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

 

Blaine, Kurt, and Rachel’s first times were surprisingly tender; taking place in front of the fire after Blaine, Kurt and Rachel had given the performance of their lives in West Side Story, and Finn had realised his college football dreams won’t come true—but not before Glee had effectively prude-shamed Rachel and Blaine.

The idea that an actor can’t truly portray an emotion or a situation unless they’ve felt it or been involved in it flies in the face of the theory of acting. That everyone else involved in West Side Story (except Coach Beiste, who finally gets her man. And is Emma Pillsbury still a virgin…?) has lost it except its two main characters, whose sexual awakening the play focuses on, further emphasises the virgin-shaming going on.

I’d like to point out at this juncture that these kids are 17 YEARS OLD! I have friends who are nearly 23 and 26, respectively, who are virgins—not to mention those who don’t air their sexual history (or lack thereof) as freely—and I don’t think it hampers their ability to do their jobs, enjoy life and make meaningful connections with people. I really resent the fact that not just Glee, but society in general, likens virginity to a handicap. Even handicapped Artie (who insensitively makes a joke about Chaz Bono being stuck inside a woman’s body, and is then subsequently picked on by the college football recruiter, asking if Artie wants a handicapped spot on the team. Been there, done that.) targets Rachel and Blaine for their lack of relatability to their characters. What happened to the days when virginity was a virtue? But, please; let’s not go back there!

Now that Rachel, Kurt and Blaine have lost their virginities in the dream-like way that Hollywood so romanticises, can we please go back to normal? Not everyone experiences their cherry-popping romantically in front of the fire. And the sooner this is drummed into young adults, along with the debunking of the “hopeless romantic” idealism of modern relationships, the better.

Related: Glee: T.G.Inappropriate.F.

The Underlying Message in Glee’s “Asian F” Episode.

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

Glee Back in Full Force.

The Underlying Meaning in Glee’s “Never Been Kissed” Episode.

Glee “Sexy” Review.

Elsewhere: [MamaMia] Why Being a Hopeless Romantic is a Crock.

Images via Megavideo.

TV: Glee Gets Down on Friday at the Prom.

 

So Rebecca Black has officially permeated the zeitgeist, with “Friday” being performed by Puck, Artie and Sam at McKinley High’s junior prom on last night’s episode of Glee.

And despite Quinn’s monotonous efforts to be crowned prom queen, along with Finn as her king, she lost out to “queen” Kurt.

Kurt’s date Blaine told Kurt of what happened to him at his last prom (he and another gay friend were set on by the school homophobes and gang bashed) and that he wasn’t 100% comfortable with attending, but he went for Kurt anyway.

Kurt’s dad, Burt, was concerned that Kurt’s “royal wedding-inspired” tux, which he handmade himself, wasn’t appropriate and that Kurt shouldn’t draw any extra attention to himself and Blaine.

Kurt thinks, despite Santana and Karofsky escorting him to and from classes as part of their Bully Whips anti-bullying squad, that McKinley is really coming around to the idea of gay acceptance, because he hasn’t been physically or verbally abused since returning from Dalton Academy.

Hatred builds up inside if we can’t let it out, and it seems that the kids at McKinley let it out sneakily and quietly, by “secret ballot” for prom queen.

But you know Kurt: he sucked it up and went out there in front of the school to tell them… “Kate Middleton, eat your heart out.” Okay, I was expecting something a little more inspirational than that, considering the “gay prom” issue is one that’s rampant in the U.S., and also here, as a recent episode of SBS’s Insight will attest.

But I suppose we have Chris Colfer’s Golden Globes speech to comfort us.

And, as is Glee’s trademark, the controversy was wrapped up nicely into one 42-minute episode and McKinley’s homophobia will live to fight another day.

Until then, let’s get down on “Friday”!

Related: The Underlying Message in Glee’s “Born This Way” Episode.

The Underlying Message in Glee’s “Original Song” Episode.

Gwyneth Paltrow Addresses Tabloid Culture & Her Haters.

Glee “Sexy” Review.

The Underlying Message in Glee’s “Blame it on the Alcohol” Episode.

How to Make a Woman Fall in Love With You, Glee Style.

Glee “Silly Love Songs” Review.

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

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

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: [SBS] Gay in School: SBS Insight.

Images via Showbiz Nest, I Am Thea 07, Maurissa Weiner.

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

 

Firstly, just let me say, what’s up with the pathetic episode title? Perhaps the writers could have taken a leaf out of the glee club’s fictional book and called the episode “Get it Right” or “Loser Like Me”, the names of the episodes two, um, original songs.

