Bisexuality – Bitch Flicks

Catherine Tramell in ‘Basic Instinct’ Is a Subversive Anti-Hero

The notion of Catherine as a subversive anti-hero develops when you view the film not as a story about the supposed protagonist Detective Nick Curran but as Catherine’s journey from mind games to almost domestic bliss but always returning to her basic instincts which threatens the Hollywood happy ending of established heteronormativity.

This guest post written by Alexandra West appears as part of our theme week on Unpopular Opinions.

What happens when we love something problematic? What happens when in the middle of something problematic there’s something unique, interesting, and incredibly refreshing? How do we as audience members look for the potentially progressive nuggets that drive a filmic narrative forward in new and interesting ways while also understanding that nugget can come wrapped in a basket of deplorable politics? One such case worthy of examination is Catherine Tramell (Sharon Stone) as a progressive anti-hero in Paul Verhoeven’s blockbuster erotic thriller Basic Instinct (1992). The notion of Catherine as a subversive anti-hero develops when you view the film not as a story about the supposed protagonist Detective Nick Curran (Michael Douglas) but as Catherine’s journey from mind games to almost domestic bliss but always returning to her basic instincts which threatens the Hollywood happy ending of established heteronormativity.

Set in San Francisco, notably one of the most queer-positive cities in North America, Basic Instinct centers on the murders of men possibly committed by Catherine, a beautiful, wealthy, murder mystery author with a degree in psychology. The murders all mirror crime scenes directly from her books and homicide detective Nick Curran becomes entangled in the crimes and obsessed with Catherine. Nick can’t decide if Catherine is behind the murders or if he’s in love with her or both.

Throughout the film, Catherine’s bisexuality is at the forefront of her character which marks her as transgressive to the hetro-male oriented police force while the other female characters in the film are also implied or explicitly coded as bisexual or lesbian. Any subtly or nuance in regards to the queer experience in a mainstream blockbuster is wiped away in favor of brash eroticism and the ultimate objectives of Nick who imposes his heteronormativity on his relationships, particularly with Catherine. Nick’s hope is that he’ll be enough for Catherine to settle down for. Catherine is framed in contradistinction to Nick’s almost girlfriend Beth (Jeanne Tripplehorn) a police therapist who plays the typical “good girl” with a maybe sinister past. Nick (and the film) can’t help but conflate both Catherine and Beth in his mind through the lens of the virgin or the whore. Ultimately, Nick’s desire to render Catherine as his own private virgin drives the film towards a mainstream conclusion.

But what of Catherine, the object and prize of the film? Through all the gross biphobia, homophobia, and misogyny of Basic Instinct, Catherine remains an enigma. Her role in the film as foil to Nick’s heteronormative dream is what’s most subversive about her as a character. Her alluring presence confounds those around her; her placement in the film is a clear nod to the femme fatale role, but Catherine occupies the role of narrative driver. The ultimate satisfaction of Basic Instinct in subsequent viewings stems from watching her manipulate the narrative and those around her, watching protagonist Nick succumb to her charms and power. Catherine continually and enjoyably plays with Nick prodding him towards his reckless ways of drinking, drugging, and indiscriminate sex. However, instead of attempting to create husband material out of Nick, Catherine utilizes him for her own purposes of her new book. Her means to an end finishes with her book, her creation, her narrative – not wedded bliss. Catherine’s role as an author is posited by the film as a potential red herring when in fact it actually marks her as the maker of meaning, conducting research through her own means.

It is her manipulation which allows Nick to reflect, grow and change throughout the film for better and for worse allowing him to be the hero he thinks he is. Nick completes the narrative she constructs for him. If he did not play along with her suggestions and supposed whims the film could have had a very different outcome but as Basic Instinct stands, Catherine developed Nick’s narrative of one of toxic masculinity viewing everything other as a threat which in its dark ending suggests that Nick’s white-picket fence goals are as unfounded as the film’s dangerous portrayals of homosexuality. As Nick views Catherine as a prize, she views him as a character in one of her books and just as disposable. Ultimately, Nick needs Catherine more than she needs him.

While Catherine does inhabit the role of the Dangerous Woman (a seemingly modern version of the film noir femme fatale character) cliché and the Murderous Bisexual Women trope, it’s important to acknowledge what is unique and perhaps even progressive about her. She is both the architect of the narrative and her own destruction as she struggles against giving up her agency in favor of a “normal” life. In order to act as a good mother or wife, she’d have to give up the things that made her interesting and alluring in the first place, illuminating the flaws of the patriarchal “happy ending” and ultimately mocking the very thing the film attempts to confirm as an “acceptable” way of life. The role she never gives up on is that of author and creator; her sexuality, identity, and motives are all fluid based on the situation but her God-like power in the film is unmistakable. The film even flirts with a near happy ending for Nick and Catherine which is where the film would have ended if Nick was the true protagonist but instead, the film ends with the vantage point of Catherine’s true intention.

Stone would go on to reprise the role of Catherine Tramell in Basic Instinct 2 (2006) as the only holdover from the previous film. Stone has had a problematic relationship with the original film herself, decrying that the infamous leg-crossing shot was achieved and exhibited without her consent which in essence is the film doubling-down on its problematic nature. Watching the film in this day and age, its troubling and problematic elements ring through clearer than church bells, but the film is also a hugely important cultural touchstone for 1992 as it was the 4th highest grossing film of 1992. The film is marked by Verhoeven and screenwriter Joe Eszterhas’ penchant for creating watchable chaos and mayhem (see also Showgirls) with the film perpetually creating a new audience for itself based on the film’s taboo-inclined nature. Looking back at Basic Instinct as a piece of media that was so widely and readily consumed, its façade is still marred by biphobia, homophobia, and misogyny, yet it’s satisfying to know that Catherine still remains at large, a threat to everything Hollywood deemed acceptable.

See also at Bitch Flicks:

The Trope of the Murderous Bisexual Woman

Biphobia in Basic Instinct

Alexandra West is a freelance horror journalist and playwright who lives, works, and survives in Toronto. Her work has appeared in the Toronto Star, Rue Morgue, Post City Magazine and Offscreen Film Journal. She is a regular contributor to Famous Monsters of Filmland and a columnist forDiabolique with “The Devil Made Us Watch It.” In December 2012, West co-founded the Faculty of Horror podcast with fellow writer Andrea Subissati, which explores the analytical side of horror films and the darkest recesses of academia.

Bi Erasure in Film and TV: The Difficulty of Representing Bisexual People On-Screen

As frustrating as our erasure and stereotyping is, however, I’d like to go beyond the question of “good” and “bad” representations of bisexual characters to ask this: exactly what it is about bisexuality which makes it so hard to represent on-screen? And why, when bisexuality is visible, is it so likely to collapse back into dominant stereotypes of bisexuality as either promiscuous or merely a phase?

This guest post written by Amy Davis appears as part of our theme week on Bisexual Representation.

Positive and complex representations of bisexual and pansexual characters on-screen are so few and far between that film critics discussing bisexual representation are often left lamenting our erasure, or – on the rare occasions we are represented – our stereotyping and demonization.

In the 100 top-grossing domestic films in the U.S. in 2015, out of 4,370 characters (speaking or named), only 32 characters or .7% were LGBT, and only 5 of those characters were bisexual, according to USC Annenberg. According to GLAAD, 4% of regular characters on primetime broadcast television series are LGBT characters. Of the 271 LGBT characters (regular and recurring) on primetime, cable, and streaming television series, 76 or 28% are bisexual. According to Stonewall’s report on the representation of LGB people (unfortunately they did not include statistics on trans characters) on television series watched by young people in the U.K., in over 126 hours of programming, bisexual people were portrayed for just 5 minutes and 9 seconds, compared to 4 hours and 24 minutes for gay men, and 42 minutes for lesbian women.

When we do appear on-screen, bisexuality is often used to indicate hypersexuality, such as Bo from Lost Girl and Doctor Frank-N-Furter from The Rocky Horror Picture Show. At its most extreme depictions of reinforcing biphobic tropes, the character’s bisexuality is also used to code “evil” or “dangerous” or “murderous,” using their (hyper)sexuality as a method of manipulation and control, for instance Sharon Stone’s character in the erotic thriller Basic Instinct.

Narrative film and television, with its emphasis on conflict and resolution, is poorly equipped to represent bisexuality. The committed, monogamous couple continues to represent the pinnacle of romantic fulfillment in contemporary Western culture. As such the familiar romantic plot in narrative film and television involves some kind of conflict – usually an erotic triangle – which is resolved when the protagonist makes a choice between potential suitors and becomes part of a couple (see, honestly, any rom-com ever made). Within this format then, bisexuality can often only be a disturbance to the status quo. In 2010 comedy-drama The Kids Are All Right, for example, the lesbian relationship between Jules (Julianne Moore) and Nic (Annette Bening) is disrupted when Jules begins an affair with Paul (Mark Ruffalo), the sperm donor of their children. Throughout the film, Jules identifies as a lesbian, never declaring she’s bisexual or questioning her sexuality. So long as Jules’ infidelity persists, bisexuality has a spectral presence in the film. The narrative conflict presented by bisexuality/infidelity is resolved, however, when Jules ends the affair and the lesbian/monogamous status quo is restored. In the final scene, Jules and Nic are shown smiling at each other and holding hands, the threat of Jules’ bisexuality effectively repudiated. At best, bisexuality is depicted in The Kids Are Alright as a temporary phase, at worst, as non-existent; a mere moment of weakness within an overarching narrative of monogamous lesbian couplehood.

Of course the widespread misconception of bisexual desire as triangulated and therefore always split between two object choices is demonstrably false. Many bi spectrum individuals see themselves as attracted to people rather than genders and do not feel unfulfilled when they are in a relationship with a person of a particular gender. What’s more, many queer people reject the notion of the gender binary altogether, having relationships with people all over the gender spectrum, including genderqueer and non-binary people. Nonetheless, the notion that gender is binary and the overwhelming importance placed on (binary) gender as object choice in our society means that bisexuality is inevitably viewed as dichotomous desire within our society. In The Kids Are All Right, and numerous other films with bi potential, bisexuality then gets mischaracterized as an unstable, dichotomous desire which must be subsumed back into the monogamous, monosexual (straight or gay) status quo.

But to understand the mechanisms through which this occurs, it is necessary to understand the dominant logic of monogamy. In its most perfect and pure form, a narrative of monogamy involves the notion that there is one true partner for everyone. The truth for many of us, however, is that we have several romantic relationships and sometimes even several marriages in the course of our lives, which is described as “serial monogamy.”. For the logic of the “soul mate” to work alongside the realities of serial monogamy, however, is it necessary to de-emphasize the importance of past relationships or disregard them as mere mistakes on the road to finding one’s eventual life partner (“I thought I was in love but I didn’t know what love was”).

Within this dominant paradigm of monogamy, depictions of characters who have serial, monogamous relationships with men and women are rarely read as bisexual since their past relationships (with a particular gender) are dismissed as not meaningful. A classic example of this is Willow (Alyson Hannigan) in Buffy the Vampire Slayer, who is depicted as straight for the first few seasons, during which time she has a relationship with boyfriend Oz (Seth Green), and upon entering a relationship with Tara (Amber Benson) is subsequently depicted as a lesbian. Her past relationships with and interest in men becomes re-written as “not real” (or not as as “real” as her newfound lesbian love) and thus any potential bisexuality is erased.

Too often bisexual visibility requires individuals to trace relationship histories which subvert the dominant ideals of monogamy, even if they themselves are consistently monogamous. Alan Cumming, actor and bi advocate, said in an interview on NPR’s Fresh Air in 2014:

“I used to be married to a woman. Before that I had had a relationship with a man. I then had another relationship with a woman, and I since then have had relationships with men. I still would define myself as bisexual partly because that’s how I feel but also because I think it’s important to — I think sexuality in this country especially is seen as a very black and white thing, and I think we should encourage the gray. You know?”

I was struck, reading this quote, by just how familiar this form of bisexual storytelling is. I’ve told a version of this story myself when talking about my bisexuality, and heard it from friends and strangers alike. It’s a story designed to make one’s bisexuality visible and legitimate with full awareness that it could slip through the cracks, becoming subsumed into heterosexuality or homosexuality, at any moment. Cumming is all too aware that his expression of desire for men and women is insufficient in itself to make his bisexuality visible, and that in the context of his marriage to a man his “mere” desire could be easily dismissed to create a coherent homosexuality. His bisexual narrative instead involves emphasizing the importance of his past relationships and marriage, describing them alongside his current relationship and implying that while they are not current they are nonetheless still meaningful in his sexual identity.

