Critiquing NK Wrld’s Video on Baby Mama Culture 

Part I: 

Encoding NK’s Wrld is a YouTuber whose content focuses on how women are represented on social media, especially women who recently entered adulthood. NK emphasizes personal privacy and as such, her name, education, and credentials are unknown. 

However, the research she conducts is primarily from studying social media content herself, monitoring the prevalence of oversexualization and negative issues affecting women by checking different platforms frequently. She also offers a unique perspective in that she is a Canadian critiquing specific issues that are most prevalent in the United States, bringing an outside perspective on the matter. 

NKappears to be politically progressive-leaning, often emphasizing the importance of feminism and equal opportunities. An interesting trait of hers is that she often expresses how women shouldn’t oversexualize themselves, which can sometimes come across as conservative, but she always clarifies that female oversexualization is, from her perspective, harmful to achieving gender equality because the oversexualized fashion of today was created primarily by men, for men. 

NKalso identifies as a Black woman and offers her perspective on how young Black women are often being portrayed as sexual objects on social media rather than people with multifaceted personalities and talents. In her baby mama critique, she describes how a majority of the women who are called “baby mamas” are still Black women, and how the ones who aren’t Black are almost always white women who have children with Black men. 

The women she examines include Skai Jackson and fellow actresses Halle Bailey and Keke Palmer, along with hip-hop musicians Sexxy Red and Bhad Bhabie, and media personality Kylie Jenner. The majority of the women in this group are Black while the women who aren’t–Jenner and Bhabie–have children with Black men. The assumptions made of these celebrities’ relationships and the racist connotations of the term “baby mama” is ultimately an issue of intersectionality, further discussed below. 

Part II: Analysis of Content 

NKWrld’s analysis ultimately brings up four important concepts from our class: intersectionality, gender socialization, gender performativity, and hegemony. Intersectionality isinvolved because race and gender intersect in this issue, such as with how most of the famous women being labeled as “baby mamas” are Black or are white women with Black men, showing stereotypes based off of race. 

She explains how, despite the term likely being derived from Jamaican Patois, it has been weaponized by white people throughout history to label Black women as inherently irresponsible and promiscuous, somewhat similar to the derogatory term “welfare queen.” Meanwhile, the famous white women who have had children with Black men are not labeled “baby mamas” as frequently, but are still viewed as hypersexual simply for being sexually involved with Black men. 

An experiment published by the US National Library of Medicine in 2017 (originally conducted by SageJournals) surveyed 435 undergraduate students on stereotypes pertaining to Black and white women. 

They found that a majority of the students assumed that Black women were more likely to be sexually and/or financially irresponsible than white women, and that, “A Black target described as pregnant was also perceived as more likely to be a single mother and to need public assistance than was a white target described as pregnant.” 

The authors go on to explain that there are unique stereotypes about Black women that are not applied to Black men or white women, stating, “Three prevalent, pernicious images or archetypes of Black women that have been promulgated dating back to the period of American slavery are the ‘mammy,’ ‘sapphire,’ and jezebel.’” 

The “mammy” stereotype describes a Black woman who is motherly and content with caring for white children, while “sapphire” pertains to a Black woman who is aggressive and domineering, and “jezebel” to a Black woman who is hypersexual and sexually available. These stereotypes are extremely harmful to Black women because they are portrayed as being intimidating, irresponsible, and content with situations that ultimately worsen society’s perceptions of them. 

Black men have also been labelled as aggressive and domineering to a lesser, but still noticeable, extent. According to a 2016 report from The Guardian, “In America, Black men have historically been depicted as aggressive, hypersexual and violent–to be controlled, to be exploited, to be tamed.” They are also assumed to be less responsible fathers than white men and more likely to abandon their children, which worsens the stereotypes associated with the celebrity women NK discusses. 

Although some of the men involved, such as the partners of Keke Palmer and Skai Jackson, are not actively invested in their partners or children’s lives, they do not represent the majority of Black men, and most of the men involved are active fathers. 

