Bewitched: A Gender Analysis

Although social advances in the United States created an environment in which women were rightfully granted their political voice through suffrage, over four decades later, the patriarchy’s tyrannical shackles did not loosen their grip. During the 1960’s, a typical woman was expected to adhere to the Victorian “Angel in the House Ideal.” (CITATION) Women were expected to marry early in their 20’s, bear several children, and tend to their predisposed domestic sphere. The popular television show, Bewitched, starring Elizabeth Montgomery, while superficially dealing with the protagonist’s magical hijinks; the show concentrates on the aspects society imposes upon “perfect housewives.” (CITATION). The character dynamics between the Samantha, the protagonist, and her husband strictly adhere to traditional gender roles show the relatively low support for gender equality, particularly with men. The Supremes mid 1960’s song, Baby I Need Your Loving, reinforces
Furthermore, the series utilizes the voice-over technique, the omniscient narrator’s near zoological description of “the typical suburban household” makes the show appear as a glorified how-to guide instructing young women how to become perfect housewives. In, “Help, Don’t Save Me,” Samantha plays a small role in her husband, Darrin’s, advertisement campaign. Darrin sees his wife support as an act of emasculation. Samantha, a woman, had abandoned her domestic sphere and usurped his position as the “breadwinner” of the house. Television techniques such as cutting and editing are used throughout the series as a means to reinforce its surreal premise. The diverse target audience as well as the show’s relative success supports my hypothesis stating the general apathy towards gender equality across gender