We’ve been through gender transitions, divorce, intersectionality debates, religious beliefs, s&m, and at times, the crippling politics of family dynamics, but I am not talking about The Kardashains. Instead, for once, I am talking about something else – Transparent. The Stan produced show created by Jill Soloway in 2014, explores humanity’s timeless themes through the contemporary complex of an LA family. Following the life of the Morty Pferfferman, a 60 something year old husband and father of three, as she transitions into Maura after coming out to family and friends. Exploring the language and nature of identity to an unprecedented scale, the show has received a BAFTA award for Best International, eight Emmy’s and one Golden Globe award. Soloway’s previous work on Six Feet Under and Afternoon Delight has also received recognition at Sundance, as their attention to minute details enrich scenes of typically mundane moments. Characteristic of its nostalgic tone that questions the longevity of life, which only recently by Maura has been lived, Transparent explores the difficulties surrounding the affirmation of self.
Entering into the world of the Pfefferman family this season has been more cluttered than anything we’ve seen before. Finishing last season on the iconic statement ‘I am not your adventure’, delivered by Maura’s transgender friend, actress Trace Lysette, the family goes on exactly that, to Israel, to find both their spiritual and biological roots.
Themes that were once portrayed through sensual relationships and nuanced idiosyncrasies have been substituted with loud scenes and an exploration of the world. Consequently disabling the ability for the Pfefferman’s to properly grow in this season, as their interactions are limited to their relationship with their newfound external environment. The opening scene of episode 1 shows the Pfefferman clan at a chaotic lunch filled with alcohol, and dismissed and ignored comments, encapsulates this season’s change from its previously less is more attitude. Creating instead the paradox with this season where more is less. The script is dependent on telling as opposed to showing, causing the Pfefferman’s to lose their sense of authenticity. Audiences aren’t given a chance to understand but instead are told; contradicting contemporary cinematic ambitions that aim to destabilize misrepresentation by humanizing characters through their relate-ability, as opposed to structure-ability.
As inclusion grows and becomes more prominent on our screens, it’s strange to see a show so previously filled with authenticity become trivialized by itself. Living in a world post Oscar winning Moonlight, which gained acclaim due its realistic portrayal of personal struggle and lack of Hollywood dramatics, Transparent has shifted from intimate to tokenistic. Relying on a new setting, family member, sexual partner and transitioning character, to give the life of what was previously given through passive scenes and reflective characters. What would have taken seasons of progression has been exploded too quickly in the combustion of Season 4. Consequently, our intimate glimpse into the magnitude of a family portrait has become overshadowed by the demonstrative performance of ‘life’. As narrative timeframe jumps ahead, we are exposed to the show’s new lack of subtle creativity and loyalty to previous credential truths.
Focusing less on transgender issues, and more on the politics of family and friends, I can’t help but feel that the show has digressed from its previous explorative intentions. Perhaps, this decision was an attempt to progress Maura from being a trans representative, and instead focus more on her humanity, as a member of society. Yet, the show’s lack of regarding the LGBTQ community has done it a disservice. As it has raised awareness about the authenticity of Trans and other minorities, Transparent’s divergence from its usual discussions have left me feeling under satisfied: acknowledging my dependence on Maura to be a trans activist, a breakout character, as opposed to simply a character that lives within the narrow prisms and conventions, like everyone else. However, let me just tell you this Maura, watching you break down those prisms was much more fun, inspiring, and if you’re able to surpass them, I think you should.
Sadly, Transparent has succumbed to a familiar reality, lived by most fiction on screens, where genuine narratives are replaced with tropes. In a climate where shows are able to extend themselves for their audiences, usually reaching up to 4 – 8 seasons, too often we see the repercussions of mass-audience demand over creative pursuit. As audience ratings grow along with the shows noticeability, it’s hard to determine if the show’s progression into ‘convention’ is reactive to ‘responsibility’ or a short-fall in creativity. Whichever is the case, the silver lining is that Transparent has given future content precedence to be more challenging and a success. Proving through its commodification, ironically, that there’s a growing demand for inclusionary narratives in what was thought to be a previously niche market.
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Sources
http://www.imdb.com/title/tt3502262/?ref_=fn_al_tt_1
http://www.imdb.com/name/nm0813561/?ref_=nv_sr_1
http://awards.bafta.org/award/2017/television/international
https://www.emmys.com/awards/nominees-winners
http://www.goldenglobes.com/winners-nominees
http://www.imdb.com/title/tt0248654/?ref_=nv_sr_1