everything about baywatch is so wild to me that i have to convey it in the form of a timeline
1989: baywatch premieres as a television movie, panic at malibu pier. the unedited version of the film contains random topless ladies who contribute nothing to the plot, but exist to make video store rentals lucrative
also 1989: baywatch season one premieres on nbc. each episode contains several montages of beach stock footage and slow motion lifeguard running set to music to pad the runtime. one of the lead actors is named billy warlock, the coolest name that will ever be
1990: after one season, nbc cancels baywatch. screenwriter lee goldberg would later say of the show, “baywatch should never have been a series. lifeguards dive into the water and rescue people. so what? one producer said, 'you know, i can come up with stories for the home shopping network, and i can't come up with stories for this show.”
1992: david hasselhoff believes in baywatch so much that he has the series picked up for syndication. season two premieres with a significantly smaller budget, and as such product placement is rampant and all shots filmed must be used, regardless of visible errors. the show now has the iconic theme song “i’ll be ready”
also 1992: the baywatch/gilligan’s island crossover episode “now sit right back and you’ll hear a tale” premieres. gilligan and mary ann are the only gilligan’s island characters to appear in the crossover
1993: season three of baywatch premieres, now with pamela anderson as a cast member. her character cj was first introduced playing an alto saxophone at the side of a river where mitch buchannon was searching for gold buried by his deceased prospector uncle
also 1993: baywatch teamed up with sega to release “lifeguard potential,” a water safety psa for uk children hosted by chris evans, but not the chris evans of marvel fame
1994: david hasselhoff performs a pay per view concert in atlantic city meant to help his singing career with united states audiences. during the concert, hasselhoff goes backstage to find donald trump watching the oj simpson car chase, broadcasting live, on television. as a result of approximately 90 million people watching the car chase, the concert was a 1.5 million dollar loss
1995: baywatch nights premieres. originally envisioned by david hasselhoff as a detective show completely separate from baywatch, the show ended up as a baywatch spinoff with mitch buchannon and garner ellerbee starting up a detective agency along with angie harmon of later Law & Order fame. the show was called nights because the detective agency was located above a club called nights, yet advertising for the show stated mitch was a “lifeguard by day and detective by night,” despite the majority of season one taking place in the day
also 1995: baywatch the movie: forbidden paradise is released on video
1996: the baywatch episode “baywatch angels” airs. in this episode, the lifeguards are being targeted with trip wire bombs and are saved by charlie’s angels. except instead of actually getting the charlie’s angels actresses, it’s three female baywatch cast members dressed up as the charlie’s angels
1997: baywatch nights season two premieres. the show is now about mitch as a paranormal investigator, x-files style, and is widely panned as ridiculous. which, in fairness, it is, but original baywatch had ghost possessions and alien abductions so it’s not like this is without precedent. despite season one of baywatch nights having a psychic character, she inexplicably never appears in any of the paranormal episodes
also 1997: baywatch nights is cancelled
1998: baywatch: white thunder at glacier bay premieres direct to video
also 1998: david hasselhoff stars as nick fury in the television movie nick fury: agent of shield. other roles in the film are played by minor baywatch and baywatch nights actors, such as lisa rinna as contessa val allegra de fontaine, sandra hess as andrea von strucker, and neil roberts as alexander pierce. the movie was intended to lead into a nick fury television series. it did not succeed.
1999: baywatch moves filming to hawaii due to rising production costs in los angeles. the show is now branded as baywatch: hawaii.
2001: baywatch is cancelled again, this time for good. so far.
also 2001: star trek: enterprise premieres. due to declining viewership of preceding star trek franchises, enterprise seeks a new viewing demographic: baywatch fans. they do this by having scenes in nearly every episode where the cast strips down to their underwear and rubs ‘decontamination gel’ on each other after visiting alien planets. this does not succeed in drawing any new viewers in, as internet porn is readily available by this point
2003: the made for television movie baywatch: hawaiian wedding premieres
2017: baywatch, starring dwayne johnson and zac efron, premieres in theaters. dwayne johnson is playing mitch buchannon and at one point has a scene with david hasselhoff, who is also playing mitch buchannon, because why not
there’s just no detailing all the ridiculousness and twists and turns of this history of baywatch. it was the most watched show of all time and the longest running show to never be nominated for an emmy. to this day, hasselhoff insists that baywatch wasn’t about sex. i’ve tried my best here but i’d need to include every single episode to really demonstrate how absurd it all was. everyone go watch baywatching.
