{'fraction_non_alphanumeric': 0.0136986301369863, 'fraction_numerical': 0.0, 'mean_word_length': 5.462585034013605, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Orange Is the New Black: the popularization of lesbian sexuality and heterosexual modes of viewing

ABSTRACT The Netflix original series Orange Is the New Black (OITNB) is ushering in an identifiable genre of crossover television programming through its popularization of queer content. One of the noteworthy elements about this programme is the extent to which it invites female viewers who self-identify as heterosexual to interact with forms of queer media that they would not necessarily seek out otherwise. This paper explores the invitational structure of OITNB, alongside the new structures of distribution for television content, to address how straight-identified women are invited to watch and engage with lesbian sexuality. It examines and critiques how the character Piper Chapman is constituted as a heterosexual proxy for straight-identified women’s entry into the world of queer sexuality within the fictional Litchfield Penitentiary.