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Fresh Off the Boat displays how Asian-American lives were depicted back in the 90s with the theory "cultural studies". This show will present the childhood of Eddie Huang, an Asian-American living in a predominantly white neighborhood.

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Fresh Off the Boat assumes for its title an expression that has historically been derogatory and reclaims it for a more positive purpose, turning around the idea that immigrants are unwelcome and ill-equipped because they are unversed in the American way and instead showing how the attempts to navigate and adapt to a new culture without losing a sense of one's heritage can remind us that "foreignness" is relative. Set in the mid-'90s, this family comedy appeals to a sense of nostalgia similar to The Goldbergs, but the focus is much more on the idea of cultural identity in any era. Although slow to gain momentum, by the end of the first season, Fresh Off the Boat is a decidedly funny show with quick-witted dialogue and poignant commentary on the comical, if uncomfortable, experience of cultural difference and otherness.

Roughly based on the life of chef and food personality Eddie Huang, the series follows the Huangs, a Chinese-American family who move from Washington D.C.'s Chinatown to a white suburban neighborhood in Orlando, Florida to open a cowboy-themed, all-American restaurant and pursue the proverbial American dream. At the core of the series is the struggle to balance the desire to be included, to fit in, with the pride of holding onto a heritage that inherently makes one different, an outsider. Culture shock and cultural clashes are the comedic bread and butter of Fresh Off the Boat, as each of the Huangs copes with assimilation into American culture differently, some with enthusiasm, some with reticence, but all in ways that highlight the humor of trying to understand the unfamiliar and find acceptance despite being different.

The very premise of Fresh Off the Boat necessitates that it grapples with issues of race, and it admirably does so with great gusto, even if it is sometimes over the top. It's a series that completely embraces stereotypes, but from multiple perspectives, both of one's own heritage and of the unfamiliar. At first it's kind of jarring to find yourself laughing at bits that capitalize on the cliché of the over-demanding Asian mother who gets upset when her son gets straight A's because his school must not be challenging him enough, especially when juxtaposed with jokes regarding the strangeness of privileged white people: suburban moms with similar names rollerblading in a crew, in which "the loudest one seems to be their queen", shopping in a grocery store that resembles a hospital more than it does a market, and eating meals that come inside a box. In a society that has grown to value or perhaps over-value political correctness, the frank treatment of our perceptions of cultural differences and the comical confusion that can result is rather refreshing.

The series centers on young Eddie Huang (Hudson Yang), the self-identified "black sheep" of his family who must therefore deal with feeling like an outsider both among his peers and at home. In a The Wonder Years-style voiceover, the real-world Eddie Huang narrates the everyday events of this average Chinese-American family's life from his unique perspective. Eddie looks to rap for people to relate to, explaining that "hip hop is your anthem when you're an outsider." The boy adopts hip hop culture as his own, and his sometimes awkward attempts at infusing it into his boisterous and bombastic personality do result in some charming humor, such as his ostentatious entrances, assisted by his grandmother (Lucille Soong) in her wheelchair, who serves as a rolling speaker system to announce his entrance whenever he has big news to share with the family. Eddie serves more as an anchor for the rest of the characters' plots, though, a lens through which the viewers observe the other Huangs and the people in their lives.

Eddie's younger brothers, Emery (Forrest Wheeler) and Evan (Ian Chen), adapt remarkably well to their new lives, easily making friends and enjoying school. They serve as a stark contrast to Eddie's experience, which is filled with strife and ostracism, but even more, the two boys are simultaneously unbearably and amusingly lovable. Their adorable, affable good-naturedness leads them to produce some of the most sweetly innocent yet surprisingly sophisticated comedic moments. Their attachment to each other and similar outlook on life that's characterized by a mixture of maturity and thoughtfulness results in an endearing twosome with surprisingly effective comedic timing and delivery for such young performers.

Randall Park ( The Interview, Veep) has a solid background in comedy, but his portrayal of the fiercely optimistic and big-hearted patriarch of the Huang family, Louis, is both charming and funny. His comedic ambitions, interests, and exploits help to drive the show forward, if in a more subtle way than his onscreen wife, Jessica, played by Constance Wu to much well-deserved critical acclaim. In many ways, the more soft-spoken yet tenacious Louis, whose enthusiasm for all things American knows seemingly no bounds, is a perfect counterpart to the strong-willed, sharp-tongued, exacting Jessica, not only as a couple, but also as a comedic duo.

