Men who care for children are afforded high status in pop culture if their role is part of some macho, justice-seeking mission (The Pacifier, Kindergarten Cop) or incidental to their real life, allowing them to maintain a cool image (About A Boy, Role Models). When he takes on a childcare role for no other reason than to get paid, however, a man should be prepared to sacrifice his self-respect.
In Melissa & Joey, Joey Lawrence plays an Ivy League-educated former commodities trader (yup) who went broke thanks to a Ponzi scheme. When local politician Mel takes in her sister's kids, Joe becomes their housekeeper and nanny as a last resort, having previously been living in his car. In one episode, Mel finds out that Joe has donated to a sperm bank, and asks him what the most degrading thing he's ever done for money is, hoping he'll admit to selling some of his swimmers. Instead, he gestures around the kitchen and replies, "By far, this." He's not entirely sincere, but the joke (such as it is) is predicated upon the audience acknowledging that this isn't a suitable job for a man who values himself.
There are lots of different dads on Parenthood: single dads, married dads, almost-stepdads, mostly absent dads, and of course, stay-at-home dad Joel Graham (Sam Jaeger). Married to high-powered attorney Julia (Erika Christensen), he was a contractor until the recession hit. Since then, he's been the primary caregiver for the couple's daughter, Sydney, who is 5 when the series starts.
The show doesn't stint on clichés associated with stay-at-home dads, from Julia feeling threatened by the flirty, make-everything-from scratch homemakers her husband now hangs around with to his father-in-law wondering why he doesn't have a "real" job. Joel himself sometimes seems frustrated by his lack of a creative outlet or a social life not involving children. But for the most part, it's a positive portrayal of a man who doesn't resent his wife for having a job, or consider his own contribution to the family to be any less important. He's probably more patient than Julia, steps up to the plate when it comes to both discipline and showing affection, and is a caring, competent father.
The New Normal isn't the first time we've seen gay dads (in this case, dads-to-be) on TV. But from Will & Grace's Jack McFarland to LeRoy and Hiram Berry on Glee, they're usually non-custodial fathers or secondary characters. The aughts brought sitcoms It's All Relative and Normal, Ohio, both of which centred around gay fathers, but neither found an audience.
It wasn't until 2009's Modern Family that a successful network sitcom showed gay men being full-time fathers — and even there, their portrayal is stereotypical and desexualized. That's something Glee and The New Normal creator (and out gay man) Ryan Murphy publicly criticized in 2010, stating that if he were to make a show with two gay leads, their kissing would be shown as no big deal.
It's not that I don't enjoy Modern Family, exactly. It's a slick sitcom that showcases some great acting and witty writing. But despite including characters who are gay and people of color, at heart it's a deeply conventional show, more interested in peddling stereotypes than subverting them.
Most often, Modern Family's white heterosexual family with a stay-at-home mom is presented as the default, including in the show's promotional images, most of which literally position them at the centre of the show: the "normal" people those wacky minorities orbit around. The first season poster even made this overt, describing the family units we could expect to see as: "straight, gay, multi-cultural, traditional" — that last word providing reassurance to conservatively-minded potential viewers that storylines wouldn't get too progressive.
In comparison to single moms elsewhere, on Gilmore Girls, they're heroes. In fact, when it comes to parenting on the show, there's a recurring theme: Men! Not quite as good as women, are they?
They're certainly inferior to Lorelai Gilmore, the bright, witty firebrand who single-handedlyraised the cleverest girl in Stars Hollow while working her way from chambermaid to manager of a local inn, gaining a business degree in the process. Sure, at times she's a little over-invested in her daughter Rory's life (like when she sleeps over during Rory's first night at college), and she can be rude and selfish, especially when it comes to her own parents (although not entirely without reason). But she's also the fun mom who'll take you to concerts and and sneak you into her bachelorette party by pretending you're an international supermodel.
No wonder, then, that her parenting prowess doesn't only extend to her own child, but to those of the men she knows and dates, as well.
While men who unexpectedly become single parents are often presented as inspirational, women in the same position tend to be vilified. Take Murphy Brown.
The show's eponymous lead character, a TV journalist, became pregnant in her early forties and soon discovered her baby daddy didn't want to be a father. So this wealthy, talented, intelligent woman set about raising a baby on her own. Responsible, you might think. At the very least, making the best of things. Not according to then-Vice President Dan Quayle, who considered Murphy to be a scourge of humanity.
Back in 1992, Quayle used the occasion of the L.A. Riots as an opportunity for a little moralizing about family values. While he did at least acknowledge men's role in creating single parent families (saying, "Failing to support children one has fathered is wrong,") he focused his criticism on Candace Bergen's fictional character, ranting: "It doesn't help matters when primetime TV has Murphy Brown — a character who supposedly epitomizes today's intelligent, highly paid, professional woman — mocking the importance of fathers by bearing a child alone, and calling it just another 'lifestyle choice'."
The idea that fatherhood redeems men, turning them into proper grown-ups (and thus acceptable members of society) is an enduring pop cultural preoccupation.
In Three Men and A Baby, the lead characters are living in New York, having fun while still (more or less) covering their bills — but it takes raising a baby and giving up wild parties to validate their existence. Jack, baby Mary's biological father, is the most irresponsible at the start of the film, and the one who is most changed by the experience. In case we missed this subtle lesson, Jack's mom makes it explicit, informing him: "You used to be a screw-up. Now you're a father."
Conveniently for writers, a man doesn't need to have spilled some sperm to have his formerly worthless life transformed like this. For Charlie Salinger in Party of Five, it just took his parents dying in a car crash. Suddenly, this 24-year old slacker who made his living from odd jobs and had a different girlfriend each week was in charge of his four siblings, who ranged in age from one to sixteen.
Brainy, outspoken, and with a fashion sense all her own, Blossom modeled confidence (and oh, so many hats) for a generation of teenage girls.
Along with unquashable self-esteem, she also possessed that mixed blessing, the "cool" dad. With his tight jeans, collar-grazing hair, hippie past, and career as a professional pianist, Nick Russo wasn't your typical TV father. He thought of himself as laid back, and his kids could confide in him.
When Blossom and her bestie, Six, made a video for a school-related media contest about the importance of wearing condoms, and the principal refused to submit it on the grounds of decency, her dad and Six's mom went into school with the girls to complain. Sure, the show could be preachy and heavy-handed at times, and became known (and parodied) for its very special episodes, but it was also extremely open about issues affecting teens in a way it's hard to imagine happening today.
Back in 1994, Sister, Sister captured my only-child heart by portraying one of my deepest wishes: teen girls bump into each other while shopping for clothes, discover they're long-lost twins, and become instant best friends.
Sister, Sister is also still one of very few shows to feature a single father of color. In comparison to today's whitewashed TV landscape, there were a lot more sitcoms with a predominantly black cast in the '90s (A Different World, The Fresh Prince of Bel Air, Moesha, and the two seasons of The Cosby Show, for starters.) But shows that were family-centric tended to feature traditional, upper middle class families, even Republicans, like Ray (Tim Reid) in Sister, Sister. This may be to counteract erroneous stereotypes as well as to transcend issues that often intersect with race — such as discrimination and poverty — in order to appeal to a wider/whiter audience.