Creating Something Entirely New: Queerness in Steven Universe’s “The Answer”

Ruby and Sapphire dance in "The Answer."
After two years of not liking Steven Universe, I recently gave it another shot and discovered that I suddenly really like it. (More on that in another post, probably.) My favorite episode was of course “The Answer,” because of its aesthetic and musical beauty and for its honestly profound portrayal of queer love.

Out of curiosity, I googled it to see what other (re)viewers thought. In doing so, I found this utterly bizarre AV Club article, which states that the episode “doesn’t really tell us anything we couldn’t have guessed, or anything that we really needed to know” and “feels like a nice little present to the fans.” The song, “Something Entirely New,” is about “normal relationship things (Ruby says Sapphire is different, she swears, and Sapphire has never fused before, she promises),” which is “deeply color-by-numbers for this kind of love story, but it’s still deeply earnest.” It’s “a standard ‘getting to know you’ montage.”

I hate to be snarky, but to be totally honest, this is what happens when you let straight people write reviews.

What “standard ‘getting to know you’ montage” is about two femme-of-center people abandoning their entire species and planet in order to be together, despite being threatened with death for it? How many fluffy romcoms have you seen where the couple doesn’t even realize that it’s physically or psychologically possible for them to be together, because they have been raised to consider it unthinkable?

(That’s not even getting into the fact that the show’s depiction of gem fusion is heavily based on consent, which is a concept apparently missing from most romcom filmmakers’ vocabularies.)

If you’re queer, on the other hand–especially if you’re a queer woman or nonbinary person–Ruby and Sapphire’s love story probably felt very familiar to you, but not from the media.

As queer representation in film and television is finally expanding (albeit glacially), there are still very few depictions that feel true to what our experience is actually like. Sure, sometimes there’s the religious homophobic parent or the bullying classmates or the angst about coming out, for whatever that’s worth. Usually it’s just two people falling randomly into bed together without any exploration of how they might’ve gotten there.

What “The Answer” does incredibly well is that it portrays that “unthinkableness” of it, really makes that come alive. It’s something I wrote about recently in my piece on Medium, “What It Feels Like for a Queer Girl“:

It doesn’t matter if the other person is openly queer themselves, even. It’s not just about fear of homophobic backlash or an especially cruel rejection. It’s the pervasive, gnawing, choking feeling that what you want is simply impossible. It feels like trying to make two parallel lines meet. Like climbing all the way to the top of one of M.C. Escher’s dizzying staircases. Every time I’ve expressed desire for another woman — and don’t misunderstand, there have been plenty of times, despite it all — I’ve felt like laughing at myself. Not funny ha-ha, but ridiculous ha-ha, like what the fuck am I doing ha-ha.

To me, being queer is living with this kind of cognitive dissonance forever — that something feels so natural to me, and yet I am convinced of its impossibility, and that conviction is firmer than almost anything else I believe.

With Garnet’s story, Steven Universe uses an allegory to show how difficult it can be to start imagining these new possibilities when you’ve never been allowed to. On the gems’ Homeworld, fusion is only for two or more gems of the same type (and only for a specific, time-limited purpose, like a battle). The first time Ruby and Sapphire fuse, it’s an accident–they didn’t even think that it was possible. They didn’t even think to wonder if it was possible. But as it turns out, it is, and they realize that they like it.

The song that AV Club calls “color-by-numbers” is actually a subtle exploration of that experience.

Where did we go?
What did we do?
I think it was something
Entirely new

And it wasn’t quite me
And it wasn’t quite you
I think it was someone
Entirely new

Trust me, the average hetero couple hooking up in your standard romcom knows exactly what they did.

Ruby: Oh, um, well–I just can’t stop thinking–
Sapphire: So, um, did you say I was different?
Ruby: –and you hadn’t before?
Sapphire: Of course not! When would I have ever?
Ruby: I’m so sorry–
Sapphire: No, no, don’t be!
Ruby: –and now you’re here forever!
Sapphire: What about you?
Ruby: What about me?
Sapphire: Well, you’re here too. We’re here together.

This isn’t about “I’m your first, right?” This is about two people trying to figure out what just happened and why it felt so different from anything they’ve ever experienced. Sapphire is “different” for Ruby because Ruby only ever got to fuse with other rubies. And she “hasn’t before” because sapphires don’t get to fuse at all. On Homeworld, everyone has their role, and they don’t step out of it–until now.