Jessica's unease in her new neighborhood parallels Eddies' in his new school, yet she still makes a concerted effort to at least try to learn about her white neighbors' way of life. Her attempt is admirable, and her response of bewilderment and exasperation is both amusing and understandable. When the ladies of the neighborhood get together to debate the finer points of the affairs in Melrose Place, Jessica's initial reaction is a kind of confused indifference, affirming, "Yes, all those white people sound like they're making lots of mistakes". Ultimately, though, her continued attempts lead her to bond with her new best friend, Honey (Chelsea Crisp), over their mutual love for Stephen King, and eventually, she even discovers the joys of Melrose Place herself.

Jessica's efforts to feel a sense of belonging do not, however, overrule her dedication to maintaining her family's heritage, even going to great lengths to reintroduce as many Chinese traditions as possible in the season finalé. Her pride at the possibility of becoming the first Asian-American members at an exclusive country club swiftly transforms into horror in one of Jessica's characteristic knee-jerk reactions when her neighbor comments on how the Huangs are "just like regular old Americans". In the end, though, she cannot resist the American things she loves, " Melrose Place, rollerblading, macaroni and cheese. It's so easy. You just add water. It's cheese from water." Jessica's duality in the form of loyalty to her inherited culture and openness to her new culture reflects the experience of the entire Huang family, who seem to occupy a space between cultures that is decidedly normal for immigrant and first-generation families.

Fresh Off the Boat also hits the nail on the head when it comes to encounters with racism, including assumptions that the Huangs would have "more exotic" first names and that Eddie's first language wouldn't be English, and being cast out at school for having homemade and unfamiliar Chinese food instead of lunchables. What's even more valuable about the show, though, is the fact that, while it gives Asian-Americans a long overdue greater presence in mainstream television, it does so in a way that is distinctly relevant to anyone who has ever felt like an outsider. The source of the Huangs' differences from the people around them is not strictly rooted the fact that they are Chinese, as there are plenty of other reasons for their uncomfortable encounters, misunderstandings, and feelings of otherness than race alone.

Sometimes it seems the use of stereotypes in Fresh Off the Boat may go too far, sometimes for the sake of a joke that consequently falls a bit flat, but taking it too far is more forgivable than shying away from the issues of race and otherness, and what's more important is that the firm grounding in the reality of feeling like an outsider can resonate with all viewers. In its first season, the show has found its footing as a sharp, smart, and quick-witted series that admirably brings to prime-time television in a direct and bold way a family sitcom that is undoubtedly funny but also represents the struggle to balance loyalty to one's roots and openness to new cultural experiences that so many immigrant families have grappled with, and it does so in a way that all viewers can empathize with the frustrations of feeling like an outsider, all while laughing at ourselves when we see the admittedly silly and confusing nature of our own culture from an outsider's perspective.

The DVD extras on Fresh Off the Boat: The Complete First Season are pretty inconsequential, which is a little disappointing given the supposed drama behind the scenes, particularly with regard to the real Eddie Huang's criticism of the show as watering down his provocative memoir about the Asian-American experience. If only for Wu's impeccable and hilarious performance as Jessica Huang, the season itself is definitely worth a watch, even if it is a somewhat stereotypical representation of Asian-American culture.

The important thing is that it does not discriminate. Fresh Off the Boat embraces stereotypes of all cultures, particularly what's funny or confusing about them to others, in order to create a decidedly funny and relatable exploration of cultural identity in all its forms.

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'Fresh Off the Boat' Embraces the Humor of Clashing Cultures

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Fresh Off the Boat assumes for its title an expression that has historically been derogatory and reclaims it for a more positive purpose, turning around the idea that immigrants are unwelcome and ill-equipped because they are unversed in the American way and instead showing how the attempts to navigate and adapt to a new culture without losing a sense of one's heritage can remind us that "foreignness" is relative.

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Quick Answer: Since ABC picked up Eddie Huang's Fresh Off the Boat, audience reception of the Asian American characters has been mixed. While some praise the show, other viewers claim that it features a caricatured depiction of Jessica Huang (Constance Wu) as a "tiger mom." In spite of this, Huang and the show's cast vigilantly defend the show against accusations of racial stereotyping. Huang argues that Asian Americans are the only people that can decide what they find offensive or stereotypical. In Huang's own words, "Don't tell me what needs to be offensive to me."

