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No matter what brand of feminism one may subscribe to, one thing is indisputable: the role of women in society during the past several decades has changed dramatically, and continues to change in a variety of ways. In You've Come a Long Way, Baby, Lilly J. Goren and an impressive group of contributors explore the remarkable advancement achieved by American women in a historically patriarchal social and political landscape, while examining where women stand today and contemplating the future challenges they face worldwide. As comprehensive as it is accessible, You've Come a Long Way, Baby appea

Abstract
Popular culture artifacts are often places and spaces where societal expectations can be exercised, pushed on, prodded, to see how audiences and consumers react, and what they are willing to accept and perhaps what they will not abide. This is one of the prime values of studying popular culture – to see the ways that narratives and characters can provide audiences with paths towards experimentation in their thinking, to reconceptualize ideas and expectations. Much of this is often pegged to different representation, and that is certainly valuable. But the research on narrative and its impact indicates the importance of what is communicated by way of storyline and how this also contributes to the shaping of ideas and conceptions. This essay explores three narrative spaces that demonstrate how popular culture contributes to our thinking about different ideas and dimensions of political life. Imaginaries of women and power, abortion, and the 25th Amendment provide examples of the toggling between real life and fictional presentations. In two of these examples, popular culture has not necessarily provided a space for priming and imagining so much as it has filled in gaps of our general knowledge with misrepresentation and incorrect data, which undermines the value that popular culture can otherwise provide. This is one side of the dynamic. The other side of the dynamic is that we, as citizen audiences, get to try on different ideas and become accustomed to new ways of thinking, which is equally important to consider within politics, and points to the value and importance of popular culture narratives and representations within the body politic.

After the publication of What Happened, much attention was directed toward analyzing and commenting on a section of Hillary Rodham Clinton's book that detailed her thinking in a split-second situation during one of the presidential debates with Donald Trump. Clinton explains that during the second debate, which occurred just days after the release of the famous Access Hollywood tape in which Trump "bragged about groping women" (Clinton 2017, 136), Trump was more or less following her around the small stage, "staring at [her], making faces" (136). She notes that it was "incredibly uncomfortable. He was literally breathing down my neck" (136). But she also considers her response to Trump's physically threatening demeanor during the debate and whether she responded appropriately or "correctly." Clinton kept her cool—she kept going in the face of what she describes as a physically menacing situation. She refused to be "rattled" by Trump's proximate presence or by the individuals he invited to sit in the audience to intimidate her.

"The Marvel Cinematic University (MCU) has become a touchstone of contemporary American life. In 2009, Disney purchased Marvel Entertainment for $4 billion, including its subsidiary film production company, Marvel Studios. Since then, the MCU-the collection of multi-media Marvel Studios products that share a single fictional storyline-has grown from two feature films to 23 interconnected movies, a half-dozen short films, three streaming Disney+ series, and more than 30 print titles. At the time of this writing, eight of the 25 highest grossing films of all time are MCU movies"--

The president of the United States traditionally serves as a symbol of power, virtue, ability, dominance, popularity, and patriarchy. In recent years, however, the high-profile candidacies of Hillary Clinton, Sarah Palin, and Michelle Bachmann have provoked new interest in gendered popular culture and how it influences Americans' perceptions of the country's highest political office. In this timely volume, editors Justin S. Vaughn and Lilly J. Goren lead a team of scholars in examining how the president and the first lady exist as a function of public expectations and cultural gender

Throughout the 2008 Democratic primary, Senator Hillary Clinton, her supporters and advocates, feminist groups, and commentators accused the media of sexist coverage. Was Hillary Clinton treated differently in the media because of her gender? The authors attempt to answer this question by examining the forms of address that television newspeople use to refer to the Democratic primary candidates. The authors find that newspeople referred to Clinton more informally than her male competitors. This treatment stemmed from the gender of the broadcaster; males show gender bias in how they reference presidential candidates. The authors conclude with suggestions for addressing gender bias in news coverage. Adapted from the source document.

Throughout the 2008 Democratic primary, Senator Hillary Clinton, her supporters and advocates, feminist groups, and commentators accused the media of sexist coverage. Was Hillary Clinton treated differently in the media because of her gender? The authors attempt to answer this question by examining the forms of address that television newspeople use to refer to the Democratic primary candidates. The authors find that newspeople referred to Clinton more informally than her male competitors. This treatment stemmed from the gender of the broadcaster; males show gender bias in how they reference presidential candidates. The authors conclude with suggestions for addressing gender bias in news coverage.