Iāve recently seen some The Rocky Horror Picture Show discourse. And like people are questioning if Rocky Horror is transmisogynistic. Of course it does. Dr. Frank-N-Furter is intentionally a transmisogynistic villain. Thatās the point.
Itās intended as ironic of course, as deliberate camp. The musical is intended as a parody of old sci-fi and horror movies, mixed with a camp drag aesthetic inspired by the contemporary glam rock movement. The mad scientist villains in the movies being parodied were often queer-coded, and vaguely effeminate.
So to parody that, Frank-n-Furter goes far beyond the queer-coding, and is outrageously effeminate and evil. He rapes people, kills them with an axe and serves them for dinner and force-fems them to take part in his climactic stage show. He is a Frankenstein parody, who literally makes an artificial man in order to fuck him (a joke about Frankenstein Iāve seen on tumblr). And does it all while wearing stockings, a bustier and heavy make-up. He is deliberately the ultimate evil man in a dress trope, referencing Psycho and all effeminate mad scientists in media.
That Frank-N-Furter isnāt explicitly a trans woman doesnāt matter. The musical deliberately blurs the line. The line āIām just a sweet transvestite, from Transsexual, Transylvaniaā is like a perfect encapsulation of how horror movies treat transfemininity. āMen in dressesā (transvestites) trans women (transsexual) and a symbol of predatory horror movie villainy (Transylvania) are all conflated, making a pun of out how they all begin with ātransā.
Of course, itās intended to be ironic. Itās a parody of queer-coded villainy in old horror movies by turning it up to eleven, so that you canāt take it seriously. The whole movie has this drag show camp aesthetic that it celebrates, and the supposed representatives of heteronormativity, Brad and Janet are turned in the end. Frank-N-Furter becomes a symbol of a hedonistic queer liberation āGive yourself over to absolute pleasure.. Donāt dream it, be it.ā
This is the clear intent of Rocky Horror, and itās how it became a āqueer classicā. Does it work? Iāll admit that I enjoy the movie version. The glam rock aesthetic is fun, the songs are catchy, and they keep coming at a quick pace. A lot of it is admittedly that I love the old horror and sci-fi movies itās parodying, so my cultural touchstones are similar. Iām the kind of person to get a thrill out of knowing that Frank-N-Furter at one point uses the exact same prop that Peter Cushing used in the second Hammer Frankenstein movie.
That is a different question however from how well it succeeds at subverting the transmisogynistic tropes it handles. Even in the most sympathetic possible account of the musical, itās doing the equivalent of handling live grenades. Is it the creators tropes to subvert in the first place? Is it the fans?
Letās talk about Rocky Horrorās creator, Richard OāBrien. He is certainly a weird and contradictory person, he identifies as a third gender and ā70% male and 30% femaleā, and is using estrogen. So arguably he is a transfem enby and thus transmisogyny-affected. But heās also a transmisogynist who doesnāt believe trans women are āreal womenā.( I would like to know what exact percentage of āfemaleā as a transfem person turns you into a bad fake trans woman.)
Of course the important thing about OāBrien is that he is rich. He is in a vastly different class position than the majority of transfems. So while he may be taking estrogen and living as a third gender, he is simultaneously isolated by his own wealth from the effects of the transmisogyny he bolsters in the media (see Caitlyn Jenner for another example of a wealthy transfem doing the same thing).
And OāBrien is rich because Rocky Horror is a huge success. The stage show has seen tons of productions, the original ran for 7 years in the West End, and the movie is a slow but certain money maker, with probably the longest theatrical run out of any movie in history. He is swimming in residuals.
This raises the more interesting question of Rocky Horrorās position in the wider culture, and itās status as āqueer mediaā. Itās a movie which is just not passively watched but celebrated and performed by its fandom. People show up in cosplay to showings, āshadow castsā perform while the movie plays. And of course the original stage musical is still performed.
So we have to ask ourselves, what are people performing? And who is performing it? And Iāve already answered the former question earlier. Rocky Horror is largely an ironic performance of transmisogyny. And the fact is, the majority of people doing that performance are not the main targets of transmisogyny. They are largely TME cishet, queer and trans people. Itās āironicā transmisogyny to be sure, I think most fans of Rocky Horror who have any understanding of what it is doing view Frank-N-Furter as the true hero of the show. But is it really their thing to be ironic about? Are transmisogyny-exempt people really the people who should reclaim with irony and camp transmisogynistic tropes in horror media? I donāt think so, and thatās why there is so much resentment about Rocky Horror from transfems. And itās creator doesnāt help, because while heās arguably transfem, he also spreads transmisogyny in the media.
It illustrates a lot of things, for example how imprecise āqueerā is as a description of people. Itās an umbrella term, and does group together people who have much in common. But it also erases the material differences within the community. Queer people arenāt all equally oppressed.
So Rocky Horror status as queer media, as a campy celebration of queerness and parody of anti-queer tropes in genre films is kinda grating. Because it enables TME queer people to perform and celebrate Rocky Horror, because they are queer and itās about āqueernessā, when there are specifically transmisogynistic tropes parodied in the musical. It isnāt really their place to do so.
It appropriates specific transmisogynistic tropes in the media by thoughtlessly subsuming it into the general anti-queerness which it is part of.
Of course there are transfems who got to explore their gender at Rocky Horror showings. But I think the reason they did that is because mtf crossdressing is accepted as part of a camp ironic performance in such a context. It makes it feel safer to perform femininity in public, because you can backtrack and say itās purely ironic. Thatās no different from the comedy crossdressing in American Halloween parties, and I think we can all agree those are often transmisogynistic.
And of course, Rocky Horror is an example of how cis men can perform femininity, and get celebrated for it in mainstream society, while escaping the effects of transmisogyny that transfems experience, and in fact often furthering that transmisogyny. Itās often a (negative) performance of transfemininity, in which actual transfems play no part and are mocked.
Tim Curry is a very good example. He made his career from playing Frank-N-Furter, and he probably couldnāt have done that if he was actually transfem, and not just crossdressing for an ironic performance on stage and screen. Like I donāt have anything against him in particular, quite the opposite, heās one of my favourite actors, love him in everything from Clue to Muppet Treasure Island to Gabriel Knight. My objection is to the patriarchal and transmisogynistic system that favors cishet men like him.
Speaking of crossdressing on stage, the drag culture which Rocky Horror is inspired by of course has a complex history. Itās deeply rooted in both African-American and queer culture, and transfems have played major roles in drag. But Rocky Horror is if anything even an appropriation of drag culture. It represents dragās commercialization and recuperation into the mainstream. It took drag out of the gay bars being raided by the police and onto the more respectable West End stage, making a lot of money in the process.
Rocky Horror beyond any qualities it has as a stage and film musical, due to its popularity represents a lot of complex issues. Itās important to queer culture, but it also represents the commercialization and recuperation of queer drag into the cishet mainstream. And within the queer community, it is a shining example of how TME queers can appropriate specifically transfem struggles as their own. It shows how cis men can gain wealth and fame performing transmisogynistic caricatures (even if they are ironic and donāt mean it).
Iām not saying if you enjoy the musical that you should stop enjoying it. But maybe if you are TME, Dr Frank-N-Furter is not your āproblematic queer iconā to reclaim.
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