Abstract
This chapter reflects on the evolution of queer representation on American television and shows how LGBT+ characters exemplify a specific moment in time. Drawing on previous studies, it pays particular attention to groundbreaking programmes from the 1990s and 2000s like Ellen, Will & Grace, Queer as Folk, Queer Eye for the Straight Guy and The L Word, which revolutionised television by increasing LGBT+ visibility and challenging stereotypes. No longer demonised and ridiculed, TV gays and lesbians of that era entered mainstream culture. However, as this chapter demonstrates, this “gaystreaming” strategy was problematic because it privileged a narrow segment of the LGBT+ community (namely, white gays and lesbians), overlooked structural issues and erased queerness by promoting assimilation and normalisation.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
ABC. (1994–1998). Ellen [Television Series]. Los Angeles, CA: Neal Marlens, Carol Black & David S. Rosenthal.
ABC. (2005–). Grey’s Anatomy [Television Series]. Los Angeles, CA: Shonda Rhimes.
ABC. (2007–2009). Dirty Sexy Money [Television Series]. Los Angeles, CA: Craig Wright.
ABC Family. (2015). Becoming Us [Television Series]. Los Angeles, CA: Ryan Seacrest.
Amazon. (2014–). Transparent [Television Series]. Seattle, WA: Jill Soloway.
Aslinger, B. (2009). Creating a network for queer audiences at Logo TV. Popular Communication, 7(2), 107–121.
Barker, C., & Wiatrowski, M. (2017). The age of Netflix: Critical essays on streaming media, digital delivery and instant access. Jefferson, NC: McFarland, Incorporated Publishers.
Becker, R. (1998). Prime-time television in the gay nineties: Network television, quality audiences, and gay politics. The Velvet Light Trap, 42, 36–47.
Berila, B., & Choudhuri, D. D. (2005). Metrosexuality the middle class way: Exploring race, class, and gender in Queer Eye for the Straight Guy. Genders, 42. Retrieved from https://www.atria.nl/ezines/IAV_606661/IAV_606661_2010_51/g42_berila_choudhuri.html
Bociurkiw, M. (2005). It’s not about the sex: Racialization and queerness in “Ellen” and the “The Ellen DeGeneres Show”. Canadian Woman Studies, 24(2–3), 176–181.
Booth, E. T. (2011). Queering Queer Eye: The stability of gay identity confronts the liminality of trans Embodiment. Western Journal of Communication, 75(2), 185–204.
Bravo. (2003). Boy Meets Boy [Television Series]. New York, NY: D. Ross.
Bravo. (2003–2007). Queer Eye for the Straight Guy [Television Series]. New York, NY: David Collins & David Metzler.
Capuzza, J. C., & Spencer, L. G. (2017). Regressing, progressing, or transgressing on the small screen? Transgender characters on U.S. scripted television series. Communication Quarterly, 65(2), 214–230.
Chambers, S. A. (2006). Heteronormativity and The L Word: From a politics of representation to a politics of norms. In K. Akass & J. McCabe (Eds.), Reading The L Word: Outing contemporary television (pp. 81–98). London: I. B. Tauris.
Channel 4. (1999–2000). Queer as Folk [Television Series]. London: Russell T Davies.
DeClue, J. (2011). Lesbian cop, queer killer: Leveraging Black queer women’s sexuality on HBO’s The Wire. Race, Sexuality, and Television, 31(2), 53–62.
Dove-Viebahn, A. (2007). Fashionably femme: Lesbian visibility, style, and politics in The L Word. In T. Peele (Ed.), Queer popular culture: Literature, media, film, and television (pp. 71–83). New York, NY: Palgrave Macmillan.
E! (2015–2016). I Am Cait [Television Series]. Los Angeles, CA: Gil Goldschein.
FOX. (2009–2015). Glee [Television Series]. Los Angeles, CA: Ryan Murphy.
Freitas, A. (2007). Gay programming, gay publics: Public and private tensions in lesbian and gay cable channels. In S. Banet-Weiser, C. Chris, & A. Freitas (Eds.), Cable visions: Television beyond broadcasting (pp. 215–233). New York, NY: New York University Press.
Funk, S., & Funk, J. (2016). Transgender dispossession in Transparent: Coming out as a euphemism for honesty. Sexuality & Culture, 20(4), 879–905.
Gamson, J. (2005). The intersection of gay street and straight street: Shopping, social class, and the new gay visibility. Social Thought & Research, 26(1/2), 3–18.
Gross, L. (1991). Out of the mainstream: Sexual minorities and the mass media. Journal of Homosexuality, 21(1–2), 19–46.
HBO. (1998–2004). Sex and the City [Television Series]. New York, NY: Darren Starr.
Himberg, J. (2014). Multicasting: Lesbian programming and the changing landscape of cable TV. Television & New Media, 15(4), 289–304. https://doi.org/10.1177/1527476412474351
Johnson, M. (2013). “Never the same one twice”: Melodrama and repetition in Queer as Folk. Genre, 46(3), 419–442.
