Shameless: Represents Race, Gender, and Class

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i’m going to heal from this and someday i’ll live in an apartment with a sunlit kitchen in a city i love and my best friends around the corner

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Shameless: Exploring the Intersection of Class, Gender, and Sexuality with Ian Gallagher and his relationships.

Intersectionality occurs in many different ways in Shameless. Specifically, in this post, the focus will be on the character Ian, and his short relationship with Trevor and his current husband Mickey. From these relationships, gender and sexuality intersect to promote inclusivity among all gender and identities and sexualities. While class is present to showcase the struggles or lack of struggles Mickey, Trevor, and Ian experience because of their gender/sexual identity. This intersection starts with Ian, one of the Gallagher siblings, who identifies as a gay male. When Ian comes out to his family, they are accepting although they make jokes about it from time to time.

Caption: When Ian comes out Fiona already knows and doesn’t treat him differently in any way. 

Ian’s sexual orientation leads him into a relationship briefly with Trevor, a transgender man, and eventually into a marriage with Mickey, a gay male. With each of the relationship's storylines, the show introduces its audience to what it's like being a part of the LGBTQ+ community and the obstacles it comes with. From the start, Mickey is in denial of his sexuality and has a father who isn't accepting of it when he comes out. Throughout his denial, Mickey resorts to violence or violent claims when Ian expresses his feelings to him as they date on and off. According to research spoken about in Shameless Sociology: Critical Perspectives on a Popular Television Series, gay males will do this to "shed stigma and reclaim privilege associated with manhood." (Flockhart and Reiter, 135) 

Caption: When Ian expresses a romantic sentiment, Mickey replies with a violent one to repress his feelings and sexuality.

This can explain why it takes Mickey some time not to resort to violent measures when he feels romantic towards Ian. Throughout these difficult stages, they are just "scared, oppressed boys who often kiss through broken faces" (Robinson). Thankfully they become a better couple and survive this phase once Mickey comes to terms with his sexuality.

In Season 4 Episode 11, Mickey decides to announce he's gay to his father and other people in the bar when Ian is frustrated that Mickey's sexuality is kept a secret.

Although it was a relief for Mickey to be honest with identity by telling everyone else, it results in Mickey's father, Terry, beating up his son and Ian very violently. After they leave the bar with bloody faces, they both still manage to smile and laugh because they have each other. 

Caption: Mickey and Ian smile outside the bar after they get beat up by Mickey’s dad.

In her Vanity Fair article, Joanna Robinson speaks on this scene saying, "To praise the bloody, fraught relationship of Mickey and Ian is not to diminish other, less dramatic depictions'' (Robinson). Meaning that there are many ways a same-sex relationship can function, regardless if it’s intense or not. Terry's unacceptance of Mickey's sexuality and relationship with Ian never goes away. Mickey’s fear of his father becomes the main reason he fights with a police officer to wind up in prison, as it would be safer for him to live than in his regular house. By including this plot point, it displays the intersection of class and sexuality. As many people in the LGBTQ+ community have experienced being disowned and kicked out of their house because of their sexuality and their family’s disapproval of it. If they don’t have money to move out, they either live in a toxic and abusive household in the meantime or they become homeless. Mickey’s choice to get in prison allowed him some time to be away from his abusive father, and because of his class, this is the best option for him at the moment. Eventually, later on in the seasons he is able to seek refuge in the Gallagher house and live with Ian. Although this isn’t the ideal house to live due to its overflowing inhabitants and ever changing landscape, it keeps him safe and Mickey doesn’t have to hide his identity.

Caption: Mickey’s Dad, Terry, goes to the Gallagher house where Mickey is living and threatens to shoot his son out of disapproval of his sexuality. 

This is why when Ian and Mickey get married in Season Ten Episode 12, they have to secretly at a place they get last minute where the owners think it's a heterosexual marriage because they get Debbie, his sister, to wear a wedding dress, and because Terry doesn't know it's happening there. The previous place they planned for the wedding ended up in flames because of Terry, showcasing the true reality of some people who have to remain in the closet out of fear from their parent's reaction. Thankfully Ian and Mickey's wedding goes smoothly while Ian's friends stand guard outside in case Terry comes.

Caption: Ian and Mickey happily get married in front of their accepting friends and family.