1K notes
·
View notes
[TASK 059: GREECE]
There’s a masterlist below compiled of over 160+ Greek faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.
Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!
THE TASK - scroll down for FC’s!
STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!
STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!
STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)
STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.
THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!
Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.
Screencaps
RP icons [of all sizes]
Gif Pack [maybe gif icons if you wish]
PNG packs
Manips
Dash Icons
Character Aesthetics
PSD’s
XCF’s
Graphic Templates - can be chara header, promo, border or background PSD’s!
FC Masterlists - underused, with resources, without resources!
FC Help - could be related, family templates, alternatives.
Written Guides.
and whatever else you can think of / make!
MASTERLIST!
Ladies:
Betty White (95) 50% English, and some Welsh 25% Danish 25% Greek - actress and comedian.
Olympia Dukakis (86) Greek - actress.
Rika Dialina (86) Greek - actress and beauty queen.
Mary Chronopoulou (84) Greek - actress.
Xenia Kalogeropoulou (81) Greek - actress.
Marinella (79) Greek - singer.
Patricia Field (75) Armenian / Greek - designer, stylist and fashion designer.
Martha Karagianni (77) Greek - actress.
Agnes Baltsa (72) Greek - singer.
Anna Panayiotopoulou (70) Greek - actress.
Katiana Balanika (68) Greek - actress and singer.
Arianna Huffington (67) Greek - author and actress.
Marina Sirtis (62) Greek - actress.
Marilu Henner (62) Greek / Polish - actress, writer, and producer.
Rita Wilson (60) Pomak Bulgarian / Greek - actress, singer, voice actress, activist, and producer.
Aphrodite Jones (58) Greek, English, Scottish - author, reporter, and television producer.
Lisa Zane (56) Greek - actress and singer.
Elizabeth Perkins (56) Greek / English - actress.
Amy Sedaris (56) Greek / English, Scottish - actress, voice actress, author, screenwriter, singer, and comedian.
Gabrielle Carteris (56) Greek / Ashkenazi Jewish - actress.
Nia Vardalos (55) Greek - actress, screenwriter, director, and producer.
Emmanuelle Béart (54) Sephardi Jewish, Ashkenazi Jewish / Belgian [Walloon], Greek - actress.
Eleni Rantou (53) Greek - actress.
Gia Carides (53) Greek / English - actress.
Sophia Aliberti (51) Greek - tv personality.
Valeria Golino (51) Italian, Greek, Egyptian - actress and director.
Melina Kanakaredes (50) Greek - actress.
Ana Gasteyer (50) English, German, Greek, Romanian - actress.
Katerina Lehou (50) Greek - actress.
Melina Kanacaredes (50) Greek - actress.
Marianna Toumasatou (49) Greek - actress.
Smaragda Karydi (48) Greek - actress.
Jennifer Aniston (48) Greek / Scottish, Italian or Arbëreshë/Albanian, English, possibly Irish - actress.
Maria Nafpliotou (48) Greek - actress.
Eleni Menegaki (47) Greek - actress and tv personality.
Tina Fey (47) German, Northern Irish, English / Greek - actress .
Sofia Milos (47) Swiss-born Greek/Italian - actress.
Patricia Kara (45) Greek - actress, model, and tv personality.
Victoria Haralabidou (45) Greek - actress.
Andrea Savage (44) 75% Ashkenazi Jewish 25% Greek - actress, writer, and producer.
Rebekah Elmaloglou (43) Greek, possibly Turkish / English - actress.
Angie Harmon (42) English, with small amounts of German, Irish, Scottish, Welsh, remote Dutch / Greek - actress .
Trish Stratus (41) Greek, Polish - WWE wrestler.
Tina Kandelaki (41) Georgian, Greek/Pontic/Pontian Greek / Armenian, Turkish - journalist, public figure, television presenter, and producer.
