The internet is rife with discussions about how fandoms perceive and, at times, unfairly criticize characters, especially women of color. A thought-provoking post titled “Fandom and its hatred of Black women characters” highlighted disturbing patterns of negativity directed towards these characters. This online discourse often boils down to a set of tired, negative tropes projected onto them. Thinking about this, a question arises: how do these broader fandom prejudices intersect with character portrayals within the shows themselves? Specifically, when considering shows lauded for their diversity, do they truly escape these pitfalls?
The aforementioned post outlined a checklist of criticisms frequently leveled against Black female characters by fandoms. These accusations range from personality flaws to moral failings:
- They have an attitude problem.
- They’re lazy.
- They’re mean.
- They’re stupid.
- They’re ungrateful.
- They’re selfish.
- They’re sluts.
Upon reading this list, a striking realization emerges: most of these traits, disturbingly, accurately describe Mercedes Jones from Glee. And this isn’t just about fan perception; it’s rooted in how the character is written and presented within the show itself.
This is particularly troubling because Glee positioned itself as a progressive show, one that supposedly championed diversity and aimed to showcase “minority” characters breaking free from limiting stereotypes. The show often patted itself on the back for tackling social issues and celebrating difference.
However, Glee‘s approach to social commentary was often clumsy and inconsistent. It lurched between attempting meaningful exploration and resorting to simplistic, feel-good resolutions. The show frequently grappled with serious issues like sexism, body image, and disability, only to “solve” these complex problems with a song and dance number. Glee‘s treatment of its female characters, in general, is a whole other conversation filled with problematic tropes and shallow development.
Yet, despite these shortcomings, Glee did earn some praise for featuring a diverse cast. Superficially, it seemed to present characters from various backgrounds, each with traits that challenged simple stereotypes associated with their race, ethnicity, religion, or sexual orientation. Let’s look at some examples:
Artie Abrams, the wheelchair-using character, wasn’t just defined by his disability. Yes, his desire to walk and dance was a recurring storyline. But he was also portrayed as intelligent, musically talented (especially in rap), and even had misguided “gangsta” aspirations, adding layers beyond the stereotypical portrayal of disabled characters as simply objects of pity or inspiration.
Kurt Hummel, openly gay and interested in fashion and musical theatre, also defied expectations. He was shown to be traditionally masculine in some ways, helping his father in the garage and possessing practical skills, challenging the narrow stereotype of gay men as exclusively effeminate. Blaine Anderson, another gay character, was depicted as a football fan, further broadening the representation.
Santana Lopez, presented with some “sassy Latina” traits initially, was revealed to have a much more complex inner life. Her aggressive pursuit of boys and sex was ultimately shown to be a facade, a way to mask her repressed lesbian identity and vulnerability, driven by fear of homophobia and societal judgment. This added depth and explained her behavior beyond a superficial ethnic stereotype.
Mike Chang and Tina Cohen-Chang, the Asian-American characters, were often defined by their Asian identity, sometimes to an almost comical degree with frequent mentions of their ethnicity. They were initially presented as academically driven, playing into the stereotype of Asian students. However, Glee also attempted to give them other dimensions. Tina had a goth phase and a quirky vampire persona, while Mike was portrayed as athletic and artistic, and his physical attractiveness was frequently highlighted, challenging the stereotype of Asian men as asexual or undesirable in Western media.
Noah “Puck” Puckerman, the Jewish character, was perhaps one of the most unconventional portrayals of a Jewish male on television. He was portrayed as bad at math, womanizing, and even irreverent towards his own religion, eating pork during a Simchat Torah screening of Schindler’s List. This humorous and non-stereotypical depiction was arguably a refreshing, albeit potentially controversial, take.
And then there’s Mercedes Jones. She is Black, plus-size, and “sassy.” And unfortunately, in many ways, that’s largely all she is allowed to be.
The show constantly reinforces Mercedes’ Blackness, often in superficial and stereotypical ways. She sings about “chocolate thunder” and wanting “cocoa babies,” reducing her identity to racialized tropes. Her favorite musical is Dreamgirls, a choice that, while valid, feels predictable and reinforces the expectation that Black characters are primarily interested in “Black” cultural products. The infamous song “Hell to the No,” while catchy, is built around a stereotypical Black catchphrase, further solidifying a limited and stereotypical image.
Her storylines often revolve around her weight in equally reductive ways. One subplot centered entirely on her desire to bring tater tots back to the school cafeteria. This reinforces the harmful stereotype of plus-size Black women being obsessed with food, particularly unhealthy, stereotypical “comfort food.” This episode even included a Precious spoof, featuring a fat Black girl named Cameo, relying on harmful and insensitive humor at the expense of marginalized groups.
The episode “Asian F,” ironically meant to be a showcase for Mercedes, actually exacerbated the problem. It portrayed her as “constantly” late to rehearsals (a claim unsupported by previous episodes) and resistant to learning choreography. This added “lazy” and “entitled” to the list of negative stereotypes associated with her character. This portrayal was jarringly inconsistent with her previous characterization as a dedicated and talented performer. It also ignored the fact that Mercedes had consistently shown more commitment to the group than some other members, who had actually quit the club or lip-synced during practices. Furthermore, the episode subtly implied that Mercedes was a less capable dancer than Rachel Berry, a debatable point given their respective performances throughout the show.
Mercedes Jones, despite being presented within a show that aimed for diversity, ends up being one of Glee‘s most stereotypically drawn characters. The lack of other prominent Black characters on the show further isolates her, preventing any nuanced or balanced representation. While incorporating some stereotypical traits might be forgivable if there was deeper character development, Mercedes lacks clear motivations beyond wanting the spotlight. Her long-term dreams, goals, and passions remain largely unexplored.
The disconnect is starkly illustrated in a scene from “The Substitute.” Kurt congratulates Blaine for “breaking the stereotype,” while in the same scene, Mercedes’ primary concern is getting tater tots. This scene encapsulates the show’s profound cluelessness when it comes to issues of race and representation. Glee, in its attempt to be progressive, often fell into the very traps it claimed to be avoiding, particularly when it came to developing Mercedes Jones beyond harmful stereotypes. Instead of celebrating her individuality, the show often reduced her to a collection of tired tropes, undermining its own purported commitment to diversity and meaningful representation.
