Editor’s note: This guest post comes from our student Becky, who has revised it from a piece of work for Dr. Shulist’s ANTH308 class on Language, Gender, and Sexuality. As your usual bloggers are currently digging their way out of the end-of-term grading pile/why-won’t-it-stop-snowing grumpy funk, it’s great to be able to highlight some of the insights our students are bringing. Also, this editor is putting Queer Eye on the Netflix queue for a post-term binge-watch (thanks, students!).
To preface this, I would like to admit that I’m an avid viewer of all things transformative in nature in reality TV set-ups. There’s something so appealing in seeing someone’s life get turned around in 40 minutes or less- especially if you consider yourself a before rather than an after effort.
(Side note: HGTV producers, if you’re out there, call me.)
Netflix’s Queer Eye certainly offers all this and more. The show’s premise is that a group of five gay self-identified men come to renovate a straight self-identified male individual’s life through multiple focuses like food, culture, style, and home renovation; Hence to what the title refers to, in giving a queer eye for the straight guy.
It makes for an entertaining concept, but it became all the more compelling to start this series right we started to discuss the concept of masculinity in one of my anthropology classes.
At it’s most basic, masculinity is the association to what is culturally assumed in being a ‘man’. Masculine ontology would therefore be one’s pursuit to be a man (in establishing particular associations linked within masculinity). But, being a man means different things, which diversifies masculinity in how it relates to the relevant cultural discourses at play that are created through the social practices of those that enact them. There’s a dominant discourse but there are always competing discourses that create these conflicting ways people may express their masculinity.
In Kielsing’s (2005) article, men’s talk is described to respond and recreate four main cultural discourses that surround the dominant discourse of masculinity. While these cultural discourses – gender differences, heterosexism, dominance, male solidarity – are examined through the language community of an American fraternity, let us now turn to Tom, from the first episode of Queer Eye.
In episode one, the ‘Fab 5’ introduce a middle-aged man from Georgia named Tom. What follows is how Tom reacts to the group’s questioning of Tom’s choices, and a push towards a competing discourse that works to challenge what Tom uses, while also making continuous acknowledgment of the dominant discourses. In this respect, this parallels to what Kiesling also describes, that when one engages with a competing discourse, one can still find themselves evaluated in reference to the dominant discourses withstanding. So no matter what you choose sooner or later you’re going to have to acknowledge the bulking frat-boy in the room.
Towards the beginning we get a sense of the schema of what Tom identifies as part of his self through repeated use of words like redneck, ugly, country, old, and fat. Based on what Tom uses to describe himself, there’s a lack of self-confidence is readily apparent. This is where I question Tom’s use of gender difference as Tom often uses his ex-wives as those behind many of his stylistic choices, in that there is some innate separation between caring for one’s appearance (and home) to being separate from masculine. Tom’s lack of confidence and physical masculinity is oddly balanced towards gender difference as having that relation to his masculine identity both negatively and positively impacting his confidence.
Further in the episode, when Bobby mentions to Tom that he’s been married to his partner of 13 years, Tom questions if Bobby is the ‘wife’ or the ‘husband’ of the relationship. In seeing Bobby as masculine, Tom still assumes a degree of heterosexuality despite the fact that Bobby is very direct about the whole husband-husband thing. To rectify Bobby’s masculinity then, Tom assumes a positionality relatable to a hetero-relationship. From previous experience with a similar line of questioning (y’know, the ‘who wears the pants’ debacle) this brings up the subordination of the woman role as being natural by placing an association to the dominating role as masculine.
This also comes to naturalize the heterosexual relationship as the representative of all relationship types. The straight couple is the original, and everything outside of that is just a spin-off series.
Moving back here, Tom also briefly demonstrates the cultural discourse of male solidarity. This is particularly emphasized by his group, the ROMEOS, or the “Retired Old Men Eating Out” … and I’m trying not to think too hard on that one.
This group represents Tom and other retired old men who meet up once a week to eat out at a restaurant, who then go and admire each other’s classic cars. Judging from these activities, there isn’t any necessarily that would suggest a gender divide to being necessary, but the important of male solidarity is emphasized by the men as being important. I mean, it’s in the title!
Besides forming the basis of Tom’s social life (in exclusion to his grandson, and his ex-wife) they’re also a heavy influencer on what social practices therefore become acceptable to establish the types of social practices to engage in. When he is recorded with a group of men, he often uses swears to accentuate his speech patterns and play into his physical masculinity.
These social practices are part of the journey the Fab 5 take on with Tom. By accepting some of the discourse that the ‘Fab 5’ utilizes for themselves, and encourages in Tom, we see a difference between Tom and the fellow ROMEOs at the end of the episode. When he is presented to the men, he is complimented with a degree of emotional restraint to the achievement of his transformation by the men merely pointing out changes (“Look at that beard”) or veiled compliments in the form of insults (“You look vaguely familiar”). Tom instead is openly boisterous and presents himself with a right bit of flair. Tom reflects on these changes when he says goodbye to the ‘Fab 5’, in stating his experiences of being open with them and himself, hoping to continue this into the future.
So, while there isn’t necessarily all four of the dominant cultural discourses present that Kiesling has outlined—there’s certainly some recognizable parallels to be drawn. Tom is definitely one of the more relaxed straight individuals that are introduced on the show, and there certainly isn’t too much push in getting him to accept the group’s mentalities. What I am suggesting still is the balance between how masculinity is practiced and conceived within the narrative of the show, as it dissects how these various men actively construct and promote their identities.
Maybe there’s a little more anthropological footwork at play than the show recognizes, but then again, that’s what nerdy bloggers are for.
Kiesling, Scott Fabius. (2005) “Homosocial desire in mens talk: Balancing and re-creating cultural discourses of masculinity”. Language in Society 34 (5): 695-726. doi:10.1017/s0047404505050268.