Journal articles on the topic 'Sanford Family'

Objective: This paper summarizes the results of a comprehensive comparison of open-bay (OPBY) and single-family-room (SFR) neonatal intensive care unit (NICU) designs. Background: The NICU expanded from 7000 ft2 in two large rooms to 27,000 ft2 with 45 individual family spaces. Results: Sound measurements indicated a significant reduction in the unoccupied SFR to less than half of the levels in the OPBY NICU. However, respiratory support equipment generated levels well above those of the ambient environment. Illumination was significantly reduced in the SFR. Ambient illumination in nursing work areas was less than recommended. In other comparisons with the OPBY NICU the SFR NICU was shown to have: a shorter interval until full enteric feedings were established; improved parent satisfaction; improved staff perceptions of the environment and care; a decrease in nurses State-Trait Anxiety scores; an increased need for total numbers of staff and nursing staff per shift; increased walking per shift by nurses and nurse practitioners; and improved sleep time in a very small sample of patients. Analysis of the cost of construction showed comparable cost per ft2; however, the cost per bed in the SFR NICU was much greater because of the increased area of this facility. Highly notable findings of this investigation included the same incidence of adverse outcomes of care and a reduction in the adjusted direct cost of care in the SFR NICU. Conclusion: These data overwhelmingly support the SFR NICU in preference to the traditional OPBY facility. They substantiate that the SFR NICU should be the new standard for NICU care.

OBJECTIVETo assess general medical residents’ familiarity with antibiograms using a self-administered surveyDESIGNCross-sectional, single-center surveyPARTICIPANTSResidents in internal medicine, family medicine, and pediatrics at an academic medical centerMETHODSParticipants were administered an anonymous survey at our institution during regularly scheduled educational conferences between January and May 2012. Questions collected data regarding demographics, professional training; further open-ended questions assessed knowledge and use of antibiograms regarding possible pathogens, antibiotic regimens, and prescribing resources for 2 clinical vignettes; a series of directed, closed-ended questions followed. Bivariate analyses to compare responses between residency programs were performed.RESULTSOf 122 surveys distributed, 106 residents (87%) responded; internal medicine residents accounted for 69% of responses. More than 20% of residents could not accurately identify pathogens to target with empiric therapy or select therapy with an appropriate spectrum of activity in response to the clinical vignettes; correct identification of potential pathogens was not associated with selecting appropriate therapy. Only 12% of respondents identified antibiograms as a resource when prescribing empiric antibiotic therapy for scenarios in the vignettes, with most selecting the UpToDate online clinical decision support resource or The Sanford Guide. When directly questioned, 89% reported awareness of institutional antibiograms, but only 70% felt comfortable using them and only 44% knew how to access them.CONCLUSIONSWhen selecting empiric antibiotics, many residents are not comfortable using antibiograms as part of treatment decisions. Efforts to improve antibiotic use may benefit from residents being given additional education on both infectious diseases pharmacotherapy and antibiogram utilization.Infect Control Hosp Epidemiol 2018;39:578–583

Spiders are beneficial predators that respond to those land uses that modify their habitat. Cattle grazing is an extensive land use across northern Australian rangelands, yet the impact of grazing on spider habitat is poorly understood. In this study, we evaluated the way in which spider assemblages varied between grassland and savanna habitats in the Victoria River District of the Northern Territory, and also between dry and wet seasons in the savanna habitat. We also investigated changes in spider assemblages, and some common taxa, with distance from cattle watering points, which was used as a surrogate for a gradient in grazing intensity. Spiders were sampled using pitfall traps and sweep nets along two distance from water-grazing gradients. The first gradient was in savanna on calcareous red loam soils at Kidman Springs, and the second was in grassland on cracking black clays at Mount Sanford. Ordinations revealed that spider assemblages differed between grassland and savanna, and between the late-wet and late-dry seasons in savanna. Spider assemblages also markedly changed along the two distance-grazing gradients in response to habitat changes. For example, orb weavers in the family Araneidae increased in abundance as the cover of perennial grasses and litter increased with distance from water; this response was consistent for both grassland and savanna gradients. Patch type was also important to the distribution of spiders. For example, more individuals of Habronestes sp. were caught when the local habitat was patches of perennial grasses rather than patches of annual grasses and litter, bare ground, or tree-shrub canopy. These results suggest that spiders are good indicators of the habitat changes that may occur with grazing in the rangelands of Australia.

