Reviewed by: Unruly Audience: Folk Interventions in Popular Media by Greg Kelley Amanda Firestone (bio) Unruly Audience: Folk Interventions in Popular Media. By Greg Kelley, University Press of Colorado, 2020, 242 pp. Recently, I had a conversation with friends about running. We bemoaned the hard work of consistency and effort, and someone said, "sometimes it takes a while to get there, but it's so worth it." I quickly responded: "that's what she said!" Instances like this are the subject of Greg Kelley's Unruly Audience. Through six analysis chapters, he examines different texts and the interventions that audiences have made "in the face of hegemonic mediated discourse" (23). As someone who appreciates a well-placed, bawdy interjection, I was delighted to review this book. To begin, it's worth mentioning that the cover art for the book exemplifies Kelley's central thesis. It's an image of TRUST iCON's street art I Don't Believe in Fairy Tales (vii). It depicts a colorized, prone Disney's Snow White, and two CSI-esque Tyvek-suited figures, in stenciled black and white. One figure proffers a red apple that is missing a bite. The use of this image specifically connects to Chapter 2, which is about Snow White and the Seven Dwarfs (1937). It also visually renders how audiences can intervene with media. Kelley's introduction, "Reception and Resistance," is adequate and well-structured, setting up the literature review with an anecdote from his childhood about how he and his brothers would riff on TV commercials. "People [End Page 352] who chew Trident gum have 20 percent fewer cavities . . . because they have 40 percent fewer teeth" (4). This charming example reminds readers that from early days we interpolate media we encounter. Kelley explains that audiences have often been disruptive to the status quo, drawing attention to hypocrisies and inconsistencies. He focuses his analyses on moments when a folkloric interruption solidified as part of communal or public memory, which makes Kelley's work relevant to current discussions about communication, media literacy, and the metaphoric shelf life of popular culture artifacts. Chapter 1, "Colonel Bogey's Parade of Parody," focuses on a famous melody composed by Frederick Joseph Ricketts in 1914; it's best remembered as the march whistled in the film The Bridge on the River Kwai (1957). The military march quickly received a host of popular lyrics, largely invented by soldiers. Kelley notes that "by the mid-1930s the word bollocks figured prominently in many British renditions" (27). The tune has lived a lot of life, particularly through the ribald rhymes created by soldiers who needed levity in dark and dangerous times. As a fairy tale, "Snow White" receives significant analysis as a representation of "the tension between sexual innocence and sexual desire" (50), which is the subject of Chapter 2, "There's Dirty Work Afoot." Unsurprisingly, there's much speculation about the living situation for a teenaged girl and seven grown men who are dwarfs. The bulk of the chapter examines some of the "dirty" jokes born of those circumstances. While Walt Disney worked hard to keep his film "clean" of sexual allusions, the aware audience is not so innocent, resulting in lewd jokes that explicitly elucidate Snow White's ascension to sexual maturity. Chapter 3, "Haunting Visitors," transports readers to the Rose Hall Plantation near Montego Bay in Jamaica. A gruesome local legend involves the former mistress of the plantation, Annie Palmer, and her perpetual predilection for murdering her husbands and lovers. Of course, historically, this is untrue, but that doesn't matter in the face of capitalist (and folkloric) enterprise. A theatrical evening ghost tour supplies the greatest opportunity for "a nuanced and fluid relationship between narrative authority and creativity, between the predetermined and the emergent in this interactive cultural performance" (109). The Office (2005–13) became an American pop culture icon, largely aided by the character buffoonery of Michael Scott (Steve Carell). His signature catch phrase—"That's what she said!"—quickly leapt from TV to public use. Chapter 4 examines this one-liner from earlier incarnations like "said the actress to the bishop" to its widespread circulation as a call-back to the show...