Binge Watching of 'Queer Eye': Evolution of Television Culture

Introduction

The return of “Queer Eye” as a Netflix reboot of “Queer Eye for the Straight Guy”, an original Bravo phenomenon, continues to take fans by storm. This show helps people tackle real life problems in a holistic way with the help from the “Fab Five”. The “Fab Five” consist of a team of five gay men that hold professional backgrounds in the fields of fashion, personal grooming, interior design, entertaining and culture. Their names are Tan France (fashion), Bobby Berk (interior design), Jonathan Van Ness (grooming), Antoni Porowski (food and wine) and Karamo Brown (culture). On “Queer Eye” participants including both men and women from any sexual orientation are transformed to be the best versions of themselves and sometimes to elevate their relationships with their partners. These recipients are nominated by caring family members or friends who feel that their loved one could use a makeover. But the makeover is not only surfaced based, it is therapeutic as well. Kornhaber (2019) notes the show is not just about helping people “who lack the know how or resources to better themselves but that they do not believe they should do better for themselves.” The “Fab Five” are able to transform others by holistic means with their encouraging personalities and skillsets. The show offers insight of queer people forming relationships with people who may or may not identify as queer. Every background is involved in the transformative process. By challenging conventional perceptions of LGBTQ, “Queer Eye” attempts to emphasize a deep human connection with viewers and evoke empathy for all.

Overview of 'Queer Eye'

The “Queer Eye for the Straight Guy” show is revitalized into “Queer Eye” as the series is added to Netflix, building off the progression of the acceptance for LGBTQ in the early 2000s when the original show first aired. The original show that “Queer Eye” originates from, “Queer Eye for the Straight Guy”, was brought to Bravo in 2003 and based in New York (Fickenscher, 2017). The “OG Fab Five” known as the “Original Fab Five” included Ted Allen, Carson Kressley, Kyan Douglas, Thom Filicia and Jai Rodriguez. Like the current version of “Queer Eye”, “Queer Eye for the Straight Guy” offered life skills and makeovers but specifically to straight men. During this early time of the 2000s, equality and acceptance of LGBTQ looked a lot different than it does today. When “Queer Eye for the Straight Guy” appeared in the United States in 2003, 59% of people opposed marriage equality and the sentiment of not coming out of the closet was common (Blackmon, 2018). The awareness and visibility of LGBTQ that this show presents was not positively received by everyone. Trice (2003) from Chicago Tribune asks in an article “Is Queer Eye all about fun or exploitation?” This question undermines what the show represented at the time which was acceptance and visibility. However, the show proved to be groundbreaking and very relevant. Executive director of CUNY's Center for Lesbian and Gay Studies, Jim Wilson notes that “Queer Eye for the Straight Guy” was impactful in terms of visibility of queer people on the TV screen (as cited in Fickenscher, 2017). Seeing the representation of the LGBTQ using special talents to help people was empowering.

Contemporary issues of LGBTQ are present in the current version of “Queer Eye.” Netflix released the series on February 07,2017. The show affords conversations amongst the cast and the makeover recipients by heading to the south to film. O’Connell (2018) notes that some of the subjects from the show, which is filmed in Atlanta and neighboring Georgia towns, have admitted to having little experience speaking and interacting with gay men. The show which falls under the genres of reality, makeover, and LGBTQ television, has many avenues for discussion. First, O’Connell (2018) notes how Netflix aim its discourse to a red state, referring to the small towns in Georgia where people are generally more conservative on progressive topics. I binged watched the entire first season during spring break March 16th, 2019-Marhc 20th 2019. The first episode titled, “You Can’t Fix Ugly,” was aired on February 2018.The audience is introduced to Tom Jackson who is a Georgia native. He was nominated by his daughter to help him jazz up his routinized life. During the process in a car ride, Tom ask Bobby (interior design), “were you the husband or the wife?” (Collins, 2017). This question reflects the misconceptions of LGBTQ and sexism that exist regarding relationships. Interestingly, Jonathan (grooming), states that the lines are blurred for relationships and gives an example of his own relationship (Collins, 2017). Tom understands at this moment and the car ride continues with laughter and joy. Bobby Berk (interior design) states that “One of the things we wanted to bring that the original show wasn’t able to was a look into our lives” (as cited in Littleton, 2018). The car scene in the first episode offers insight about the Fab Five love lives with their partners and spouses. In this scene, Bobby shares that he was with his partner for 13 years but married for five because gay marriage was just legalized in 2015 (Collins, 2017). Current context of this society is shown in this scene. This scene is important as ITV Entertainment president David Eilenberg notes that communication can exist across cultural lines (O’Connell, 2018). It gives the audience hope that diversity can be celebrated in this society and relationships can be built with conversations and understanding. The new Fab Five represents genuine camaraderie and care for the makeover recipients. In terms of the show’s popularity the show was nominated for five awards for the 2018 People's Choice Awards, including Best TV Revival, Best TV Reality Show and Best Binge worthy Show, and specifically Jonathan and Antoni were nominated for Best Reality TV Star (Bricker, 2017). This reflects the show’s success.