*

Quinn has brought up the whole prom thing with Finn a couple of times in recent episodes, but last night her plan to take out the title of prom queen and king with Finn was put into full force.

I found it very odd that Quinn, the girl who last season was ostracised from the Cheerios, the “cool group” and her own family when she became pregnant, reverted to the vapid character we were introduced to in the early days.

I’m not a big fan of Quinn’s in general, but I felt that she grew tremendously as a character over the course of a year, while characters like Mr. Shue and Rachel Berry (who—coincidentally?—happen to be Glee’s two most annoying characters) remain stagnant. But, as I said in last week’s review, this is Glee, and when have we ever expected storyline consistency from it?

When Quinn befriends Rachel in an effort to keep her away from Finn, we see her true aspirations: Quinn claims she wants Rachel to realise her full potential and become a star, while she manages a real estate company and Finn takes over Burt Hummel’s mechanics business. Quinn believes there’s nothing outside of Lima for her and Finn (I wonder how Finn feels about this; knowing his girlfriend thinks he has no potential?), which I don’t buy. I thought Quinn’s pregnancy changed her for the better; part of the reason she gave up her baby was because she couldn’t give it the life it deserved. Doesn’t Quinn deserve a good life, too?

Quinn’s pregnancy also proved she’s just a loser like the rest of New Directions, which was the theme for their regionals set. Blowing Sue’s Oral Intensity (what ever happened to Vocal Adrenaline?) and the Warblers out of the water with their original songs, the first of which was written and performed by Rachel, who finally grasped the craft of songwriting (but not without an initial slip-up this episode with the song “Only Child”. On the plus side, Brittany said “My Headband” was her favourite song!), using Quinn’s taunts about starving for a “schoolgirl fantasy happy ending” with Finn as fodder.

What started out with an irritating voiceover from wannabe queen bee Quinn and some fantastic digs at Blaine’s monopoly over the Warblers’ solos, ended nicely with some “original songs” for Glee to make a mint from, instead of giving all the royalties to the initial artists; the underlying message that we’re all just losers; and Blaine’s epiphany that Kurt’s “the one”—with a gay kiss to boot!

Related: The Underlying Message in Glee’s “Blame it on the Alcohol” Episode.

How to Make a Woman Fall in Love With You, Glee Style.

Glee “Silly Love Songs” Review.

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

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

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.

Images via MegaVideo.

TV: Glee “Sexy” Review.

 

Never before have I been so offended by Glee. They’ve gone wrong a lot in the past season and a half: “Duets”, where everyone but the token gay Kurt got to sing with a partner; Mercedes’ eating disorder cured by Quinn giving her a granola bar; and the Justin Bieber episode in general, which I actually liked, but several of my friends voiced their concern over it. But this episode was so ignorant in addressing the theme of sex amongst the New Directions members that it made me want to hurl.

Firstly, Gwyneth Paltrow’s return as Holly Holiday was unnecessary, but obviously they’re going to milk the character for all she’s worth. She was derogatory, snarky and just plain annoying; worlds away from her first appearance on the show.

Holly insults guidance counselor Emma for still being a virgin four months after her marriage to Carl the dentist, when clearly the girl has intimacy and bodily fluids issues, amongst many others. Plus, she’s still in love with Will Shuester, which Holly takes pleasure in rubbing in her face by hooking up with him.

She heads up the celibacy club, which she makes a mockery of, even more so than Santana’s recent membership.

When Emma leads Carl, Puck, Quinn and Rachel in a rendition of “Afternoon Delight”, Holly Gleefully points out that an afternoon delight is a romp in the PM, not a dessert as Emma thinks it is.

She leads the kids in a leather-clad performance of “Do You Wanna Touch Me”, which completely undermines Mr. Shue’s previous efforts to protect the kids from singing songs by such risqué artists as Britney Spears. But, you know, this is Glee, where the storyline takes a back seat to big names and bigger songs.

But the most offensive part of the show was Holly and Will massacring one of my favourite Prince songs, “Kiss”.

The only redeeming quality of the episode was Santana’s heartfelt, yet obviously tormented, declaration of love for Brittany, who turned her down in favour of Artie.

Related: The Underlying Message in Glee’s “Blame it on the Alcohol” Episode.

How to Make a Woman Fall in Love With You, Glee Style.

Glee “Silly Love Songs” Review.

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

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

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.

Images via YouTube.

TV: Glee “Silly Love Songs” Review.

 

Last night’s episode of Glee had some semblance of a storyline, unlike most of its companion episodes this year.