Further, Cumming’s narrative involves relationships with men and women which are dispersed throughout time, rather than a series of relationships with women followed by a series of relationships with men, which could be easily subsumed into a gay (rather than bi) “coming out” narrative similar to Willow’s plotline. And although none of these relationships are depicted as non-monogamous in themselves, Cumming’s narrative disrupts the “one true love” logic of monogamy at the same time as making his bisexuality visible over time. In making explicit reference to his past relationships as significant to his current sexuality, Cummings refuses to be dismissed, revised, or excluded by monogamy’s “one true love” narrative or bi erasure.

Similar disruptions accompany other moments of bisexual visibility in film and television. How to Get Away with Murder, for example, successfully depicts Annalise Keating’s (Viola Davis) character as bisexual or pansexual by bringing a past relationship into the present. In the course of season one, Annalise’s love interests are male. However, early in season two, it is revealed that she had a relationship with law school classmate Eve Rothlo (Famke Janssen) and the two briefly rekindle their relationship in the course of working together.

Given the dominant ideals of monogamy, had it merely been revealed that Annalise had a college relationship with a woman, it would have been too easy for audiences to dismiss her past relationship in order to reinscribe a current straight identity. On the other hand, had she kissed a previously unknown woman, audiences would likely have read it as a loose erotic triangle – involving the woman and on-again-off-again boyfriend, Detective Nate Lahey (Billy Brown) – probably requiring resolution into a straight or lesbian identity. However, Annalise’s sexual and emotional intimacy with Eve in the present avoids the bisexuality-as-narrative-disruption trope and instead functions to draw our attention to the importance of Annalise’s historic relationship with Eve. The previous relationship cannot (and should not) therefore be easily dismissed as a “phase,” simultaneously disrupting the logic of monogamy which relegate previous relationships to the past only and allowing Annalise to remain visible as a bi character.

As bisexual people, we get tired of the persistent association between bisexuality and non-monogamy, demonstrated through popular stereotypes which position us as promiscuous, confused, dangerous, greedy, deceptive, cheaters, and unable to commit. A familiar response to this charge is the reminder that, like straight and gay/lesbian people, bisexual people can be (and are) both monogamous and non-monogamous. While this refutes the myth that bisexual people are necessarily non-monogamous, it does little to explain how the association between bisexuality and non-monogamy emerged in the first place. And more importantly for our representation on-screen, the ways in which dominant narratives of monogamy create the conditions of both our erasure and our visibility.

See also at Bitch Flicks:

Buffy the Vampire Slayer and Bisexual Representation
Is Buffy the Vampire Slayer‘s Willow Rosenberg a Lesbian or Bisexual?
Exploring Bisexual Tension in Buffy the Vampire Slayer
Buffy the Vampire Slayer: Joss Whedon’s Binary Excludes Bisexuality
LGBTQ Week: The Kids Are All Right
How to Get Away with Murder Is Everything “That” New York Times Review Said It Is
How to Get Away with Dynamic Black Women Leads

Amy Davis is currently completing a PhD on bisexual erasure at the University of Wollongong. Amy is interested in feminism, queer and trans politics, animal rights, law, ethics and, most importantly, cats.

‘Buffy the Vampire Slayer’ and Bisexual Representation

But the clearest example of the Buffyverse’s discomfort with bisexuality, in my opinion, appears in the character of Faith Lehane. … Despite what was at the time a groundbreaking portrayal of a loving lesbian relationship, ‘Buffy the Vampire Slayer’ still had many issues in its messaging surrounding queer sexualities, in particular bisexuality. In my opinion, a few material changes could have gone a long way in removing at least some of this negative messaging.

This guest post written by Lisa Ward appears as part of our theme week on Bisexual Representation.

When Buffy the Vampire Slayer first aired, it was considered to be a groundbreaking, feminist television show. Its nuanced portrayals of girls and women stood out in a genre where girls and women were generally portrayed as one-dimensional victims, not three-dimensional heroes (and villains). And for a generation of young people (myself included), this representation was vital and growing up with Buffy had a lasting positive impact on their lives.

However, from the perspective of intersectional feminist criticism, the series was far from unproblematic: its portrayals of people of color and in particular, women of color, were sparse, generally poorly handled, and all too often ended in untimely death; many of the underlying attitudes the show reinforced with regards to sexuality, in particular female sexuality, were deeply troubling; mental illness was portrayed in a very stigmatizing way (despite, in my opinion, Buffy (Sarah Michelle Gellar)’s Season 6 arc with depression being handled fairly well); and the show sends a very mixed message regarding its gay, lesbian, and bisexual characters.

It is this final topic — bisexuality and bisexual characters — that I want to explore. While bisexuality is also inclusive of people outside of the gender binary, I will be primarily using the term bisexual, rather than related terms, such as pansexual, as the Buffyverse does not seem to recognize the existence of more than two genders (except perhaps in its non-humanoid characters).

Willow Rosenberg

A piece on bisexuality in the Buffyverse cannot be written without discussing Willow Rosenberg.

There is a lot of debate from Buffy the Vampire Slayer fans on whether Willow (Alyson Hannigan)’s character counts as a triumphant case of lesbian representation (at least until Tara’s murder which fulfills the classic Bury Your Gays trope and facilitates Willow’s, admittedly temporary, jump into the Psycho Lesbian trope), a sad case of bisexual erasure, or a nuanced example of sexual fluidity. I can see merits in all of these arguments.

Willow was deeply attracted to and formed physical relationships with men before meeting Tara (Amber Benson) and coming out as a lesbian. Even after coming out, Willow goes on to make comments that imply an ongoing attraction to men as well as women — for example, she describes both Dracula (Rudolf Martin) and Giles (Anthony Head) as “sexy” during Season 4. And Willow’s vampire self, as seen in “Doppelgangland” is quite clearly openly bisexual, making sexual overtures towards both men and women (and her own alternate universe self, because she is a Depraved Bisexual trope – a trope Buffy the Vampire Slayer has a very damaging relationship with indeed). It is these plot points that tend to lead to accusations of bisexual erasure for the character of Willow Rosenberg.

However, as is rightly pointed out by those who disagree, there are several in-universe of Watsonian explanations available for these plot points. For example, sexual identity is about more than just sexual attraction. It is known that many people who identify as straight have had same-sex fantasies or experiences, and for some, do not see these fantasies or experiences as changing their fundamental heterosexual identity. The same can apply for those who identify as gay or lesbian. Being queer is strongly correlated with behavior and attraction (as well as self-identification), but not strictly defined by these things. This explanation allows us to interpret Willow as a nuanced portrayal of a lesbian woman, not an erased bisexual woman.

Another in-universe explanation for Willow’s characterization is that sexuality is fluid and sexual identity can change over time. It’s not unusual for someone to identify as straight throughout their teen years and come to realize that they are queer later in life. Willow Rosenberg could be a nuanced example of this true to life scenario. Not everyone realizes their sexuality as a teen or even a young adult, and sexual fluidity is a perfectly acceptable explanation for her character.

Personally, I like both of these in-universe explanations. Sexual identity is complex and nuanced; if we explore Willow’s character from a real-world perspective, then it’s perfectly acceptable to say that she provides a realistic representation of a complex lesbian woman who at one point in her life identified as straight.

However, when we explore the character of Willow through an out-of-universe or Doylist lens, looking at the Buffyverse as a whole and how the writers choose to represent bisexuality in other characters, the accusations of bi erasure in the case of Willow gain a lot of validity.

Bisexuality and Evil in the Buffyverse

From the outset, bisexuality is regularly associated with evil in the Buffyverse.

Often one of the key signifiers that a human has been turned into a vampire is sudden hypersexual — and frequently bisexual — behavior. This is particularly true for female vampires, who quite often fit the Depraved Bisexual archetype.

Some key examples include, of course, vampire Willow — who aggressively flirts with human Willow, including groping and licking, while maintaining her hypersexual relationship with vamp Xander (Nicholas Brendon) — and Angel (David Boreanaz) and Spike (James Marsters)’s lovers Darla (Julie Benz) and Drusilla (Juliet Landau) — who, in a flashback scene, are shown in their underwear discussing a shared sexual encounter followed by bathing together and implied oral sex.

For male vampires, this is less explicit — most likely due to taboos concerning sexual behavior between two men on-screen versus sexual behavior between two women. On-screen, male characters’ sexuality tends to become more overtly predatory towards women in order to signal their change from good (human) to evil (vamp), but nonetheless we also get allusions to off-screen bisexual behavior. For example, Spike confirms he and Angel have slept together saying, “Angelus and I were never intimate, unless you count that one time…” Angel expresses a mutual interest claiming, “I love the ladies, but lately I’ve been wondering what it would be like, to share the slaughter of innocents with another man. You don’t think that makes me some kind of a deviant do you?”

Other evil characters are often portrayed as both bisexual and/or hypersexual as shorthand for evil, bad, or wrong throughout the series. Some examples include: Glory (Clare Kramer) licking Tara’s hand before mind-raping her and flirting with Dawn (Michelle Trachtenberg) before bleeding her; Ethan Rayne (Robin Sachs)’s sexually charged dialogue with Giles (a relationship which writer/producer Jane Espenson confirmed did take place in their younger, “dark magic” days); Andrew (Tom Lenk)’s ambiguous attractions expressed towards men such as Warren (Adam Busch), Jonathan, and Spike, and women such as Buffy, Anya (Emma Caulfield), and a woman at a bar; and Forrest (Leonard Roberts)’s angry, possessive behavior towards Riley (Mark Blucas) and unreasonable jealousy of Buffy, even though he finds her “so hot.”

But the clearest example of the Buffyverse’s discomfort with bisexuality, in my opinion, appears in the character of Faith Lehane.

Faith Lehane

Despite never actually being referred to as bisexual or sharing any openly sexual moments with any women on-screen, many Buffy the Vampire Slayer fans consider Faith (Eliza Dushku) to be a bisexual woman who falls in unrequited love with Buffy. Personally, I think there is subtext in the television series that supports this view (and writer/producer Jane Espenson, writer/producer Doug Petrie, creator Joss Whedon, and actor Eliza Dushku all agree); this qualifies as both queerbaiting and bisexual erasure, all while playing into the Depraved Bisexual and Psycho Lesbian tropes.

Faith is, in the words of Andrew, “the dark slayer” and is supposed to represent a counterpart to Buffy’s lighter, more conservative nature. This means that, unlike Buffy, she is overtly sexual and open about her desires — and later, after her switch to the dark side, she becomes unacceptably sexually predatory.

When she first appears, it seems like Faith’s approach to sexuality might be positive – in fact, Faith’s pronouncement that slaying always makes her hungry and horny results in the other characters covertly shaming Buffy for being so repressed when she claims in return that sometimes slaying makes her “crave a non-fat yogurt afterwards.” However, as the series progresses, it’s made clear that Faith is a bad influence, and by the time she joins the forces of evil, Faith is slut-shamed by the main characters on a regular basis.

When Faith and Buffy first meet, there is a lot of tension between them, with Buffy in particular feeling threatened by Faith. But as their relationship progresses, this tension moves from rivalry into something more romantic in nature.

All of this culminates in what I would describe as the three key points in Faith’s character arc: Season 3’s “Bad Girls,” Season 4’s “Yesterday’s Girl / Who Are You,” and Season 7’s “Dirty Girls.”

In “Bad Girls” (an episode title that tells us a lot about the show’s attitude to Faith’s “deviant behavior”), the chemistry between Buffy and Faith reaches its climax. Faith is set up as “seducing” Buffy into her way of thinking and, despite herself, Buffy responds. The sexual tension between them is sizzling… until everything goes wrong, of course. Faith accidentally kills a man and doesn’t trust Buffy to protect her from the harsh punishment she knows will follow. Thus begins Faith’s descent into evil.

After this, Faith and Buffy behave more like scorned exes than nemeses (“Is that how you say the word?”) until their final showdown (which mirrors the previous season’s showdown with ex-turned-evil, Angel) where Buffy puts Faith in a coma.

Faith awakens from her coma in Season 4’s “Yesterday’s Girl / Who Are You,” and again, acts like a scorned lover when she finds out Buffy has “moved on” from her, grabbing her chance to finally possess Buffy, quite literally, by stealing her body using a body-swap spell. However, she discovers that even total possession of Buffy cannot heal the pain of her rejection. Faith leaves at the end of this episode to seek redemption and does not return to Buffy the Vampire Slayer (although she does appear on Angel) until Season 7’s “Dirty Girls” (another interesting name choice for an episode focused on the return of Faith).

In “Dirty Girls,” we meet a reformed Faith, whose new-found maturity is almost immediately tested by a barb to her sorest spot – another rejection from Buffy, who failed to warn her that there’s a new evil afoot that specifically targets slayers. But Faith rises above and we start to believe that perhaps she has managed to move on. We even get to see her turn down an opportunity that the old Faith would never have been able to resist – a chance to try to seduce Buffy’s love interest (Spike). The audience gets to marvel at reformed Faith’s growth and maturity as a character, that is, until she utters this seemingly throwaway line, “I just spent a good stretch of time locked away with a mess of female-types. Kinda had my fill.”

