A post of mine from my other blog, that applies to Torchwood and sci-fi portrayals of LGBT characters.
One of my favorite blogs is by Kittredge Cherry, an LGBT activist who deals with queer art. Kittredge often blogs about the need for more positive spiritual portrayals of LGBT characters in art, and I agree with her on that. The day of the suicidal gay man and moody lesbian should have long ago past, at least as the standard categorization of gay and lesbian people.
Yet, at the same time, I think there is some danger in resorting solely to the "gay saint" image. Like mentally ill people and blacks, the LGBT community has been historically misrepresented in film, leading many LGBT people to conclude that this generation needs a kind of perpetual Sidney Poitier image. I think that kind of image can only harm LGBT people, because its as unrealistic as the demonization of the gay community in the past. Instead of having only negative portrayals, we have only positive portrayals, making LGBT characters as monochrome and unexciting as they were in the past. Occasionally, in an urge to promote a more tolerant vision of LGBT people, pro-LGBT activists and their allies target series that are clearly meant to be sympathetic to LGBT causes. The third season of Torchwood, for instance, gained flack for killing off one of its LGBT characters, even though the evidence seems to suggest that this was not done for any homophobic intent.
I think it is wonderful that LGBT people are being more positively portrayed in the media. But if we stick at simply the Poitier portrayals, the LGBT community will be as hampered artistically as the black community was by the Poitier image in the fifties and sixties. We need LGBT characters that are fully and richly human, which move the LGBT population into its "Shaft" and "Spike Lee" era. Only when LGBT people are accepted as fully fine and fully flawed as the rest of us, will the community feel truly at home in American society. That is my wish and prayer.
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I think SGU started down this route with ming na, but they always gave her good intentions. Then they went on to show how much better they loved each other in the episode where she changes bodies with the person in the wheel chair. This is more apparent when you juxtapose it with the portrayal of rush with his dying wife and the incredibly complicated and decaying heterosexual relationships of the other characters.
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