Abstract Introduction Elementary-aged children in low socioeconomic environments are more likely to experience poor sleep, which can negatively impact academic performance. However, it is unknown whether early-life socioeconomic status (SES) influences associations between sleep and academic achievement later in childhood. Using a demographically diverse sample of children followed longitudinally from 1 to 8 years, we tested linear and nonlinear associations between actigraphy-based sleep duration, midpoint time, sleep duration variability, and parent-reported sleep problems with academic achievement. In addition, we examined whether these associations varied by early SES. Methods The sample comprised 707 twins (52% female; Mage=8.44 years; 28.7% Hispanic/Latinx; 29.7% at or below the poverty line). SES was ascertained at 1 and 8 years, and children wore actigraph watches to assess sleep for 7 nights (Mnights=6.79) and completed the Applied Math, Picture Vocabulary, and Passage Comprehension subtests of the Woodcock-Johnson IV Tests of Achievement. Primary caregivers also reported on their children’s sleep and academic performance (Children’s Sleep Habits Questionnaire and Health and Behavior Questionnaire, respectively). Results Sleep was not linearly related to academic achievement, but there was a significant quadratic association between sleep midpoint with Picture Vocabulary (b=0.28, p<.01) and Passage Comprehension (b=0.17, p<.05). More parent-reported sleep problems were negatively related to Applied Problems performance for lower (b=-1.16, p<.001) and positively associated for higher early SES (b = 1.00, p < .01). More parent-reported sleep problems predicted lower Passage Comprehension for lower (b = -0.59, p < .05), but not higher early SES. Longer sleep duration predicted higher parent-reported academic achievement for lower early SES (b=0.14, p<.01) and lower achievement for higher early SES (b=-0.23, p<.001). Conclusion Our findings illustrate the complex, sometimes nonlinear associations between children’s sleep and academic performance. Many associations varied by early-life SES, suggesting that early childhood environments have long-lasting implications for child functioning, over and above the effect of concurrent SES. Increasing the quantity and quality of children’s sleep could improve academic outcomes, particularly for children who have experienced socioeconomic disadvantage. Support (if any) This research was supported by grants from NICHD (R01HD079520 and R01HD086085) and ASU T. Denny Sanford School of Social and Family Dynamics.

Abstract Introduction Cyclin-dependant kinases (CDKs) are a family of serine threonine kinases regulating cell cycle progression. The interaction of cyclin D (encoded by CCND1) with CDK4/6 helps in hyper-phosphorylation of the retinoblastoma (Rb) gene product, which further facilitates in progression through G1 to S phase of the cell cycle. Oncogenic signals in Hormone Receptor(HR)-positive breast cancer facilitate CCND1 amplification and overexpression of CDK4/6 to drive breast cancer proliferation and are associated with endocrine resistance in breast cancer. CDK4/6 inhibitors selectively inhibit CDK4 and CDK6, resulting in loss of RB1 phosphorylation, henceforth blocking cell cycle progression and causing G1 phase arrest. These agents have profound activity in hormone receptor positive breast cancer cell lines and work synergistically with endocrine therapies to combat endocrine resistance in breast cancer. Neutropenia is a known side effect of CDK4/6 inhibitors, with an incidence as high as 70%. Anemia as a side effect has been reported with low incidence. We report macrocytosis in patients receiving CDK4/6 inhibitors. Methods Retrospective analysis was performed at Sanford Health Bemidji. IRB approval was sought prior to initiation of the review. All patients who received CDK4/6 inhibitor in combination with hormonal therapy from 1/2016-2/2018 were included. Dates for initiating