English 1102: Television and Feminism

Dr. Casey Alane Wilson • Georgia Institute of Technology

Category: Review Topic 5 (Page 4 of 5)

Finding Everyday Women in Litchfield’s Guards

Gender plays an interesting role in Orange is the New Black, since almost everyone in the show is female. All prisoners at Litchfield are female, and most of the guards are male. Obviously, since the story is told from Piper’s point of view, all the guards are seen as antagonists (and all of the male guards are portrayed as perverted and sex-obsessed in some way), but the three female correctional workers also play a significant role in examining the stereotypes of working women.

Officer Fischer is very empathetic towards the prisoners, as seen in her buying Miss Rosa a Coke at her chemotherapy appointment. Her voice is often soft and kind, she is new to the prison and she is willing to let the prisoners bend some rules. However, she is choked by a prisoner after trying to enforce a rule, a product of both the strong emotions at the time and, likely, the image of the officer as someone that could be an easy target. In this way she is seen as the caring one, yet also someone that can be taken advantage of and manipulated, as are many women beginning their career. They are uncertain of their future or concerned about causing others to dislike them, so they “play nice” to avoid creating hostility, instead compromising their respectability.

Officer Fischer is known for being kind to the prisoners – arguably to a fault.

The other female guard is older, has a hardened face and a sharp tone. She is the foil to Fischer and snaps at prisoners over tiny infractions. However, even she is empathetic to the fact that the female prisoners have specific needs and expresses concern for kids’ futures when Scared Straight visits Litchfield. She represents the women who have worked long enough in a male-dominated career or job that they recognize they have to overcompensate to prove themselves, yet still care.

Another female guard is much less caring, yet still views the prisoners as human.

Finally, Fig, the warden, is a power-happy, cold female who is unsympathetic to anyone, even the other administrators. She repeatedly tells the prisoners that she doesn’t care about their complaints and takes actions only to improve the prison when journalists begin asking questions. She represents the stereotypical powerful female, someone a bit like Petra from Jane the Virgin, who has had to harden herself and get good at manipulating others in order to achieve success.

FIg is cold and cares only about the prison avoiding the spotlight.

Looking at these three women, all struggling to make themselves in a very male-heavy arena, it begs the question – is it possible for a kinder, caring female like Fischer to be rise to the success of someone like Fig? Does a woman have to be as uncaring as Fig in order to achieve success? And finally, is Fig a product of a system that forced her to be cold or was that how she was before, allowing her to be successful?

It Can’t Always be Black or White – or Can It?

Search Party has a pretty limited gender spread. Of the entire credited series cast so far, there are 69 men and 77 women. There is only a single actor on the show that does not identify as cis-gendered male or female. That actor is Jason Greene, who identifies as genderfluid. The character they play on the show is ambiguous in gender, but is only present in a single episode. Other than Greene’s character, however, the rest of the gender spread on the show is fairly black and white, varying only between cis-gendered male or female.

The show divides the agency of males and females relatively equally. All the characters on the show are relatively bad people. They’re self-interested and misled. Our lead, Dory Sief, is so absorbed in her fixation with Chantal that she recklessly bulldozes through her friends’ lives and drags them down the rabbit-hole with her. In fact, out of the four main cast members, the only one who seems to have unselfish intentions is Portia, but her decisions are still influenced by  a deep rooted desire to feel important. The main cast is evenly split between male and female (as long as we consider Julian, Keith, and Chantal as satellite characters), so agency in the show is also split fairly evenly. Additionally, many of the supporting characters also make decisions that influence the progression of the show. Some notable endeavors are the controversial articles that Julian publishes or Lorraine’s suicide.

Race, unlike gender in the show, is represented relatively well. The show does take place in New York City, after all. Of the five main cast members, two of them are explicitly not Caucasian: Dory is Iraqi-American and Julian is African American. Other characters in the show are also non-white, including Agnes Cho, Lorraine De Coss, and Keith’s ex-wife Deb. An interesting observation to make is that most of the notable minority characters also tend to be female.