Cotton Candy Garnet explores her new form.
I love this adorable moment when Garnet figures out how her new body moves.

(Later, we find out what happens to Homeworld gems who “came out wrong” or who want to live in fusions–they hide away underground, under threat of capture and shattering.)

So unthinkable is Ruby and Sapphire’s fusion that Sapphire–who can see the future, and up until that moment saw her entire life laid out before her–literally didn’t see this coming. And when it does, it changes everything, costing Ruby and Sapphire their social positions, their home, their friends, their ideologies, and very nearly their lives.

Pretty relatable for anyone who’s ever come out and been rejected.

(Luckily for Sapphire and the lives of everyone she loves, her future vision eventually returns.)

I’m not surprised that lots of folks apparently missed the queer nuances of this 12-minute bit of children’s television, and I’m amazed at what it somehow managed to emcompass in those 12 minutes. I hope that it’s made a lot of other queer folks feel validated, and I hope that my perspective on it helps make our experiences more real to those who don’t share them.

Rose Quarts tells Garnet that Garnet herself is the answer to all of her own questions.


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Creating Something Entirely New: Queerness in Steven Universe’s “The Answer”
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Keeping Others Happy At All Costs Is Manipulative

[spoilers for Orange is the New Black]

For a long time, and to a much lesser extent now, I have struggled with feeling like I have to keep everyone happy at all times and at all costs. I’m sure this is a common experience for many people, women especially.

When I facilitated a workshop about setting and respecting boundaries last week, I asked the participants what makes setting boundaries difficult at times. The most common response I got was that people are afraid of upsetting others by setting boundaries with them.

Being afraid of upsetting others is what leads me to “consent” to sex or other interactions that I don’t actually want. It leads me to carefully manage my public persona in ways that aren’t designed just to ensure my own safety and comfort, but also to avoid hurting others’ feelings. In some ways, this is good–it means I try to avoid doing things that are rude or mean, for instance–but in other ways, it stifles my self-expression and causes me to take much more responsibility for others’ feelings than I ought to. For instance, I shouldn’t be worrying that merely allowing a conservative or religious friend to see my Facebook posts will hurt their feelings. Yet I worry about that constantly.

I’ve tried all sorts of things to get myself to stop being such a people pleaser. As you might expect, reminding myself that It Doesn’t Matter What Others Think wasn’t necessarily helpful. Neither was getting shamed for it by others (often men, who don’t face the same pressures I do). You can’t always rationalize your feelings away.

The thing that helped the most was having this realization:

It is manipulative to try to keep the people around you happy at all times.

It can be difficult to think of yourself as someone who does something manipulative, but we all do in one way or another, so bear with me for a bit.

When we take responsibility for other people’s emotions and try to keep them happy at all costs, we’re manipulating their emotions. Sometimes, we’re even manipulating their reality: at its extremes, this sort of approach leads people to lie to others, sometimes about major things, in order to keep them from being upset. (Of course, sometimes lying to keep someone from being upset is necessary to keep yourself safe–that’s an abusive situation and not the sort of thing I’m discussing here.)

We often rationalize this sort of behavior by claiming that it’s “for their own good” and that we “just want them to be happy.” More often, though, it’s more for our own good: making people unhappy or upset is painful, and many of us have been taught that if we ever make anyone unhappy or upset, that makes us Bad People. Keeping others happy becomes a way of keeping ourselves happy, or at least keeping that self-hatred under control.

It took interacting with other people like this–other people like me–to realize that it’s manipulative. When people would admit to not being fully honest with me even when I asked for the truth because they worried that it would hurt my feelings, I felt manipulated–why didn’t they let me deal with my own feelings? Coming from men, it felt patronizing, like I’m some sort of fragile flower that needs to be protected from the force of my own emotions. Coming from neurotypical people, it felt ableist, like they thought that just because I have a mental illness, I can’t be trusted to handle my own emotional responses. Over and over, I heard “I didn’t want to tell you about my new partner because I thought you’d be upset” or “I didn’t want to tell you that I was exhausted of listening because you were just so sad” or “I didn’t want you to have to worry about yet another thing so I just arranged this whole situation that involves you without consulting you about it.” It was well-intentioned, but it was manipulative all the same.