The unfortunate implication becomes that Faith has quite literally “straightened out.” Faith no longer has “deviant” bisexual urges; Faith is no longer a “dirty girl”; Faith has reformed.

Conclusion

Despite what was at the time a groundbreaking portrayal of a loving lesbian relationship, Buffy the Vampire Slayer still had many issues in its messaging surrounding queer sexualities, in particular bisexuality. In my opinion, a few material changes could have gone a long way in removing at least some of this negative messaging.

The first crucial step would have been to remove the show’s tendency to use bisexuality as a shorthand for evil. The second step would have been to introduce some positive examples of bisexual people who fight on the side of good – here, the idea of Willow’s character identifying as bisexual (while Tara and Kennedy still identify as exclusively lesbian) feels like a hugely missed opportunity. However, this character wouldn’t necessarily have to be Willow. There were plenty of opportunities for other bisexual characters, male and female, within the show’s seven season run. And finally, bringing Faith’s sexuality and unrequited love arc from subtext to text, with the proviso that when she reforms, it’s not because she’s no longer bisexual, would work well, provided it wasn’t set to a backdrop that codes bisexuality as depraved. With better representation of bisexuality in the Buffyverse generally, Faith’s arc would be the story of an individual who happens to be bisexual, not a classic Depraved Bisexual stereotype.

See also at Bitch Flicks:

Is Buffy the Vampire Slayer‘s Willow Rosenberg a Lesbian or Bisexual?
Exploring Bisexual Tension in Buffy the Vampire Slayer
Buffy the Vampire Slayer: Joss Whedon’s Binary Excludes Bisexuality
Buffy the Vampire Slayer: Willow Rosenberg: Geek, Interrupted
Buffy the Vampire Slayer and the Humanization of the Superheroine

Lisa Ward is a Faith fangirl who works in PR, writes songs, and lives on a wind-blasted island in the North Sea. You can follow her on Facebook, Twitter, Instagram and a bunch of other places she’s probably forgotten about as @sheltielisa.

‘Supernatural’s Scariest Monster: Bisexual Erasure

I won’t spend too much time trying to convince you that one of the main characters, Dean Winchester (Jensen Ackles), is bisexual — or would be, if the writers and producers would allow him to be — and that the show is queerbaiting. … What I am arguing is that queer people do not need a character’s sexuality to be canonized in order to identify with that character and recognize literary tropes that are generally used to align characters with queerness.

This guest post written by Hannah Johnson appears as part of our theme week on Bisexual Representation.

Discussions around queerbaiting on the TV series Supernatural have brought up some interesting, often controversial questions. Many of them have been asked before, and will be asked again. At what point does canonical evidence for a character’s queerness outweigh the writers’ and creators’ denial? Does subtext count as canonical evidence? Is subtextual queerness better than no queerness at all? Do the writers’ intentions matter, and if so, to what extent?

I won’t spend too much time trying to convince you that one of the main characters, Dean Winchester (Jensen Ackles), is bisexual — or would be, if the writers and producers would allow him to be — and that the show is queerbaiting. I’m not arguing that Dean Winchester counts as representation at this point. Queerbaiting absolutely does not count as representation for marginalized sexual orientations. What I am arguing is that queer people do not need a character’s sexuality to be canonized in order to identify with that character and recognize literary tropes that are generally used to align characters with queerness. In other words, just because other people – writers, producers, network executives, and other fans – aren’t acknowledging it, doesn’t mean we don’t know it’s there.

There have already been several articles written about the show’s queerbaiting tendencies, including from TV Guide and The Advocate. There is also a blog dedicated to dismantling faulty arguments against Bi Dean, entitled Arguments Against Bi Dean Are Bad, complete with sections on the most common fallacies. Every time a new episode of Supernatural airs, Tumblr is flooded with blog posts detailing the new evidence for Dean’s queerness, as well as replies arguing that said evidence is just a misinterpretation. It’s an ongoing battle, one that often causes a wide rift in the Supernatural fandom.

Emerging from this discourse are lists of events, interactions, facial expressions, wardrobe details, and other parts of canon that are compiled in order to prove or disprove Dean’s heterosexuality. But what’s fascinating – and infuriating – is watching again and again as the “straight” evidence list fills up with Dean’s interactions with women. “How can you deny how much Dean loves chicks?” people demand to know. This kind of thinking is based on the false assumptions that a man who “loves chicks” is inherently unqueer, that in order to be a queer man, one must prefer other men, and not show attraction to women, or else demonstrate a “50/50” attraction to men and women. The whole premise of Dean being bi is most often rejected based on a misunderstanding and/or ignorance about what it means to be bisexual.

The kind of queerbaiting that happens on Supernatural would not be so effective if it weren’t for the invisibility of bisexuality. In a way, the show takes advantage of bisexual erasure and uses it as fuel for the queerbaiting fire. Dean can throw out an endless barrage of queer signals, but as long as he also makes a comment about a woman being attractive, a large portion of the show’s audience can hold onto the illusion of his straightness, largely due to their lack of understanding about how bisexuality works. This creates an environment in which queerbaiting thrives.

There is also the common assumption that if Dean were to be bisexual in canon, and were to have a relationship with another male character, it would somehow make the show fundamentally different. Some fans seem to think that male bisexuality – or male queerness in general – is aligned with femininity, and that if Supernatural had a bi main character, it would have to ditch its gore, muscle cars, and classic rock in exchange for sappy, romantic, soap opera drama. That’s just not true. And it reveals a lot about the misogynistic, homophobic, and biphobic beliefs of many of the fans.

Some fans claim that people who support the canonization of Bi Dean are only in it for the sake of shipping – the desire for characters to be in a relationship. Sometimes there is even the accusation that they are all a bunch of lonely, horny women who fetishize queer men and just want to see two attractive men kiss on television. While there is certainly a valuable discussion to be had about the fetishization of queer men in fandom, this particular accusation against people who think Dean Winchester is bi surfaces again and again, even when the people in question are bisexual themselves. Many Bi Dean advocates – perhaps even a majority – identify as queer, and want Dean’s queer sexuality to be confirmed in canon because they see something of themselves in his character. It becomes a sort of bisexual erasure to silence that, or to assume that proponents of Bi Dean are always straight women.

As many Bi Dean advocates will tell you, at times watching Supernatural feels like being in a dysfunctional relationship. And that’s the nature of queerbaiting. They reel you in, tease you, drop hints, and convince you that it’s finally going to happen. Then they put an obnoxious one-liner in the script that reaffirms the character’s heterosexuality, or one of the writers sends out a tweet saying that the fans are misinterpreting things. Essentially, they gaslight you. They make you question whether or not your identification with this character and your reading of their sexuality – based on actual, textual evidence – is valid.

Dean Winchester is one of the heroes of Supernatural. He is a deeply complex, flawed, multidimensional character who rescues people from monsters and saves the world on a regular basis. It would be incredibly meaningful for bisexual people to see that kind of representation. After all, there are relatively few representations of bisexuality on television, particularly of bisexual men. But with season 12 of the series premiering next month, many fans are asking, “Is Dean ever going to come out of the closet?”

See also at Bitch Flicks:

Not Exactly the New Buffy: The Many Failings of Supernatural

Hannah Johnson is a bisexual activist currently pursuing her MFA in Poetry at Mills College. Her writing has been featured in Bi Women Quarterly, Selfish Magazine, The Journal of Bisexuality, and The Minetta Review. She is the co-moderator for the Non-Mono Perspective, a blog for people with non-monosexual identities.

‘Person of Interest’s Sameen Shaw Stamps Her Place in TV’s Bisexual Landscape

She is a victor, a fighter, and a survivor. Shaw is a queer, neurodivergent, woman of color, and she was allowed to be all of these things without ever being judged or punished for them. Though ‘Person of Interest’ never used the label, and Shaw herself is not likely to ever use such labels, she is unmistakably a bisexual character, and her status as such is treated by the narrative with matter-of-factness, but also with respect and compassion.

This guest post written by Sophie Willard appears as part of our theme week on Bisexual Representation. | Spoilers ahead for all 5 seasons.

Bisexual people are familiar with erasure, vilification, and demonization. We live in a world where most people think Freddie Mercury was gay and Lady Gaga is straight; where Amber Heard’s bisexuality is held to blame for the abuse she suffered from her husband, Johnny Depp. There is an ever-present need for positive bisexual representation within media, be it found in film / book / television characters, pop stars, actors, writers, or other media makers. The continued scarcity of such representation only renders what is out there even more important. Every instance of bisexual representation, intentionally or not, serves to combat misconceptions and dismantle myopic attitudes towards bisexuality. Of course, not every example of bisexual representation is favorable, and certainly there exist characterizations that reinforce toxic stereotypes and a harmful misunderstanding of what it means to be bisexual.

Nonetheless, there is an increasing number of positive portrayals that we can look to for inspiration, comfort, strength, and affirmation. Sameen Shaw of the CBS television series Person of Interest is one of those portrayals. Sameen (more commonly referred to by her surname) is played by Iranian-American actress Sarah Shahi, originally familiar to many queer female fans for her recurring guest role on The L Word. Shahi herself has spoken of her pride in providing representation for lesbian and bisexual fans with her characters, and brought with her to Person of Interest an earnest maturity and an awareness of the struggles faced by members of the LGBTQ community.

Yet, interestingly, when her character was first introduced on the show, there had been no specific intention for her to be queer. Fans are more than familiar with this story, but for those unaware, it’s helpful to first know a little about the character of Shaw. A government operative when she first appears in the show’s second season, Shaw tracked down and killed terrorists. Her partner in these operations, Michael Cole, was carrying out his own off-the-books investigation into a prior mission of theirs, having reservations about the culpability of the target they had killed. When his findings suggest a government cover-up, his and Shaw’s employers decide they must be dealt with — permanently. Cole was killed but Shaw escaped, and — seeking revenge — resumes his investigation. This leads her to a chance meeting that has serious repercussions for the rest of the series. Though she thought she was meeting with Cole’s CIA contact, Veronica Sinclair, Shaw was in fact meeting with a woman who had taken Veronica hostage and interrogated her. This woman was Root (portrayed by Amy Acker), who had already been established within the show as an antagonist to the heroes. Shaw, however, was none the wiser and conversed with who she thought to be Veronica, until Root took her by surprise, tasered her, tied her to a chair, and threatened to burn her with a hot iron. Thus followed a now infamous exchange between the two women:

Shaw: One of the things I left out of my file … I kind of enjoy this sort of thing.
Root: [smiling] I am so glad you said that. I do too.

Both actresses at this point were only guest stars on the show, with the future still uncertain for Shahi’s character in particular. But the chemistry between them when filming this scene proved undeniable, and was picked up on by those writing and producing the show. Though nothing in the script or direction hinted at a sexual tension between the two characters, it nonetheless sparked in that scene, and the foundations of subtext were laid in that moment. Both actresses were subsequently promoted to series regulars, and the writing team took advantage of their chemistry to craft a relationship that forever changed both characters. It was a refreshing decision; few TV series take care to develop relationships that were not originally planned for, particularly those involving queer characters.

Nonetheless, the relationship between Shaw and Root took its time to develop, and was by no means conventional. This was a show that did not prioritize romantic sub-plots or sexual escapades. On Person of Interest, platonic friendships were always regarded with as much importance as romantic and/or sexual relationships. While series lead, John Reese (Jim Caviezel), had lost the woman he loved before the events of the show began, his new employer, Harold Finch (Michael Emerson) was still grappling with the loss of his best friend, Nathan. The way the show portrays their sense of loss and pain is equal — no more weight is given to one personal connection than the other. While over the course of the series, Reese enjoys a casual sexual relationship with a woman they sometimes enlist the help of, Zoe, their rendezvous are only ever hinted at subtextually, with not even a kiss shared between them on-screen.

With this in mind, it is even more remarkable that Root and Shaw’s relationship was allowed to flourish as it did. Certainly there was animosity between them to begin with, and Shaw was eager to exact her revenge for almost being tortured, but Root was clearly quite smitten from early on and soon began to unabashedly flirt with Shaw. For a long time, Shaw would roll her eyes and brush off Root’s advances, though her own attraction to Root could be inferred from the occasional comment. There came a point, however, when Root’s come-ons belied deeper feelings for Shaw, beyond simple attraction. Sameen Shaw, with a self-diagnosed personality disorder, experienced a limited range of emotions, and at a much lower potency than most people. As Root began to express her feelings for Shaw more frequently and honestly, Shaw recognizes that Root would have an expectation for a connection that went beyond the physical. It was something that she thought she could not offer, yet as she later learned, Root appreciates Shaw exactly for who she is.

Though Shaw is unable to express emotionally what Root means to her, she conveys enough through her actions. In the season three finale, when Root embarks on a solo mission into what was deemed the belly of the beast, Shaw cycles into the next state in the middle of a blackout to help her. “Root’s going to get herself killed,” she tells John, though when she eventually catches up with the other woman, she instead tries to suggest that she was worried about the mission more than anything else.