The majority of the women on the show are presented as heterosexual. The one exception is the woman Dory meets with to discuss a job offer, who is so completely upset with her wife leaving her that it scares Dory away. There are far more gay men present in the show, however, particularly because Elliot himself is gay. Through love interests for Elliot, the show introduces several gay characters, particularly Elliot’s on-and-off boyfriend Marc.

Only Elliot can manage to look this fresh in rehab.

Mental illness is explored more deeply than disability in Search Party, as there aren’t really any characters that are explicitly physically disabled. On the other hand, several of the characters on the show experience varying mental illnesses. Lorraine is the greatest example of this, as it can be inferred she may be schizophrenic. Additionally, Elliot is a “self diagnosed narcissist” and compulsive liar. He has a psychotic break following his involvement in Keith’s murder, and admits himself to a rehabilitation clinic.

Are socially conscious shows more gender-inclusive? In Portlandia’s case, yes.

Playing with gender is a common theme in IFC’s hit show, Portlandia

The very nature of Portlandia leads it to be more experimental with gender relations and representation on the show. Being set in a progressive town like Portland, Oregon, the show is bound to reference gender frequently, and it does just that. One prominent example of gender being referened repeatedly is through the show’s recurring feminist bookstore bit, where Armisen and Brownstein play two women selling third-wave feminist literature. Through dialogue in these scenes, gender issues are referenced a lot. Furthermore, the fact that Armisen, a biological male, is dressed as a female sheds light on the trans community. Brownstein also dresses as a man multiple times over the course of the show.

As such, not only male and female are represented, but so are many other gender identities in certain bits. The transgender community also has decent representation in the show, as mentioned above. However, the majority of the scenes take place with exclusively cisgender men and women. From the episodes I watched, it does not appear that men or women received notably more screen time; most of the screen time is consumed by the two main actors (Fred Armisen and Carrie Brownstein) and the characters they happen to portray in a given scene.

The show does a good job of giving each gender agency and power. Sure, there are some scenes in which a given character seems irrelevant or powerless, but on the net it evens out. Male characters are oftentimes portrayed in a manner uncommon in mass media today: as sensitive beings with a desire to from non-superficial relationships. Armisen even gets his nails painted in certain scenes, highlighting gender performativity in such scenes. Women are also portrayed as less indecisive and more powerful on the show, but more work could still be done on this. The show does have a decent minority population, but these characters are often supplemental and temporary (as are about all characters on the show to be fair). Since Armisen an Brownstein are the main characters in each sketch, they take up most of the time as white people.

Overall, the show does a good job of representing a wide range of genders and highlighting the problems with a simple male-female dichotomy. Men and women are considered to be essentially equal, and the show does a good job of putting forth a model for shows going forward on how to approach these issues.

Success as defined by your gender in #FOTB

From the opening scene of episode 4, it was obvious that the show would continue to stick to traditional and exaggerated gender roles that have played out in the prior episodes. The characters’ success is determined differently by their gender.

 

Let me set up the scene… extended family members (including an aunt, an uncle, a cousin, and a grandma) are visiting the Huang family from D.C. Within the family, it is a constant competition to be more successful than the others.

 

For Jessica and her sister, the battle is over looks, shopping deals, and mother’s love. These are the ways that the show gives them their value. The reasons for this might be because the show is suppose to be a throwback to the 90s, so they are overemphasizing the progress that has been made in the past two decades. Also, the roles might be cultural. The sisters are battling to be their mother’s favorite and not chasing after careers, which means that cultural loyalty remains at home for the women. While it is amusing to watch the sisters battle over perms, breast size, and discounted prices, the gender roles in the family are restrictive and limiting. The women seems to add nothing to the family except housekeeping and eye-candy…

Jessica and her sister Connie battle over their mother’s favoritism (w/ Jessica rocking the “success perm”)

For the men of the family, Louis and his brother in law (and ex-boss), their success is determined by their career, cars, and  technology. The male characters are expected to have it all; the car, the computer, the successful company, etc. BUT, this is so restrictive, even for a comedy show. It is just another example of a place where female are not shown as succeeding in the workplace and where men are forced to be the sole provider and suporter. This scene makes men look like they have to be superheros and have it all, when realistically they don’t. This family gender role could also be tied to culture of the Huang family, so the roles speak more to the cultural expectations from this time period.

