Abstract
AbstractThis article investigates the hallmarks of generational seriality—the term coined by Matt Hills—using Cobra Kai, and its predecessor, The Karate Kid trilogy, as case studies. It combines textual analysis of overarching themes of these texts, such as the portrayal of white masculinity, and aligned conceptualizations of class, with the examination of televisual nostalgia. It draws on existing scholarship on TV returns and revivals, exploring how Cobra Kai enters a dialogue with the fans of the franchise, and how that dialogue is articulated. While building upon the iconography familiar to The Karate Kid fans, Cobra Kai contains a great degree of self‐reflexivity, with dialogue or entire plot lines that parody regressive gender politics of the 1980s. The series brings together the generic conventions of the teen film and ample opportunities for nostalgia in its original fan base; thus, it significantly expands its appeal to two distinctive demographics.
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