Seeing “Straight” throughQueer Eye: Exposing the Strategic Rhetoric of Heteronormativity in a Mediated Ritual of Gay Rebellion

Abstract

Bravo's hit series Queer Eye for the Straight Guy has garnered much popular and critical acclaim. While from a Queer theory perspective, Queer Eye's openly gay stars and their easy fraternization with straight men can be celebrated, there are reasons for critical concern. In interrogating the series as an expression of the strategic rhetoric of heteronormativity, we examine how Queer Eye functions as a mediated ritual of rebellion that domesticates Queers, contains Queer sexuality, and places straight men at the sociosexual center. The series thus supports the very heteronormative order it seems to challenge.

Waiting for the Barbarians: HBO'sDeadwoodas a Post-9/11 Ritual of Disquiet

“…Violations of this kind would seem to pose a serious threat to the social order. However, as Westerfelhaus and Lacroix (2006) observe:…”

“…Indeed, in addition to entertaining and informing us, the mainstream media reaffirm, recycle, and occasionally refashion core cultural myths (Brookey & Westerfelhaus, 2001;Brummett, 2004;Engnell, 1995;Frentz & Rushing, 2002;Jewett & Lawrence, 1988;Lawrence & Jewett, 2002;Rushing, 1983Rushing, , 1985Rushing, , 1986Rushing & Frentz, 1978, 1989, 1995, 2000Solomon, 1983;Westerfelhaus & Brookey, 2004;Westerfelhaus & Combs, 2004). In addition, the media also offer us alternatives to the conventional rituals that have traditionally expressed and perpetuated such myths (Aden, 1999;Brummett, 2004;Carey, 1975;Lacroix & Westerfelhaus, 2005;Vande Berg, 1995;Westerfelhaus & Lacroix, 2006). Viewing films and television shows, playing video games, etc.…”

Gaymi: Emergent masculinities and straight women’s friendships with gay male best friends in Jinan, China

“…While the show offers much cause for celebration, it contains these queers by allowing them only temporary and controlled access to mainstream culture (Lacroix and Westerfelhaus, 2005). Indeed, gay men function as handmaidens to heterosexuality there, because Queer Eye uses their sexuality to service the straight men located in its socio-sexual center (Sender, 2006; Westerfelhaus and Lacroix, 2006). Gay men in China’s gaymi discourse serve a similar function.…”

Gays, Gaze and Aunty Gok

“…We interrogate HTLGN to uncover the extent to which it contests hegemonic constructions of the body and we analyse how the show inscribes gendered identities and practices. We draw on and contribute to literature which analyses gender and sexuality in contemporary Western media culture (Sarah Banet-Weiser & Laura PortwoodStacer 2006;Susan Bordo 2003;Rosalind Gill 2007;Helen A. Shugart 2003;Robert Westerfelhaus & Celeste Lacroix 2006) and apply feminist readings of Foucauldian theory (M.E. Bailey 1993;Sandra Bartky 1988;Bordo 2003;Jana Sawicki 1991).…”