 

It is super easy to box genders up and make the characters easy to understand. For FOTB, the focus is on comedy and fast-paced plot, not intricate characters. In every show, something is sacrificed in production and through the family reunion scene, it is obvious that Fresh off the Boat doesn’t waste time having dynamic characters that redefine family gender roles.

A Women’s World

The setting of Orange Is the New Black in a female prison provides for a set of characters rarely seen before on television. All of the prisoners are female (there is also a female transgender prisoner), with the few male characters (such as some of the prison guards and Piper’s fiance) serving the secondary role of being connections to the outside world. This atypical gender ratio leads to a focus on women’s issues and a portrayal of women not commonly seen in television.

Kate Mulgrew, who plays Red, proclaims that “These women are unapologetic for their flaws, for being in your face, for making mistakes and speaking their mind.” The absence of males in the prison environment may be a factor in making the women bolder, possibly because they feel like all the other prisoners are more like them. In the show, nearly all of the prisoners have some degree of agency, as their separation from society forces them to be self-reliant. However, this agency is also limited by the fact that they are prisoners and do not have the freedoms that normal people do. Although the characters who are not prisoners have more agency than the prisoners, their actions do not affect the show as much due to their more distant relationship with the protagonist.

A key time that Piper demonstrated agency early in season 1 was when she declined help from her ex-lover and fellow prisoner Alex. When Alex offered Piper food while the kitchen staff was refusing to serve her, Piper chose to throw away the food, in order to defy Alex and prove that she would not give in to Red’s will so easily. This action gained Piper the respect of Red and the kitchen staff, who soon resumed serving her food.

Piper throwing food from Alex away

The show uses Piper as a gateway to the issues of race, sexual orientation and mental illness. Due to her white, somewhat privileged background, she doesn’t have to face some of the additional discrimination that some of her fellow inmates must suffer. For example, Hispanic and African-American women are generally shunned by the white prisoners, as well as some of the prison staff. Sue, an inmate who appears to have some kind of mental illness, is avoided by almost all of the prisoners. The inmate counselor, Sam Healy, goes as far as to falsely put Piper in a position of influence in the prison after she committed a similar violation to an African-American inmate who was harshly punished. Healy tries to exploit divisions between the women to maintain the patriarchy in the prison, and despises the lesbian women in the prison, looking for any excuse to punish them.

I have linked an article below that I found very interesting and provided valuable insights into discrimination in OITNB.

https://rewire.news/article/2013/09/03/orange-is-the-new-black-and-how-we-talk-about-race-and-identity/

Crazy Ex-Girlfriend Really Represents

Crazy Ex-Girlfriend is one of the most unique shows on television. Males and females are mostly represented equally and there is representation of other sexual orientations and of people with mental illness. The genders represented are male and female. The main characters are equally represented by both genders (Rebecca, Paula, Josh Chan, Greg, Darryl and Heather). However, males are represented more in the show because Josh Chan has many male friends and Rebecca does not have many friends other than Heather, Paula, and Valencia.

 

Male and female characters make decisions in the show, but more often than not, women, mainly Rebecca Bunch, make significant decisions. Rebecca has to decide who she’s going to make friends with, who she wants to be in a relationship with, and many other important decisions. She constantly has internal conflict about social situations and so these decisions are even more difficult for her to make. Josh Chan is a person who simply reacts. His personality doesn’t have much substance and he lets things happen rather than taking action. This matters because it gives the main male figure in the show less of an impact than the main female figure and lowers the significance of male decisions in the show.

 

Race and gender interact through the varying amount of racial representation in the show. Josh Chan is Filipino, Valencia is Latina, and Darryl claims to be Native American. Class and gender don’t usually interact because they’re all middle class or upper middle class. There is representation for other sexual orientations through Darryl. In the middle of season 1 Darryl comes out as bisexual by performing the song “Gettin’ Bi”. Shortly afterward he began dating White Josh. Mental illness is also represented through Rebecca Bunch. Rebecca has severe social anxiety and other undiagnosed mental illness that is very prevalent throughout the course of the show.

