Jane the Virgin

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Jane The Virgin — “Pilot” Pictured (L-R): Gina Rodriguez as Jane and Andrea Navedo as Xiomara Jane the Virgin The Pursuit of New Latina/o Representations By JUAN PIÑÓN

JANE THE VIRGIN, A CURRENT TELEVISION SERIES, ably necessary transformation of what was television products. The success and large makes a compelling case for the U.S. once a daily Venezuelan telenovela, Juana audience following of telenovelas within mainstream television and the presence la virgen, into a weekly series dramedy the U.S. Hispanic television industry has that Latina/os have within that market. Jane the Virgin speaks volumes about ex- positioned the genre as merely one op- The show represents a crossroads of several ecutives’ assumptions of audiences’ social portunity for the U.S. television market to industrial, market and socio-cultural tastes and cultural habits in TV consump- draw audiences from the growing Latina/o forces. As an industrial product, Jane the tion. This distinction becomes sharper population. The narrative formula and Virgin is part of a global-industrial trend because of the existence of Latina/o audi- characters needed to offer different cul- that relies upon adapting television formats ences across the Hispanic diaspora. tural and linguistic elements have always to manage the uncertainties in this new As a market product, Jane the Virgin existed in the U.S. television market. post-network era. At the same time, this follows a television trend in the Unit- As a socio-cultural product, in Jane the trend exposes the cultural tensions that ed States that seeks to attract the U.S. Virgin, Jane, following the steps of Betty arise in the process of adapting narratives, Latina/o population as an audience, given Suarez, in Ugly Betty, speaks perfect and formats and genres for U.S. audiences. the context of growing Hispanic demo- accentless English. They are both third or Jane the Virgin is not a telenovela, in graphics and market trends, in contrast second generation women, with a middle- spite of its soapy elements. The presum- with general ratings declines in U.S. made class mentality, following their dreams to

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Jane The Virgin — Pictured (L-R): Yael Grobglas as Petra, Andrea Navedo as Xo, Justin Baldoni as Rafael, Gina Rodriguez as Jane, Ivonne Coll as Alba, Jaime Camil as Rogelio and Brett Dier as Michael climb the social ladder through profes- sional improvement, based on discipline, While seemingly alluding to the U.S. construct of hard work and intelligence. Through the three Villanueva generations, Jane the the Latina Harlot, Xiomara is also shaped by the Virgin manage to present a genealogy of contradictions triggered by walking the fine line, Latina/o representations through different approaches taken under a safe trope: the between being a victim of presumably unrestrained Latina/o family akin to the way the Suarez sexual desires and claiming of her own agency, by family was presented in Ugly Betty. The family as a trope has traditionally showing female characters conquering their rights been used as a safe recipe to present a over their own bodies, as women, as citizens, as non-threatening Latinidad. The assumed “values” of the Latina/o family, which in- sexual beings. clude respect, solidarity and love, have led to representations of Latinidad itself, standing for stereotypical representations grandmother, indeed did not). The “vir- representations which include Latina/o of U.S. Latinas as “harlots”; while Jane Vil- gin” metaphor, is nurtured by Marianismo roles as valuable citizens in film and tele- lanueva represents something new. That that reinforces patriarchal norms. Women vision. Jane the Virgin uses that trope with “fresh” Latinidad is the real trend, one in should not only should be pure, but sub- a matrilineal twist: a three-generation which the Latina/o image is rethought so- missive to their men, committed to their Latina family with strong and admirable cially, culturally and linguistically as that families, abnegate and selfless. The abuela female characters. While love, respect of a full U.S. citizen, as Christopher Chavez brings the core of this philosophy in the and solidarity are at the core of Villan- recognizes it, a new commercial construc- form of the myth of the destroyed flower, ueva family relationships, the characters’ tion known as the “new Latino.” the impurity of the self, brought by sex. development shows different traditions The abuela calls upon a patriarchal Once anyone even mentions “virginity” as of Latina representations that appeal to tradition, present in Latin American tele- a metaphor, a metaphor that represents a different constituencies: Alba Gloriana novelas, in which women, particularly the mythical purity, then the flip-side of vir- Villanueva (la abuela) dwelling on long- female leading characters remain chaste ginity becomes mentionable. The image standing Latin American representations and pure before marriage so as to be of the impure, the tainted and the rugged, of womanhood informed by the “virgin/ deemed worthy for the male protagonist still haunts Jane because it is an important whore” dichotomy; Xiomara Villanueva (even though it emerges that Alba, the element of her Latina/o identity.

