This chapter examines the construction of empathic narratives in US contemporary television through marketing and online paratexts. More specifically, the chapter conducts a critical analysis of the promotion and reception discourses around HBO's Euphoria (2019–present), including trailers, behind-the-scenes material, interviews, profiles, and reviews from various online periodicals to interrogate the role of such discursive networks in developing feelings of empathy and identification with its viewers. The analysis demonstrates that Euphoria’s promotion and reception materials frame the series as an empathic narrative and thus not only make sense of the narrative world but also encourage viewers to become emotionally and cognitively involved with the show’s fictional characters. Moreover, the chapter argues that such paratexts predominantly focus on the female and transgender characters of the series, therefore suggesting that Euphoria’s paratextual discourses about empathy are highly gendered.

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Constructing Empathic Narratives: Empathy, Identification and Gender in Euphoria’s Paratexts

  • Theresa Trimmel

摘要

This chapter examines the construction of empathic narratives in US contemporary television through marketing and online paratexts. More specifically, the chapter conducts a critical analysis of the promotion and reception discourses around HBO's Euphoria (2019–present), including trailers, behind-the-scenes material, interviews, profiles, and reviews from various online periodicals to interrogate the role of such discursive networks in developing feelings of empathy and identification with its viewers. The analysis demonstrates that Euphoria’s promotion and reception materials frame the series as an empathic narrative and thus not only make sense of the narrative world but also encourage viewers to become emotionally and cognitively involved with the show’s fictional characters. Moreover, the chapter argues that such paratexts predominantly focus on the female and transgender characters of the series, therefore suggesting that Euphoria’s paratextual discourses about empathy are highly gendered.