Unfortunately, the impulse that many of us feel to keep others happy doesn’t come from nowhere. Sometimes people really do act like they think their emotions are our responsibility, and this realization that I had isn’t necessarily helpful for those situations. But it’s helpful for situations in which people really haven’t asked me to help manage their emotions for them.

In the new season of Orange is the New Black, there were some scenes that illustrated this vividly. In Episode 2, Red finally confronts Piper for lying to her about her family store, which Piper claimed to have visited on her furlough but which has actually been closed for ages:

Piper: Red, you’re back and you’re not talking to me. Now what did I do?

Red: My post-slock resolution was to stop giving liars second chances.

P: When did I lie to you?

R: “Business is booming. There’s a line out the door.” You were much more convincing than my husband, but you were just as stupid. You could have said you didn’t make your way there. Instead, you said you ate my vatrushkis.

P: I’m sorry. I–I thought that I was doing the right thing.

R: By lying? We read different children’s books.

P: You know many cultures value a person’s dignity over the truth. In Korea, they actually call it kibun. I heard that on The World with Marco Werman.

R: In Russia, we call it “bullshit.”

P: Look, there was nothing you could do about it, and I thought that I was saving you some pain.

R: You thought if you didn’t bring me bad news, I won’t kill the messenger.

P: I said what I said because I am a nice person and it felt right.

R: Nice is for cowards and Democrats. You’re a selfish little person. You wanted me to like you. Now I like you less.

Screenshot 2015-07-26 22.45.30
Red confronts Piper in Season 3, Episode 2 of Orange is the New Black.

I don’t mean to imply that everyone who lies or twists the truth in order to keep others happy is quite on the level of Piper (who is many folks’ least favorite OITNB character for a variety of reasons), but something about Red’s anger is very familiar to me. Red sees right through Piper’s excuses about being “nice” and “doing the right thing” and “saving you some pain,” and calls it what it really is: trying to get Red to like her, and failing spectacularly.

That, I think, is ultimately what’s so manipulative about it. Refusing to be honest with someone in order to keep them from disliking you is a way of saying, “I know you would probably want this information, but I’m going to withhold it from you because what’s more important to me is that you like me.”

There are subtler forms of dishonesty than what Piper did, to be sure. When I shy away from setting boundaries with someone even though I know they would want to know what my boundaries are, I’m lying by omission.

I totally, 100% get–because I’m living this myself right now–that a lot of this feels like an act of self-preservation. Especially for folks who have survived abuse, it might never feel safe to set boundaries, to be honest, and to allow people to dislike you. We feel that if we don’t keep everyone around us happy, we’ll never be safe. If you’re still living in a context like this, you know your situation best. Not everyone is able to set boundaries and be honest safely, and, as with everything else interpersonal, power and privilege play a role.

But if not, I think there’s a point at which our (understandable) fear of being disliked–even hated–becomes an excuse to avoid saying what needs to be said. I’m writing this as much for myself as for anyone else, because I’m getting exhausted of managing others’ emotions and I desperately need to be able to stop. Realizing that what I’m doing is actually manipulative has been very helpful. I can’t stand it when people try to withhold information from me in order to keep me happy, so I’m doing my best to stop doing it to them.

The advice Red finally gives Piper at the end of the episode resonated with me, and not only because Red and I share a heritage. She says, “Awaken your inner Russian. No more bullshit. Na zdorovie [to your health].”

Na zdorovie is what Russians say when we make a toast, but it’s applicable literally, too: my (mental) health can’t handle the stress of keeping everyone happy at all times, at all costs. Moreover, nobody asked me to manage their emotions for them. Let them deal with their own emotions, just like I deal with my own every day.