The ghost of the virgin suddenly flips made Latina/o presumably “uncontrolled to create an identifiable television audi- into its reverse: the “whore.” If you are sexuality” a central property of Latina/o ence and market to be sold to advertisers. not a virgin, then you are a whore. This character representations. As Ramirez- Ironically the Spanish language that was dichotomy traces its tremendous sway over Berg has underscored, the Harlot, the used as a marker of Latinidad, was also Latina/o psyche and identity because of Dark Lady and the Latin Lover are active the trait that represent their assumed in- the opposing poles of “La Malinche” and stereotypes in film and television nurtured trinsic foreign-ness. In contrast, Jane is an the “Virgin of Guadalupe.” La Malinche, by white peoples’ desires and projected all-American girl. Far from the still quite in Octavio Paz’s terms, represents the onto the Latina/o population. common depiction of Latina/os as maids, traitor who sold out to the Spanish con- The exoticization of Latina/o charac- gardeners, gangsters or Latin lovers, Jane’s queror, and only then did La Malinche, ters in the United States has been a cen- character and subjectivity becomes the become la Chingada. The desecrated, the tral formula to present a potential appeal “moral balance” within the narrative on raped, the impure. To counter the insidi- of Latinidad for media consumption. The the series. The presence of Jane under- ous power of this seminal identity figure, exoticism of the Dark Lady and the sen- scores the great values of citizenship, de- the Catholic story of the apparition of the suality and passion of the Latin Lover are sire for empowerment, Western rationality Virgin of Guadalupe, la Virgen Morena, characterizations that present an alluring and moral values. brings the redeeming qualities into focus Latina/o identity, in spite of their sexual A male triad counterbalance of the in such a way that the mestizos and indig- dangers, to mainstream audiences. The Villanueva family is made up by Michael enous people can be integrated to society, Harlot, at a lesser level of sophistication, Cordero, Rafael Solano and Rogelio de as rightful bearers of the values of the new presents Latina women as slaves of their la Vega. All these characters function as race brought about by the encounters of own sexual desires, in spite of their best in- signs, the white guy (Cordero), the Latino the old and the new worlds. The force of tentions. Xiomara, in many ways, seemed man (Solano) and the Latin American these two seminal figures has informed to represent this Latina stereotype: a well- man Rogelio de la Vega. All of them carry Latin American identity for centuries. In intended character seemingly trapped by the burdens of patriarchy, heteronormativ- spite of all these ancient traditions, Alba her bad decisions, triggered by the unre- ity, immigration and citizenship. They all seems to carry within herself the seeds of pressed force of her sexual impulse. While seem to trigger specific audience’s expecta- that contradiction. Always a voice of sexual seemingly alluding to the U.S. construct of tions, but at the same time, they defy them conservatism, prudence, and restraint, by the Latina Harlot, Xiomara is also shaped through their behavior when confronted advising Jane, as well as admonishing by the contradictions triggered by walk- by real love. Machismo as the other side of those who appear to deserve it at the time. ing the fine line, between being a victim Marianismo, is also challenged in Jane the In contrasts, Albas seems to flourish and of presumably unrestrained sexual desires Virgin. Latino men have long been tainted unleash her inner desires every time that and claiming of her own agency, by show- in media by their depiction as inherently telenovela star Rogelio de la Vega, “the ing female characters conquering their macho. The male characters in Jane refor- president,” visits the Villanueva’s home. rights over their own bodies, as women, as mulate the stereotype of Latino men, and Rogelio is the main character of The Pas- citizens, as sexual beings. In this context, thus their own relationships as sensible sion of Santos, Alba’s favorite telenovela. Chicana/o theorists and activists, such as men, as rational men, as full citizens. The Then Rogelio’s initial encounters with Gloria Anzaldua and Cherry Moraga, have initial dichotomy, in citizenship, seems to Alba offers a kind of picaresque moments, reclaimed the image of La Malinche, not as be illustrated by the idea of Michael Cor- in which her presumably unrestrained at- a whore nor as a traitor, but as wise women dero (an ambiguously Latino character be- traction to her beloved television star is with agency, their bodies, and, of course, cause of his last name). Though in a tough playfully shown to hint her the other side sexuality. The appeal of Xiomara, is that profession as detective, he is presented as of this dichotomy. La abuela, the prudish- of one who treads a fine line, across which a white sensible man who must respect speaking Spanish character, appeals to audiences can read her as the Harlot, the Jane’s decision about her restrained and first-generation immigrant Latina/os, a sexualized Latina being, or the New Ma- virginal behavior. In contrast, viewers are Spanish-speaking native population (she linche, as Chicana/os envisioned her, as a first led to see Rafael Solano as the player, always speaks in Spanish with accompany- citizen that exercises the rights over her the incarnation of the Latin Lover, the ing subtitles). The virgin/whore tradition body, which to some extent defies patriar- spoiled rich kid, just to be surprised by his that is at the core of conservative politics chy and sexual conservativeness. restraint and sensibility when it comes to of sexuality has been central in traditional At the core of the Jane the Virgin nar- his relation with Jane, and his desire to be Latin American telenovela narratives. rative there is an effort to claim full U.S. an example for his father by managing the In contrast, Xiomara, a member of a citizenship for Latinidad. As Arlene Dávila family business with discipline and wis- new generation, seems to reinvigorate has argued, the Spanish-language was the dom. The subtleties of the duality and rep- the very long tradition of tropicalization glue for different Latina/o groups (Cubans, resentations of these two male characters of U.S. Latinidad. This central trope has Mexicans, Puerto Ricans etc.) as a device as full citizens, seems to be deliberately in