In this video, you can even see Kevin holding a baseball bat for more protection if the owner of the place realizes the wedding isn't between a man and a woman. And while this adds a comical tone to this episode, it still reminds the viewer of how gay marriages are frowned upon in many countries outside the television screen. It's important to note humor works well with this show not only to entertain the viewer, but it also serves as a physiological function within the show to help diminish the discomfort Ian and Mickey might feel from being in a same-sex relationship (Flockhart and Reiter, 138). Working class men, like Ian, also uses humor to “other” people to deal with their lack of opportunities in his life because of his class (Flockhart and Reiter, 139). By othering, he can make others feel inferior so that he feels superior over others that are heterosexual. Many of the Gallagher family siblings use humor to say jokes regarding Ian's sexuality to alleviate their discomfort with it, but it comes at a cost to the viewers who identify as gay and find these jokes harmful and offensive. Humor then points to the incompleteness of LGBTQ+ Acceptance, as Flockhart and Reiter examine in their chapter.

Ian's relationship with Trevor is another progressive step for Shameless because Trevor's character is a trans male in the show and real life. Therefore, this character is authentically played by someone in the transgender community, ensuring a correct story is told. The directors even worked with a "reference person" and members from the LGBTQA community to make sure everything, including terminology, was correct (Whitney). When Ian starts to hang out with Trevor, he is confused by his identity as a transgender man. This is okay because Ian's questions open up much-needed dialogue surrounding the transgender community and other gender and sexualities that aren't cisgender or heterosexual. Although class isn’t fully represented when Trevor is introduced, it is assumed he isn’t from the working class like the Gallaghers because he was able to afford his transition surgery and can take T (testosterone) shots monthly. Unfortunately, for many people that want to transition, this isn’t the reality for them because they cannot afford the high costs of surgery and follow up hormones they have to pay for to continue being in their desired gender.

In the first part of this video from 0:18- 0:53, the audience watches as Ian questions Trevor's gender, where Trevor has to continually correct Ian in saying he is male, and not just looks like one. 

Caption: Ian wrongfully addresses Trevor’s gender by saying he looks like a male, indicating he isn’t one. 

Later on in this same video from 2:05 to 3:41, Trevor brings Ian to lunch to meet his friends. Each friend introduces themselves by explaining what gender and sexual orientation they identify with, as well as their pronouns. This scene is present in Seven 7 Episode 4 of Shameless where gender and sexuality identity are explored. As a personal viewer of this scene, I, like Ian, was confused by some of the identities these people identified with, however, this is important because it allowed me to be introduced to unfamiliar gender identities and want to research them after watching the show.

Caption: Cameron Monaghan, the actor who plays Ian, discusses Ian’s relationship with Trevor and why it’s a turning point in the show.

Furthermore, it shows how various identities show that both gender and sexual orientation can be fluid and not a strict label. In both of Ian's relationships, sex is relyed heavily on to develop these relationships. Flockhart and Reither go on to explain how "the reliance on sex shows audiences the complex ways sexual acts are tied closely to gender and sexual identity." Trevor exemplifies this point mainly because his gender identity is important in his sexuality and the way it impacts how he can/cannot engage in sexual acts. By including Ian's short relationship with Trevor, the audience eventually gets a better idea of what a transgender male goes through because of their identity and not fitting in with the cisgender norm. 

"Ultimately the trans storyline is not meant to be the centerpiece of the season" (Whitney), and it's just one of the relationships Ian finds himself in briefly. But it still is important they included it in for season seven and eight to increase visibility among people in the LGBTQ+ community that might identify as something other than gay like Ian does. Which allows trans viewers to feel represented and connected with a character like they haven't before. Because even if it's for a short time, it still can leave a lasting impact on them. Flockhart and Reiter feel confident in saying that by showing the struggles both Ian and Trevor experience as they navigate their relationship, Shameless, "gives the audience a more comprehensive view of the way queer characters experience their sexuality in contemporary United States." (Flockhart and Reiter, 137)

Overall, by intersecting gender, sexuality, and class, a well-rounded story can be told from these three characters. With the portrayal of Ian’s relationship troubles and triumphs with another gay male, Mickey, and a transgender male, Trevor, the show includes a genuine representation of people in the LQBT+ community for their viewers to learn from and relate with. Although Trevor’s storyline is short, it still exposes the viewer with gender and sexual identity exploration and leaves a lasting mark on the show. With gratitude, Shameless leaves the audience with Ian and Mickey getting married and living happily together after overcoming the difficulties that come with being a gay, financially unstable male in the South Side of Chicago.

