Olivia Edmunds-Diez – Bitch Flicks

“Don’t You Want Your Girl Hot?”: Bisexual Representation in ‘Rent’

Maureen is worth a second look, particularly at a time in which bisexual women and lesbians are routinely ignored, left out, and killed in television and film. … ‘Rent’ repeatedly comments on Maureen’s apparently untamed sexuality. In “Tango: Maureen,” Joanne wonders if Maureen became involved with other men while dating Mark. Mark confirms these suspicions and Joanne also admits that Maureen cheated on her, suggesting that one person cannot satisfy Maureen’s sexual appetite — a common myth about bisexual people is that they cannot be monogamous.

This guest post written by Olivia Edmunds-Diez appears as part of our theme week on Bisexual Representation.

As an avid musical theatre fan, Rent is certainly in my top ten favorite musicals. I was first exposed to the musical through the 2005 film of the same name. From there, I quickly fell in love with the film’s soundtrack and then progressed to the original Broadway cast recording. The show’s music is infectious through its use of rock and more traditional Broadway stylings. I also adored the show’s diversity and attempts to tackle such controversial topics as HIV/AIDS, sexuality, identity, and poverty. But out of all the characters, I never really cared for Maureen, the show’s singular bisexual. Looking back, I think this is largely because she is not written as sympathetic and, as a straight teenager, I found it hard to relate to her voracious sexual appetite as depicted in the show. But Maureen is worth a second look, particularly at a time in which bisexual women and lesbians are routinely ignored, left out, and killed in television and film.

It is important to acknowledge that Maureen’s race is never specified in the show. Idina Menzel, a white performer, originated the role on Broadway and also played Maureen in the film version. Productions of Rent often replicate the racial casting of the original Broadway production. Maureen’s race is worth acknowledging because, as is often the case, when race is not specified, the default is white. This could certainly be viewed as bisexual erasure, particularly when it comes to bisexual people of color. Additionally, as Maureen is the only named bisexual character in the story, the audience is left wanting for bisexuals of color. And so although Rent gets representation right in many ways, bisexuals of color attending Rent, be it the stage show or the film adaptation, will not see themselves reflected in the show or on-screen.

Rent repeatedly comments on Maureen’s apparently untamed sexuality. In “Tango: Maureen,” Joanne (Tracie Thoms) wonders if Maureen became involved with other men while dating Mark (Anthony Rapp). Mark confirms these suspicions and Joanne also admits that Maureen cheated on her, suggesting that one person cannot satisfy Maureen’s sexual appetite — a common myth about bisexual people is that they cannot be monogamous. Later at their engagement party, Maureen and Joanne begin fighting about Joanne’s insecurities about their relationship, namely that Maureen was “promiscuous.” Naturally, this fight breaks out into song, but not before Joanne protests, “You were flirting with a woman in rubber,” prompting Maureen to shout, “There will always be women in rubber flirting with me!” Maureen reassures Joanne, singing, “You are the one I choose / Folks would kill to fill your shoes.” None of the characters seem to accept Maureen’s testimony, possibly because they assume she is unable to commit to any one person given her penchant for any and all persons. At the conclusion of “Take Me or Leave Me,” both women storm off, suggesting that their relationship is over. It is worth noting that in the film, we never officially learn if Maureen and Joanne reconnect and become a couple again. In the stage show, we see the duo reconnect shortly after in the song “Without You.”

The song “Tango: Maureen” bears further discussion. Maureen has no lines in the song that bears her name, suggesting that she is not allowed or able to discuss her own feelings and/or actions. With lyrics such as, “Feel like going insane? / Got a fire in your brain? / And you’re thinking of drinking gasoline?” referring to being in a relationship with Maureen, it is clear that Maureen is less than wonderful in a relationship. In the film, an elaborate dance sequence is inserted, with dozens of couples performing the tango, dressed in all black. All of the couples are paired heterosexually, which is curious for a film about LGBTQ characters. Additionally, Maureen is the only character dressed in red, quite obviously cuing to the audience that she is sexual, dangerous, and on the prowl. One difference between the stage show and the film is Maureen’s visual sexual relationships with men. The stage show does not show the audience any instances of Maureen and a man being intimate. But during the song “Tango: Maureen” in the film, the audience briefly sees Maureen kiss both a man and a woman before the trio walks off arm-in-arm. Whether this is to more overtly inform the audience that Maureen is bisexual or to affirm her enthusiasm for any kind of sexual activity, the audience will never know.