Kamen, P. (2014). Transparent’s Jill Soloway on inventing the female gaze. Retrieved from http://msmagazine.com/blog/2014/11/06/transparents-jill-soloway-on-inventing-the-female-gaze/
Kooijman, J. (2005). They’re here, they’re queer, and straight America loves it. GLQ: A Journal of Lesbian and Gay Studies, 11(1), 106–109.
Logo. (2005). Round Trip Ticket [Television Series]. New York, NY: Craig Wright.
Logo. (2005–2006). Noah’s Arc [Television Series]. New York, NY: Patrik-Ian Polk.
Lotz, A. (2007). The television will be revolutionized. New York, NY: New York University Press.
Manuel, S. L. (2009). Becoming the homovoyeur: Consuming homosexual representation in Queer as Folk. Social Semiotics, 19(3), 275–291. https://doi.org/10.1080/10350330903072656
McCarthy, A. (2005). Crab people from the centre of the Earth. GLQ: A Journal of Lesbian and Gay Studies, 11(1), 97–101.
Miller, T. (2005). A metrosexual eye on Queer Guy. GLQ: A Journal of Lesbian and Gay Studies, 11(1), 112–117.
Moore, C., & Schilt, K. (2006). Is she man enough? Female masculinities in The L Word. In K. Akass & J. McCabe (Eds.), Reading The L Word: Outing contemporary television (pp. 159–171). London: I. B. Tauris.
Muñoz, J. E. (2005). Queer minstrels for the straight eye: Race as a surplus in gay TV. GLQ: A Journal of Lesbian and Gay Studies, 11(1), 101–102.
NBC. (1989–1998). Seinfeld [Television Series]. New York, NY: Larry David.
NBC. (1998–2006; 2017–). Will & Grace [Television Series]. Los Angeles, CA: David Kohan & Max Mutchnick.
NBC. (1999–). Law & Order: SVU [Television Series]. Los Angeles, CA: Dick Wolf.
Netflix. (2013–). Orange Is the New Black [Television Series]. Los Gatos, CA: Jenji Kohan.
Netflix. (2013–2018). House of Cards [Television Series]. Los Gatos, CA: Beau Willimon.
Ng, E. (2013). A “post-gay” era? Media gaystreaming, homonormativity, and the politics of LGBT integration. Communication, Culture & Critique, 6(2), 258–283. https://doi.org/10.1111/cccr.12013
Nyongó, T. (2005). Queer TV: A comment. GLQ: A Journal of Lesbian and Gay Studies, 11(1), 103–105.
Papacharissi, Z., & Fernback, J. (2008). The aesthetic power of the Fab 5: Discursive themes of homonormativity in Queer Eye for the Straight Guy. Journal of Communication Inquiry, 32(4), 348–367.
Parks, L. (2004). Flexible microcasting: Gender, generation, and television-Internet convergence. In L. S. J. Olson (Ed.), Television after TV: Essays on a medium in transition (pp. 133–156). Durham, NC: Duke University Press.
Peters, W. (2011). Pink dollars, white collars: Queer as Folk, valuable viewers, and the price of gay TV. Critical Studies in Media Communication, 28(3), 193–212.
Sender, K. (2006). Queens for a day: Queer Eye for the Straight Guy and the neoliberal project. Critical Studies in Media Communication, 23(2), 131–151.
Sender, K. (2007). Dualcasting: Bravo’s gay programming and the quest for women audiences. In S. Banet-Weiser, C. Chris, & A. Freitas (Eds.), Cable visions: Television beyond broadcasting (pp. 302–318). New York, NY: New York University Press.
Showtime. (2000–2005). Queer as Folk [Television Series]. Los Angeles, CA: Ron Cowen & Daniel Lipman.
Showtime. (2004–2009). The L Word [Television Series]. New York, NY: Ilene Chaiken.
Smith, K. M., & Tyler, I. (2017). Lesbian brides: Post-queer popular culture. Feminist Media Studies, 17(3), 315–331.
TLC. (2015–). I Am Jazz [Television Series]. Silver Spring, MD: Aengus James.
Torres, S. (2005). Why can’t Johnny shave? GLQ: A Journal of Lesbian and Gay Studies, 11(1), 95–97.
Walters, S. D. (2012). The kids are all right but the lesbians aren’t: Queer kinship in US culture. Sexualities, 15(8), 917–933.
Westerfelhaus, R., & Lacroix, C. (2006). Seeing “straight” through Queer Eye: Exposing the strategic rhetoric of heteronormativity in a mediated ritual of gay rebellion. Critical Studies in Media Communication, 23(5), 426–444.
Wold, H. (2017). Up next: Representations of the underrepresented in streaming film and television (Undergraduate Honors Thesis), University of Colorado Boulder.
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Parsemain, A.L. (2019). Looking Back: The Evolution of Queer TV. In: The Pedagogy of Queer TV. Palgrave Entertainment Industries. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-14872-0_2
Download citation
DOI: https://doi.org/10.1007/978-3-030-14872-0_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-14871-3
Online ISBN: 978-3-030-14872-0
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)