Overall, Crazy Ex-Girlfriend does a great job representing both genders and multiple races, sexual orientations, and mental illnesses. The show gives many different perspectives and explores these perspectives thoroughly.

Grl Pwr

Who run the world? Girls!” These immortal words from Queen Bey are becoming more and more true in today’s society with each passing year. We see women becoming increasingly more involved and holding more positions of power and influence in society than ever before. This cultural shift in society’s landscape is especially evident when looking at gender representation within mainstream television.

Queen Bey

Let’s look at the show Supergirl for examples of this. In analyzing the gender landscape of this show, we can see that the majority of main characters are female. The female characters are the ones behind the wheel of the show, driving the plot forward in each episode. They are the characters that we are most likely to laugh or cry with, cheer for, and sympathize with. It’s interesting to see exactly how many women there are in leading character roles, and not just the number of characters but also the type of people on the show as well. This show is overflowing with strong, powerful women who have visions for the future and a determination to make their vision become a reality.

The protagonist of the show is Kara, Superman’s female cousin, who is one of the most tenacious characters on the show with a will of steel. Her unshakeable faith and heart for others have made viewers fall in love with her from the very beginning. Her boss, Cat Grant, is a media tycoon and probably the most influential person in National City. She is a determined and ruthless businessperson who helps to shape the narrative of the show and write Supergirl’s story for the public. Without Cat Grant, it is quite possible that there wouldn’t even be a Supergirl to love. Then there’s Alex, Kara’s foster sister. Her decisions have laid the foundation for Kara’s life and opportunities up to this point. Without her, Kara would never have found the extensive support system for fighting crime and locking up aliens that the Department of Extra-Normal Operations has given her. And lastly, what kind of hero doesn’t have an evil enemy? Kara’s comes in the form of her Aunt Astra, who is a criminal mastermind from outerspace. As the seasons go on, we are able to see how much this character really affects the plot with both her actions and her mere presence on Earth.

Now, don’t get me wrong and think that this is an all female show, because there are several significant male characters. They are present but do much more reacting on the fringes to situations rather than instigating them. For example, Superman has been delegated to merely a background reference, Winn is a lovable sidekick and friend, and James is Kara’s mentor and unrequited love interest.

With the changing culture of society and the push to see more females in influential positions, Supergirl has stepped up as one of the main shows to watch as one of the shows pushing for change and helping to change the perceptions of viewers across the country.

Girl Crush/Hit List Target: Gender Reps in Crazy Ex-GF

Crazy Ex-Girlfriend is simultaneously great and horrible when it comes to gender representation, and episode 2, “Josh’s Girlfriend is Really Cool!” especially highlights this. In this episode, Rebecca meets Valencia, who’s Josh’s current girlfriend, and the episode revolves around Rebecca’s efforts to become friends with her. Throughout the episode, Rebecca’s cautioned about befriending Valencia. She’s warned by Josh, she’s warned by Paula; even Greg chimes in near the end, though his dialogue is less a warning and more an expression of concern. Despite the warnings, though, Rebecca is resolute in wanting to befriend Valencia – and then the ending happens, where Rebecca kisses Valencia and then admits that she and Josh used to date. Needless to say, that budding friendship ends sourly. Through this, the viewer is privy to a paradoxical presentation, where gender roles and relations are simultaneously progressive and regressive.

The main characters, and the main bearers of agency, in the show are arguably only women – Rebecca, Paula – and yet many of their actions revolve around Josh. There are many men-women interactions depicted – Rebecca and Josh, Rebecca and Greg, Valencia and Josh – and yet, many of those interactions are sexual or romantic. Few male-female interactions on the show are purely friendly or platonic in nature, and the ones that are – Darryl with Rebecca or Paula being the main ones I can think of – typically feature some comedic misunderstanding of one gender by the other.

The biggest example of this paradox within the episode, though, is the relationship between Valencia and Rebecca. Throughout the episode, we see Rebecca combat the idea that she and Valencia can’t be friends and must be feuding, and we see Valencia progress from not having female friends to coming to see Rebecca as a friend (before the club scene, of course.)

