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- W2479596739 abstract "On the FX cable television show, Nip/Tuck (2003–2010), the interventions of the show’s surgeon protagonists, Sean McNamara (Dylan Walsh) and Christian Troy (Julian McMahon), reveal to our eyes a range of gory spectacles. Incisions are wedged open by surgical clamps; breast implants are vigorously pushed through small cuts beneath the breasts; noses are broken and reset and the blood pools and splatters. A promotional slogan on the official website for Nip/Tuck describes the show as ‘the scalpels edge of entertainment’ (Nip/Tuck Official Site; 2007 par.2). This phrase sums up Nip/Tuck’s dual appeal to viewers. The show relies on extreme, graphic surgical content to distinguish itself from other programming but, as this phrase also implies, Nip/Tuck presents itself as more ‘sophisticated’ than other television. The show appears to celebrate its difference from forms of television considered lowbrow or ‘feminine.’ Nip/Tuck may seem a far cry from the soap operas and traditional serials about which much critical writing on television melodrama has been undertaken. However, in this chapter I want to assert the importance of considering the complex ways in which the melodramatic mode manifests itself in this program. A consideration of Nip/Tuck as melodrama provides a productive avenue for understanding the sentiments about identity and masculinity articulated on the show. In particular, this chapter explores the ways in which the surgical body on Nip/Tuck is melodramatically invested so that it constructs the white male surgeons at the center of the show as victims." @default.
- W2479596739 created "2016-08-23" @default.
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- W2479596739 date "2014-01-01" @default.
- W2479596739 modified "2023-10-14" @default.
- W2479596739 title "On the ‘Scalpel’s Edge’: Gory Excess, Melodrama and Irony in Nip/Tuck" @default.
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- W2479596739 doi "https://doi.org/10.1057/9781137319852_5" @default.
- W2479596739 hasPublicationYear "2014" @default.
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