Based on the memoir of the same name, the ABC series Fresh Off the Boat (2015 - ) first aired on February 4, 2015. Author Eddie Huang consulted during the show's development and served as a producer and narrator for the show's first season. Both the book and the series portray Huang's experience as a second generation Asian American immigrant assimilating into American culture. The sitcom focuses specifically on the family's transition from a close knit Asian American community in Washington, D.C., to the predominantly white suburbs of Orlando. The show is the first major network show in over 20 years to feature a principal cast primarily comprised of Asian American actors.

Before the show even debuted, the promise of Asian Americans being portrayed on network television roused conflicting opinions. Critics and viewers praised the show for not presenting generic, stereotypical Asian American characters. Others watched the same episodes and cried foul at what they considered an abundance of caricatures. Many debated the racist tones of the show's title, while Huang defended the choices and claimed people need to be allowed to define themselves and their experiences.

Interestingly, though, after the pilot aired, Huang took a quite public and vocal stance against the show but for different reasons. In an article for New York Magazine, Huang accused the show's creators of whitewashing his family and life story. He ended the self-penned rebuttal of the show by acknowledging how important the show's existence is to the Asian American community, despite its inability to go further due to the constraints of the network TV system.

While Huang clearly has a complicated relationship with the show, Huang as well as the cast vigilantly defend the show against accusations of stereotyping and racism. What we can ultimately glean from these accusations is that identity and representation are complex, and not everyone has equal authority to make claims about what is or is not offensive. Moreover, the question of whether a certain representation should be deemed offensive is not always met with an easy and decisive answer, as there can be many layers to how we interact with stereotypes.

One of Fresh Off the Boat's chief criticisms is Jessica Huang's (Constance Wu) representation as an Asian "tiger mom." The episode " Home Sweet Home-School" (S1E2) is a useful lens through which to explore this specific accusation. The term "tiger mom" -- a neologism used to describe a disciplinarian, academically rigorous method of childrearing -- entered the zeitgeist in 2011 when Amy Chua published her book "Battle Hymn of the Tiger Mother." In the episode, Jessica fears the public school system is not challenging her sons enough and, as such, is rewarding them for mediocre academic performances. After unsuccessfully confronting their teachers, Jessica takes it upon herself to homeschool her sons.

In an interview with Jezebel, Constance Wu argues that stereotypes are not always negative, and anyone can exhibit stereotypical behavoir. Wu illustrates this by striking down accusations that the show relies heavily on stereotypical tropes. She reminds us as viewers that avoiding stereotypes can be counterproductive, especially since the traits associated with "tiger-moms" are important to her role. Wu states that the real Jessica Huang has favorable opinions about the television character, but she generally doesn't care what people think about her. While some viewers may not be able to separate Fresh Off the Boat from the tiger mom stereotype, others realize that Jessica Huang's unapologetic confidence is the true message. Critiques of the "tiger mom" trope ignore how brilliantly Constance Wu captures the spirit and confidence of the real Jessica Huang.

One of the successes of "Home Sweet Home-School" is its commitment to depict a truly devoted mother while self-referentially poking fun at the "tiger-mom" trope. Stereotypes are most harmful when they are used against or at the expense of a particular group, and this is something that the Fresh Off the Boat team recognizes. Huang and the creators defend their choices by pointing out that the show draws from the inherent humor that comes from culture clashes, but it never makes cultural difference the butt of the joke.

In many respects, Fresh Off the Boat follows conventional family sitcom story arcs: the family confronts a problem and then, through their characters' individual approaches and humor, manages to overcome it. For Fresh Off the Boat, being Asian American allows the Huangs to apply specific experiences to family-centric conflicts. In "Home Sweet Home-School," Jessica Huang's experience as an Asian American immigrant informs her understanding of the problem as well as how to fix it. The episode does not paint her as a cold, unlikable "tiger-mom," but rather captures her devotion and willingness to do whatever she can for her family. True to sitcom form, both she and the viewers find humor along the way.

