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Satirical Representations of Power Relationships on Sitcoms:

New Girl & Te Phenomenon of White-understanding.

Rylan Strachan

UCID: 30032150

Coms371: Critical Media Studies

Dr. Jessalynn Keller

T.A. Alora Paulsen

April 8th, 2017 Strachan 2

In critical media studies there exists an overarching goal of analytically identifying, and analyzing, the representations of power relationships and societal inequalities found within the media. Tese observations often mirror the current state of the culture. Te vast existence of available media texts offer no limitations to the scope of study; however, the genre of sitcoms offers critical media with a unique branch of texts in which to analyze. Sitcoms tend to offer satirical representations of underlying connotative messages within society and other media, exposing power relationships and inequalities with a humours commentary.

Te sitcom, New Girl, offers twenty-two minutes of weekly humorous commentary towards the ‘American life’. Te satirical New Girl universe revolves around the quirky life of the main character Jess and her eccentric friends: Nick, Schmidt, Winston, and Cece. Tis array of friends represents a collection of identities and relationships. Jess and Nick are identifable as nondescript white individuals, the former being middle class and the latter working-class. Schmidt is often portrayed as a nondescript white upper-middle class individual, whom occasionally reverts to his

Jewish heritage as a key identifer. Winston exists as the nondescript black middle class, and Cece portrays a middle class female of Indian decent (New Girl 2011).

Cast of New Girl (left to right): Winston, Nick, Jess, Schmidt, Cece (Hofhaug 2016). Strachan 3

After a critical analysis of several key episodes, I have determined that New Girl satirically addresses the issue of white-understanding in society, a term I am using to describe when white people, predominantly upper-middle class males, assume to understand ‘other’ identities. With this understanding, the white persona seeks to ‘help’, interact, and communicate through a skewed limited scope. Tis phenomenon results in the privileged white sect in society becoming omnipotent, and benevolent beings. Utilizing a critical media perspective, iconic New Girl episodes like: “Cabin”,

“Big Momma P”, and “Bob&Carol&Nick&Schmidt” exemplify white-understanding of black culture, Indian culture, and the lower white working-class.

Bob & Carol & Nick & Schmidt

Season fve, episode two, revolves around the relationship of best friends, Nick and Schmidt.

Te episode features Nick’s cousins, whom beseech Nick to become a sperm donor. Schmidt is opposed to the idea, claiming that this is not how Nick was meant to start a family. Schmidt reveals he has made a in-depth plan systematically organizing the progression of Nick’s life, to his standards

(New Girl [Bob&Carol&Nick&Schmidt] 2016).

Controlling the Working-class

Te existence of Schmidt’s life plan, for Nick, illustrates the white-understanding of the upper-middle class, and the need to control the working class for their interests. Furthermore, this mirrors the notion of the dominant ideology, utilizing hegemony to control the status quo of the minority sect. Te following conversation is where Schmidt is attempting to readjust Nick to his intended trajectory:

Schmidt: Nick, you’ve been doing so well lately. Nick: Tank you. Schmidt: Right on track with the plan. Nick: What plan, what are you talking about? Schmidt: I may have your entire life planned out on my computer. I made a spread sheet and everything, I worked on it this morning. … Strachan 4

Schmidt: I’m just trying to keep you on track Nick, look we’ve always done everything together, and I’m just worried that we’re going to drift apart. I’m going to get married and have kids, and you’re gonna wandering around the grocery store, holding a bottle of scotch, and a ear of corn. (New Girl [Bob&Carol&Nick&Schmidt] 2016, 5:31-6:41).

Schmidt’s intention to keep Nick on a specifc plan, exhibits Schmidt’s desire to control Nick to his standards. Tis control is reminiscent of Wood’s (2004) understanding of cultural studies, focusing on “the means by which dominant groups in society privilege their interests and impose their ideology on less powerful groups” (274). In addition, the life plan can be viewed as a marxist ideological form, a tool presenting a particular image of the world (Storey 2015, 4). In presenting the life plan, there is an attempt to hinder deviation from the plan, mirroring the notion of hegemony, “a social group [seeking] to present its own particular interests as the general interests of the society” to create universalized codes, “the interests of one powerful section of society… [becoming] the interests of the society” (Storey 2015, 83-84).

