Love, Sidney

A friend of mine recently said that he was traumatized by The Brady Bunch. He said that his family was so unlike the always-happy, flawless Bradys that, by comparison, be felt he was living with a bunch of monsters. My reaction: "Dude, you took 'The Brady Bunch' seriously?" Likewise, the guy who wrote saying that Love Sidney caused his 13-year-old homosexual mind to grow shameful and make him feel he would always be friendless and sad...I have to ask: What are you, kidding? It was a portrayal of ONE CHARACTER. As for me, I'm glad the Sidney producers had the fortitude to create a show around a leading gay character way back in 1981. As a heterosexual kid growing up at that time, the show was my first introduction to the notion of homosexuality. It raised a lot of questions, and wound up being a springboard to meaningful discussions I had with my parents -- a chance to learn what it was, and form a non-judgmental concept on the subject in my formative brain.

Actually, the first television series (in 1975) with two, recurring homosexual male characters ("George" & "Gordon") was the Norman Lear-produced "Hot L Baltimore." The gay men resided at the titled locale. This series was based on an off-Broadway play by Lanford Wilson which starred Conchata Ferrell (best known as "Berta" on the CBS-TV sitcom "Two & A Half Men") as the scene-stealing prostitute "April." Norman Lear caught Ferrell in the play and then came up with a TV version of the production, in which Ferrell re-created her off-Broadway role.

"Hot L Baltimore" also starred James Cromwell, who was better known as "Jerome 'Stretch' Cunningham," best workplace (the loading dock, before "Archie" bought "Kelsey's Bar") friend of "Archie Bunker" on the sitcom "All in the Family," and best known as that guy in the "Babe" pig movies.

Coincidentally (or not), Ferrell would also play "Rita Valdez" in the episode of Lear's "Maude" that said goodbye to housekeeper "Florida Evans," when the character and its star (Esther Rolle) were spun-off into "Good Times." Ferrell's "Valdez" was a funny and flippant Spanish-speaking job applicant for the position in which "Maude" ultimately chose the feisty, booze-swilling "Mrs. Nell Naugatuck" (played by the terrific Hermione Baddeley).

And the first TV series to feature a "gay" male as a regular, starring character was, indeed, NBC-TV's "Love, Sidney," which starred Tony Randall and Swoosie Kurtz. The pilot of the series was the film "Sidney Shorr: A Girl's Best Friend," which clearly mentioned the sexual orientation of the title character, while in the series that fact was assumed but never mentioned.

Kurtz didn't portray "Laurie Morgan" in the pilot film. That role in the film was played by Lorna Patterson, whose best-known role was as the title character (originated in the film by Goldie Hawn) in the TV version of "Private Benjamin." And the spelling of the surname of the lead character in "Love, Sidney" was changed from "Shorr" to "Shore," perhaps to further create a differentiation between film pilot and series, thus providing a claim to advertisers the two were different characters.

But, come on, we all know Paul Lynde was having himself a fabulous time, whether sitting in the center square trading barbs with Peter Marshall on "The Hollywood Squares," or playing "Uncle Arthur" in the long-running ABC-TV sitcom "Bewitched." As "Uncle Arthur" really was a semi-recurring character, I suppose he may be considered TV's first continuing gay male character. Does it always have to be stated to be so? Aren't some characters' natures implicit? And if one raises the issue of subtext, "Bewitched" and homosexuality were inextricably linked; the witch keeping her supernatural powers a secret from all but one mortal (the Down-Low or gay-friendly "Darrin"), symbolic of many homosexuals (then) remaining in the closet with most heterosexuals.

So, Norman Lear ("Hot L Baltimore"), Witt-Thomas-Harris ("SOAP"), and George Eckstein ("Love, Sidney,"), you may all defer to Sol Saks and William Asher (and Elizabeth Montgomery), as "Bewitched," thanks to "Uncle Arthur," may be considered the first TV series with a regular gay character.