CDK4/6 inhibitor, onset of macrocytosis, maximum mean corpuscular volume (MCV-max) achieved, correlation of time with rising MCV (MCV-t) and normalization of MCV in the absence of CDK4/6 inhibitor (reversibility of macrocytosis) was documented. Complete Blood Count (CBC) was reviewed. Work up for elevated MCV was performed in each patient. Bone marrow biopsies were not performed. Results Table. All patients (n=6) had rising MCV, within 4-6 weeks of initiation of the CDK4/6 inhibitor. Time to achieve MCV more than 100, varied from 3 to 7 months, this timing did not correlate well with baseline MCV. Progressively rising MCV with the duration of use of CDK4/6 inhibitor was seen. Reversibility of MCV was seen in 3 patients (Case B, C and D) who had interruption of CDK4/6 inhibitor for health related issues. Normalization of MCV on discontinuation of CDK4/6 inhibitor and rise in MCV on resumption of CDK4/6 inhibitor was seen. Hemoglobin drop from the baseline was not seen in any of the patients. Apart from neutropenia and macrocytosis, no other abnormality was seen on CBC. Stability of disease was documented in all patients on first set of scans done at 3 months and radiologic complete remission was documented in approximately 6-9 months of being on CDK4/6 inhibition. Macrocytosis workup was performed in all patients, including vitamin B12, folic acid, TSH, reticulocyte count, peripheral smear reviews and liver function tests. Vitamin B12 was low normal in case D, and was supplemented, without any changes seen on MCV. Conclusions CDK4/6 inhibition has become extremely prevalent in the recent times for hormone receptor positive breast cancer. We hypothesize that CDK4/6 inhibition produces reversible macrocytic anemia of unknown clinical significance. Given all patients had elevation in MCV along with complete radiologic remission, there is a possible causal relationship of elevated MCV and treatment response. The long-term clinical significance of observed macrocytosis and possible dysplasia, are important questions that need to be answered in large clinical trials. Disclosures No relevant conflicts of interest to declare.

David K. Dunaway and Willa K. Baum, eds. Oral History: An Interdisciplinary Anthology. Nashville: American Assocation for State and Local History, 1984. Pp. xxiii, 436. Paper, $17.95 ($16.15 to AASLH members); cloth $29.50 ($26.95 to AASLH members). Review by Jacob L. Susskind of The Pennsylvania State University at Harrisburg. Salo W. Baron. The Contemporary Relevance of History: A Study in Approaches and Methods. New York: Columbia University Press, 1986. Pp. viii, 158. Cloth, $30.00; Stephen Vaughn, ed. The Vital Past: Writings on the Uses of History. Athens: The University of Georgia Press, 1985. Pp. 406. Paper, $12.95. Review by Michael T. Isenberg of the United States Naval Academy. Howard Budin, Diana S. Kendall and James Lengel. Using Computers in the Social Studies. New York and London: Teachers College Press, 1986. Pp. vii, 118. Paper, $11.95. Review by Francis P. Lynch of Central Connecticut State University. David F. Noble. Forces of Production: A Social History of Industrial Automation. New York and Oxford: Oxford University Press, 1984. Pp. xviii, 409. Paper, $8.95. Review by Donn C. Neal of the Society of American Archivists. Alan L. Lockwood and David E. Harris. Reasoning with Democratic Values: Ethical Problems in United States History. New York and London: Teachers College Press, 1985. Volume 1: Pp. vii, 206. Paper, $8.95. Volume 2: Pp. vii, 319. Paper, $11.95. Instructor's Manual: Pp. 167. Paper, $11.95. Review by Robert W. Sellen of Georgia State University. James Atkins Shackford. David Crocketts: The Man and the Legend. Chapel Hill: The University of North Carolina Press, 1986. Pp. xxv, 338. Paper, $10.95. Review by George W. Geib of Butler University. John R. Wunder, ed. At Home on the Range: Essays on the History of Western Social and Domestic Life. Westport, Connecticut: Greenwood Press, 