Lipstick Lizzy: Confessions of a Curious Coed (Bi-Curious, First Time Lesbian)
Tara: You mean— Willow: I mean. Tara: Oh, yes. Tara: Right now? Questions are asked and answered but not with the reciprocal questions or silences she desires as response or with which their relationship was initially established. Oz: No. Willow may intend her question to be rhetorical, an assertive illocutionary act. As the relationship between Willow and Oz changes, their communication changes with it. In comparison, a rhetorically and emotionally similar scene between Willow and Tara ends with reunion rather than separation.
I trusted you more than anyone in my life. Was all that just a lie? Tara: No. Willow: Do you wanna leave? How do you do that? The shot then pulls back, and we see that Willow and Tara are suspended in the air, dancing together. For now, their communication and relationship are still on solid ground. I really want you to meet them. Tara: I am you know. Willow: What? Tara: Yours. The perlocutionary effect on Willow based on her facial expression certainly is affective.
Thus, once again, an exchange of desire occurs within the framework of questions and indirect response. Willow: She appears surprised and does not respond verbally. Dawn: Does she want to eat? Kennedy: Okay. One drink. I can work with that. How long have you known? That you were gay?
Willow: Wait. I mean, presume much? Kennedy: Okay, sorry. How long have you enjoyed having sex with women? Willow: Hey! Willow: Can you always tell—just by looking at someone?
Kennedy: No, no of course not. The fun part is the process of getting to know a girl. Notice that many of the questions in this scene are not answered directly—they are answered indirectly either with a change of topic or, in most cases, another question. Kennedy is courting Willow. She asks questions, is asked questions, and arguably illustrates that even within same-sex unions or grammatically mimetic elements , opposites can attract.
Kennedy speaks aloud what Willow has known all along. Not surprisingly, the first kiss between Willow and Kennedy occurs after a few more questions asked by Willow. In this scene, the two women have returned home from the Bronze: Willow: Glad we talked. Kennedy: Yes. Kind of cleared the air, huh? Willow: Yeah, totally. Air cleared.
Kennedy: You know, in the spirit of air clearing— Willow: Yeah? Kennedy: I feel like I need to be honest about something. Willow: Is something wrong? Kennedy: No. This is a method of courting, one that by this point Willow understands all too well. Notably, however, in the final scene of this episode, Willow is brought back to herself after another exchange of questions and affective responses with Kennedy: Kennedy: Willow, what did you make happen?
Willow: You were there, bitch. You saw it. I killed her. Kennedy: Who did you kill, Willow? Willow: It was your fault, slut! You tricked me. You got me to forget. Kennedy: Tara— Willow: Shut up! Shut up! You do not get to say her name. Tricking me into kissing you. Kennedy: This is just magic. She leans in to kiss Willow. Kennedy: Bringing you back to life.
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They kiss, and Willow turns back into herself. Kennedy: Hmm. I am good. Oh, God. Kennedy: Are you all right? Willow: I have no idea. Kennedy: Yeah. In this scene, more so perhaps than anywhere else thus far in the series, rhetorical mode is inextricably linked with physical action. Then it hit me: a hexagonic key pattern. Tara: A little. In a good way. Willow: It frightens you? I frighten you? Tara: That is so not what I meant. I mean it impresses—impressive. Tara: With my life. I worry sometimes. You think that? Tara: Should I? They do, nonetheless, produce emotion—anger mainly—and, thus, again elicit an affective effect, engaging both speaker and respondent.
Their ability to communicate—to ask questions that imply and elicit desired response—breaks down and allows the possibility for a breakdown of the entire relationship. Here, Tara confronts Willow on her use of magic to erase memory: Tara: What is wrong with you? I know you used that spell on me.
Violate my mind like that? How could you, Willow? How could you after what Glory did to me? Willow: Violate you? I—I just wanted us not to fight anymore. I love you. Each question is assertive in its accusation. By asking one after the next, Tara does not allow time for Willow to respond. The affective effects of questions, then, can be both positive and negative.
She thus holds power, rhetorically and physically, over the crowd. We could be quite the team if you came around to my way of thinking. Willow: Would that mean we have to snuggle? Vamp Willow: What do you say? Want to be bad? As I have stated, the rhetorical strategy also provides a mirror image: both Willow and Vamp Willow ask questions that the other does not answer. Elsewhere, as we have seen, an exchange of questions can lead to a positive exchange of desire.
Willow is, one could say, playing at her own game. These effects are disturbing only in that the moment of desire occurs between two aspects of the same character. What if you could have that power—now? Make your choice. Are you ready to be strong? The answers to the questions are implied, but each individual must nonetheless make the choice as a perlocutionary act. Buffy chooses both to merge power with and mimic the rhetorical strategies of her best friend—a powerful lesbian witch—to awaken the strength and affective desire of young women around the world.