And now, since this is such a difficult topic, here’s an actual dog I visited today:

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~~~

It is important, though beyond the scope of this post, to address the distinction between “not taking responsibility for others’ emotions” and “being a huge raging asshole and then claiming that it’s not your responsibility if people are hurt.” Nooooope. No.

~~~

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Keeping Others Happy At All Costs Is Manipulative

Creating More Accurate Media Representations of Stigmatized Identities

Greta recently wrote about Yes, We’re Open, a new indie film about a couple in an open relationship. She wrote:

A lot of why it was frustrating can be summed up in the question I asked the filmmakers in their post-film Q&A: “Given that the template of San Francisco poly culture is that it’s hyper-ethical, hyper-processing, talking everything to death… why did you choose to make the poly couple in this movie so skanky, and not particularly ethical?”

They clearly understood the question, and the context for it. They agreed about poly people, if anything, tending to be hyper-ethical to the point of relentlessly over-processing everything, and hyper-honest to the point of being TMI and never shutting up. In fact, one of the filmmakers is himself non-monogamous. But they were making a comedy, they said, and unethical people are just funnier. For a long-format story, anyway.

She later says:

I don’t want every poly character in every TV show or movie to be a perfect paragon of sensitivity and high-minded ethics. I’m okay with them being flawed and human. The need for role models isn’t a need for one perfect hero: it’s a need to see that you have options, other than the ones your culture is unfairly slotting you into. (Not to mention the need for the rest of the world to see that as well.) I don’t think every producer of pop culture has an obligation to single-handedly fill that entire gaping hole. And again, I don’t want propaganda. Propaganda is boring.

But given that there are so few poly characters in pop culture, and even fewer who don’t fall into the stereotype of unethical seducers and skanks with no self-control, I think producers of pop culture do have an obligation to not actively perpetuate that stereotype.

I left a comment there but subsequently realized I had way too many Thoughts for just a comment, so here we go.

It’s true that creators of pop culture are (and should be) primarily concerned with telling a good story, not teaching us morals or otherwise educating us. When the latter goals take priority, you end up with the insipid morality tales that comprise much of children’s media.

However, when media presents a false or misleading portrait or a group that is already stigmatized and misunderstood by the public, that’s a negative externality that should be dealt with. But how?

I think that one way the entertainment industry falters in presenting characters who have a stigmatized identity is by making their entire character all about that identity.

Sometimes they do this by having the character confirm a stereotype. In the film Greta wrote about (which, full disclosure, I haven’t seen), the poly characters are unethical and obsessed with sex. Another film might have, say, a flamboyant gay best friend or an uptight Asian student who’s obsessed with her grades. Even if that character also does a bunch of other stuff, the prevalent stereotypes keep the audience focused on the character’s polyness or gayness or race.

So that’s one way. It’s the most obvious way, so many people rightfully attack it these days. A less obvious way is making that character’s entire story arc–or, indeed, the entire film or show–all about that stigmatized identity. That’s what Yes, We’re Open is. It’s not a film that happens to have poly characters or that references polyamory in some way. It’s a film about polyamory.

Because of that, the central conflict of the film has to be about polyamory, too. And that means that the filmmakers have to exaggerate. After all, if you made a documentary about my open relationship or that of one of my best friends or all the other poly folks I know, it’d be boring as hell. Making it interesting requires making it unrealistic, and because most people don’t spend much time reminding themselves that entertainment is not reality, they’re going to watch the film and think, “Oh, so this is what polyamory is like.”

The same thing happens to a lesser extent with any film that’s primarily about relationships. Romcoms are unrealistic because their writers have to create an unrealistic amount of conflict in order for the film to be interesting and funny. So you see massive failures to communicate, glorification of abusive relationships, and other crap.

The most realistic portrayals of romance in film tend to be the stories that are mostly about something else. For instance, Eric and Tami’s marriage in the show Friday Night Lights has been praised for its realism. Eric and Tami love each other and their children and work to improve their relationship, but there’s still conflict in it. It’s just not enough conflict to base an entire show on, which works because the show is primarily about a small-town Texas football team, not about the relationship between two characters. That’s one of the reasons it’s realistic.