In the show’s fourth season, unspoken words between these two finally bubble up to the surface, and Root tries to convince Shaw that they would be perfect together. Shaw admits that she’s undeniably attracted to Root, but again brushes her off. Moments later, however, she makes the decision to sacrifice herself to save her teammates, and when Root tries to dissuade her, Shaw pulls the other woman in for a brief kiss, partly to give Root some sort of confirmation of her own feelings, partly to distract Root, and no doubt partly for herself. Though her departure from the show was for practical reasons (Shahi was pregnant with twins), Shaw remained alive and Root searched furiously for her whereabouts.

It was not until the fourth episode of the show’s fifth and final season that we were finally gifted with Shaw’s return, in an episode that proved to be not only dark, action-packed, and heart-breaking, but also conveyed to audiences that Shaw truly feels deeply about Root too, despite her inability to express as much. The entire episode places her within a virtual reality simulation crafted by the malevolent Artificial Super Intelligence that held her captive. Within the simulation, Shaw seeks comfort in small ways, despite the simulation mandate to kill her teammates and locate their base of operations. One way she comforts herself is through finding a taxi driver who’s a fellow Persian. Though Shaw’s Persian heritage had been established on the show, and she had spoken before of her mother’s immigration from Iran and early experiences in New York City, the only time that she spoke Farsi was within this simulation. This small interaction seems to speak to a subconscious desire to find something safe and familiar, while feeling an intense pressure to carry out a task she didn’t want to do.

The other way in which she sought comfort within the simulation was to have Root find and rescue her. In the simulation, Root calls her numerous pet names. Root gives Shaw her jacket when Shaw feels cold. Root takes Shaw back to her ‘apartment,’ and though none of it was real, we saw them consummate their relationship — quite explosively. Later in the episode, Shaw ends the simulation by shooting herself in the head, but not before admitting to Root that the other woman was her “safe place,” and that Shaw always thought of her whenever the psychological torture grew too difficult to bear. We learn in the episode’s closing moments, that Shaw had actually undergone 6,741 of these simulations, all with the same outcome: rather than shoot Root and betray her friends, she killed herself every time.

“It was all a dream” is an oft-ridiculed and rather dated trope in storytelling, and certainly had this episode focused on any other character, it would have been a waste of time. But with Sameen Shaw — a character who rarely emotes, who’s difficult to read, and up until this point, had not been especially clear on whether or not Root meant much to her — this episode was invaluable in opening up her mind. It allowed us to see that, yes, Shaw did reciprocate Root’s feelings, certainly just as intensely, even if they were all internalized. After nine months of capture and torture, Shaw longed to be with Root again, to feel safe in her arms.

Root and Shaw were eventually reunited, and though the reunion was sadly short-lived, Root did get a chance to open up to Shaw, and Shaw let her in. They held hands for a brief moment — no doubt the first time Sameen Shaw had ever allowed anybody to hold her hand — and Root shared that what they had between them was good enough for her, and better than anything she had ever hoped to experience in life.

Shaw had expressed physical attraction to men before on the show, and there was certainly enough subtext to suggest that she was attracted to women other than Root, but Root was the person she was tethered to, and certainly the only person we ever saw her intimately involved with. Root provided action, excitement, and unpredictability — elements that sustained Shaw. Yet, at the same time, it is important to remember that queer people are not defined solely by their relationships, and Shaw certainly has enough personality to go around. She’s often terse, frequently blunt, and exercises a moral flexibility, but she also has a strong sense of wrong and right; she is highly capable, protective, intelligent, and heroic. She ended the series as a one-woman team, accompanied solely by her dog, Bear. She is a victor, a fighter, and a survivor. She is a queer, neurodivergent, woman of color, and she was allowed to be all of these things without ever being judged or punished for them.

Though Person of Interest never used the label, and Shaw herself is not likely to ever use such labels, she is unmistakably a bisexual character, and her status as such is treated by the narrative with matter-of-factness, but also with respect and compassion. She is a source of strength for queer viewers, and a solid, positive representation of how bisexuality can be expressed by some people. Everyone wants a hero they can identify with — queer women no less — and Sameen Shaw is one of our very own.

Sophie Willard is a 20-something gal currently residing in the East of England. She has a BA in English Language with Creative Writing. You can follow her on Twitter @cake_emu where she discusses film, TV, current affairs, and more. She writes about TV and film from a queer, feminist perspective on her blog, The Television Will Be Revolutionised.

‘Jennifer’s Body’ and Bisexuality

We don’t have direct evidence of how Jennifer or Needy would describe their sexual orientations, but ‘Jennifer’s Body’ works as a depiction of the relationship between two young bisexual women. If nothing else, it subverts expectations around gender and sexuality in horror films. … Even when Jennifer and Needy resort to physical violence with each other, their conflict has an erotic, and even romantic, subtext.

This guest post written by Tessa Racked appears as part of our theme week on Bisexual Representation. | Spoilers ahead.

While the feminist merits of the 2009 horror film Jennifer’s Body remain up for debate, there is no denying that it is a standout in its genre for being female-centric. Directed by Karyn Kusama and written by Diablo Cody, Jennifer’s Body follows the story of Jennifer Check (Megan Fox) and Anita “Needy” Lesnicky (Amanda Seyfried), two teenage girls from a small town whose troubled friendship is shaken up when Jennifer is turned into a demon who must feed on human flesh. The film revels in Jennifer’s seduction and consumption of boys, but it simultaneously gives importance to the conflict between her and Needy. The film throws many heteronormative assumptions made by the audience into doubt. Jennifer isn’t afraid to talk about or act on her desire to have sex with men, but the most important relationship in her life is with Needy, and that relationship is eroticized at some key moments, including Jennifer referencing how they used to “play boyfriend-girlfriend.”

In a 2009 interview with The New York Times, Megan Fox describes Jennifer as a “cannibalistic lesbian cheerleader.” We don’t have direct evidence of how Jennifer or Needy would describe their sexual orientations, but Jennifer’s Body works as a depiction of the relationship between two young bisexual women.

If nothing else, Jennifer’s Body subverts expectations around gender and sexuality in horror films. Sexually active young women commonly meet their fates early on at the hands of the antagonist while their innocent/virginal counterparts survive. But as Gaayathri Nair observes in her article “Does Jennifer’s Body Turn the Possession Genre on Its Head?,” “Jennifer’s lack of purity saves her. The fact that she is not actually a virgin means that she gets a second shot at life.” Not only is she more than fodder for the sake of building tension, Jennifer becomes the most powerful character in the film, as Needy goes from her sidekick to her nemesis. Instead of being fueled by revenge or menace, Jennifer’s love/hate relationship with Needy is the driving force behind Jennifer’s Body. A competitive tension exists between their relationship and how they relate to the male characters that suggests an equal emotional, and even erotic, importance to their connection to each other.

When Needy introduces us to the setting of Devil’s Kettle High School, we see a scene of her watching Jennifer performing with the flag team from the bleachers. The setting and camera work — alternating between and slowly pushing in on Jennifer and Needy — acts as a visual homage to the cheerleader routine sequence from American Beauty. However, instead of emphasizing voyeurism and fantasy, as in the American Beauty scene, we see Jennifer and Needy smiling and waving, connected and mutually happy to see each other. Any potential voyeurism is also undermined by a classmate sitting behind Needy, who describes her relationship with Jennifer as “totally lesbi-gay.” The depth of the two girls’ connection reveals itself to be borderline supernatural even before the occult aspects of the film are introduced, when Needy senses Jennifer’s arrival to her house before we hear her at the door. “That’s fucking weird,” Needy’s boyfriend Chip (Johnny Simmons) comments.

When Jennifer becomes a demon, her bizarre behavior (including the murders) strains Needy’s love for her, but also intensifies their connection. The one actual sex scene in the film, between Needy and Chip, is cross-cut with Jennifer killing and eating Colin (Kyle Gallner). Not only does this equate Jennifer’s consumption of a male body with the more conventional eroticism of Needy and Chip having sex because they love each other, but the two scenes blend together as Needy has visions of blood seeping through her ceiling, and a demonic Jennifer standing over a previous victim. “I need you hopeless,” Jennifer growls at her prey, as Needy begins to whisper “hopeless” over and over, without seeming to know why. Even when trying to satisfy their hunger or connect with someone else, they can’t separate from each other.

Jennifer poses a threat to the young men of Devil’s Kettle, but Jennifer’s Body pushes male characters to the side, relegating them to tropes often embodied by women or other historically marginalized groups. In the beginning of the film, Jennifer refers to men as “morsels;” even before she literally eats them, she views men who she wants to sleep with as disposable objects for her consumption. Roman (Chris Pratt), Jonas (Josh Emerson), Ahmet (Aman Johal), and Colin are Jennifer’s prey, brought into her story so that she can exercise power and prestige both before she becomes a demon (Roman is a police academy cadet, which Jennifer claims gives her legal immunity) and after (she feeds on classmates Ahmet, Jonas, and Colin to replenish her powers). In the extended cut, Needy tries to reason with Jennifer, stating that they need to look for a cure so she can stop “killing people.” “No, I’m killing boys,” Jennifer responds, “Boys are placeholders. They come and they go.” Where characters who wield threatening magic in horror films are usually from marginalized groups — for example, the stereotype of a Romani woman cursing someone — Jennifer’s Body has Low Shoulder, the good-looking, white, male indie rock band who turn Jennifer into a demon as a side-effect of their quest to be “rich and awesome like that guy from Maroon 5.” And then there’s Chip, who takes on the role of the dutiful if clueless partner who needs saving from the supernatural threat in the third act.

If Jennifer were purely a stereotypical bisexual seductress sprung from a heteropatriarchal imagination, she would use erotic interaction between herself and Needy as an accessory to appear more attractive to the male gaze. Instead, Jennifer performs heterosexuality to get a response from Needy. Jennifer agrees to go on a date with Colin after Needy says that she thinks he’s cool, and threatens Needy by stating that she finds Chip attractive, intimating that she is going to fuck, kill, and eat him. In a role that is often filled by an attractive female character, Chip becomes a battleground between Jennifer and Needy.

Jennifer, Needy, and Chip’s dynamic allows space in the film for sexual attraction between characters of both same and other genders. If the film were to go with heteronormative expectations, Jennifer and Needy would be vying with each other for Chip’s affections. Rather, Jennifer and Chip are vying with each other for Needy’s time and attention.

Jennifer and Needy have been best friends since early childhood (“sandbox love,” as Needy calls it), and Jennifer doesn’t have much of an interest in supporting her friend’s romantic relationship. In the first conversation we see between them, Jennifer convinces Needy to ditch Chip and go to Low Shoulder’s show with her. In the next scene, Needy gets dressed to meet Jennifer’s specifications (“I could show my stomach but never my cleavage. Tits were her trademark.”), while Chip sullenly criticizes the low cut of her jeans from the background. Jennifer asks if they’ve been “fucking,” to which Needy giggles and calls her “gross.” Jennifer then indulges in some gloating as the two girls leave together. “You’re just jello because you’re not invited…” she tells Chip, “You’re lime green jello and you can’t even admit it to yourself.” “Stop kidnapping my girlfriend,” Chip responds helplessly. Chip’s insecurity about his standing with Needy is his Achilles heel. Jennifer isn’t able to seduce him as easily as Jonas or Colin, but she is able to lower his defenses by telling him that Needy cheated on him.

Jennifer sees the female body as a weapon. She tells Needy that her breasts are “like smart bombs: point them in the right direction and shit gets real.” Jennifer receives an array of powers when she comes back as a succubus, but also becomes more aggressive, both sexually and overall. She makes rude, callous comments about the Melody Lane Fire and its victims; she uses her beauty and sexuality to lure her victims into secluded areas where she can kill and eat them. It would only make sense that she would use her body as a weapon against Needy once the conflict between them surfaces. And the conflict between them is definitely eroticized, but their preexisting close relationship adds a layer of depth to the violence that is not present when Jennifer hunts her prey.

After resurrecting as a succubus, Jennifer shows up at Needy’s house, covered in blood but smiling at her friend (albeit creepily). I imagine that being sacrificed to the devil and coming back to earth as a demon would leave one a little punch-drunk, but considering that Jennifer recounts later that “[she] woke up and [she] found her way back to [Needy],” it could be a smile of relief to see her friend. She pushes Needy against a wall and nips at her neck, both alluring and terrifying. After she eats Colin, Jennifer turns up in Needy’s bed (literally) and tries to seduce her. Although Needy stops her, the scene is shot quite differently from Jennifer’s seduction of Jonas or Colin, or Needy and Chip’s sex scene. There’s no distracting humor, such as Chip’s inexperience in putting on a condom, or the wild animals that flock to Jennifer’s presence when she’s in seduction mode. Instead of dialogue or soundtrack, the sound cuts out completely. The sequence also includes extreme close-ups of their lips and backs. These factors all give their make out scene a more intimate, sensual tone than their sexual encounters with boys.