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es to safely enjoy the the colored red chests of Jane and Rafael, over- the-top episodes in which their hearts beat faster every by clearly recognizing time they touch each other, only to arrive them as something to to the scene when they kiss for the “first ridicule or make fun of time” when rose petals falls from the tree it. One device that con- and a unearthly light illuminates the centrates that narrative scene, giving the sense that both are ac- device is the introduc- tually floating in love. The magical scene tion of the series. The seeks to assure audiences what Jane has audience can safely thought all along “this was meant to be” enjoy the twist without her destiny. The series is peppered with worrying about falling magical moments, from winks coming into a presumably low- from Rogelio’s ubiquitous posters, the

Jane The Virgin —“Chapter Sixty-Four”Pictured (L-R): Justin brow melodramatic ra- cash register telling Jane “will you tell Baldoni as Rafael and Yael Grobglas as Petra tionale, by using a trap your friends that you kissed Rafael?”, door through comedy. stop signs telling Jane in red letter lights contrast with the over-the-top, melodra- One strategy used “Rafael Danger,” the sparks between Xio- matic, and caricaturized representation of by the series is what some may characterize mara and Rogelio, and too many other Latin Americanidad, embodied by Rogelio as “magic realism.” As a narrative device, magical expressions. de la Vega, fundamentally a telenovela star. the idea of “magic realism” is what made However, the line between touching Jane the Virgin appeals through soapy, Latin American literature so prominent and/or farcical is quite blurred. Rog- melodramatic and magical moments. The since the 70s. This narrative strategy ex- elio de la Vega embodies certain Latin translation of a telenovela into a series emplifies in literature the complex and Americanness that is tied to a telenovela allowed the producers to live with what uneven state of Latin American modern- soapiness and campiness. The character many considered familiar terrain, as far as ization project by using tradition, magic, brings a telenovela mood that reminds U.S. mainstream English-speaking audi- and ethereal forces as central of the every- audiences of their own distance from his ences were concerned. Some still needed day lives and fate of their characters and caricaturized depiction. However, in the convincing bicultural and/or bilingual stories. Jane’s grandmother Alba Gloriana process certain elements of honesty and Latina/os and Latin Americans. Although Villanueva seems to echo two long stand- naivetes seems to bring to the forefront Jane is not a telenovela format, the narra- ing traditional characters and family tra- certain aspects of humanness that ren- tive strategy appears to resemble one, by ditions from Alba Trueba from The House ders the character likeable. To some ex- underscoring some melodramatic proper- of Spirits from Isabel Allende, and Aure- tent, the presence of Rogelio brings out ties of the story, but also by underscoring liano Buendia from One Hundred Years the best of Jane and Xiomara in many campy and magically oriented over-the-top of Solitude by Gabriel García Márquez. cases. scenes full of romance or by creating new Alba Gloriana Villanueva warns Jane to Jane the Virgin shows the challenges unexpected twists on the plot. Two central maintain her virginity, with nefarious in appealing and connecting with Latina/ elements of telenovela storytelling have auguries if she does not comply, in the os in the context of their complex popula- been the love triangle and a secret identity same epical tone in which Ursula Iguarán tion’s composition in the United States or hidden origin. From the beginning Jane was warned not to have a sexual relation- while also pleasing U.S. mainstream follows that narrative strategy. These are ship with her now-married cousin José audiences. The program brings to