Zeta Makripoulia (39) Greek - model, actress, television presenter and fashion designer.
Katia Zygouli (39) Greek - actress and model.
Karina Smirnoff (39) Greek, Russian, Jewish- dancer.
Maria Menounos (39) Greek - actress, television hostess, journalist, and wrestling personality.
Lindsay Hartley (39) Ashkenazi Jewish / Greek, Italian - actress and singer.
Lindsay Armaou (38) Greek / Irish - actress and singer.
Aggeliki Daliani (38) Greek - actress.
Gloria Votsis (38) Greek - actress.
Mena Suvari (38) Estonian, English, German, Greek - actress, fashion designer, and model.
D’Arcy Carden (37) Turkish, Greek / German, Ashkenazi Jewish - actress and comedian.
Kora Karvouni (37) Greek - actress.
Hannah Simone (37) Indian/ Italian, Greek Cypriot, German - host, actress and model.
Vaso Laskaraki (37) Greek - actress.
Clio-Danae Othoneou (37) Greek - actress and musician.
Elena Paparizou (35) Greek - singer, songwriter and tv personality.
Kelly Clarkson (35) Greek, English, German, Irish, Scottish - singer.
Maria Kanellis (35) Greek - pro wrestler, singer and model.
Mina Orfanou (35) Greek - actress.
Zoe Kazan (34) Greek (paternal grandfather), English, German - actress and screenwriter.
Denise Vasi (34) 50% Dominican 25% Greek 25% Puerto Rican - actress and model.
Katerine Avgoustakis (33) Greek, Belgian - singer.
Karima Adebibe (32) Moroccan Berber, Irish, Greek Cypriot - actress and model.
Kalomira (32) Greek - singer.
Georgia Salpa (32) Greek / Irish - model.
Orianthi (32) half Greek - singer.
Lauren Lapkus (32) Lithuanian / Greek, Serbian - comedian and actress.
Marie Avgeropoulos (31) Greek, possibly other - actress and model.
Marina and the Diamonds (31) Greek / Welsh - singer.
Alice Greczyn (31) French, Japanese, and Polish, with smaller amounts of Chinese, Korean, German, Irish, Native American, Scottish, English, Greek, Hungarian, Turkish, Swedish, and Czech - actress and model.
Tonia Sotiropoulou (30) Greek - actress.
Sammi Giancola (30) Italian, Greek - tv personality.
Tracy Spiridakos (29) Greek - actress.
Tulisa (29) Greek Cypriot / Irish - singer and actress .
Sasha Grey (29) English, Greek, Polish, Irish, Scottish - actress.
Lianne La Havas (28) Greek / Afro-Jamaican - singer and songwriter.
Chelsea Tyler (28) English, German, Italian, Polish, Greek, Welsh, Scottish, African-American, unconfirmed Cherokee Native American, French - singer.
Natasha Negovanlis (27) Macedonian, Irish, Métis- actress, singer, writer and YouTuber.
Dimitra Papadea (26) Greek - singer.
Melia Kreiling (26) American / Greek - actress.
Christina Klein (26) German and Greek - singer.
Cleo Wattenström (25) Ethiopian, Greek - tattoo artist and model.
Hannah Stocking (25) Greek, Polish, possibly English - internet personality.
Alexa Nikolas (25) Greek - actress.
Olympia Valance (24) Greek / Serbian - model and actress.
Cristine Prosperi (24) Greek, Italian - actress.
Adèle Exarchopoulos (23) Greek / French - actress.
Ivi Adamou (23) Greek Cypriot, Bulgarian - singer.
Betty Cantrell (22) Greek / German, English, Scottish, Irish, Dutch - beauty pageant titleholder.
Ariel Winter (19) Greek / English, German - actress and singer.
Elena Kampouris (19) Greek / English, French - actress.
Olivia Kate Iatridis (?) Greek, Inuit - actress.
Chrisoula Christou (born in 1962) Greek - actress, director, radio producer and photographer.
Dimitra Papadopoulou (born in 1962) Greek - actress, writer and director.
Angeliki Papoulia (born in 1975) Greek - actress and director.
