Neil Patrick Harris – The “Great Gay Hope” or an Emblem of Expanding Hegemony?

(Author's Note: Hey all! Keep in mind I think Neil Patrick Harris is a fantastic and insanely
talented actor no matter what, and deserves all the praise he receives. That being said, now I’m going to be critical regarding his current position in the media world, and how mass media is king of hegemonic superstructures.)

In his article, “Hegemony,” James Lull states that “hegemony is more than social power itself; it is a method for gaining and maintaining power.” Lull goes on to support Antonio Gramsci’s theories on ideology and the abilities of society’s superstructures, such as the mass media, to manipulate the public’s worldview. According to Gramsci, “the mass media uniquely “introduce elements into individual consciousness that would not otherwise appear there, but will not be rejected by consciousness because they are so commonly shared in the cultural community.”

In the 1980s, being an out-ed Hollywood actor was thought to be a death sentence to a person’s career. Even if everyone in the business knew of an actor’s homosexuality, studios worked hard to keep the news out of the press. By 1989, two major actors— England’s Ian McKellen and the U. S.’s Ellen DeGeneres—had come out to the press. Though homosexuality was more accepted in England and was considered normal in the theater world where McKellen primarily was at the time, their actions were seen as hugely counter-hegemonic to the United States press. DeGeneres exposing of her sexuality on her sitcom is still regarded as one of the most shocking moments seen on television.

Approximately ten years later, on September 20, 2009, Neil Patrick Harris hosted the Primetime Emmy Awards, and the September 21st entertainment sections of almost every major newspaper or news website showered praise upon him. Tom O’ Neil of the Los Angeles Times’ The Envelope even went so far as to compile the raves made by reporters from other publications including the New York Times; the Associated Press; and ABC itself. ( http://goldderby.latimes.com/awards_goldderby/2009/09/emmy-awards-find-winning-host-in-neil-patrick-harris-entertainment-news-2468097.html) None of the blurbs made note of Harris’s sexual preferences, but focused entirely on his showmanship. Emily Nussbaum’s New York Magazine article, “High Wire Act,” lauds Harris’s achievement of landing the role of the straight male lead in the independent film, The Best and the Brightest, and calls him the “Great Gay Hope.”(http://nymag.com/arts/tv/profiles/59002/)

So, has Harris managed to bridge the gap from a “gay actor” to simply “an actor” on his own talent? Or has the United States media finally figured out a way of packaging a gay man to appeal to a large cross section of the Heartland along with the two Coasts?

In recent years, most major homosexual film stars such as Ellen DeGeneres and Rupert Everett gave their careers a boost by portraying characters in the animated films "Finding Nemo"; and "Shrek 2" and "Shrek the Third" respectively. Ian McKellen gained renown as Magneto in the X-Men series and as Gandalf in the Lord of the Rings Trilogy. Interestingly, none of these out-ed actors have ever had leading film roles, but allowed themselves to be relegated to large character parts that become more recognizable than the actor playing them. Everett was even un-credited for his cameo as Christopher Marlow in the Academy Award winning film, "Shakespeare in Love." Although these actors are supremely talented, they are among the few in the business who are judged primarily on ability and likeability instead of physicality.

Neil Patrick Harris is no exception to this rule. He has been immortalized in American pop culture for playing the title role on "Doogie Howser, M. D." Sixteen year old geniuses have the luxury of being obsessed with the opposite sex but are not bound by the laws of TV land to act on their desires. As Barney Stintson on "How I Met Your Mother," Harris’s role was meant to be that of the womanizing sidekick who could get away with wild lines that straight man Ted (Josh Radnor) never could. However, Harris became the show’s superstar perhaps because of his likeability, his appealing but non-threatening looks as well as his ability to pull off the character’s personality and promotion of “The Bro Code” without alienating most if any audience members.

Even in the hugely popular "Dr. Horrible’s Sing-A-Long Blog," part of the appeal of Harris’s character resides in the fact that he (Dr. Horrible) is a classic geek. He is not suave or sophisticated. He is just a guy with a dream, and who is trying to overcome his insecurities to achieve his potential and to get the girl. Meanwhile, his nemesis, Captain Hammer, portrays the classic hero type with the rippling muscles, perfectly quaffed hair, and scores Felicia Day on the first shot. From a theoretical perspective, Dr. Horrible was created to be counter-hegemonic both in its glorification of the anti-hero and distribution as broadcasted solely through the internet. However, its great popularity has larger media networks to praise the production and its titular character to the point that when Dr. Horrible interrupted the Prime Emmy Presentation no one needed to question who these people were. The mini-series itself was even honored at ceremony.

In a few months, Harris will star in the independent film, "The Best and the Brightest," in the role of a straight, married father. Though this role may seem typical even bland it is can prove to be a huge step not only for Harris but also for the gay acting community at large. Although audiences have long accepted homosexual actors in larger than life roles, Harris’s role may be the first time American audiences are able to look upon an out-ed actor in a role saved for the likes of George Clooney or Jude Law. Furthermore, is Harris’s opportunity to have this role based exclusively on talent or is it evidence of a growing hegemony surrounding sexual orientation? Is Harris really the one who managed to cross over? Or is he the one chosen by the media (the big shots who produce the Tonys and the Emmys) to be the cross-over?