The representation of minority characters in popular media, particularly in teen dramas, has long been a topic of critical discussion. A thought-provoking blog post on Ars Marginal titled “Fandom and its hatred of Black women characters” brought to light the disturbing trend of fanbases unfairly criticizing and even vilifying Black female characters. This article highlighted how these characters are often reduced to negative stereotypes, facing accusations of being lazy, mean, stupid, selfish, and having “attitude problems.” Reading this analysis, a striking parallel emerges with Mercedes Jones from the hit TV show Glee. It becomes apparent that many of the criticisms leveled against unnamed Black female characters in fandom eerily mirror the very traits attributed to Mercedes Jones not just by viewers, but by the show’s writers themselves.
Glee, a show celebrated for its supposed diversity and commitment to breaking stereotypes, ironically falls short when it comes to Mercedes Jones. While the show champions inclusivity and aims to portray characters who defy expectations, Mercedes’s characterization often feels rooted in harmful stereotypes. This is particularly concerning given Glee‘s platform and its influence on young audiences. The show frequently attempts to tackle complex social issues, from misogyny to body image, often resolving them simplistically within a single episode through musical performances. However, when it comes to race, particularly the portrayal of its Black female lead, Glee‘s efforts appear superficial and, at times, deeply problematic.
One of Glee‘s lauded aspects is its attempt to showcase diversity. Many of the glee club members possess traits that challenge stereotypes associated with their racial, ethnic, religious, or sexual identities. Artie Abrams, a wheelchair user, dreams of dancing and embraces rap music, subverting expectations. Kurt Hummel, openly gay and interested in fashion, also works in his father’s garage, challenging narrow definitions of masculinity. Santana Lopez, presented with “sassy Latina” tropes, is revealed to be a complex character grappling with her sexuality and vulnerability. Even Mike Chang and Tina Cohen-Chang, the Asian characters, while sometimes reduced to academic stereotypes, also display artistic and athletic talents, with Mike’s attractiveness frequently highlighted, a subtle yet important subversion of Asian male representation in Western media. Puck, the Jewish character, defies typical portrayals of Jewish men on television, being portrayed as rebellious, sexually active, and proudly embracing his religion in unconventional ways.
However, Mercedes Jones stands in stark contrast to these more nuanced portrayals. While Glee pat itself on the back for its diverse cast, Mercedes often seems confined to a narrow box of stereotypes: the “sassy,” “black,” and “fat” girl. Her character development frequently revolves around these very tropes. Her blackness is emphasized through dialogue about “chocolate thunder” and “cocoa babies,” reducing her identity to racial clichés. Her musical preferences are predictably aligned with stereotypical “black” genres, with Dreamgirls being her automatic favorite. The very song she writes, “Hell to the No,” utilizes a stereotypical black catchphrase, further reinforcing limiting perceptions.
Furthermore, Mercedes’s weight is consistently presented as a defining characteristic, often played for laughs. Her central storyline in one season revolves around her desire to bring tater tots back to the school cafeteria, perpetuating the harmful stereotype of fat Black women’s insatiable appetite for unhealthy food. This storyline is made even more jarring by the same episode featuring a Precious spoof, using a fat Black girl named Cameo as the punchline, showcasing a disturbing lack of sensitivity and reinforcing harmful stereotypes. The show narrowly avoids even more egregious tropes, such as fried chicken and watermelon, but the underlying message remains troubling.
The episode “Asian F,” intended to be a showcase for Mercedes’s talent, further exacerbates the problem. Instead of celebrating her vocal abilities, the episode focuses on negative stereotypes. Mercedes is suddenly portrayed as “constantly” late to rehearsals and unwilling to learn choreography, introducing “lazy” and “entitled” to the list of stereotypical traits attributed to her. This portrayal is particularly jarring given that, unlike other characters, Mercedes has never been shown to be unprofessional or disruptive in rehearsals. The episode manufactures conflict and character flaws where none previously existed, seemingly to fit a pre-conceived stereotypical mold. Even the comparison to Rachel Berry’s dancing ability feels racially charged, implicitly suggesting a Black female character is inherently less capable or dedicated than her white counterpart.
Mercedes Jones remains the most stereotypically drawn character on Glee. The lack of other Black characters on the show to provide balance further isolates her within these limiting representations. While incorporating some stereotypical traits into a character is not inherently problematic, the absence of depth, motivation, and aspirations beyond these stereotypes becomes deeply concerning. We are rarely given insight into Mercedes’s long-term dreams, passions, or motivations beyond her desire for the spotlight, which itself can be interpreted as another stereotype – the “diva” persona.
The scene in “The Substitute,” where Kurt congratulates Blaine for “breaking the stereotype,” while Mercedes’s only concern in the same scene is tater tots, perfectly encapsulates the show’s racial cluelessness. Glee‘s attempts at diversity often feel superficial and performative, failing to deliver meaningful representation for its Black female character. Mercedes Jones, despite the show’s supposed progressive intentions, remains trapped within a web of harmful stereotypes, highlighting a significant failure in Glee‘s portrayal of diversity and representation.