Jennifer’s reasons for trying to seduce Needy are never clearly outlined, but given that she had just fed on Colin and is at the height of her powers and confidence, it’s likely that she is reveling in her abilities by exerting control over Needy, or using their interaction as a celebratory indulgence. However, considering that this scene also includes her mentioning that they used to “play boyfriend-girlfriend,” and that Needy is active in their kissing before pushing Jennifer away, we are led to believe that there is some precedent in the two having sexual feelings for each other.

Even when Jennifer and Needy resort to physical violence with each other, their conflict has an erotic, and even romantic, subtext. When Needy tries to save Chip from being eaten, we get an exchange that is the closest the film comes to explicitly identifying either of them as bisexual. When Jennifer threatens to “eat [her] soul and shit it out,” Needy tells her, “I thought you only murdered boys.” “I go both ways,” Jennifer responds. This is a Diablo Cody script, smothered in sarcasm and quips, but given the prevalence of bisexual erasure, at least we have a little text to accompany the subtext.

Their final fight begins with Needy gazing through a bedroom window at Jennifer, reminiscent of a typically masculine fetishistic role of voyeur (and Jennifer’s role of hunter). They grapple with each other in bed: Needy straddles Jennifer, who calls her “butch” for using a box cutter as her weapon. Jennifer begins to use her powers to levitate, but when Needy sees the matching BFF necklace from Jennifer’s neck, she becomes vulnerable for a moment and they fall back to the mattress in an oddly sensual slow-motion shot. It’s only when Needy metaphorically stabs Jennifer through the heart that she gets the opportunity to literally do so as well. But even death can’t separate Jennifer and Needy from each other: Needy’s narration informs us during the denouement that some of Jennifer’s demon powers transferred to her when she was bitten during their final showdown. The end credits document a more powerful, vengeful Needy unleashing a satisfyingly bloody revenge on Low Shoulder.

Jennifer and Needy’s relationship is not a very healthy one, characterized by a power imbalance even before Jennifer gains her demonic abilities. The supernatural forces at play in Jennifer’s Body serve as a metaphor for Jennifer’s narcissism, as well as forcing the tension in their relationship to the surface. But even if their friendship isn’t allowing them to be their best selves, their love for each other proves to be the driving force in the film, giving the audience a level of emotional engagement deeper than a conflict for survival between a human and a force of evil. By giving attention both to what Needy and Jennifer want and pursue out of sexual relationships with boys and delving into the romantic and sexual component of their relationship with each other, the film gives enough space to their emotional lives to depict desire for characters of both same and other genders.

Films are imbued with amazing powers when they delve into female characters beyond the depictions of prey and love interests. In the case of Jennifer’s Body, LGBTQ audience members can see an aspect of themselves reflected on the screen.

See also at Bitch Flicks:

Does Jennifer’s Body Turn the Possession Genre on Its Head?
Jennifer’s Body: The Sexuality of Female Possession and How the Devil Didn’t Need to Make Her Do It
From Ginger Snaps to Jennifer’s Body: The Contamination of Violent Women

Tessa Racked writes about depictions of fat people in cinema at Consistent Panda Bear Shape and displays Diablo Cody-level feats of wit on Twitter @tessa_racked.

‘Grace and Frankie’ and the Binary of Bisexual Erasure and Representation

What makes it even more exciting to me, as a queer woman, is that not only are we being treated to these stories of our elders but that queerness is acknowledged and exists amongst older people in this television series. … My one bone to pick with ‘Grace and Frankie,’ for all of my true and deep love, is the decision to make Sol and Robert come out as being gay after 40 years of consummated, loving marriage to their wives. Surely, there was a possibility they were in fact bisexual?

This guest post written by Leena van Deventer appears as part of our theme week on Bisexual Representation.

Advancing women’s representation in film and television is without a doubt a noble cause, as is improving the representation of many different marginalized groups. Our media should reflect the community the story is about, and our communities are full of people of different genders, races, ages, sizes, and sexual orientations. Failure to do so can contribute to the greater erasure, dehumanization, and intentional ignorance of a marginalized group’s existence, which can have devastating effects on marginalized folks in our society.

Cheers can be heard all through the internet every time a new movie is announced with a strong female character as the lead role. But those roles have changed over the last 20 or so years, and if we’re concerned with raising a generation of girls readying themselves for the coming feminist revolution, we need to consider whether we’re doing them a disservice by holding up this combat and conflict-driven Lone Wolf Badass as Finally The Female Character That Will Deliver Us From Evil and Seize the Means of Production While Looking Fabulous.

When I look back at the movies I held dear as a teen (no judgment okay), I’m reminded of The Craft, Thelma and Louise, Sister Act (1 & 2), A League of Their Own, Now and Then, or Steel Magnolias. A common thread through all of these stories was that of women’s friendship. These women knew they would live and die for each other; they knew they were better off together than alone. This has probably subconsciously affected my feminist practice, and influenced how much Molly Lambert’s article, “Can’t Be Tamed: A Manifesto,” resonated with me on a molecular level. It’s a tool of the patriarchy to convince women that women are their own worst enemies and can’t get along; it’s a radical act to actively push against that and love harder than you ever have before.

Imagine how much more Hermione Granger could have achieved if she had a Thelma to her Louise? A smart or brave or rough best friend who would do anything for her? What about Katniss Everdeen or Bella from Twilight? Who would they spend Galentine’s Day with? Who would die to protect her? While it’s inspiring to see badass women, like Rey, Furiosa, or possibly even a new Rocketeer (which is exciting as the sequel will star a Black woman), it’s easy to see the narrative being easily hijacked from women’s collective advancement to one of insular capitalist bootstrapping, a narrative which broadly prioritizes men (and stereotypically masculine qualities) over women. We shouldn’t be leaving a trail of bodies behind us, we should be amassing an army along the way.

The modern tale of female friendship I was looking for popped up in an unexpected place, to minimal fanfare, and has now officially taken up residence in a permanently rent-controlled corner of my heart. Netflix’s Grace and Frankie is a tale of female friendship and strength, with season two recently dropping and a third season on its way. It’s a tale of two septuagenarian women being bound together by adversity to find the good in each other and potentially resign to the fact that they may be the last great loves of their lives.

The first season introduced the main characters: Robert and Grace Hanson (played by Martin Sheen and Jane Fonda), and Sol and Frankie Bergstein (played by Sam Waterson and Lily Tomlin). These couples were brought together by Sol and Robert working together as partners in their law firm, and as such, both families spent a lot of time together over their 40 years of marriage, including their now adult children, who all have cousin-esque relationships with each other for the most part. They bought a shared beach house, which after Sol and Robert come clean that they have in fact been in love with each other for the last half of their marriages, becomes the primary residence of the now-displaced wives, Grace and Frankie.

Season one had many saccharine moments that I have no doubt turned a lot of people off continuing to watch, but Season two doesn’t make that same mistake. It’s sharper, wittier, and we get to see more of what makes these women tick. They know each other’s routines and quirks now, after living together for so long, and they’ve grown more fond of each other. What was once a one-dimensional joke about a control freak, push-your-feelings-down, Type A woman living with a pot-smoking, tie-dye wearing, hippie (Ho ho! The odd couple! What hijinks will ensue?) has now become less about how different the two women are and more about how they can parlay their respective strengths and weaknesses into finding a way to be there for each other no matter what.

Grace and Frankie understand the importance of banding together, and we see this in the episode where Grace catches up with some snooty country club friends after not being in contact since the break-up. The women scoff at what it must be like to live with a strange eccentric like Frankie, and Grace reminds them that she’s the only person who understands what this situation feels like, and the only person who reached out to help her, before telling them they’re assholes and leaving to go hang out with Frankie instead. The second season is underscored by a commitment between these two women; they will be there for each other to the end.

It’s thrilling for me to experience the stories of these women. As a 31-year-old woman, I cannot possibly comprehend what it would be like to lose a friend I’d loved deeply for 40 years. I was yelping and hooting and hollering at the closing scene, as Grace and Frankie walk in slow motion out of the house, onward to their new sex-toy-making empire that markets vibrators to older women (dishwasher-safe with large font instructions and comfortable grips to compensate for arthritis). We don’t hear these stories about older people enough.

What makes it even more exciting to me, as a queer woman, is that not only are we being treated to these stories of our elders but that queerness is acknowledged and exists amongst older people in this television series. Homophobia is so often linked with being old-fashioned; more prolific in previous generations. Queer stories of our elders are crucially important to our history, a sentiment further impressed upon me at the recent screening of Winter and Westbeth, a stunning and uplifting documentary about queer older people and the rich, full lives they led as artists in public housing in New York’s West Village. We need more older characters on-screen, especially LGBTQ people and people of color.

While we may be coming in leaps and bounds in terms of LGBTQ representation, I fear we still have a long way to go for equal acceptance for the “B” (and definitely the “T”) portions of that acronym. My one bone to pick with Grace and Frankie, for all of my true and deep love, is the decision to make Sol and Robert come out as being gay after 40 years of consummated, loving marriage to their wives. Surely, there was a possibility they were in fact bisexual? Was it because gay is easier for audiences to understand than “those confusing bisexuals”? Bisexual erasure frequently occurs in media and is common even within our own activist circles. People (even prominent LGBTQ activists) make biphobic comments about how bisexual teens are just confused; or bi people are promiscuous, greedy, and can’t be monogamous; or the very tired quip, “Bisexuality is just a truck stop on the road to gay,” as if bisexuality doesn’t exist and people must choose. So I can understand how difficult it can be for us who are bisexual to have some issues with representation when we struggle with representation in our very own dedicated spaces.

With a lack of bisexual characters in film and television and damaging tropes about bi people in media, it would have been great to see two bi men in Grace and Frankie, especially two older men. Bi men characters and queer characters who are older are both rarely depicted in film and television.

Because I do love the show so much, perhaps I would like to imagine the decision to make Sol and Robert gay as opposed to bisexual is because of the history of the (undeserving, cruel) association between bisexual people and infidelity, given that the men in this show engaged in a 20-year affair with each other. Perhaps co-creators Marta Kauffman (who has absolutely managed to inject more heart into this show than previous works such as Friends) and Howard J. Morris wanted to avoid contributing to that damaging stereotype? But that’s probably being too kind.

We have a long way to go with representation of all kinds: race, gender, age, size, disability, sexuality. We can get better at advancing this cause by being critical of the things we love. We can write as many strong female characters as we like in the hopes it will advance feminism, but a lone wolf isn’t going to get much done. We also need more female characters who aren’t just young, cis, straight, white women. We need to inspire girls by showing them inclusive representation and the power of women’s friendship, and we need to show them that those women can be of any age, and that strength isn’t always about picking up a bow or aiming the crosshairs at the bad guys. Sometimes it’s about holding your best friend’s hand while you do something scary.

Leena van Deventer is a game developer, writer, and educator from Melbourne, Australia. She has taught interactive storytelling at RMIT and Swinburne Universities and is co-author of Game Changers: From Minecraft to Misogyny, the Fight for the Future of Videogames with Dan Golding for Affirm Press. You can find her on Twitter @LeenaVanD.

How ‘My Own Private Idaho’ Changed My Life as a Bisexual Man

The film never demonizes either Mike or Scott for their sexuality or their profession, which is great, but it also never feels the need to explain their sexuality. Maybe these characters haven’t quite figured it out yet. Maybe Mike is gay and maybe Scott is straight, or maybe they’re both bisexual, but from the film itself, it makes more sense to me to not label them. They simply fall somewhere on the wide spectrum of sexuality. You have no idea how important it is for me to see this on-screen.

This guest post written by Logan Kenny appears as part of our theme week on Bisexual Representation.

My Own Private Idaho‘s Mike (River Phoenix) is always destined to end up in the same place. No matter where he goes, he will always end up on this deserted road in Idaho where the film begins. He can go anywhere in the world and he’ll end up back where he started, dealing with his thoughts, his fading memories, and his narcolepsy. This is his existence, almost the entirety of it: go somewhere, meet people, have sex, come back here. My Own Private Idaho is an almost aimless film, there is no traditional narrative and many scenes occur with no real sense or purpose. While there is sometimes the idea of a plot or narrative goal, the film isn’t really about that; instead, it’s a film about characters and how they live their lives, their circumstances, and the things that haunt them.