Santana was ousted by the glee club as a bitch, Puck serenaded Lauren, who refused to be wooed by his misogynistic rendition of  “Fat Bottomed Girls”, and Finn attempted to court Quinn at his Valentine’s Day kissing booth.

By far the best song of the night was Artie and Mike’s collaboration on Michael Jackson’s “P.Y.T.”, which I have taken the liberty of embedding below.

Another key story arc was Kurt’s continued infatuation with Blaine, who serenades another man with Robin Thicke’s “When I Get You Alone” (again, below), another standout. Not to worry; although Blaine is rebuffed by his love interest, and Kurt confesses his feelings for his, the two are back being besties before the night’s through.

Don’t you just love how life on Glee comes packaged up nicely with a pretty ribbon on top after forty minutes…?

Related: The Underlying Message in Glee‘s “Furt” Episode.

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

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.

Images via Shulman Says, Soul88, TV Hamster.

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

 

Last night’s episode of Glee marked the final in a three-episode arc about bullying.

In Sue’s final act as principal before she resigns at the end of the episode, she expels Dave Karofsky for bullying Kurt. Jezebel notes that “rather than yelling, ‘William, my hands are tied!’ she promises to stop Karofsky once they have proof that he’s harassing Kurt”but not before Sue takes to calling Kurt Porcelain, which could be seen as an act of bullying in itself.

Carol Burnett makes an appearance as Sue and Jean’s absentee mother, Doris, who in addition to being Sue’s own “bully”, left the girls to be a Nazi hunter. While Doris doesn’t appear all that bad, it does give some insight into Sue’s present-day behaviour as McKinley High’s student body tormenter. Why was Sue’s mother in the episode, you ask? Because Sue was getting married… to herself! But that’s a whole other can of worms.

In other bullying news, the glee guys start a fight with Karofsky in the football team’s locker-room in defence of Kurt, but stepbrother to be, Finn, doesn’t partake. Even when it is revealed that the attack was Rachel’s idea, “setting the feminist movement back fifty years”, according to Quinn. (It’s no secret that I can’t stand Rachel, but a strong woman like her needs an equally strong man.) In what seems to be another instalment in Finn’s tour of whimping out, he doesn’t want to be perceived as being a homo-sympathiser. But not to worry, he makes up for it at his mum and Kurt’s dad’s wedding, by making a speech about standing up for “Team Furt” (in the tradition of celebrity couplings like Brangelina). And then they “dance their troubles away”.

The wedding also serves as a catalyst for Kurt to break out this memorable one-liner: “I’ve been planning weddings since I was two!”

Oh Kurt, we’ll miss you when you transfer to Dalton Academy…

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

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.

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

Elsewhere: [Jezebel] Glee: Three Weddings & a Furt.

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: 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.

On the (Rest of the) Net.

 

After my Mick Foley rant last week, I’ve started reading his blog, Countdown to Lockdown, and I’m loving it. Here are some choice articles:

Remembering female pro-wrestling pioneer, Luna Vachon, who passed away on August 27 this year.

“That Time I Met… Tina Fey… and Alec Baldwin!”

“That Time I Met… President William Jefferson Clinton!” (I really love this one; some heart-warming stuff.)

“Mick’s Favourite Things: Top Ten Matches”, three of whichCactus Jack VS. Randy Orton at Backlash 2004 (above), Mankind VS. The Undertaker in Hell in a Cell in June, 1998, and Mick Foley VS. Edge in a Hardcore Match at WrestleMania XXII (that’s WrestleMania 22 in 2006 for you wrestling laymen)I 100% agree with.

In defence of Buffy’s whining.

“To the Teenage Boy in Your Life”:

“An important thing to remember is that girls are not from a different planet, nor are they even a different species. They’re just people, they’re just like boys, except with vulvas instead of penises.

“Mainly you need to remember this when you’re trying to figure out what a girl is thinking. See, if you didn’t know what a BOY was thinking, how would you go about finding out? You might ask him, right? The same goes for girls.”

I’m a bit behind the eight-ball on this one, as No Make-Up Week was a month ago, but Alle Malice’s guest post on Rabbit Write goes over the reasons “Why We Wear Make-Up”. I especially like this one:

“It makes me look good in photos. Almost everything we do now is documented by someone and posted in Facebook albums for the world to see, because if you aren’t having fun on Facebook, you aren’t really having fun. And if you aren’t pretty on the internet, you aren’t pretty in real life. Enter makeup.”