Angela Ismailos (?) Greek - director.
Elda Panopoulou (?) Greek - comedian.
Eva Simatou (?) Greek - actress.
Male:
Jack Angel (86) Greek - voice actor.
John Aniston (84) Greek - actor.
George Chakiris (82) Greek - actor and singer.
Chris Sarandon (75) Greek - actor.
Paul Cavonis (75) Greek - actor.
Tony Orlando (73) Greek, Puerto Rican - singer.
Thaao Penghlis (71) Greek - actor.
Bob Costas (65) Greek / Irish, German - sportscaster.
Dennis Boutsikaris (64) Greek / Jewish - actor.
Tchéky Karyo (63) Turkish Jewish / Greek- actor and musician.
David Sedaris (60) Greek / English, Scottish - humorist, comedian, author, and radio contributor.
Alexander Payne (56) 75% Greek 25% German - director, screenwriter, and producer.
Elias Koteas (56) Greek - actor.
Art Alexakis (55) Greek / English, German, Irish, remote Scottish, remote Welsh - musician.
Ralph Macchio (55) 75% Italian 25% Greek - actor.
John Stamos (54) Greek / Ashkenazi Jewish, German, English, Irish - actor, producer, and musician.
Michael Chiklis (54) 75% Greek 12.5% English 12.5% Irish - actor and producer.
Hank Azaria (53) Greek Jewish - actor, voice actor, comedian and producer.
Greg Dulli (52) Irish, Greek, French - musician.
Costas Mandylor (52) Greek - actor.
Dino Stamatopoulos (52) Greek - writer, producer, and actor.
Billy Zane (51) Greek - actor and producer.
Ant (50) Greek - comedian.
George Eads (50) Greek / English, Scots-Irish/Northern Irish - actor.
Criss Angel (49) Greek - magician and illusionist.
Hugh Jackman (49) 62.5% English, 25% Scottish, 12.5% Greek - actor and singer.
Ben Mendelsohn (48) Ashkenazi Jewish, Greek, Scottish, English, Irish, German - actor.
Dave Bautista (48) Greek / Filipino - professional wrestler, mixed martial artist, and actor.
Hugh Jackman (48) 62.5% English 25% Scottish 12.5% Greek - actor, singer, and producer.
Zach Galifianakis (47) Greek / Scottish, English, Welsh, French Huguenot, Irish - actor, writer and comedian.
Pete Sampras (46) 75% Greek 25% Ashkenazi Jewish - tennis player.
Alex Kapranos (45) Greek / English - musician.
Jason Mantzoukas (45) Greek - actor.
George Stroumboulopo (45) Greek / Ukrainian - tv and radio personality..
Greg Vaughan (44) Greek, English, German, Scots-Irish/Northern Irish, Scottish - actor and model.
Peter Andre (44) Greek Cypriot - singer, songwriter, television personality, businessperson, and presenter.
Demetri Martin (44) Greek - comedian, actor, artist, musician, writer, and humorist.
Jason Mantzoukas (44) Greek - actor.
Alex Dimitriades (43) Greek - actor.
Chris Diamantopoulos (42) Greek - actor and comedian.
Alexis Georgoulis (42) Greek - actor and producer.
Steve Zissis (41) Greek - screenwriter and producer.
Gilles Marini (41) Italian, Greek - actor.
Andy Milonakis (41) Greek - actor, writer, rapper, streamer, and comedian.
Sebastian Arcelus (40) Uruguayan / Italian, Greek, European Royal, Serbian/Montenegrin, Russian - actor and singer.
Vitor Belfort (40) French and Greek - MMA fighter.
Mark Philippoussis (40) Greek / Italian - tennis player.
Rami Malek (36) 87.5% Egyptian 12.5% Greek - actor.
Danny O’Donoghue (37) 75% Irish 25% Greek - singer.
Steve Angello (34) Greek / English, French - disc jockey, producer, and record label owner.
Theo James (32) Greek (paternal grandfather), English, Scottish, 1/16th German - actor.
Chris Trousdale (32) Greek / Irish - actor.
