If you’re noticing your TV screen turning pink, it’s not just your imagination.
The new broadcast TV season includes 22 series featuring a total of 35 openly gay characters, according to the Gay and Lesbian Alliance Against Defamation (GLAAD). GLAAD, which rides herd over all Hollywood scripts dealing with homosexuality, says the number of series with homosexual characters is a record. These series are on ABC, NBC, CBS, Fox and the CW networks. The total figure does not include shows on cable, like The L Word on Showtime, or MTV’s all-gay LOGO network.
A new Eye on Culture report from the Culture and Media Institute, “Lavender Propaganda,” reveals the depth and breadth of the current media campaign to promote homosexuality to average Americans. But Hollywood became a uniformly pro-gay industry well before Will & Grace or the slew of 2008-9 network shows.
In 1996, the year before Ellen DeGeneres “came out” as a lesbian on Ellen, Los Angeles magazine writer David Ehrenstein boasted in a May cover story, “More than Friends”:
“There are openly gay writers on almost every major prime-time situation comedy you can think of … In short, when it comes to sitcoms, gays rule.”
Here is an excerpt from my book The Age of Consent: The Rise of Relativism and the Corruption of Popular Culture about the gay influence on TV:
“Ehrenstein, a professed homosexual, cheerfully admits that gay writers are attempting to influence viewers with a homosexual agenda:
‘The gay and lesbian writers of today have been pushing the envelope any chance they get. In fact, they’re encouraged to do so. Since current comedies are positively obsessed with the intimate sex lives of straight young singles, who better to write them than members of a minority famed for its sexual candor … as a result of the influx of gay writers, even the most heterosexual of sitcoms often possess that most elusive of undertones – the “gay sensibility”—‘Frasier’ being a case in point.’
“The ‘gay sensibility consists, according to two homosexual writers, of ‘a very urban, very educated, ironic, detached, iconoclastic attitude.’ Plus, a deliberate overdose of sexuality.”
In her 1989 book Target: Primetime: Advocacy Groups and the Struggle over Entertainment Television, Kathryn Montgomery explains why homosexual activists have been particularly effective in Hollywood:
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