1985. Pp. xiii, 213. Cloth, $29.95. Review by Richard N. Ellis of Fort Lewis College. Sylvia R. Frey and Marian J. Morton, eds. New World, New Roles: A Documentary History of Women in Pre-Industrial America. New York, Westport, Connecticut, and London: Greenwood Press, 1986. Pp. ix, 246. Cloth, $35.00. Review by Barbara J. Steinson of DePauw University. Elizabeth Roberts. A Woman's Place: An Oral History of Working-Class Women, 1890-1940. New York: Basil Blackwell, 1985. Pp. vii, 246. Paper, $12.95. Review by Thomas T. Lewis of Mount Senario College. Steven Ozment. When Fathers Ruled: Family Life in Reformation Europe. Cambridge, Massachusetts, and London: Harvard University Press, 1983. Pp. viii, 283. Cloth, $17.50; Paper, $7.50. Review by Sanford Gutman of State University of New York, College at Cortland. Geoffrey Best. War and Society in Revolutionary Europe, 1770-1870. New York: Oxford University Press, 1986. Pp. 336. Paper, $9.95; Brian Bond. War and Society in Europe, 1870-1970. New York: Oxford University Press, 1986. Pp. 256. Paper, $9.95. Review by Bullitt Lowry of North Texas State University. Edward Norman. Roman Catholicism in England: From the Elizabethan Settlement to the Second Vatican Council. Oxford and New York: Oxford University Press, 1986. Pp. 138. Paper, $8.95; Karl F. Morrison, ed. The Church in the Roman Empire. Chicago and London: University of Chicago Press, 1986. Pp. viii, 248. Cloth, $20.00; Paper, $7.95. Review by Raymond J. Jirran of Thomas Nelson Community College. Keith Robbins. The First World War. New York and Oxford: Oxford University Press, 1984. Pp. 186. Paper, $6.95; J. M. Winter. The Great War and the British People. Cambridge: Harvard University Press, 1986. Pp. xiv, 360. Cloth, $25.00. Review by Roger D. Tate of Somerset Community College. Gerhardt Hoffmeister and Frederic C. Tubach. Germany: 2000 Years-- Volume III, From the Nazi Era to the Present. New York: The Ungar Publishing Co., 1986. Pp. ix, 279. Cloth, $24.50. Review by Abraham D. Kriegel of Memphis State University. Judith M. Brown. Modern India: The Origins of an Asian Democracy. Oxford and New York: Oxford University Press, 1985. Pp. xvi, 429. Cloth, $29.95; Paper, $12.95. Review by Steven A. Leibo of Russell Sage College.

Introduction: The University of South Dakota Sanford School of Medicine (USDSSOM) had success in preparing students to enter family medicine. A sharp decline in students choosing the specialty became noticeable in 2004. In 2005, only 10.2% of the graduating class entered family medicine residency programs. To reverse this trend, the Department of Family Medicine partnered with the South Dakota Academy of Family Physicians (SDAFP) chapter that year to send students to the American Academy of Family Physicians (AAFP) National Conference of Family Medicine Residents and Medical Students. This report examines the influence of national conference attendance on career choice. While many factors influence student choice, conference attendance served as an additive method for recruitment. Methods: Internal departmental records on national conference attendance and subsequent National Resident Matching Program (NRMP) data were reviewed retrospectively, to determine if a correlation existed between conference attendance and choice of family medicine as a specialty. Chi-squared analysis was utilized to further examine this relationship. Results: The association between conference attendance and number of times attending is significant (χ2 =6.78, P<.05). The recent data show that this intervention has resurrected student interest in family medicine, with USDSSOM now exceeding the NRMP average for family medicine. Conclusions: A positive correlation exists between national conference attendance and medical student choice to enter family medicine residency programs. This intervention may be used by more medical schools wishing to promote family medicine in order to help meet our nation’s primary care workforce needs.

