Schitt’s Creek: T.V. By Queers For Queers, But The CisHets Can Come Too
Schitt's Creek has one of the best queer relationships on modern television, but it's not just good for the gays-- it's also good for their loved ones.
If we’re going to discuss queer T.V., we of course need to discuss the Levys and their hit show Schitt’s Creek (2015-2020). If you, like me, are a fan of tightly written, slightly absurdist queer comedy, Schitt’s Creek probably has a special place in your heart like it does mine.
It's Like That One Episode Of Sunrise Bay When I Stole My Own Bebe
The beauty of Schitt’s Creek is its sincerity in the face of absurdity. Every character has relatable and memorable depth while also having the personality, and often the costuming, of a Muppet. Their experiences are a constant barrage of unlikely and downright unrealistic happenstance that is so well written that you don’t mind suspending your disbelief.
While the show is not as crowded with queer characters (or characters of color) as some of my other stand-out favorites, there’s a lot to love. It’s clear that real queer people had a seat at the table, both in terms of writing and performance.
"My Son Is Pansexual."- Johnny Rose
“David Rose is not just queer coded, but explicitly queer. Since this is, in many ways, a comedy of manners, his queerness is certainly played for comedic effect. However, this is never done in a way that punches down or undercuts his character.”
Right from the start David Rose, played by Dan Levy, is not just queer coded, but explicitly queer. Since this is, in many ways, a comedy of manners, his queerness is certainly played for comedic effect. However, this is never done in a way that punches down or undercuts his character. Instead, David's queerness grounds his character in the world and his unique sense of self, rather than a flat character written for cheap laughs.
One of the deeper things I love about the show is the way David and the familial, platonic, and romantic relationships he engages in represent omnisexual queerness holistically. The “I like the wine not the label” line, is of course a classic, but the show goes beyond catchy one-liners.
Schitt’s Creek demonstrates Johnny’s lack of understanding of his son’s sexuality, particularly in his conversation at Roland’s BBQ in season one. Despite the fact that Johnny doesn’t understand his son’s sexuality, he continues to be supportive of his son, even drunkenly (and while he was probably still a little high) professing his support to his son that very night. The fact that this father-son duo is played by a real-life father and son makes the story all that much sweeter.
I Like The Wine Not The Label
And while most of what I want out of queer representation is rep by queers for queers, I think this storyline is really important for cishets with queer loved ones to see. It puts bi/pan/omni/non-monosexuality in understandable terms and demonstrates the ways that queerness is not about the straight people who are peripheral to it. They need to learn to love us and our queerness, even if they don’t understand it. I also think it is important for queer people to see straight family members be accepting, even if they’re not understanding. It is really important to see that brought to life in a way that is loving and believable and even kinda funny.
I Think You're My Best Friend
Another essential queer experience touched on by Schitt’s Creek, one that is often missing from other queer media, is David and Stevie’s relationship. For many queer people, there is a constant struggle to figure out whether your feelings toward someone are romantic or platonic, especially for those of us who are attracted to multiple genders and are dealing with the double whammy of comphet and same-sex socialization. Am I actually attracted to him or did someone tell me I should be? Do I want her to be my best friend or my girlfriend? It can take time and sometimes even experimentation to determine what those feelings are rooted in.
For these two reasons I really love David and Stevie’s relationship arc. Not only do they demonstrate that queerness does not exclude opposite-sex attraction, but they also demonstrate the complexity of intimate relationships. They show that these relationships grow and evolve; that there’s not always an underlying romantic thread– but sometimes you have to test it out just to be sure, and that’s okay!
You're My Mariah Carey
“It is David who struggles to pick up on the signs that someone actually, ya know, has a crush on him. And in this way the writers kind of level the playing field. While Patrick has never had a relationship with a man, David has never had a real romantic relationship with someone who genuinely cared about him.”
Of course, David and Stevie don’t have the gayest relationship in the show. That honor goes instead to David and his beau Patrick. I firmly hold that David and Patrick have one of the best-written and represented queer relationships in modern television. Primarily because the writers intentionally sidestep and even tease or poke fun at the usual gay tropes.
We start out with a pretty typical straight passing closeted guy x visibly queer guy, but the writers almost immediately turn this on its head by making Patrick not only the pursuer but a fairly straightforward (but certainly not straight) one at that. It is David who struggles to pick up on the signs that someone actually, ya know, has a crush on him. And in this way the writers kind of level the playing field. While Patrick has never had a relationship with a man, David has never had a real romantic relationship with someone who genuinely cared about him.
