TV: Glee—“Props” for the Body-Switching Dream Sequence.

 

In a rare moment of actual self-awareness (none of this Sue-hiring-racially-diverse-midgets-for-New-Directions-to-perform-with-at-Nationals-in-a-show-of-inclusivity—or something—stuff), Glee dared to put Tina in a dream sequence in which she was Rachel and everyone else had swapped bodies, too.

In the “here’s what you missed on Glee” intro, the narrator (who sounds a lot like Finn, but have we ever really been told who it is?) draws attention to Tina’s status as a “prop” at best, so of course the episode was going to be all about her, like the first episode back after Quinn’s accident and the wedding-that-wasn’t was all about Quinn, and then the character is never to be seen or heard from again. I’m not sure what the show has planned for next season, when Rachel, Finn, Kurt et al. head off to college, but perhaps they were trying to introduce Tina as the main player next year.

Anyway, Tina cracks it after having to sit through one too many of Rachel’s solo tantrums. Afterwards, when she’s shopping for fabric for Rachel’s Nationals costume, Tina slips and falls into a fountain at the mall, hitting her head.

For ten glorious minutes, Glee is transformed into an alternate reality, where Finn is Kurt and Puck is Blaine (here’s the homoerotic moment we’ve all been waiting for!) and so on and so forth. With some spot on performances by Naya Rivera as Santana as Artie and Vanessa Lengies as Sugar as Quinn, I’m actually disappointed that Glee didn’t carry this scene on for the rest of the episode! But then Glee’s never been one for pushing the boundaries…

In other, storyline continuity-related Glee news, Shannon Beiste’s domestic violence arc was tied up when she got the courage from, of all people, Puck, to leave Cooter for good.

What did you think of the body-switching experiment? Yay or nay?

Related: The Underlying Message in Glee’s “Choke” Episode.

Images via Putlocker.

TV: 2 Broke Girls Aren’t So Broke That They’d Turn to Sex Work.

 

You know, ’cause hookers are gross and have herpes. Caroline thinks she’d make a horrible prostitute because, “I have a heart and soul and dreams and wanna fall in love and have a family,” and sex workers don’t and won’t have any of these things. Never mind that many sex workers don’t have any other prospects due to the cycle of poverty and abuse and sex trafficking. And what of those in the industry who—shock, horror!—actually want to be in it and enjoy what they do? Does this mean their heart, soul, hopes, dreams and love life go down the drain?

Just to throw in some racism for good measure, Max and Caroline’s upstairs neighbour, Nirham Shadouri (excuse my abhorrent spelling. I was sounding it out.), dies, and Max remarks that “she wasn’t even on the right continent” when guessing his name. Oh, and Jennifer Coolidge (who, if you’ve ever seen Legally Blonde or American Pie, you know is American) plays a Polish suspected madam. Not well, might I add.

Related: 2 Broke & Tampon-less Girls.

I Went to See American Reunion & I Didn’t Hate It…

Image via Putlocker.

On the (Rest of the) Net.

Don’t take your anger and befuddlement on Matthew Newton out on his parents, says Mia Freedman. [MamaMia]

Where are all the older women and people of colour in movies? [Jezebel]

Funny or Die finally gave R&B crooner Brian McKnight’s “How Your Pussy Works” (“I bet you didn’t know that it could squirt!” is a sample line) a chance, even making a hilarious sock puppet video to go with!

Obama amps up his reelection campaign with his “Life of Julia” website, a project that highlights his pro-women stance and shows what a woman can expect over her lifetime with an Obama administration. [Barack Obama]

Still with American politics, how can we convince Hillary Clinton to run for President? [Jezebel]

And, still with Hillary Clinton, what her make-up-free and glasses-clad face tells us about beauty. [Jezebel]

Stella Young on the National Disability Insurance Scheme. [MamaMia]

What exactly constitutes “losing your virginity”? [Daily Life]

It’s not just Arab men who hate women. [The Age]

Where are all the manic pixie dream guys? [Jezebel]

TV: Adoption, Men’s Rights & Desperate Housewives.

 

The moment Susan’s daughter Julie rocked up pregnant and with the intent to give the baby up for adoption, I knew there was trouble in the air. Susan tries to sabotage Julie’s efforts to find an adoptive family and, last night, she found out rambunctious little Porter Scavo from across the street is the father.

While initially Susan was appalled at the prospect of having a part-Scavo grand-offspring, she changes her tune when Porter decides he’d like to raise the baby. Susan offers her help to get Porter a lawyer and look after the baby when it comes. Susan expressly goes against Julie’s wishes and tells Julie that “birth fathers have rights”.