Works Cited:

Flockhart, Tyler, and Abby Reiter. “Shameless Sexualities”, Shameless Sociology: Critical Perspectives on a Popular Television Series. Cambridge Scholars Publishing, 2020. pp. 130-148

Robinson, Joanna. “The Best-Written Gay Couple on Television Is Hiding on a Guilty-Pleasure Show.” Vanity Fair, Vanity Fair, 31 Mar. 2014. www.vanityfair.com/hollywood/2014/03/best-written-gay-couple-on-shameless.

Whitney, Alyse. “'Shameless': How a Transgender Storyline Brings the Show Back to Its Roots.” The Hollywood Reporter, 24 Oct. 2016 www.hollywoodreporter.com/live-feed/shameless-trans-storyline-ian-940284.  

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Shameless: The Working Class and The Addiction that Follows Close Behind

It's evident from Shameless's first episode that the Gallagher family is no one near being a wealthy family, but a very poor one instead. This family barely survives from the beginning to keep up with their house bills and pay for food for everyone. Throughout the first few seasons the family members experience cold showers, curdled milk, and more because of their class status and abandoment from their deadbeat parents. Fiona, the eldest sibling, tries her best to care for the Gallaghers the best she can, which means she must work three jobs she doesn’t enjoy just to make ends meet. One thing that the family collectively does to help with their financial problems and being under the poverty line is the squirrel fund. Which is a can where all of them chip in money into it to keep them afloat. Even young Carl and Debbie were "working as hard as they could during the summer months so they contribute to a 'squirrel fund', i.e. the money they were going to live on during the hard and more expensive winter months in Chicago" (Direct TV). 

Picture: The can where the Gallaghers save their money.

When Frank and Monica, their alcoholic and unfit parents, steal this money, it leads the family to decide between keeping the heat on in the house or eating food. Shameless doesn’t shy away from showing the realities of the working class, because the difficulties the characters face are current realities of some American families. 

Gif: Lip becomes angry when he discovers Frank has found and stolen the money from the squirrel fund to buy alcohol.

Direct TV says, "the Gallagher clan is truly the starkest depiction of what it really means to struggle to make ends meet." Throughout the seasons, Frank is the main character that exhibits features of those who struggle to beat addiction and work a 9-5 job. Frank doesn't work a regular job ever and often tries to beat the system that he thinks is there to hinder, not help, those in the working class. Although Frank is an unlikeable character due to his mistreatment of his kids, his character shows the reality of someone with addiction who does not have access to or can’t afford a rehabilitation facility and cannot get a job because of it. Which leads him to drink more to forgot about his financial problems.

In this video, Frank tries to explain to Debbie how to work the wealthfare system to get more money for her unborn child. This shows Frank's way of deviating from the norms and saving money unconventionally and illegally because of his lack of money and ability to keep a job. It also shows his failure to be a good father because he cannot help Debbie raise her child or give money to help with the expenses.

When Frank winds up in the hospital for different injuries, he always has trouble paying his medical bills due to no insurance and no job. This leads him to not pay for his bills and get in trouble with the government often. In order for Frank to cope with his financial instability, he resorts to abusing drugs and alcohol. Frank is a known alcoholic to the Gallaghers, which is one of the main reasons the family doesn't want him in their house. Alcohol abuse prevents Frank from being a good father to his kids. And while Shameless does portray a truthful light on the working class and the systems that work against this class, it still winds up insulting poor people who fail to achieve the American Dream because of the joking nature this show has with different issues. 

Picture: Frank is hungover sleeping on the kitchen floor while Fiona makes breakfast for her siblings.

Specifically, within this series, the characters are portrayed as white trash often. The working class' and white trash stereotypes are displayed with these characters being dirty, criminal, lazy, and riddled with addiction (Rennels, 273). All of the characters in Shameless exhibit these qualities at least once in this show. Especially Frank, who is always hungover and wearing the same clothes from the previous day. 

Picture: The Gallaghers are covered in dirt and appear very unkempt.

The Gallagher siblings have all been violent in an episode or two, doing things like fist fighting, and two of the characters, Ian and Fiona, have been to jail. Also, each character appears unkempt at times when they cannot dress/look appropriately, or their shower isn't working because the bill hasn't been paid. Even the regulars at the bar in Shameless come off as lazy and failures because all they do is go to work then drink at the bar and complain about their problems. Stephanie Ashe in “‘Shameless’ is the Rare Show to Accurately Portray the Working Class”, says, "If there's one connective thread in Shameless, it's that being poor and being an addict go hand in hand." (Ashe) Therefore, many of the Gallaghers start drinking and doing drugs early on in their life as a way to cope with their life circumstances.