That’s why I believe that the best way to improve representations of stigmatized individuals and misunderstood identities in the media is actually to make the story about something other than those identities. Make a spy thriller where one of the main characters happens to have two partners. Make a sci-fi film in which the main character turns down a potential love interest because the main character happens to be asexual. Present these possibilities as just a part of life.

This approach won’t fix all of the problems. It also doesn’t have to be applied universally. There should be films out there are are about polyamory or homosexuality or whatever, although they need to be made by people who know what they’re talking about. These films can serve their own purpose.

But in order to really normalize a lifestyle or identity, you have to present it as realistically as possible, and that means presenting those characters as fully-formed individuals who are not defined by that particular identity. If the subject you’re addressing (polyamory, homosexuality, etc.) is the only source of conflict in the film, you’ll end up having to exaggerate that subject for the sake of entertainment.

When something like this happens in movies that address very common and accepted things–such as, in the case of romcoms, monogamous heterosexual dating–misrepresentation is still a bit of a problem, but at least people can draw on their personal experiences and those of friends and family, as well as on their knowledge of the dozens of other films and shows that address that experience, in order to evaluate whether or not the film is realistic.

But when it happens in movies that deal with unfamiliar and misunderstood experiences, like polyamory, the audience is much less likely to have other sources of information about that subject readily available. So they end up with glaringly inaccurate ideas about that subject.

Creating More Accurate Media Representations of Stigmatized Identities

The Role of Feminist Criticism

In one of my recent pieces, I criticized a particular aspect of the love stories often found in popular books and movies. Whenever someone critiques pop culture–especially from a feminist perspective–it raises a lot of questions for many people. Questions such as:

  • Does it really matter that this work is “problematic”?
  • Can you even have media that isn’t problematic in any way?
  • Am I a racist/sexist/etc. if I find a racist/sexist/etc. joke funny?
  • Would people really take this seriously?
  • What’s the point of talking about this?
  • Am I a bad person if I enjoy this book/movie/show?

Of course, people rarely come right out and ask these questions; they usually couch them in objections instead: “You’re just looking for flaws,” “It’s just a movie,” “There’s nothing that would make you feminists happy.”

But if you read between the lines you’ll usually find questions like the ones above, and all of them eventually condense into the same question: What is the role of feminist criticism? In other words, what’s the point of picking cultural artifacts apart and finding their flaws and analyzing them?

In my view, the role of feminist criticism is not to prescribe what you should and should not read, watch, listen to, wear, or otherwise consume. It is not to say which things are “bad” and which are “good,” since, as some detractors have pointed out, everything seems to have flaws. It is not to create some list of 100%-feminist-approved media and boycott everything else.

Rather, it is to use cultural artifacts as a way to analyze our prevailing norms and values and see how they might be harmful. For instance, in my earlier post, I used the romance genre to show how people are encouraged to maintain abusive or otherwise unhealthy relationships because that’s the “romantic” thing to do.

In this situation, I’m definitely not saying that you shouldn’t consume those books, films, and TV shows, because then you wouldn’t be able to criticize them. I’m not even saying you shouldn’t enjoy them, because ultimately I don’t care what you enjoy and what you don’t. That’s up to you.

Sometimes, though, it might be more ethical to avoid something “problematic” entirely. The role of feminist criticism is also to remain aware of what we consume so that we’re able to draw the line when it’s gone too far. For instance, I don’t eat at Chick-Fil-A and I don’t purchase any music from Chris Brown. Others may draw their personal lines differently, which is okay. But I wouldn’t have been able to decide that this business and this musician do not deserve my money had I not kept myself informed of what they do and what the criticisms of them are.

For me, the most important insight that feminism has given me is that we do not live, love, consume, and decide in a vacuum; we do so under the influence of society. That doesn’t mean we don’t have “free will” (and I do hate to get into that debate), but it does mean that we might not always be aware of all of the reasons for which we want (or don’t want) to do something. We will probably never be able to disentangle ourselves from the influence of society, and that’s fine. What’s important to me is to be aware of what some of those influences might be.

To use an example that’s slightly off-topic: makeup. Many women like to wear it, and many women are, unfortunately, under the impression that feminism opposes the use of makeup unilaterally. Hence the “I’m not a feminist, I wear makeup and dresses” thing that you get sometimes. (Maybe second-wave feminism did oppose makeup, but no feminist person or piece of writing that I’ve ever come across has said that.)