Julian Edelman (31) German,Ashkenazi Jewish, Greek, Irish, English, Scottish, Polish, Belgian - football player.
Mark Ballas (31) Greek, Mexican [including Spanish] / English, Irish - dancer, choreographer, musician, and actor.
Matt Di Angelo (30) Greek, Irish - actor and singer.
Dimitri Leonidas (29) Greek Cypriot / Welsh, English - actor.
Ryan Pinkston (29) Greek, English - actor and model.
Jordan Gavaris (28) Greek, other - actor.
Kim Cesarion (27) Afro-Guadeloupean, Greek - singer.
Nick Kyrgios (22) Greek, Malaysian - tennis player.
Charlie Rowe (21) English, Scottish, 1/8th Ashkenazi Jewish, 1/8th Greek, 1/16th French, some Manx - actor.
Thanasi Kokkinakis (21) Greek - tennis player.
Dylan Lee (19) Greek, Finnish, English, Russian, Irish, French, 1/2048 Powhatan Native American - model.
NB:
N/A
ICK:
Sam Pepper
Milo Yiannopoulos
Andrea Tantaros
Jessica Chastain
44 notes
·
View notes
Queerbaiting and You - An Analysis on an Evolution
Language is ever-changing. The continual development of nuance and specificity of terms is part of the fabric of linguistics. Terms change in meaning and this evolution is challenging. People cling to language; adjustments in terminology are challenging. We like words that are static because it is human nature to dislike uncertainty.
Queerbaiting one such word undergoing evolution. The introduction of layered variance into a once-simply defined practice has brought about confusion and infighting. The repercussions of this debate are felt both internally within the queer community and externally, in the larger narrative on queer representation in popular media. The shift in definition does little to help the cause it was created to serve; instead obscuring the definition to the point where the term is essentially meaningless.
Historically, queerbaiting has carried two meanings: the first is an act of aggressive heterosexuality to shut down queer subtext on screen while still teasing and catering to the queer audience in advertising, public relations, and fan engagement strategies; the second is an existing homoerotic tension between two characters played up on screen while met with derision by the professionals behind the scenes. The most serial offenders of this practice oftentimes included much needed representation. However, it was not the canonly queer characters that prompted the act of queerbaiting, but rather the subtextual relationship between purportedly straight, often more central characters to the narrative.
Before the release of season two of Rizzoli and Isles, Sasha Alexander and Angie Harmon did a photoshoot for the cover of TV Guide was set up to resemble a lesbian couple’s engagement photoshoot. The clear focus on the relationship between Jane and Maura as the core dynamic that made the show work, and the way in which the actresses posed in the photos is in direct opposition to the man-of-the-week C-plot tacked on to every moment of intimacy shared by Harmon and Alexander’s characters on screen. The insertion of compulsory heterosexuality into moments where there is no need to remind the audience that these characters are ostensibly straight is the definition of queerbaiting. It perpetuates the idea that women cannot converse with each other without speaking of a man, and effectively quashes any doubts that the straight audience has about the subtext that existed between the two main characters. This is in direct contradiction to the theme of the promotional materials, which sold an intimate, almost romantic, relationship between two women. These promotional materials were meant to draw the attention of queer women knowing full-well that the romantic intimacy of the photoshoot was just an act to attract queer viewers.
This act of queerbaiting and the innumerable others like it started a conversation; and further acts ignited a discussion that trickled out of Live Journal and other fandom spaces into the public eye. Fandom creativity has always been somewhat of a taboo subject historically, the sort of thing that one did not discuss with members of the professional community. Actors, and then writers and showrunners, started to actively embrace the cultish fan culture that had developed around their shows.
This is not an entirely new phenomena, XenaCon has been around for year; Star Trek and Star Wars have always had a large following and active fanbase embraced by the professionals involved. But these relationships between professionals and fans were always considered somewhat fringe, the exceptions, rather than the rule of fan engagement. Science fiction and fantasy professionals have always embraced fan culture far more than the mainstream. It comes from a shared history and understanding; geeks and nerds have a strong sense of solidary that even professional success does little to change.
