Serving (Fetishized) Time: An Intersectional Analysis of Netflix's Food Trucks in Mexico and the United States
Year: 2018
Type: article
Abstract: efforts, United States cable, broadcast networks, and streaming service providers have employed food trucks as a way to stand apart from the competition.For instance, HBO commissioned a truck in March 2011 to promote the debut of its now mega-hit series Game of Thrones.Food trucks have been used to promote other television series, including Netflix's House of Cards, Showtime's Dexter, Fox's Brooklyn Nine-Nine, and the CW's iZombie.To promote the second season of Orange Is the New Black (OITNB, 2013-Present), Netflix commissioned a food truck dubbed "Crazy Pyes."This food truck became part of an international marketing strategy with different trucks touring Mexico and the United States.Exploring the nuances of these marketing campaigns reveals how companies like Netflix exploit cultural specificities to maximize audiences.Despite promoting a series that has been lauded for its diversity and inclusion, as well as its capacity for initiating critical dialogues around the US prison system, Netflix's method of targeting certain demographics (i.e., affluent individuals) with their food truck campaigns ultimately trivializes and depoliticizes the prison-industrial complex, supports the displacement of lower income individuals, and integrates the use of racist and ableist ideologies (for comedic effect).David Harvey's discussion of neoliberalism and Kimberly Crenshaw's notion of intersectionality (or more simply, the intersection of
Source: The Journal of Popular Culture
DOI: 10.1111/jpcu.12670
Language: English
Subfield: Philosophy
Field: Arts and Humanities
Domain: Social Sciences
SDG: Reduced inequalities
Open Access status: bronze
OpenAlex ID: W2887234229