TV: The (Belated) Underlying Message in Glee’s “Never Been Kissed” Episode.

 

I was unable to catch up on Glee when it aired last week, so I decided not to write about the latest episode’s “underlying meaning”. However, after watching it over the weekend, I think there is an important message that needs to be talked about; just like every other episode this season!

While Glee can sometimes turn into an after-school special, “Never Been Kissed” was more of an “hour long ‘It Gets Better’ video”, as Jezebel puts it, focussed around Kurt’s struggles with being the target of homophobia and Coach Beiste’s sexual inexperience and objectification as an anti-sex symbol.

It will be interesting to see if the usually lacklustre writers will continue the storyline in which Kurt’s bully and member of the football team, Dave Karofsky, is tormenting Kurt because in actual fact, Dave is confused about his own sexual orientation. But what I found most interesting about the episode was Beiste’s storyline.

When Sam asks Finn how to “cool down” when making out with “chaste” Quinn, Finn relays his story of running down a postman with his car. Sam decides to use a mental image of Beiste in lingerie, and passes this on to the other guys. Somehow, Tina gets hold of this information and also uses a mental image of Beiste when making out with Mike. When Sam and Tina accidentally let slip Beiste’s name during make-out sessions with their significant others, it somehow gets back to Mr. Schuester, who “says [that] Beiste can never find out, though he winds up telling her himself in the very next scene”!

I can’t imagine how hurtful that must have been for Coach Beiste (yes, I am aware Glee is fictional and the characters DON’T ACTUALLY HAVE FEELINGS), especially when it is revealed that she’s “never been kissed”, hence the title of the episode, and never made to feel beautiful.

But the glee clubbers make good by dedicating their mash-up of “Stop! In the Name of Love” and “Free Your Mind” to Beiste, which ends in an inappropriate group hug, not to mention Will attempting to kiss Beiste’s insecurities away. It’s not that easy, Mr. Inappropriate Glee Teacher!

Related: The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “Grilled Cheesus” Episode.

The Underlying Message in Glee’s “Britney/Brittany” Episode.

Elsewhere: Kurt Gets Kissed in Hour-Long “It Gets Better” Video.

TV: The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

 

Who would’ve thought that an episode of Glee centring around The Rocky Horror Picture Show could be a catalyst for discussing male body image?

Not me, but that seems to be the underlying message in this week’s episode.

When Mr. Schuester announces to the glee club that they will be performing Rocky Horror after Emma tells him she went to see it with her new beau Carl, Rachel is quick to announce that she and Finn will be playing Janet and Brad. Finn is all for this until he realised he’ll have to perform much of the show in his “tighty-whiteys”. Santana and Brittany comment on this, saying they can’t wait to see Finn’s “hot mess” of a body as a result of eating sloppy joes for lunch everyday, in comparison to Sam’s rippling abs accompanied by gold hot pants in his role as Rocky. (If Cory Monteith had put on weight to give Finn an actual “hot mess” of a body, it might’ve lent his storyline more credibility.)

Finn voices his concerns to Rachel who, in her usual selfish ways, tells him that she doesn’t look like Brittany or Santana, but she’s still stripping down to her underwear, and she loves his body just the way it is.

In the locker-room, Finn broaches the subject again with Sam and Artie. As Sam is donning hot pants, he obviously doesn’t have many body image issues (until later in the episode, when Schuester suggests he play another character as the role is too risqué for a high schooler, which Sam misinterprets as him being too fat to pull off his costume), however Artie blames porn for warping females’ perceptions of male bodies:

“I personally blame the internet. Once internet porn was invented, girls could watch without having to make that embarrassing trip to the video store. Internet porn altered the female brain chemistry, making them more like men, and thus, more concerned with our bodies.”

Sounds an awful lot like Naomi Wolf’s argument about porn and its affect on the male brain chemistry, making them more concern with the female body and what it can do for them.

Elsewhere, at the beginning of the episode when the kids are choosing their roles, everyone thinks it would be fitting to have Kurt play Frank N. Furter, to which Kurt replies:

“There’s no way I’m playing a transvestite in high heels and fishnet wearing lipstick,”

as apparently being the only gay man in the club means automatically defaulting to play the tranny. This is particularly poignant, as there is still a lot of misunderstanding in the mainstream about gay, bi, trans etc. people and what exactly their gender roles entail.

