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: 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.

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

 

Finally! Glee acknowledges the racist stereotypes it’s perpetuating, and Santana had the guts to stand up and say it:

“You went from ‘La Cucaracha’ to a bullfighting mariachi. Why don’t you just dress up as the Taco Bell chihuahua and bark the theme song to Dora the Explora? You don’t even know enough [about Latin culture] to be embarrassed about these stereotypes you’re perpetuating.”

Well, kind of.

But let’s backtrack.

When Mr. Shue realises he doesn’t actually know enough about the Spanish language and culture to confidently call himself a Spanish teacher, he enrolls in Spanish night class, run by guest star Ricky Martin as David Martinez. “How did I become so out of touch?” Will wonders.

Firstly, become out of touch? Despite the New Directions kids’ undying devotion for him, Mr. Shue has been out of touch from day one. Not to mention his inappropriate relationships with his students.

And secondly, there’s a lot more to Latin culture than dressing up as a matador and singing “La Cucaracha”, as Santana and Mr. Martinez soon school him in.

But it wasn’t just the South American racial stereotypes who got their fair share of airtime last night. The black prejudice was out in full force, although not acknowledged by Glee. Cutting off their Latin nose to spite their black face?

Synchronised swim coach Roz Washington is one of the most racist characters on the show, in my opinion. She speaks in African American colloquialisms such as “bajonkajonk”. When she challenges Sue Sylvester for leadership of the Cheerios, she tells Sue her “stale white bread moves” aren’t working for the team anymore, insinuating that black girls dance better than white girls and buying into the stereotype that they do.

Also, Miss Pillsbury is on a mission to have her pamphlets infiltrate McKinley High and hands out some to Mercedes and Sam when they come to her about their relationship problems. The pamphlet that Mercedes receives is entitled, “So You’re a Two-Timin’ Ho?” whilst Sam’s reads, “So You’re Dating a Two-Timin’ Ho?” Do you think the show would have given such a racist and sexist title to a pamphlet received by Quinn, for example? They might as well have made the girl on the cover of the pamphlet black because that’s pretty much what they were insinuating: that Merecedes is the sassy, fat, angry, sex-crazed woman of colour.

It remains to be seen whether Glee will actually make an effort in the future to abolish the stereotypes it so readily holds up to its viewers…

Related: The Underlying Message in Glee’s “Yes/No” Episode.

Glee: The Right & Wrong of It.

Elsewhere: [TV Tropes] Sassy Black Woman.

[Jezebel] Why Latina’s Aren’t Allowed to Get Angry.

Image via Channel 131.

TV: Glee “Michael” Review—Oh My God Can’t Believe What I Saw As I Turned On the TV This Evening.

 

We’ve come to learn that when Glee devotes a whole episode to a star (Madonna, Britney Spears)—bar the second Lady Gaga episode—they pretty much go the Rock of Ages route: pack as many songs into the episode as they can without giving much thought to the dismal story lines developed in previous episodes.

I thought, in their “Michael” episode, they went the other way: using whichever Michael Jackson songs they had access to that resembled the character’s plotlines to insert into the show. Unfortunately, this meant such dull MJ songs as “I Just Can’t Stop Loving You” and “Ben.”

 

Rachel Berry is included in both of these renditions, and she admits at the beginning of the episode that she’s never really “gotten” what Michael Jackson is all about like the other New Directions’ have.

It seems the Glee writers don’t really “get” him, either (although, do they really “get” anything?), because they would have used songs like “I Want You Back”, when Sam serenades Mercedes, instead of “Human Nature” (which is a stunning song and perhaps the only example of where the writers chose melody over meaning); and when Artie gets all riled up over Blaine’s rock-salt-infused slushie attack at the hands of the Warblers, “They Don’t Really Care About Us” might have been more appropriate than Michael’s duet with sister Janet, “Scream”:

“What do you expect from us; we’re people. I know the rest of the world may not see us like that but when they tease us and throw stuff at us and toss us in dumpsters and tell us that we’re nothing but losers with stupid dreams it freaking hurts. And we’re supposed to turn the other cheek and be the bigger man by telling ourselves that those dreams and how hard we work make us better than them? But it gets pretty damn hard to feel that way when they always get to win.”

