In praise of Shiva Baby and the Messy Bisexual | Little White Lies

Queer Cinema

In praise of Shi­va Baby and the Messy Bisexual

11 Jun 2021

Words by Anna Bogutskaya

Two women in black coats walking down a tree-lined path.
Two women in black coats walking down a tree-lined path.
Emma Seligman’s grow­ing pains com­e­dy ush­ers in a new era for bi char­ac­ters who are not judged on their sexuality.

The jour­ney of bi char­ac­ters in film and TV has gone from mock­ery to fear-mon­ger­ing all the way back to dis­dain. This works dif­fer­ent­ly for male bi char­ac­ters, who are often open­ly laughed at (remem­ber Car­rie Brad­shaw being dis­gust­ed at her bi boyfriend?) and gen­er­al­ly con­sid­ered to be secret­ly gay (even on Will & Grace, Will dis­missed pan­sex­u­al­i­ty as Isn’t that just a rest stop on the high­way to homo?”). Bi women, on the oth­er hand, are cod­ed as hyper­sex­u­al and slut­ty, with their bisex­u­al­i­ty sig­ni­fy­ing that they’re for up for anything”.

This reduc­tive, over-sex­u­alised rep­re­sen­ta­tion of bisex­u­al­i­ty has evolved, how­ev­er, and the trope of the Messy Bisex­u­al is now thriv­ing in com­e­dy. With char­ac­ters like Detec­tive Rosa Diaz in Brook­lyn Nine-Nine, Nomi in Grown-ish, Dar­ryl in Crazy Ex-Girl­friend, Ilana in Broad City, and Petra and Adam in Jane the Vir­gin, there has been a bi boom on TV in recent years. But how did we get here, and why is there still a bi absence on the big screen?

In film, stereo­types root­ed in bisex­u­al char­ac­ters’ untamed sex­u­al appetite evolved into the Mur­der­ous Bisex­u­al trope, most­ly notably embod­ied by Cather­ine Tramell in the erot­ic thriller Basic Instinct. Tramell is a prime exam­ple of how bi women have been por­trayed, col­laps­ing the femme fatale arche­type with the over-the-top horni­ness and untrust­wor­thi­ness asso­ci­at­ed with bisex­u­als. The Mur­der­ous Bisex­u­al is self­ish, schem­ing and sex­u­al­ly promis­cu­ous. They are often the vil­lain, their sex­u­al flu­id­i­ty equiv­a­lent to their moral flakiness.

In Basic Instinct, Tramell’s bisex­u­al­i­ty is pre­sent­ed as cat­nip for the male char­ac­ters, an exten­sion and demon­stra­tion of how insa­tiable she is – for sex, pow­er and vio­lence. The Mur­der­ous Bisex­u­al pathol­o­gis­es sex­u­al­i­ty, equat­ing it to a hunger that can nev­er be ful­ly sat­is­fied. There­fore, bi char­ac­ters can nev­er be trust­ed, and can only ever be a hyper­sexed ver­sion of the charm­ing sociopath. All sexy sur­faces, and no interiority.

Con­verse­ly, shows like Broad City, Grown-ish, The Bisex­u­al, Brook­lyn Nine-Nine and even Jane the Vir­gin don’t use bisex­u­al­i­ty as a plot point but rather incor­po­rate it as a key char­ac­ter trait. Their sex­u­al­i­ty doesn’t define their morals, their val­ues or their nar­ra­tive arcs. They’re allowed to be fun­ny and fun to watch, lov­able and messy, with rich inte­ri­or lives and nar­ra­tive arcs that go beyond their sexuality.

The con­nec­tive tis­sue between the Mur­der­ous Bisex­u­al and the Messy Bisex­u­al is Killing Eve’s Vil­lanelle, who is sav­age, chic, extreme­ly good at her job (grant­ed, that job is killing peo­ple) and has zero vac­il­la­tion about her sex­u­al­i­ty. She is also messy, fun­ny and more child­like than sexy. Vil­lanelle has a rich, com­plex rela­tion­ship with Eve, the emo­tion­al nuance of which dis­tances her from the Mur­der­ous Bisex­u­al trope.

Danielle is a Messy Bisexual, yes, but crucially her sexuality does not define her messiness.

Mean­while, Broad City’s Ilana is an over­sexed bisex­u­al tor­na­do but is still devot­ed to her friend­ship with Abbi; Brook­lyn Nine-Nine’s Rosa Diaz, who comes out as bisex­u­al in the fifth sea­son, has a lot more to her as a char­ac­ter than just her sex­u­al­i­ty – her sto­ry doesn’t hinge on her com­ing out. In these shows, the Messy Bisex­u­al doesn’t per­form­ing their sex­u­al­i­ty for the sake of tit­il­lat­ing anoth­er char­ac­ter or the audi­ence. With the rise of the Messy Bisex­u­al, bisex­u­al­i­ty has evolved from a wink-wink-nudge-nudge plot point to a core – but not defin­ing – aspect of a character’s identity.

Yet film has been curi­ous­ly slow to catch up. With the notable excep­tion of bisex­u­al film­mak­er, actor and bisex­u­al icon Desirée Akha­van, who has sin­gle-hand­ed­ly raised aware­ness of bisex­u­al­i­ty on screen with her films Appro­pri­ate Behav­iour and The Mise­d­u­ca­tion of Cameron Post, and appro­pri­ate­ly-titled series The Bisex­u­al, there have been very few films which have embraced bisex­u­al characters.

Enter the Shi­va Baby. While his­tor­i­cal­ly the sex­u­al flu­id­i­ty of bisex­u­al char­ac­ters has been pre­sent­ed as some­thing to fear and dis­trust, Emma Seligman’s fea­ture-length direc­to­r­i­al debut cre­ates a Messy Bisex­u­al for the ages. Sit­ting some­where between a com­ing-of-age com­e­dy and a hor­ror of young adult anx­i­ety, Shi­va Baby ush­ers in a new era for bi characters.

Rachel Sennott’s Danielle is a chaot­ic mess. She’s unfo­cused and anx­ious. Her bisex­u­al­i­ty is the only thing that’s not unclear to her. Even as every­one around her – espe­cial­ly her fam­i­ly – tries to pass off her sex­u­al­i­ty as an exper­i­men­tal phase” and active­ly keeps her away from her ex Maya, Danielle is stead­fast in who she is. You think that every­one who’s bi is exper­i­ment­ing!”, she snaps at her moth­er in one scene.

Danielle is a Messy Bisex­u­al, yes, but cru­cial­ly her sex­u­al­i­ty does not define her messi­ness. She’s not unfeel­ing. She’s not treach­er­ous. She doesn’t lack inte­ri­or­i­ty. Her emo­tion­al anx­i­ety is a wel­come respite from how bisex­u­al women have been pre­sent­ed on screen. With Shi­va Baby already firm­ly anoint­ed in the bi canon, the film’s cen­tring of Danielle’s chaot­ic inner life proves that com­e­dy is pro­vid­ing the Messy Bisex­u­al space to thrive.

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