Nick Sylvester, on Riff City, discusses “How Kanye West’s Online Triumphs Have Eclipsed Kanye West”:

“Maybe there are people working with him… but I get the sense that Kanye is generating the [sic] lot of these ideas. I imagine he likes being in control of every aspect of the production, the medium being the message and so on. Online he is a wise fool, first playing into people’s perceptions of ‘Kanye West’, then off those very perceptions, sending himself up, pulling back his own veil… Despite many attempts, Kanye West is incapable of being parodied, largely because Kanye West has already figured out a way to be a parody of Kanye West.”

Much like Megan Fox in this New York Times Magazine article. Could I even go as far as to say that blonde bombshell Pamela Anderson has employed this strategy? I believe I could. And for that matter, Lindsay Lohan sending herself up on Funny or Die and promos for the MTV VMAs are along the same lines.

Sylvester goes on to say that “artists like Kanye West have to be ‘good at Twitter’ in order to put a dent in the zeitgeist.”

Furthermore,

“‘Nowadays rappers, they like bloggers,’ is what Swizz Beatz says… Slowly the work itself becomes secondary, less ambitious; slowly people becomes ‘really proud of their tweets’.”

Is it “The End of Men”?

Disney’s latest offering, Tangled, based on the story of Rapunzel, takes us back to a time when the Disney Princess reigned supreme, according to io9.

Feminist Themes examines Lady Gaga’s “Telephone” clip:

“… the objectification, glamorising of lesbian fetishism, and excessive girl-on-girl violence… [are aspects of the video that] feminist Gaga fans can try to justify… as another example of how she subversively turns what we usually find hot into something that leaves a nasty taste in our mouths and therefore makes a statement, but if any other artist (particularly any male artist) incorporated this much objectification and violence against women we would be outraged. Is it any different just because it’s a woman, or because it’s specifically Gaga?

“… What sets Gaga apart from other sexpot pop stars for me is that I just can’t imagine men being honestly turned on by hernot because she isn’t gorgeous (she is), but because she is so avant-garde, aggressive and self-driven which takes that arousal and turns it into something atypical, uncomfortable, and threatening.”

Also at Feminist Themes, the cause of the she-blogger in “Why I Blog”.

In other Gaga news, The Cavalier Daily reports that the University of Virginia is now running Lady Gaga classes! This sooo makes me want to re-enrol in university in a post-grad, transfer to UV, and take this kick-ass class!

The Daily Beast puts forth two differing opinions on Glee’s stereotypes: Andy Dehnart discusses the show’s “Harmful Simplicity”, while Thaddeus Russell applauds the walking stereotype that is Kurt Hummel, as “history tells us that those unafraid to be ‘too gay’ won far more freedomsfor all of usthan those who dressed the part of straights.”

Beautifully satiric The Frenemy reveals the recipe to “The Teen Romantic Comedy”, which “does not work for Mean Girls, 10 Things I Hate About You, or John Hughes films”, unfortunately. The truth about Disney Princes is also profiled, in which Eric from The Little Mermaid “wanted to kiss a girl who doesn’t speak words and doesn’t know how to use a fork. What the hell are you, caveman?”, while Mulan’s Captain Shang is in truth, a “gay liar” who made young, susceptible viewers the girls who have “crushes on a lot of her gay friends. [A] big Will & Grace fan.” Hey, that’s me!

Rachel Hills discusses intersectionality in feminism:

“For those of you who aren’t familiar with the term, ‘intersectionality’ is a way of talking about power and privilege that recognises that recognises that these things operate on multiple axes. People aren’t just female, or Black, or Asian, or straight, or working class, or trans, or a parent, or prone to depressioneveryone falls into a number of different categories that colours their experience of the world in specific ways. In the feminist context, it serves as a useful reminder that not all women have the same experiences, and calls into question the still dominant notion that the neutral ‘female’ experience is one that is white, heterosexual and middle-class.

“I’m also a fan because it just makes feminism a whole lot more interesting.”

Girl with a Satchel profiles Melissa Hoyer’s media career, which is a must-read for any budding wordsmith.

I am staunchly pro-choice when it comes to the abortion debate. In fact, I lean so far to the left that I’m borderline pro-abortion. (I’m sure that’ll ruffle some feathers!) But no matter what your feelings on the subject, MamaMia’s post, “The Couple Facing Jail Because They Tried To ‘Procure an Abortion’. Hello, Queensland? It’s 2010” is worth checking out.

Jezebel’s “5 Worst Mean (Little) Girls of All Time” includes Willy Wonka’s Veruca Salt and, from one of the most heart wrenching films of all time, A Little Princess, Lavinia, who looks a lot like modern-day mean girl, Angelina Pivarnick, from Jersey Shore.

“Why Strawberry Shortcake Was a Progressive Pioneer.”