Family and Gender

At the heart of Singaporean sitcom lies the family, nuclear, extended, blended, and created.[1]

The family evokes a sense of familiarity and the use of home offers many insights into Singapore society. It tells us more than just the characters, but quite often about class, race, and contemporary societies.[2] The 5-room HDB home in Under One Roof offers the audience a sense of belonging, and a familiarity to which they can relate the experiences of the family with.

The program demonstrates the workability of Singaporean multiculturalism in the context of a large apartment block.[3] The family represents an idealistic concept of family. There is the embodiment of security, stability and togetherness with clear articulation of roles and responsibilities and the subtle lines of authority that flow from the wise father and understanding mother to obedient children.[4]

Sitcoms like Under One Roof portray a playful attitude towards the patriarchal father figures. In doing so, Moses Lim’s avuncular Tan Ah Teck position as the head and leader of the household is satirized. In the newer television families, such as Parental Guidance, dad remains the leader, but is no longer the boss. Within the span of 15 years, we see the development of a more democratic form of family, from a previously authoritarian one.[5] The new ideal rests on complimentary gender roles in marriage, and an overall more liberal society.

In the past women were confined to the domestic sphere. A prominent stereotype of women was that they are more emotional than men. Women were believed to be easily flustered, and were seen as sensitive, often fearful and anxious. [6] In Under One Roof, Dolly is portrayed as having to succeed her own ambitions in place of her husband and children’s. Confined to her role within the household (especially in the episode ‘Burn Old Flame, Burn’) she laments that she could have otherwise been successful had she not decided to take care of the family and clean the house.[7]

As a departure from traditional gender norms, Ling in Parental Guidance is an empowered lawyer who is capable of fending for herself. Women today are portrayed as being equally competent as men. However, certain aspects of the fairer sex still remain. We see in Parental Guidance how Ling enteres the marriage with James on an equal basis. Care for the children was partaken equally by both Ling and James.

Reflecting reality, the modern husband is more involved in family life, helping out by occasionally drying the dishes, playing with his children and modelling appropriate gender roles for his son. Dad’s centrality to the family was slipping away as mom entered the workforce to help boost the family income. It is no coincidence that these new gender roles are reflective of the government’s idolization of the ‘Supermoms’ as being the next archetype of the female. In the Singaporean context, a Supermom is a lady who is able to fulfil her role of mother and wife while at the same time, maintaining a successful career.

Singaporean sitcom families also adhere closely to social rules as set out by the government. There are no references to homosexuality, and defiance towards parental figures is often resolved before the end of the episode.


[1] Dalton andLinder, The sitcom reader : America viewed and skewed,p. 49
[2] “At Home in Singaporean Sitcoms” from A journal of Media and Culture
[3] “At Home in Singaporean Sitcoms” from A journal of Media and Culture
[4] Dalton and Linder, The sitcom reader : America viewed and skewed,p. 51
[5] Ibid., p.51
[6] Barrie Gunter, Television and sex role stereotyping (London : J. Libbey : IBA , 1986), p.9
[7] Tan, Cinema and television in Singapore: resistance in one dimension, p.131