She does criticize some of the celebrity women for having children with men that engage in problematic behavior, but also acknowledges that most of these women have had their first child in their early twenties, in which they are still learning how to navigate the world and were not fully exposed to the risks that non-celebrity women typically are. Her criticism connects to gender socialization and hegemony, topics she often discusses in her videos. 

Gender socialization, in which people adopt characteristics based on behaviors of other people of the same gender, is becoming increasingly common with the advent of social media. Susan Bordo’s article on the growing prevalence of mature and hypersexual female images relates to the issue at hand, which is that teenagers and young women are being negatively influenced by the women NK critiques, whether those celebrity women intend to influence them or not. 

Most of these celebrity women being in their early twenties while being affluent also creates the assumption that having children at a younger age can be entertaining or even glamorous. The sexualized images Bordo critiqued are also still prevalent today, with Bhad Bhabie and Sexxy Red often being extremely hypersexualized while having children at a young age, inadvertently teaching girls that sexualizing themselves and having children at a younger age could increase attractiveness. 

According to a 2021 report on baby mama culture from the University of Nebraska-Lincoln, “Today, many celebrities boast of their being baby mamas or baby daddies. This action has influenced many…teenagers who see being a baby mama or baby daddy as a cool thing.” Although these particular celebrities don’t label themselves as baby mamas, they do not actively fight against the label either. 

This problem ultimately relates to hegemony. In our hegemonic culture, women are still expected to sexualize themselves and perform for men, rather than for themselves. Even if these celebrity women are dressing and performing for themselves, our hegemonic culture assumes they are doing it for the attention of men. Our culture also assumes that they are allowing themselves to be “baby mamas” and ridicules them for perpetuating the stereotype, even if that is not their intention. 

John Berger’s article on how our male-controlled society inherently views women as sexual and less than connects to this. “Men act and women appear. Men look at women. Women watch themselves being looked at” and “thus, she turns herself into an object–and most particularly anobject of vision: a sight” exemplifies how these celebrity women are viewed as objects to only satisfy men and produce children, which is something NK heavily criticizes. 

Finally, gender performativity is also present in NK’s analysis. She critiques these women for supposedly performing with a male audience in mind, and criticizes them for performing as if they are satisfied with their personal situations, in which most of them have absent partners and fathers to their children. 

Although some may be content, others aren’t, with Palmer having expressed frustrations about issues between her and her partner. Overall, the different concepts at play create an extremely complicated scenario in which these celebrity women, whether meaning to or not, are negatively influencing younger women, with our hegemonic culture worsening it. 

Part III: Interview 

I interviewed my mother, a Jewish and Indigenous woman who worked in the entertainment industry for around two decades, to gauge her feelings on this matter. She explained to me that within the industry, the term “baby mama” was almost seen as a lighthearted joke rather than an insult, but that whenever it was used, it was almost always targeted at Black women by men. 

However, despite it being seen as a joke, she often found it derogatory, stating, “When a man would say it, it would be like him saying that she was someone he bred to have a baby. It was almost like calling her an animal.” 

When asked about these celebrity women’s influences on younger women, she had a negative reaction, expressing concern that younger women may consider having children at a young age “cool” or “trendy.” “It’s bizarre because it used to be looked down upon when you had a child at a young age, but now it’s becoming popular. It concerns me quite a bit,” she said. 

Meanwhile, my mother has always had the opinion that women who hypersexualize themselves are hindering advances towards gender equality. Growing up, I disagreed with her, considering her view to be sexist. 

However, after taking this class and critiquing NK’s video, I understand her concern. Because our dominant culture was curated by men for the male gaze, female hypersexualization is inherently seen as being for men, which can inadvertently harm the feminist movement. 

Finally, she admitted to knowing about our hegemonic culture, explaining, “It’s something I’m very aware of and have been throughout my career. I’ve always had to be cognizant of how other people perceive me and who was seeing me. I would play down my appearance because eventhough I have my abilities and am very proud of my career, I had to not be ‘too much.’” She can be reached at 773-951-9816 or cbokarl@gmail.com.