The questions are left, along with their inherent silent gap, to be answered not only by every Potential but also by every viewer. Thus the audience participates in the language of the Buffyverse by entering the silence, the gap created by the rhetorical questions. Just gotta live like a person. Dawn: Yeah, Buffy. What are we gonna do now? In response to the questions posed to her by Willow, Faith, and Dawn, Buffy merely looks out at the landscape and smiles.
She says nothing. As we have learned listening to the questions exchanged by and with Willow, not answering the question can be the most affective and effective response of all. Whereas the current version focuses primarily on Willow in relation to her lovers, the original and substantially longer version also includes analysis of questions exchanged with or posed to Willow by Xander and Buffy.
Buffy the Vampire Slayer ran for seven seasons from to Willow begins a relationship with another woman, Kennedy, in season seven. Prior to her lesbian relationships, Willow is involved with a young man Oz ; however, she never refers to herself as bisexual. Quotations from Buffy are cited by episode title, followed by season and episode numbers.
As Robin Lakoff argues, e. He outlines the following four categories of questions: 1 requests for information, 2 rhetorical questions, 3 examination and interrogation questions, and 4 indirect requests. Oz is the young male musician with whom Willow has her first serious relationship.
While economic shifts within the television industry can partly account for this development, a genealogy of workplace television drama must also consider the long-standing tendency of American culture to recruit its most potent images and forms, to reproduce its foundational myths, and to resolve its most debilitating social contradictions through narrative studies of the unstable boundaries of industry and intimacy, the reproduction of wealth and the reproduction of life, the public performance of labor and the private performance of intimacy, domesticity, and sexuality.
In other words, the American workplace in popular narrative television is one of the primary locations for the construction of public-personal crisis. The typical scripting of familial dynamics onto sites of labor has effectively transformed the American television workplace into a principle locus of intimacy, secrecy, revelation, desire, and rivalry.
In fact, in early popular dramatic series such as L. Law, Hillstreet Blues, and St. For those who may be unfamiliar with the show, Kerry Weaver played by Laura Innes first became involved in an affair with staff psychiatrist, Kim Legaspi, an out lesbian who agrees to keep their relationship a secret at the hospital. Despite this agreement, the ER staff soon detects their intimacy and rumors begin to circulate, causing Weaver to feel deeply ambivalent about her attraction to Legaspi and, at the same time, vulnerable in her authoritative role as Chief of Emergency Medicine.
Weaver first came to County General as chief resident, later becoming attending physician in the ER, then rising to Chief of Emergency Medicine, and finally gaining promotion to Chief of Staff. Through it all Weaver has remained as unfazed by her physical disability which requires that she move about the crowded and chaotic ER with a cane as by the fact of her controversial standing among coworkers and colleagues, many of whom regard her as abrasive and officious.
At the same time, her professionalism and undeniable skill in emergency situations have earned her the respect, and at times even the sympathy, of some in the ER. At work, she goes on an inexplicable rampage, becoming increasingly irresponsible, unreasonable, and, at the same time, excessively concerned about what the other doctors and hospital staff might be saying behind her back.
But it is highly questionable whether Weaver has actually spent her leave in Africa. Her reception in the ER is decidedly cool. Nervously, she pulls Dr. Kovac aside and asks whether people have been talking about her. For the next six episodes, Weaver remains volatile and directionless, as writers appear to put her story line on hold.
Lopez shows up unexpectedly at the ER in order to speak with Weaver, only to be met with more of her hesitancy and ambivalence. Weaver grabs her, unwilling to let her simply walk away, and as she does so something in Lopez snaps. She draws Weaver forward into a furious, theatrical kiss. The kiss catches Weaver off guard, as she seems to lose herself in the moment. The camera swivels around them, so that when they break apart, we see the curious faces of staff, coworkers, and underlings Frank, Malik, Abby, and Chen staring from the reception desk.
Weaver who silently returns to her work.
Later, Weaver goes to the firehouse to confront Lopez. She rails at Lopez for outing her so flagrantly, especially when she had so closely guarded her privacy, while Lopez argues that Weaver was lying to her about who she is. As the fire truck pulls away, Lopez explains. First, two girls are discovered with deep, multiple stab wounds in their college dormitory.
One of them has been mortally stabbed all over her body, including her hands. The dying girl is brought to the ER where Dr. Weaver and a team of doctors mobilize in an effort to save her life. However, just as it becomes evident to Weaver that their efforts are in vain, the young girl—drenched in gore and blood, lifts her head as if indicating a desire to speak. Weaver leans toward her and silences the physicians still working in a frenzy around them.
Her best friend remains unconscious with her mother at her bedside. In the same episode, the ER receives the victims of a three-alarm fire that has ripped through a local elementary school and Weaver flies into a state of alarm when she learns that her former flame, Sandy Lopez, was one of the firefighters who rushed into the inferno to save the children trapped inside the school.
Nevertheless, she instructs Jerry to put in a call to ensure that all firefighters were accounted for, and, later that night, she tracks Lopez at a local lesbian bar and stands outside waiting for her at her car. Leaving the bar, Lopez spots her, and Weaver begins explaining that she was worried and wanted to thank her for what had done that day.