There are multiple jokes about Maureen’s new partner, Joanne. In the first of the show’s many overheard voicemails, Mark’s mom calls to wish him a Merry Christmas. But she ends with: “Oh, and Mark! We’re sorry to hear that Maureen dumped you. I say, ‘C’est la vie.’ So let her be a lesbian! There are other fishies in the sea. Love, mom!” Later that same day, Mark and Roger catch up with their friend, Benny, whom they haven’t seen in awhile. Benny asks if Mark and Maureen are still dating, and the following exchange occurs: “She’s got a new man?” “Well, no.” “What’s his name?” “Joanne.” Whether onstage or screen, these moments are played for laughs. We’re left feeling sorry for Mark for one of two reasons: either he couldn’t satisfy his woman so she became a lesbian, or Mark was so unaware he didn’t know he was dating a lesbian. Either way, these jokes inform the audience that Maureen is a lesbian, not bisexual.

It is worth emphasizing that Maureen is never labelled as bisexual throughout the show or film. Not only do the characters never refer to Maureen as bisexual, but Maureen herself does not give her sexual orientation a name. And this fact is poignant. Considering that it is only audiences and fans of the show/film that give Maureen this label, what happens when labels are applied to other people? Do the show and film contribute to bi erasure? Would Maureen even choose the bisexual label? Or might she opt for queer, questioning, pansexual, or lesbian? Might she eschew labels altogether? Perhaps we should take Maureen’s own words, and simply “take me for what I am.”

Olivia Edmunds-Diez is a Northwestern graduate, where she studied theatre and gender and sexuality studies. Her current favorite finds are The Two Faces of January, the Little Women cast recording, and The Blind Assassin. You can follow her on Instagram, Twitter, and Tumblr.

Why Meredith and Cristina Redefined Sisterhood on ‘Grey’s Anatomy’

Meredith and Cristina reach for each other consistently for 10 seasons, never allowing a male relationship to supersede their friendship. … Watching ‘Grey’s Anatomy’ depict such a powerful female friendship consistently inspires me to improve my own relationships with women, looking to Meredith and Cristina as a model for how sisterhood really should be.

This guest post written by Olivia Edmunds-Diez.

I am currently on my third rewatch of Grey’s Anatomy. It is a series to which I return when I need a good cry or when I need to feel inspired. With a dynamic and diverse cast that features a plethora of well-developed female characters, I am repeatedly drawn to Dr. Meredith Grey (Ellen Pompeo) and Dr. Cristina Yang (Sandra Oh). This time around, I can’t help but notice that the theme of sisterhood follows them consistently. I shouldn’t be entirely surprised that creator Shonda Rhimes would feature a prominent female friendship, given the nature of the show. Although Meredith and Cristina are not related, they might as well be. Dubbed the “Twisted Sisters,” they spend 10 seasons side by side and grow tremendously not just as individuals, but as a pair. Meredith and Cristina’s friendship withstands motherhood, men, and their careers.

Meredith and Cristina earned the nickname “Twisted Sisters” for good reason. Particularly in the early seasons of Grey’s Anatomy’s, both women experience and recount plenty of hardship. They each know what it’s like to pursue work over family, to have mixed and mostly negative feelings about their mothers, and they both have a tendency to assume the worst. But where others might find fault, Meredith and Cristina bond. After all, Grey’s Anatomy epitomized the definition of “my person.” Meredith and Cristina reach for each other consistently for 10 seasons, never allowing a male relationship to supersede their friendship. They can relate to each other in ways that their friends and boyfriends (and eventual husbands) never fully understand, which to me screams sisterhood. I know I can communicate with my sisters and anticipate their feelings in ways that even our parents never quite understood. Sisters know that going to “the dark place,” as Meredith calls it, is sometimes necessary. But it is far less scary when you’re not going alone.

