One of the most popular shows to come out of Shondaland, Shonda Rhimes's production company, is ABC's political drama Scandal (2012–18)—a series whose tremendous success and marketing savvy led LA Times critic Mary McNamara to hail it as ""the show that Twitter built"" and Time magazine to name its protagonist as one of the most influential fictional characters of 2013. The series portrays a fictional Washington, DC, and features a diverse group of characters, racially and otherwise, who gather around the show's antiheroine, Olivia Pope, a powerful crisis manager who happens to have an extramarital affair with the president of the United States. For seven seasons, audiences learned a great deal about Olivia and those interwoven in her complex world of politics and drama, including her team of ""gladiators in suits,"" with whom she manages the crises of Washington's political elite. This volume, named for both Olivia's team and the show's fans, analyzes the communication, politics, stereotypes, and genre techniques featured in the television series while raising key questions about the intersections of race, gender, sexuality, and viewing audiences. The essays range from critical looks at various members of Scandal's ensemble, to in-depth analyses of the show's central themes, to audience reception studies via interviews and social media analysis. Additionally, the volume contributes to research on femininity, masculinity, and representations of black womanhood on television. Ultimately, this collection offers original and timely perspectives on what was one of America's most ""scandalous"" prime-time network television series.

One of the most popular shows to come out of Shondaland, Shonda Rhimes's production company, is ABC's political drama Scandal (2012-18)-a series whose tremendous success and marketing savvy led LA Times critic Mary McNamara to hail it as ""the show that Twitter built"" and Time magazine to name its protagonist as one of the most influential fictional characters of 2013. The series portrays a fictional Washington, DC, and features a diverse group of characters, racially and otherwise, who gather around the show's antiheroine, Olivia Pope, a powerful crisis manager who happens to have an extramarital affair with the president of the United States. For seven seasons, audiences learned a great deal about Olivia and those interwoven in her complex world of politics and drama, including her team of ""gladiators in suits,"" with whom she manages the crises of Washington's political elite. This volume, named for both Olivia's team and the show's fans, analyzes the communication, politics, stereotypes, and genre techniques featured in the television series while raising key questions about the intersections of race, gender, sexuality, and viewing audiences. The essays range from critical looks at various members of Scandal's ensemble, to in-depth analyses of the show's central themes, to audience reception studies via interviews and social media analysis. Additionally, the volume contributes to research on femininity, masculinity, and representations of black womanhood on television. Ultimately, this collection offers original and timely perspectives on what was one of America's most ""scandalous"" prime-time network television series.

"The FLOTUS Effect" emphasizes the import of agency on the part of Michelle Obama in relation to her politics as evidenced in her positionality and presence as the first African American woman to serve as First Lady of the United States of America. Her occupation of a previously white space and place tended to frame her as an enigma in the American mind and media. Contributors reflect on Mrs. Obama's eight years in her ceremonial position, and the ways she chose to uniquely embody her role. Hence, the result is a volume that speculates upon her evolving legacy, and the likely "effects" of what it meant to be the first African-American woman to serve in the ceremonial, yet powerful, role of FLOTUS.

As we approach twenty years since the end of the 1980s, we have the opportunity to see the decade in perspective, and are in a position to question the glib assumption that the 1980s were a mere conservative foil to the 1960s. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, places its topics within the context of a decade described as both critical and transitional because the 1980s, in many respects, marked the end of one era and the beginning of another. For example, the Reagan presidency, the end of the Cold War, MTV, and the appearance of the personal computer all reflect a legacy of political, cultural, and social transformation of the United States and the world, and took place specifically within the 1980s. The function of this interdisciplinary volume is not to simply highlight the significant phenomena of the period, but rather demonstrate how so many apparently disparate events were, in fact, closely inter-related and also products of their age. The 1980s is a holistic analysis of the decade that focuses on major turning points, developments in literature, art, entertainment, politics, and social experimentation. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.