 

By far the best performance was the Warblers’ Sebastian and Santana’s Michael-off of “Smooth Criminal”, featuring 2 Cellos, who played at Elton John’s gig and did the same version of the song!

And, for old time’s Michael’s sake, here are the other songs from the episode:

 

 

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

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

Rock of Ages Review.

Images via Put Locker.

TV: The Underlying Message in Glee’s “I Kissed a Girl” Episode.

 

“You know, with all the horrible crap I’ve been through in my life, now I get to add that,” Santana responds to Finn’s efforts to show her New Directions and the Troubletones are there for her by staging a week of lady-on-lady music.

Watching Santana be forced out of the closet was pretty uncomfortable for all those involved on either side of the screen, no matter how many Katy Perry songs were there to ease the pain.

Naya Rivera portrayed Santana’s grief, sadness and discomfort perfectly, as both glee clubs essentially patronised her into coming out. Sure, as Finn points out, she’s going to be outed by Sue’s Congressional opponent’s campaign video anyway, but watching someone be coerced into doing something they really don’t want and aren’t ready to do was painful to watch.

But, in the spirit of the episode’s title, midway through the episode Santana and her glee club comrades told a douchey rugby captain who claimed he could “straighten her out” where to go. The rushed exchange between Josh Coleman and glee girls really summed up the issues surrounding being gay in America:

“Easy girls, I’m just trying to make her normal.”

“She is normal.”

“It’s not a choice, idiot, but even if it were you’d be our last choice.”

“Oh, I get it. You’re all a bunch of lesbos.”

“So what if we are? You don’t stand a chance either way.”

Also interestingly, when the girls sing “I Kissed a Girl”, they engage in the very girl-on-girl-for-guys performance that genuinely non-straight women are trying to tackle. Whilst I did enjoy the rendition, it reminded me of the high-school experimentation my peer group engaged in at the appeal of and for the opposite sex. Sure, there’s nothing inherently wrong with that, I guess, but it undoes all the work of gay and bisexual women to be seen as having legitimate sexual orientations that don’t revolve around how the patriarchy wants them to perform their sexuality.

Indeed, it undid all the work Glee was trying to do in this episode.

Related: Glee: Santana is Forced Out of the Closet.

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

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.

Image via VideoBB.

12 Posts of Christmas: In Defence of Rachel Berry as Feminist.

In the spirit Christmas, I’ve decided to revisit some of my favourite posts of the year in the twelve days leading up to December 25th.

I’m taking this final 12-Posts-of-Christmas opportunity to squeeze two Rachel Berry-related posts into the one. Think of it as one last Scarlett Woman gift to you.

The first post was written “In Defence of Rachel Berry”, while the second explores the character as a feminist one. You can access the original posts here and here, respectively.

In the first season of Glee, Rachel Berry was introduced as an attention- and approval-seeking know-it-all diva, who sticks a gold star next to her name on the New Directions’ sign-up sheet because that’s what she sees herself as. Season two showed the glee clubber soften her resolve a bit, realising that she’s still only in high school, and has her post-high school years to carve out a Broadway career and have the world see her as the star she knows she is. The season final saw her choose a relationship with Finn Hudson in her senior year at McKinley High, despite having to leave him to head to New York when she graduates.

Not all young girls have to wrangle their feelings for the school jock whilst contemplating a move to the big city to make their dreams come true, but many of Rachel’s problems are shared by the show’s audience.

In the most recent Lady Gaga-themed episode, Rachel struggles to accept her “Jewish nose” and considers rhinoplasty. She also strives for the acceptance of her New Directions band mates, and to be seen as fashionable and popular.

It’s in the character’s nature to be highly-strung, goal-oriented and ambitious, so it’s not likely she’ll change any time soon. And why should she? While there are certainly other young women out there who identify more with the saccharine Quinn Fabray, the sassy soul sisters Santana Lopez and Mercedes Jones, or badass Lauren Zizes, there are plenty who see Rachel as their Glee counterpart, myself included.

A recent New York Times article by Carina Chocano praised the “relatable” and “realistically weak female character”, like Kristen Wigg’s Annie in Bridesmaids—“a jumble of flaws and contradictions”—over the “strong” one. “We don’t relate to [the weak character] despite the fact that she is weak, we relate to her because she is weak,” Chocano writes.