At first hesitant to engage with her at first, Lopez begins to sense that Weaver has had a change of heart, and her suspicions are confirmed when Weaver—in a move signifying her preparedness to own her lesbianism—passionately and publicly kisses Lopez with the camera squarely framing their faces. The change that takes place here is significant: previous to the moment in the parking lot, Weaver had not been portrayed as the active, initiating subject of lesbian desire.
Lesbianism, the new twist in her character development, is scientifically rationalized as compensation for the lost and long-sought mother. In other words, in its ongoing focus on the tumultuous intimate relationships of attending physicians, their marital discord, their backgrounds of wealth and economic disadvantage, their struggles against racism and ethnic dislocation, the overcoming of barriers based on gender and physical handicap, plus the kaleidoscopic, revolving-door demographics of the urban Emergency Room, the pattern of dramatic family trauma mapped over graphic images of bodily and health crisis, ER presents televisual narratives that simultaneously exploit and seek to resolve fears of social instability and mismanagement of the rapidly changing and vulnerable body of the nation.
As they race about, ER doctors and medics speak rapidly to one another in a highly specialized and reportedly accurate jargon that writers know most viewers will not understand. In such an environment, doctors themselves become divine manifestations of a truth that our bodies conceal from us: the powers we grant them do not admit to shame and self-loathing. The cut body, Clover reminds us, is a body that has met its demise through intimate contact, a crime of proximity The messy truth that lies beyond medical knowledge bleeds out uncontrollably. And then, as the girl utters her last words, Weaver is drawn into her confidence, a rapt participant in the spectacle of transformation that points to the transformative possibility of every emergency—the embrace of death and lesbian love.
From the perspective of the dying girl, confession begs forgiveness. In this particular case, it blurs the boundaries between god and sinner, doctor and patient, murderer and victim. Moreover, lesbian desire submits itself to the social body, or to a regime of therapeutic visibility that underwrites the liberal democratic rhetoric of inclusiveness by assuming that rights and legitimacy are granted only to those minoritized groups who make themselves distinguishable before the eyes and ears of the body politic. As the attending physician whose powers are insufficient to save the girl and as a closeted lesbian, Weaver is, so to speak, turned inside-out by the deathbed confession.
This is what determines her subsequent return to Lopez, who has spent her day, not insignificantly, rescuing innocent children from hellfire. And through her confession Weaver places herself safely under state surveillance and control, no threat to the stability of paternal order and normative heterosexuality. Rumors that someone on the staff is infected with HIV begin to fly. Jeanie is finally compelled to confess that she is a HIV carrier, a moment that becomes one of a series of selfdisclosures through which Jeanie is increasingly seen and known as a healthy functional HIV positive African American woman.
Her confession also prompts hospital administrators to confront their own irrational prejudice and to devise a fair and compassionate policy for HIV-infected staff. As Maria Nengeh Mensah argues, ER often relies on confession as a narrative strategy that reinforces biomedical strategies that allow us to see, classify, and contain disease and pathology in women. She also represented a new breed of the American hero that appeared in the mass media in the aftermath of September 11, At this time, firefighters, police, and emergency medical workers—ordinary working-class people doing their ordinary jobs—emerged in American popular culture as extraordinary.
The courageous and stubborn Lopez could be seen as a living cross-reference to those who had recently lost their lives in the course of their routine labors; she embodied the tremendous degree of consensual equilibrium between American social and cultural groups that was momentarily created by the attacks. History itself would seem to have imbued Lieutenant Lopez with the right symbolic capital to market her across social, ethnic, and ideological boundaries.
However, the firefighter also assumed a pervasive symbolic function as a cultural locus of ideological struggle and conflict, a crucial site for the questioning and renegotiation of gender and sexuality in a time of national crisis. These popular images challenged the category of classic American masculinity.
For example, the photographs of Father Mychal Judge, the openly gay Franciscan chaplain of the New York City Fire department, as his ashen body was carried from the rubble of the World Trade Center after being killed by falling debris, was hailed as a modern pieta. The revelation that Father Mychal had been a leading public advocate for homosexual rights did little to undermine his popular status as a national hero and martyr. As heroic abstraction, the urban firefighter, fortified by his comrades-inarms, preserved an image of the nation intact not unlike classic American war photography from generations past.
In this way, the ritual consumption of images consecrating the firefighter, heir to the American masculine ideal, became part of the collective process of reimagining social relationships and relations across axes of national power, race, ethnicity, gender, and sexuality. In these new myths, talented hospital administrators such as Kerry Weaver and dedicated firefighters such as Sandy Lopez become potent defenders of our personal and national security—champions of the endangered child within us all.