Summary Lipoid congenital adrenal hyperplasia (lipoid CAH), the most severe form of CAH, is most commonly caused by mutations in steroidogenic acute regulatory protein (STAR), which is required for the movement of cholesterol from the outer to the inner mitochondrial membranes to synthesize pregnenolone. This study was performed to evaluate whether the salt-losing crisis and the adrenal inactivity experienced by a Scandinavian infant is due to a de novo STAR mutation. The study was conducted at the University of North Dakota, the Mercer University School of Medicine and the Memorial University Medical Center to identify the cause of this disease. The patient was admitted to a pediatric endocrinologist at the Sanford Health Center for salt-losing crisis and possible adrenal failure. Lipoid CAH is an autosomal recessive disease, we identified two de novo heterozygous mutations (STAR c.444C>A (STAR p.N148K) and STAR c.557C>T (STAR p.R193X)) in the STAR gene, causing lipoid CAH. New onset lipoid CAH can occur through de novo mutations and is not restricted to any specific region of the world. This Scandinavian family was of Norwegian descent and had lipoid CAH due to a mutation in S TAR exons 4 and 5. Overexpression of the STAR p.N148K mutant in nonsteroidogenic COS-1 cells supplemented with an electron transport system showed activity similar to the background level, which was ∼10% of that observed with wild-type (WT) STAR. Protein-folding analysis showed that the finger printing of the STAR p.N148K mutant is also different from the WT protein. Inherited STAR mutations may be more prevalent in some geographical areas but not necessarily restricted to those regions. Learning points STAR mutations cause lipoid CAH. This is a pure population from a caucasian family. Mutation ablated STAR activity. The mutation resulted in loosely folded conformation of STAR.

In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016-present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson).Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion.The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. There is pleasure in seeing Roseanne (Roseanne Barr), Dan (John Goodman), Jackie (Laurie Metcalf), Becky (Lecy Goranson [seasons one to six, ten], Sarah Chalke [seasons six to nine]), Darlene (Sara Gilbert), and DJ (Michael Fishman) back in the Conner house with the same well-worn couch and afghan. The (attempted) recuperation is of author-star Barr, whose recent politics are in stark contrast to the working-class second-wave feminist politics of her nineties’ persona. This article is particularly interested in the second pleasure, because both the original series and the reboot situate the voice of Barr as central to the series’ narrative and politics.Despite achieving the highest ratings of any US sitcom in the past three years (O’Connell), on 29 May 2018, ABC announced that it was cancelling the Roseanne reboot. This decision came about in the wake of a racist tweet, where Barr compared a black woman (high-ranking Obama aide Valerie Jarrett) to an ape. Barr’s tweet and the cancellation of Roseanne, highlight the limits of nostalgia and Roseanne/Barr’s particular brand of white feminism. While whiteness and a lack of racial awareness are (and always have been) at the centre of Barr’s performance of feminism, the political landscape has shifted since the 1990s, with the rise of third and fourth-wave feminisms and intersectional activism. As such in the contemporary landscape, there is the expectation that white feminist figures take on and endorse anti-racist stances.This article argues that the reboot’s attempt to capitalise on nineties nostalgia exposes the limits of Roseanne/Barr’s feminism, as well as the limits of nostalgia. The feminist legacy of nineties-era Roseanne cannot and does not recuperate Barr’s star-persona. Also, the reboot and its subsequent cancellation highlight how the feminism of the series is embodied by Barr and her whiteness. This article will situate Roseanne and Barr within a feminist tradition on US television, before exploring how the reboot operates and circulates differently to the original series.From Roseanne (1988-1997) to Roseanne (2018)In its original form, Roseanne holds the distinction of being one of the most highly discussed and canonised feminist-leaning television series of all time, alongside The Mary Tyler Moore Show (1970-1977), Cagney and Lacey (1981-1988), and Buffy the Vampire Slayer (1997-2004). Roseanne also enabled and informed many popular feminist-leaning contemporary