These issues are typically dealt with in “special” and one-off programmes.

Oprah’s own attempts to put a stop to the often vicious verbal abuse from particular audience members were largely unsuccessful.

In other instances, it seems as if the excessive anger expressed by members of the audience represents a kind of projective identification where they sense something of their own lack of social power in a particular guest and then scapegoat that person.

“we, the people, want to know… ,” or “America wants to know …”

There is no one American Dream.

Her role in giving a platform to people from marginalised groups also falls within these traditions.

Oprah is also skillful in both creating and sustaining the conditions for listening to these voices.

Given the relative scarcity of television signals, each of the Big Three would have been broadly successful in the classic era. However, in markets that were fortunate enough to have affiliates of each network, different program types and implied audience enabled each network to carve out its own space within a competitive

In a context whereby three outlets controlled television as a medium, considerable contemporaneous attention was paid to questions regarding the effect of such concentrated access to a national audience and to the type of programming provided by such limited channels.

network TV had technologically spread across the US continental expanse and while not all Americans could afford, or were able to receive, TV signals, the technology, which followed transportation and communication infrastructures from the nineteenth century, was ostensibly “national.”

they will go to the nightclub without their husbands

evidences the success of that strategy.

I Love Lucy’s

This sketch, which involved Lucy cross-dressing as a tramp and doing a vaudeville bit with a trick cello, again makes evident the show's theatrical genealogy

American entertainment television enables dissonant voices to be faintly heard and marginal identities to be momentarily visible, not least because of the fragmentary and experimental stage style which was transferred to the small screen.

Throughout this first season of I Love Lucy Ball-as-Lucy repeatedly takes to the stage in the show within a show, as if to reiterate the contradiction between sitcom domesticity and the spectacle of vaudeville.

Lucy shows that she can play the masculine role more successfully than the feminine, albeit within a comic structure, where all genders become muddled and violence is funny.

During “The Ballet”, however, Ball's performance rematerializes the female body, visibly uncomfortable in her too-short tutu

In this episode Lucy

one that is fluid in its relation both to narrative and to constructions of authenticity and performance.

a wealthy, young French woman, a working-class Italian immigrant girl, a working-class Jewish woman from the East side of New York City, and a German immigrant wife and mother

“rebellious, sexual and aggressive comedy”

without their husbands;

I Love Lucy offers a range of identification

evidences the success of that strategy

I Love Lucy’s

This sketch, whichinvolved Lucy cross-dressing as a tramp and doing a vaudeville bit with a trick cello,again makes evident the show’s theatrical genealog

American entertainment television enables dissonant voices to be faintlyheard and marginal identities to be momentarily visible, not least because of the fragmen-tary and experimental stage style which was transferred to the small screen

Throughout this first season of I Love Lucy Ball-as-Lucy repeatedlytakes to the stage in the show within a show, as if to reiterate the contradiction betweensitcom domesticity and the spectacle of vaudeville.

Lucy shows that she can play the masculine role more successfully thanthe feminine, albeit within a comic structure, where all genders become muddled and vio-lence is funny.

During “TheBallet”, however, Ball’s performance rematerializes the female body, visibly uncomforta-ble in her too-short tutu

In this episode Luc

one that is fluid in its relation both to narrative and to constructions ofauthenticity and performance.

:

a wealthy, young French woman, a working-class Italianimmigrant girl, a working-class Jewish woman from the East side of New York City, and aGerman immigrant wife and mother. T