Well, in the current political climate of the U.S. (which has been popping up a lot on television in recent weeks), I had to double check that the foetus residing in a woman’s womb in the Western world is subject to her wishes, not the baby daddy’s.

While in some developing countries, men do have the legal backing to request their baby not be aborted or given up for adoption, this is certainly not automatically true in the U.S. I suppose Porter could apply for custody of the baby and relieve Julie of all her responsibilities but, as she puts it, how do you think she’ll feel having the baby she gave up for adoption living across the street and being babysat by her overbearing mother?!

I really feel for Julie here: last week she told her mother she doesn’t want to raise a child as a single mother as she’s seen what Susan went through. My reasoning is that she should have just got an abortion, but if that doesn’t align with her values (or she found out about the pregnancy too late), I understand her wanting to give it up to a family that can take care of the baby and give it the love it needs.

But I cannot believe (actually, Susan’s kind of flakey, so I can) that Susan is advocating for her daughter to lose her right as a woman to chose what happens to her body and what comes out of it in favour of upholding the patriarchy. Look, I don’t think that Porter’s feelings shouldn’t be heard and that they’re not valid, but at the end of the day, the father is young, unemployed and undereducated, living at home with his mum who doesn’t want another baby around and the mother doesn’t want the child, so who do you think the courts will side with?

Related: 2 Broke & Tampon-less Girls.

Grey’s Anatomy: “You Killed Our Baby”.

Image via The Voice of TV.

TV: Grey’s Anatomy—“You Killed Our Baby”.

 

Owen has always struggled with Cristina’s decision to have an abortion at the end of last season, and it seems he’s still holding it over her head halfway into this one.

From the point of view of Owen, this is fair enough: Cristina never allowed him a say in the termination, and he struggled with her exerting her right to choose.

On the other hand, though: it’s just an abortion. It’s not like Cristina killed an actual living, breathing human with a personality and autonomy outside the womb. She killed his hopes and dreams that he projected onto something that could have been. Tragic on both counts for both characters who can’t seem to grasp where the other is coming from.

Cristina takes the position I do: a foetus is not a human. It doesn’t have rights. It’s subject to whatever the woman whose body it’s residing in chooses to do. Cristina had an operation to get rid of unwanted matter in her body, and now she’s moving on with her life.

I don’t pretend to really understand how the pro-life side, to which Owen evidently belongs, can get so hung up on the (non-existent) rights of the foetus which, at the time of Cristina’s abortion, would have been none the wiser.

Owen seems to think that Cristina committed murder, when he shouts at her during an argument in Meredith and Derek’s kitchen whilst Zola’s birthday/Richard’s 10,000th surgery party is happening in the next room, “you killed our baby!”

Personally, if you have the view that abortion is murder, then I don’t think you should be a doctor. A pro-life campaigner/terrorist out the front of an abortion clinic, perhaps? It’s less dangerous that way.

Related: Grey’s Anatomy Final Asks “When Does Life Begin?”

Cristina Yang as Feminist.

Private Practice: Pro-Choice?

Image via YouTube.

TV: The Underlying Message in Glee’s “Prom-asaurus” Episode.

 

Three episodes before the end of the season, the issue of Brittany’s class presidency is finally addressed, because she the show seems to have forgotten she was elected earlier in the season. Brittany addresses this herself, when she says she’s been a bit out of the loop this year, and “even stopped speaking” for a period.

In her first prom committee meeting, for which the board has sent Brittany ten prior memos, she fires the team and monopolises the choosing of the theme (she did like the unicorns featured in the diorama for the original Castle in the Sky theme): dinosaurs.

When explaining her choices to New Directions, she compares her presidency to the corrupt nature of the U.S. government, and is determined hers won’t turn out that way. She also imposes a ban on hair gel, sending Blaine into meltdown!

Last year, Kurt was humiliatingly crowned prom queen, a memory he still struggles with in this episode. It seems Glee has learned nothing from the tokenisation of gay people as somehow not being of the gender they identify as, as Brittany is nominated as prom king. Maybe it’s that undercut that had people confused…

Also troublingly, the show pitted the two “disabled” girls, Becky and Quinn, against each other. Becky was sure she’d get a nomination as prom queen, but when Quinn gets one in place of her, Coach Sylvester tells her there’s only room for one “sympathy vote”. Helen Mirren’s voice (shoutout to The Queen) makes another cameo as Becky’s inner monologue, adding to the “difference” between her and the other characters on the show. (That Quinn manages to walk at the prom after months of intense physical therapy widens this gap.)