Mike is a hustler living on the streets, the cities change but that stays the same. He’s a drifter and a sex worker. His narcolepsy affects every part of his existence: frequently when he engages in sexual acts, his body shakes and he falls to the ground. Mike is haunted by his past, often having flashbacks: visions of a house crashing down onto the road and smashing completely; the same woman is always there, looking at him; so close yet not there. Mike stands on a road in Idaho and collapses. The film then cuts to Seattle where Mike receives oral sex from a male client. The film doesn’t show how Mike ended up here, it doesn’t matter; he’s here now and won’t be for long. He engages with a few clients before ending up with a wealthy woman (Grace Zabriskie). His friend Scott (Keanu Reeves) and acquaintance Gary (Rodney Harvey) are there as well. Scott is Mike’s best friend, the man who carries him when he loses consciousness, holds him when he cries, and who never seems to fail to make Mike a bit happier. This journey is as much Scott’s as it is Mike’s. These two are connected under the same circumstances, yet different reasons have brought them together.

Mike has no other way to make money. He has a dysfunctional relationship with his father and is haunted by his mother leaving him. The family collapsing, the house falling down and breaking apart. Scott is here to kill time. He has sex with men for money not because he needs it but because the prospect of living like Mike thrills him. Scott lives on the streets and drifts from place to place in order to experience life. He’s a rich kid, the son of a mayor. This existence is merely temporary for Scott. He does seem to genuinely care about Mike though, their relationship is extremely strong and he’s willing to do a lot for his friend. Mike is quite awkward and reluctant to truly be himself. He doesn’t really interact well with many people apart from Scott. In certain scenes, Mike only starts speaking loudly because Scott did first. Scott is the opposite, as he’s immensely charismatic and outspoken. He can interact with seemingly anyone and his charm benefits him especially in sexual situations.

Whenever Mike has a narcoleptic attack, My Own Private Idaho either shows Scott or someone else deal with the situation, or the film cuts to a title screen, stating the name of their current location. This is a film about a journey yet we never really get to witness it. The audience experiences snippets, tiny fractions of the characters’ lives, which is perfect because this film works much better without a conventional narrative and character arcs. Some characters do achieve proper resolution by the film’s end, this chapter of their lives has concluded and the next one shall begin. Other characters will continue meandering through life, destined for nothing but to repeat the same cycle over and over. This sounds really bleak, and it certainly is, but it’s not nihilistic. It’s a remarkably human film where every character, whether likable or not, feels alive and three-dimensional. Mike and Scott are sympathetic people, you grow to care about both of them. You form a real connection with the two of them as the film progresses, which makes the overall bleakness of the film much more genuinely affecting.

The acting is incredible, especially by River Phoenix and Keanu Reeves. One of the most powerful moments in My Own Private Idaho — which is amplified considering that Phoenix died not long after — is the scene where Mike and Scott ride through Portland on a motorbike. When they stop at a red light, they start talking about how long they’ve driven down the street and how long they’ve known each other. Then Scott says, “We’re still alive,” and my heart shatters every time I hear that line. Phoenix is revelatory throughout; this is a star-making performance. He captures vulnerability better than most actors ever could and conveys so much emotional range. Keanu is also brilliant, showcasing so much power as an actor at such a young age. There are frequent shots of just his face which are some of the most poignant moments of the film. He is far more subtle than Phoenix but his approach is just as wonderful.

One of the most interesting aspects of the film is that about a third of it is based on William Shakespeare’s Henry V, along with Shakespeare inspired dialogue. These scenes all take place in Portland, where Scott’s father is the mayor. Every scene with Bob Pigeon (William Richert), the middle-aged leader of the men on the street, is presented with long speeches, using certain phrases and language that wouldn’t commonly be used in the time period of the film. This adds to the overall strangeness of the film’s universe, that this world on the street is unlike anywhere else. This reality is different, this place changes people; even the mayor talks in this style of speech. The entire city is a surreal descent into another existence: an existence of depravity, robbery, sex, infrequent drug use, and long soliloquies. These scenes all feel disjointed, almost as if they don’t belong, but in a good way. The film’s tone is often bizarre, to say the least. There is a scene where Mike and Scott are represented as talking models in magazine covers which remarkably manages to be weirder than it sounds. A lot of the imagery in flashbacks and several supporting characters also contribute to the film’s surrealistic tone.

Nearly halfway through the film, a template of a plot is introduced. There is a narrative guide, motivations for the characters, and an actual destination. Mike wants to find his mother and Scott accompanies him in this journey. Yet, this doesn’t really feel like the focus of the film. Mike’s mother is crucial to the story because of her absence. His memories of her are hazy at best and it seems that he wants to find her in order to fix himself: not the narcolepsy, but rather his sense of aimlessness. My Own Private Idaho has no interest in making this a sentimental experience nor does it want to make it like any other cinematic journey. The addition of an admittedly bare-bones plot doesn’t really change the film thematically and is clearly designed to further develop and portray the main characters. The events that take place during Mike and Scott’s travels are without a doubt some of the best sequences in film, especially the campfire scene which I won’t spoil. It’s melancholic throughout and from this point onward, becomes increasingly pensive and poignant. The last 20 minutes are flawless and the ending is perfect. When the end credits roll, I always think that it is one of the best films ever made. I love it so much.

I’m discussing this film thematically because its themes are so central to its portrayal of sexuality, or more specifically, its lack of definition of the sexuality of its protagonists. Mike is clearly attracted to men and it’s never expressly stated that he is attracted to women. But Scott is clearly attracted to women but also has sexual interactions with men for money. My belief is that neither Mike or Scott are gay or straight but both fall somewhere in the middle. I don’t think I can specifically call either of them bisexual or pansexual, since sexuality is very hard for some to define, especially if we aren’t given explicit self-identification or clear insight into their sexual orientations. The film never demonizes either Mike or Scott for their sexuality or their profession, which is great, but it also never feels the need to explain their sexuality. Maybe these characters haven’t quite figured it out yet. Maybe Mike is gay and maybe Scott is straight, or maybe they’re both bisexual, but from the film itself, it makes more sense to me to not label them. They simply fall somewhere on the wide spectrum of sexuality. You have no idea how important it is for me to see this on-screen.

I’m a bisexual man. I realized I was bi earlier this year. I haven’t known who I really am for very long and since I’m young, I still have a lot to learn about myself. The first time I watched My Own Private Idaho was the first time I felt like I wasn’t straight. It kick-started my awakening sexuality, the first step of many in realizing who I truly am. It was the first time I felt sexual desires towards men and for a couple weeks, I thought that I could be gay since I thought like this. Then I realized that I was attracted to both women and men and I didn’t have to choose; I could be attracted to both and that would be okay. I came out to my parents, a lot of my friends, and my girlfriend. This film changed everything about my life, nothing was the same for me after watching.

Rewatching the film means even more to me as a bi man because of how it portrays sexuality, something that passed me by the first time. I started to notice so much more and I cried a lot. That’s okay though because this film means more to me than I can ever fully describe. We need more films with the sexual representation of My Own Private Idaho so that other queer kids like me can figure out who they really are. It is truly a spectacular piece of work.

See also at Bitch Flicks:

A Place to Call Home: The Search for Love and Identity in My Own Private Idaho

Logan Kenny is a bisexual man with autism. He has an obsessive love of movies and music. He frequently rambles about lots of trivial things. You can follow him on Twitter @LoganKenny1.

‘Crazy Ex-Girlfriend’ Gets Bisexual Representation Right

The musical sitcom shows the gradual development of a male bisexual character, who willfully rejects bi stereotypes to the point of addressing them in song and dance. And for anyone who cares about bisexual representation on-screen, it is magnificent. … The image of a bi character both confident in his identity and committed to addressing biphobic stereotypes — not to mention the incredible catchiness of the tune — is deeply satisfying.

This guest post written by Alex Kittle appears as part of our theme week on Bisexual Representation.

Rachel Bloom’s risky, groundbreaking, Emmy-winning musical sitcom Crazy Ex-Girlfriend is often (and rightfully) praised for its focus on a protagonist with mental illness, depicting the ins and outs of anxiety and depression with frankness, compassion, and humor (despite the series’ ableist title). What might be equally significant for some viewers is the gradual development of a male bisexual character, who willfully rejects bi stereotypes to the point of addressing them in song and dance. And for anyone who cares about bisexual representation on-screen, it is magnificent.

In the pilot, Darryl Whitefeather (played by Pete Gardner) is introduced as a fairly flat supporting character: our protagonist’s new boss and something of a walking punchline. Rebecca (Rachel Bloom), a well-educated but emotionally precarious lawyer, takes a job at Whitefeather & Associates as an excuse to move to West Covina, CA, where her first love Josh Chan (Vincent Rodriguez III) just happens to live. Though his name is on the letterhead, Darryl doesn’t seem to have much authority or confidence, and he is ecstatic that a well-respected New York lawyer like Rebecca would deign to join his firm. He immediately overshares about his pending divorce as well as his Native American heritage (1/8 Chippewa), while managing to embarrass himself in front of his new Jewish employee with an anti-Semitic remark. It feels like the show is setting him up as a kind of Michael Scott-esque character, a floundering, ineffectual, ignorant boss who talks too much and is overly self-involved.

As the season progresses he becomes more fleshed out, more sympathetic, and more likable. We see that the most important thing in his life is his young daughter, of whom he is considered the “primary parent,” as he argues for custody during his divorce. His first song is a country-western parody about his love for her, which jokingly reveals how easy it is for for declarations of fatherly affection to sound, well, icky. Darryl is shown as unabashedly emotional and loving, setting him apart early on from the other men in the show who exhibit more traditionally “masculine” traits.

But Darryl’s sexuality is never a question until he meets Josh “White Josh” Wilson (David Hull), a handsome, good-natured trainer and one of Josh Chan’s best friends. They meet on a party bus rented by Rebecca for a Josh Chan-related scheme, and immediately separate themselves from the drama, bonding over fitness talk. Some time later, feeling lonely and out of sorts while his daughter is away, Darryl throws a party for Josh and some of his friends. After staying to help him clean up, Josh kisses Darryl goodbye, igniting a chain reaction of self-discovery. He finds out Josh is gay and that Josh had assumed he was gay (he picked up “the gay vibe”), but Darryl reacts defensively, asserting that he is attracted to women, was married to a woman, and had a child with a woman. Josh assumes he’s in denial but doesn’t push it.

Still clearly unsure about whatever feelings Josh seems to have stirred within him, Darryl has a sudden realization during dance class, as he appreciatively eyes the backsides of both a man and woman in front of him: he is attracted to both! Thrilled that it all makes sense, he rushes to come out to Josh, but is nervous about embarking publicly in a same-sex relationship. Josh — who has been out since he was a tween — has no desire to hide any of his relationships from others. After wrestling with it, Darryl realizes he was wrong in trying to keep it secret, and that he is ready to be an out bisexual as he re-enters the dating pool. Over the rest of the season, they gradually become the most stable, uncomplicated relationship on the show, spending the finale together at the climactic wedding, proudly wearing matching tuxedos and seeming comfortable both with each other and with anyone else who might see them.

In the episode “Josh is Going to Hawaii!,” Darryl comes out to his staff through a Huey Lewis-inspired musical number, in what is to me one of the most important and enjoyable segments of the entire first season of this series. With candy-colored lighting, multiple popped collars, and a heaping dose of saxophone, he sings his way through the simple facts of bisexuality, the unfair stereotyping associated with it, and the excitement of coming out. With the through-line “I’m g-g-g-g-gettin’ bi,” lyrics include: “Now some may say / Are you just gay? / Why don’t you just go gay all the way? / But that’s not it / ‘Cause bi’s legit!”; “I tell you what / Being bi does not imply / That you’re a ‘player’ or a ‘slut’”; “It’s not a phase / I’m not confused / Not indecisive / I don’t have the gotta-choose blues”; and of course, the soon-to-be-classic, “It doesn’t take an intellectual / To get that I’m bisexual.”

Darryl dances and bounds around the meeting room as well as an imaginary stage, relieved upon having this realization about himself and gleeful about sharing it with others. The image of a bi character both confident in his identity and committed to addressing biphobic stereotypes — not to mention the incredible catchiness of the tune — is deeply satisfying. And revealing the mixture of support and disinterest from his friends and coworkers imagines a possible future where people are accepting of different sexual orientations, while not being fixated on them. As one of his staff points out, the weirdest thing about their boss coming out is that he called a meeting just to tell everyone in the office that.

Bi characters are already less common in film and television, and when they do show up, they are often predatory, overly sexualized, or “going through a phase.” In many cases, the term “bisexual” (or pansexual or any of the concept’s variants) may never even be used, erasing the identity altogether by refusing to name it. One common experience I’ve observed among many bisexual people is that the lack of media representation led to some confusion while growing up, questioning the validity of the identity, and struggling to come to terms with what it means and how it fits into the larger queer community. Can I say I’m bisexual if I’m not fully sure of my preference? If I haven’t dated anyone? If I’ve only dated one gender? If I’m in a serious male/female relationship? Could this be a phase? Do I have to pick a side?

