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Week 7 Queerness in Mainstream Forms

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Ellen (ABC 1994-1998) Making queer television history - the significance (and problems) of “firsts” Or, what can the (queer) history of the sitcom tell use about social and industrial progress—and struggle?

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Ellen (ABC 1994-1998) Making queer television history - the significance (and problems) of “firsts” “Ellen’s negotiation of the queer place in television history was set in motion by the ‘historic event’ of the coming out episode, but it did not end there[...] It’s fear of a quotidian, ongoing lesbian life on television suggest that, although the network could support queer television as a spectacular media event, it could not sanction a lesbian invasion of serial television’s more modest form of history making, the regularly scheduled weeks of televisual flow. Queer TV, in short, could make history as event television but not as what we might call ‘uneventful’ television.” (McCarthy 596-597)

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Ellen (ABC 1994-1998) Making queer television history - the significance (and problems) of “firsts” McCarthy charts how promotional and historical narratives surrounding television’s representational politics often overvalue spectacular “media events.” In doing so, these narratives obscure the challenges of crafting diverse television within the structure of mainstream media industries at specific moments in American history. McCarthy is interested in unpacking the complex, shifting relationship between the sitcom and hegemony in America...

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The sitcom and hegemony in America Hegemony: dominant politics and culture, maintained through force and ideology / ”common sense.” Hegemony defines what is normal .

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The sitcom and hegemony in America Hegemony: dominant politics and culture, maintained through force and ideology / ”common sense.” Hegemony defines what is normal . Capitalism -> neoliberalism Patriarchy White supremacy Heteronormativity Individualism BUT! “hegemony is an active concept – it is something that must be ceaselessly built and rebuilt in the face of both implicit and explicit challenges to it.” (Dyer, 356)

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The sitcom and hegemony in America 1950s: The domestic sitcom - establishing American norms The Adventure of Ozzie and Harriet (ABC, 1952-1966) Father Know Best (ABC, 1954-1960) Leave it to Beaver (CBS/ABC, 1957-1963) The Donna Reed Show (ABC 1958-1966) While a reductive narrative, midcentury domestic sitcoms are often credited (nostalgically or critically) with helping establish the white, middle-class, suburban family as representative of “normal” America.

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The sitcom and hegemony in America 1950s: The domestic sitcom - establishing American norms While some of the regressive qualities of this form are easily recognized and parodied, some of its norms retain hegemonic power.

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The sitcom and hegemony in America 1970s: The “progressive” sitcom - expanding American norms All In the Family (CBS 1971-1979) Sanford and Son (NBC 1972-1977) Maude (CBS 1972-1978) Good Times (CBS 1974-1979) The Jeffersons (CBS 1975-1985) One Day At a Time (CBS 1975-1984) Mary Hartman, Mary Hartman (Syndicated 1976-1977) Celebrated for their introduction of “realism” into the domestic sitcom, Norman Lear’s projects challenged televisual representations of everyday American life. They featured working-class characters, characters of color, and single and working mothers. These characters also actively and regularly debated American politics.

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The sitcom and hegemony in America 1970s: The “progressive” sitcom - expanding American norms However, the scope of the Lear project could only extend so far. Though All in the Family’s “Judging Books By Covers” (1970) is groundbreaking in its inclusion of an out gay character, its imagining of queerness is limited. This is not to dismiss All in the Family ; rather, the show’s characterization of Steve can help us understand the aesthetic, institutional, and political forces that impacted even progressive media of the 1970s (and beyond).

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The sitcom and hegemony in America 1970s: The “progressive” sitcom - expanding American norms Steve is a one-off character with no life beyond what he can teach Archie. Although sitcoms were becoming increasingly serialized, the form could not support ongoing queer storylines. In its attempt to challenge gay stereotypes, All in the Family offers what Richard Dyer would characterize as assimilationist rather than counter-hegemonic characterization.

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Stereotypes and hegemony “Righteous dismissal does not make the stereotypes go away, and tends to prevent us from understanding just what stereotypes are, how they function, ideologically and aesthetically, and why they are so resilient in the face of our rejection of them. In addition, there is a real problem as to just what we would put in their place… ” (Dyer, 353) “Stereotyping” was written in the early-1980s, as queer activism developed in the face of HIV/AIDS. This political urgency, especially the focus on solidarity and collective identity, underlies Dyer concern with queer visibility.

