Representation of Women and Female Empowerment in Scandal and Legally Blonde

A post-feminist investigation into the illustration of girls and feminine empowerment throughout the narratives of Scandal (2012) and Legally Blonde (2001)

The aim of this essay is to look at differing approaches to the illustration of feminine characters throughout the narratives of ‘Scandal’ (ABC, 2012-2018) and ‘Legally Blonde’ (Luketic, 2001), thereby evaluating and contrasting the differing approaches used in the representations of girls inside these texts, by means of an examination of characters gender, race, class and sexuality. This essay goals to know how these identities can impression the extent in which females are simply as integral to the plot as male protagonists, permitting feminine characters to achieve a full stage of growth; finally creating and selling a way of feminism and equality inside each the sequence and movie.

Legally Blonde is an American comedyfilm based mostly on a novel of the identical identify. Directed by Robert Luketic, the movie follows feminine protagonist Elle Woods (Reese Witherspoon), a sorority lady who has all of it however needs nothing greater than to be Mrs. Warner Huntington III. After an sudden dumping, Elle decides to rally all of her sources collectively and in opposition to all odds, will get a spot at Harvard with the willpower to win him again.

Described as being one of essentially the most “explicitly feminist, race acutely aware sequence on tv in the present day” (Gomez and McFarlane, 2017), Scandal is an American, prime time, political thriller tv sequence written and created by Shonda Rhimes. The sequence centres across the White Home and fictional PR agency ‘Olivia Pope and Associates’ in Washington DC; headed by disaster supervisor and final fixer Olivia Pope (Kerry Washington), as she units her sights on doing something and every thing each inside and outdoors of her energy to repair any disaster. All through the sequence, the staff shut the highest circumstances inside their discipline of work, going to the furthest diploma of the legislation and masking up the most important ‘Scandals’.

 “Narratives that discover the various relations to energy girls inhabit depict the primary attribute of submit feminism in modern sequence. Exhibits exhibiting this attribute could assemble feminine characters who’re complicated and distinct from each other regardless of the commonality of womanhood.” (Lotz, 2001: pp.115).

Scandal isn’t any exemption to this, furthermore while Lotz bases her critiques on tv, this postfeminist attribute can be utilized to Legally Blonde. Nevertheless, this essay goals to argue that while there’s room for a posh growth of feminine characters throughout the narratives, the true narrative is maybe extra towards feminine empowerment and how while the feminine protagonists are every particular person to their very own, it’s finally that sense of womanhood that brings them collectively and it’s only inside Scandal that race is introduced into the feminist argument.

Scandal (ABC, 2012)

Identified to be partially based mostly on lawyer and final fixer Judy Smith, the character of Olivia Pope (Kerry Washington) is maybe one of the strongest, most complicated feminine protagonists in modern-day tv. Identified to be the anti-hero positioned right into a society ruled by white male elite, Olivia is a really profession pushed lady who understands that work is her primary precedence in life. Not afraid of utilizing anybody and every thing to her benefit, together with the patriarchal system of energy, Olivia dominates any competitors that poses a risk on herself or her firm. Commanding respect from everybody she meets, Olivia overcomes sexism by means of her sensible, assured nature. An instance of this being in the very first episode in which she strikes a cope with some armed Russian terrorists in order to obtain a thriller package deal for her consumer. While her white-male affiliate stays throughout the background, fearless ‘gladiator’ Olivia doesn’t again all the way down to worry and as a substitute choses to present them half the cash that they demanded alongside an evidence as to why messing together with her would result in an unlimited draw back to them, preserving direct eye contact as she does so (ABC, 2012). 

The character of Mellie Grant (Bellamy Younger) is first offered to the viewers throughout the narrative as being the jealous spouse, the scorned lover and the icy bold politician who was utilizing her marriage to Fitz as a technique for reaching her personal ends. Not like Olivia, Mellie doesn’t have the respect nor sources on her aspect in order to be taken significantly. Because the narrative develops all through the sequence, so does Mellie’s character, proving as soon as once more the English idiom; to ‘by no means choose a ebook by its cowl’.

Flawed in their very own particular person methods, each characters greatest downfall is maybe in relation to male characters throughout the sequence proven all through the narrative. The connection between and final downfall to the 2 feminine protagonists of Scandal; Olivia Pope and Mellie Grant begins foremost with the character of President Fitzgerald Grant (Tony Goldwyn). All through the sequence, as an viewers we delve into the illicit affair and flawed relationship between Olivia and Fitz as informed inside each the continuing narrative and flashback sequences and how Mellie copes with this all through.

