Gays in Primetime -- A Special Investigative Report: Part IIEven Horta seems flustered when asked about the possibility of a same-sex kiss between fashion assistant Marc St. James and his boyfriend on Ugly Betty. Ultimately, Horta said he wouldn’t want to include a kiss just as a political “statement,” but that if it did happen, he wouldn’t want it to be a mere throw away either, because it is something still rare on television. It’s a thoughtful answer, and you get Horta’s point. Yet in an industry climate where the notion that two gay characters working in the New York fashion industry might kiss while dating could be construed as a political statement, clearly Hollywood hasn’t completely wrapped its mind around the idea that the American public might accept gay people as actual human beings with real lives. And ultimately, that’s what all the apprehension – straight actors afraid to play gay, double standards, and guessing games – is about: unattractive assumptions about the American public’s sophistication, provincialism, and bigotry, which may or may not be the case. Lawrence calls it a “chicken or egg thing,” seeing it as a “self-fulfilling prophecy.” Mutchnick is blunter, calling it “internal oppression.” He further stated, “The only oppression that exists…exists inside these [writers] that keep saying … I don’t think that it will work, I don’t think they’ll ever say yes to it.” It’s an internal oppression Mutchnick admitted even he exercised during Will & Grace. “I think we said a lot, but I think we could have said a lot more.”
Jon Robin Baitz (left) & Max Mutchnick Taking up the Challenge One person Mutchnick believes was free of that internal oppression is Brothers & Sisters creator Jon Robin Baitz, who came to TV direct from the New York theater, a place where, Baitz reminds wryly, “you’d be hard pressed to find a character who’s not gay.” In fact, Baitz said he reacted with amazement when his creation Kevin Walker was greeted as groundbreaking merely because he had a romantic life, explaining “it wouldn’t have occurred to me” that this was something remarkable. He feels the character exhibited the “presupposition that I live with, which is that we are all the same thing.” And Baitz believes the lack of those censorious voices in his head affected his show’s gay character in a way that elicited acceptance both from executives and the audience. But Baitz also sees the underlying principles that keep networks and creators timid about gay characters as patently flawed. “So much of the culture has grown to the point where they have to face the irrefutable truth in front of their eyes that someone they love is gay, and it is no longer [acceptable] to shun them.” Barclay is convinced that what Hollywood needs is proof, believing that even today a breakout character who is gay hasn’t been written. “There’s nothing out there that says this can be successful, this can not hurt our show, this can be huge, it’s all good,” said Barclay. And he feels until that happens, “people don’t have any cover. They just feel like – ‘Oh, this is an impossible dream.’” Barclay thinks that could come in the lead of a dramatic show, or “a traditional family sit-com” centered on a gay couple with children. Barclay references the enormous impact of The Cosby Show, and believes a similar gay family comedy could find success “because people will be able to identify with it, and they will be startled that they identify with it.”
Paris Barclay (left) & Bill Lawrence Whether in a drama or comedy, both Barclay and Lawrence say that kind of breakthrough only comes via a talent big enough to earn the respect of not only the network system, but the audience. “Within Hollywood,” explained Lawrence, “the biggest splashes, the movies that make their mark, the TV shows people remember, are isolated incidents where someone or a group of people … by sheer force of will power or star power, or passion jam this thing through the system, and it works. And not only does it work … it’s immediately set a new bar.” Lawrence suggested Baitz was a good example. Or as Barclay put it, “Robbie Baitz pushed that through with his fist.” The executives who spoke for this article seem open, in some cases even committed, to bringing rich dimensional gay characters onto their airwaves. The creators as well – both straight and gay – were sincerely passionate and interested in the issue of diversity, and how to do it successfully. Some improved communication, along with some powerful creative vision, and things may be ripe for significant change- a change the creators we spoke with see as important. As a self-professed straight, pasty, white wasp, Lawrence said that one of the coolest things about working in Hollywood is that “within a couple months, a percentage of your friends are going to be gay, or black, or Hispanic. And that happened to me.” He said it has enriched his life, and believes when Hollywood brings its own diversity to the screen, it similarly enriches the stories they tell. Horta feels the diversity on his show has an impact that is, in his own words, a two-pronged thing. “If you’re a young kid struggling with your sexuality,” or a Latina dealing with body issues, or a trangender person, or “any number of these pieces that stem out of our show … it’s important because people see themselves in these characters and they feel a sense of pride and a sense of ‘I’m not alone.’ There’s something I can look forward to; there’s someone I can relate to.” He also believes that for the average “middle class, straight, white guy” or for viewers who “don’t necessarily fit into these pieces … it’s funny, and they’ll enjoy it and they’ll be moved by it. And I think subconsciously it has an effect,” said Horta. “It just becomes that this is what the world is, and this is what exists. And it’s fine.” Read part one of "Gays in Primetime" here. Submitted by on Tue, 2008-04-08 21:15. |
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The Tangled Web of Corporate Agendas
As anyone who has ever worked in a major corporation can tell you, it is rare that anyone individual has unilateral power to decide anything, but one sufficiently powerful individual can easily obstruct something.
The interviews demonstrate a lot of people saying "It's not me!" on this issue. Rather like Murder on the Orient Express, that suggests that everyone is the murderer.
To some extent that may be true. It sounds overall like the various writers, producers, directors, actors and censors all have various levels of aversions and/or rationalizations in place around the idea of gay characters.
That characters that were planned to be gay are made straight "to fit the story" is perhaps the best demonstration of how little they think of the GLBT audience. In an environment where the vast majority of characters are straight, storyline rationales can be made for every significant character to be straight. As an excuse therefore it's a little insulting because it implies that creators really don't care about pleasing us as an audience.