Although Patrick is not out publicly (or even really to himself) when his character is introduced, the writers avoid using homophobia to advance the plot. Patrick never allows the newness of his own sexuality to get in the way of his pursuit of David. While the writers do play with other obvious queer plot points, like Patrick’s ex-girlfriend and coming out to his parents, they never go for toxicity or homophobia, demonstrating that queer adults can still be figuring themselves out safely and healthily.
In particular, I appreciate the way that the storyline with Patrick’s ex is handled. While more openness might have prevented a situation like this from happening in reality, in terms of charming comedic writing it is done in a pretty healthy way. Patrick makes it very clear that there is no competition, she poses no threat to their relationship, and he even continues to be supportive of David after their conversation, going as far as to bring him a plate of food. And, honestly, David milks the whole affair more than the writers do.
You're Simply The Best
“Patrick has this important conversation with his parents without hiding or putting it off. And, in the end, we get a coming-out story that centers on the queer character, and his needs and emotions, rather than the emotions of his parents. His parents, for their part, handle the whole situation (including Johnny accidentally exposing his son’s relationship by assuming, as David had, that everyone is on the same page) by allowing Patrick to come to them, rather than pushing the issue.”
Patrick’s coming out is also handled in a way that demonstrates the fact that real queer people were in the writers' room. Coming out stories are so often written in a way that exploits queer pain and the struggle to be accepted by a larger heteronormative society. These storylines also often assume that coming out is done because queers owe something to the people in their lives or because they have been exposed in some way. In these contexts coming out is not usually presented as something that benefits the queer person. Presenting their whole self is often contextualized as an inherently painful, bad, or traumatic experience for the sake of advancing the plot.
The Schitt’s Creek writers take this opportunity to turn the coming-out trope on its head. They tease the beginnings of a painful outing by having David assume Patrick’s parents know about their son’s sexuality and the romantic nature of their relationship. He invites them to a surprise birthday party that he is throwing for his boyfriend, which puts Patrick between a rock and a hard place.
Once David realizes that Patrick’s parents don’t know that their son is gay or that he and Patrick are more than just business partners, instead of being pushy or prideful (which… let’s admit, he often is) he gives Patrick the love and grace of a trusting, healthy adult partner. Patrick in turn responds by not exploiting that trust by undercutting their relationship or his devotion to it. He has this important conversation with his parents without hiding or putting it off. And, in the end, we get a coming-out story that centers on the queer character, and his needs and emotions, rather than the emotions of his parents. His parents, for their part, handle the whole situation (including Johnny accidentally exposing his son’s relationship by assuming, as David had, that everyone is on the same page) by allowing Patrick to come to them, rather than pushing the issue.
We also can’t talk about this particular plotline without discussing the way that David attempts to protect Patrick from his potential in-laws on the same day that he meets them. Once he realizes his father has accidentally outed the couple to Patrick’s parents he immediately tries to smooth over the situation and defend his man and their relationship, while also trying to get ahead of any potential homophobic reaction. This leads to a really sweet scene where Patrick’s parents express that they’re not upset that their son is gay, they’re upset that he didn’t feel like he couldn’t tell them that he’s gay.
I'd Like To Think That We Helped Each Other Get Here
Another trope the writers avoid is under-or-over-sexualizing the relationship between David and Patrick. In fact, I can’t think of a better example of this in mainstream television. While we don’t get any overt sex scenes, the characters are also not treated like sexless besties the way that queer relationships often are. They are physically affectionate in a way that would be realistic to a real couple of their age, circumstance, and setting. They kiss and hold each other on-screen in a way that is obviously intimate, but that doesn’t rely on raunchiness or hyper-sexuality to get the point across.
In addition to the way that the writers subvert major plot tropes, there are lots of little moments where these writers subvert tropes as well. Too many to write about in a single essay. One of my personal favorites is when the whole family wakes David up together on the day of his wedding and he is immediately afraid something has happened to Patrick (highlighting the obvious trope of sudden, tragic endings for queer couples), only for it to be an issue with the weather and the wedding venue.
It’s also worth noting that in another subversion of tropes, it is actually the will-they/ won’t-they straight couple of the series, Alexis and Ted, which has a sad, but healthy adult breakup.
Patrick Brewer, You Are My Happy Ending
Ultimately, I love Schitt’s Creek as queer representation. Despite its premise, which is steeped in the absurd, it has some of the most realistic and relatable, well-understood queer character performances on modern television.
Like what you just read? Read last week's Queer Cinema and Beyond post "Heartstopper: Healthy Expressions Of Queer Affection & Unwavering Bisexuality."
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