In this episode it is fair to assess that Schmidt, as a upper-middle class male, feels qualifed to dictate Nick’s life, based on Nick’s working-class status. Schmidt, compelled to create and guide

Nick’s life out of fear of the natural outcome, showcases the notion that class is “all those things which affect people’s access to a range of things, and which limit their expectations in life” (Barlow and Mills 2013, 226). Furthermore, Schmidt encouraging Nick that he had been doing so well in the plan, reinforces the feminist perspective of dominant masculinity, “the myth of heterosexual masculinity as something essential and self-evident, which is tough, masterful, self-possessed, knowing, always in control” (Storey 2015, 166). In other words, Schmidt is arguing that without the plan, Nick as working class member, will be unable to keep up with Schmidt’s status and success.

Tis episode of New Girl in particular supports Spangler’s (2014) claim that “ situation comedies in the twenty-frst century… [show] that achievement of the American dream is [only available] to hardworking individuals” (476), and without Schmidt’s white-understanding, Nick will inevitably fail in life. Strachan 5

Big Momma P

Season fve, episode one, revolves around Schmidt meeting Cece’s mother for the frst time at their engagement party. Nick inadvertently picks up the wrong person at the airport, assuming that a woman in traditional Indian clothing must be Cece’s mom. Ten, when Momma P disapproves of

Schmidt, Schmidt appropriates Bollywood dance in an effort to woo Cece’s mother (New Girl [Big

Momma P] 2016).

Trivializing and Consuming Indian Culture

Within this episode Nick exhibits the nondescript white male’s ability to categorize the entirety of Indian culture into a defnitive stereotype. In addition, Nick mirrors western societies tendency to sustain the notion of orientalism. Tis scene shows Nick assuming that Cece’s mother, coming from India, will be in traditional clothing and lack profcient english:

[phone call] Nick: Jess, guess who did it? Me, I got Cece’s mom I was even on time. Jess: Oh she’s there, put her on. Nick: Really you can speak with her, how? … Jess: Umm ok, I gotta go. [in the car] Nick: [talking slowly to a traditional Indian woman, clearly not Cece’s mother] Jess says hi. Do you prefer the window’s down or the A/C. Wow you look just like Cece! Stranger: [Responds in Hindi]. Nick: Yeah. Stranger: [more Hindi]. Nick: It’s amazing, yeah I own it myself. (New Girl [Big Momma P] 2016, 6:34-7:00).

Tis interaction illustrates Nick’s assumption that people from India belong in identifable stereotypes. Tis comedic event is synonymous with the western phenomenon of orientalism, “a

‘knowledge’ of the East and a body of ‘power-knowledge’ relations articulated in the interests of the

‘power’ of the west” (Storey 2015, 180). In other words, Nick, when stereotyping Cece’s mother as a traditionally clad Indian woman, is subliminally projecting his own minimal understanding of India in opposition to the ‘progressive’ culture of America. Furthermore, his assumption that the frst

Indian woman he saw would be Cece’s mother supports the cultural studies notion of dominant Strachan 6 cultural order where “certain readings are more likely… [due to] a consequence of social norms and expectations” (Barlow and Mills 2013, 247), exhibiting the white-understanding of culture.