That actors have a well-known aversion to playing gay is no big secret. Many of those who will, as noted in the article, will only do so for movies where it's a one-off and possible career move, as it was for Will Smith in Six Degrees of Separation. Would Smith, at that point in his career, been willing to play a gay role on a regular television program as opposed to a single movie? I strongly doubt it I would expect most Hollywood agents to counsel a young actor against doing so. Even gay ones are likely to be averse, as evidenced by the simple fact that so few actors are out in the first place.
The question of the gay lead character is even thornier. Let's be honest here, a sizeable chunk of Will & Grace's audience was reverse-slashing in their minds and hoping that Will would recant his homosexuality and marry Grace well into the series' run. That this was a show with a lead gay male character was rendered slightly less controversial by his almost husband-like devotion to Grace. Especially since Will's sex life was sight-unseen and boyfriends were infrequent (and non-kissing) at best lowered the barriers to his role as show lead. Would the networks have greenlit him in a show absent a straight female opposite-lead?
But then the networks have always been timid. This is why so many truly innovative shows in recent years have been produced by premium channels such as HBO and Showtime, or else by foreign media powers like the BBC. These networks, being supported either by subscription fees (or taxes in the BBC's case) are not enslaved to the perceived will of advertising sponsors. Primetime networks (and their corporate parents) are, on the other hand, overly mindful of such things.
Personally this doesn't impact me much. I have very little free time to watch TV and I openly admit that I do tend to favor shows based on a "gay sensibility". The situations on shows like Lost and Heroes has flown right over my head because, knowing that there was no gay presence on those shows I have not opted to make time to watch them. In my case at least the tradeoff the networks has made for the lack of gay characters is the lack of my gay viewership. Indeed, on network TV I think that pretty much Brothers & Sisters is the only show I have watched with any regularity, and only because Kevin is such a prominent character. If he were a background character I probably wouldn't be so devoted.
Now, is there anything we can do about this? Well, other than denying our viewship to shows like Lost and Heroes, no, not really. We can send plenty of complaints to the networks but I think they've been getting a steady stream from us for over 20 years now so I don't know how effective it will be.
The other option is to find some willing homo (Perez Hilton, you out there?) to compile a list of every gay writer, actor, producer, director and executive in the business (closeted or not) and subject them to good old-fashioned ancient Greek ostracism. Nobody has sex with them (no matter how cute they are), we spill drinks on them in gay bars and refuse to socialize with them at any other events. Once they're sex-deprived and forced to socialize entirely with straight people I think they'll admit defeat and cave in.
Of course I'm joking, but only a little bit.
Good plan, but....
Wanted...
Thank You, James...
for this powerful, important article that gives so much insight into these issues of representation. I'm pretty blown away both by the comments you were able to get from so many Hollywood bigwigs as well as the big picture analysis in which you placed them. Fantastic article!
Thanks
The status quo sucks! More Barclays and Berlantis are needed....
Reading Horta's candid comments about Marc kissing his bf on a show as diverse and inclusive as Ugly Betty reminds me that homophobia, especially when it comes to any intimacy between males, is in many ways more alive and kicking than ever. Since most of network TV sucks, I am going to enjoy its amazing offerings whether they are gay inclusive or not. Lost is a masterpiece as was this season's The Wire, even without Omar playing a significant part of it. Token gay inclusion is the worst so I am with Barclay on that one.
I'll get my gay fill via literature, independent cinema, my friends, music, my own creations, porn, my life, and will support projects like Angels in America or any other quality projects irrespectively of their gay inclusion.
I hope that Logo, here!, and basic cable will strive to find a business model that keeps upping the ante on quality and gay-inclusiveness so that I can get really pumped about being able to see programs/product that has the potential to please me on an even higher level then when I watch a good episode of Lost.
Great job James!!!!!!
Coming attractions: Guillermo's Cultural Guillotine
http://springintoaction.typepad.com/cultural_guillotine/
<I think we're much too hung up on kisses
ATWT is an issue unto itself, cause they gave us these two hotties, had them kiss like there was no tomorrow and then brought dwon the iron curtain. As for everything else I've never thought of kissing as the ne plus ultra of gayness.
Marc and Cliff on Ugly Betty are fascinating, fully-realized gay characters just as they are. I've never thought about them kissing much less having any HOT MAN-TO-MAN ACTION on the show. Kevin and Scottie on Brothers & Sisters are a different affair, what with Kevin being Mr. Fear of Commitment for so long, and Scottie being so irresistible. So there's been plenty of smooching. In other words I thinkk the Kissing Question should be dealt with on a situation-to-situation basis.
Reading what these writer/producers have to say shows how so much has changed so quickly. Monitoring the smooches on Dawson's Creek comes from a world where Kevin & Scottie could never exist. Even thinking about Justin would be verboten there too. But there he is today. it's going to be fascinating to watch him develop. But given the kind of show Ugly Betty is when Justin falls in love he won't be the perky gay kid brother anymore. Love transforms you -- as Betty herself well knows. Meanwhile I remain guardedly optimistic about gay TV -- except of course for ATWT. It's hopeless over there.
You know I don't think its
You know I don't think its so much about the kissing itself, I certainly don't feel that Marc and Cliff need to get all smoochy to make them real.
But I still don't like the idea, that the option is not really there.. It simply should be a non issue, a writer shouldn't have to be thinking. Is this going to alienate my audience, is standards and practices going to jump down my throat? I mean seriously CPR as kissing, the mention of that in the article broke my brain..
loved this Article, It was a
Impressed he got them to talk