The connection between Olivia and Fitz might be described as poisonous; they convey out the most effective and worst inside one another as one can not operate with out the opposite. Mellie conscious of their affair, condones the connection to a restricted extent and usually objectifies Olivia, utilizing her as a reward for Fitz. In sequence one she invitations Olivia to a state dinner in order for Fitz to get his repair and return to work, working the nation “you wanted to see her… I belief that tonight, you’ll sleep like a child” (ABC 2012). 

Though Olivia’s independence is evident throughout the narrative, she usually checks Fitz’s talents as president and as a person, making an attempt to conjure new excuses and methods to not be with him, testing how far he’ll go to show his love and intention. In sequence two, nonetheless at the start of their relationship, Olivia stands above the eagle throughout the oval workplace states to Fitz: “I’m not a toy you possibly can play with whenever you’re bored or lonely or attractive. I’m not the lady the man will get on the finish of the film. I’m not a fantasy. If you’d like me, Earn me!” (ABC 2013). The connotations of her making that stance exhibits the ability that she has over him, juxtaposing the place of energy that he holds as President. In sequence four he choses to ship the nation to warfare in order to avoid wasting her from her kidnappers, proving to her the extent in which he’s keen to go. After divorcing Mellie in sequence 5, Fitz plans to marry Olivia nonetheless after as soon as once more selecting her profession over a relationship it’s in direction of the top of sequence six that Fitz finally saves Olivia from herself.

Because the “first black feminine protagonist in a US tv drama in practically 40 years” (Vega, 2013), there’s additionally the suggestion that Olivia Pope lives in a post-racial, post-feminist society; her ethnicity nor gender impacts her job or the sense of energy that comes with it. Her “means to thrive in a world in which is ruled by white male elite… [is] one free from institutional racism and gender discrimination which may inhabit her skilled ascent” (McClearen, 2015). Race is first talked about in sequence two by means of a historic reference in a dialog with Fitz “I’m feeling somewhat… Sally Hemmings/ Thomas Jefferson about all this” (ABC, 2012) thus displaying the importance of their biracial relationship. While Olivia is a free lady in contrast to 19^th century slave Sally, it’s attainable that this was a author try to point out the true energy imbalance between them as Olivia appears unable to interrupt away or resist being away from Fitz, including extra layers of complexity. Fitz tries to counter this, asserting that in the connection it’s in reality her with all the ability “You personal me! You management me. I belong to you… I exist for you” (ABC, 2013), de-emphasizing the position in which race performs inside not solely their relationship however the narrative itself. The use of the historic reference in such an unconventional manor means that maybe Rhimes wished to strip away the bodily facets of their relationship, leaving solely the enslavement of the 2 characters in extra of an emotional sense. General, the reference to race maybe successfully highlights Olivia’s identification as a post-feminist lady who struggles to come back to phrases together with her all-consuming love for a married man, thereby rendering her susceptible.

While it’s evident that Olivia was not born into the identical privileges as these power-hungry political gamers, she has definitely earned her seat on the desk. In sequence three, Olivia’s father makes use of the mantra “It’s a must to be twice pretty much as good as them to get half of what they’ve” (ABC,2014), one other indictment of white privilege and an acknowledgement of the burden of race, “a uncommon factor discovered in mainstream tv” (Pixley, 2015). While it’s elsewhere evident that Olivia and her father stay in a post-racial world empowered by these white-male elite, maybe race is just recognised nonetheless by these affected, a reverse on the society in which we stay in the present day. 

At first of the sequence, Olivia is commonly referenced as a wearer of the “white hat” and the last word “gladiator” (ABC, 2012), a logo of being a hero to society. Nevertheless, because the narrative develops, Olivia’s character undergoes a drastic metamorphosis, turning into darker, extra complicated and self-serving; throughout the narrative, she turns into a personality who hungers for energy, affect and the hope of freedom they may present “I’m excellent at what I do. I’m higher than anybody else. And that isn’t conceitedness, that could be a reality.” (ABC, 2013). But regardless of all of this, Olivia is seen to stay an icon, a job mannequin, an instance of the ability of illustration, the last word flawed feminine antihero. Vaage believes that this surprising change in character arc inside Scandal’s narrative “testifies to it nonetheless being much less acceptable to painting non-conformist, tough and transgressive feminine characters on display” (Vaage, 2016: pp.151).

