Considering the media as one of the responsible means for the promotion and abuse of stereotypes that provoke gender difference, it can be established that the emergence of these occurs according to the social environment to which one belongs; the culture in which an individual overlaps and from which a series of norms preset by the very processes of socialization to which we are subjected are assumed.
The television product has presented a great capacity to draw a plausible and credible reality. The effect of reality on television has facilitated in the spectators, as can also happen in the case of cinema, the activation of psychological mechanisms such as identification or projection. Television message can insist on dimensions such as information, education, entertainment ... and in all cases create favorable conditions for the viewer to conceive the message as real, or at least as possible. The characteristics of television allow the viewer to select, among the wide range of content, what satisfies their needs and in which even he or she can be reflected. The public will be able to obtain references of how it should act or behave in everyday situations and can discharge their desires or obsessions in the plots that are articulated in the small screen.
Through television, many of the citizens become aware of what exists, what defines the current political, economic and social of their environment. There is then equalization between television reality and objective reality, since for the viewer what happens is perceived through that window. In other words, this mean becomes not only a transmitter of news, but also constructor of realities. Therefore, this particular mirror beyond acquiring the character of information source, disinformation or entertainment, also performs socializing tasks. The stories told have the capacity to become a reference of undesirable behaviors and attitudes insofar as it launches models that can be assumed by the spectators. In short, this is one more element in the construction of a shared community reality that one can refer to it as collective imagination.
Sarah Banet-Weiser in What’s your Flava? Race and Postfeminist in Media Culture opens by recalling a Nickelodeon advertisement of 2003 that focus on infancy-television binomial. Bannet-Wiser argues that “The Plavas marketing campaign featured not only ads, such as the one on Nickelodeon, which featured hip-hop music and trendy dance moves, but also a sponsorship of the pop singer Christina Aguilera's tour, a singer that Mattel claims "personifies the idea of fearless self-expression"” (202). It can be interpreted that the message as such can not be considered the "single cause", it must be understood as an element whose final function will not be so much that of the change or conversion, but fundamentally that of the reinforcement. Since animation is the essential product for a child target and considering the creative television and bearer of images and concepts understood as a plausible reality, children construct their cognitive construct.