Constance Wu, Forrest Wheeler, Ian Chen and Hudson Yang in Fresh Off the Boat

For those who remain critical of the show's approach to racial stereotypes, Constance Wu provides an eloquent defense. She articulates that those best equipped for improving Asian American representation in American culture are Asian Americans. This show is based on the memoir of a second generation Taiwanese immigrant, the executive producer is a Chinese American, and a Persian American wrote the pilot. This makes for a show that creates an honest look at the Asian American assimilation experience. Furthermore, those involved with the show acknowledge and accept their responsibility to the Asian American community. In researching this piece, I learned a valuable lesson. Eddie Huang reminded me that, ultimately, Asian Americans get the final say in what offends them or what they consider a stereotypical representation. That is a lesson more people need to learn: unless you are part of a culture, you have little authority over the representation of its collective identity. In closing, I'll leave you with Eddie Huang's own words on race and identity: "Don't tell me what needs to be offensive to me."

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Does "Fresh Off the Boat" rely on Asian American stereotypes? | ScreenPrism

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ScreenPrism is the hub for film and TV analysis. Currently, we are building the largest digital library of film and television inquiry and related content by producing original articles, curating content from other esteemed sources and facilitating user generated comment and discussion.

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By Megan Rummler, The Laughter Effect
Increasingly, new voices on cable, broadcast and streaming networks may be leveraging comedy to engage audiences and weigh in on difficult and often polarizing social issues like racism, bigotry and prejudice.

"An informed racist is a better racist," sarcastically declared stand-up comedian and actor, Kumail Nanjiani, in his opening monologue as host of Saturday Night Live on Oct.14, 2017. Pakistani-American Nanjiani used his seven-minute monologue to deliver a searing, albeit humorous, speech against all forms of racism.

Likewise, ABC has received critical acclaim for its groundbreaking family comedy sitcom, " Fresh Off The Boat," that manages to address race, culture and identity with cutting humor, grace and finesse. Perhaps more importantly, it is the first show in over 20 years with an Asian-American cast since Margaret Cho's 1994 sitcom, "All American Girl," which aired for one season.

"Fresh Off the Boat" premiered on February 4, 2015, debuting to nearly 8 million American viewers on a Tuesday evening at 8:30 p.m. EST, placing it as the second-highest rated comedy premiere that season. Now, almost three years on, the show has been renewed for a fourth season and continues to use its comedic platform to subvert Asian-American stereotypes and launch nuanced conversations about awkward cultural differences and otherness.

The series is loosely based on celebrity chef and restaurateur Eddie Huang's memoir of the same name. Set in the mid-1990s, viewers follow the Huang family, a Taiwanese-American family as they move from Chinatown in Washington, D.C., to Orlando, Florida, as their father opens a steakhouse and pursues his version of the American dream.

The sitcom revolves around five main characters and the Cattleman's Ranch steakhouse. Randall Park plays Louis, the mild-mannered, easy-going father. Constance Wu plays Jessica, the sharp-tongued, aggressive mother and Hudson Yang plays the eldest son, Eddie - portrayed as the family outlier.

Eddie's younger brothers, Emery and Evan, are played by actors Forrest Wheeler and Ian Chen, don lovable and tame personalities.

As viewers follow the lives of the Huang family, it becomes clear the experiences of this Taiwanese-American family invite a multifaceted way of understanding the assimilation process even as they depict varied cultural experiences and differences. And that is wherein lies the magic of the creative comedic content. The sitcom helps to widen viewers' mindsets to see an Asian-American family with nuance and complexity, all while garnering laughs along the way.

Highlighted are some powerful past moments from "Fresh Off The Boat."

Season 1 - In the pilot episode, viewers watch as a young Eddie, the protagonist in the sitcom, fights back after being called a "chink," by a classmate. The use of this word is groundbreaking for a prime-time show.

Season 3  - As Louis and the Cattleman's Ranch staff prepare to serve as a polling place for the 1996 election, Jessica suspects that one of the restaurant employees may be an undocumented immigrant. When Jessica reports her findings to the Immigration and Naturalization Service, she learns her immigration status is also questionable. This episode explores the meaning of citizenship and addresses the topic of immigration.

Season 4  - The season premiere episode took the bull by the horns and leveraged comedy to tackle the weighty matter of budding teenage sexuality. Eddie Huang's neighbor, Nichole, came out as gay in a hilarious, awkward chip-eating confession scene. Then she poses a set of questions to Eddie:

When do you turn gay? And, does it affect what kind of jeans you wear?

Using sharp, thoughtful comedy to break down barriers and encourage dialogue is a classic hallmark of the creative writing deployed in the sitcom.