series, including Girls (2012-2017), Mom (2013-present), Better Things (2016-present), and Dietland (2018). Although it may seem anachronistic today, Roseanne and Barr helped define what it means to be a feminist and speak feminist politics on US television.Roseanne depicts the lives of the Conner family, headed by parents Roseanne and Dan. They live in the fictional blue-collar town of Lanford, Illinois with their three children Becky, Darlene, and DJ. Both Roseanne and Dan experience precarious employment and embark on numerous (mostly failed) business ventures throughout the series’ run. The reboot catches up with the Conner family in 2018, after Roseanne has experienced a health scare and single mom Darlene has moved into her parents’ house with her two children Harris (Emma Kenney) and Mark (Ames McNamara). In the new season, Roseanne and Dan’s children are experiencing similar working conditions to their parents in the 1990s. Becky works at a Mexican restaurant and is eager to act as surrogate mother to earn $50,000, Darlene is recently unemployed and looking for work, and DJ has just returned from military service.A stated objective of reviving Roseanne was to address the contentious US political landscape after the election of President Donald J. Trump (VanDerWerff). Barr is a vocal supporter of President Trump, as is her character in the reboot. The election plays a key role in the new season’s premise. The first episode of season 10 establishes that the titular Roseanne has not spoken to her sister Jackie (who is a Hillary Clinton supporter) in over a year. In both its nineties and 2018 incarnations, Roseanne makes apparent the extent to which feminist politics are indebted to and spoken through the author-star. The series is based on a character that Barr created and is grounded in her life experience. Barr and her character Roseanne are icons of nineties televisual feminism. While the other members of the Conner family are richly drawn and compelling, Roseanne is the centre of the series. It is her voice and perspective that drives the series and gives it its political resonance. Roseanne’s power in the text is authorised by Barr’s stardom. As Melissa Williams writes: “For nearly a decade, Barr was one of the most powerful women in Hollywood” (180).In the late 1980s and into the 1990s, Roseanne (and Barr) represented a new kind of feminist voice on US television, which at that stage (and still today) was dominated by middle-class women. Unlike Mary Richards (Mary Tyler Moore), Claire Huxtable (Phylicia Rashad), or Murphy Brown (Candice Bergen), Roseanne did not have a stable job and her family’s economic situation was often precarious. Roseanne/Barr adopted and used a feminism of personality popularised on television by Mary Tyler Moore and Lucille Ball. Unlike her foremothers, though, Roseanne/Barr was not slender, feminine, or interested in being likeable to men. Roseanne did not choose to work outside of the home, which marked her as different from many of US television’s other second-wave feminists and/or mothers. As Rachael Horowitz writes: “Roseanne’s feminism was for women who have to work because bills must get paid, who assert their role as head of the house despite the degrading work they often do during the day to pay for their kids’ food and clothes” (9).According to Kathleen Rowe, Barr is part of a long line of “female grotesques” whose defining features are excess and looseness (2-3). Rowe links Barr’s fatness or physical excess with her refusal to shut up and subversive speech. The feminism of Roseanne is contained within and expressed through Barr’s unruly white body (and voice). Barr’s unruliness and her unwillingness to follow the social conventions of politeness and decorum are tied to her (perceived) feminist politics.Understandings of Barr’s stardom, however, have shifted considerably in the years since the publication of Rowe’s analysis. While Barr is still “unruly,” her unruliness is no longer located in her body (which has been transformed to meet more conventional standards of western beauty), but rather in her Twitter presence, which is pro-Israel, pro-Trump, and anti-immigration. As Roxane Gay writes of the reboot: “Whatever charm and intelligence she [Barr] brought to the first nine seasons of her show, a show I very much loved, are absolutely absent in her current persona, particularly as it manifests on Twitter.”Feminist Voice and Stardom on US TVRoseanne performs what Julie D’Acci calls “explicit general feminism,” which is defined by “dialogue and scenes that straightforwardly