The portrayal of characters in popular television shows often sparks discussions about representation and diversity. While shows like Glee aimed to celebrate inclusivity, a closer look at certain characters reveals a more complex picture. Specifically, the character Mercedes Jones has been the subject of criticism regarding stereotypical portrayals of Black women. Examining Mercedes Jones’ character through a critical lens reveals how, despite the show’s intentions, it sometimes fell into the trap of reinforcing harmful stereotypes rather than breaking them down.
One critique leveled against Mercedes Jones is that she embodies several negative stereotypes commonly associated with Black women in media. These stereotypes, unfortunately, reduce complex individuals to caricatures based on race and gender. Thinking about common criticisms often directed at Black female characters, a pattern emerges that mirrors some aspects of Mercedes’ character as written in Glee. These criticisms often include traits like having an “attitude problem,” being perceived as lazy, mean-spirited, unintelligent, ungrateful, selfish, or hypersexualized.
When considering this list in relation to Mercedes Jones, a troubling overlap becomes apparent. While not every single trait applies directly, several of these negative attributes are subtly woven into her character’s narrative throughout the show. This is particularly concerning because Glee positioned itself as a progressive show that championed diversity and aimed to challenge societal norms. However, in Mercedes’ case, the execution sometimes fell short of these ideals, inadvertently perpetuating the very stereotypes the show seemingly sought to dismantle.
It’s important to acknowledge that Glee did make efforts to showcase diversity through its ensemble cast. Characters like Artie Abrams, Kurt Hummel, Santana Lopez, Mike Chang, and Tina Cohen-Chang each possessed traits that defied simple stereotypes associated with their respective backgrounds. Artie, despite his disability, aspired to be a dancer and embraced rap music. Kurt, openly gay and interested in fashion, also displayed traditionally masculine traits through his involvement in his father’s garage. Santana, while exhibiting a “sassy Latina” persona, was revealed to be grappling with her sexuality and vulnerability. Mike and Tina, though their Asian heritage was frequently mentioned, also showcased talents beyond academics, with Mike’s athleticism and Tina’s goth persona. Even Puck, the Jewish character, broke away from typical portrayals of Jewish men in media.
However, when we turn to Mercedes Jones, the picture becomes less nuanced. While described as black, fat, and sassy, these traits often seemed to define her entire character. Her blackness was frequently highlighted through dialogue referencing “chocolate thunder” and “cocoa babies,” sometimes feeling forced and stereotypical rather than organic to her personality. Her favorite musical being Dreamgirls, while understandable, also played into predictable associations. The song “Hell to the No,” while catchy, further reinforced the “sassy black woman” trope, blurring the lines between character development and caricature.
Furthermore, Mercedes’ storylines sometimes revolved around stereotypical interests and concerns. One prominent subplot involved her desire to reinstate tater tots in the school cafeteria, seemingly reducing her character to a food-loving “fat black girl” stereotype. This occurred in the same episode featuring a “Precious” spoof, further highlighting a potentially insensitive approach to portraying characters of color and size.
The episode “Asian F,” intended to be a showcase for Mercedes, instead introduced new negative stereotypes. It portrayed her as “constantly” late to rehearsals and resistant to learning choreography, labeling her as “lazy” and “entitled.” This portrayal was particularly jarring given that Mercedes had never previously been depicted as unreliable or uncommitted to the group, especially when compared to other characters who had exhibited far more disruptive behaviors without facing similar stereotypical labels. The implication that Mercedes was inherently lazy or entitled played directly into harmful stereotypes about Black women.
The lack of deeper character development for Mercedes further exacerbated the issue. While we gained glimpses into the dreams and motivations of other characters, Mercedes’ aspirations often remained vague, primarily centered around wanting to be in the spotlight. This lack of depth made it difficult to see beyond the surface-level stereotypes, hindering her from becoming a fully realized and relatable character in the same way as her peers.
In a scene from “The Substitute,” Kurt’s praise of Blaine for “breaking the stereotype” while Mercedes simultaneously expresses her desire for tater tots underscores the show’s blind spot regarding race. This moment highlights the writers’ apparent unawareness of how their portrayal of Mercedes was reinforcing stereotypes, even as they celebrated other characters for defying them.
Ultimately, while Glee aimed to be progressive and inclusive, the portrayal of Mercedes Jones serves as a case study in how easily good intentions can be undermined by stereotypical writing. By reducing her character to a collection of tropes, the show missed an opportunity to create a truly nuanced and empowering representation of a Black female character, reinforcing the very stereotypes it should have challenged.
