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K., the drama’s creator, writer, and director, presents an array of characters who all see the world differently.
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Yet her contemporary, Cousin Pete, suffers from a mental illness that renders the outside world a terrifying place. Meanwhile, bar patrons include a white woman who explains what it’s like to live with Tourette syndrome, a black man who laughingly relays his attitude toward a bar-mate’s racism, bickering men from all sides of the ideological spectrum, a gay hipster looking for a drink, a once-glamorous alcoholic staving off loneliness, and many people and themes besides that no single writer could render from personal experience. He keeps this up in episode seven (spoiler alert), when his character, Horace, sleeps with a woman customer. There are a few more spoilers in this clip of the exchange: Both characters are portrayed humanely, in the fashion of nearly all of the diverse individuals who appeared in previous episodes.
But after the scene about trans issues was released, Vikram Murthi declared at Let’s get this out of the way: It’s problematic for a cisgender writer/director to examine transphobia, especially without explicit participation of any trans performers or writers, even with the best of intentions; no matter which way you slice it, it’s an attempt to tackle a pervasive, deeply-ingrained issue from an outsider’s perspective. K.’s comedy and writing, he’s occasionally guilty of over-reaching outside of his own perspective, not just with regards to gender, but also with race and queer issues.
This over-reaching isn’t inherently troubling, and it’s almost always rooted in a working-through of his own cultural biases, but it can produce mixed, often cringeworthy results, this being no exception.
Ultimately, there is little to be gained artistically from hearing C.
Subtext is always subjective, so you may not agree with me there, and that’s fine; what’s not really debatable is that problematic is generally less useful than the words it tends to replace.