Even in these open spaces for dialogue, the queerness of the fandom was considered ineffable. With the exception of Xena, which was always a queer show censored by being ahead of its time, it has always been one of the unspoken rules of fan culture: you don’t talk about the gay. Despite the heavy subtext, the relationship between Seven of Nine and Captain Janeway of Star Trek: Voyager was a non-starter at conventions; Kirk and Spock, the original slash pairing for innumerable fans, was not discussed publically. The self-censorship was a practice to protect the small bones thrown to the community by writers who were undoubtedly aware of their queer fanbase but were uninterested in providing any sort of meaningful representation to them.
And then a watershed moment occurred in the Supernatural fandom: Misha Collins, one half of one of the most notoriously queerbaited dynamics in modern memory, started actively embracing the queer fandom and shipping community. All of sudden, it wasn’t as unacceptable to share fan works with actors and writers. It wasn’t as unacceptable to want to see the ideas of those works – the representation of queer storylines as equal to those of their straight counterparts – realized on screen.
Queer representation in the current age of “peak TV” has diversified exponentially from the humble beginnings of the subtext-laden yet never-canon roots of the pre-aught era. The conversations started on message boards and social media reached the ears of Hollywood executives. Queer characters started to appear more frequently, and with them came queer relationships. The practice of queerbaiting persists on some shows: Supernatural, a show that has come to define the practice, continues on this path with Dean and Castiel’s characters despite the presence of canon queer characters in the story; Rizzoli and Isles ended without ever having realized the potential relationship between Jane and Maura[1]; and Once Upon a Time continues to demonstrate the central, co-parenting relationship of Regina and Emma as strictly platonic through pairing the women off with abusive men. Despite the continued practice of queerbaiting in some established shows, many others embraced queer representation and did it in such a way that the conversation had to shift.
With the canonization of relationships like Kurt and Blaine or Brittany and Santana from Glee, fans and creators alike started to have conversations about what it meant to show queer lives on television. Glee was unique in that it didn’t shy away from the ugliness of what it meant to be queer in high school. It had a large enough cast of queer characters that it could show multiple ways to be queer, and multiple queer experiences. While the practice was met with derision by the queer community at times due to the worry about depicting queer characters as constantly suffering for their queerness, Glee gave some of the best queer youth representation. It allowed young queer folks to see that they, too, could have a happy ending – as Glee remains one of the only shows on major network television to ever depict a lesbian wedding.
Before Glee, one of the best and most iconic early canon depictions of a relationship between two women on television ended in tragedy on Buffy: the Vampire Slayer[2]. Glee continued to fuel the narrative of queerness being equated with suffering despite the good work it did in terms of normalizing the experiences of queer folks. These two shows, along with Degrassi, South of Normal and Modern Family queer characters could be central characters and their relationships and lives could drive a narrative for a straight audience just as easily as a straight character’s could. As Glee ended, fans began to debate if it was enough to simply have the characters be queer, or if their queerness had to be realized through other means to be true “good” representation.
The debate narrowed to relationships; and the question was asked: was simply being there enough, or was there some sort of additional special treatment needed? The majority of fans eschew the debate all together, simply happy to see queer characters and relationships represented on television; however there is a vocal minority that does not think that just being depicted on television is good enough representation to be considered worthy of praise. They are an audience starved for any sort of positive representation, and the burden falls to television writers, often who are not members of the community they are trying to represent, to create narratives that do this ask justice.
Shows popular with large, young audiences seem to garner the most attention in these debates. The high school demographic seems to accurately predict where the discourse will next appear. Shows like The 100, Pretty Little Liars, Orphan Black, Shadowhunters and Supergirl recently have become ground zero for such conversations. Each of these shows depicts an on-screen relationship between two men or women, and each of these shows has been criticized for queerbaiting.
By the definition understood, none of these shows come close to queerbaiting. There are developed queer characters, actively embraced by the network, showrunners, critics and actors; the relationships are realized on screen and depicted with care; and there is narrative focus placed on the queer relationships. Unlike Will and Grace or South of Nowhere where queerness is measured in how little demonstrable queerness these ostensibly queer characters can show on screen while still remaining queer; these relationships are well developed and realized on screen in the only way an audience can be sure to understand them – through kissing and depictions of sex. It is here the debate turns from a discussion of representation to the changing definition of queerbaiting as a practice.