From jealous spouse in sequence one to President of america, it’s maybe Mellie’s character that makes the most important leap of all of them throughout the narrative. With the backstory as a profitable lawyer who gave up her promising profession to advance her husband’s political future, Mellie doesn’t match the mould of being an ideal political spouse; she repeatedly lies to the general public for her husbands’ and Olivia’s expense, preserving their affair a secret and thereby compromising her integrity in order to stay a large political power, sustaining her standing as First Girl in pursuit of energy and affect. In a heated argument with Olivia in sequence three, Mellie reveals her true emotions about standing behind Fitz for all these years “I’ve been destroyed whereas I’ve made him president. IT. IS. MY. TURN”, by chance revealing inside a flashback sequence that she was raped by Fitz’s father, yet one more white-male elite. Nevertheless, it’s from sequence 5 that the sudden partnership between Mellie and Olivia varieties. Mellie places apart the affair, her marriage and turns into extra energy hungry in her dream to change into the primary feminine president, voted in by the folks. While it seems that Mellie is the one in cost, in actuality it’s Olivia standing behind her making the selections and manipulating her each transfer. Beside all of this, the true feminine empowerment comes from the respect Olivia holds for Mellie, particularly as one other lady going up in opposition to the white-male elite “You’re the most important bitch I do know, don’t inform me you possibly can’t do that.” (ABC, 2016), pushing one another to attain the not possible “Mellie, I’m with you. It doesn’t matter what you suppose I’ve all the time been with you. Are you with me?” (ABC, 2018).

Within the closing scene throughout the final episode of the final sequence, two younger ladies have a look at a portrait of Olivia Pope dressed in white and blue in opposition to a crimson background and the phrases “We the folks” (ABC, 2018) written alongside the aspect, positioned throughout the Nationwide Portrait Gallery. Regarded as impressed by the same state of affairs of two ladies an official portrait of Michelle Obama. Throughout the previous couple of minutes of the episode, Olivia walks previous the Nationwide Museum of African American Historical past and Tradition. Not like many stereotypes on tv Olivia was by no means an ideal character, she was flawed, going in opposition to concepts of what a black lady character ought to be, particularly on a primetime American drama. On the floor, Mellie’s character is an embodiment of empowerment and ambition; but like different empowered girls, she needed to make illegal compromises to the patriarchal system in which we stay in the present day; irrespective of how brutal, she continued to persevere in direction of her dream. The illustration of each these characters helped to drive the narrative of Scandal throughout seven sequence because the viewers adopted every downfall, every flaw and each step in direction of ambition, with each intention of watching these feminine characters succeed.

Legally Blonde (Luketic, 2001)

Elle Woods (Reese Witherspoon) is an instance of a girl who achieves success with out sacrificing her principals, femininity or identification. First seen to be a stereotypical blonde sorority lady, Elle singlehandedly manages to reverse this stereotype throughout the narrative although her willpower, sheer tenacity and wit; proving these qualities to be an integral half of her characters persona and subsequently makes use of them to additional her profession as a lawyer, evidencing the innocence of her consumer Brook Windham (Ali Larter).

Very similar to Scandal, it’s first the white-male elitist characters throughout the narrative who’re proven to carry essentially the most energy. With a purpose to get accepted at Harvard, Elle submits an utility video. While referencing her use of lawyer discourse inside her daily life, displaying ardour and dedication inside her position as head of her sorority, it’s clear that Elle will get accepted by the admission board (a gaggle of growing older white-male elite) based mostly on her seems over abilities, citing the College’s have to “diversify its scholar physique” (MGM, 2001). That is maybe a literal comical depiction of Laura Mulvey’s male gaze idea “In a world ordered by sexual imbalance, pleasure in trying has been cut up between lively/male and passive/feminine” (Mulvey, 1975: pp.808) because it demonstrates Elle’s data as a sensible particular person, understanding that she is going to greater than possible be objectified and as a substitute makes use of it to her benefit.

Just like the characters of Olivia and Mellie inside Scandal, Legally Blonde actively subverts the nonsense of making a feminine character first and foremost a romantic lead and as a substitute permits the characters of Elle and Vivian (Selma Blair) to grasp how misguided their obsession and battle is over a substandard man, Warner (Matthew Davis); penultimately ensuing in them empowering one another as girls by means of friendship and womanhood. Regardless of Vivian first betraying Elle in class, Elle sticks to her principals of womanhood stating “we ladies have to stay collectively” (MGM, 2001). It’s maybe the feminine characters which might be the strongest throughout the movie once more, following the message and third wave feminist strategy of feminine empowerment.