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Stereotypes and hegemony “A type is any simple, vivid, memorable, easily-grasped and widely recognised characterisation in which a few traits are foregrounded and change or ‘development’ is kept to a minimum.” (Dyer, 355) Social type Stereotype Member type

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Stereotypes and hegemony Social type Stereotype “a system of social- and stereotypes refers to what is, as it were, within and beyond the pale of normalcy. Types are instances which indicate those who live by the rules of society (social types) and those whom the rules are designed to exclude (stereotypes).” (Dyer, 355) In All in the Family , Archie often functions as a social type: a gruff, middle-aged man who is perplexed by the changing world around him. Whether the show encourages identifications with Archie is eternally debatable; however, All in the Family definitely assumes he is a recognizable participant in everyday American life. He is the protagonist after all.

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Stereotypes and hegemony Social type Stereotype “a system of social- and stereotypes refers to what is, as it were, within and beyond the pale of normalcy. Types are instances which indicate those who live by the rules of society (social types) and those whom the rules are designed to exclude (stereotypes).” (Dyer, 355) While Roger ultimately defies Archie’s stereotypical expectations, his characterization demonstrates the social function of stereotypes: to make the “non-normal” people easily recognizable and dismissable. Due to his proximity to legible queerness, Archie—and arguably the show as a whole—treats Roger as a joke.

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Stereotypes and hegemony Social type Stereotype “a system of social- and stereotypes refers to what is, as it were, within and beyond the pale of normalcy. Types are instances which indicate those who live by the rules of society (social types) and those whom the rules are designed to exclude (stereotypes).” (Dyer, 355) Except for his homosexuality, Steve fulfills the same social type as Archie—in fact he “fits in” better; he even beats Archie at arm wrestling! Thus, while All in the Family challenges stereotypes, it does so by suggesting that gay men can be “normal” too. In other words, it maintains hegemonic boundaries.

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Stereotypes and hegemony “in stereotyping the dominant groups apply their norms to subordinated groups, find the latter wanting, hence inadequate, inferior, sick or grotesque and hence reinforcing the dominant groups’ own sense of the legitimacy of their domination.” (Dyer, 356) Stereotype Stereotypes are powerful and damaging not simply because they associate specific social groups (or subgroups) with inherently “negative” traits or behaviors. Stereotypes also position counter-hegemonic traits or behaviors as “negative.” They demand assimilation.

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Stereotypes and hegemony “in stereotyping the dominant groups apply their norms to subordinated groups, find the latter wanting, hence inadequate, inferior, sick or grotesque and hence reinforcing the dominant groups’ own sense of the legitimacy of their domination.” (Dyer, 356) Stereotype In “Stereotyping,” Dyer attempts to articulate an alternative form of characterization that challenges stereotypes while retaining counter- hegemonic potential. To promote political awareness and meaningful social change, he demands more than the suggestion, posited by texts such as All in the Family , that queer people can be “normal” too.

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Stereotypes and hegemony Social type Stereotype Member type

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Stereotypes and hegemony Social type Stereotype Member type: Dyer’s potentially progressive form of characterization

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Stereotypes and hegemony Social type Stereotype Member type: Dyer’s potentially progressive form of characterization “Member types [...] are linked to historically and culturally specific and determined social groups or classes and their praxes, which are almost bound to be outside the present cultural hegemony (in so far as it has so much invested in the notion of individuality).” (Dyer, 363)

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Stereotypes and hegemony Social type Stereotype Member type “Member types [...] are linked to historically and culturally specific and determined social groups or classes and their praxes, which are almost bound to be outside the present cultural hegemony (in so far as it has so much invested in the notion of individuality).” (Dyer, 363) Sometimes, All in the Family understands Archie as a member of the American working-class. Through storylines about working conditions, labor unions, strikes, and hiring and promotional practices, All in the Family recognizes the precarity of working-class life in America and promotes labor solidarity.

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented?