Today, more and more visible celebrities are coming out as bi, and that’s fantastic, but it is still crucial for popular media to positively depict bi characters and give them their own stories. Crazy Ex-Girlfriend not only names it, but celebrates and nurtures it, developing Darryl’s subplot across several episodes as he moves from being in a monogamous “straight” relationship in which he was unhappy for years, to recognizing his own preferences and finding acceptance from both self and others. By the season one finale, he is even given the possibility of a happy (and adorable) ending, and I can’t wait to see where things go from here.

Alex Kittle is an artist, writer, retail buyer, and curator who lives and works in the Boston area. She is passionate about many things, including horror movies, 80s new wave, feminist art history, crossword puzzles, and science-fiction. You can find her at almost any given time of day hanging out on Twitter @alexxkittle.

‘The O.C.’s Alex Kelly Deserved Better; All Bisexual Characters Do

I’ve had countless conversations with other queer women who had similar awakenings in 2004, when Alex Kelly burst onto our TV screens and shook up the Orange County. But upon subsequent re-watches, I’ve been forced to notice that Alex’s storyline isn’t the empowering queer narrative I remembered. For one thing, all of her romantic interests take advantage of her and use her for personal gain.

This guest post written by Kate Sloan appears as part of our theme week on Bisexual Representation.

The first time Olivia Wilde’s character Alex Kelly appears on-screen in The O.C., protagonist Seth (Adam Brody) creeps up behind her while she’s wearing headphones. Startled, she traps him in a headlock. “Touch me again, I’ll hurt you,” she promises. But actually, it’s Alex who ends up getting hurt, over and over again, by every character she gets close to. She enters the television show tough and fighting, and leaves it heartbroken and crying. She’s used, thrown aside, and objectified. I want better for Alex, because she deserves it, and I want better for every other bisexual character, too.

Alex is introduced in season two of The O.C. as a love interest for Seth Cohen, the show’s awkward, geeky, self-absorbed antihero. Seth needs tickets to a sold-out concert to impress his ex-girlfriend Summer (Rachel Bilson), so he shows up at music venue the Bait Shop to try to weasel his way into the show. There, he finds Alex, the Bait Shop’s bartender and de facto manager. To get the tickets, he applies to work at the club as a janitor, and she hires him. But as is always the way with drama-soaked soap operas like The O.C., their professional relationship quickly becomes more than that.

Alex is everything the show’s spoiled protagonists are not (with the exception of “beautiful,” because everyone on this show is beautiful). Her blue-streaked blonde hair, tough tattoos, and rock-’n’-roll fashion sense make her stick out like a cactus spike amongst all the wealthy girl-next-door types in the cast. By the age of 17, we learn, Alex has been expelled from three different high schools for misbehaving, and her parents kicked her out when they discovered she was dating a girl. But she petitioned the court for emancipation, successfully escaped her parents, got the Bait Shop job, and moved into her own apartment. She’s doing well; she’s happy. At least, until Seth and his friends enter her life.

I’m enormously sentimental about The O.C. It was formative viewing for me at the tender age of 12, when the openly bisexual Alex made me realize that I, too, might be queer. I devoured each new episode with rabid enthusiasm, and pored over Alex-related fanfiction, LiveJournal discussions, and screencaps. She was tenacious and bold, but also feminine and sweet. I couldn’t decide if I wanted to make out with her, be her best friend, or be her. I’ve had countless conversations with other queer women who had similar awakenings in 2004, when Alex Kelly burst onto our TV screens and shook up the Orange County.

But upon subsequent re-watches, I’ve been forced to notice that Alex’s storyline isn’t the empowering queer narrative I remembered.

For one thing, all of her romantic interests take advantage of her and use her for personal gain. Seth, the cute dweeb she starts dating shortly after she hires him to clean her club’s toilets, just wants her so he can make his ex-girlfriend jealous: he brags about her in front of Summer. He consistently fetishizes her rebelliousness and queerness, talking about her like her tattoos, underage alcohol consumption, and sexual encounters with other girls are the most interesting things about her. He eventually breaks up with her because he says her too-cool persona is an “act,” a “crutch,” when in fact it seems to be the only thing that drew him to her in the first place.

From the ashes of her romance with Seth, Alex falls into a fling with Marissa (Mischa Barton), the show’s beautiful, rich, vapid female lead. Marissa’s spent the entire series rebelling against her mom, whom she hates. Earlier in the season, Marissa dates her family’s hot gardener, intentionally inciting her mother’s classist rage by mingling with such an undesirable person. “I’m not saying you didn’t like me,” he says when he breaks up with her, “just not as much as you hate [your mom].” But just a few episodes later, Marissa’s pulling the exact same trick again, by dating someone who’s not only working-class but also (gasp!) a girl.

To the credit of actors Olivia Wilde and Mischa Barton, their courtship is portrayed with an authenticity and vulnerability that the writing lacks. There’s one memorable episode where Alex’s vindictive ex makes off with her favorite heart-shaped necklace and Marissa accompanies her on a road trip to recover it. “You can’t let her steal your heart,” Marissa says, and the look they share is meant to be smoldering but comes across as sweet. It’s an emotional closeness I recognize from my own exciting initial forays into queer romance.

It’s heartbreaking for both Alex and the viewer, then, when Marissa gets overwhelmed by the social stigma of dating a girl and runs back into the arms of her safe ex-boyfriend. “I didn’t ask you to give up your life,” Alex pleads during their break-up scene, “All I ever wanted was to be a part of it.” For the remainder of the show’s four-season run, there were no further indications that Marissa actually liked women or identified as anything other than straight. She tried on bisexuality, and Alex, like a Marc Jacobs trench coat, before deciding it was so last season and she didn’t want it after all. And Alex disappeared from the show, just a footnote in the lives of the characters who had walked all over her.

Because of the sweet and brave way Olivia Wilde played her, I love Alex. I want a different outcome for her every time I rewatch her plot arc, but she always gets pigeonholed and mistreated in the end. I want her to be more than a “sweeps-week lesbian”; I want the other characters to appreciate her for qualities other than her aesthetic and her sex life; I want the show’s creator to have thought of her as more than just a punchline for the male lead. Josh Schwartz has written other queer characters whose storylines were meaningful and defied stereotypes: Eric van der Woodsen and Jonathan Whitney in Gossip Girl, and even another character from earlier in The O.C.’s run: Carson Ward. Why can’t he seem to craft a female queer character who isn’t a mishmash of stereotypes, objectification, and sad endings?

Call me a sap if you will, but I want a better outcome for Marissa, too. Actual queer women know how life-changing it is to fall for another woman for the first time. You don’t just dust yourself off and go back to a fancy-free life of shopping, lounging by the pool, and dating exclusively boys after a breakthrough like that. I want a Marissa whose queer identity matters to her, informs her decisions, or at least brings up some big questions for her. I don’t want it swept under the rug as soon as the “lesbian storyline” is wrapped up.

Bisexual characters shouldn’t be props, caricatures, or Manic Pixie Dream Girls. They deserve better than that. Bisexual people deserve better than that.

Kate Sloan’s writing on sex, kink, and feminism has appeared in The Establishment, The Plaid Zebra, Maisonneuve, Herizons, and her blog. You can follow her on Twitter @Girly_Juice and Instagram, and subscribe to her podcast for sex nerds, The Dildorks, on iTunes. Kate lives in Toronto and spends her free time playing the ukulele, curating her impeccable sex toy collection, and swooning over Olivia Wilde.

Biphobia in ‘Basic Instinct’

The film is extremely biphobic and includes many of the most negative stereotypes about bisexuality, particularly in terms of bisexual women… ‘Basic Instinct’ manages to have not one but three queer women characters, including two canonically bisexual ones, and they all are written as stereotypes.

This guest post written by L.M. Zoller appears as part of our theme week on Bisexual Representation. | Spoilers ahead.

[Trigger warning: discussions of biphobia and mentions of sexual violence.]

Director Paul Verhoeven desperately wants Basic Instinct to be an updated Hitchcock classic (not that Hitchcock was so great on the “evil queer” angle either), taking the psychosexual element to the MPAA limit for 1991, but he clearly forgot that biphobia and “edgy” sex scenes make for a terrible thriller. The film is extremely biphobic and includes many of the most negative stereotypes about bisexuality, particularly in terms of bisexual women: that bisexuality is fake, particularly in the sense of heteronormativity and sapphophobia; conflating bisexuality with mental illness; that queer women exist for the male gaze; and the idea that queer women “recruit” straight women. All this, and the word “bisexual” is never even uttered once.

At the beginning of the film, Detective Nick Curran (Michael Douglas) has been called in to investigate the murder of aging rock star Johnny Boz, whom we see being tied to a bed and stabbed to death with an ice pick by a blonde woman whose face we never see. The primary suspect is Boz’s eventual girlfriend Catherine Tramell (Sharon Stone), a novelist who writes murder mysteries; her latest novel was about an aging rock star murdered in the exact fashion Boz was. Nick falls into instant lust with Catherine but isn’t sure if she’s the killer; Catherine decides to write a book about Nick, about “a detective who falls in love with the wrong woman.”

One of the issues with queer representation in media is that tokenism creates the burden of representation: the one character must then represent all of queerdom — and none of its intersections or the diversity of LGBTQIA+ experiences. Thus, including more queer characters ought to offset the burden and allow the creators to show a diversity of personalities, gender expressions, and lived experiences, as well as intersections with socioeconomic status, race, ability, etc. Basic Instinct manages to have not one but three queer women characters, including two canonically bisexual ones, and they all are written as stereotypes.

The queer community protested the film in 1991-2 during the filming and release for exactly this reason. In the article “Homosexuals In Film: The Controversy Gay Activists Say ‘Basic Instinct,’ Opening Friday, Is A Perfect Example Of What Is Wrong With Hollywood’s Vision,” journalist and film critic Lewis Beale collected the same comments from activists that we’re still making in 2016 regarding better representation of queer characters, especially non-monosexual and trans characters:

“There has been a nonstop, decades-long portrayal of gays as psychopaths, sociopaths and screaming queens,” says Robert Bray of the Washington-based National Gay & Lesbian Task Force. “I don’t mind a gay villain or two, but I also wouldn’t mind a gay or lesbian hero. No one is calling for cultural censorship, but we are asking for diverse representations.”

….As Leonard Maltin, the film historian who appears on Entertainment Tonight, puts it: “If gays are frequently portrayed on film, then the fact that some are villains isn’t going to matter. But when you see them infrequently, then each portrayal carries a disproportionate amount of weight with the audience.”

(Please note that some of the language in this article, including quotes by activists, does not include the term bisexual.)

Catherine Trammel is a bisexual, polyamorous, possibly aromantic novelist who specializes in murder mysteries that happen to come true. Let me be clear that this film does not paint Catherine as the hero or even the anti-hero, but rather as a hypersexualized sociopath. The detectives are incredulous that she wasn’t in love with Johnny Boz but had a long-term sexual relationship with him, which she initiated to write her novel and maintained because she enjoyed sex with him. Catherine is supposed to have this cat-and-mouse sexual tension with Nick, but it rings false: she actually seems to be calling him out on his heterosexism by talking back to him. However, because the film conflates bisexuality with psychopathy, her flippant remarks to Nick Carran are supposed to be interpreted as the evil queer woman using her sexuality to goad the heroic everyman character into ruining his life for her. For example, when Nick announces that the sex they just had — exceedingly heteronormative fare other than the fact she ties him up like Boz — was the “fuck of the century,” Catherine laughs at him and says it was “a pretty good start.” He thinks he’s God’s gift to women; she’s clear with him several times that their relationship is a means for her to write her detective novel.

Catherine’s refusal to even acknowledge Nick’s puffed-up male-privilege-steeped ego enters into both of their relationships with the second queer character in the film, Roxy (Leilani Sarelle). Roxy is Catherine’s girlfriend; she is only shown as Catherine’s partner and barely has any lines at all, so it’s unclear if she is also bisexual or if she identifies as a lesbian. Roxy is portrayed as a tomboy femme and a different stereotype — the jealous lover who is ousted by a straight man. In the scene prior to the sex scene, Nick picks up Catherine in a club. Everyone looks fabulous and fierce, especially Roxy and Catherine; Nick walks in wearing a dad sweater and jeans. Catherine picks him to go home with instead of Roxy in what feels like a heavy-handed metaphor for compulsory heterosexuality. He merely has to show up and ham-fistedly grab her butt for her to be more interested in him than in Roxy.

When Roxy confronts Nick in the bathroom after Catherine and Nick have had sex, Roxy claims Catherine likes her to watch her have sex; when Catherine confirms that Roxy likes to watch, the following exchange happens:

Nick: I guess Roxy’s not taking this too well.
Catherine: She’s seen me fuck plenty of guys.
Nick: Well, maybe she saw something she’s never seen before.
Catherine: She’s seen everything before.
Nick: Honey, I thought I’d seen everything before.
Catherine: Did you really think it was so special?

