The portrayal of characters in popular television shows often sparks debate, especially when it comes to representation. A thought-provoking article on Ars Marginal, “Fandom and its hatred of Black women characters” highlighted a disturbing trend: the unwarranted criticism and negativity directed towards Black female characters within fandom communities. This article resonated deeply, particularly when considering the character of Mercedes Jones from the popular musical series Glee. While Glee aimed to champion diversity and break down stereotypes, a closer look at Mercedes reveals a more complex and arguably problematic picture.
The Ars Marginal post listed a series of negative traits frequently attributed to Black female characters by fandoms: “attitude problem,” “lazy,” “mean,” “stupid,” “ungrateful,” “selfish,” and “sluts.” Reading this list, it becomes strikingly clear how many of these negative stereotypes, whether intentional or not, are woven into the very fabric of Mercedes Jones’ character in Glee. This isn’t just about fan perception; it’s deeply rooted in how the writers constructed and presented her throughout the show’s run.
Glee positioned itself as a progressive show, tackling social issues and celebrating marginalized identities. It purported to showcase characters who defied expectations and challenged stereotypes. However, Glee’s execution was often inconsistent, oscillating between insightful moments and tone-deaf missteps. While the show occasionally touched upon important themes like misogyny, body image, and disability, these issues were often superficially resolved with a song and dance number, lacking genuine depth and nuanced exploration. Despite these broader issues, Glee did, at times, succeed in presenting characters who broke free from some stereotypical molds, at least initially.
Consider other members of the New Directions. Artie Abrams, a wheelchair user, aspired to be a dancer and showcased a talent for rap, subverting expectations beyond his disability. Kurt Hummel, openly gay and interested in fashion, was also portrayed as capable in his father’s traditionally masculine garage. Blaine Anderson, also gay, was a football enthusiast, further challenging narrow definitions of gay masculinity. Santana Lopez, with her Puerto Rican heritage, initially embodied the “sassy Latina” stereotype. However, the show delved deeper, revealing her aggression as a shield for her repressed lesbian identity and vulnerability. Mike Chang and Tina Cohen-Chang, the Asian-American characters, while often defined by their race in dialogue, also displayed traits beyond academic achievement. Tina had a goth phase, and Mike was presented as both athletic and artistically inclined, with his attractiveness frequently acknowledged, a notable departure from stereotypical portrayals of Asian men in Western media. Even Noah “Puck” Puckerman, the Jewish bad boy, defied typical Jewish character tropes by being portrayed as mathematically challenged and irresistible to women, proudly embracing his religion in unconventional ways.
Yet, when we turn to Mercedes Jones, the picture becomes starkly different. Mercedes is introduced as black, plus-size, and “sassy.” And while these are not inherently negative traits, the show often reduces her character to these very descriptors, failing to provide substantial depth beyond them. Her identity seems overwhelmingly defined by her race and body size in ways that overshadow other aspects of her personality and aspirations.
Did we ever forget Mercedes was black? The writers certainly didn’t want us to. Her dialogue frequently referenced her race, with lines about “chocolate thunder” and “cocoa babies,” often in relation to her black boyfriend. Her musical preferences, such as Dreamgirls, were explicitly linked to her race, reinforcing stereotypical associations. Even her original song, “Hell to the No,” while catchy, centered around a stereotypical black catchphrase, further solidifying a limited and stereotypical image.
Beyond race, Mercedes’ body size also became a defining, and often limiting, characteristic. Her primary storyline in season two revolved around her desire to bring tater tots back to the school cafeteria. This plotline reinforced the harmful stereotype of plus-size individuals, especially black plus-size women, being solely preoccupied with food. This storyline was particularly jarring, especially considering the episode also included a “Precious” spoof, further trivializing and stereotyping plus-size black women.
The episode “Asian F,” ironically intended to be a showcase for Mercedes, further exacerbated the issue. Instead of exploring her talents and aspirations, the episode focused on her supposed laziness and tardiness to rehearsals – traits that were never previously established and directly contradicted her established character. Suddenly, Mercedes was portrayed as “entitled” and “lazy,” adding more negative stereotypes to her character. The episode even implied she was a weaker dancer than Rachel Berry, despite on-screen evidence suggesting otherwise, particularly in performances like “River Deep, Mountain High.”
Out of all the main characters in Glee, Mercedes Jones arguably suffers from the most stereotypical portrayal. Compounding this problem is the absence of other prominent black female characters to offer a more diverse representation of black womanhood. While incorporating some stereotypical traits into a character isn’t inherently detrimental, the lack of depth and well-rounded development for Mercedes becomes glaring. We are rarely given insight into her long-term dreams, goals, or passions beyond her desire for the spotlight. Her motivations often feel superficial, revolving around wanting more solos or recognition, without exploring the underlying reasons or complexities behind these desires.
The scene in “The Substitute” featuring Kurt, Blaine, and Mercedes perfectly encapsulates the show’s racial cluelessness. Kurt commends Blaine for “breaking the stereotype,” while in the same scene, Mercedes’ primary concern is getting tater tots. This juxtaposition highlights the show’s failure to recognize and address the stereotypes they perpetuate with Mercedes, while simultaneously patting themselves on the back for perceived progressiveness with other characters.
In conclusion, while Glee aimed to be a groundbreaking show in terms of diversity and representation, the character of Mercedes Jones serves as a stark reminder of the pitfalls of stereotypical portrayals. Despite the show’s intentions, Mercedes was often reduced to harmful tropes related to her race and body size, hindering her character development and limiting her potential within the narrative. This ultimately represents a missed opportunity to create a truly complex and empowering black female character on mainstream television.