Meredith and Cristina spend early seasons of Grey’s Anatomy with mixed feelings about children and motherhood. Cristina is consistent in her refusal to become a mother and Meredith eventually embraces her fear of turning in to her mother in order to start a family of her own. But even though these two women ultimately take different approaches to motherhood, each enthusiastically supports the other in her choice. Cristina supports Meredith emotionally and physically when Meredith and her husband adopt Zola and then later give birth. Meredith supports Cristina through two pregnancies, with the latter concluding in an abortion. As each woman exercises her right to choose, they affirm each other’s choices and provide them the support that their male partners do not always understand how to give, just as a sister would. In the show’s tenth season, Meredith feels conflicted about her dual roles as surgeon and mother. As Meredith begins to lash out, Cristina is the one to explain that neither of them are “better” for their life choices. But their choices are different and that will continue to lead them down different roads, which ultimately results in Cristina leaving the world of Grey-Sloan Memorial Hospital. And though it’s difficult for both Meredith and Cristina to separate, they can each understand that Cristina puts her career first and they are each supportive of these life choices, in ways that only sisters can be.

Meredith and Cristina also support each other through their relationships with men. Cristina is even the first to dub Derek Shepherd “McDreamy.” Whether dating men, marrying men, or having sex with men, Meredith and Cristina know not to judge each other’s choices. Meredith stands by Cristina throughout her almost first marriage and then again through her hasty actual first marriage. Cristina is sympathetic to Meredith’s on-again and off-again relationship with “McDreamy” and helped her emotionally be ready for their post-it marriage. A sister knows when to gossip about cute boys and when to hold her sister’s hand through a break-up; a sister knows when to encourage meeting someone new and when to suggest a quiet night at home.

Meredith and Cristina met as surgical interns and continue to work together as residents and attendings. They push each other, steal surgeries from each other, inspire ground-breaking research, and question each other’s judgments in operating rooms. For me, this is the most sibling-like that Meredith and Cristina can ever hope to be. Anyone with a sister knows that sisters know just how to push and prod your buttons. Sisters know when to tattle to mom or hold a grudge. But sisters also know how to celebrate your accomplishments, and that is exactly why Meredith and Cristina are so amazing. They are just as likely to be seen fighting over a case as they are “dancing it out” or drinking to celebrate.

Through Grey’s Anatomy, Shonda Rhimes teaches us that our sisters are not always related to us. Sometimes we marry into a family and discover a sister-in-law and sometimes we start a new job and find a new best friend. ‘Sister’ is so much more than a genetic link. ‘Sister’ is a job description, a kinship, a love, and a friend. Watching Grey’s Anatomy depict such a powerful female friendship consistently inspires me to improve my own relationships with women, looking to Meredith and Cristina as a model for how sisterhood really should be.

Olivia Edmunds-Diez is a Northwestern graduate, where she studied theatre and gender and sexuality studies. Her current favorite finds are Stranger Things, Big Little Lies, and the Waitress cast recording. You can follow her on Instagram, Twitter, and Tumblr.

No Place For Us: Interracial Relationships in ‘West Side Story’

‘West Side Story’ could be read as a warning to Latinas: stay away from white men. If María listened to her older brother, obeying his wish to keep her obedient and virginal, María would be safe and free from grief. This notion is exceedingly disappointing, especially considering that there are not many Latina main characters in Hollywood movies.

This guest post written by Olivia Edmunds-Diez appears as part of our theme week on Interracial Relationships.

I grew up watching mainstream movie musicals. From The Sound of Music to Grease, my five-year-old self’s dramatic play ranged from pretending to be a Nazi to swiveling my hips singing along to “Look At Me, I’m Sandra Dee.” Oh, the joys of blissful ignorance. But the one movie musical I was not allowed to watch as a child was West Side Story. My mother always passed it off as “too sad and too violent.” As a stereotypical first born, I knew better than to question my mother’s infinite wisdom. It wasn’t until I turned fifteen that I finally sat down to watch West Side Story, and promptly cried through the entire second half, wailing about the deaths. My mother responded with a simple, “I told you so.”