However, their visibility as lesbians is still conditioned by narrative rituals of disclosure that contain homosexuality within structures of surveillance and accommodate it to an image of the democratic family and its proper alignment of sex and gender. It is important, therefore, that Weaver and Lopez perform their public duties on behalf of conventionally feminine interests, such as child safety, sensitivity, and compassion. Accordingly, when Romano taunts Dr. The omission, which would seem to suggest that Lopez is only incidentally Latina, positions her character within the dilemma experienced by many gay men and lesbians of color who, in certain social and political contexts, feel compelled to choose between their ethnic identities and their queer identities, as if one could be sacrificed without the other.
Part of the problem is that viewers rarely see Lopez interacting with anyone other than Weaver: she appears to have no family, no friends, and no connection to a larger community of Latinos or lesbians. Such coded invitations to view racial difference through the suggestion of butch identity correspond, on one hand, with the stereotypical representation of Latinos as hot-blooded and impetuous.
We can read the latter in the character of Rosario Salazar, the abused and much-ridiculed Salvadorian maid played by Shelley Morrison , who works for the wealthy socialite, Karen Walker played by Megan Mullally , in the sitcom Will and Grace. To consider Lopez as an example of this process is to consider ways in which network television texts may intentionally or unintentionally perform such scrambling or make available such repositionings in the process of cross-marketing to diverse audiences.
They turn to find a syringe on the floor of a stall that is occupied by Weaver, who behaves as if nothing out of the ordinary has happened. Perplexed as to what Weaver might be doing in the bathroom with a syringe, Susan later approaches her to ask if she is all right. Weaver reluctantly admits that she is taking hormones. While demonstrating for the cameras how quick and painless the flu shot is, Weaver unthinkingly and uncharacteristically vaccinates her two interviewers using the same needle.
In almost the same instant we see the mistake register on her face, as she looks straight into the news camera, horror-struck. Abby enters the room and gently suggests that Weaver see an obstetrician and go home. First, as Weaver grows increasingly more comfortable with being out at the hospital, writers seem to grow increasingly less so.
However, once Weaver ostensibly accepts her lesbianism and comes out to coworkers the ambivalence that had earlier registered in her character shifts to the plot, as every progressive image of lesbian intimacy and coupling seems to call forth an equal and opposite regressive image. In this way, Friends managed to promote urban liberal tolerance toward lesbian families, presenting such arrangements as acceptable to the extent that they obtain heterosexual approval and retain male heterosexual participation and presence at their emotional core.
Contemporary medical drama relies less on these conventions, instead emphasizing realism as well as the tensions and personal conflicts that result from the unrelenting demands of the workplace Jacobs, Body Trauma They are shown together in fleeting instances, brief scenes of conflict or confession. When Weaver begins to miscarry, her reluctance to phone home or inform Lopez would certainly seem to bode poorly for the future of their story line. The final image we see of the couple in season nine is Lopez confessing to Weaver that she feels no desire to carry a child inside her, even though she knows that she ought to want this.
The narrative traces the day-by-day discoveries and challenges of Abby Lockhart now an aspiring doctor and Neela Rasgotra a new British-Indian med student, played by Parminder K. Nagra as they undergo their rotation in neonatology. How Weaver finally convinced Lopez to carry the fetus, how they obtained sperm, or how Lopez managed her responsibilities as a pregnant firefighter are all good questions, none of which are addressed in the story line.
Rather, the lesbian childbirth subplot is casually absorbed into the high-strung procession of infant births and deaths that direct the routine labors of the neonatal intensive care unit. Abby literally happens upon Weaver and Lopez in the delivery room, arriving just in time to assist with the birth of the baby boy whom they name Henry. But it would appear that ER writers made a last-minute decision about the scene, perhaps the result of pressure to advance the Weaver-Lopez story line without asking viewers to confront the obstacles that lesbian couples actually face in their efforts to become parents.
Abby and Neela learn some challenging lessons about themselves, the fragility of neonatal life, and the compassion and tolerance that it takes to succeed in medicine. At the same time, with the collapse of the old distinctions between Left and Right, and the narrowing of politics to a managerial role, any sense of social change became collapsed on to the body itself. However, it has done so at a time when coming-out narratives are generally viewed as relics of an earlier stage of gay and lesbian cultural expression, outmoded attempts to ground homosexual identity in a moment of revelatory becoming that ignores the fact that all sexuality involves a public performance that can be likened to a process of emergence.
Perhaps the greatest emergency that network television shows such as ER will face in their increasing experimentation with queer character development is that coming out constitutes less of a crisis for the lesbian than it does for the society to which she presents herself. The impulse to construct crisis around the coming-out narrative, the need to wring drama, and personal trauma out of a particular mode of self-knowledge is one of the more disingenuous covers for shoring up this fictional opposition.
Perhaps a revival of critical interest in coming-out stories is called for, specifically one that understands the genre as a manifestation of collective social trauma, an aesthetic labor of destabilization, and a strategic displacement of national emergency and transformative possibility onto the emerging subject of lesbian desire. Heterosexual women have access to desire through men who define and contain that desire; lesbianism, which offers a site of female desire, is controlled in Heartbeat when it is rendered as nonsexuality.