Catherine rebukes him at every turn about her relationship with Roxy; Nick continues to mansplain her own relationship to her. However, Roxy really is angry with him and tries to run him over with her car as he exits a bar. He chases her in his car, eventually running her off the road, and killing her in a classic case of dead lesbian/bisexual syndrome. She never got jealous about other men, according to Catherine, but Nick is so special that apparently she has to murder him, picking up the tropes of jealous partner, murderous queer woman, and angry (soft) butch all in one go.

The final queer woman character is Dr. Beth Garner (Jeanne Tripplehorn), who fulfills the stereotype of a straight woman “recruited” by (murderous) queer women or the murderous closet case. Beth is a psychologist working with the San Francisco Police and acting as Nick’s psychologist after an incident where he shot several tourists by accident. She slept with Catherine in college; she had a relationship with Nick and used to be married to another man; a former acquaintance tells Nick that Beth’s marriage dissolved because she had a girlfriend. However, when Nick questions her about sleeping with Catherine, Beth claims that she isn’t queer: “Hey, guys, I’m not gay, but I did fuck your suspect? I was experimenting; it was the only time I’ve been with a woman.” Immediately after, she says, “She’s really sick you know,” and claims that Catherine was stalking her in college, which counters Catherine’s claim that Beth was obsessed with her.

Of course, Beth’s fear of being out at work or being connected to the suspect isn’t unmerited. Whereas Catherine, a mystery writer, remains unaffected in her career by her sexuality and sexual history, Beth might not be taken seriously as a psychologist or in law enforcement if she were out as bisexual, and coming out to a room full of men who can barely understand a woman having sex for pleasure seems like a nightmare. Instead of using this plot line as a vehicle to discuss bi erasure, the need for LGBTQIA-inclusive ENDA or anti-oppression training, or the concept of bisexuality as who you are, not whom you’re with, the film just conflates her sexuality with psychopathy. She and Catherine both accuse each other of stalking, and Beth is later revealed or framed (?) as the murderer. Like Roxy, Beth is also killed by Nick, who shoots her because he thinks she has a weapon.

Throughout this whole film, no one ever says the word bisexual. Catherine doesn’t discuss her sexuality at all but discusses past and present partners of same and different genders without hesitation. Roxy barely gets to speak, let alone discuss her sexual orientation. Beth claims not to be “gay” (which could be read as either a 90s umbrella term or as lesbian-identified/monosexual). The lack of inclusion of the term is just the cherry on the biphobia sundae that is Basic Instinct.

It’s also important to note that of the three women, only Catherine survives. Are both Roxy and Beth dead because they refused to do what Nick, the cishet man, wanted? Or, if the film is actually Catherine’s novel Shooter, did she or Nick tack on the “happy ending” at his request instead of having the “wrong woman” murder him?

Nick is a biphobic, mansplaining rapist (trigger warning: there is a scene in which Nick and Beth are having consensual sex where she tells him to stop and he doesn’t) with an inflated ego and anger management issues who is decidedly not redeemed in the narrative of the film. While he had tried to redeem himself after committing violence prior to the start of the film, he got sober but didn’t work on any of his numerous issues with male privilege, rape culture, or monosexism. From a bisexual lens, the element of horror in this film is not that Catherine or Beth might be a murderer, but that Nick is supposed to be the hero.

See also at Bitch Flicks:

The Trope of the Murderous Bisexual Woman

L.M. Zoller is a genderqueer bisexual writer living in Seattle. Ze write the blogs I’ll Make It Myself!, about food and gender, and The Lobster Dance, a blog about about geekery and gender, featuring the annual Feminist Halloween series and The Non-Binary Book Club. Zir work has been published in Render: Food and Culture Quarterly (forthcoming Fall 2016), Feministe, and Have You Nerd?.

If It Were, We’d be Dating: The Tale of Brittany and Bisexuality on ‘Glee’

Brittany’s sexuality, while never explicitly stated by the character as bisexual, goes unconcealed for the most part because the ‘Glee’ audience is led to believe that she doesn’t have much agency over her own personal life. … Sure, ‘Glee’ might be one of the only shows on television to use the word bisexual to describe a character, but all the biphobia it exhibits sort of nullifies that progress.

This guest post written by Shira Feder appears as part of our theme week on Bisexual Representation.

“Sex is not dating,” Santana Lopez (Naya Rivera), the outspoken Latina cheerleader, announces. It is season one, episode thirteen of Glee, the newest hit teen show to grace America’s television sets, and millions of people are watching.

“If it were, Santana and I would be dating,” parries Brittany S. Pierce (Heather Morris). An unquantifiable number of interested audiences lean forward, crane their heads. Did she really just say that? Yes, Brittany did, and thus the romance between goofy, purportedly bisexual Brittany Pierce and self-proclaimed “bitch” with a heart of gold, Latina lesbian Santana Lopez would go on to catalyze some of Glee’s highest highs and lowest lows.

TV isn’t created in a vacuum. Today more than ever, fan influence has planted itself inside the writers room. Brittany’s throwaway joke inspired interested fans in what was potentially Glee’s first Sapphic coupling. Fans rallied themselves in endorsement of the couple, but had to wait until season two, episode four, to see any intimacy between the two, presented in the form of neck nuzzling because on-camera kissing may have been “too scandalous” for a family show.

“Bisexual’s a term that gay guys in high school use when they wanna hold hands with girls and feel like a normal person for a change,” Kurt tells the undecided Blaine in season two, episode fourteen. While Kurt’s comment could have been further explored, it’s not; it’s a stance of bi erasure, and one that remains firmly in place amongst the series’ ideologies, right between “The show must go on!” and “80% of screen time is reserved for heterosexual couples.”

Brittany’s sexuality, while never explicitly stated by the character as bisexual, goes unconcealed for the most part because the Glee audience is led to believe that she doesn’t have much agency over her own personal life. The folks behind Glee, Ryan Murphy and company, have never known quite what to do with Brittany. Her character fluctuates from being an infantilized teen who believes in magic combs and allows Santana to manipulate her into sex — which reinforces rape culture and plays into the ugly underpinnings of stereotypes, all of them involving the myth of the voracious lesbian who preys on innocent straight girls — to a Mensa-accepted mathematical genius. The implication that Brittany is flighty or vapid thus “excuses” her bisexuality by the show’s terms because she is not fully aware of what she is doing, bouncing from one person to the next. Various writers and critics have even questioned her ability to even consent to sex after exhibiting such childlike tendencies. So, the only known bisexual character on Glee is not exactly drowning in self-awareness, making this already lukewarm support of bisexuality even less encouraging than it could (or should) be. Then again, this is Glee; if you’re not insulted by something the series does, you aren’t paying attention.

In season four, episode nine, Brittany tells Sam she cannot date him because she is worried the lesbians of the nation will harass him:

“It’s like, all the lesbians of the nation, and I don’t know how they found out about Santana and I dating, but once they did, they started sending me, like, tweets and Facebook messages on Lord Tubbington’s wall. I think it means a lot to them to see two super hot, popular girls in love, and I worry if they find out about you and I dating that they’ll turn on you and get really violent and hurt your beautiful face and mouth.”

In trying to prevent fan backlash by acknowledging it, the writers instead managed to alienate a diverse fanbase, by refusing to even mention bisexuality. The preemptive assumption in these lines, that Brittany and Santana’s relationship is only for the “lesbians of the nation,” thereby excluding any other sexualities, ignores the variety of different “Brittana” fans who exist that might have been proud to see a fellow bisexual person on-screen. The writers should’ve known better than to alienate their fanbase by defensively accusing them of caring too much, immediately followed by the threat of violence. Brittany’s confusing response, where she doesn’t mention her own sexual orientation and instead speaks in vague terms about lesbians, presents Glee’s lack of clarity on sexual fluidity.

The other narrow-minded conjecture here is that lesbians in the audience will be actively upset that Brittany is not dating another girl because of the television fallacy that bisexual people “become straight” when they are dating someone of the opposite gender. The so called “lesbians of the nation” were not angry about Sam; they were concerned about the possibility of Glee reinventing Brittany’s character as someone who experimented in high school, as character continuity was never Glee’s strong suit. They’re angry about being insulted in a tossed off meta-reference reducing their valid emotions and opinions about representation into a punchline. There is definitely an interesting argument to make against fan entitlement, but it doesn’t belong here.

The lesbian anger that erupted because of Brittany’s line seemed to be less about Brit moving on with Sam and more about the fact that their new relationship was given more airtime than Brittany and Santana’s relationship ever was. Brittany being with Sam doesn’t dilute her bisexuality, yet by the narrow binary Glee created, it does. “But she was bi!” protests Sam about Brittany in this same episode, as though being bisexual precludes him from ever being able to think of Brittany romantically. When Brittany finally decides Sam is too hilarious to let go, Brittany tells a worried Sam that the lesbian blogger community is “not gonna like it, but the way I figure is that, they know they’re my sisters, and love is love.”

Using the phrase “love is love” is a pretty interesting word choice here, considering that exact phrase was used as a campaign tool during the marriage equality fight to legalize same-sex marriages in the U.S. The phrase was used to appeal to the straight majority of Americans by showing them how “normal” LGBTQ people are, that queer people are capable of love and monogamy just like straight people and they wanted access to the same rights as everyone else. Using this queer-coded terminology here, after railing against the lesbian blogger community, is an odd choice to defend a relationship that passes as heterosexual.

In season five, episode two, long after the couple has broken up, Santana says about her new lesbian girlfriend:

“Isn’t it amazing how life seems so easy when you just don’t give a fart? I mean, look at this: Hummel is getting married, Berry is just full of confidence, and I finally have a girlfriend who I don’t have to worry about straying for penis.”

Now, this is Brittany who Santana is referencing. This is the girl who worshiped and protected Santana, who took awhile to even think about another person after Santana broke up with her. This biphobic line furthers the trope of the promiscuous bisexual. Santana says this in front of people who knew her and Brittany in high school and were aware of how sacred Brittany saw their relationship. Santana’s “hilarious” zinger goes unchallenged, even though it flies in the face of every minute of character development we’ve previously seen from both Brittany and Santana, painting Brittany as sexually rapacious and Santana as the self righteous, biphobic lesbian. Sure, Glee might be one of the only shows on television to use the word bisexual to describe a character, but all the biphobia it exhibits sort of nullifies that progress.

It wasn’t just the show’s writing that confused viewers; its personal politics were often drawn into question as well. The actors involved ventured into perilous territory when discussing the two girls. Chris Colfer, who played Kurt Hummel, said in an AfterEllen interview: “Maybe Brittany and Santana are just so sexual they don’t know how to have a relationship with anyone that isn’t sexual.” This is an unfortunate statement that pushes the damaging stereotype of the predatory, promiscuous bisexual.

When asked in an interview with The Advocate about the possibility of an on-screen kiss between the girls, Heather Morris said, “I don’t think so. I asked Ryan [Murphy] about that and he said there was no way. He said that since we’re a prime-time television show, he didn’t want to do that.” Brittany had already been filmed kissing a member of the opposite sex. The abundance of screen time Brittany was given when in a heterosexually passing relationship (with Sam and Artie) only complicates the fraught relationship Glee has with representation, walking a fine line between being a “family-friendly show” (as if somehow LGBTQ characters and their relationships aren’t family-friendly) and a television series that is a safe haven for the misunderstood and marginalized.

In season six of Glee, Brittany and Santana reunite. They get their own happily ever after episode, complete with two wedding dresses and talks of forever. They shared more on-screen kisses in season six than any other season, which perhaps has something to do with the fact that this is the disgraced Glee’s final swan song, in a last ditch attempt to cement its legacy as an LGBTQ-friendly prime-time television show. Brittany seems to have forgotten she ever dated Sam, which can be generously viewed as Brittany wanting to commit to her future without thinking of the past, rather than the writers again not knowing how to handle Brittany’s sexual orientation.

Amid the murky mire of Glee’s personal politics, a path to a blissful conclusion has been carved out for the fan favorites. “The world seemed so scary and confusing. It was just too fast. It made me feel dumb, just because my brain worked differently,” says Brittany in her vows. “I would’ve suffered it all just for the tiny chance to be standing up here marrying you.” Next to her, Santana beams. Bisexuality is irrelevant when there is monogamy to think about. While it’s great to see a happy ending for two queer women characters (one a woman of color), it’s frustrating it occurred amidst bi erasure and biphobia.

See also at Bitch Flicks:

Queer Women as Sexual Beings: The L Word and More
Glee and Trans Men
Becky, Adelaide, and Nan: Women with Down Syndrome on Glee and American Horror Story
Glee‘s Not So Gleeful Representation of Women with Disabilities
Women and Gender in Musicals Week: Glee

Recommended Reading:

The Most Random Fandom | A well curated blog with brilliant analysis of Brittany and Santana that handles each Glee episode individually.
13 TV Shows with Lesbian and Bisexual Female Characters Who Are Getting It Right via Autostraddle

Shira Feder is a writer from New York who can be found at http://shirafeder.tumblr.com/ if she ever figures out how to use it.