Despite my strong emotional response, I would continue to watch West Side Story over the years. It quickly became one of my favorite musicals, and I would even see it on Broadway (with my mother!) when it was revived in 2009 with Lin Manuel-Miranda adding Spanish to both the book and lyrics. It is unsurprising that I would love this musical so much, for as a Latina theatre major, how could I resist the infectious score, vibrant costumes, and astounding choreography? But it wasn’t until college that I really started to look at the musical’s content, and quickly grew displeased with what I found. My favorite colorful musical about people who looked like me became a musical about racism, sexism, and colonialism.The love story between Tony and María, that I used to admire so, became depressing. After all, María’s life goes downhill once she meets Tony.

Colorism is very much alive in West Side Story, to the point that the film casts white actress Natalie Wood as the Puerto Rican María. Heaven forbid that an actual Puerto Rican be cast! Granted, this casting choice was partly related to Hollywood wanting a big name to draw bigger box office numbers. But because this Romeo and Juliet interpretation features a white boy and a Puerto Rican girl, there is the chance that their mixed-race union could result in mixed-race children. The horror! To ease the minds of Hollywood’s target white audience, Wood was considered a great substitute to allow white audiences to delve safely into the Puerto Rican barrios. After all, María isn’t really Puerto Rican, she’s just a white girl with an on-again off-again Puerto Rican accent!

Of the two featured Puerto Rican women, María is the virgin trope to Anita’s whore trope. María’s virginity is emphasized to make her a safe choice for Tony, lest our white knight be swept into a ‘dirty’ Puerto Rican’s bed. One obvious manifestation of this is her white dress for the dance. Despite María’s wishes for a shorter red dress, like her role-model Anita, Anita ensures María’s virginity by keeping the dance dress white and at a ‘respectable’ length. Anita’s hard work pays off as the white knight Tony only has eyes for María, who visually stands apart from the crowd.

One alarming component to West Side Story is that María does not feel pretty until noticed by a white boy. This is unsurprising, given María’s wish to fit in with mainstream American culture. Living under her older brother’s protective gaze, María longs for independence. Much like Cinderella, all she really wants is a night off and a fancy dress. María is largely uninterested in boys, shunning her brother’s chosen mate for her, until she stumbles upon Tony at the dance. Suddenly, María’s independence flies out the window. Over the span of 72 hours, María gets ‘married’ in an adorable play-wedding that quickly turns serious, has sex for the first time, and becomes a widow.

Within West Side Story, everyone stands against María and Tony’s interracial relationship. Anita makes it clear that she thinks María is out of her mind, and Tony’s boss, Doc, tries to persuade Tony that his interracial relationship will never work. It is interesting that this is one clear distancing move from Romeo and Juliet, in which the Nurse and Friar Lawrence quickly come around to support the couple. But when race enters the picture, Anita, Doc, and the other characters cannot support María and Tony. In the song “Somewhere,” our main love duo sings about a magical place far away where they can be together. They plan to run away to this “Somewhere.” But it is clear by the end of the film that “Somewhere” does not exist, as María and Tony will never be free from racism.

West Side Story could be read as a warning to Latinas: stay away from white men. If María listened to her older brother, obeying his wish to keep her obedient and virginal, María would be safe and free from grief. This notion is exceedingly disappointing, especially considering that there are not many Latina main characters in Hollywood movies. West Side Story came out in 1961, and remains celebrated and remembered to this day. The take-away, then, for Latinas, is to heed our families’ advice and stay within our culture. Maybe someday, interracial stigma will dissipate. But until then, “Somewhere” seems to be the only place interracial couples can live happily.

Olivia Edmunds-Diez is a senior at Northwestern University, double majoring in Theatre and Gender and Sexuality Studies, with a certificate in Theatre for Young Audiences. She loves cats, Beyoncé, and spends her free time listening to the Hamilton cast recording on repeat. You can find her on her blog, Tumblr, Twitter, and Instagram.