Queerbaiting has come to mean “bad representation” and “teasing existing queer characters” on top of the continued application to the practice of actively attempting to attract a queer audience for the so-called “gay bump” and actively dismissing that same audience’s want for better representation. This is confusing; one practice is far more insidious than the other, yet the term is applied to both practices interchangeably.
There are cases where the on-screen story does not depict the practice of queerbaiting in a way that behind the scenes action certainly does. The best example of this in recent memory is The 100. The showrunners spent two seasons developing the lesbian character Lexa into a fully realized individual and building her relationship with Clarke, the bisexual lead. While the writers played into the bury your gays trope with Lexa’s death, there was nothing inherently queerbaiting about the way Clark and Lexa’s relationship developed on screen. However, the way that the relationship was handed by the showrunners and writers off screen clearly exemplifies the practice.
Prior to the release of the 3rd season of The 100, showrunner Jason Rothenberg gave numerous interviews discussing the possibility of a relationship developing between Clarke and Lexa. The inclusion of a queer storyline and the bisexuality of the lead character won the show and Rothenberg himself a great deal of attention. While shooting the 3rd season, Rothenberg tweeted behind the scenes photographs from the season finale featuring Lexa and Clarke together; as well as open invitations to the fans to come and watch them shoot the finale. Writer Shawna Benson posted as an “insider” on a popular lesbian forum regularly during the build up to the 3rd season to control and monitor rumors. Following Alycia Debnam-Carey thanking Rothenberg for the opportunity and saying goodbye in a signed poster, Benson jumped at the opportunity to reassure the fans that this was nothing but a rumor and that she was there to “help them sleep better at night.”[3] Both Benson and Rothenberg’s actions were a deliberate attempt to misconstrue the fact from The 100’s largely queer fanbase that Lexa dies at the midpoint of the season. While not a traditional understanding of the practice of queerbaiting, their actions clearly were meant to draw the attention of the queer fanbase and ensure that it was held for the entire season.
What happened on screen between Clarke and Lexa was not queerbaiting. A fully realized queer relationship between equals can never be queerbaiting as it is traditionally understood. Lexa’s death started to change the definition. Benson and Rothenberg’s actions compounding the issue as their professional actions were not the typical model of queerbaiting from industry professionals prior to this point. They deliberately sought out a vulnerable sub-group of their audience and through false reassurance, ensured their continued engagement despite Rothenberg’s creative choices regarding the queer representation in The 100. In doing this, they poisoned the well of goodwill they’d generated through a two season long development of a canon queer relationship. In the process, this act redefined the practice queerbaiting.
During the backlash over Lexa’s death, queerbaiting began to be used to describe any representation of queer characters that was not considered by the majority as “good.” Because The 100 (and numerous others[4]) played into the bury your gays[5] trope, it was considered “bad” queer representation. The term queerbaiting was applied to this “bad” representation label because of a clumsy understanding of what the term and practice actually entailed. Lexa was a well-developed queer character. There was nothing “bad” about the queerness she embodied on screen.[6] She represented a lesbian worth aspiring to be, a hero and a warrior, a leader of her people. There was nothing about her character or the development of the romance with Clarke that baited her queerness.
Media does not exist in a vacuum. To discuss queerbaiting, we must discuss the actions behind the scenes. These are as much a part of the practice as on-screen action. If Lexa had not died in the way she had, in a shot-for-shot parallel to fellow lesbian Tara’s death in Buffy: the Vampire Slayer, this analysis would be unnecessary. In playing into the bury your gays trope, while actively embracing the queer fandom, the staff of The 100 changed the definition of queerbaiting. Queerbaiting is now defined as a practice of giving the queer fans the “good” representation they wanted, right up until the point where the representation became “bad.”
This shift in definition is troubling for older fans. The historical definition of queerbaiting describes a practice that harkens a time when there was no queer representation in popular media. To see the term created to describe this practice change in meaning is challenging for many. The the shift in definition ignores the pain of having your identity be the subject of derision and dismissal by critics, show staff, and actors alike. Older fans feel an emotional response to the practice of queerbaiting. The new definition is confusing to them; it doesn’t go far enough to describe how hurtful queerbaiting is to a vulnerable queer community as it is more often applied to established queer characters and relationships than subtextual relationships within the popular narrative.