Melvin Mar, who executive produces "Fresh Off the Boat," knows firsthand about breaking down barriers and what it means to be an outsider. A Taiwanese-American, he has had to fight his way to the top echelons of the closed network of the mostly white-male dominated Hollywood executive ladder. Mar's Hollywood career began more than 15 years ago in an unpaid internship at Kopelson Entertainment. He then turned his role into jobs at DreamWorks and Scott Rudin Productions. He worked his way up and through the ranks where he met Jake Kasdan, director of "Orange County."

Kasdan and Mar have worked together since and currently have an overall deal at Twentieth Century Fox Television, where they are developing comedies and dramas for cable and network television. Their latest feature "JUMANJI: Welcome to the Jungle" (Columbia Pictures), starring Dwayne Johnson, Kevin Hart and Jack Black, opens in December 2017.

Mar spoke to us recently from Los Angeles about the power of comedy as a platform for social issues and impact.

Laughter Effect:
How would you describe your approach to "Fresh Off The Boat?"

Laughter Effect:
When you and your team are behind the scenes, influencing and shaping the content for the show, what is the conversation around how to decide what is funny?
A very good example is in season one. One of my favorite episodes is the subject of superstitions. I grew up hearing the superstition about the number four, right? In the Chinese language, it sounds like death. That to me was something fun that you can poke fun at and basically points out how ridiculous your family is for thinking that. I will continue to talk about that and poke fun at it, but at the same time there's sort of a reason for it and you appreciate it. It comes off and you have to present it in an appreciating manner. It just becomes sort of a thing. It is part of the identity of the people that are behind the show, of the show and people involved in the show. It becomes part of the authenticity.
Laughter Effect:
Can you shed some light on how the creative process works? How do you come up with the material?

Laughter Effect:
Some say comedy is inherently personal. Maybe this is a good time to pause and talk about your personal background.

Laughter Effect:
How do you address stereotypes?

In talking with Nahnatchka very early on, we talked about the areas we wanted to tackle. We said to ourselves, we don't know how long we're going to get to make this show so let's look at the things we want to tackle. The pilot tacked the word, "Chink." The other thing was the Long Duc Dong stereotype, which for me being a fan of John Hughes, I've always been very conflicted about it. I love those movies and I think those movies are great, but there was always this one thing. For me, in a very personal way, I was directly picked on that way. They thought it was so funny that he showed up, upside down, from the bunk bed up top, so I was held upside down on the playground to try and mimic that. Our haircuts looked the same, when I was a little boy. It was one of those things where we had the chance to tackle these stereotypes and we just figured out how to do it. I spoke to Randall about it, and it was a very heavy Randall episode, and he grew up in LA, and is very active in the Asian-American community and I remember saying to him this is one of things that we should do. We should figure out a way tackle the Long Duc Dong stereotype without telling people John Hughes sucks, and that was the dance and because he doesn't suck and it was just the thing of the time. The key is to figure out how to address the idea that Long Duc Dong is racist, the idea of it is racist. Do you want to be taught and told that one of the quintessential movies of the 1980s has this horrible thing in it and you are horrible for liking it. That is not the message, that is not it. Even though it offended some people you have to point that out in a much more nuanced way.

Laughter Effect:
"Fresh Off The Boat" has over 7 million viewers. How does that break out? Who is the audience for "Fresh Off the Boat?"

Laughter Effect:
How do you write content to a massive audience that is shifting in real time and make it relevant to them?

Laughter Effect:
Do you feel like you are making a difference?

Laughter Effect:
One of the things we wanted to touch on is metrics. Is there a way to know a difference is being made?

Laughter Effect:
What shows do you like to watch that are an example of using humor to address pressing social justice topics?

Laughter Effect:
How did you persevere in a Hollywood environment that is slow to the idea of minority leads?

Laughter Effect:
What lessons have you learned so far in your career?

Laughter Effect:
During this season, what social issues will be addressed?

Laughter Effect:
Do you ultimately think comedy can be a unique force for change in pressing social issues?

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How "Fresh Off The Boat" Is Using Humor and Wit to Battle Universal Themes Like Race And Identity

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By Megan Rummler, The Laughter Effect Increasingly, new voices on cable, broadcast and streaming networks may be leveraging comedy to engage audiences and weigh in on difficult and often polarizing social issues like racism, bigotry and prejudice.