life a telenovela-like engines of the plot. More- Arcadio Buendia (One Hundred Years series of Latin American and U.S. tradi- over, the purpose of these narrative devices of Solitude) because of the possibility of tions in representing Latina/os while of- is to create an “over the top” telenovela-like having a child with a pig tail. The magical fering one of the best efforts to create a narrative style, while at the same time, al- elements used in Jane the Virgin seem space for U.S. Latina/os as full citizens, lowing the viewers to separate themselves to be loosely borrowed from that tradi- in which Jane as a new Latina/o bears from the narrative through, campy/soapy tion. The series’ original metaphor of the the balance of the moral and rational uni- elements or through comedy and farce. rose broken and deflowered symbolizes verse in the show’s narrative. So, the series manages to create a “soapy” the moment in which a woman loses her mood that may engage bilingual Latina/os virginity, and is a magical/metaphoric Juan Piñón is an Associate Professor and Latin Americans. It also reminds audi- image at the core of Marianism in Latin in the Department of Media, Culture, ences that this is not a telenovela, but at the American tradition. Magical, whimsical and Communication, at the Steinhardt same time this narrative strategy opens elements are used to underscore the ro- School, at New York University (NYU). space for English-only speaking audienc- mantic elements within the story. We see Contact: [email protected]

VIGNETTE Jane, Rogelio and Me By SARA LUNA ORTEGA OBREGÓN

One thing I love about telenovelas is that the characters live in between the real world and a fantasy world where anything can happen at any time. Telenovela characters do some stupid and funny things. And since all of this is happening at the same time, there are tons of plot twists. One thing I like about the plot twists is that when I watch it with my mom, we both gasp and laugh at the same time, and it’s always fun and never gets old. Telenovelas have lots of drama and mystery.

I found Jane the Virgin when I was scrolling down Netflix on a Friday night. It was rated five stars so I started watching the first few episodes but then kind of just forgot about it. But not long afterwards, my mom discovered the series and asked me to watch it with her for our new Netflix binge-watching tradition. We immediately got addicted to the program because it was ex- citing and funny and we could relate to many of the characters because my mom is a writer. She enjoys watching it with me like Jane watches telenovelas with her mom, and like Jane I also have an abuela—a grandma—who is important in my life.

One thing I like about Jane the Virgin is that the series makes fun of telenovelas but at the same time, it is one. Since it’s a telenovela all the decisions that the characters make on how they act and the choices they make affect everybody else as well.

One of my favorite characters is Rogelio de la Vega, Jane´s father, because he is so dramatic and masculine, but is also not scared to show his feminine side. I love how he exaggerates every- thing and even if he doesn’t try to be funny, he always is. I also like Jane because she has gone through a lot but she just keeps trying and fighting for her dream of becoming a writer and a good mom.

I think that Jane the Virgin is a wonderful show because it can be watched with your family, but also because even though it is a telenovela satire, it presents serious topics about growing up, falling in love, and finding your own passion. I also like that it breaks stereotypes and has many strong female characters. I suggest you watch Jane the Virgin: you will thank me later!

Sara Luna Ortega Obregón is a 12-year-old student at the Cambridge Amigos school. She is the daughter of 2017-18 DRCLAS Santo Domingo Visiting Scholar Francisco Ortega and 2016-17 DRCLAS Santo Domingo Visiting Scholar Liliana Obregón.

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