addressed discrimination against women in both public and private spheres, stories structured around topical feminist causes, and the use of unequivocal feminist language and slogans” (147). However, the feminist politics of Roseanne and Barr are (and never were) straightforward or uncomplicated.Studies of feminism on US television have primarily focused on comedies that feature female television stars who function as advocates for feminism and women’s issues (Spigel; Rabinovitz; D’Acci). Much of the critical discussion of feminist voice in US female-led television identifies the feminist intervention as taking place at the level of performance (Dow; Spigel; Spangler). Comedic series such as I Love Lucy (1951-1957), Murphy Brown (1988-1998, 2018-present), and Grace Under Fire (1993-1998), and dramatic series’, such as Cagney and Lacey and Buffy the Vampire Slayer, privilege the articulation of feminist ideas through performance and character.Roseanne is not a series that derives its comedy from a clash of different perspectives or a series where politics are debated and explored in a nuanced a complex way. Roseanne promotes a distinct singular perspective – that of Roseanne Barr. In seasons one to nine, the character Roseanne is rarely persuaded to think differently about an issue or situation or depicted as “wrong.” The series centres Roseanne’s pain and distress when Becky elopes with Mark (Glenn Quinn), or when Jackie is abused by her boyfriend Fisher (Matt Roth), or when Darlene accidently gets pregnant. Although those storylines are about other characters, Roseanne’s emotions are central. Roseanne/Barr’s perspective (as fictional character and media personality) informs the narrative, sensibility, and tone. Roseanne is not designed to contain multiple perspectives.Roseanne is acutely aware of its place in the history of feminist voice and representations of women on US television. Television is central to the series’ articulation of feminism and feminist voice. In season seven episode “All About Rosey,” the series breaks the fourth wall (as it does many times throughout its run), taking the audience behind the scenes where some of US television’s most well-known (and traditional) mothers are cleaning the Conner’s kitchen. June Cleaver (Barbara Billingsley) from Leave It to Beaver (1957-1963), Joan Nash (Pat Crowley) from Please Don’t Eat the Daisies (1965-1967), Ruth Martin (June Lockhart) from Lassie (1958-1964), Norma Arnold (Alley Mills) from The Wonder Years (1988-1993), and Louise Jefferson (Isabel Sanford) from The Jeffersons (1975-1985) at first sit in judgment of Barr and her character Roseanne, claiming she presents “wrong image” for a TV mother. However, Roseanne/Barr eventually wins over the TV mothers, declaring “the important thing is on my show, I’m the boss and father knows squat” (7.19). It is in contrast to more traditional television mothers that Roseanne/Barr’s feminist voice comes into focus.In the ninth and final season of Roseanne’s initial run, the series (arguably) becomes a parody of its former self. By this point in the series, “Barr was seen as the sole cause of the show’s demise, as a woman who was ‘imploding,’ ‘losing the plot,’ or ‘out of control’” (White 234). White argues that depicting the working-class Conners’ social and economic ascension to upper-class diminishes the distinction between Barr and her character (243). White writes that in the series’ finale, the “line between performer and character is irrevocably blurred; it is unclear whether the voice we are hearing is that of Roseanne Conner or Roseanne Barr” (244). This blurring between Roseanne and Barr becomes particularly contentious in season 10.Rebooting Roseanne: Season 10Season 10 redacts and erases most of the events of season nine, which itself was a fantasy, as revealed in the season nine finale. As such, the reboot is not a simple continuation, because in the season nine finale it is revealed that Dan suffered a fatal heart attack a year earlier. The final monologue (delivered in voice-over by Barr) “reveals” that Roseanne has been writing and editing her experiences into a digestible story. The “Conners winning the lottery” storyline that dominated season nine was imagined by Roseanne as an elaborate coping strategy after Dan’s death. Yet in the season 10 reboot, Dan is revealed to be alive, as is Darlene and David’s (Johnny Galecki) daughter Harris, who was born during the events of season nine.The limits of Roseanne/Barr’s feminism within the contemporary political landscape come into focus around