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It's been said before and it will be said again: as the first sitcom about an Asian-American family in over 20 years (the last one being Margaret Cho's All-American Girl), Fresh Off The Boat is important. You'd be hard-pressed to find any publication-or any viewer for that matter-that says differently. Hell, important might even be an understatement. The fact that it got made at all-while begging the question "why not sooner or more frequently?"-is a triumph in itself. But does such a loaded context mean it should be reviewed differently than other shows of the same style and caliber? It depends on who you ask. As positive as most of the reviews have been, most of them acknowledge that the series is over-the-top and maybe a bit too sugary in its treatment of Eddie Huang's often biting memoir about his family trying to assimilate into American culture. And yet they forgive it for these things because, well, it's important.

If you're reading this review, you probably already know that Huang himself has openly bashed Fresh Off The Boat more than any TV critic-first in a humorous yet scathing rant for magazine, then just today in a more measured interview with Hollywood Reporter. And while he does come off as all too eager to bite the hand that feeds (he contributes voiceover a la The Wonder Years to every episode), he's also accurate when he accuses the producers and writers of watering down his book, and thus, his life story. It's not an issue of straying from real-life events as much as it is straying from the real-life tone. If you were to posit the importance versus quality argument to Huang, he would undoubtedly ask "Why can't it have both?"

The solution to that challenge would be someplace like HBO, but Fresh Off The Boat unfortunately isn't on HBO; it's on ABC-good old, family-friendly, Disney-owned ABC, a network not exactly known for its grit. Granted, Huang's memoir doesn't quite veer into Angela's Ashes territory with its depictions of financial hardship and domestic violence (although those things are both there), but it does have a refreshingly stubborn grasp on realism and nuance, two things that get lost in the first two episodes.

In the pilot, set in 1995, 11-year-old Huang (Hudson Yang) and his Taiwanese family are all yanked up by their D.C. Chinatown roots by Eddie's father, Louis (an amusing, puppy dog-like Randall Park), so he can open up a Western-themed restaurant in Orlando, Florida. All of the actors-especially Constance Wu, who crackles with charisma and determination as Eddie's mother, Jessica-tackle their roles with energy and just a dash of appropriate desperation as they try to settle into white-bread suburbia.

Sadly, all subtlety falls by the wayside as the plot kicks into gear and the characters get painted in the broadest strokes imaginable, usually obsessed with one goal that turns them into more of a caricature than a fully fleshed out human being. Take Eddie, the show's protagonist and mouthpiece for the real-life Huang, for example. He's obsessed with hip-hop and African-American culture, but it's never clarified whether he's posturing or genuinely clinging to something substantial-an art form that began on the outskirts of mainstream society-because no one else will have him. In the real world, I'm sure it's the latter (grownup Huang is fairly vocal about his love of rap music), but on the show, it feels like the former. That's because much of the humor comes from a middle-class Asian kid trying to spout street lingo. Just because kids do that all the time in real life doesn't keep the gag from feeling dated and-through no fault of the actor-Eddie from being kind of annoying.

Then there's Louis and Jessica, who seem solely concerned with white people liking them, whether it's through droves of customers dining at Louis' cheesy Cattleman's Ranch Steakhouse or Jessica being invited to rollerblade with the other neighborhood women. Likewise, the white people try as hard as they can to be nice to those kooky Asians, but oh what strange names they have! Of course, that's part of the show's goal-to explore those differences and how hard it is to fit in in general. But when that's being done through characters that act more like cartoons than people, a lot of the empathy and dramatic tension gets lost.

Thankfully, the pilot doesn't punk out at its most crucial moment, a cafeteria run-in between Eddie and Walter (Prophet Bolden), the only African-American kid in school. Besides pegging Eddie for a poser for listening to hip-hop, he considers him a rival since he's the school's only other minority. It's a complex situation that hits home because it plays out like it would in real life; that is, never for laughs, especially when Walter calls Eddie a "chink," and we get to see new hurt and outrage on his face at a word he's never been called before.

