Jayda Patterson

                  Orange Is the New Black (OITNB) is a Netflix Original series based off the novel Orange Is the New Black: My Year in a Women’s Prison by Piper Kerman, which focuses on the lives of women in prison, known for its ethnically diverse cast and inclusion of queer characters. This analysis is significant because I will explore if the inclusion of these characters is equal to representation. Throughout this text, I will focus on Poussey Washington and Brook Soso, as well as the relationship between the two inmates. I chose to analyze these two characters to explore intersectionality with race and sexual orientation, as well as how sexuality can be ambiguous. I will also look into how diversity behind the production of the show, or lack thereof, affects how characters are portrayed.
Intersection of Race and Sexuality
                  Poussey and Soso come from different cultural backgrounds, which affects how they treat each other and how others in the prison act towards their relationship. Their interracial relationship, although not clearly defined, did receive backlash. Poussey is a black woman while Soso is Asian. Just as Asians are a more privileged minority in our society, so too is Soso within the prison, which may also be because she is perceived as biracial. She is given special treatment by the guards similar to that of the white inmates. Soso’s presence on the show is an example of inclusion of an Asian character not meaning representation. She does not speak of her culture or how she identifies within the Asian community (Householder & Trier-Bieniek, 2016).
                  Soso does not portray the positive tropes often used to identify Asians. She is not a quick thinker and often needs the guidance of others. Soso also displays stereotypical female traits, including being overly emotional and naïve. In contrast, Poussey defies the negative stereotypes often seen of black women in media. Her inclusion is a good example of representing a black woman who is well educated and does not have a sassy attitude all the time.
Relationship Analysis
                  Neither character give in to the stereotypes of lesbians being on one end of the spectrum of either butch or femme. Despite this, there is dominance in the relationship. Poussey displays masculine traits by being the one to pleasure Soso, therefore being the dominant one and Soso the submissive. Often the media shows men as being the saviors and women must rely on them to be rescued. In this context, Poussey would be the man in the relationship because she comes to Soso’s aid after an attempted suicide, which sparks their relationship.
Exploration of Sexuality
                  Prior to her relationship with Poussey, Soso had been involved with a man. Although not specifically stated in the show, Soso can be characterized as being bisexual. Bi women are often stereotyped as not knowing what they want, being confused, or even going through a “voluntary act of experimentation” (Zimmerman, 2014). OITNB did portray Soso with these traits, as she had moments where she questioned her involvement with Poussey and did not know how she wanted to label their relationship. Also, many scenes with the two characters involved them having sex. This gives in to the sexual stereotype that lesbian or bisexual women are promiscuous.
Production
                  OITNB was created by a heterosexual, white, cisgender woman, Jenji Kohan. Being a straight, white woman means she lacks the knowledge of how different racial backgrounds and being among the LGBTQ community play into an individual’s persona, which could have led her to using stereotypes. Despite being among the majority herself, Kohan did not aim OITNB at the majority audience, as most media is (Ross, 2011, p. 208).
                  There are more women writers for OITNB than there are men, but there is a lack of ethnic diversity behind the scenes overall. In “Orange Is the New Black, Except in the Writer’s Room,” April Reign (2016) says, “Nuances and complexity are left undermined in a way that they may not be with more people of color on staff.” There’s a better chance of minority characters having a more in depth background or straying from stereotypes when those creating the media can pull from their own experiences. Poussey was one of the few black characters in OITNB to possess characteristics not normally given to black women in media.
                  Since OITNB is originally aired on Netflix, this allows for less censorship when it comes to explicit content. The audience is exposed to sexual relations between women countless times throughout the show, with Poussey and Soso being among them. The audience gets glimpses of women exploring their sexuality.
Conclusion
                  Overall, Orange Is the New Black does a superb job of displaying how racial differences can impact relationships, the exploration of sexuality in women, and inclusion of queer women from various backgrounds, but lacks when it comes to diversity behind the scenes. Although some of the minority characters in the show do fit their racial stereotypes, Poussey and Soso were two that go against what is normally displayed for black and Asian women. Poussey is a positive step towards breaking the typical black woman stereotype, but Soso lacks depth and can be scrutinized for being included solely so there is another Asian character. Soso’s sexual orientation represented the ambiguity of sexuality and showed that a person does not have to identify themselves. If there was more ethnic diversity in production, characters could be exhibited with more complex backgrounds and stereotypes related to both race and sexuality could be further defied.
 
References
Householder, A. K., & Trier-Bieniek, A. M. (2016). Feminist perspectives on Orange is the new black: thirteen critical essays. Jefferson, NC: McFarland & Company, Inc.

Reign, A. (2016, June 24). Orange Is the New Black, Except in the Writer's Room. Retrieved April 15, 2017, from http://www.essence.com/2016/06/24/orange-new-black-except-its-writers.

Ross, K. (2014). The Handbook of Gender, Sex, and Media. Chichester: Wiley Blackwell.

Zimmerman, A. (2014, August 14). It Ain't Easy Being Bisexual on TV. Retrieved April 16, 2017, from http://www.thedailybeast.com/articles/2014/08/14/no-network-for-bisexual-men-and-women.html
 
                                                                                                                                                                         

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