situation comedy starring Marlo Thomas.  Ann Marie, the main character played by Thomas, is an aspiring actress that decides to leave her parents home and move to New York City to pursue her dream.  Ann Marie finds a decent apartment in the city and just as she is getting settled she finds her mother at her doorstep.  As the episode progresses, viewers discover that it was merely a plot by her parents to spy on her to make sure she is doing fine on her own.  Ann Marie somewhat resembles the daughter from the show The Goldbergs, in that she isn’t satisfied with the life as a homemaker.  Ann Marie has a better outcome and proves that she has what it takes to make it on her own. 

The Mary Tyler Moore Show builds off the foundation set by previous shows like That Girl  and starts off with Mary Richards, the main character played by Mary Tyler Moore, moving into her new apartment in Minneapolis.  Mary is a distinctly different character than other single women shown in television in that, she is out of her twenties and is not divorced and has no children.  Mary, however, did have a relationship with a man that had just graduated medical school.  Mary waited for her lover to get out of school so they could get married and have a family, only to discover that he wants to wait a while and is in no hurry to be married; which causes Mary to break off the engagement.  This appears to be the sole reason for Mary’s fresh start in Minneapolis.  Mary goes into a job interview as a secretary at a local television station and ends up being an associate producer, which is made into a joke because the job pays less, but the status of the position speaks volumes to the viewers.  Mary, like Ann Marie, proves that she has what it takes to make it on her own. 

According to Douglas’ book, “pop culture versions of liberated women were meant, it seems in retrospect, to be a compromise between the demands of feminists and the resistance of antifeminists.”  This is clearly shown in That Girl and The Mary Tyler Moore Show, but appears to be less visible in Bionic Woman.  This can be noted with the situation in That Girl where Ann Marie’s mother comes to live with her.  This can be interpreted as a compromise between feminists and anti-feminists because while Ann Marie is on her own, she still has her mother living with her.  Although the mother moves out, the situation’s presence in the show has a distinct meaning.  Mary Richards also has a situation placed solely for compromise between feminists and anti-feminists because of her relationship.  The fact that she was engaged and had plans of starting a family and being the typical housewife can be interpreted as a compromise between the two activist groups.  Jaime, however, does not appear to show the same characteristics as the two characters forementioned.  Jaime is a high-caliber athlete living her dream as an elite tennis player.  It is mentioned that Steve Austin, the six million dollar man, is her lover but there is no mention of Jaime giving up tennis for being a housewife.

During class the week of March 14th, we viewed three programs from the mid-1960’s to the mid-1970’s.  While Bewitched and I Dream of Jeannie appear to be from essentially the same framework; Police Woman takes an entirely different approach to accomplish the same goal.  All three shows break the mold created by earlier programs which had shown audiences that men hold the power; whether it be in the workplace or at home.                 

The show Bewitched aired from 1964 to 1972 and tells the story of Samantha, a witch played by Elizabeth Montgomery, and her relationship struggles with Darrin, a mortal man played by Dick York.  Samantha’s dream is to become the stereotypical housewife presented by previous shows, but she struggles to give up the life she previously had.  In the show, Samantha’s mother, who is also a witch, pays her an unexpected visit which ultimately results in the two using their powers to go on a lunch date in Paris.  While in Paris, the two run into Darrin’s boss and his wife.  Samantha becomes worried when Darrin’s boss decides to call him while he is at work.  While Darrin is upset that Samantha was almost discovered to be a witch, the two eventually make up for the lack of his presence at the end of the show.  I think overall, the main idea this show presented was that whether or not Darrin tried to control his wife, she is ultimately in control of her own actions. 

I Dream of Jeannie aired from 1965 to 1970 and essentially comes from the same mold as Bewitched, with the two main female characters having supernatural powers.  The show starts off with Tony Nelson, an astronaut played by Larry Hagman preparing for a launch into space.  The launch encounters issues and Tony is forced to eject from the spacecraft and is stranded on a deserted island.  Tony discovers a bottle and out pops Jeannie, a genie played by Barbera Eden.  Jeannie states repeatedly throughout the show that it is her duty to serve her master, catering to Tony’s every wish.  Tony later wishes Jeannie to be free and thats when he runs into trouble.  Fueled by jealousy of Tony’s fiancee, Jeannie exercises her powers to cause trouble and puts Tony into various akward situations throughout the show.  This show, like Bewitched, shows viewers that women too can hold the power and don’t need to be controlled by men.


Police Woman aired from 1974-1978 and stars Sergeant Pepper Anderson, a police officer played by Angie Dickinson.  In the show we viewed in class, Pepper is on the case of missing girls suspected of being sold and exported to foreign countries to be used as what appears to be sex slaves.  Pepper goes undercover and meets a suspect to talk about a girl that she had that would “fit the role” the suspect was looking for.  Pepper uses another female police officer that looks very young to infiltrate and eventually bust the operation.  The immediate thing that sticks out to me in this show is Peppers higher rank within a male dominated workforce.  I also think that the complete omission of Pepper’s homelife gives the underlying message to young girls and women that they do not need to be just housewives and homemakers and that they can, in fact, excel in the workforce and be treated the same as men.

Although television is supposed to be for entertainment purposes, it is hard to ignore the political stances each of these three shows has taken during one of the major political movements of that time.  The women’s liberation movement was the actions taken by feminists of that era to break free from the oppression they faced at home and in the media.  Each show displays a woman with power, whether it be supernatural or not, that is at least equal if not greater than their male counterparts.  This also goes along with Hilmes’ book, where birth control is mentioned as a way that wome could exercise some meaningful control over their bodies.  Hilmes also mentions ther publications that reveal some ways that women had been injured by dominant Western modes of thinking about gender and helped promote feminism towards young men and women.  The episodes clearly go right along with what the publications stand for, and with the popularity of the programs, appears to have been well received.  While Samantha in the show Bewitched has a physical appearance that perfectly matches the description given in Douglas’ book (young, perfectly groomed, always smiling, never complaining, demure, eager to please, eager to consume) she displays her powers in a way to act out and to show viewers that she has the sole control over her actions.  Jeannie’s appearance, on the other hand, blatantly goes against the predertmined mold set by earlier shows and her actions match her appearance.  After being set free, she is not going to allow her so-called “master” to control every aspect of her life and frequently acts out to show the audience that, like Samantha, she holds the power.  With Pepper, on the other hand, you have to take a look at her from a different perspective.  Since the show omits any kind of life at home for the main character, viewers take into account her treatment and situations she encounters in the workplace.  Pepper appears to be treated as an equal to her male counterparts and works with them to solve crimes together.