Ever since its premier on ABC on October 3rd, 2004, Desperate Housewives has conquered the United States within a short time and become one of the hottest TV plays in the first half of 2005. After the broadcast of Season 1, Desperate Housewives has 15 Emmy Awards Nominations the same year; and it won the Golden Globe for the best TV comedy only when the 11th episode has been broadcast. Even Teri Hatcher, who starred one of the main characters, won the Golden Globe for the best actress in this TV comedy.
Almost every romantic love story has such an ending: From then on, the prince and princess lived happily. Most comedies and romance TV plays conveys such a thought: Single business woman is very lovely, but when she get married, she becomes the housewife and her life is set at that. Her life becomes a pool of dead water and she no longer has her charms. It is under such background that Desperate Housewives was born. It has both mystery plots and interesting jokes. TV play is discussing such an question: Why are women no longer charming when they become housewives. After they give up their careers and let themselves go, whatever do they get?
When women are young, they always live alive with hope and promise, they pursue material comfort and they set very high standards for men. However, once a woman gets married, when she manages the affairs of the family methodically, someone will say she is mechanical; when she holds on her young-girl conception of enjoying lifetto the end, someone will say she does not take a vow of chastity.
If Sex and the City is an advocate of feminist and portrays a group of modern females who are independent, successfull, beautiful and intelligent, Desperate Housewives is a play which rethinks the specific domestic problems brought by women’s resistance and compromise for the society with men being the leader. There’s media commenting the play: Housewives try their best to perform all the true feelings – from the frustration brought by the broken marriage to quiet desperation, these are quite common in daily life. In the outwardly perfect married life there are so many little dirty laundries on closer inspection, actually. These crazy and desperate housewives seem to own all happy things: good economic circumstance, beautiful house, husband and children. However, there is painful life under the outward happiness.
In Desperate Housewives, many American housewives make a resonant with each other at this point. Even First lady Laura identifies herself as a desperate housewives. Men can also find a resonant in the play. Many male audience indicate that their wives have many similar problems of who the housewives in the play have. Even after finishing the play, many males indicate that they believe their wives have affairs.
In a way, Desperate truly shows the current American society and current American marriage. And all these reals are sourced from the more real “housewives”. The campaign slogan for Desperate Wives is “Everyone has a little dirty laundry”. The story begins with Mary Alice Young’s suicide. After saying goodbye to husband and children in the early morning, making the breakfast, buying clothes and finishing daily domestic tasks, Mary Alice Young takes out a revolver… From then on, as a town onlooker, she looks coldly from the side-lines at all people. She shares us with these housewives’ desperate life in her own unique point and opinion.
Looking down on her friends and family isn’t a way of life for Mary Alice Young (Brenda Strong), it’s a way of death. One day, in her perfect house, in the loveliest of suburbs, Mary Alice ended it all. Now she’s taking us into the lives of her family, friends and neighbors, commenting from her elevated P.O.V. Her small circle of girlfriends are wondering why one of their own would do something so rash and so messy.
There’s Susan Mayer (Teri Hatcher), the divorcee and single mom who will go to extraordinary lengths for love; Lynette Scavo (Felicity Huffman), the ex-career woman who traded the boardroom for boredom, mixed with moments of sheer panic as the mother of four unmanageable kids; Bree Van De Kamp (Marcia Cross), the Martha Stewart on steroids, whose family is about to mutiny; and Gabrielle Solis, the ex-model with everything she’s every wanted, a rich husband, a big house, so what is she doing with John, the 17-year-old gardener (Jesse Metcalfe)?
From her unique vantage point, Mary Alice sees more now than she ever did alive, and she’s planning to share all the delicious secrets that hide behind every neighbor’s closed door in this seemingly perfect American suburb.
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