issues of race. This is partly because the incident that incited ABC to cancel the reboot of Roseanne was racially motivated, and partly because Roseanne/Barr’s feminism has always relied on whiteness. Between 1997 and 2018, Barr’s unruliness has become less associated with empowering working-class women and more with railing against minorities and immigrants. In redacting and erasing the events of season nine, the reboot attempts to step back the conflation between Roseanne and Barr with little success.In the first episode of season 10, “Twenty Years to Life”, Roseanne is positioned as the loud-mouthed victim of circumstance and systemic inequality – similar to her nineties-persona. Yet in 2018, Roseanne mocks same things that nineties’ Roseanne took seriously, including collective action, community building, and labour conditions. Roseanne claims: “It is not my fault that I just happen to be a charismatic person that’s right about everything” (10.01). Here, the series attempts to make light of a now-outdated understanding of Barr’s persona, but it comes off as tone-deaf and lacking self-awareness.Roseanne has bigoted tendencies in both the 1990s and in 2018, but the political resonance of those tendencies and their relationships to feminisms and nostalgia differs greatly from the original series to the reboot. This is best illustrated by comparing season seven episode “White Men Can’t Kiss” and season 10 episode “Go Cubs.” In the former, Roseanne is appalled that she may have raised a racist son and insists DJ must kiss his black classmate Geena (Rae’Ven Larrymore Kelly) in the school play. Towards the end of this episode, Geena’s father comes by the restaurant where Roseanne and Jackie are closing up. When the tall black man knocks on the locked door, Roseanne refuses to let him inside. She appears visibly afraid. Once Roseanne knows he is Geena’s father, she lets him in and he confronts her about her racist attitude. Roseanne (and the audience) is forced to sit in the discomfort of having her bigotry exposed. While there are no material consequences for Roseanne or DJ’s racism, within the context of the less intersectional 1990s, this interaction does not call into question Roseanne or Barr’s feminist credentials.In season 10, Roseanne tackles similar issues around race, ignorance, and bigotry, but it plays out very differently. In the reboot’s seventh episode, Roseanne suspects her Muslim refugee neighbours Fatima (Anne Bedian) and Samir (Alain Washnevky) are terrorists. Although Roseanne is proven wrong, she is not forced to reckon with her bigotry. Instead, she is positioned as a “hero” later in the episode, when she berates a supermarket cashier for her racist treatment of Fatima. Given what audiences know about Barr’s off-screen politics, this does not counteract the impression of racism, but compounds it. It also highlights the whiteness of the politics embodied by Roseanne/Barr both on-screen and off. Although these are two very different racial configurations (anti-blackness and Islamophobia), these episodes underline the shifting reception and resonance of the feminism Roseanne/Barr embodies.ConclusionIn June 2018, shortly after the cancellation of the Roseanne reboot, ABC announced that it was developing a spin-off without Barr called The Conners (2018-present). In the spin-off Roseanne is dead and her family is dealing with life after Roseanne/Roseanne (Crucchiola). Here, Roseanne suffers the same fate as Dan in season nine (she dies off-screen), but now it is Barr who is fictionally buried. While The Conners attempts to rewrite the story of the Conner family by rejecting Barr’s racist views and removing her financial and creative stake in their stories, Barr cannot be erased or redacted from Roseanne or the story of the Conner family, because it is her story.The reboot and its cancellation illuminate how Barr and Roseanne’s feminist voice has not evolved past its white second-wave roots. The feminism of Roseanne is embodied by Barr in all her unruliness and whiteness. Roseanne/Barr/Roseanne has not taken on the third and fourth-wave critiques of second-wave feminisms, which emphasise the limits of white feminisms. The failure of the Roseanne reboot reveals that the pleasure and nostalgia of seeing the Conner family back together is not enough. Ultimately, Roseanne is without intersectionality, and thus cannot (and should not) be recognised as feminist in the contemporary political landscape.ReferencesBetter Things. Cr. Pamela Adlon and Louis C.K. 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