The television world of these characters is one that revolves around queerness, indeed, they exist in a homonormative environment rather than a heteronormative one. What exactly, however, does this homonormativity constitute?source site
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In Queer as Folk lesbians and women in general are not, unlike men, figured as subjects consumed and driven by sexual desire. Lesbian characters Melanie Michelle Clunie and Lindsay Thea Gill are rarely involved in sexual activity in the series, and when they are, the manner in which these scenes unfold is temporally and representationally limited. While these factors in and of themselves would not be notable due to their ubiquity, here they are of particular significance since in Queer as Folk it is not heterosexuals who are the main protagonists, but rather gay men.
Despite these limitations however, the lesbian characters on Queer as Folk are also of historical and representational significance, because they do indeed receive more screentime, have more on-screen sex, and certainly have more focus placed upon their lives as lesbians than in any previous television series. This is engendered both via showing the couple engaged in more sexual encounters and allowing them to respond to the frequent comments made by other characters about female, and particularly lesbian, sexuality.
Take, for example, the following exchange: Michael:. Lindsay: Where? Our pussies soak the sheets. Lindsay: And we go on a lot longer than the ten minute tumble you guys call sex. It is perhaps further intended to imply that it is the characters themselves, rather than the writers of the series, who hold such views. Perhaps the most marked feature of the lesbian sex visually depicted in Queer as Folk is the constant interruptions Melanie and Lindsay encounter—either within the narrative, through one or other of them losing interest in the activity, or by interruptions of phone calls and doorbells, or without, by cutting away to another scene during or immediately after initial foreplay.
This cannot be due to coyness or network restrictions, as not only are the male characters frequently depicted while orgasming, but orgasm is situated as central to many of the sex acts—whether by narratively focusing upon them e. The deprioritizing of orgasm in depictions of lesbian sex is not a new one. When placed in direct contrast to the male, goal-oriented sexuality in Queer as Folk, however, the presentation of only foreplay or frustrated sexual acts between the lesbian characters reinforces socially preconceived notions of lesbian sex as foreplay, inherently incomplete and lacking.
Season four sees Melanie pregnant and amorous, but gaining little or no response from Lindsay, whose interest lies with Sam Robin Thomas , while season five shows the couple estranged up until episode 5. As can thus be seen, despite being a soap opera revolving around gay sex, the lesbian characters have little sex, and this further marginalizes them from the narrative. Leda seems to be an archetypal representative for the sex-positive lesbian: her relationships consist of one-night stands, she constantly refers to strap-ons, is dismissive of gay marriage, rides a motorbike, and organizes a stagette party for Melanie and Lindsay complete with lesbian strippers.
The manner in which this overt sexuality or empowerment takes place is an interesting one, as it appears that in Queer as Folk queer positionality is only available to women via entry into the phallic economy and identification with gay males over and above lesbians or straight women. In fact, Lindsay frequently yawns or otherwise expresses her lack of interest when Melanie does attempt to kiss or seduce her.
This begins via the introduction of the character of artist Sam, who is from the beginning characterized as a difficult and chauvinistic man. Lindsay, attempting to get Sam to show his artwork at her gallery, is initially horrified by both his rudeness and his clear objectification of women. The next time we see Lindsay, she is clad in over-the-knee black boots, flirting with and flattering Sam, who proceeds to repeatedly proposition and grope her.
A very pregnant Melanie is performing cunnilingus on Lindsay, who quite extravagantly expresses her boredom with several sighs. Later in the same episode, after various displays of guiltinduced domesticity, including not attending the opening of the art show that she has curated, Lindsay has feverish sex with Sam up against an original painting no less.
It also makes no distinction between lesbians and bisexual women, and continues to reinforce the notion that bisexual women will inevitably betray lesbians for a man, as if infidelity is the particular vice of one sexual orientation rather than cutting across all. The surrounding story lines do also act to somewhat contextualize, or at least add a degree of complexity to, this plot development. In a highly comic series of scenes, Hunter is anxious about coming out to his gay parents as straight, eventually does so, and Michael expresses all the classic parental coming-out lines e.
Ben in contrast displays more understanding, albeit understanding that is underlaid by a polarized view of gay and straight. Despite such narratives, the text refuses to name bisexuality. It is of definite significance that it is Melanie who is depicted as clearly lesbian while Lindsay displays attractions to men. From sexological discourse to pop-cultural representations and even within queer culture itself, there are often distinctions drawn between the real or authentic lesbian, who is almost always portrayed as masculine or at least more masculine than her consort , and those whose sexual preference is depicted as more fluid, who are generally marked by their femininity.
As such, the series activates a very traditional view of feminine lesbians—seeing them as latent heterosexuals. This observation must be tempered by the fact that the vast majority of lesbians who appear in popular discourse at all are feminine in both appearance and narrative-identification. The point, however, remains that the sexualities of those characters identified by the narrative with masculinity whether or not they actually appear to express female masculinity are not similarly positioned as associated with fluidity of sexual-object-choice.