Becky wonders why no one realises that not all prom queens “have to look the same; they can be different.”

And Glee tries to tie Becky’s concerns up nicely in a bow of equality with Puck crowning her “the anti-prom queen” and the boys of New Directions crooning One Direction’s “What Makes You Beautiful”.

Related: The Underlying Message in Glee’s “I Am Unicorn” Episode.

Glee Gets Down on Friday at the Prom.

Image via Gleerific News Stop.

TV: 2 Broke & Tampon-less Girls.

 

Bravo to 2 Broke Girls, the show which, last night, dealt with that time of the month and how ridiculous it is that men seem to be trying to regulate it.

Granted, in Australia, our tampons come without the applicator and are relatively government regulation-free (though hella expensive; the irony of two broke girls not being able to afford a “200% price increase”, as Caroline puts it, is not lost. It is a show about hipsters, after all.), but in the U.S., not so much. The war against women and their reproductive rights is raging, and Max has something to say about it.

When the owner of the diner, Han, raises the price of tampons from a quarter to 75 cents in the ladies bathroom, Max and Caroline lose their shit, and Max begins handing out free tampons to lady diners lest they find themselves stuck without them when Auntie Flow comes to town. (Did you know that Auntie Flow was actually Earl’s, the diner’s cool cashier, auntie?!)

While the subplot to Extreme Couponing (a real reality show!) was a throwaway moment of clarity for the hit-and-miss offensiveness of 2 Broke Girls, I do hope a show about two likeable Brooklynites weaves more women’s issues into its tapestry.

Elsewhere: [Jezebel] “If Men Were the Ones Who Got Periods, Tampons Would be Thrown Free From Floats Like Mardi Gras Beads.”

Image via Putlocker.

TV: Has Smash Jumped the Shark with This Bollywood Number?

My reaction to the above scene is equal parts cringe and intrigue. While it could be seen to be pushing the boundaries, and it does tie in with Dev’s Indian heritage and movie star Rebecca Duvall’s racial ignorance, it could also very well be the moment when Smash jumped the shark. What do you think?

Related: The Problem with Smash.

TV: The (Belated) Underlying Message in Glee’s “Choke” Episode.

 

As someone who has witnessed her mother being choked by her father, using that action as a metaphor for intimate partner violence on Glee is sick.

Not only that, but in desperately trying and dismally failing to, for some reason, raise awareness of domestic violence (actually, I’ve decided I hate that phrase, so I’m taking to using the more all-encompassing “intimate partner violence”), Glee has gone back to its old ways by being especially misogynistic and racist.

The intimate partner violence storyline opens with Santana observing Coach Beiste’s black eye and remarking that “it looks like Mr. Beiste went all Chris Brown on Mrs. Beiste… [Did] Cooter put the smackdown on [her] ’cause [she] wouldn’t let him be on top?” Troublingly, women of colour Mercedes and Tina, and LGBTQ woman Brittany, all snicker. I wonder if the writers were aware (oh wait, this is Glee: of course they weren’t!) that African American women are 35% more likely to experience intimate partner violence than white women, 60% of Korean women have been beaten by their partners, and violence in same-sex relationships is gravely underreported and misunderstood.

Enter Cheerios co-coach and “black Sue”, Roz Washington, who overhears Santana’s bad taste musings. She tells the girls that “violence against women” and “men hitting women” is never okay, buying into the perception that women are the only victims in intimate partner violence. Granted, women are the overwhelming victims, but that’s not giving equal opportunity to non-heterosexual relationships (for shame, considering the abundance of LGBTQ characters on the show) and the fact that a woman can hit a man. Instead of insinuating that it’s intimate partner violence only that we should be concerned about, how about violence against women in general? Including rape.

Anyway, I’m sure the writers wanted Roz to mean well, but her racial and sexist slurs directed at Mercedes (“Lil Oprah”), Tina (“Asian Horror Story”), Sugar (“Rojo Caliente”) and Santana (“Salsa Caliente”) undermine this.

In a following scene, Sue coins the aforementioned nickname, “Black Sue”, for Roz, telling her that “ivory poachers could make a fortune selling your enormous white teeth on the black market”, and refers to Coach Beiste as John Goodman, perhaps insinuating that Beiste’s masculinity should have prevented her from being a victim. This way of thinking seems to be adopted by Santana, too, when she says she doesn’t think Coach Beiste actually got hit because she’s “a wall”. What if the roles were reversed and Beiste had hit Cooter, who is considerably smaller than Shannon?

