Transgender subjectivities and projects of self

‘If you don’t “pass” as cis, you don’t exist’. The trans audience's reproofs of ‘Cis Gaze’ and transnormativity in TV series

“…Consequently, a cis gaze can be identified in the processes of creation, production, and distribution of television series addressing trans issues. After all, the audiovisual industry operates under commercial imperatives and the incessant quest for economic profit through the creation of products that are widely accepted by the majority audience (Brady et al, 2017), which is largely cisgender. This explains why their commitment to the representation of diversity has more to do with commercial value than any real commitment to producing diverse narratives and characters.…”

“…This narrative fosters viewer empathy and meets the demands of the neoliberal television system (Brady et al, 2017). Audiovisual productions currently seem more committed to social reality, but at the same time, are immersed in capitalist industrial logic and are fearful of a possible loss of profits among conservative sectors of society.…”

LGBT+ mainstreaming on strictly come dancing: Queering the norms of ballroom dancing

“…Desexualization and depoliticization of LGBT+ characters to make queerness less socially threatening to mainstream audience are two key issues identified in existing scholarship (Papacharissi and Fernback, 2008). Such phenomenon draws attention to a pattern of homonormativity on television that governs ‘a privatized, depoliticized gay culture anchored in domesticity and consumption’ (Duggan, 2002: 179, cited in Brady et al, 2017: 61).…”

“…SCD’s queering of normalized same-sex dance partnerships makes a contribution to queer inclusivity, echoing Brady et al’s (2017: 82) emphasis on the role of television in shaping ‘gendered and sexual citizenship’. Interviewee Milo (male, gay, early 30s) illustrated how he began dancing in Italy in a mixed-sex partnership before learning about same-sex partnerships through:A video on YouTube, and it was these two guys dancing together in America, in the show So You Think You Can Dance, and that was the first time.…”

“…Media and cultural studies scholars emphasize its importance for tackling ‘systemic inequalities and exclusions’ (Hogg, 2020), with young people likely to turn to television shows and characters when solidifying sexual identities (Chapin, 2000; Meyer and Wood, 2013). Others caution that the mainstreaming of LGBT+ characters may reinforce dominant discourses (Battles and Hilton-Morrow, 2002; Dow, 2001; Gross, 2001; Shugart et al, 2001; Walters, 2001) through the depoliticization and desexualization of LGBT+ characters on screen (Battles and Hilton-Morrow, 2002; Brady et al, 2017; Doran, 2013; Walters, 2014). Shifting the gaze to audience, some scholars draw attention to the growing demand for realism and authenticity on reality TV shows (Biressi and Nunn, 2005; Hill, 2002, 2014), with a commitment to ‘radical inclusiveness and transparency’ (Kjus, 2009: 281) reportedly increasing the appeal of reality programs to audiences (Papacharissi and Mendelson, 2007).…”