If only things stayed this well…

And yet, intertwined with this progress is an inherent element of competition between the two. In their first meeting, Valencia is dressed impeccably, and Rebecca is definitely not. Valencia is a yogi, so Rebecca tries to be one too. Rebecca agrees with many of Valencia’s statements, even when she has no truthful reason to; and Rebecca even wears the same dress as Valencia when they go clubbing. The song, “Feeling Kinda Naughty,” best describes this competitive envy that Rebecca feels for Valencia. To quote it: “I wanna kill you and wear your skin like a dress; but then also have you see me in the dress; and be like, “OMG you look so cute in my skin!”

I think Crazy Ex-Girlfriend does a decent job with gender representation for the most part. However, the plot and the type of humor don’t always translate to great gender representation, and in this episode, that’s apparent.

Building a World of Female Power Out of Crumbling Masculinity

The scenes of the expansive west have been dominated by by the male gluttony for decades on televisions but in the futurist park of Westworld something is happening: the abusive male dominance is not only crumbling, but is forging strong, powerful, and rebellious women. In episode two of the series we feel a strong emergence of three women — two androids and one park quality assurance director —  who are in control of determining the park’s fate going forward.

Throughout the episodes we are exposed a fairly stereotypical view of the guests in this free roam park as males are portrayed as rich Caucasian daredevils releasing their excessive testosterone in adventures filled with blood and lust while female visitors to the park are depicted as very fragile and fearful housewives. While the show may seem very basic in choosing to represent only the two main genders types, it focuses expansively on the dynamic between the evolving androids who are led by an early twenties farmgirl, Dolores, and a female prostitute, Maeve, and the one of the park’s controllers, Theresa. As the show chooses to blurry out the repetitive male dominated story lines of the park as white noise in the background, we begin to understand how the masterful each woman is with their knowledge and how they can manipulate others around them.

Dolores manipulating Bernard in their private conversation.

Initially, the show directs us to focus on Dolores because her dad reaches an existential crisis about their existence as an android that he reveals to her. However, Dolores immediately becomes a character striving with her duplicity. For example, when she is  talking another one of the park’s directors, Bernard, after being recalled, the viewer cannot distinguish who is in control of the situation. Bernard seems to be bluffing his confidence in his control as he does not know that Dolores is memorizing everything to manipulate him and help her fellow androids in her grassroots movement.

Dolores warning Maeve that they are being controlled with the famous Shakespeare, “These violent delights have violent ends.”

Dolores actually ends up leading us to our next face of the rebellion: Maeve. Maeve’s carefully structured character as a lower class African-American citizen in the fictional society of Westworld allows her to takes her trauma she has experienced to fight back more relentlessly as she has been exploited. Furthermore, the symbolic image of Maeve being completely nude, gushing blood, with scalpel in hand when she escapes during repair two park technicians conjures a sentiment not too distant from the emancipating escape of slaves and shows her determination and desperation for liberation in the most vulnerable form one can be.

Finally, we are exposed to Theresa. Theresa is an extremely dangerous wildcard because of how potent she is when left to her own devices. Not only does she seem to have a grasp of what the problem may be with the “sudden” evolution with the park’s androids but she may as well be controlling them.  She flexes her ambiguity in personal relationships with Bernard to wins conversations firmly and confidently.

Theresa has no fear of calling out her superiors and flaunting her intellect when she feels necessary.

The Traditional Minority as a Capable Majority

In the show Orange Is the New Black gender is not very diversified. Shows characterized with “low diversity” are generally assumed to showcase hetersexual white men with few women or queer people. On the other hand, in Orange is the New Black there is not much diversity but the cast is dominated by women—many who are homosexual—and many who are African American and Latina. Because the plot takes place in a women’s prison, it makes sense to have the focus on women instead of men. The dominating groups in this show are the groups that are marginalized in most television.

