Contents:
WAS COMEDIAN GALLAGHER GAY?
What follows is a brief perd of ristance om Lip, who is not ready to accept that his brother is gay. This do not mean, however, that reprentatns of gayns Shamels, nor beg a gay character the show, is whout issue. Reprentatns of queer1 people popular televisn and film often align wh what sexuali scholars refer to as a “post-gay” narrative (see Coleman-Founta 2014; Rsell et al.
Here, social, polil, and legal advanc over the last are ed as evince that homophobia is a thg of the past, and that the Uned Stat has achieved what Gay Liberatnists set out to acplish s earlier: equaly. Here, queer televisn characters are fully tegrated to their workplace, fai, and schools, wh ltle—asi om the ocsnal homophobic bully—nflict. The post-gay narrative obscur an important dimensn of ntemporary queer polics: acceptance is often ndnal, suatnal, and ntgent on race, class, and genr privilege (Fields 2001; Mart et al.
Acceptance is also tied to an abily to be a “good gay cizen” who liv a middle-class liftyle, is genr normative, and is non-threateng to heterosexualy (Duggan 2002; Richardson 2005). She suggts that parents “accept” their lbian, gay, and bisexual children to the extent that they are genr normative and mted to heteronormative rual (e. Queer people, by ntrast, often feel the need to do inty work (Orne 2011, 2013) and emotn work 1 In this paper we e “queer” as an umbrella term to clu lbian, gay, bisexual, and transgenr people.