Applying queerbaiting to existing queer characters implies that there is a standard of representation beyond merely existing on screen. This is a positive development in the term, and in the overall understanding of on screen queer representation. However, the root of the term in a practice that is both dismissive and exploitive of queer existence, cannot be divorced from the evolution. It implies a negativity in all forms of queer on screen representation and does not allow for variance within queer stories told on screen.
With the evolution, it is no longer enough for a character to be a hero, for her story to be told lovingly, and her romance beautiful. There is a thirst for something more, some perfection that cannot be defined as it is not understood by the community. The struggle for identity creeps into the conversation. The power of identity and what it means to be seen, to be acknowledged by the repressive majority, continues to press at the edges of discourse. Is it enough merely to be seen or is it the reflection of ourselves as shown back to us that forces us to bristle? Is our dissatisfaction from not so much being seen, but disliking how we are seen?
To the straight viewer, any representation is good representation. Their opinion is not nuanced by decades of self-censorship and societal representation. Their opinion does not reflect the pain of seeing yourself represented poorly on screen. There aren’t enough queer creatives in Hollywood to change this narrative overnight; and the pressure to do so only furthers to confound the issue. When we see queer characters on screen and we do not like how they are portrayed, it is not queerbaiting. It is something else, a tremor in the collective consciousness of the queer community. A siren: something isn’t right. We don’t like it, we need to find words to call it wrong. Bad. Poor representation of us.
So we call it queerbaiting.
But that isn’t what it is, is it?
The original practice persists and continues to be far more hurtful to the community. We don’t have words to describe what it is that so bothers us about this new practice. It is confusing to those outside of the community and those who do not possess the historical knowledge of the practice. Attempting to parse out the meaning behind the emotion as well as to understand what the practice speaks to in a broader sense is next to impossible as things stand now. Simplicity begets understanding. The changing definition of what queerbaiting truly means becomes hard to pinpoint as it is applied to more and more situations where it does not quite fit. The language around the queer community’s ability to be seen is evolving rapidly, yanking along terms that aren’t quite ready to evolve. Until the original practice of queerbaiting is gone from popular media, the term cannot progress; and we shouldn’t force it to.
Want to comment? Do it on Medium So We can Discuss | Buy me a Coffee
End notes:
[1] However this lack of realization of the relationship can also be attributed to the extremely negative reaction of Angie Harmon, a conservative Christian, upon the discovery of the queer fanbase’s investment in the relationship between Jane and Maura. Sasha Alexander and the show runner (of the first few seasons), Janet Tamaro, both indicated that they would be interested in adding that queer element to Rizzoli and Isles.
[2] I cannot in good conscious reference Xena here. The relationship between Xena and Gabrielle was censored by the network and while it was undoubtedly canon, it persists in the popular narrative as a ‘subtext’ show.
[3] We Deserved Better. (2016, 9 3). We Deserved Better. Retrieved from wedeservedbetter: http://wedeservedbetter.com/post/141388433803/your-friendly-neighborhood-lurker. Accessed 4/25/17
[4] Bernard, Marie Lyn, writing as Riese. (2016, 3 11). All 175 Dead Lesbian and Bisexual Characters on TV, And How They Died. Retrieved from Autostraddle: https://www.autostraddle.com/all-65-dead-lesbian-and-bisexual-characters-on-tv-and-how-they-died-312315/. Accessed 4/25/2017.
[5] Anonymous, Multiple Contributors. (2010, 8 2 – earliest edit documented). Bury Your Gays. Retrieved from TV Tropes: http://tvtropes.org/pmwiki/pmwiki.php/Main/BuryYourGays. Accessed 4/25/2017.
[6] There are conversations that should be had around the appropriative nature of her character as a played by a white woman in brown face, who wears a bindi, but as I am white, I do not wish to speak over the queer POC who have already spoken out, at length, regarding the treatment of POC on The 100.
339 notes
·
View notes