In this show, almost all of the characters that have agency are women. Piper Chapman, the main character who is thrown in jail and forced to sort out her life both inside and outside of the system, is a woman who relies on herself, her own strengths, and her true character to survive. Her ex-girlfriend, Alex, also has a lot of agency in the show as she is the reason Piper was put in jail and tempts Piper into an affair with her (while Piper has a fiance). Although many of the jail staff (counselors and guards) are men, they do not have much say in the direction the plot twists, despite their relative power within the prison system compared to the inmates. In fact, the head of the prison where Piper stays in the first season is a woman who controls the subordinate men staff mainly with manipulation, threats, and cutting insults. Women make the major choices in the show and take on the traditional male heroic and dominating role within the plot lines.   

Aside from being their own heroes in the show, women take on other roles that are traditionally male dominated (both in television and in the real world). Piper’s job, for example, within the prison system is to be a repair-person—a technical job that is typically dominated by men. Other jobs that women have, however, reinforce the stereotypical female image. Alex, for example, has to work in the laundry room, washing, drying, and folding others’ clothes. By both reinforcing and subverting women’s typical position in this prison community, the writers convey the theme that women are able to fill all roles—those that they usually fulfill and those that they usually don’t. Women are just as capable as men and thus, can have just the same opportunities as them in all positions.

An image that shows the domination of the cast by women of various races and ethnicities

Women in a Man’s World

The newsroom of FYI is filled with intelligent and driven characters. The show depicts a workplace with an even distribution of men and women, a structure which promotes gender equality in business. However, despite its progressive appearances, stereotypes often find themselves written into Murphy Brown, from the constant hiring of inept new secretaries (the variety of which are female, except for the one male who eventually ends up returning to his job in sports) to the position of executive producer being filled by a male. The representation of gender stereotypes can be further analyzed by the leading women of the show, Corky Sherwood and Murphy Brown.

Murphy Brown is a show that challenges gender normative roles with its lead character. An ambitious and well respected women, Murphy is a protagonist who defies the expected. She can be seen playing football with the boys in the office, she is never afraid when a challenge comes her way (even in the case of death threats), she is depicted with a sex drive and as someone who used to smoke and drink religiously, and she always gets what she wants, as she insights fear in even the executive producer. By creating this strong female character, Diane English is able to successfully combat gender stereotypes, and she does it so well not only because of Murphy’s natural “masculinity” but also because she is a multidimensional character who is also often depicted with a sense of softness, grace, and care.

When the impressive characterization of Murphy placed beside Corky, the show finds itself to be disappointing. While Murphy is challenging gender stereotypes, Corky is fulfilling them all. Her character is a cliche “dumb blonde”. She covers stories such as “the darker side of liposuction” and counts her greatest achievement to be winning Miss America. In an episode based around feminism, Corky feels inspired and decides her great feminist achievement will be not wearing a bra to work (to which all the men in the office inappropriately shout with joy). Corky’s character seems to counteract the progressiveness the show tries to establish, however the show does not completely fail with her. While she does fill many traditional and demeaning gender roles, she does combat others. In an episode where she gets her first real journalism assignment, Corky displays an empowering sense of passion and ambition. After being sabotaged by Murphy multiple times, Corky continues to fight for her dream of being a real journalist. Just like Murphy Brown, she ends up being a multidimensional character who has the ability to be a positive role model.

While Murphy Brown is by no means a perfect show when it comes to gender representation, it manages to portray many progressive concepts that were no doubt a challenge at the time.  

Image result for corky sherwood gif

Corky Sherwood as the cliche “dumb blonde”

Unbreakable Kimmy Schmidt’s Unbreakable Characters

The main characters of Unbreakable Kimmy Schmidt

 