There are more of these true-to-life moments in the second episode, when Jessica starts home-schooling Eddie and his two brothers, Evan (Ian Chen) and Emery (Forrest Wheeler), because she's worried they're not academically challenged enough. For the most part, the storyline is packed with even more broad humor-my least-favorite moment being Eddie's grandmother (Lucille Soong) bobbing her head to Snoop Dogg (sorry, but I will never, ever find the idea of old people gettin' down to hip-hop even remotely funny), but it also gives us several tender moments where the kids see and appreciate their parents' polar-opposite personalities. Where as Louis tries to level with a bunch of teens who he knows are trying to dine and dash at the restaurant, Jessica chases them down in her minivan. Both approaches are (sort of) valid, and having the children realize why their parents work well together is far more resonant than a series of bits showing how wacky we all are. With more realistic moments like this, moments that are focused on actual relationships, Fresh Off The Boat could grow into a sitcom that's important in both its context and its writing.
Stray Observations

One more thing the show nails: its portrayal of 1995. I was just a little bit younger than Eddie Huang was then, and lived about 90 minutes south of Orlando, outside of Tampa. Rollerblades and Golden Corrals were everywhere, and I definitely remember a police officer warning us about LSD stickers.

On the same note, I was glad ABC managed to secure the rights to actual hip-hop songs from that era, with Notorious B.I.G., Public Enemy, and others making soundtrack appearances.

Always nice to see Paul Scheer pop up, and he was immensely endearing as Louis' first and most loyal employee. The show really does have an all-around great cast.

I'm hoping we get more scenes between Walter and young Eddie. As short as their interactions were, it was by far the most interesting relationship on the show.

I'm excited to be following Fresh Off The Boat with you all, and am really rooting for this show. We'll see what happens.

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Fresh Off The Boat: "Pilot"/ "Home Sweet Home-School"

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It's been said before and it will be said again: as the first sitcom about an Asian-American family in over 20 years (the last one being Margaret Cho's All-American Girl), Fresh Off The Boat is important. You'd be hard-pressed to find any publication-or any viewer for that matter-that says differently.

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Critical and Cultural Studies - Communication - Oxford Bibliographies - obo

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Critical and cultural studies of communication are focused on the analysis of cultural artifacts and practices in relation to the social formations in which they exist. The interrelationships of cultural signs, their conditions of production, and their reception by audiences are at the core of such studies.

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Cultural studies is an innovative interdisciplinary field of research and teaching that investigates the ways in which "culture" creates and transforms individual experiences, everyday life, social relations and power. Research and teaching in the field explores the relations between culture understood as human expressive and symbolic activities, and cultures understood as distinctive ways of life. Combining the strengths of the social sciences and the humanities, cultural studies draws on methods and theories from literary studies, sociology, communications studies, history, cultural anthropology, and economics. By working across the boundaries among these fields, cultural studies addresses new questions and problems of today's world. Rather than seeking answers that will hold for all time, cultural studies develops flexible tools that adapt to this rapidly changing world.

Cultural life is not only concerned with symbolic communication, it is also the domain in which we set collective tasks for ourselves and begin to grapple with them as changing communities. Cultural studies is devoted to understanding the processes through which societies and the diverse groups within them come to terms with history, community life, and the challenges of the future.

For a more nuanced understanding of the histories of cultural sudies read:

Bennett, Tony, Lawrence Grossberg, Meaghan Morris, and Raymond Williams. New Keywords : A Revised Vocabulary of Culture and Society. Malden, MA: Blackwell Pub., 2005.

Grossberg, Lawrence. Bringing it all Back Home : Essays on Cultural Studies. Durham, NC: Duke University Press, 1997.

Grossberg, Lawrence. Cultural Studies in the Future Tense. Durham, NC: Duke University Press, 2010.

Grossberg, Lawrence, Cary Nelson, and Paula A. Treichler. Cultural Studies. New York: Routledge, 1992.

Storey, John. What is Cultural Studies?: A Reader. London; New York: Arnold, 1996.

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Cultural studies is an innovative interdisciplinary field of research and teaching that investigates the ways in which "culture" creates and transforms individual experiences, everyday life, social relations and power. Research and teaching in the field explores the relations between culture understood as human expressive and symbolic activities, and cultures understood as distinctive ways of life.

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Over the past two decades, television ads have become the highlight of America's annual Super Bowl game. While millions tune in to watch a championship competition between two elite football teams, millions more watch to see how creatively and humorously advertisers can pitch their products. Some of these advertisements have transformed both products and spokespeople into cultural icons, from Budweiser and Apple computers to Betty White and the Old Spice Man.

How did advertisers accomplish this? What makes something or someone culturally relevant? What stereotypes, if any, did advertisers draw upon to get people's attention? What does it mean to buy an Apple computer, drink Budweiser or wear Old Spice cologne? Furthermore, what do the existence and necessity of these expensive ads reveal about American culture in general?