Related: Is There Really a Beauty Myth?

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “Grilled Cheesus” Episode.

The Underlying Message in Glee’s “Britney/Brittany” Episode.

Elsewhere: [MamaMia] Male Models: Inside Their Straaaange World.

[Jezebel] Glee: Sexy & Scary In All The Wrong Ways.

[Boob Tube] Glee in Pictures: Rocky Horror Glee Show.

TV: Pretty But Dumb—Serena’s Tertiary Education Predicament.

 

In last week’s Gossip Girl, Serena van der Woodsen was quick to forfeit her Psychology of Business class in order to date the teacher who runs it, Colin Forrester, who is also the man she spent the night before with, who is also the suave businessman who puts a different girl into a cab that Serena hails each morning, thus making her late for class.

Like, get a backbone, girl! Stand up for your right to get an education and become successful in your own right instead of being on the arm of a man who is. (Strong words, yes, but I stand by them. Maybe that’s why I’m still single?!)

Serena’s mother, Lily Humphrey, when she learns that Serena’s dropping the class for a man, even went as far as to ask why Serena’s even bothering with an education when she can use her looks to snag a man like Colin. (FYI, she was using “reverse psychology”, which she picked up from Colin’s book.)

Related: Surfing the Third Wave: Second Wave VS. Third Wave Feminism on Gossip Girl.

Elsewhere: [MamaMia] Do Women Really Use University as an Excuse to Avoid Starting a Family?

TV: The Underlying Message in Glee’s “Duets” Episode.

 

Following on from last week’s controversial episode, this week’s Glee deals with the students pairing off into couples for “Duets”. All except Kurt, of course, who is unable to find a partner, not only to sing with, but also to be with in the romantic sense.

This theme is timely after the suicide of gay teen Tyler Clementi, who was filmed having sex with another man by his roommate, who was then going to broadcast the footage online, and the subsequent campaigning by Ellen DeGeneres and her fellow celebrities to stop gay bullying, and that life does get better.

Kurt expresses interest in duetting with the new kid, Sam, but Finn warns him against it, as the “ensuing beatings” will force Sam out of glee. Of course, Kurt thinks Finn still has issues with his homosexuality, but Finn retorts that they live in a (homophobic) man’s, man’s, man’s world, and breaks out the “no means no” shtick.

Later on, Burt Hummel, who is out of the hospital after last week’s stint in ICU, reiterates Finn’s sentiments, and Kurt asks, “So a gay guy can’t be friendly to a straight guy without it being predatory… You’re saying I shouldn’t sing with this Sam guy because it might upset a couple [of] homophobes?”

The episode also deals with the other kinds of pairings the glee club members engage in. There’s Brittany and Santana, whose lesbian relationship is taken to new levels this week when they’re shown kissing on screen; the proverbial straights, Rachel and Finn and Sam and Quinn; the (perhaps stereotypical) strong black women, Mercedes and Santana, singing “River Deep, Mountain High”; the “Asians”, Tina and Mike, who are having relationship issues and will attend “Asian couples therapy”; and the sensitive issue of Artie’s disability, how it relates to his sex life, and his deflowering by Brittany in this episode.

Thus, this leaves us with loner Kurt, who has more than enough personality and pizzazz to pull off “‘Le Jazz Hot!’ from Victor/Victoria” and steals the show.

Kurt is a strong enough character that he doesn’t let his peers’ (albeit not is glee club peers) discrimination get to him, and thus he comes across as a teenager who has the courage of his convictions to stay true to himself, a stance which can only serve to encourage and enable other young people struggling with their sexuality to stand up and own it.

Oh, and in a rare show of compassion, Rachel offers to do a duet with Kurt in the final scene, asserting that they’re more alike than they think. Perhaps a straight wife-gay husband relationship to rival Carrie Bradshaw and Stanford Blatch is blooming?

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

Elsewhere: [Jezebel] Everyone’s Duetting It (Except Kurt).

[Jezebel] Why Glee’s Brittany & Santana Are My Queer Icons.

Women in Fiction: Are Our Favourite Fictional Females Actually Strong, or Stereotypes?