Shameless also appears to be promoting neoliberalism, which shifts the responsibility away from the government and onto the people (Rennels, 273). Tasha Rennels says in "Here Comes Honey Boo Boo: A Cautionary Tale Starring White Working-Class People” that similarly to the family in Honey Boo Boo, the Gallagher family fails to uphold the "ideal whiteness", a privilege that is marked by wealth, rationality, and self-control (Rennels, 274). This leads this family to be considered "white others" to maintain the ideal whiteness's superiority. From their clothes, behavior, and personality, the viewers can judge the Gallaghers as working class people who would not fit in with the upper class.

In this video, there is a confrontation between the ideal white woman and a working-class woman, Fiona. In this scene, Fiona confronts a female for preventing her Black sibling, Liam, from having a lemonade stand near her house. And although the lady's action could have been racist, from this scene, she is the calm and collected person while Fiona is drinking, her hair is unkempt, and she goes to punch her. Therefore, Fiona isn't portrayed in a good way at all, even if she hit her for the right reasons to defend her brother. So, this scene can represent the division between the people of the working class and the upper class.

Both Fiona and Lip had a good chance of achieving the American Dream, but Lip ultimately fails and Fiona comes close to it. This is because after Lip receives a full ride to MIT and becomes the first Gallagher to attend college, however he eventually is kicked out of school due to abusing alcohol.

In this Season 4 Episode 4, Lip is slowly getting closer to being an alcoholic and getting expelled from college. In this clip from the episode above, Kevin attempts to talk Lip to go back to college and get his grades up so he doesn’t have to worry about paying his bills like Kevin is. Kevin warns Lip to not "end up" like him, therefore showing the bleak outlook the show has on the working class who live paycheck to paycheck.

Once he is expelled, Lip becomes an alcoholic like his father, which disappointed many Shameless fans. Ashe also talks in her article how "Though Frank is the official addict of the show, drugs and alcohol are an immovable force in the life of every Gallagher, and no one is truly safe from their effects" (Ashe). However, this makes sense when looking at the class hardships and family history of the Gallaghers, making it extremely hard for these siblings to break the cycle and fulfill the American dream. 

Picture: Fiona abuses alcohol and buys many bottles of hard liquor. 

Fiona experiences an alcoholic addition later on in the show that completely wrecks her life and almost her family relationships. Lip and Fiona especially argue and don’t get along when she abuses alcohol because Lip was able to recover from his alcohol addiction, which makes him look down at Fiona for not doing the same. Once Fiona becomes sober, she is able to move away and start a new life. However, it is uncertain if Fiona will achieve the American dream in this place or if she is simply running away from her past life in Chicago. 

As season eleven continues, the viewers will continue to root for the Gallaghers and want a better life for them. It’s unlikely though that the remaining Gallaghers will be able to get past the working class lifestyle and cycle of addition. However, if Fiona is able to achieve the American Dream, there’s a chance her siblings will follow suit.

Works Cited:

Ashe, Stephanie. “'Shameless' Is The Rare Show To Accurately Portray The Working Class.” Nylon, Nylon, 3 Nov. 2017

“The Opposite of Billions: Shameless Brings Poverty to Prestige TV - AT&T Entertainment News.” Entertainment News from AT&T, 10 Oct. 2018,

Rennels, Tasha R. “Here Comes Honey Boo Boo: A Cautionary Tale Starring White Working-Class People.” Communication and Critical/Cultural Studies, vol. 12, no. 3, 2015, pp. 271–288., doi:10.1080/14791420.2015.1053957.

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Shameless: The Females are in Charge This Time.

In Shameless, the representation of females is both problematic and progressive. As written about in my previous blog post, Veronica's representation of her race is problematic along with the hyper sexualization of her character. Sexualization occurs to the other female characters, known as the two Gallagher sisters: Fiona and Debbie. This is evident in Fiona’s sexual relationships with many men and Debbie’s teen pregnancy. There is a bigger focus on the sex appeal of the female characters that isn’t explored nearly as much in the male characters. From the start of the series, there is a prominent presence of males over females. Julia Wood, in her article titled “Gendered Media: The Influence of Media on Views of Gender”, she explains "a primary way the media distort reality is in underrepresenting women" (Wood, 31) through the outnumbering of females on television. In Shameless, this underrepresentation occurs because of the Gallagher family's makeup of four boys and two girls, and one (somewhat present) father. Frank's presence adds to the number of males who have more screen time on this show in comparison to Fiona, Debbie, and Veronica.