These are the kinds of questions asked by people engaged in cultural studies. Cultural studies is an interdisciplinary field of research that examines the cultural context, elements and impact of messages that emanate from the media. In a broader sense, it focuses on the means by which society creates meaning and attaches it to everyday objects, ideas and practices. Researchers then determine how such objects and ideas either transform or reinforce culture by relating to aspects of ideology, ethnicity, social class and gender.

Rather than analyzing one culture in particular, cultural studies scholars seek instead to understand culture in general: its forms, history, political context and origins. Founded in the 1960s by theorists Richard Hogart, Raymond Williams, E.P. Thompson and Stuart Hall, cultural studies embraces several different methodological approaches and philosophies, including postmodernism, hermeneutics, post-structuralism, pragmatism and Marxism. Its research encompasses literary criticism, communication, political science, sociology, economics and cultural anthropology. As such, it has no unified theory or tradition.

The Marxist Approach

Cultural studies was originally founded on a Marxist view of culture. In 1846, Karl Marx theorized that economic conditions influenced the creation of culture, rather than vice-versa. According to Marx, those who owned the means of production also controlled culture, or the "collective consciousness" of society-usually by repression or brute force. Since production owners usually possess vast amounts of wealth, they can influence politics and direct lawmakers, police and the military to act on their behalf. As a result, they are able to shape culture in a way that allows them to maintain their grip on economic power.

However, Stuart Hall and his colleagues noticed a slightly different phenomenon at work in Britain in the 1970s. Though the British manufacturing sector was shrinking, causing factory workers to lose their benefits, many workers began to support Margaret Thatcher, a Conservative Party candidate who sought to undermine labor unions and thus reduce their benefits further. Just a few years earlier, the same workers had voted for the Labour Party, which fought to protect employee rights. Instead of engaging in the traditional class conflict that Marx described, workers were aligning themselves with the capitalists. Yet, the change was occurring without the threat of force. Hall theorized that something must be happening within the culture to cause people to vote against their own interests.

An Italian thinker named Antonio Gramsci provided an explanation. Expanding upon Marx's theory of culture, Gramsci posited that production owners, or capitalists, employ subtler ways of maintaining economic control. By flooding the media with messages that appeal to common workers, capitalists penetrate the workers' culture and convince them to support the capitalists' agenda. Workers are led to believe that assenting to the ongoing exploitation of their labor will ultimately benefit themselves, along with all of society. Gramsci called the phenomenon "cultural hegemony," the rule of capitalists by cultural manipulation. Studying cultural hegemony is the main preoccupation of Marxist cultural studies scholars.

The Non-Marxist Approach

Non-Marxist approaches reject the idea that only the economic elite control the meanings assigned to cultural objects. Instead, they posit that the ways in which such objects are consumed also determine their meaning. Consumers aren't passive or mindless; they interpret objects in different ways and can modify or reject the meanings producers have given to products. While the Marxist approach focuses solely on production as the cultural determinant, non-Marxist scholars suggest that consumption itself can be a form of cultural identity, especially in a consumption-based economy. Some scholars claim that many mass-produced cultural objects have affected society positively and should be celebrated, thus rejecting cultural hegemony in favor of "cultural populism."

Goals and Applications

The primary goal of cultural studies is to raise awareness of dominant ideologies and the subtle means by which people are convinced to accept to them. Cultural studies challenges people to think critically about cultural practices and the messages that encourage their continuation. It has been used to explain the manipulation of racism and sexism for political gain, the formation of subcultures, high school dropout rates, the rise of diversity with globalization and the environmental consequences of consumerism.

Criticism

Critics of cultural studies have denounced the discipline's lack of structure and unified methodology. A few have claimed that its "anything goes" approach has allowed some scholars to make careers out of frivolous academic pursuits. Others have pointed out that theorists often fail to adhere to the scientific method in their research and have produced few to no solid conclusions on culture or how to improve it. Yet, in spite of its weaknesses, cultural studies continues to grow in popularity and utility. Its cross-discipline focus and various approaches make it a highly adaptable field, capable of evolving alongside mainstream culture.

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Over the past two decades, television ads have become the highlight of America's annual Super Bowl game. While millions tune in to watch a championship competition between two elite football teams, millions more watch to see how creatively and humorously advertisers can pitch their products.