Analysis of "Four Opinion Writers on 'Wicked': 'Women Deserve Rage. We Have a Lot to Be Angry About'" 

Introduction 

The article "Four Opinion Writers on 'Wicked': 'Women Deserve Rage. We Have a Lot to Be Angry About,'" which came out in The New York Times on November 29, 2024, is more than a review of the film adaptation of Wicked. It uses the movie to dive into complex ideas about feminism, representation, and the evolving ways we think about gender and power. It feels like a much bigger conversation about where women stand today and how media like Wicked can reflect or even challenge those realities. 

What I found most interesting was that this article framed female anger as valid and necessary, allowing meaningful resistance against oppression to rise. It also evaluates how Wicked describes the two central characters, Elphaba and Glinda, and how their stories highlight more significant issues regarding intersectionality, gender roles, and privilege.  

In this essay, I will deconstruct the article's arguments and examine intersectionality, gender performance, and audience reception. I will also reflect on how this article fits into The New York Times' journalistic approach to sharing an audience perspective and explore how people engage with these themes. 

Part One: Encoding 

The four opinion writers come from different backgrounds, which is part of what makes their analysis layer together so well. Of the four, one writer is a Millennial feminist who uses their platform for writing about reproductive rights and systemic oppression; she zeroes in on Elphaba's anger as a metaphor for women's resistance to patriarchy. On the other hand, one of the Gen X writers takes a more critical view, exploring how feminist ideals are sometimes watered down in mainstream media. These differences reflect how feminism is not one-size-fits-all and that there is so much diversity in how people experience and talk about it. 

Thinking about The New York Times as a platform is also essential. The paper has a reputation for being progressive, especially in its opinion section, but it also must balance that with the expectations of its mostly white, wealthy audience. This balancing act seems to come through in how the article is written: it is accessible enough for casual readers yet still has thoughtful takes on feminist issues. There's an awareness that discussions around empowerment and representation are a cultural touchpoint, and the writers are tapping into that strategically. Another key influence on how the article approaches its analysis is the film's director, Jon M. Chu. Chu has made a name for himself by creating movies centered on identity and representation, such as Crazy Rich Asians. This, coupled with his perspective as an AsianAmerican filmmaker, likely informed how Wicked addresses issues of marginalization. They compare Elphaba's experiences as an outsider to conversations about race and gender in Hollywood, which gives the story even more depth. Casting is a huge factor in many people's interpretation of Wicked. For instance, the performance of Cynthia Erivo as Elphaba challenges conventional beauty standards and highlights the interconnection between race and gender. The article identifies that her performance alters Elphaba's anger into an enabling and transformative power. On the other hand, Ariana Grande's Glinda opens up a different conversation about privilege and how femininity is often portrayed. These casting choices aren't just about who plays the roles; they add new layers to the feminist critique. 

Part Two: Text/Content

The New York Times article makes a tough case for Wicked not only as a movie but as a  cultural artifact that challenges and reflects how society sees women regarding power. The authors identify one of the more essential ways Elphaba's anger is a source of strength. For far too long, women's anger has been dismissed as irrational. But in Wicked, Elphaba's anger is portrayed as justified and necessary. The writers connect this to modern feminist movements where anger is being redefined as a powerful tool of change rather than a weakness. 

Sara Ahmed's work on the "feminist killjoy," indicates that anger can disrupt consensus, compelling people to confront hard-to-confront realities about power and injustice. In that sense, Elphaba's anger does precisely that. It is not purely a personal frustration but also part of a system that turns her into an icon of resistance. 

The article also explores Glinda's character development, which I found fascinating. At first, Glinda seems to fit the "good girl" stereotype of being pretty, sweet, and eager to please. But as the story goes on, she starts questioning these ideals and her role in maintaining the power systems around her. The authors employ Judith Butler's theory of gender performativity to explain this shift, suggesting that Glinda's transformation reflects a broader cultural movement toward more complex and authentic portrayals of femininity. 