Picture: All of the Gallagher siblings and their father, Frank.

It's also important to note that many of the other females who appear in different seasons, like Karen, Mandy, Sheila, only have screen time because of their romantic relationships with their male counterparts. Once their relationship ends with Lip or Frank, they leave the show or have very little scenes following the breakup. When females do have screen time on Shameless, the majority of it has been engaging in sexual acts with males. There are not many scenes that are meaningful by themselves/with other females. To add to this, when the female characters do have scenes with each other, it results in fights or arguments often. In season three episode 9, Mandy runs over another female, called Karen, with her car because she was jealous of Lip's relationship with Karen. Which can portray to the viewers that females are irrational and crazy. Obviously, Shameless is a television meant to entertain and not educate, however it can still result in problematic representation of females to the viewers, regardless of whether it is or isn’t intentional.

With this, there is still a more progressive representation of females in the show. First, let's look at Fiona’s character. Fiona is the main reason why the Gallaghers can survive their ongoing financial and family problems. At first, it can be easy to think Fiona is a housewife or female who is only there to take care of the kids. However, the show doesn't allow her to only care for them, but to push them all to do good and to hold up their end for finances once they are able to work. 

Picture: Fiona takes care of her siblings by cooking them breakfast. No parent is present.

This is progressive in the sense that a female is the head of the household, and she's not just doing housework. Fiona makes her siblings do their chores, and you rarely see Fiona cleaning the house. Ramianne talks about Fiona in her character analysis of her saying, “She gave them a sense of familial structure, provided them with parental care and love, and portrayed the values and principles that they would then also acquire and follow.” Fiona works hard to take care of her siblings and her determination and perseverance to keep this family afloat is a notable quality any viewer can admire.

In Fiona’s court appeal to gain custody of her siblings in season 3 episode 7, her love of them is shown so genuinely as she tells the judge she wishes she could give them more. This clip shows her speech to the judge.

Video: Fiona fights to gain custody of her siblings. 

Wood also speaks in her article about how men are generally in charge and high-status positions in the media (Wood, 32). In this show, this is not the case. By portraying a female to be the head of the family, Shameless doesn't reinforce the norms that men are in charge. In his review of Shameless, Ben Courtney says the show "could have chosen the default, strong, family-leading, empowered character and ran with Frank Gallagher as a different, more fatherly character. But instead they chose Fiona" (Courtney). Still, Fiona is more than a mother figure to her siblings, she is her own person with goals. This is shown in her decision to take over and manage a local diner before going into the real estate business. Early on, she realizes many people, including her family, don't believe in her or her business goals. But, she continues to work towards what she wants and eventually is successful.

This video above shows Fiona’s real estate being bought out after thinking her efforts were for nothing. With this money, she is able to move out of Chicago and start a new life because her siblings are able to take care of themselves now.

When Fiona leaves Chicago for a new life, Debbie takes on the role of the house. This is empowering when thinking of how she didn't let one of her male siblings, including Lip who's the second oldest, become the head of the house. She trusts Debbie to follow in her steps and leaves her with money that only Debbie has access to. Throughout season ten, the viewers watch as Debbie holds her ground with the funds and keeps the house in check with her funds chart that devises how much money each person gets. Keeping a female in power continues to break down the stereotypical gender norms. 

Video: Debbie becomes the head of the household. 

Furthermore, although Debbie experiences teen pregnancy, which can be frowned upon by many, she does not depend on the father to raise her daughter. Debbie's independence deters from the stereotypical theme in television where females are dependent on the males while the men are independent (Wood, 35). When Debbie has her child, Franny, it doesn't prevent her from also achieving her own goals. Debbie becomes a female welder, another thing uncommon for a female character, and makes her money from that job. However, once she learns she makes less than her male coworkers in season nine episode one , she doesn't allow it to continue. 

Video: Debbie talks about wanting equal pay. 

Sesali Bowen says, "Her foreman is very blunt about the fact that she's being paid less because she's a woman and takes longer bathroom breaks." (Bowen) So, Debbie decides to wear a diaper to prevent her from going to the bathroom during her shifts. Eventually after seeing her commitment to be paid the correct wage, her boss pays her fairly. Although her boss’ decision to pay a female fairly after demanding equal pay doesn’t always happen in real life, it's important the show brings up this gender issue and the unfairness of it.

Picture: Debbie in her welder attire.

