The TV show Glee was lauded for its commitment to diversity, showcasing characters from various backgrounds and challenging societal norms. However, a closer look, especially through the lens of discussions like the one on Ars Marginal’s “Fandom and its hatred of Black women characters, reveals a more complicated picture, particularly when it comes to the portrayal of Mercedes Jones From Glee. While Glee aimed to break free from stereotypes, Mercedes often found herself confined by them, hindering her character’s potential and perpetuating harmful tropes.
Inspired by Ars Marginal’s breakdown of negative stereotypes often projected onto Black female characters by fandom – “attitude problem,” “lazy,” “mean,” “stupid,” “ungrateful,” “selfish,” and “sluts” – it becomes strikingly clear how many of these traits, not just in fan perception, but in the actual writing, are attributed to Mercedes Jones. This is especially jarring given Glee‘s supposed dedication to celebrating diversity and portraying minority characters who transcend simplistic boxes.
While Glee often grappled with its identity, teetering between sharp satire and after-school special earnestness, and undeniably had its “girl problem,” one of its initially praised aspects was the attempt to represent diverse backgrounds. Characters like Artie, Kurt, Blaine, Santana, Mike, and Tina were presented with traits that went beyond stereotypical expectations associated with their race, ethnicity, religion, or sexuality. Artie wasn’t just disabled; he was a rapper. Kurt wasn’t just gay; he was mechanically inclined and helped in his father’s garage. Santana’s “sassy Latina” persona was revealed to be a cover for her repressed lesbian identity. Even Mike and Tina, while often defined by their Asian identity in the show’s dialogue, had dimensions beyond academic stereotypes, with Mike’s athleticism and Tina’s goth phase. Puck, the Jewish character, defied typical portrayals of Jewish men in media, being portrayed as anything but bookish and instead as a charismatic “sex shark.”
Then there’s Mercedes. Mercedes Jones from Glee is black, and this fact seems to overshadow almost every other aspect of her character. She is frequently reduced to stereotypical tropes associated with black women: the “sassy,” “diva-like” personality, and a love for all things stereotypically “black.” Her blackness is constantly emphasized through dialogue that feels forced and unnatural, like references to “chocolate thunder” and “cocoa babies.” Her musical preferences, like a supposed deep love for Dreamgirls, are predictable and cliché. Even her assertive song, “Hell to the No,” while catchy, plays into stereotypical black vernacular, raising questions about the show’s sensitivity in portraying her identity.
Furthermore, Mercedes Jones from Glee is also a plus-size character, and this too becomes a defining, often stereotypical, trait. Her primary storyline in season two revolved around her desire to bring tater tots back to the school cafeteria. This plotline, in conjunction with a tone-deaf Precious spoof featuring a fat black character, reinforces harmful stereotypes about black women and their relationship with food. The show narrowly avoids even more egregious tropes, like fried chicken and watermelon, but the underlying issue of reducing her character to her body size and race remains.
The episode “Asian F,” intended to be a spotlight for Mercedes Jones from Glee, unfortunately, exacerbates these issues. Instead of showcasing her talent and depth, the episode focuses on her being “constantly late” to rehearsals and portraying her as a reluctant dancer. This introduces new stereotypes – “entitled” and “lazy” – without any prior indication of these traits in her established character. The show conveniently forgets Mercedes’s consistent commitment to the glee club, contrasting her with other members who have actually exhibited diva-like behavior or laziness. The implication that she is a worse dancer than Rachel, despite evidence to the contrary in performances like “Baby One More Time” and “River Deep, Mountain High,” further undermines her character and reinforces negative stereotypes.
Compared to other characters on Glee, Mercedes Jones from Glee is arguably the most reliant on stereotypes. The lack of other prominent black characters on the show to provide balance amplifies this problem. While incorporating some stereotypical traits into a character isn’t inherently negative, the issue with Mercedes is the absence of substantial character development beyond these superficial markers. We are rarely given insight into her deeper motivations, long-term aspirations, or passions beyond wanting to be a star. This lack of depth reduces her character to a collection of stereotypes, hindering her potential and failing to utilize the talent of Amber Riley, the actress who portrays her.
The scene in “The Substitute,” where Kurt praises Blaine for “breaking the stereotype” while Mercedes Jones from Glee is solely focused on wanting tater tots, perfectly encapsulates the writers’ tone-deaf approach to race and character development. This scene, intended to be lighthearted, instead highlights the show’s failure to treat Mercedes with the same complexity and nuance afforded to its white characters. Instead of celebrating diversity, Glee often fell into the trap of reinforcing harmful stereotypes, particularly in the case of Mercedes Jones from Glee, ultimately doing a disservice to both the character and the audience.
