lgbt+ – TheScreenReview

Doctor Who Finale Sparks Debate on the Nature of Yaz and the Doctor’s Relationship: Could The Two Be Destined For Romance?

Screen Shot 2018-12-12 at 19.54.16.png — Jodie Whittaker and Mandip Gill in Doctor Who (2005-)

Since the initial announcement of Jodie Whittaker’s casting as the Doctor, there has been increased speculation over the timelord’s sexuality. In the past, the Doctor has only been depicted in relationships with females, which, at the time, were simple male/female relationships. However, now the Doctor is a woman, things are a little more complicated. Under the assumption that the Doctor’s past attraction to women remains unchanged, many fans have predicted there may be a romance in the works for the thirteenth Doctor and her companion, Yasmin.

Billie Piper, who played the tenth doctor’s love interest, Rose, commented on the topic after Whittaker’s casting. Piper mentioned during a convention that Rose would still be in love with the new female Doctor if their paths were to somehow cross. On the Doctor’s side of the equation, you’d be hard-pressed to argue that the change in gender would magically alter her feelings.

Rose, of course, isn’t likely to be meeting Whittaker’s iteration of the Doctor any time soon. However, Alex Kingston’s character, River Song, always seems to pop up in the most unexpected places. First appearing in the tenth Doctor’s later seasons, River Song has been a recurring love interest of the Doctor, from her marriage to Matt Smith’s eleventh Doctor, to her reappearance during Peter Capaldi’s reign, maintaining her previous role as the Doctor’s wife. If Kingston were to make another appearance at some point throughout Whittaker’s reign, it would come off as pretty absurd if the Doctor’s shift in gender made any significant difference to their relationship. Kingston herself commented at Edmonton Expo, that if the two were to meet, “I think [River would] just take her in her arms and give her a big kiss!”

Rose and River aside, the potential love interest currently at the centre of fans attention is one of the thirteenth Doctor’s companions, Yasmin “Yaz” Khan. Speculation started in an early episode of season 11, in which Yaz’s mother questioned the nature of Yaz’s relationship with the Doctor. She was direct in questioning, “are you two seeing each other?” Some fans interpreted this question as an indication Yaz may have a past history of dating women. Although Yaz quickly dismissed her mother, saying they were just friends, the Doctor’s initial response to the question was a confused, “I don’t think so. Are we?” The Doctor certainly doesn’t seem opposed to the possibility, and many fans suspect that Yaz isn’t all that opposed either.

Time and time again, Yaz has displayed her fierce loyalty and admiration for the Doctor – not dissimilar to Rose’s behaviour back in the earlier seasons. Yaz demonstrated this when she made the decision to continue travelling with the Doctor, saying “I want more, more of the universe… more time with you.” She went on, expressing with wonderment, “You’re like the best person I’ve ever met.”

The season 11 finale, “The Battle of Ranskoor Av Kolos” featured a similar moment which highlighted Yaz’s commitment to the Doctor. She made the emotional declaration, “I’m with you, whatever happens,” refusing to leave the Doctor’s side in the face of danger. These moments have led fans to believe there may be romantic feelings there on Yaz’s part at least. Whether her feelings are requited is, of course, another matter.

Executive Producer, Matt Strevens has commented, “Since the show came back in 2005, I think Doctor Who has been amazing at blurring the edges of sexuality and being quite gender fluid about the characters and relationships.” He went on to say, “I’m not going to say if any of our characters are or are not at this point. But it is part, I think, of the DNA that Russell re-imbued into the show.”

Hints of romance between Yaz and the Doctor are, at this point, too subtle to say for sure if this is the direction in which the creators are heading. Your average fan mightn’t pick up that there’s anything beyond friendship between the two – but that’s not to say romance isn’t on the cards.

Yaz certainly seems taken with the Doctor and, as previously discussed, it would be difficult to argue that the Doctor no longer has any interest in women. Does all this mean that the two are without a doubt destined for romance? Of course not, but I wouldn’t dismiss the possibility either. At this point in time, there’s nothing that refutes a potential romantic future for Yaz and the Doctor. However, it’s one thing for a romance to be possible, and another thing for the creators and producers to decide to go through with it. There are certainly those who would respond to such a romance negatively, dismissing it as the creators pandering to fans or a publicity stunt.

Such reactions make LGBT+ relationships a complex thing to accurately develop on screen. If you write a subtle gay romantic subplot the same way you would write a subtle straight romantic subplot, many viewers wouldn’t actually pick up on the romantic undertones. Where a gay person might read Yaz and the Doctor’s relationship as a will they/won’t they dynamic, a straight person might just see a close friendship.