Binge Watching and Viewing Experience

Binge watching changed my viewing experience in terms of narrative engagement in many ways. McCormick (2018) notes that binge-watching affects narrative engagement by optimizing emotional intensity and story immersion in viewing experiences. This emotional intensity and story immersion are seen immediately in the first three episodes in season 1. In the second episode of the first season titled, “Saving Sasquatch”, Neal Reddy is introduced as an anxious techy genius who is ready to plan a launch party for his new app. His appearance is that of a huge beard and mustache like the Sasquatch character and Reddy is awkward with conversations with the Fab Five. In the beginning of the show, he would not embrace any hugs from the Fab Five. He reveals to Karmaro (culture) that he uses his jokes to mask his social anxiety. The Fab Five encourages him all throughout the show and gives him a makeover that uplifts his confidence, readying him for his first launch party. Reddy’s personality in the show is relatable to many people. I immediately became more interested in his story when I could relate my social anxiety to my years in high school. Another factor that influences the viewing experience is the availability of the show. For example, McCormick (2018) notes that by releasing 13 episodes of House of Cards at once, consumers are invited and challenged to really immerse themselves in the television experience. Aforementioned, all eight episodes of season 1 were released at the same time on February 07, 2017. This availability of the show gave me the option to watch more episodes. McCormick’s claims regarding narrative engagement line up with my experiences of binge watching this show

Television Changed by On-Demand Culture

In terms of production, distribution, and consumption, television has been revolutionized over the past decades. Creating content has changed from cost structure and processes such as high-quality production and software. The transitional phase that television has gone through includes film and tape to digital capture (Johnson, 2013). This resulted in equipment such as lighting and audio gear that have shrunken in size. Distribution of television has also evolved. There is now have an expansive digital market with declining sales for Blue-ray and DVDs. Netflix began streaming content in 2007 but 2011 was the year that Netflix started to connect with devices like X-Box, Blu-Ray players, and Roku (Johnson, 2013). Television in terms of consumption, broadcasting has become replaced with video on demand. People now do not have to wait for a date with the television set. If the person has the necessary subscription or participates in the black market, then they can get immediate access to the television show or movie (Johnson, 2013). The evolution of TV production, distribution, and consumption is important to review patterns of on-demand culture. The show is going to be available worldwide and not just in the United States like the first version of the show (O’Connell, 2018). Because the show is on Netflix, it has a global format. It allows for more viewers to participate in the show’s discussion and storytelling. More connections and a higher impact on the awareness and acceptance is apparent for a larger audience. O’Connell (2018) notes that the directors put the show on Netflix for a larger audience and so that the audience could watch every episode. Watching every episode and having the availability allows for deeper story telling opportunities and audience connections with empathy. During many of the episodes, audience members gain a sense of the recipients lives and the lives of the Fab Five. Exchanges of heart to heart dialogue are seen on the screen as the Fab Five connect with each other and the recipients. This is possible with the continuous watching of the episodes.

Conclusion

“Queer Eye” celebrates, adores, and exalts people in a transformative process. The “Fab Five” come as a team being themselves on screen. They work with participants to also express themselves and be the best version of themselves. Amidst this process though, many progressive topics regarding LGBTQ and discrimination can be discussed. The appearance of the show on Netflix allows for a wider audience who can witness these interactions occurring. The impact of “Fab Five” continue with a four-installment series in Japan, premiering in 2019, (Morabito, 2019). There is not a specific date for release, but the discourse can now move to another country with other cultures and unfold more reactions and more connections of empathy for the audience and participants regarding LGBTQ.

References

1. Blackmon, M. (2018, March 23). Here's What The Original Cast Of 'Queer Eye' Thinks Of The Netflix Reboot. Retrieved from https://www.buzzfeednews.com/article/michaelblackmon/original-queer-eye-cast-netflix-reboot-reactions
2. Bricker, T. (2017). Finding the Fab Five: How Netflix's Queer Eye Came to Be. Retrieved from https://m-eonline-com.cdn.ampproject.org/v/s/m.eonline.com/shows/peoples_choice_awards/amp/news/948705/finding-the-fab-five-how-netflix-s-queer-eye-came-to-be?usqp=mq331AQCCAE=&_js_v=0.1
3. Collins, D. (2018, February 07). Retrieved April 12, 2019, from https://www.netflix.com/watch/80160132?trackId=13752289&tctx=0,0,16dc6742-3069-4b9f-80d3-0d9bef7c080d-93669714,,
4. Fickenscher, E. (2017, February 02). The untold truth of Queer Eye for the Straight Guy. Retrieved from https://www.thelist.com/40026/untold-truth-queer-eye-straight-guy/
5. Johnson, V. (2013). Television Production, Postproduction, Distribution and Consumption in 2013. Retrieved from http://www.vjaconsulting.com/documents/070913-Television-Prod-Post-Dist-and-Consumption-in-2013.pdf
6. Kornhaber, S. (2019, March 14). The All-American Contradictions of 'Queer Eye'. Retrieved from https://www.theatlantic.com/entertainment/archive/2019/03/queer-eye-season-3-review/584812/
7. Littleton, C. (2018, June 14). 'Queer Eye's' Fab Five Reveal Complications in Connecting With Some Makeover Subjects. Retrieved from https://variety-com.cdn.ampproject.org/v/s/variety.com/2018/tv/features/queer-eye-emmys-reality-conversation-contenders-1202843269/amp/?usqp=mq331AQCCAE=&_js_v=0.1
8. McCormick, C. J. (2016). Forward is the battle cry. In K. McDonald & D. S. Rowsey (Ed.), The netflix effect: technology and entertainment in the 21st century (pp. 103-114). New York: Bloomsbury Academic.
9. Morabito, G. (2019, January 24). Japan-Themed Mini-Season of 'Queer Eye' Premiering in 2019. Retrieved from https://www.eater.com/2019/1/24/18195911/queer-eye-japan
10. O'Connell, M. (2018, February 07). 'Queer Eye' Producers on How the Netflix Update Shifts Its Focus to Red State America. Retrieved from https://www.hollywoodreporter.com/live-feed/queer-eye-producers-how-netflix-update-shifts-focus-red-state-america-1082429
11. Trice, D. T. (2003, August 27). Is `Queer Eye' all about fun or exploitation? Retrieved from http://articles.chicagotribune.com/2003-08-14/news/0308140127_1_queer-eye-fab-five-stereotypes