Eating Well Made Easy The more than 125 inventive, repertoire-building recipes in Plated will help you cook and eat food you love without having to think so hard about it. Every dish here will work no matter how much (or little) time you have to cook, whether it’s quick dinner on a Monday for two or a backyard barbecue for a crowd. The recipes are all rooted in a core technique—think One-Pan Roasted Chicken, Slow-Simmered Turkey Chili, or Cheesy Baked Penne—but can also be customized according to peak produce and just what you’re in the mood for. Step-by-step prep instructions and menu ideas take the stress out of cooking, so you know exactly what to do and when. Here, too, are ways for you to stretch these recipes, like basic marinades and spice rubs that can be used on almost anything, reinventions for leftovers, big-batch make-aheads, company-worthy feasts, and perfect sides. Platedis sure to become a well-loved, sauce-splattered staple in your kitchen.
Passengers disco dancing in The Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertising Deep Throat in the made-for-TV movie Dawn: Portrait of a Teenage Runaway. A frustrated housewife borrowing Orgasm and You from her local library in Mary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing—or not representing—those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices. Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.
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