But what exactly does she mean by “weak”?

Pop culture commentator Dr. Karen Brooks notes that talented, beautiful, popular and successful female characters need to be broken down before they can be seen as relatable. “The more talented and beautiful you are, the greater the threat you pose and so ‘things’ are introduced to reduce that threat,” she says. Just look at the “women falling down” video on YouTube.

While Rachel’s had her fair share of setbacks, it seems Glee’s audience is finally beginning to understand her. “We’ve been given time to understand Rachel’s initially painful personality and to identify both her strengths and weaknesses. Her ambitions and drive haven’t shifted, but the context for understanding them has,” Brooks says.

“Rarely are unpleasant characters redeemed, they are simply ‘punished’, while the ‘good’ characters soar to impossible heights, not on the back of hard-work and self-belief, but usually [because of] a love interest and wishing hard. Rachel is a healthy and welcome exception to that,” Brooks continues.

So she’s an unlikely heroine we can all get behind, you might say? “A girl who reminds you of you,” as Chocano opines. An everywoman, if you will?

If Rachel Berry encourages more young women to see themselves as gold stars striving to have their accomplishments recognised, then so be it!

*

Last week I wrote in defence of Rachel Berry.

This week, I wanted to explore the character as a feminist one.

While Glee isn’t exactly known for its positive portrayals of women,people of colourthe disabled, or the gays, Rachel has managed to grow in spite of all this, and become somewhat of a feminist icon.

wrote that audiences have come to know and love Rachel not because her obnoxious know-it-all persona has changed, but because “We’ve been given time to understand Rachel’s initially painful personality and to identify both her strengths and weaknesses. Her ambitions and drive haven’t shifted, but the context for understanding them has,” as Dr. Karen Brooks reiterates.

Other bloggers have come to similar conclusions.

Leah Berkenwald at Jewesses With Attitude writes:

“I… have trouble with the vilification of Rachel Berry on a feminist level. How often do we dismiss women as ‘bossy,’ ‘know-it-all[s],’ or ‘control-freaks’ when their behavior would be interpreted as leadership, assertiveness, or courage if they were men?

“… In the right context, Rachel Berry’s personality would not seem ‘intolerable’ or ‘annoying’ so much as bad-ass, renegade, and hardcore.”

And Lady T, who used Rachel as her “Female Character of the Week” on The Funny Feministsaid:

“… The show wanted us to root for a girl who was ambitious, daring, and driven.”

It might be because I have been known to be seen as bossy, a know-it-all, a control-freak (just ask my new housemate!) and ambitious that I’m standing up for her, but just think of another feminist heroine in modern pop culture who could also be described using these words: Hermione Granger. The only difference is, she isn’t vilified for these attributes.

I have also been called ugly and a slut, not because I am ugly and a slut, but because these qualities are removed from the “‘good’ [female] character… [who] soars to impossible heights, not on the back of hard-work and self-belief, but usually [because of] a love interest and wishing hard.”

If you look back to the beginning of Glee, especially, Rachel was often deemed ugly. Now, anyone who’s seen Lea Michele knows she’s not exactly unconventionally attractive, but Rachel is characterised as this because she’s annoying. And she’s annoying because she stands up for herself, knows what she wants and how to get it. (From a racial point of view, she could also be seen as being “ugly” because of her Jewishness.)

Despite these inherently “unattractive” qualities, Rachel manages to snag her man, Finn, in what can be seen as typical Glee sexism and discrimination:

“‘I love her even though she’s shorter than Quinn and has small boobs and won’t put out and is loud and annoying.’ 

“The show wanted to make me believe that Finn was doing Rachel some grand favor by simply being with her at all.”

On the other hand, it can be seen as a poignant take on teenage life that the underdog is always being compared to the most popular girl in school: Quinn Fabray.

If Rachel is Glee’s feminist heroine, Quinn is her polar opposite. She has had next to no character development, which leads to her motivations changing week to week.

In “Original Song” she tore Rachel down, telling her to get over her “schoolgirl fantasy happy ending” with Finn, who would never leave Lima, taking over Burt Hummel’s mechanics business, with Quinn, a real estate agent.

But in “Born This Way”, she was “broken down” by her fat past coming back to haunt her, to come across as more “relatable”.