In Queer as Folk one cannot help but notice the curious practice of encoding Melanie as butch while not presenting her as such, much as characters were once coded as queer while not giving any definitive visible indication of their queerness most famously discussed by Vito Russo in The Celluloid Closet. Her encoding as butch instead operates through contrast and on a verbal level. One of the few times that a woman who is clearly physically expressive of female masculinity is given a foregrounded role still of course a one-liner , she is characterized by the narrative as grotesque and fear-inspiring.
While this hug lasts for the briefest of moments, Michael displays an expression of extreme distaste and acts as if he is being squashed. The butch is seen as the authentic lesbian, who is figured as the desiring party with a higher sex drive than the femme, and the sexual top. Melanie also prioritizes her bond with and attachments to women, and is at times portrayed as anti-men. While Queer as Folk has certainly been groundbreaking for its medium in its presentation of gay and lesbian characters in a gay world, in its candid sexuality and its willingness to engage with contemporary political issues that directly pertain to homosexuals, the manner in which its lesbian characters are represented has seen little change from earlier depictions of lesbianism.
The distinctions between the manner in which the sexuality of heterosexual and homosexual characters are portrayed in televisual texts with one or two gay characters, are, in Queer as Folk, displaced onto gender—with lesbians taking up the desexualized role. Perhaps the clearest lesson coming out of Queer as Folk is that even when operating within a queer framework, attention still needs to be paid to the specificities and privileges of gender.
For example, in episode 2. Traditional coding in both mainstream and subcultural sources of many kinds still almost always presents the femm er character as blond and the butch er character as dark-haired. The butch character is also generally of a lower socioeconomic status. An exception to this rule can be seen in The Incredibly True Adventures of Two Girls in Love , which depicts a femme African American character dating a butch Caucasian girl though the socioeconomic code still holds.
The spectrum is certainly not large. We see a few drag queens as one-off characters and there are a few references to transgenderism, but generally speaking, Queer as Folk is limited in its presentation of gender diversity. In this essay, I do not abandon these feminist critiques of the series but demonstrate through close readings of several episodes what a queer lens can reveal about the sexual identity and labeling of that identity of one character in particular: Samantha Jones.
The series, rather than constructing characters who are sexually independent, only affirms lesbian stereotypes and heteronormative ideas about female sexuality. Before beginning my argument, however, it is first necessary to briefly contextualize the series and existing feminist scholarship in order to demonstrate the current gaps in scholarship on the series. Samantha embraces her uninhibited sexuality with a diverse and large group of lovers, from wrestling coaches to power bachelors to a studly farmer.
Miranda is typically categorized as the character who is more independent than her friends and is typically cynical about relationships. In relation to Samantha and her lesbian relationship, Miranda acts as realist who uses sarcasm to criticize Samantha. Age, looks, race less important than sincerity. F SC. Hopefully a kindred spirit. Love complete head-to-toe feminine attire. Wish to explore thoughts, fantasies, desires with a special gentle TV or female. Foto if possible. Go out often dressed.
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Goes out sometimes as female. Like females into it too. Will trade pics, panties and hot corre- spondence with everyone. Will have photo ses- sions with other attractive TVs. Have apt. Love to all, Marla. I wish to explore my femininity to the fullest with the help and support of good friends. Honesty and discretion assured and expected. Love, Jennifer. Louis area and nationwide. I love mutual French to completion and giving deep Greek. Also, lick- ing shaved TV-pussy. Not feminine and prefer to meet as male. Will trade nude, rear-end photos with all hairless fat-butt TVs.
Photo and full name a must for reply. Love, Bambi. I also enjoy professional female impersonators who live as women. Send me a juicy letter about your life- style. Blue-eyed brunette. Inactive for 5 years, but 4 years on hormones left me with feminine face and nice breasts. Still passable and needing contacts and friends. I pass extremely well in public. Priority given to other gorgeous kinky girls like me. Married OK. Please no hairy men in blue eyeshadow and pantyhose need reply. Discretion and confidentiality guaranteed. All with photo answered.
I'm white, 6-feet, with long shapely legs, real breasts, soft round derriere, pretty face. The ideal sponsor would be a generous, wealthy, aggressive executive-type, older lady, couple, or even a single man, possibly needing transplants after scrotum cancer. Any race is OK. Do you need a girl Friday, secretary, maid, cook, wife, lesbian lover? If you wish, send me to school to be your hairdresser, or even nurse. Answer all. Your girl. I love to dress, feel, and be sexy from head to toe.
Cleanliness and photo a must. Love, Chris. Contact CB. Photo will ensure same day phone call. Seasonally employed summers in West Virginia vacationland, free to travel win- ters. Will relocate for hormone treatments and TV and slave training. Seeking employment during my transformation. Five years exper- ience as professional photographer and have degree in accounting. Young, attractive and anxious to love the please. Please help me. Must be willing to transform into the woman of my dreams. Live in Houston. Calif, area for dating, traveling, theatre, etc. I am intelligent, clean, elegant but sexy and open to any and all plea- sures.