There is, of course, a name for this – ‘heteronormative gaze’ – but it’s a phrase I’m hesitant to use. I can’t imagine anyone wants to be told that they’re looking at something through a ‘heteronormative gaze.’ It sure sounds like an insult (and there are many that use it as one.) From here on out, know that if I do use the phrase ‘heteronormative gaze,’ I am simply referring to the complex, socially-ingrained reasons why straight people may not immediately perceive the same potential for romance in same-gender interactions as they might in male/female interactions. (Simple, right?) When you go back to the roots of what ‘heteronormative gaze’ actually means and use it to examine different people’s varying perceptions of media and the effects of any discrepancies in interpretation, things start to get complicated.

In this scenario, where you have a large number of fans not picking up the breadcrumbs of an upcoming LGBT+ romance, these fans of course find it sudden or ‘forced’ when the relationship becomes more noticeably romantic. (Which can make the relationship feel like it was put in there randomly or to make some sort of political statement). In order to compensate for this, some creators may then feel the need to emphasise the build-up period more than they would have otherwise when portraying a romantic LGBT+ relationship. This again might come off as forced or as if it’s being pushed in the viewer’s face. This is a common issue that applies to Doctor Who right now: even if Yaz and the Doctor are destined for romance, creators will have a hard time pulling it off in a way that comes off as natural and honest.

Romance has never been at the forefront of Doctor Who. It certainly has its place in the show (see Rose and River) but fans are bound to become frustrated if creators place too much emphasis on any one romance. This applies especially an LGBT+ romance, which could all-too-easily come off as pandering to political correctness.

There’s no denying the fact the Doctor simply cannot be straight anymore. Whether the BBC will outwardly acknowledge this is another matter – as is the question of whether she and Yaz will become romantically linked. There’s a good chance nothing concrete will come of Yaz and the Doctor’s romantic potential. Considering the extent of Doctor Who’s audience, it might just be one risk too many for the show at the moment.

Personally, I wouldn’t mind if there isn’t any romance in store for the thirteenth Doctor – that’s not why I watch the show. In fact, I enjoyed season 11 precisely because of its all-round lack of romance. It certainly subverted my expectations – straight off the bat I assumed we’d be seeing Yaz and Ryan become romantically entangled at some point down the line. As of yet, there hasn’t been the slightest hint of anything more than friendship between the two, and it made for a refreshing change.

Would I like to see Yaz and the Doctor together? Absolutely – as long as it’s well written and doesn’t overshadow the rest of the story. It would be a great opportunity for the BBC to include more diversity, which they do love to take credit for (whether it’s well written or not). No, I don’t want to see Yaz and the Doctor together simply for the sake of diversity, but a relationship between the two (or even a ‘Martha Jones’-esque arc of unrequited love on Yaz’s part) could definitely still be an interesting, fresh avenue for the show to explore.

Will there be any definitive romance between Yaz and the Doctor? I wouldn’t get my hopes up too high – but with new Executive Producers, Chris Chibnall and Matt Strevens at the helm, anything’s possible. Doctor Who won’t be returning for a twelfth season until 2020, so it’ll be a while before we get a chance to find out, but who knows? Perhaps we’ll see more hints of a Yaz/Doctor romance in the upcoming New Year’s Special.

Bohemian Rhapsody and the “B” Word | A Bisexual Perspective

MV5BMTAxNTA0NzIyNDZeQTJeQWpwZ15BbWU4MDc0Mjk5NjYz._V1_SX1500_CR0,0,1500,999_AL_.jpg — Rami Malek and Gwilym Lee in Bohemian Rhapsody (2018)

Rami Malek’s portrayal of Freddie Mercury in recent film, Bohemian Rhapsody, sparked widespread debate in the LGBT+ community for its divisive portrayal of Mercury’s bisexuality. Going into the film as a bisexual myself, I wanted so very much to be satisfied with the film’s representation, but when I walked out of the cinema, I’ll admit I was unsure. I immediately sought the internet for some clarity and was met with even more confusion.

There were those who ripped into the film for Mercury not being gay enough, and there were others who believed the film dismissed his bisexuality by presenting him a full-fledged gay in denial. Many defended the film, praising it for the scene in which Mercury admits to his fiancé that he believes he “might be bisexual.” Keeping with this perspective, his fiancé’s immediate dismissal where she tells Mercury that he is in fact gay, is an accurate portrayal of what it is often like as a bisexual; everyone’s always telling you that you’re just a straight person looking for attention (or ‘exploring’), or alternatively that you’re really just a gay person in denial. Others have criticised the film’s negative portrayal of Mercury’s gay manager, Paul Pretner, who was shaped into the film’s manipulative villain, leading Mercury astray into a life of gay temptation and frivolity that lead to Mercury’s eventual downfall. I must agree that it doesn’t paint a pretty picture.

