![americas next top model 2010 americas next top model 2010](http://3.bp.blogspot.com/_iJK54WoZIGs/S_P1L81WkpI/AAAAAAAAAKI/VhsQDYUmhxo/s1600/krista+white+2.jpg)
Cady also explains how, in a period when money was viewed with deep suspicion, the writers of the era would conflate portrayals of women with portrayals of money, implying that women served as “items of exchange because of some aspect of their nature,” which was considered just as capricious as the nature of money itself (27). Cady traces this phenomenon back to the medieval era when women were characterized as “supposedly passive, yet potentially powerful,” as transgressive entities that “therefore must be carefully monitored and contained” (17). Such contradictions are far from novel, as Diane Cady argues. Programs like America’s Next Top Model interrogate the transgression of such boundaries in surprising ways, thematically aligning gender performance with the American concept of home, and celebrating mobility-liberated womanhood-while simultaneously fortifying that womanhood’s borders. Yet, as Morley asserts, these boundaries are dissolving, aligning consumption and identity construction with the more fluid demands of globalization. history, been conceptualized as an immobile and stable space. Because of its originally strict boundaries, the feminized home-space has, throughout U.S. This home space and its important functions have been assigned a feminine quality both on the smaller level of the suburban house safeguarded by a conscientious wife and mother figure, as well as on the level of national rhetoric, where the home is recast as a feminized nation in need of protection. The home has also served as a prime space in which consumption occurs, whether it is the necessary consumption of food or the culturally-driven consumption of glistening appliances like the Frigidaire. The home has long operated as a site for identity construction in the United States-as a zone demarcated by boundaries that designate an inside and an outside and who belongs there. The globalization of these media plays a key role in engendering such moral panic, as stabilized constructs of culture give way to what David Morley terms our “deterritorialized culture of homelessness.” Morley interweaves the notion of home with the concept of nation, explaining how both have destabilized due to increased physical mobility and the globalization of new communication technologies, “which routinely transgress the symbolic boundaries around both the private household and the nation state” (3).
![americas next top model 2010 americas next top model 2010](https://img.buzzfeed.com/buzzfeed-static/static/2018-02/8/18/tmp/buzzfeed-prod-fastlane-01/tmp-name-2-9382-1518134233-5_dblbig.jpg)
This is instead moral panic, a visceral social reaction to the dissolution of the nation state, fueled by neoliberal politics and exacerbated by a diverse array of television genres. Yet, this is not the flashy panic of the Hollywood horror picture, or even the private panic of an individual living on the streets. In this photo shoot for the CW Television Network’s hit program,America’s Next Top Model, panic is the spectacle being captured on film. The bulbs flash, the girls pose, and their diverse stories are streamlined into spectacle. Behind her, real transients dressed in haute couture enjoy their quite temporary makeovers. From a hidden corner, a director’s voice calls for tears, demanding that this fashion model deliver an emotionally-charged performance of homelessness. The Manhattan alley in which she poses looks too clean and the people ambling by her look too well dressed. But the sudden flashing of a photographer’s bulb suggests otherwise. Her hair is disheveled, her face dirty, and her clothing in disarray. At first she looks like a transient, slouching in an alley.