Please write, I have so much to share with you. Guaranteed lots of hugs, loving romantic times. I want to find someone who likes candlelit dinners, walks on the beach and showers together. No transporta- tion, but love to travel and can host. All will be answered. Wili consider Dom or butch woman. Possible live-in with right per- son. Love to pose, model in iingerie. Wili corre- spond with Dorns. Live in Western North Caroiina near Ashevilie. Help me unleash my fantasies. Wiii consider meeting attractive man and any women who want to meet a hot TV. Send as many photos as you can.
Love, Holiy. Not Bi yet but itching. Love aii things feminine. Can entertain. Send photo and SASE for repiy. Phone quicker. I am mascuiine, sensitive, very handsome, and a successfui professionai. Hot ciothes, gorgeous iegs tucked into passionate spiked heels, and tender lovemaking are my turn-ons. They must be very submissive and worship me. No druggies or drunks.
Likes to meet sin- cere, understanding people who understand the TS mystique. Am Bi. Want to be treated as sex kitten. Am discreet, absoiuteiy disease-free and clean. College educated, professional. Photo and phone. Love, Amy. Write your letter and enclose it in an UNSE. ALED envelope. If you write more than one letter, place each letter in a separate envelope. Each of these envelopes should have your correct address printed on the upper left hand corner and a postage stamp must be affixed.
If you wish to have your letter s forwarded by airmail, be sure to use an airmail stamp or stamps. Write in pencil the Confidential Ad Number of the person you wish to write to on the lower right-hand corner of the envelope. We will then properly address your envelope and mail it for you. Please check instructions before mailing and please print clearly. In the first episode we learned of the intended office Hal- loween Party. The women in the office all seemed fairly intrigued at the idea of men dressing as women and Marshall plans to pursue it.
The nexr day I opened a note that had been left on my desk blotter and found a message from Louise W. Eddie is a lot taller than you are but maybe we could alter it for you. Let me know. I wrote a polite note back to Louise and declined her offer but thanked her for thinking of me. I hesitated a bit again but finally turned her down. I had decided to do my own thing but Mallory was so sweet about it. There was the wearing of costumes to work during the day and then the party that evening.
I had already decided to wear one costume to work and another to the evening gala. Then Dottie K. But the dinner party was to be held in the same hotel where the ballroom was and I decided to just reserve a room there for the night and use it to change costumes. The Saturday before Halloween I got in the car and drove a couple of hours to where I used to live. I went to see my older sister, Rita, who works as a cosmetician at a Merle Norman store.
Rita has known about my love for feminine apparel since we were children and in recent years has been sympathetic and sup- portive. She has a fair number of male clients who come to her for help with makeup and skin care. She had seen me dressed several times and had offered to help me with makeup or whatever I needed.
I told her about my Halloween plans and she said she would come over the next Thursday and Friday to help me get ready for work and for the party. I took her to lunch. That afternoon when things got slow in the store she did my makeup and 1 got dressed as Marsha. The next day we went shopping in the malls together for my evening dress and accessories. Four hours later I had spent my next paycheck but 1 had acquired the most beautiful formal gown I ever dreamed of owning or wearing — more about this later.
As Halloween drew closer the talk at coffee breaks was increasingly about costumes, husbands, boy- friends, etc. I mainly listened. Whenever they asked me about my costume plans I would smile myster- iously and say that I was keeping it a secret. Of course, this made them all the more suspicious and curious. Mallory was the most inquisitive. On Thursday I called in sick. It was my first day of illness in seven months and I really was sick.
For- tunately it was just a mild case of stomach flu or maybe it was a case of nerves. In any event, the day at home gave me plenty of time to get in fighting trin- for skirts. I waxed my legs removing every last trace of stubble. I shaved the hair from my armpits and used a depilatory to remove hair from my torso and back.
I started working on my fingernails too. Rita would finish them for me that evening. Rita arrived at p. I greeted her in my fanciest peignoir set with a sisterly kiss. I had made myself up and wore a wig. Rita has always found the idea of my being crossdressed and behaving as a female a little humorous. But she treats me like a little sister and I love her for it. I explained that I had stayed home sick that day but was now feeling better. Rita helped me finish my manicure and applied the lacquer expertly to my toenails and finger- nails.
We watched TV and talked while each coat dried.
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I showed Rita the ensemble I had picked out to wear to the office and then we went to bed. The next morning I was wide awake at a. I put on my leo- tard and did my stretching and some aerobic exercises in the living room. Rita got up while I was in the shower and fixed our breakfast.
It took me a good two hours to get myself ready. I sat in front of the bathroom mirror in my dressing gown while Rita made my face up. Everyone seems to be intelligent and sensible and tolerant. I told them if Dustin Hoffman can do it, I can do it. Before I describe what I wore to the office that morning there are some things I want to tell you about myself.