Sure, Rachel’s had her fair share of being “broken down” (being dumped and subsequently egged by Jesse St. James, being publicly broken up with by Finn, getting slushied… I sense a food theme here.), but in the grand Glee scheme of things, she’s actually doing pretty well for a female character.

Now, if only we can get Mercedes a boyfriend

Related: In Defence of Rachel Berry.

Rachel Berry as Feminist.

The Underlying Message inGlee’s “Born This Way” Episode.

Do “Strong Female Characters” Remind You of You?

The Problem with Glee.

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

Brown Eyed Girl.

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

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

Sookie as Feminist? Hear Her Roar.

Do “Strong Female Characters” Remind You of You?

SlutWalk.

Slut-Shaming as Defence Mechanism.

Elsewhere: [The New York Times] A Plague of Strong Female Characters.

[Bitch] The Transcontinental Disability Choir: Glee-ful Appropriation.

[Jewesses with Attitude] Why Rachel Berry Deserves Our Compassion.

[Huffington Post] Hermione Granger: The Heroine Women Have Been Waiting For.

[Feministing] Pretty Ugly: Can We Please Stop Pretending That Beautiful Women Aren’t Beautiful?

[The Funny Feminist] Female Character of the Week: Rachel Berry.

[Jezebel] Why Won’t Glee Give Mercedes a Boyfriend?

Image via Wet Paint.

Glee—The Right & Wrong of It.

 

In lieu of a new episode of Glee last week, I attended a debate about the pros and cons of McKinley High and its glee club.

I was super excited, because I assumed the debate would entail a for Glee side, and an against. And it did. But while I thought the against side, consisting of Clem Bastow and Jess McGuire, would discuss the blatant sexism, racism, homo/transphobia, ableism, fatism and the many other phobias and -isms the show incorporates (feel free to add them in the comments), both panelists ultimately praised Glee for it’s inclusiveness and handling of the tough issues.

I’ve heard this rationalisation about Glee before. When my tuba-playing gay friend finally got into the show this season and fell hard for it, he thought I would sing its praises with him because he knew I watched it. (Evidently, he does not read this blog as he would know the main reason I like Glee is because I know I’ll always get a blog post out of it!) When I invited him to the debate, he had something else on but wondered what they would be debating, exactly. I referred to the list of problems I have with it (above and elaborated on below) and he replied, “But I thought Glee was about acceptance.” That’s what it wants you to think, and it blinds you to all the other issues with Katy Perry songs. As panelist for the “pro-Glee” side, Mel Campbell, said, “It’s best not to ask questions.”

While McGuire did touch on Glee’s pro-gay stance, and perhaps its best, and most underutilised, storyline of Brittany and Santana’s forbidden love, I was expecting SlutWalk Melbourne organiser and noted feminist Bastow to knock Glee out of the park for its anti-women portrayals. I was also sorely disappointed, as Bastow, a keen musical aficionado, chose to focus on the shows’ butchering of classic musical numbers.

So, I thought I’d take this opportunity to write about the issues I wished the panel had discussed last Thursday night.

Sexism.

I’ve written about feminism in Glee before, specifically as it’s embodied in the character of Rachel Berry. It annoys me to no end that Rachel is deemed “ugly” (though Lea Michele is anything but) because she’s annoying. And she’s annoying because she eschews traditional gender roles that are perhaps embodied by Quinn by being ambitious, voicing her opinions and unapologetically going after what she wants.

In a clip shown at the debate of the inaugural Glee mash-up in which Mr. Shuester separates the girls from the boys, Kurt attempts to join the girls’ side. Since when did being a gay man amount to the equivalent of a straight female?

Finally, I wouldn’t say sexism is the main problem in Mercedes’ perpetual (okay, she seems to have a boyfriend this season, but more on that later) bachelorettehood, rather some other issues I will address later in the piece.

Racism.

Now is as good a time as any to discuss Mercedes’ aforementioned singleness. Was she literally the only character in season two who didn’t have a significant other because she’s black? (Or because she’s fat?) Sure, she dated Sam for all of a few minutes in the season two final, but before that the only action she got was Kurt condescendingly suggesting she should date one of the guys on the football team because he was black and, like, they’d probably have heaps in common.

