Kirby, Erika L.Riforgiate, Sarah E.Anderson, Isolde K.Lahman, Mary P.Lietzenmayer, Alison M.2016-02-122016-02-122016-01-22http://hdl.handle.net/2097/28215We examine the portrayals of two good working mothers in popular work–family balance films—Melanie in One Fine Day (1996) and Kate in I Don’t Know How She Does It (2011). Using a critical standpoint, we build on communication work–family/life scholarship to extend theoretical understanding of underlying ideological notions of the good working mother. In particular, we analyze Melanie and Kate’s performances that reflect the underlying cultural ideologies of being an ideal worker, a true domestic woman, and an intensive mother. Further, we explicate how this juggling of identities portrays good working mothers as perpetually defensive. We go beyond the analysis of ideologies to lay out some of the consequences of the performance portrayals of the good working mother, in that she should (a) accept “punishments” from her children, (b) conceptualize fathers as secondary parents, (c) solve problems on her own, and (d) choose family over work.Citation: Kirby, E. L., Riforgiate, S. E., Anderson, I. K., Lahman, M. P., & Lietzenmayer, A. M. (2016). Good Working Mothers as Jugglers: A Critical Look at Two Work-Family Balance Films. Journal of Family Communication, 16, 76-93. doi:10.1080/15267431.2015.1111216This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).good working motherwork-family/life balanceideal workersintensive mothering“true womanhood”Text