“… Be conventionally attractive and feminine, and you get reduced to your appearance like any cis woman; don’t, and people won’t accept your identity as legitimate.” [Vocativ]
The age gap between some of Hollywood’s most in demand young actresses—Scarlett Johansson, Emma Stone and Jennifer Lawrence—and their much older on-screen love interests. [Vulture]
Celebrity gossip as anthropological experiment: why gossiping about John Travolta’s sexual orientation, whether or not Rihanna should take back Chris Brown and Kristen Stewart’s motivations for cheating on Robert Pattinson tells us more about us as people that in does about celebrities. [YouTube]
“The O[xford] E[nglish] D[ictionary] says the word ‘ghostwriter’ was first used in the 1920s to mean a ‘hack’ hired to write another person’s story. OK, hack, then. So be it. But a hack-in-demand. A hack they wanted. A type-A hack, the Elizabeth Wakefield of hackdom!” [The Kenyon Review]
So misogyny may be running wild in the real world, but on TV, girls are calling the shots. We’ve had a bevvy of shows with “girl/s” both in the title and the storylines this year, with 2 Broke Girls and New Girl carrying their success over from 2011. While a lot of the subject matter is problematic, both shows have women carrying the comedy. Which brings us to just plain Girls, which is the brainchild of actor, writer and director Lena Dunham. Girls is not without its problems, either, but its portrayal of young urban women is almost faultless. Rounding out the representation of leading ladies in 2012 we have Don’t Trust the Bitch in Apartment 23, Homeland, Revenge, The Mindy Project, Are You There, Chelsea?, Smash, GCB (farewell!), Scandal, Nurse Jackie, Veep, Emily Owens, M.D., Whitney, The Good Wife and Hart of Dixie.
“Call Me Maybe”.
Until “Gangnam Style” came along, the YouTube Zeitgeist was dominated by one runaway success: Carly Rae Jepsen’s “Call Me Maybe”. Justin Bieber’s protégé came out of nowhere with the catchiest song of the year, which was subsequently covered by the guys from Harvard’s baseball team, Barack Obama and the Cookie Monster! Talk about diversity!
2012: Apocalypse Now.
2012 was the year of the apocalypse, with the 21st of December long determined by the Mayans (or Mayan conspiracy theorists) as the day the world ends. You know, until the 7th of December tried to steal its thunder as the apparent recalculated date. Apart from the natural disasters, warfare and massacres, the 21st passed without a nuclear bombing, ice age or attitudinal shift, putting rest to the apocalypse panic. Until the next rapture, anyway…
Shit ___ Say.
It started with a sexist albeit funny YouTube video of a guy in a wig quoting “Shit Girls [Apparently] Say”, which snowballed into “Shit White Girls Say to Black Girls”, “Shit New Yorkers Say”, “Shit Christians Say to Jews” and “Shit Nobody Says”. Cue offence.
Snow White.
Snow White was everywhere this year: Mirror Mirror, Snow White & the Hunstman, Once Upon a Time… Note: overexposure isn’t necessarily a good thing. In fact, I hated Mirror Mirror and Once Upon a Time, and Snow White & the Huntsman was such a snooze-fest I can barely remember what happened (not including Kristen Stewart’s affair with director Rupert Sanders).
50 Shades of Grey.
On the one hand, E.L. James’ 50 Shades of Grey has singlehandedly revived the flailing publishing industry, so that’s a good thing. But on the other, it has falsely lulled its legions of (mostly female) fans into a state of apparent sexual empowerment: it’s a book about sex targeted towards women, so that means we’re empowered and we don’t need feminism anymore, right?
The Macarena of the 21st century, Psy’s horse dance took the world by storm, being performed in conjunction with Mel B on The X Factor, with Hugh Jackman in his Wolverine gloves, on Glee and at many a wedding, 21st birthday and Christmas party.
Misogyny.
Misogyny has long been the focus of feminists, but the word and its meaning really reached fever pitch this year.
After Julia Gillard’s scathing Question Time takedown of Tony Abbott and his sexist ways, people everywhere were quick to voice their opinion on her courage and/or hypocrisy. At one end of the spectrum, it could be said that Gillard finally had enough of the insidious sexist bullshit so many women in the workforce face on a daily basis and decided to say something about it, while at the other, many argued that the Labor party were crying sexism in a bid to smooth over the Peter Slipper slip up.
“Her electric speech on misogyny in parliament went beyond the sordid political context to firmly press a button on the chest of any woman who has been patronised, sidelined, dismissed or abused. It crackled across oceans, and, astonishingly, her standing went up in the polls, defying political wisdom that no woman would benefit from publicly slamming sexism.”