First, I have been a transvestite since I was a teenager. As I grew up I got into crossdressing more and more and by the time I graduated from high school I had acquired most of the necessities of a female wardrobe. I attended a nearby community college and lived at home. My mother and sister eventually found out about me and saw me dressed as a female. They were upset about it at first but gradually they came to realize how important it was to me to be able to express my femininity.
They did not exactly encourage me to dress up but they were much more understanding and tolerant, especially Rita. My father, who works in the con- struction trades, has never been told about my transvestism. He just would not understand. My father is of mixed Spanish- Negro ancestry and comes from Puerto Rico. My mother is three- quarters Caucasian and a quarter Negro.
That makes me a light brown-skinned mulatto with pre- dominantly Caucasian features. My hair is very dark brown and curly but I have a receding hairline so I have to wear wigs when I am dressed as Marsha. I am fairly short for a man — five feet, seven inches tall. I have worn size ten dresses but I usually buy size twelves for comfort.
My waist is about twenty- seven inches but I can cinch it down to twenty-five inches with the proper foundations or a belt. I usually pad myself down there with towels or foam inserts or even paper diapers to get just the right look under my skirts. I am always experimenting with new padding techniques to get a nice looking set of buns.
I put the padding in my pantyhose and arrange it a certain way. Then I carefully pull on a girdle to smooth things out and hold the pads in place. I had decided to wear something conservative to the office and then go all out that evening for the party if everything worked out the way I hoped. Basically, I wanted to look the part of a female executive. With that in mind I had picked out a silk- blend navy skirt-suit. I had to fuss with it for several minutes before I was satis- fied with the look.
Then I wriggled into a high-waisted panty girdle that nipped my waist. I wore an under- wire bra with weighted falsies in size B along with a white lacy cami- 42 sole and halfslip. I had chosen a long-sleeved white polyester blouse with a floppy bow collar and a tuck-pleated bodice.
The blouse buttons up the back and Rita was happy to help me with that. The skirt was so tight I had to pull it down over my head and smooth it into place over my now flaring hips. I pulled the back zipper up and but- toned it. It fit me like a glove.
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I buckled a wide leather belt around my waist before going to the mirror to inspect myself. I loved the tight, restrictive feel of it.
Parts I & II of Lipstick Lizzy: Confessions of a Curious Coed!
The blazer-style jacket matched the skirt. The shoulders were lightly padded and the waist was fitted and could be fastened with one button. It was nicely tailored with lapels, breast pocket, side pockets without flaps and a hem that fell just below my waist. Rita combed out my dark brown wig and pinned it securely to my own hair with some bobby pins.
It is a curly, modified Afro style that frames my face and looks very smart. On my feet I wore a pair of patent leather spectator pumps in navy and white with four inch high heels. I take a size nine shoe. I love wearing high heels and Rita thinks my feet and legs are the most feminine- looking part of my body. You look and act so feminine. She always says something to make me feel great. But I knew the acid test was ahead of me at the office.
Lots of pictures and interesting anecdotes about everyone from Julian Eltinge to Mario Montez. Deliciously detailed encounters of young men discovering their feminine selves. Over photos, many in color, of all aspects of sexuality with a special emphasis on safe sex. Many TV and TS photos too, 'cause we put it together!
A Way To Garden Lesbian shower pic Hard spanking porn clips and pics
From hats to shoes and beyond into the world of poise and legal matters. A collection of the most divine to the most bizarre personal confes- sions and reflections. All answered by Miss Kim, herself. A must for both budding and full- blossomed TVs. A thorough book dealing with the aspects of married TV life. Wives who like it and wives who don't.
All the workable compromises that loving couples can come to. This book could help your marriage today. All new material from our out- rageous readers. Not only a great travelog of Europe, but insightful information on the current opinions on the transgendered. The whys and hows. The pros and cons. Each of these three volumes of stories tell of the Intimate and bizarre side of crossdressing.
Erotic and intimate. Some of our best stuff in one book. MI2 SjO. The Lawyer and The Policewoman The story of two women with a hard and difficult past. Sangitta Ch. Mood Ring Ch. Note to Self An intimate encounter causes Anna to reexamine her sexuality. Book A Match Made Ch. A Snowball Running Ch.
Finally some movement! Falling Home Ch. This is the story of their journeys. Afterglow Pt. Dream Come True Ch. The Art Of Desire Ch. Landing on the Right Key Ch.
‘lesbian drama’ stories
Cindy's Journey to a Lesbian Life Ch. I'm Not Much of a Dancer Ch. You Don't Belong Here Disgruntled lawyer finds somewhere to belong. Finding Love Pt. Back to England Ch. Veronique's Persuasion Ch. Explanation of Love 03 "I love you enough to let you hurt me," Terry said. Hurt and Comfort Ch. Charlie Ch. Junky Chronicles Ch. Volunteer Work Ch. A Surprise for Kay Complications set in for Kay, with someone she does not like. My First Love - Again Ch. Something Unexpected Ch.