In terms of gender representation, Unbreakable Kimmy Schmidt may be one of the most diverse that I’ve seen. Unbreakable Kimmy Schmidt follows mostly female characters and has feminist undertones – no doubt an effect of having Tina Fey as one of the main writers. Interestingly, the main characters are mostly women comprised of Kimmy, Jacqueline, and Lillian. The only exception is Titus. But even he defies traditional main male character representation with his character being a flamboyant, gay man with traditionally feminine interests.
The story focuses on Kimmy surviving in New York. She makes her own decisions and fuels her own success. Although she makes fumbles here and there because of her naivety, she makes responsible and positive choices that benefit the people surrounding her. Even with her background with the bunker, she never lets her past experiences rule and control her own life, representing a clean break from her captor.
In contrast, Jacqueline’s husband has yet to make an appearance on the show. Yet his decisions appear to have a heavy impact on Jacqueline’s state of being. For example, in the second episode, Jacqueline’s husband is unable to make his son’s party, leaving Jacqueline in distress. The heavy hand he has suggests a large amount of control over Jacqueline’s happiness. The show’s juxtaposition of these two characters highlights Jacqueline’s dependence on her husband. In the future episodes, it would be amazing to see Jacqueline break off from her strong dependence and realize her full potential.
One interesting aspect of the TV show is Jacqueline, a privileged, upper-class woman focused on her socioeconomic status. The show reveals that she actually holds roots in the Native American Lakota Tribe. With Native Americans being one of the most underrepresented groups on television, the show makes an interesting choice by casting Jane Krakowski, a white woman, as a Native American.  While this may be a controversial choice, the show makes humorous and purposeful use of the concept to make social statements. For example, Jacqueline thinks that being white and blonde while using her sexuality will elevate her social and economic status (and surprise – it does).

Gender, Relationships, Stereotypes: Being Single and Sufficient

New Girl does a great job of representing gender equally. In the episode, “Single and Sufficient” the concept of gender can be explored in many ways. This episode is about the “couple’s retreat” that many characters attend, regardless of their relationship status. I believe this would have been a great episode to introduce characters that were homosexual or of genders other than male or female, but the writers of New Girl still did a great job of breaking the stereotypes between the two.

Image result for new girl gif single and sufficient

Both genders react similarly to being single in this epsiode

Equality in Agency: This episode of New Girl gives equal amounts of power to both genders. Robbie, a male, is the leader of his own social group. Jess supports his leadership and is more of a “supporting woman” in terms of the group dynamics. She sends Robbie to do the hard work in separating members who are flirting. However, this male dominant relationship is contrasted by Cece and Schmidt’s decisions throughout the show. Schmidt is often dramatic and angry and Cece is the one thinking logically, making decisions, and calming him down. This is the opposite of the “dramatic female” stereotype. Though the gender spread of this episode is 6 males and 4 females, 3 of the females are strong and important in this episode, as well as 3 males. So the true spread is about even.

Image result for new girl gif schmidt sassy

Classic Schmidt, sassy as ever

Breaking Gender Stereotypes: New Girl’s characterization often defies normal gender stereotypes, especially in the character Schmidt. He is very dramatic and feminine. In this episode, Schmidt obsesses over Nick’s romance novel, talks about the advantages of glamping and how he will never use a sleeping bag, and goes to the spa. These are all stereotypical female activities, and it is good of New Girl to show that straight males can enjoy these activities as well. In this episode, Winston also breaks a gender norm by telling he wants to “be the mermaid” in their activities, even though mermaids are often women.

Race and Gender: There is many interracial couples within the show and not the slightest bit of stigma associated with it. Their race also does not determine their level or femininity.


Gender and Love: There is a lot of talk about relationships in this episode because of the involvement of the group “single and sufficient.” Jess is a part of this group, but the she clearly does not enjoy being single as she struggles to do many couples activities, such as playing badminton, alone. However, there is not a strong correlation between gender and desperation within the group, as all members seem desperate. The stereotype is that women are always looking for love, but Jess tries to defy this stereotype by being “single and sufficient.” In the end, however, the group begins to find love interests, with equal representation in gender, and including Jess and Robbie.

Gender in a Women’s Prison

When I first read this assignment, I was wondering how I would be able to write a post about gender representation in Orange is the New Black, a show about a women’s prison where the vast majority of characters are women. And then I re-watched Season 1 Episode 3, which by itself deals with gender enough for me to write multiple posts about it (only doing this one though).

Within the nearly all female cast of characters in the show, both inside and outside of prison, there is a great amount of diversity, not just demographically but also in terms of personality and background. No two female characters in the show so far, who have been fleshed out to any extent, share the same blueprint. The same can’t be said of the few significant male characters, who are either perverted or apathetic prison guards (with the notable exception of Bennett), or boring like Larry (at least I think that’s his name, I don’t know. He’s boring).