I’ve been wanting to write a post on Overthinking It’s “Female Character Flowchart” since I saw it on both Jezebel and Musings of an Inappropriate Woman about two weeks ago, and the time has finally come I’ve finally gotten around to compiling a list of my favourite fictional female characters and whether they qualify as “strong” ones.

Without compromising the quality of the image, I wasn’t able to enlarge the chart, nor add my own annotations as per the below characters of my choosing. Instead, I’ve reproduced their equations below, as well as Mean Girls’ Regina George, who appears on the chart, and Blair Waldorf, whom Rachel Hills believes is a “girl Hitler”, but who I find to be much more of a genuine strong female character.

Regina George (Mean Girls): Can she carry her own story? YES. Is she three dimensional? NO. Villain? YES. Sexualised? NO. (I would argue yes. Hello? Have you seen her Halloween getup?) Over 35? NO. Is the protagonist male or female? FEMALE. Is this a rom/com? NO=Mean Girl.

Blair Waldorf (Gossip Girl): Can she carry her own story? YES. Is she three dimensional? YES. Does she represent an idea? NO. Does she have any flaws? YES. Is she killed before the third act? NO=Strong female character.

Belle (Beauty & the Beast): Can she carry her own story? YES. Is she three dimensional? NO. Villain? NO. Is she mainly a love interest? YES. Do they get together? YES. Is she only interested in her man? NO. Is she in a committed relationship with a protagonist? NO. Changes her man or is changed? CHANGES. Are they from different cultures? YES=Nobel Squan, whatever the hell that is! (Looks like something out of Avatar, though.)

Scout Finch (To Kill a Mockingbird): Can she carry her own story? YES. Is she three dimensional? YES. Does she represent an idea? YES. Villain? NO. Is she mainly a love interest? NO. Is she part of a team/family? YES. What is her main role? LEADER. How does she feel about babies? NOT RIGHT NOW. Does she get pregnant? NO. Is she in a horror story? NO. Is she violent? NO. Is she nearly perfect? NO. What is her flaw?=sassmouth, which I guess is true, but Scout is so much more.

Elphaba (Wicked): Can she carry her own story? YES. Is she three dimensional? YES. Does she represent an idea? YES, many. Villain? NO. Is she mainly a love interest? NO. Is she part of a team/family? YES. What is her main role? ROGUE=wildcard.

Elle Woods (Legally Blonde): Can she carry her own story? YES. Is she three dimensional? YES. Does she represent an idea? YES. Villain? NO. Is she mainly a love interest? NO. Is she part of a team/family? YES. What is her main role? LEADER. How does she feel about babies? NOT RIGHT NOW. Does she get pregnant? NO. Is she in a horror story? NO. Is she violent? NO. Is she nearly perfect? YES. Is she older? NO. Should the audience like her? YES. Who likes her more? WOMEN=Mary Sue.

Related:  Women in Fiction: My Favourite Fictional Females.

Elsewhere: [Overthinking It] The Female Character Flowchart.

[Overthinking It] Why Strong Female Characters Are Bad for Women.

[Jezebel] Flowchart: Know Your Female Character Stereotypes.

[Musings of an Inappropriate Woman] Flowchart: Know Your Female Character Stereotypes.

TV: The Underlying Message in Glee’s “Grilled Cheesus” Episode.

 

I have been quite impressed with Glee’s second season thus far, as evidenced by my last review of the show.

Last night’s episode, which aired two weeks ago in the States, due to Ten’s commitment to the Commonwealth Games, dealt with Kurt’s dad Burt having a heart attack and lapsing into a coma, and how the members of the glee club felt about using religion to comfort Kurt and themselves.

Unlike many of last season’s episodes, “a nuanced discussion of religion prevent[ed] Glee from slipping into After School Special mode,” with creator Ryan Murphy explaining that “every time somebody said something anti-religion, we made sure somebody said something pro[-religion]”.

While I’m not so pro-religion myself, and definitely took Kurt’s side when he said “… the reason I don’t go to church is because most churches don’t think very much of gay people. Or women. Or science,” the show “accomplished a prime-time first: an episode that was… sympathetic to both believers and non-believers” and didn’t risk potentially alienating a subset of its audience.

Surprisingly, though, Sue Sylvester was in agreement with Kurt’s plight, “because she finds signing religious songs on school property inappropriate” and believes that “pushing religion on Kurt is amoral,” needless to say, because of her own experiences being angry with God for her sister’s disability.

