properly, a move that works for him because many Americans are
able to relate to being angry with the government. In another
interview with Christian Broadcasting Network’s David Brody,
Donald explains that he does not cry because he does not have
time. Donald differs from Selina in this regard (if what he is says is
true), but he is like her in that he confirms it is okay to cry. He
states, “I know plenty of people that cry. They’re good people”
(“Donald Trump’s Amazing Answer to ‘Do You Cry?”) For
Donald, all emotions are appropriate he simply chooses anger.
Selina and Donald’s political play with emotions illustrates
that gender norms are social constructions and serve as another
playground of opportunity for politicians to gain traction with the
public. According to Jessica Birthisel and Jason Martin (64), the
sitcom The Office (2005-2013) also relies on gender norms,
stereotypes, and corporate codes of behavior and management
within an office space to perform satire. They argue the show’s
satire is successful in mocking patriarchal authority and hegemonic
masculinity through its production style and exaggeration.
Nonetheless, the lack of repercussions for offending characters
and stereotypical portrayals of women in the workplace
undermines the transgressive potential of the series. Veep almost
does the opposite. The series disrupts and completely dismantles
gender stereotypes because, in the first place, they do not hold true
and, in the second place, can be performed. If gender norms were
correct guidelines for success, then Selina’s approval ratings would
have dropped after her constant crying, and Donald would have
lost the election.
Selina and Donald’s popularity with the people also
overcomes their obvious difficulty answering complex questions
about foreign policy (or any actual policy for that matter) and their
rambling, inelegant speeches. Both politicians are guilty of several
gaffes that show attempts to cover up their lack of knowledge on
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