If that’s not enough proof of Glee’s insensitivity to race, all you need to do it look at any one episode for a myriad of references to Tina and Mike’s “Asianness”, Roy Flanagan’s “Irishness” (or leprechaunnes, as Brittany might refer to it) and Puck and Rachel’s “Jewishness” (though that also falls under religious prejudice as well).

Homophobia & Transphobia.

Sure, Glee’s pretty much a vehicle for Kurt and, increasingly, Blaine, to showcase their voices, fashion sense and flamboyance. McGuire chose to speak at length about how sensitively the show handled Kurt coming out to his dad and Kurt and Blaine’s first time, and I have to agree with her. And yes, seeing two men make gay love (okay, the implication of them making gay love) on primetime network television without a stink being kicked up is pretty groundbreaking, as panelist for Glee and MC, Tim Hunter, noted. But they still single out Kurt for his gayness (“Single Ladies [Put a Ring on It]” and “Le Jazz Hot!”, anyone?), not to mention how Finn went about outing Santana in “Mash Off”.

They’ve handled the Brittany/Santana thing the best out of every relationship in the show, so that’s one point for lesbianism, but at the expense of other sexual orientations and gender identities, perhaps?

Just look at “The Rocky Horror Glee Show”, for example. Not only to Mike’s parents make him pull out because they don’t want him associated with a “tranny” musical, but the show even substitutes the lyrics “I’m just a sweet transvestite from transsexual Transylvania” for “sensational Transylvania”. Pardon me, but I don’t see what all the fuss is about in using the word “transsexual”.

Finally, we can’t forget Coach Beiste. When she debuted on the show, her sexuality and gender was thrown up in the air, when she’s really just an unconventionally attractive, masculine straight woman who happens to coach a men’s football team. But of course attention is drawn to her 40-year-old virgin status every time there’s a virginity-themed episode. Because, you know, she’s old and funny-looking and has never been on a date! Riotous!

Ableism.

Where do I start? There’s Emma’s OCD, which is made fun of by everyone from Gwyneth Paltrow’s Holly Holiday to her own parents (not to mention Will trying to come to her rescue by attempting to “cure” her). Artie’s wheelchair-bound way of life, which was even pointed out during the debate, only for the panelists to laugh at Artie wanting to give Blaine a standing ovation, “because he can’t”, and a whole episode, “Wheels”, insensitively dedicated to his disability.

I will applaud the show for their inclusion of, and remarkable sensitivity to, Down’s syndrome sufferers. But then they go and use undiagnosed Asperger’s syndrome as an excuse for anti-social and selfish behaviour. Cutting off their nose to spite their face…

Fatism.

Puck’s rendition of “Fat Bottomed Girls” was a clip played at the talk, and was received by audible groans. To see Lauren so uncomfortable as Puck serenaded her was awkward for the audience, and the patronisation was palpable. Like, oh Glee has a plus-sized girl who doesn’t hate herself and is being chased by the hottest guy in school; we’ve come so far.

But when Mercedes is relegated to backing vocals in favour of the slim lined Rachel, can’t get a date and suffers from an alleged eating disorder which is swept under the rug with some sage advice and a granola bar from Quinn, it’s all just tokenism.

So there you have it: the debating of the issues I wished had’ve been brought up by the panel. As my friend, housemate and fellow debate-goer put it: “It was just like Glee: it slightly touched on the issues, but ultimately didn’t add anything new to the discourse.” So feel free to add anything I, or the panel, didn’t cover in the comments.

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

Brown Eyed Girl.

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

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

Glee: T.G.Inappropriate.F.

Ain’t Nothin’ Gonna Break My Slutty Stride.

Rachel Berry as Feminist.

Is Lea Michele Too Sexy?

In Defence of Rachel Berry.

Boys Will Be Boys, Revisited.

Glee Season 2 Final in Pictures.

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

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

Glee: Santana is Forced Out of the Closet.

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

Glee “Sexy” Review.

Glee Back in Full Force.

Elsewhere: [Bitch Magazine] The Transcontinental Disability Choir: Glee-ful Appropriation.

[Xhibit P] Fat Girls Singing Backup: Body Images in Glee.

[TV.com] Is It Okay to Find Glee’s Plus-Sized Character, Lauren Zizes, Gross?

[Jezebel] Why Won’t Glee Give Mercedes a Boyfriend?

Image via Meg. All Things Me.