The quest for normalcy: signifying interracial romantic alliances in ABC’s Scandal

Abstract

The objective of this analysis is to analyze the first six seasons of Scandal to examine the signification of interracial relationships within a contemporary mass-mediated (con)text where post-racialism has become part of the dominant non-diegetic discourse. More specifically, I assume a semiotic analytic frame to focus on the interracial romantic alliance between high profile DC political players, Olivia Pope and Fitzgerald Grant (aka “Olitz”). The analysis identifies four signifiers across six seasons (interracial romantic alliances as pathologically based, post-racial realities as white privilege, racial consciousness as black penalty, and interracial relational normalcy as elusive and improbable) that collectively reflect problematic representations of interracial romantic relationships characteristic of past stereotypical depictions.

Keywords:

• Scandal
• Olitz
• post-racial television
• interracial relationships
• Shonda Rhimes

Notes

1. The premise of the manuscript is that the title of the television series refers simultaneously to the interracial, extra-marital affair between Olivia Pope and Fitz Grant, their subsequent relationship journey, and the various political scandals highlighted on the show (see Orbe, in press). In this regard, Rhimes is able to offer a televisual drama that both personal and political.

2. In fact, Olivia is most commonly referred to as Fitz’s “mistress,” “the President’s flaw” and “his Archilles heel.” “Whore” is also a common signifier: “sleeping with whores” (Sally to Fitz, “It’s Handled” [3.1]); “the whore who keeps him on a leash” (Mellie in “It’s Handled” [3.1] respectively); and “You can’t treat me like I’m some whore off of the street” (Olivia to Fitz in “Seventy Fifty-Two” [2.19]).

3. Of particular interest are the ways in which Fitz and Angela’s budding relationship appears as a replacement for Olitz. While Angela and Olivia briefly discuss their attraction to Fitz (“Hard Ball” [6.2]), the competition for access to power is palatable across season six including one episode (“Trojan Horse” [6.11]) where they both sleep with Fitz in the same bed and within a few hours of one another.

4. Note that Spaights and Dixon (1984) avoid the use of relationship to characterize the interactions between interracial pairs that are pathologically attracted to one another. Instead they opt to use interracial romantic alliances to describe such pairings, terminology that appears fitting for Olivia and Fitz who are never able to define and secure a particular relationship status.

5. Across the show, for example, music serves as important function (Negus & Street, 2002) in framing the televisual experience. Almost exclusively African American artists provide the soundtrack for the show, most notably soul and r&b with a little gospel and rap thrown in (Everett, 2015, p. 40).

6. In “It’s Handled” [3.1], the vice-president (Sally Langston) teams up with White House strategist Cyrus Beene, but makes her distaste for his same-sex marriage – which she describes as an “ungodly relationship” – known. She then quickly adds that she has great sympathy for the “poor brown baby” that the white couple has adopted. The second passing reference occurs in “Flesh and Blood” [3.17]. Olivia is working with Fitz on his re-election campaign. When Fitz articulates his concern that the NAACP might support his opponent, Olivia reassures him saying, “I’m telling you, I’m Black. Sally doesn’t have the NAACP.” The conversation ends there. Lastly, race is explicitly articulated in “Where’s the Black Lady” [4.11]. In this episode, the African American partner of Olivia’s neighbor refers to Olivia as the “black lady.” This symbolizes the normality of ingroup expressions of race. Of note, Olivia’s White colleague, Quinn catches herself from mirroring the woman’s racialized label: “Why does the Black ----, why does Olivia have your friends’ keys?”

7. A second explicit of racial consciousness and black penalty is featured in “Tick Tock” [6.15]. In this episode, Maya (Olivia’s mother) re-appears as co-conspirator/threat to the White House political machine. While her presence as historical Black consciousness is minimal, as compared to Rowan, her articulations of Black (and female) penalty are compelling. During a lengthy interrogation where she is being kept chained in a table, she delivers a long monologue highlighting the disadvantage that she’s experienced as a Black woman.

8. Shonda Rhimes is an expert at creating televisual experiences where viewers utilize their particular cultural locations to inform their perceptions. As argued by Orbe (in press), African American fans of Scandal often times see Olivia Pope as a Black woman (and consequently her relationship as interracial), while European American fans are quicker to assume a color-blind approach to their understanding of the relationship.

9. As I completed this analysis, the final season of Scandal is set to begin with the promise of unexpected twists and turns. A re-positioning of interracial romantic relationships as productively normal, however, is beyond my expectations. Still, I remain cautiously hopeful for future possibilities. This sentiment is in light of recent national news that broke, reporting that Shonda Rhimes and her company, Shondaland, were hired away from ABC by Netflix to develop a cadre of new shows (Shaban, 2017). Rhimes pointed to “the unique creative freedom and instantaneous global reach provided by Netflix” as key motivators for her decision. Could it be that she is was tired of the restrictions of the traditional entertainment establishment that placed mainstream financial success over racial consciousness? Only time will tell …