“Lesbian request denied.”

The title of this episode is “Lesbian Request Denied,” which lets you know pretty clearly that it is going to deal with sexual orientation. LGBT representation and issues are heavily shown throughout the first three episodes, with Piper having been in a relationship with Alex before the events of the show, the presence of many lesbian inmates, a handful of lesbian sex scenes, and homophobic attitudes coming from multiple characters. In this specific episode, Piper is pursued/stalked by “Crazy Eyes” Suzanne, and Piper turns her down, but not before Crazy Eyes turns in a request for them to be moved in together, which the apparently homophobic Officer Healy strikes down with the line, “lesbian request denied.”

Pre-transition Sophia, a.k.a Marcus, was played by Laverne Cox’s identical twin brother.

But as is the case with many episodes of Orange is the New Black, the focus of this episode isn’t Piper, but the show’s transgender character, Sophia, and her struggles. The arc follows Sophia’s dose of estrogen being reduced and then canceled altogether, leading to her asking her wife to smuggle some in, a request which causes tension between them. As in the first episode, flashbacks help to establish the story of Sophia’s transition and the reason she is in prison. Sophia’s son, Michael, does not cope well with his father making the transition, and reports her to the police committing credit card fraud, which she did to pay for the surgery. Her wife remains supportive through the transition, but not without some resistance to the idea of her getting sexual reassignment surgery. When Sophia asks her to smuggle in estrogen, she bristles at the idea and tells Sophia to “man up.” She also mentions that her decision to support Sophia has led to her becoming distant from her family, which shows their transphobic attitudes, something Sophia will deal with throughout the show.

New Girl: Are Men Too Competitive?

New Girl is a show based on the experience of an awkward girl moving into an apartment with 3 guys. As a result, we the audience get to see exaggerations of the amazing (-ly awkward and hilarious) differences between the boys and the girls. This is especially emphasised in Season 1 Episode 7 of New Girl “Bells” when the writers show off the more petty and competitive sides of Nick, Schmidt, and Winston, contrasting this to the more gentle and accepting femininity of Jess.

The episode starts off normal and progresses until the main conflicts happen in two different plot lines between Nick and Schmidt, and Winston and Jess, allowing us to look at just how male competition plays out. This begins with Schmidt and Nick arguing over fixing a completely broken toilet, as Schmidt complains about Nick’s jerry-rigged solution involving a water bottle and needing to turn the faucet on before flushing. Schmidt just hires a plumber. Schmidt’s display of wealth over Nick’s handyman attitude bothers Nick, and the two begin a war that involves Nick refusing to use anything that Schmidt bought, while also breaking everything that he fixed for Schmidt (a basketball hoop that Schmidt tries to dunk on comes to mind). Schmidt in response does not let Nick use any of the objects that he bought such as the freezer, couch, conditioner, or carpet. This leaves them into something of a class dispute of how wealth allows people to ignore their problems with money.

 

Dead Shmidt

Nick Unfixed the Basketball Hoop Se1Ep7

This strange competition is compared then to Jess who has to deal with Winston, to whom competition comes naturally to the point that even Schmidt and Nick ignore their disputes to tell Jess of how competitive Winston gets, specifically with his natural talent at… Everything (man I wish I had that at GT). Unlike the competition between Nick and Schmidt, which escalates until they start a physical fight and have a bro-moment with some beers and agree that they were being stupid, Jess simply confronts Winston about his competitive attitude, rather than trying to out-do him at every turn. This difference points out a clear distinction that the show makes between how men and women deal with competition.

 

Jess is showed to be rational (despite her goofy character) and simply addresses the problem. She determines that it would be better to just confront Winston about his competitive attitude and ask him to relax, solving the issue. On the other hand, Nick and Schmidt seem to do everything in their power to keep the competition going until one gives up (which would never happen), pointing out the irrational and ridiculous nature of arguments and competition that men seem to have for no other reason than because. In the end, this episode criticises a stereotype of male competitiveness taken to the extreme, and uses Jess, the outlier of the group in the apartment, to remind the audience that sometimes the rational approach is also the best one.

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