In a recent interview with The View, Rami Malek commented on the film’s coverage of Mercury’s sexuality. In response to interviewer referring to Mercury as a “gay icon,” Malek states, “There is definitely a story there we could have delved deeper into. I don’t think that it’s glossed over… He talks about not wanting to be a poster boy for the disease. He wants to make music, and I think that he’s a revolutionary because he lived his most authentic life.” Malek makes a point to emphasise Mercury’s bisexuality as he continues, “Little did people know that he did have a six-year relationship with a woman who he called the love of his life, who is the only person who knows where his ashes are. He was engaged to [her], put a ring on that finger, and then he discovered he was bisexual, was gay. He is definitely a gay icon and a hero for everyone.” Malek appears deeply invested in ensuring his portrayal of Mercury is both accurate and respectful, conscious to emphasise the significance of the star’s relationships with both the men and women in his life. That’s about all I can ask of an actor representing my sexuality on such a large scale.

I would say the good outweighs the bad in Bohemian Rhapsody, having recommended the film to many a friend since watching it myself. I don’t believe the filmmakers or the actors involved had any intention of portraying Mercury’s bisexuality in a negative or dismissive light, but I must agree that the matter was handled carelessly by the filmmakers. I think we must give viewers enough credit to be able to separate Mercury’s downfall from his sexuality, but the film certainly buys into a number of stereotypes and patterns in modern media that are harmful to perceptions of the LGBT+ community. I know I would have liked to see more explicit clarification of Mercury’s bisexuality, but I can understand how this detail may have been overlooked by filmmakers intent on telling a story about music. Whilst these are certainly valid points of discussion, they don’t make Bohemian Rhapsody a bad or homophobic film as some have claimed. We shouldn’t let these faults overpower the significance of seeing such widespread representation and discussion of bisexuality in the media. When I sat in the packed cinema and I heard the word ‘bisexual’ coming from the mouth of the icon that is Freddie Mercury, I felt proud; I felt seen, and no criticisms can diminish that feeling.

Crazy Ex-Girlfriend on Fan Culture’s Over-Obsession with ‘Shipping’

MV5BOGRkY2RhNWMtNmFkMi00ZGYzLThmOGUtNTRjMmY4NzA0OWNkXkEyXkFqcGdeQXVyNzI0MTExMzY@._V1_ — David Hull, Rachel Bloom, Michael McMillian and Pete Gardner in Crazy Ex-Girlfriend (2015)

The CW’s hit comedy musical series, Crazy Ex-Girlfriend, is known for pushing the boundaries of television, featuring songs such as “Period Sex,” “I Gave You a UTI” and my personal favourite, “Sexy Getting Ready Song,” which details the disturbing (and sometimes painful) lengths women go to in order to make themselves more appealing to men. With ever-bold lead actress and co-creator, Rachel Bloom at its helm, the show never fails to shy away from topics that others might deem too controversial to air.

Now well into its fourth and (self-imposed) final season on the air, Crazy Ex-Girlfriend continues to push these boundaries further, with recent episode, “I’m So Happy for You”, featuring the song, “The Group Mind Has Decided You’re In Love.” The song is a direct call-out to the show’s fanbase, and fan-culture in general, exposing fans unhealthy and borderline creepy tendency to become overly invested in the activity of ‘shipping’ romantic relationships.

“The Group Mind Has Decided You’re In Love” zeros in on the characters Darryl and White Josh, who had dated throughout the show’s early seasons before breaking up in the third season due to Darryl being set on having a baby – whereas White josh decidedly did not. Despite this significant barrier, the two remain friends in season 4. Their friends eventually conclude (as many of the shows fans have) that they should simply get back together –despite neither one deviating from what separated them in the first place.

The song makes a point of how overly-invested and illogical shippers can be, attempting to force two characters together regardless of their wishes. They argue, “your relationship is important to us!” – as if this is more important than the individual character’s wants and needs. Darryl and White Josh are diminished by the swarm of fangirling characters around them, who, whilst claiming to be invested in their lives, reduce them to their relationship – just another cute gay couple to help them distract themselves from problems in their own lives. White Josh even comments towards the end of the song, “so it’s not about us at all anymore,” as the mob leaves them on the sidelines. The song doesn’t demonise shipping; it’s simply a light-hearted jab at the fanbase. This is a pretty common theme in Crazy Ex-Girlfriend, especially when it comes to pointing out fans’ obsession with romance.

