Appearance ideals are standards of beauty imposed by a culture or society, that are unrealistic and impossible to achieve. Research documents the existence of three appearance ideals, thin, muscular and hourglass ideals. The thin ideal is the pursuit of a very thin and low body weight. The muscular ideal is the pursuit of a toned and fit body. The hourglass ideal is the pursuit of a shapely body with bigger breasts and hips/buttocks than waist. These ideals are associated with disordered eating. However, no current study has examined the prevalence of all three ideals, or how the combination of ideals relates to dietary restraint, one example of a disordered eating behavior. This study was conducted on 505 undergraduate women at Arizona State University, who were completing research credit for a psychology course. The women participated in an online survey that assessed their demographics, each ideal, and dietary restraint. Results show that all combinations of ideals exist. Specifically, 41.5% of the sample endorse high levels of all three ideals, while 12.5% report thin and muscular ideals, 9.5% report thin and hourglass ideals, 9.9% report hourglass and muscular ideals, 8.4% report low levels of all three ideals, 6.4% report muscular ideal only, 6.4% report hourglass ideal only, and 5.6% report thin ideal only. Endorsing more than one ideal significantly associated with dietary restraint. Findings fulfill an important gap in the literature, suggest future directions for research, and have important clinical implications.

Mayer-Rokitansky-Küster-Hauser (MRKH) is a rare Disorder of Sexual Development (DSD) that results in the lack of a uterus and vagina in women. Receiving this diagnosis during adolescence can cause various forms of psychological distress in patients and families.<br/>Specifically, this condition could affect a women’s gender identity, body image, romantic relationships, family relationships, and psychological wellbeing. Parents are also put in a stressful<br/>position as they now have to navigate the healthcare system, disclosure, and the relationship with their child. This study aims to expand the knowledge of psychosocial adjustment by studying body<br/>image, gender identity, and mental health in individuals living with MRKH as well as parental disclosure, parental support systems, and parental perceptions of their child’s mental health.

Female celebrities are commodified by the entertainment industry at every stage of their lives. The industry's expectations of female celebrities reflect society's expectations for women. From girlhood to adulthood, women are expected to follow particular scripts of femininity. These scripts are promoted and perpetuated by the entertainment industry. Women are used as commodities for consumerism by both the industry and the media alike. Female celebrities have higher expectations today than ever. With the modern phenomena of reality television and social media, the public demands a new level of authenticity and transparency from celebrities. In this thesis, I explore three womens' lives and careers: Britney Spears, Jessica Simpson, and Demi Lovato. I discuss the ways in which these three women have been commodified by the industry at each stage of their lives, as well as how they have, over the course of their careers, attempted to regain control of their images.

What if I told you that a few photos of a sweatshirt, delivered at the perfect time, cracked a case that had stumped some of the world’s greatest marketing minds for more than twenty years? What if I told you that a dismissed lawsuit played an integral part in this? One made possible by a rainy night in Couva, Trinidad? Or that all of this, hundreds of years in the making, could aid a wrongfully incarcerated man in being freed after spending twenty two years in prison, and pioneer one of the largest-scale social justice movements of the 21st century? All catalyzed by the effects of a global pandemic? If I told you, would you believe me? But let’s get back to that sweatshirt for now.<br/>In January 2020, the Coronavirus was a seemingly distant issue for another part of the world to most Americans. A generation that had seen the likes of H1N1 and Ebola come, cause irrational panic, and subsequently disappear had grown complacent with regard to unknown diseases. On March 9th, Utah Jazz center Rudy Gobert took a defiant step in dispelling fears of COVID-19 by touching every microphone in the room at the end of an interview. Two days later, a test revealed that he had contracted the virus, the first professional athlete to do so. The NBA suspended all activities, and thus began the succession of sports leagues across the nation suspending their seasons as global infection numbers rose. But we humans are resilient. As weeks became months, the NBA and WNBA were able to engineer “bubbles” to play in: isolated areas with only the players and essential personnel to play the games, equipped with safety precautions and persistent testing. With no fans allowed inside, social media and media members provided the only glimpse into the “bubble” that ordairy fans would get.<br/>The mornings of July 25th and 26th, as the players arrived for the first games of the day and were snapped by photographers, many sported orange hoodies with the trademark white WNBA logo in the center, to promote the start of the WNBA’s “bubble” season that summer. This sent the internet into a frenzy. “#OrangeHoodie” was trending across all social media platforms, the item sold out on many websites, and more people than ever were talking about the WNBA online. That season, WNBA viewership spiked. More people watched the WNBA than ever before, even with the NBA’s playoffs taking place at the same time. How, then, did a single orange hoodie change the future of marketing the WNBA? What does that tell us about other women’s sports that have similarly struggled with attention and viewership? What role does media exposure play in all of this; do we perceive women differently in the media than we do men? Are these issues rooted in deeper societal prejudices, or are women’s sports simply quantifiably less entertaining?<br/>On a journey to find the answers to these questions, I learned a lot about the relationship of media and culture, about sport, and about the outstanding untold stories of American sportswomen. However, the most important thing I found was that women are marketable. After long being denied the opportunities and exposure they deserve, American culture has as a result pushed women to the background under the guise of them not being demanded or marketable. This could not be further from the truth. They are not demanded because they are not seen. Investing in sportswomen would not only create a better future for all women, but for all people. How, then, is this achievable? How will the powers that be allow for changes to be made? How can we as individuals be receptive to this change? In this thesis, I will take you on a journey where media is fun and fair, and where the future is female.