This is also not forgetting Dick Sargent (the second "Darrin Stephens"), Maurice Evans (who played the dad of "Samantha Stephens," and was also a renowned Shakespearean stage actor--a lot of 'em are "light-in-the-loafers," must be those tights), and Lynde, were all homosexual males in real life, and the possibility Agnes Moorhead ("Endora," the mother of "Samantha") was a closeted lesbian (she was coy when specifically asked her orientation). But even in her role on "Bewitched," you just know "Endora" had to be a great fag hag.

The first made-for-TV film with gay characters, at least that I recall watching, was "That Certain Summer," which starred Hal Holbrook and Martin Sheen as the gay couple, Scott Jacoby as the Holbrook character's son, and Hope Lang as Holbrook's character's estranged wife. This film debuted on November 1. 1972 as an "ABC Movie of the Week." Do you remember when the broadcast television networks aired originally-produced films on a regular basis?

In conclusion, "official" first television series with regular "gay" characters--"Hot L Baltimore" (debuted January 24, 1975); figurative first TV series with a regular "gay" character--"Bewitched" (1964), with Paul Lynde making his debut as "Uncle Arthur" in the October 14, 1965 episode "The Joker Is a Card." As country-western singer Collin Raye once sang, and stand-up comic Colin Quinn used to say, on the "Weekend Update" segment of "Saturday Night Live": "That's my story, and I'm sticking to it."

I remember watching this show when I was a kid. Me and my sister would make fun of it the whole way through. From the corny opening song to the cheesy stories to Swoozie Kurt's awful hair and outfits. It was just really lame and pathetic. Truly one of the worst theme songs from a television show ever! I never "got" that Tony Randall's character was supposed to be gay, so I guess that part was REALLY toned down. All the stories were disgustingly sickeningly sugary sweet and idiotic. Regardless, I still "blame" this show for being the inspiration for "Punky Brewster" which had a very similar premise, but with a sassier child and a crankier stepdad. Although both were probably the result of "Diff'rent Strokes" which was a runaway adopted child hit. It beats those other two shows by a longshot.

This was one of the first attempts at a gay leading character in a prime-time television series. Tony Randal played Sidney, a middle-aged gay man with some sort of relationship with a straight woman. The woman had a small daughter, or something.

The image that has lasted in my mind for years was of Sidney having a party and inviting his mother's friends. You see, he was gay and therefore had no friends of his own. Right.

It was the last days of disco, this guy was gay, and couldn't scare up enough friends for a party? Right.

It was really sad that the series implied that gay people are to be pitied because we have no friends and that a meaningful relationship, platonic as it may be, is only possible with a straight person.

I know a lot of gay people who hated "The Living End", which featured fatalist gay people shooting up stuff with guns. "Too violent," they say. I say that I prefer the "Living End" image over "Love Sidney". Maybe if Sidney would have had a gun and shot up a few gay bashers it would have been more interesting.

And in all seriousness, this stupid TV show left indelible images on a gay 13 year-old's mind that stuck for years, leaving him afraid and ashamed. That 13 year-old was me. Though I'm now out and happy, I think the show's creative team should issue a public apology for this crap.

This series popped into my head this evening, and I checked out IMDb. I have read the other comments, and would like to add my two-cents worth.

One fact that I have not seen mentioned is this: Sidney is miserable and friendless because he is bitter over the loss of his lover, which he seems incapable of getting over. If I remember correctly, his boyfriend had died, and - with the great reluctance to explore that relationship on the show - it is easy to assume in retrospect that the boyfriend was a victim of one of the big issues - gay bashing? AIDS? ...Anyway....

The whole message of the show, as sugary sweet as it was, is that everyone needs someone to share his life with, and, while the ideal is to have a lover (whatever your sexual persuasion), good platonic friends can be a pretty good substitute. Families are made, not born.

The great achievement of the show was that it shattered stereotypes - that was the whole point of Sidney being neither a disco-dwelling, toy-boy hunting sugar daddy, nor a camp, shrieking queen. The show also captured an ennui that was soon to swamp the gay community, and those who saw it as a pop-culture touchstone, as AIDS took a greater and greater toll.

Love, Sidney was soulful and complex, and is owed much by all involved with, and fans of, such shows as Will and Grace.