Again, in my view, feminism doesn’t prescribe whether or not women should wear makeup. What it does is ask questions:

  • Why does makeup exist?
  • Why are women expected to wear it and considered lazy, ugly, or unprofessional if they don’t?
  • Why aren’t men expected to wear makeup?
  • Come to think of it, why are men shamed if they do choose to wear it?
  • Why do some professions require women to wear makeup to keep their jobs?
  • Does wearing makeup ever actually make a woman better at her job?
  • Why do makeup ads show women who are considerably more flawless than any foundation or cream could actually make you look?

And so on. Answering those questions for yourself is enlightening, a bit disturbing, but also (in my opinion) kind of fun.

In my own case, becoming a feminist and learning about feminist criticism of makeup and the beauty industry didn’t change my makeup-wearing habits at all. I still do exactly what I did back when I wasn’t a feminist: sometimes I feel like wearing it so I do, and sometimes I don’t feel like wearing it, so I don’t.

What feminism has done for me, though, is to silence that petulant voice I get in my  head on days when I choose not to wear makeup–the one that tells me I’m being lazy, that I’m not a real woman, that people are going to judge me, that I look bad. Before I’d stubbornly choose not to wear makeup on days when I didn’t want to but then have to deal with that voice in my head all day. Nowadays it’s gone. Maybe people do judge me for not wearing makeup sometimes, but I no longer give a fuck.

So feminist criticism hasn’t kept me from doing things i want to do or forced me to do things I don’t; it’s merely given me a framework for understanding some of my own desires, fears, triggers, values, and so on.

The same sort of thing applies to feminist criticism of pop culture. I still enjoy popular movies and TV shows (except How I Met Your Mother, perhaps), but I understand how some of the assumptions they contain are inaccurate and harmful. Thinking through these things helps me think about our culture as a whole and how it might be improved. It also helps me construct a blueprint for how I want to live my own life, raise my future kids, and so on. (For instance, I will never tell a daughter of mine that if a boy treats her like crap “it’s just because he likes you.” That’s the most dangerous bullshit I’ve ever heard, and He’s Just Not That Into You is with me on that.)

And on that note, feminist criticism has one more role–showing us ways to improve the stories we tell. It reminds us that casts should not be all-white, that the Bechdel Test should be passed with flying colors, that glorifying violence against women (or anyone, really) is not okay. We can’t produce better books, movies, and shows unless we criticize the ones we have thoroughly.

In summary, feminist criticism is important because:

  1. It allows us to analyze problematic aspects of our culture.
  2. It lets us know when we should consider avoiding something entirely.
  3. It helps us understand how culture influences our behavior.
  4. It points the way to better media in the future.

It’s unfortunate that some people think that feminist criticism “ruins” everything or that feminists are here to take all the stuff you love away. Nothing could be further from the truth. There are ethical ways to consume problematic media, and I’d say it’s easier to enjoy something when you understand exactly why you sometimes get uncomfortable feelings about it.

I’m sure many feminists would disagree with a lot of what I’ve said, but I’d probably respect their views nonetheless. The view I definitely do not respect is that we should just ignore critiques of the stuff we like because it’s boring and not fun and who cares that the stuff we read, watch, and listen to is selling us a version of reality that we might despise if we actually thought about it.

The Role of Feminist Criticism

Why I Don't Like "How I Met Your Mother"

Everybody seems to be obsessed with the CBS show How I Met Your Mother, so I decided to give it a try. I watched a few episodes, which I enjoyed to some extent. However, I soon found myself completely unwilling to keep going.

The reason for my premature abandonment of the show is one of the main characters, Barney Stinson. Widely considered the star of the show and the reason for its popularity, Barney is the consummate womanizer (or douchebag, for those who prefer the vernacular). His entire raison d’être seems to be to sleep with as many attractive women as possible, forgetting their names afterward.

Despite his superficiality, Barney isn’t a flat character, and he does have many other traits–many of which I can appreciate much more than the womanizing. But there’s a huge part of me that simply cannot be amused by a guy who treats women like shit. It’s just not funny to me.

Maybe in another century or two, the idea of a man who tricks women into sleeping with them only to discard them at the earliest opportunity will truly be hilarious, because our cultural scripts for dating and sex will have evolved. People who only want casual sex will be able to openly pursue it without being labeled “sluts” or “players,” and people who want serious relationships will be able to simply avoid getting involved with those who don’t.