While I shared Kurt’s discomfort at having his friends pray for Burt in his hospital room without Kurt’s consent, and Mercedes luring him into God’s house with the promise of wearing a “fabulous hat”, the overall message was that even if you don’t believe in religion (can I get an amen?), you’ve got to believe in something.

And Kurt did realise that he believes in something: he believes in his father. Echoing his beautifuland dare I say, betterrendition of The Beatles’ “I Want To Hold Your Hand”, which harkened back to Burt holding Kurt’s hand at his mother’s funeral, Kurt takes his dad’s hand and, if by some sort of miracle, Burt’s hand twitches.

I suppose I should also mention that all this religion is brought about by Finn seeing Jesus’ likeness in his burnt grilled cheese sandwich, which he believes has magical powers because everything he wishes for comes true. But at this point, I’m so over Rachel and Finn; it’s all about Brittany, bitch!

Related: The Underlying Messages of Glee’s “Britney/Brittany” Episode.

Elsewhere: [Jezebel] Glee: You’ve Got to Have Faith… In Grilled Cheese.

[Jezebel] How Glee Can Save Itself Next Season.

[BoobTube] Glee in Pictures: Grilled Cheesus.

TV: Surfing the Third Wave—Second Wave VS. Third Wave Feminism on Gossip Girl.

 

Not only was last week’s Gossip Girl one of the best episodes I’ve ever seen, with one of the most gorgeous dresses I’ve ever seen (see above), but it also addressed some feminist issues that have been rotating around the blogosphere of late: second wave versus third wave feminism and slut-shaming.

*Spoiler alert* The episode dealt with a Gossip Girl blast suggesting that Serena might have an STI, and the turmoil the rumour created amongst the group. Of course, Little Miss Juliet was the one who tipped Gossip Girl off, in the hopes of taking Serena down and getting her kicked out of Columbia. After all, the episode is titled “Goodbye, Columbia”…

Without giving too much away (What’s that you say? I already have? Whoops!), Serena comes face to face with the dean, who says of Serena’s (alleged) wayward behaviour:

“Women of my generation had to fight for every opportunity. And to be taken seriously, and your attitude, Miss van der Woodsen, makes a mockery of that.”

Now if that isn’t the second wave looking down upon the third wave for our apparent flippancy about “activism”, our “obsession with technology” (Gossip Girl’s blasts are a prime example of this), our “unwilling[ness] to challenge sexual exploitation for fear of pissing off men” (hello, Serena), and our infatuation with Lady Gaga (well, Gossip Girl did feature the Lady herself in an episode…), I don’t know what is.

Susan Faludi recently wrote about this phenomenon in “American Electra: Feminism’s Ritual Matricide”, Amanda Marcotte responded to the article on Pandagon (from which the above quotes were taken), and I featured a link to the latter in last week’s “On the (Rest of the) Net”.

In the article, Faludi asserts that

“despite its [feminism’s] many victories, it seems to falter along a ‘motherdaughter’ divide. A generational breakdown underlies so many of the pathologies that have long disturbed American [or, rather, Western] feminism… its bitter divisions over sex… [and] alongside the battle of the sexes rages the battle of the ages.”

Faludi feels that second wavers ask questions and make comments such as “Why does it feel like we’re sliding backwards?”, “Young women are narcissists who don’t care about politics”, and “We’re really furious with these young women, aren’t we?”

Indeed, this seems to be the attitude of Dean Reuther towards Serena who, granted, isn’t the best feminist role model, but perhaps doesn’t deserve to have such comments hurled at her. Vanessa Abrams is probably the most feminist-y of all the characters on Gossip Girl, and I could almost take her seriously, if she wasn’t so damn annoying. Even Blair could be seen as a third-waver; she refuses to be held down by Chuck, rolls with the boys, strives for academic excellence by conniving her way into becoming Miss Chamberlain’s student assistant, and dumped Chuck for using her sexuality as a bargaining chip. Plus, she’s feisty and rocks a headband.