Crazy Ex-Girlfriend makes it clear very early on in season one that the main focus of the show is not (and will never be) the outcome of Rebecca’s romantic pursuits. Fans rooting for one of Rebecca’s love interests to win her over in the end are clearly not paying enough attention. Showrunner, Aline Brosh McKenna confirmed this in Vanity Fair’s 2016 interview, stating, “the show is never about this boy or that boy. The show is always about [Rebecca’s] struggle for identity, and her coming of age.”

In earlier seasons, Rebecca’s focus is very much on her romantic relationships, and the show makes a point of why this is such an unhealthy mindset for Rebecca at the time. This puts fans in a difficult position, as shipping is such deeply-ingrained part of fan culture. Crazy Ex-Girlfriend challenges its fans to put Rebecca’s needs first, as she must also do, constantly tempting fans with new potential love interests, before quickly making a point of why they are not right for her. The result is an important (albeit sometimes cruel) lesson that a character’s happiness cannot be derived from any one relationship.

“The Group Mind Has Decided You’re in Love” reminds audiences of this same lesson. Darryl and White Josh’s relationship may have been enjoyable for fans to watch (and I’ll admit a part of me is still rooting for them to end up together) but at the present, the healthiest thing for both of their characters is to remain apart and move on as friends.

Boy Erased: A Powerful but Hard-to-watch Film

MV5BZjZkNGI0Y2YtNWJiNi00YmFhLTk4NTMtOTNmMGZkZjBmZTkwXkEyXkFqcGdeQXVyNDkwNTM3OTA@._V1_.jpg — Lucas Hedges and Troye Sivan in Boy Erased (2018)

There are few films that I would, without doubt, never watch again; Boy Erased is one of them. This isn’t to say that it’s a bad film – far from it – but it is certainly a harrowing experience for LGBT+ viewers. When I walked into the cinema with my fellow gay friends in tow, I was expecting the film to be an emotional experience, but I wasn’t prepared for just how closely it would hit home. Boy Erased tells an important story. It isn’t overly sensationalised; it tells a very real story, exploring the way in which subtle, rationalised instances of homophobia can chip away at an individual.

The film expertly captured the experiences of an LGBT person grappling with religion. I could see so much of myself in the main character, Jared Eamons, despite our many differences. I wasn’t raised in a religious setting, and my parents barely blinked an eye the first time I told them I was going on a date with a girl. All in all, I’d consider myself pretty fortunate as far as the whole gay acceptance thing goes, but I found Jared’s journey painfully relatable all the same. I saw myself in his struggles with internalised-homophobia; the reservations that plagued his mind, holding him back from accepting himself for who he truly was, they were the same reservations I still contemplate in my weaker moments. I found myself hopelessly lost in the film, feeling utterly exposed and at its mercy as I prayed that it would offer up some source of hope before its conclusion.

Jared’s frustrations and moments of self-hatred resonated with everyone in my party of three – what LGBT+ person hasn’t felt that way at some point? It doesn’t matter how much you love yourself, or tell yourself there’s nothing wrong with what you are, there will always be moments where you can’t help but wish for an easier life. This part of myself – the part I don’t like to think about – this is what I saw reflected in Jared. It is this that makes the viewing experience simultaneously important and challenging.

The film managed to produce this visceral reaction, despite its lack of overwhelming violence or directed hatred at any one individual. It was a far more psychological process than that. I sat there, filled with genuine anger as I watched this boy try to ‘fix’ himself, to cure himself of the one thing I had in common with him. He did so at the encouragement of characters too kind and well-meaning for me to even attempt to hate. They manipulated him into hating himself, all without any intention to harm him – simply because they believed it was right.

With no one person for the viewer to hate or blame for all Jared’s troubles, the film feels all-too real. The result is relentlessly bleak and painful to the point that one of my friends almost walked out of the cinema. She stayed however, as she told me afterwards, because the film felt important for us to see and experience together in an environment where we could support each other – in a way that no one was able to support Jared. And so, we stayed, and we watched the rest of his story. We couldn’t help him; there was no easy solution to him problems and we may have found that difficult, but the least we could do was listen.

Jared’s story ended on a much-needed hopeful note, but the film never lets its audience forget that his experiences would stay with him forever. I found myself in tears as the ending credits rolled. I couldn’t let this thought go – that even though things would get better for Jared, he would continue to struggle all the same, as so many of us still do today. Boy Erased is a harsh reminder that every day as an LGBT+ person is a fight: a fight with the society we live in, a fight with the people around us, and lastly a fight with ourselves.

I would urge every LGBT+ person to go out and see this film in cinemas if they feel emotionally able. Boy Erased provides an in-depth look into an important part of not just our history, but our present too – with conversion therapy remaining legal to this day in many parts of the United States. Boy Erased is a film that everyone should watch at least once in their lifetime – if only once.

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