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? On Ellen , “what we see only rarely is the direct representation of difficult aspects of queer daily life, including the fact of having to negotiate oppressive straight behavior.” (McCarthy, 607) Ellen presents queer struggle as the product of individual psychology rather than social structure. While the character of Ellen neither a social or stereotype, she is also not a member type. She is an “individual,” another type of (queer) characterization Dyer is also critical of.

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? Individual characterization are progresive in that they demonstrate that queer people can be “human,” but they do so through emphasis on “personal change and consciousness of change” (Dyer 362).

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? Dyer: “The problem is that these norms themselves, by their focus on uniqueness and inner growth, tend to prevent people from seeing themselves in terms of class, sex group or race. [These characterizations] make it very difficult to think of there being solidarity, sisterhood or brotherhood, collective identity and action between the gay protagonist and her/his sex caste.” (362)

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? Ellen’s inability to tell sustained stories of queer life, due to network concerns and eventaul cancellation, left the series unable to imagine Ellen as a member of a group impacted by social inequalities.

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented?

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? Will & Grace , the first “successful” gay-led sitcom, offered more awareness of queer everyday life and community. However, at least some of Will & Grace’s success derived from its allegiance to traditional (sitcom) norms: particularly whiteness, middle-class capitalism.

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The sitcom and hegemony in America Late-1990s/Early-2000s: The “gay” sitcom - what ‘types’ are represented? “We must note that [television networks] mark the commodity status of gay and lesbian audiences in firmly middle-class, largely white terms.” (McCarthy, 616)

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The sitcom and hegemony in America Social type Stereotype Member type: Dyer’s potentially progressive form of characterization The member type model, while promoting solidarity and awareness of the social hierarchies that shape people’s lives, can also be limiting (as Dyer would come to realize). In particular, emphasizing the presumed commonalities of queer experience runs the risk of masking meaningful difference within queer life—and especially of overrepresenting whiteness.

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The sitcom and hegemony in America And now? “ One Day at a Time tackles gender and veterans’ experience, queer identity, and immigration in the context of being Cuban in the Los Angeles neighborhood of Echo Park[...] In this way, One Day at a Time offers a potential change of course for the general market representation of Latinidad, one that is specific in its cultural logic, working against the flattening of difference, and both critically acclaimed and renewed by Netflix.” (del Río and Moran 6-7)

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The sitcom and hegemony in America And now? Intersectionality, sometimes... “ One Day at a Time tackles gender and veterans’ experience, queer identity, and immigration in the context of being Cuban in the Los Angeles neighborhood of Echo Park[...] In this way, One Day at a Time offers a potential change of course for the general market representation of Latinidad, one that is specific in its cultural logic, working against the flattening of difference, and both critically acclaimed and renewed by Netflix.” (del Río and Moran 6-7)

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The sitcom and hegemony in America And now? Intersectionality, sometimes... Like All in the Family and Ellen , One Day at a Time’s particular story helps us see the limits and possibilities of counter-hegemonic programming on mainstream platforms at specific moments in American history. One Day at a Time’s cancelation and resurrection and cancelation (and resurrection?) is not a story of defeat or triumph; rather, it is part of the continual and shifting battle within and against hegemony.

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Weekly Reflection Tips Answer each question separately Review the slides, they contain helpful definitions When questions ask about readings, make sure to include at least one quotation (with page numbers) But don’t let the quotation do all that talking. Explain what is significant about the quotation; the majority of your answer should be in your own words When discussing media texts, be specific! Descriptions of exemplary scenes or sequences will best support your analysis Use examples (both quotes and scenes) that go beyond what was covered in lecture. This will emphasize the originality of your ideas and demonstrate thoughtful engagement with course material

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Reflection Questions In “Stereotyping,” Richard Dyer critiques popular modes of (queer) characterization. According to Dyer, how do the “social type,” “stereotype,” and “individual” reinforce Western hegemony? One Day at a Time (Netflix/Pop TV/TV Land, 2017-) is a remake of a white-cast sitcom. In your opinion, does the series’ engagement with its characters’ ethnic and sexual identities avoid “plastic representation?” Draw on at least one of this week’s readings and a scene or sequence from One Day at a Time to complete your answer.