The racial stereotyping continues when Roz admonishes the girls for their joke. As Autostraddle points out, Glee gave the “‘my aunt got beat up by her man’” monologue to the one black woman on the show,” claiming it took her five years to escape the relationship. It took my mum nigh on thirty to get out.

Shannon initially denies her husband hit her, but uses her experience to inspire the girls, who—up until this point— have never really had anything to do with the Coach, to sing a song about empowering women to leave abusive relationships. According to Sue,

“The American songbook is chock full of songs making light about men hitting women.”

Chris Brown, anyone?

Beiste is so moved by the girls’—who, again, she’s had nothing to do with up to now—apathetic show of indifference to intimate partner violence, that she confesses to them—jeopardising her reputation at the school (remember what happened the last time she got too close to McKinley students?)—that she was actually the victim of intimate partner violence, and that they effectively “saved her life”, because she forgot to do the dishes all weekend. Yes, perpetrators of intimate partner violence can be set off by the slightest thing, and we all know that beating the person you love isn’t the means of someone who’s mentally balanced, but dishes?! Glee, really?! If you’re going to make one of your characters, perhaps the most underutilised, exploited and maligned of them all, the victim of a serious issue like intimate partner violence that will never be addressed again, can you at least make it for a reason less trivial than dishes?!

Two realistic things to come out of the storyline, though: that Shannon stays with Cooter and gives him a second chance, and lies about it to Sue and the girls. And finally, that Beiste fears that if she leaves him, “no one else will ever love me”. Painfully sad, true to actual victims of intimate partner violence who are made to feel worthless and unlovable by their abuser, and ties in with a past storyline on the show!

Related: The Underlying Message in Glee’s “Never Been Kissed” Episode.

My Thoughts on Chris Brown.

Elsewhere: [Women of Colour Network] Domestic Violence Facts & Stats Collection.

[Autostraddle] Glee Recap: Choke-a-Joke.

Image via Putlocker.

On the (Rest of the) Net.

Dreams do come true! I now have my first piece up on MamaMia about labiaplasty and “designer vaginas”. Go check it out! Alternatively, you can read it here next week.

Feminist sites seem to be raving about the above video for Sauza Blue Tequila, in which a shirtless fireman with a kitten generalises the shit out of what women like and want. It makes me want to gag (the video, not the tequila!). So sexist. [Jezebel, MamaMia]

Wikipedia was seeking comment from users as to what pro- and anti-choice groups should be called on their site (you can see the results and arguments here). What do you think? What would you like the camp you belong to to be called? [Jezebel]

Why do Arab states hate women?:

“Name me an Arab country, and I’ll recite a litany of abuses fueled by a toxic mix of culture and religion that few seem willing or able to disentangle lest they blaspheme or offend. When more than 90 percent of ever-married women in Egypt—including my mother and all but one of her six sisters—have had their genitals cut in the name of modesty, then surely we must all blaspheme. When Egyptian women are subjected to humiliating ‘virginity tests’ merely for speaking out, it’s no time for silence. When an article in the Egyptian criminal code says that if a woman has been beaten by her husband ‘with good intentions’ no punitive damages can be obtained, then to hell with political correctness. And what, pray tell, are ‘good intentions’? They are legally deemed to include any beating that is ‘not severe’ or ‘directed at the face.’ What all this means is that when it comes to the status of women in the Middle East, it’s not better than you think. It’s much, much worse.” [Foreign Policy]

Hipster racism: but I was a racist before it was cool! [Jezebel]

Enough with the dead artist hologram craze. [Jezebel]

This Pulitzer prize-winning article by Wesley Morris examines why the Fast & the Furious franchise is so racially important:

“… The most progressive force in Hollywood today is the Fast and Furious movies. They’re loud, ludicrous, and visually incoherent. They’re also the last bunch of movies you’d expect to see in the same sentence as ‘incredibly important.’ But they are—if only because they feature race as a fact of life as opposed to a social problem or an occasion for self-congratulation… “… [U]nlike most movies that feature actors of different races, the mixing is neither superficial nor topical. It has been increasingly thorough as the series goes on—and mostly unacknowledged. That this should seem so strange, so rare, merely underscores how far Hollywood has drifted from the rest of culture.” [Boston.com]

Cheerleading in Australia: yay or nay? [MamaMia]

Check out the latest Twitter hashtag trend: #ReplaceBandNamesWithRape. Actually, don’t. [Twitter, Jezebel]

The curse of soapie sex. [TheVine]

Image via Our Stage.