In such a society, Barney’s ludicrous schemes to get women into bed with him might seem like a charming relic of another time. But today, I don’t see what’s so funny. People who lie, deceit, or otherwise pressure others for sex are all too common, and my own life has been affected by them, as have the lives of virtually all of my female friends. Barney’s stories might be several orders of magnitude more ridiculous than anything you’d hear in real life (see this for examples), but they’re still based on the idea that lying for sex is okay.

Barney’s character has been so successful that he’s even “authored” two books, The Bro Code and The Playbook, that regurgitate the same type of humor that the show does. Of course, I don’t believe that anybody would actually take these books seriously (although I might be wrong). The problem isn’t that people take this seriously; it’s that they find tired stereotypes about men and women so funny.

Indeed, Barney’s victims/partners are usually portrayed as helpless, dumb girls who are so mesmerized by an attractive, well-off man in a suit that they buy all of his bullshit. But in the real world, of which HIMYM‘s creators are certainly aware, women are rarely so one-dimensional.

Now, I’m sure that there are nevertheless many great things about HIMYM, so I’m not going to condemn the show in general. There’s a reason I titled this post “Why I Don’t Like HIMYM,” and not why you shouldn’t either. But I do think that the question of why we think it’s so fucking hilarious when men manipulate and exploit women* is one that you should ask yourself if you enjoy the show.

I don’t necessarily think that any womanizing male character ruins a television show. For instance, Community‘s Jeff Winger is also known for manipulating women (and people in general). However, Jeff is a much more complex character than Barney is, and he starts to change from the very first few episodes. Barney, on the other hand, seems to remain essentially the same throughout the show’s seven-and-counting seasons, despite a few attempts at actual relationships. Notably, even when he wants something serious with a woman, he still sees no problem with tricking her in order to get it.

No matter how unrealistic and ridiculous these situations are, I just can’t laugh at them. Maybe someday when I’m happily married, I’ll be able to. But not while I’m still surrounded by metaphorical Barneys.

*I am quite aware that women are most certainly capable of and often do exploit men as well. However, since this show is about a (male) womanizer, I’m confining this discussion to that.

Why I Don't Like "How I Met Your Mother"

Mental Illness as a Spectator Sport

Step right up, ladies and gents, see the amazing inhuman hoarders here!

Our culture seems to have three ways of relating to people with mental illnesses–either they’re pathetic losers who need to “snap out of it”, or they’re crazies who need to be locked away (think schizophrenia in popular culture), or they’re here for our pleasure and entertainment. That last one is a relative newcomer, and that’s the one I want to write about here.

Just look at our celebrities–specifically, the ones with substance abuse problems. When it comes to them, it’s all fun and games till someone dies. While the late Amy Winehouse was still alive, blogs and magazines loved to publish photos of her visibly drunk, putting her up for public ridicule. Sure, everyone knew she could use some rehab–she sang about it herself–but there was never an ounce of compassion in how we, as a society, related to her.

And take Charlie Sheen, clearly a troubled individual. I don’t even remember how many days went by that articles making fun of him littered my Google Reader feed. With him, there isn’t even any ambiguity regarding the diagnosis, but he was still treated like a circus animal, and everyone sat back in their seats, made some popcorn, and watched.

Take TV shows like A&E’s Hoarders, Intervention, and Obsessed. These shows literally turn mental illness–and the treatment thereof–into entertainment. You can laugh as the poor OCD sufferer cries when forced to touch a gas pump nozzle with her bare hands, or gag as that creepy hoarder guy reveals his apartment full of old snack wrappers and rotting food.

I’m not saying that it’s wrong to inform people about the lives of those with mental disorders. What I’m saying is that this informing should be done in a compassionate, humanizing way, and reality TV isn’t always the best format for that. For instance, the show In Treatment, which describes a (fictional) therapist and his clients, is a far cry from the carnival sideshow-like feel of the reality shows. I’m not exactly a big fan of reality TV in general, but as a medium for educating the public about mental illness, it’s even worse than usual, because it creates an environment in which people view their fellow human beings as freaks to be gawked at, not as peers to be sympathized with. (A counselor quoted on Everyday Health calls it “exploitanment.”) This happens on virtually every reality show–think how much the people on Jersey Shore and American Idol get made fun of. The difference is that the people on Jersey Shore and American Idol (arguably) do not have a serious mental illness.

Ultimately, all media companies want to provide stuff that sells, and in the case of magazines that publish photos of drunken celebrities (with witty commentary, of course) and TV networks that produce shows putting people with mental disorders up for display, the money’s definitely talking–people love it. But the quality of mental healthcare in the U.S. will never improve while our culture continues to treat people with mental disorders as amusing distractions and not as people.

Mental Illness as a Spectator Sport