Another critical theme the article touches on is intersectionality. The writers highlight how Elphaba's experience as an outsider goes beyond just gender, touching on race, class, and disability. This is particularly relevant with Cynthia Erivo's casting as Elphaba, which challenges the traditional portrayal of the character and adds new layers to her struggles. Similarly, Ariana Grande's portrayal of Glinda complicates the "privileged blonde" stereotype. The writers argue that these casting choices encourage the audience to think more critically about representation in media. 

Finally, the article relates Wicked to real-world feminist issues such as reproductive rights and the #MeToo movement. By framing Elphaba's anger as a reaction to systemic injustice, the writers illustrate how Wicked can amplify feminist messages and inspire real-world change. It's a reminder that media doesn't just mirror society. It can shape how we think and act. 

Part Three: Decoding 

I spoke with Emma Hejlik, a fourth-year Tippie Business student and a longtime Wicked fan, to hear her perspective on the film and its themes. Emma shared that Elphaba's anger in the movie was deeply "empowering." As she explained, Elphaba's defiance and raw emotion resonated with her, particularly considering the ongoing challenges women still face today. Emma saw Elphaba's resistance as a reflection of the struggle for recognition, especially in a world that often disregards women's voices. In her view, Elphaba's anger is not just an opposing force but one that channels power, a perspective that aligns with what Stuart Hall describes as "dominant-hegemonic decoding" where the audience accepts the intended message of the text without much question. 

However, Emma wasn't entirely on board with every aspect of the film's portrayal. She took issue with how the movie treated Glinda's character arc. While the article I had shared with her argued that Glinda rejected traditional femininity, Emma felt this was not adequately shown in the film. She felt that Glinda's development was rushed and somewhat superficial, which made the article's claims about her rejecting femininity feel disconnected from the reality of how the character was depicted on screen. For Emma, this felt like a clear example of "negotiated decoding" from Hall's theory, where an audience may accept some interpretations but bring their understanding to others. 

Additionally, Emma pointed out a significant gap in the article's analysis, it focused heavily on white feminist viewpoints without addressing how Wicked resonates with other marginalized communities. This observation immediately made me think of Kimberlé Crenshaw's concept of intersectionality, which emphasizes how overlapping social identities can shape individual experiences. Emma's critique highlighted that any feminist interpretation needs to be more inclusive, recognizing the varied ways different audiences experience the same media. Her feedback was a reminder that, when engaging with feminist critiques, it's crucial to account for the diversity of perspectives, especially in how marginalized groups engage with media. 

Conclusion

By focusing on Elphaba's anger and Glinda's transformation, the writers highlight how media can challenge traditional narratives and inspire new ways of thinking. What was powerful about the article was how it placed Wicked within the real-life struggles of individuals, showing how those types of stories are a part of a cultural conversation. Meanwhile, Emma's perspective helps solidify that audience interpretation is intricate and dependent on the individual's life experience. Again, this makes me realize just how important it is when media critiques are inclusive regarding the varied voices in the conversation. 

AI Acknowledgement: I used the help of AI to revise my paper with proofreading and correction of grammatical/spelling errors. I wanted to ensure that the final product I turned into this class was as refined as it could be. I thought a different perspective that was completely unbiased would be a good analyzer.  

Nick Fuentes and Masculinity

Part I: 

Nick Fuentes is a 26 year old, far right political live streamer living in Chicago, Illinois. His content is extreme and he has been outcasted by many conservative commentators and organizations for not aligning with the modern conservative party’s values and beliefs. In addition to anti-women beliefs, Fuentes has openly supported white supremacist beliefs, is strongly anti-semitic and a Holocaust denier, and is a Christian nationalist. He is the host of “America First,” his nightly live stream on which he expresses his views, which is not available on any mainstream streaming services (Nick Fuentes).

