I first watched Netflix’s The Prom during winter break of last year, right around when the movie first released for streaming. I remember inviting one of my friends over to my Blakemore dorm (we both stayed on campus over winter break) one night to watch it, as I had wanted to see the stage show on Broadway before COVID happened and we’re both gay. We played it from her old MacBook while sitting on a soft, fleece blanket spready out on the floor, and I vividly remember us having a blast with the movie’s enthralling set design, energetic choreography, catchy musical numbers, and just the fact that it was a cheesy, feel-good teen flick.
However, not even I with my shameless love of tasteless teenage films can look past the movie’s idealistic and poor depiction of the LGBTQ+ community and their struggles. None of the movie’s flashiness can’t make up for its lack of depth and nuance with regards to two of its primary queer characters, Emma Nolan and Barry Glickman.
Starting off with the lesser of the two evils, Emma Nolan isn’t actually the worst depiction of a lesbian teenager possible, it’s just a horribly idealistic one, largely due to Jo Ellen Pellman’s portrayal of the character. Emma’s introductory number “Just Breathe,” establishes her as a severe optimist, and this is hammered in through Pellman’s constant grin. No matter how sarcastic I was about being gay in Indiana, I would not be smiling if I just got verbally berated in a crowded school hallway. Pellman’s smile undermines the horrific nature of the homophobia she just experienced and makes it hard to relate or understand her pain since it seems like she’s not even feeling any pain at all. Especially since she is the only out lesbian in the entire school, I have a hard time believing she is taking her situation this well and with that big of a smile. It doesn’t help that principal Tom Hawkins supports Emma, which seems rather unrealistic for a highly conservative high school in small-town Indiana. Had absolutely no one been on Emma’s side, we would have seen a whole new dimension to the daily struggles LGBTQ+ people face that The Prom completely skips over.
Another instance of Pellman’s questionable acting is right before and during the number “Alyssa Greene.” Yet again, Pellman maintains a smile as she confronts Ariana DeBose’s Alyssa Greene. It’s hard to believe that Emma is actually mad at Alyssa when her face does not match the words coming out of her mouth, and it is even less believable when she grins while walking with Alyssa during the musical number as if they didn’t just have an intense argument. Here, Pellman’s and Debose’s great chemistry work against each other as Alyssa’s pain is simply not reciprocated by Emma, and even when Emma breaks up with Alyssa I don’t believe that Emma actually wants to break up with her. The smile Pellman maintains while saying “it hurts too much” does not show at all that Emma is hurting, but quite the opposite. This overly positive portrayal of a traumatized teenage lesbian doesn’t provide a platform for real life gay teenagers to relate to because most kids aren’t optimistic about the trauma they face, and they need representation that shows them that it is okay to feel depressed, angry, and even unforgiving.
While I don’t think Pellman’s portrayal of Emma is particularly relatable or realistic, there still is a certain charm to Emma’s hopeful optimism that might work better if it wasn’t in a story that wants to talk about the trauma of the LGBTQ+ community particularly in young adults. On the other hand, James Corden’s Barry Glickman is straight up insulting to the LGBTQ+ community and even less relatable.
The root of the problem with Barry’s character is that he is played by James Corden, a straight man. Corden cannot properly portray a gay character because he cannot understand what it is like to be gay in a straight-dominated world. It feels almost mocking to have a straight man play an overly flamboyant gay man as it plays into the stereotypes that straight men have typically used to oppress gay men. For example, Corden’s exaggerated arm movements and sassy gait feels very forced in the opening number “Changing Lives” especially when compared to Andrew Rannell’s Trent Oliver, someone whose sexuality is never explicitly stated yet played is by an actual gay man, who is much milder yet still sassy and dramatic in a natural. Barry’s suit is even a dazzling and sparkling teal blue, adding to his aggressive flamboyance, compared to Trent’s monochromatic red.
Another scene I take issue with is the shopping scene in “Tonight Belongs to You,” where Barry takes Emma to the mall to get a makeover for the prom. This scene pushes more harmful stereotypes that are perpetuated by the fact that Corden is a straight man singing these words. The lyric “you can borrow all my makeup” reinforces two gay stereotypes, in that gay men are into makeup and lesbians aren’t to be more “masculine.” This coupled with Corden’s overly affectionate and exaggerated acting create a character that doesn’t seem realistic and only serves to perpetuate stereotypes. This scene in general implies that a gay man is better at dressing someone of a different gender simply because they are more feminine despite not being able to completely understand a woman’s experience (just like how a straight man cannot completely understand a gay man’s experience!). Hearing Barry call himself “Miss Glickman” is also particularly uncomfortable because when said by a straight man, it again plays into the stereotype that one’s sexuality makes them an expert on genders that aren’t their own. It is absolutely possible for gay men in real life to fall into these stereotypes, but in real life James Corden is not a gay man, and watching him act this way only pushes straight-male dominance.
Beyond Corden’s portrayal of Barry, I take issue with the way Barry’s main plot line of his parents not accepting him resolves. Barry’s mother surprises Barry in the school hallway. While Barry is hesitant at first, his mother is quick to admit her wrongdoings and they make up. Unfortunately, not every gay person gets to reconcile with their homophobic parents. In fact, it could have easily been a very dangerous situation for Barry to meet up with his mother in case she hadn’t changed, which many parents never do. Though an incredibly heartwarming scene, this feeds into the glittery optimism that underlies the movie, and while I love cheese and happy endings, wrapping everything up in a neatly tied bow doesn’t work with how serious of a story and subject matter the movie is trying to tell.
When the entire film is full of messy plot lines that get resolved too quickly and too cleanly, it’s hard to view the individual struggles the queer characters face as realistic. The struggles these characters face only end up grazing the surface of the trauma LGBTQ+ individuals in the real world face and get resolved by sparkling glitter and spectacular dance numbers, which no matter how well-intentioned will never reach the heart of traumatized queer folk to relate to.