Of course, I’m not sure Gossip Girl consciously chose to comment on the debate, and no doubt this will be the last we hear of it, but it would be interesting to see Serena fight back and declare herself “sick to death of hearing about the glory days of Seventies feminism”, whilst older women, like Dean Reuther, “decalring themselves sick to death of being swept into the dustbin of history.” However, being the dean at an Ivy League university is hardly being “swept into the dustbin”.

On a final note, Faludi spends a lot of time criticising (via her second wave subjects) the technology third wavers use, specifically blogging: “All they want to do is sit at their computers and blog.” Ouch.

I’m sure Gossip Girl would have something to say about that.

Elsewhere: [Harpers] American Electra: Feminism’s Ritual Matricide.

TV: The Underlying Messages of Glee’s “Britney/Brittany” Episode.

 

In what was one of the most anticipated episodes of Glee, alongside the Madonna and Lady Gaga episodes, Britney Spears made all of a minute’s appearance on the show last week.

I was expecting a lot more, but we all know acting is not one of Britney’s strong suits (Crossroads, anyone?). However, Brittany S. Pierce, played by Heather Morris, stole the show and cemented her reign as my favourite Glee character.

While Britney’s lacklustre performance was the drawcard for the episode, there were a few underlying messages about fame using Spears as the beacon for what can go wrong if young stars abuse their fame.

“The episode opens with Kurt informing Mr. Schue that there’s a five person Facebook group campaigning for New Directions to sing Britney Spears songs at the homecoming assembly. But Schue shoots down this movement (even [though] these kids have already performed “Push It” in front of the whole school, for the purposes of our story, Brit Brit is too trashy or something).” [Jezebel]

The kids fought for their right to perform Britney, as she’s an inspiration to all of them, and the reason they want to be stars. Perhaps this way of thinking was better suited to the Lady Gaga episode, as she truly is an inspiration. On the other hand, if Mr. Schue let them perform songs by Madonna, Lady Gaga and, as Jezebel mentioned, Salt N Pepa, Britney is probably the most tame and PG-rated of them all. But I could see Schue’s point: while Britney may be an inspiration, she’s also one of the least talented pop stars who permeated the late ’90s/early ’00s zeitgeist and “not suited” to New Directions.

But, when Brittany goes to see guidance counsellor Emma Pillsbury’s new boyfriend and the school dentist Carl, played by guest star John Stamos, and is put under anaesthesia, she has a Britney Spears fantasy, which makes her realise her true potential as a star, and she demands to have all the solos from now on.

Santana wants to have a Britney fantasy too, so they both go to see the dentist and demand to be put under. Santana uses her doctor father’s health insurance to bribe Carl into succumbing. This could be seen as a reference to the enablers in young stars’ lives (Lindsay Lohan comes to mind) and the drug use that many such stars (again, Lindsay) are rumoured to have engaged in.

In a scene from last week, Sue Sylvester kicks Santana off the Cheerios for defacing her young and still-growing body with breast implants. This seems to be a specific dig at Britney, and a prelude to this week’s episode. Santana is probably only 17 years old, perhaps even 16, which is the age Britney is rumoured to have gotten implants.

Finally, the episode culminates in most of the Glee club having had hallucinations and a “Britney Spears sex riot”, caused by Sue. Britney has been criticised her whole career for being too sexy, which is evident in the opening Britney/Brittany video mash-up of “Slave 4 U”, “Toxic” and “Oops… I Did It Again”, as well as Brittany and Santana channelling “Me Against the Music”, which would have had far more impact, I think, if Britney was used in the whole montage, instead of just at the very end for about .5 seconds.

Related: Poor Little Rich Girl—Lindsay Lohan in Who.

Elsewhere: [Jezebel] Glee: The Britney Spears Stuff You Want to See.

It’s All About Britney, Bitch!

 

Britney Spears is everywhere at the moment: making a cameo on Glee tonight, and tarting it up, kinderwhore-style, on the cover of Japanese magazine Pop.

Maybe, if she had timed this exposure when she had “Circus” to promote, it would have lifted the tour from lip-syncing non-event to rival the Britney-hysteria that once engulfed the world.

But, being the only “diva” a Glee episode has been centred around (the others being Madonna and Lady Gaga) to actually appear on said episode, this is probably one of the best career moves Britney has made.

It is questionable, however, if Britney was fully aware of the social commentary she was engaging in when posing for Pop.

Elsewhere: [The Style Rookie] Kinderwhore Britney.