Fuentes has connections to powerful people in the Republican party – he dined with Donald Trump at Mar-a-Lago in 2022 and has met with Jonathan Stickland, president of Defend Texas Liberty, a huge and powerful right-wing PAC. His annual “America First” conference has been attended by representatives such as Marjorie Taylor Greene and Paul Gosar (Downen). Although Fuentes has been denounced by many republicans, he does still have a large platform and following, and his words do have impact.

Part II: 

This clip from Fuentes’ stream starts out strong with him saying, “...women are fucking retarded” (0:03). He then goes on to complain about/make fun of women crying about the election results on social media. Gender socialization is the cultural process by which young boys and girls learn what is and is not appropriate behavior for each gender through their environment, media, family, and other factors (Durham, Slide 4). The Mask You Live In explains how from a young age, men are taught that to “be a man” they must not cry or express emotions and that masculinity is the rejection of all things regarded as feminine. The film also covers the societal pressure for men to be tough and aggressive and that to be a man, one has to learn how to be dominant and in control. All of these are examples of toxic masculinity, which is when hegemonic masculine ideals such as strength, power, and aggression, are internalized to the point of causing harm, whether it be in a man’s self perception, his treatment of women, or other aspects of his life (Sanders et al.). Fuentes is a physical embodiment of extreme toxic masculinity. Firstly, he is talking about women in an extremely condescending tone and as if he is better than them. Not only that, but he is mocking them for displaying emotions and crying, which are stereotyped as feminine behavior. As the video continues, he moves on to the insurrection and brags about how when Trump lost, men didn’t cry, “we raged”(1:15). He goes on and on about how amazing the event was, boasting about journalists and cops being beat up and the violence that took place. When he addresses the resulting deaths, he brushes it off as if they were nothing and moves on to a new topic within seconds. He circles back to the original topic of the video saying,“when men lost, we did something about…women they lose and they cry…” This quote is another example of toxic masculinity and the rejection of emotion and femininity; he is glorifying violence and demonizing women expressing emotions. It also demonstrates gender stratification, which is the idea gender is socially structured and hierarchical, giving men more power and privilege than women (Durham, Slide 8). Fuentes’ speech indicates he believes men are superior to women and that violence is equivalent to being a man and should be celebrated. This especially true given the caption of this tweet, which explains Fuentes is mocking women upset over his “you body, my choice” clip that went viral. Such rhetoric is representative of the entitlement men feel to womens’ bodies and is an example of rape culture. This representation of masculinity can cause serious harm to impressionable audience members and is promoting divisiveness and hate.  

Aidan Kenyon (aidan-kenyon@uiowa.edu), a 20 year old, cis straight white man and a student at the University of Iowa, was interviewed about his reactions to this clip. Kenyon comes from a similar background to Fuentes, both of them grew up in the Chicago suburbs and both of them hold a privileged position in society as cis straight white men. However, Kenyon holds democratic beliefs. When asked about his initial reactions to the clip he said, “that’s just an insane opinion to have.” He also pointed out that Fuentes turned the election [results] into a men vs women issue, which is not fair to the men that did not vote for him. “Speaking as someone who did vote for Kamala Harris, it’s kind of insulting to hear a man say women lost and men won in 2024, like no that’s not what I voted for… he was unnecessarily divisive and spoke for an entire gender when I myself was upset about the results of the election.” 

He also touched on how although this is an extreme representation of toxic masculinity, it is unfortunately how some men think. “By being so aggressive and hateful towards women, it can make the outcome of the election ever worse. Because you see people like that and it's like oh, you actually do feel that way, you actually do hate me and think that I’m stupid.” He finished his thoughts with, “...it can validate a lot of untrue stereotypes about men that, like, we think women crying is funny or that we think that, you know, that women don’t deserve rights…it validates a lot of feelings women do have about men which as a man should never happen because most of us don’t feel that way.” 

Kenyon is approaching the media with an oppositional point of view. He understands Fuentes is attempting to divide people and spread anti-women rhetoric and preaching that men are superior to women. Kenyon states that most men do not feel this way and spreading information of this sort and showing men it is ok to act this way is very harmful and should not be encouraged.