Later in the episode, Schmidt, in an effort to win Momma P’s approval, exemplifes the white-understanding’s perspective of being able to interact with someone through their unique culture by performing a Bollywood dance. In the opening moments of the dance, Schmidt is identifed as the focal point of the dance, and miraculously posses the ability to perform at the level of the professional Bollywood dancers (New Girl [Big Momma P] 2016, 17:03-18:31). First,

Schmidt, appropriating a specifc cultural element, is reminiscent of Hooks’ commodifcation of culture, where “the culture of specifc groups… can be seen as constituting an alternative playground where members of dominating [sects] practice and affirm their power”(Hooks 1992, 23). Even though Schmidt is attempting to make a sincere gesture, the connotation attached to this scene can perpetuate the idea of ethnic cultures existing for the exploitation of the white man. Second,

Schmidt’s mastery of the dance can be seen as consumer cannibalism, where the other’s culture is decontextualized and consumed by the dominant group, inadvertently supporting his historical power and privileges (Hooks 1992, 31-36). In other words Schmidt, wearing traditional Bollywood clothes and becoming the centre of the dance, is symbolically establishing the historical dominance of India by treating Bollywood as his plaything.

Te representation of India in this episode of New Girl is in accordance to Morley’s (2009) representation of ethnicity: “a model in which rather than ethnicity displaying any degree of mutability in social life it is reduced to the status of a fxed pseudo biological category of automatic belonging with seemingly inevitable effects” (493). Ultimately, New Girl addresses the white- understanding’s tendency to trivialize Indian culture into the stereotypes of traditional clothing, non-

English vocabulary, and Bollywood, in which the dominant are able to master and understand. Strachan 7

Cabin

Season two, episode twelve, revolves, in part, around the friendship of Schmidt and Winston.

Within the scope of the episode Schmidt becomes concerned for Winston’s cultural identity, and sets out liberate Winston’s black identity. Winston, whom identifes Schmidt as being misguided by white guilt and racist stereotypes, decides to teach Schmidt a lesson by convincing Schmidt to agree to buy drugs (New Girl [Cabin] 2013).

Whiteness Approach to Black Identity

Tis episode, exhibits the white-understanding’s ability to fundamentally encapsulate black identity and culture. Furthermore, Schmidt is mirroring the tendency of whiteness to compartmentalize the identities of minorities based on the myths of race.

Tis scene features Schmidt expressing concern for ‘Black Winston’:

Schmidt: We were out the other night for drinks, and well he encountered some members of his own, and you should have seen the way that he lit up, I mean he was like a glow stick. Nick: Tis is terrible. Cece: Whatever you’re gonna do please do not, just don’t. Schmidt: I want to create an environment within this loft, where Winston feels free, where the gates are open, lets let Winston turn on his Black switch… let his black light shine. (New Girls [Cabin] 2013, 1:18-1:49).

Tis interaction exhibits Schmidt’s whiteness, where “categories appear to apply to non-white people; whiteness seems to exist as a human norm from which races and ethnicities are a division” (Storey

2015, 187). In other words, Schmidt determines that Winston feels isolated as the deviant race in the loft the friends share, resulting in the ostracizing of Winston’s true identity.

Further white-understanding of black identity is shown when Schmidt attempts to make

Winston feel supported as a black man:

Schmidt: Hey man I get it… let’s eat some soul food. Winston: Schmidt, I want Indian, southern Indian. … Schmidt: Winston, tonight is about you, I want… I want to be the black friend that you never had. Winston: I have black friends Schmidt. Strachan 8

Schmidt: I want you to feel supported, I want you to be able to do the things that you don’t feel that I don’t understand. … Schmidt: I mean as long as it’s gangster or not, it doesn’t have to be gangster. Winston: Schmidt, I want to say, thank you for allowing me to be me and I look forward to sharing my people’s culture with you tonight. (New Girl [Cabin] 2013, 3:05-4:12).

When emphasizing soul food and gang culture, Schmidt mimics the critical race argument that “race

[is done] individually and institutionally… every time we reduce a person to an essential, unchanging characteristic that supposedly emanates from biology” (Storey 2015, 175). Furthermore, assuming that being black is synonymous with soul food and being gangster, Schmidt places

Winston’s black identity into a box regardless of Winston's personal intersectionality of identity.