As an viewers the expansion in the character of Elle throughout the narrative, from that stereotypical blonde sorority lady to graduating prime of her class as a lawyer at Harvard is just achieved by means of girls lifting one another at maybe their lowest moments throughout the movie. Elle teaches Paulette (Jennifer Coolidge) the methods of flirting in order to realize a boyfriend price her whereas, and makes use of her unconventional strategies, her intestine intuition (very like Olivia in scandal) and her data of femininity to show the innocence of a convicted Brooke Windham. Even when Elle is at her lowest after a white-male elite, Professor Callahan (Victor Garber) makes an attempt to seduce her after admitting he solely let her into his selective research group, as soon as once more as a result of of her seems, Elle is introduced again to life with extra willpower to succeed and defy expectation from an sudden speech from a feminine professor “In the event you’re going to let one silly prick wreck your life… you’re not the lady I assumed you had been.” (MGM, 2001) Elle goes in opposition to all varieties of patriarchy, as soon as once more going in opposition to stereotypes, proving that she generally is a lawyer with out the Helpance of Callahan, or the approval of her ex Warner, taking on and successful the case.

Within the closing scene of Legally Blonde, we see Elle give an empowering speech to her graduating class “It’s with ardour, braveness of conviction, and robust sense of self that we take our subsequent steps into the world, remembering that first impressions are usually not all the time appropriate. You will need to all the time have religion in folks. And most significantly, it’s essential to all the time have religion in your self.” (MGM, 2001). It’s maybe this message that’s strongest throughout the movie. Tearing down misogynistic clichés, Legally Blonde is an ideal instance of submit feminism inside 21^st century movie. It isn’t only a movie a few stereotypical “Cosmo lady” (MGM, 2001) in her search to search out love, it’s a movie a few lady who achieves success with out sacrificing her principals, femininity or identification. Via rooting for these feminine characters to succeed throughout the narrative, we as an viewers find out about how we ought to be empowering one another in direction of success, as a substitute of tearing one another down.

While for its time, Legally Blonde pushed the boundaries for a feminist movie, third wave feminism regularly omitted girls of color, incapacity and LGBTQ+, that means that intersectionality had not been but thought of. Scandal, a tv sequence produced eleven years after Legally Blonde continues to push feminist boundaries with the selection of casting an African American actress as a feminine protagonist. While romantic stereotypes Help to drive the subplots of each Scandal and Legally Blonde, the narratives place the need of success inside their chosen fields over that of merely romance, focusing extra solely towards feminine empowerment and finally the sense of womanhood, driving them additional in direction of their objectives and their intentions to succeed.

References:

• Brüning, Okay. (2018). Olivia Pope: a black post-feminist topic? Analysing Scandal’s intersecting post-feminist and colour-blind discourses. Feminist Media Research, pp.1-16.
• Dole, C.M. (2008) The return of pink: Legally Blonde, third-wave feminism, and having all of it. In Chick Flicks (pp. 70-90). Routledge.
• IMDb. (2018). Legally Blonde (2001). [online] Accessible at: https://www.imdb.com/title/tt0250494/ [Accessed 28 Dec. 2018].
• IMDb. (2018). Scandal (TV Collection 2012–2018). [online] Accessible at: https://www.imdb.com/title/tt1837576/ [Accessed 28 Dec. 2018].+
• Gomez, S. and McFarlane, M. (2016). “It’s (not) dealt with”: race, gender, and refraction in Scandal. Feminist Media Research, 17(three), pp.362-376.
• Lotz, A. (2001). Postfeminist Tv Criticism: Rehabilitating Essential Phrases and Figuring out Postfeminist Attributes. Feminist Media Research, [online] 1(1), pp.105-121. Accessible at: http://www.tandfonline.com/doi/abs/10.1080/14680770120042891#aHR0cDovL3d3dy50YW5kZm9ubGluZS5jb20vZG9pL3BkZi8xMC4xMDgwLzE0NjgwNzcwMTIwMDQyODkxP25lZWRBY2Nlc3M9dHJ1ZUBAQDA= [Accessed 28 Dec. 2018].
• McClearen, J. (2015). Feminist Erasures. London: Palgrave Macmillan UK, pp.150-163
• Mulvey, L. (1975). Visible Pleasure and Narrative Cinema. Display, [online] 16(three), pp.6-18. Accessible at: https://academic.oup.com/screen/article/16/3/6/1603296 [Accessed 6 Jan. 2019].
• Pixley, T. (2015). Trope and Associates. The Black Scholar, 45(1), pp.28-33.
• Vaage, M. (2017). The antihero in American tv. New York: Routledge, p.151.
• Vega, T. (2013). A Present Makes Pals and Historical past. [online] Nytimes.com. Accessible at: https://www.nytimes.com/2013/01/17/arts/television/scandal-on-abc-is-breaking-barriers.html [Accessed 28 Dec. 2018].

Telegraphy:

• SCANDAL, 2012. ABC. 5 April, 22:00.

Filmography:

• Legally Blonde. (2001). [film] United States: MGM.