The viral doco that had millions of people rushing to plaster their neighbourhood in “Kony 2012” posters on 20th of April to little effect (the campaign’s goal was to catch Joseph Kony by years end) illustrated our obsession with social media, armchair activism and supporting the “cool” charities, not the thousands of worthy charities out there who could actually use donations to help their cause, not to produce YouTube videos and work the press circuit.
I’m Not a Feminist, But…
While Tony Abbott is clamouring to call himself a feminist to gain electoral favour despite the abovementioned misogyny saga, it seems famous women can’t declare their anti-feminism fast enough.
First we had new mother and Yahoo! CEO Marissa Mayer jumping at the chance to shun feminism despite the fact that without it she wouldn’t be where she is today. My favourite anti-feminist campaigner Taylor Swift said she doesn’t think of herself as a feminist because she “was raised by parents who brought me up to think if you work as hard as guys, you can go far in life.” Um, Tay? That’s what feminism is, love.
The cronies from Sutherland Shire were all over our boxes, primarily on Channel Ten, this year. There was the widely panned Being Lara Bingle, the even worse Shire, and the quintessential Aussie drama set in the ’70s, Puberty Blues.
While these shows assisted in shedding a different light on the suburb now synonymous with race riots, it’s not necessarily a positive one, with The Shire being cancelled and Being Lara Bingle hanging in the balance.
The YouTube makeup tutorial as public service announcement. [Jezebel, MamaMia]
After ABC’s Four Corners‘ exposé on the Catholic Church’s child sex abuse cover-up, Sarah Grant asserts that “I’m Catholic & I’m Ashamed.” As so she should be. [MamaMia]
“The real meaning of ‘I’m not like the other girls’ is, I think, ‘I’m not the media’s image of what girls should be.’ Well, very, very few of us are. Pop culture wants to tell us that we’re all shallow, backstabbing, appearance-obsessed shopaholics without a thought in our heads beyond cute boys and cuter handbags. It’s a lie—a flat-out lie—and we need to recognize it and say so instead of accepting that judgment as true for other girls, but not for you.
“What I’m trying to say is, There are as many ways to be ‘girly’ as there are girls in this world. There are always going to be people out there telling you that if you like things pop culture tells you are girly, you’re stupid, and that if you claim to like things pop culture tells you are guy stuff, you’re lying. And what I’m saying is that all these people are full of crap.” [Claudia Gray’s Blog]
“Much has been said… about how Heigl herself has created the fiasco that has become her career—her alleged difficult behaviour on set, her unpopular public statements about the projects she’s involved in, her perceived irritability—but this has more to do with media gender bias than Heigl herself. For instance, Daniel Craig and Matt Damon have recently taken to making increasingly brash public statements about projects they’ve worked on, their personal politics and views on modern society—and no one has criticized them, questioned their box-office viability or used their gender to explain their remarks. Like Sean Penn, they’re men in an industry dominated by men—and unless they’re saying something overtly racist, they can say just about whatever they like, and in the case of Charlie Sheen, they might even be applauded for it.” [HuffPo]
“… I’ve wondered why everything pertaining to women is classified under ‘Life and Style’, and I’ve wondered why ‘lifestyle journalism’ is so often boiled down to advertorial for fashion and beauty products (answer: probably because the associated advertising is what pays for writers like me). I’ve wondered if the fact that writing related to gender politics is usually published in ‘Life and Style’ or colour magazine supplements contributes to the perception that… female journalists write pointless ‘pap’.” [Musings of an Inappropriate Woman]
“We failed you when Charlie Sheen was allowed and eagerly encouraged to continue to star in movies and have a hit television show that basically printed him money after he shot Kelly Preston ‘accidentally’ and he hit a UCLA student in the head when she wouldn’t have sex with him and he threatened to kill his ex-wife Denise Richards and he held a knife to his ex-wife Brooke Mueller’s throat. We failed you when Roman Polanski received an Oscar even though he committed a crime so terrible he hasn’t been able to return to the United States for more than thirty years. We failed you when Sean Penn fought violently with Madonna and continued a successful, critically acclaimed career and also received an Oscar.
“We fail you every single time a (famous) man treats a woman badly, without legal, professional, or personal consequence.” [The Rumpus]
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!
I 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.
“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 Feminist, said:
“… 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.
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:
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.
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!
Black’s preternatural “Friday” has been removed from YouTube due to copyright reasons, so it looks like we’ll just have to get our fix of the so-bad-she’s-good teenager in “Last Friday Night (TGIF)”, in which she makes a cameo, along with Glee’s Darren Criss and Kevin McHale, Kenny G as Uncle Kenny, the Hanson brothers, and Corey Feldman and Debbie Gibson as Kathy Beth Terry’s parents!
So it turns out it’s not a battle of the Fridays, but a joining of the day before the weekend that everybody’s looking forward to (or however the ditty goes!) forces!