Finally, In a climactic moment, Winston exploits Schmidt’s misguided interpretation of black identity, exposing his white-understanding:

Winston: Tere is this one thing that I miss… I probably shouldn’t say man, I can’t. Schmidt: Come on. It’s us man. Winston: Schmidt I could really go for some crack. Schmidt: What? Crack-cocaine? Winston: I remember when I was a kid… One of those nights, I remember we ran out of crack. I grabbed my scarf and i’d run on down to the liquor store where the thugs hang out and I would try and get a good deal on some crack… there’s nothing like… that sweet sweet taste of crack in your lungs. Schmidt: [clearly uncomfortable] Ok Winston, yeah sure if that is something that you want to do. (New Girl [Cabin] 2013, 7:54-9:56).

Te acceptance of Winston’s ‘desire’ for crack is reminiscent of the cultural studies concept of naturalized code, where “we often see some relationship between media representation and the ‘real world’” (Barlow and Mills 2013, 241). Even if Schmidt doesn’t fully believe Winston wants crack, the naturalized code in society places the notion of drugs within a realm of realism for him.

Schmidt, in a sincere effort liberate Winston, “collapses [Winston’s] race into culture and naturalizes social differences as if these factors had an automatically defning effect on identity and behaviour” (Morley 2009, 493). In summary, New Girl is able to illustrate the white-understanding’s skewed perception of race identity, deviating from an individuals intersectionality. Strachan 9

Conclusion

Te genre of comedy posses a unique opportunity, where shows like New Girl are able to critique and comment on the perpetuation of power relationships in society and other mainstream media. When comedies do this they have potential to become what Marx (2016) calls post-politics,

“comedy as humour that satirizes televisual representations of race/ethnicity, gender, and sexuality without positioning any one identity as dominant over another” (273). In examining iconic episodes of New Girl, the show is able to isolate the phenomenon of white-understanding and roast the notion each week in a half-hour slot. Ultimately, New Girl demonstrates how predominately upper- middle class white males assume the ability to understand, help, and interact appropriately with minority identities. Strachan 10

References

Barlow, David M., and Brett Mills. 2013. Reading Media Teory: Tinkers, Approaches & Contexts. New York: Routledge.

Hooks, Bell. 1992. “Eating the other: Desire and resistance.” In Black Looks: Race and Representation, 21–39. Boston: South End Press. Accessed on April 7, 2017. https:// d2l.ucalgary.ca/d2l/le/content/171242/viewContent/2336641/View

Hofhaug, Kylie. “New Girl Cast.” Digital image. TeOdysseyOnline. Accessed April 9th, 2017. https://www.theodysseyonline.com/life-reminders-from-the-cast-of-new-girl

Marx, Nick. 2016. Expanding the Brand: Race, gender, and the post-politics of representation on Comedy Central. Television & New Media 17 (3): 272-87. Accessed on April 7, 2017. doi: 10.1177/1527476415577212

Morley, David. 2009. Mediated class-ifcations: Representations of class and culture in contemporary British television. European Journal of Cultural Studies 12 (4): 487-508. Accessed on April 7, 2017. doi: 10.1177/1367549409343850.

New Girl. Created by Elizabeth Meriwether. Fox, September 20th, 2011.

New Girl. “Big Mama P.” Ep. 95. Directed by Erin O’Malley. Written by Berkley Johnson. Fox, January 5th, 2016.

New Girl. “Bob & Carol & Nick & Schmidt.” Ep. 99. Directed by Jake Johnson. Written by Rob Rosell. Fox, February 2nd, 2016.

New Girl. “Cabin.” Ep. 36. Directed by Alec Berg. Written by J.J. Philbin. Fox, January 8th, 2013.

Spangler, Lynn C. 2014. Class on television: Stuck in "the middle". Journal of Popular Culture 47 (3): 470-88. Accessed April 7, 2017. doi: 10.1111/jpcu.12141.

Storey, John. 2015. Cultural Teory and Popular Culture: An Introduction, 7th ed. New York: Routledge.

Wood, Julia T. 2004. Communication Teories in Action: An Introduction, 3rd ed. Toronto: Nelson.