There is much to say about the representation of females in Shameless but starting with Fiona being in the breadwinner of the family and Debbie demanding equal pay is a step in the right direction for the media’s portrayal of females.

Works Cited:

Bowen, Sesali. “Debbie Is The Feminist Killjoy We Need On Shameless Season 9.” Debbie Demands Equal Pay In Shameless Season 9 Premiere, 10 Sept. 2018, www.refinery29.com/en-us/2018/09/209471/shameless-season-9-premiere-debbie-feminist.

Courtney, Ben. “FIONA GALLAGHER: YOUR AVERAGE, EVERYDAY SISTER-PARENT.” Medium, Medium, 30 Sept. 2016, medium.com

Ramianne. “‘Shameless’ (US) and the Miracle of Fiona Gallagher - ReelRundown - Entertainment.” ReelRundown, 11 Feb. 2020,

Wood, Julia T. "Gendered media: The influence of media on views of gender."                     Gendered lives: Communication, gender, and culture 9 (1994): 231-244.

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Shameless: The Ignorance of Liam’s Racial Identity and Problematic Portrayal of Veronica

Shameless, a show about the Gallagher family living in the South Side of Chicago, explores many different real-life issues such as alcoholism, financial problems, and family conflicts throughout this 11 season series. Although Shameless helps display many American problems in a truthful light, the representation of Black people in the show is problematic because of the whitewashing and harmful narratives that are displayed. In Shameless, all of the characters are predominately white, except for two characters, Liam and Veronica. This blog post will focus on the representation of these two characters in a series where everyone else is white.

Liam is the only Black child in the Gallagher family, and in the beginning seasons, he doesn't play much of a role considering his age and lack of verbal skills (Murphy, 62). Despite this, he still embodies Black representation on the show. (Murphy, 62). Liam becomes more known in season seven when he is given a free ride to a prestigious private school and season eight when he is more vocal. Although it’s not stated how Liam got a free ride, it soon becomes obvious he was to attend this school to be the school's token Black child. This notion is conveyed throughout season eight, such as episode one around 21:20, when the viewers watch as Liam is pulled numerous times from his class to be put in the playground that the tours walk by and the tour guide says they have diversity at the school. Here is one short video montage clip from multiple episodes showing Liam being taken away from his class: https://www.youtube.com/watch?v=jjP2ejCz2m4 . Sesali Bowen talks about this in her article, "We Need To Talk About Shameless' New Liam & His New School." where Bowen says, "Unbeknownst to the Gallagher family, Liam was only allowed to attend his new private school to be their shining example of diversity, even at the expense of his education." And while this spotlights a real issue that happens regarding diversity quotas at schools, Shameless still falls short in representation due to whitewashing communities in the show and the Black characters, such as Veronica, fitting into racial stereotypes.

Pictured: Liam at his new private school being the only Black male there.

It isn't until season ten where Liam comes to terms with his racial identity and the whiteness his family and community have imposed on him and his life. Not only does whiteness occur in the show, but also Liam is mistreated often as well. Liam is used for all sorts of manipulative things like helping Frank, his father, steal things because his innocence is easy to take advantage of. Trin Moody says in the article, "Time To Get Critical About Representation in Shameless," says, "His family's ignorance of his identity is glimpsed over… [and] the characters give little acknowledgment to his mistreatment." When he decides to move in with Todd, a Black friend, and his family, he becomes connected with his ancestral roots. When he sees Todd's house is full of pictures of Black representation, including Obama, he feels welcomed and encouraged to accept his blackness. Therefore, Liam embraces his race and dismisses his family's disapproval of moving out and working on his identity. Liam’s change of identity is not only shown in his room decorations but also in how he dresses and looks with a new hairstyle, an afro. Liam also talks with a Black family member, Maver, who later becomes a mentor for Liam and teaches him how to live in America as a black man. Mavar is critical to Liam's development because he can connect with another person of his race and get valuable lessons he wouldn't have received from his white family that doesn't understand what it's like to be Black. In this video clip, around 2:09, Mavar describes what it's like to live in America as a Black man to Liam, https://www.youtube.com/watch?v=hhSGWLria4k . This video is one of the many lessons he teaches Liam throughout the season. Overall, seeing this significant change from season one to season 10 in Liam's character development is vital when thinking of how he went from "being plopped at the Gallagher dining table for Shameless to earn some diversity points." (Moody) to being his own person and character with personal triumphs without his white family members being present.

Pictured: Liam in a clothing item (dashiki) and hairstyle (afro) specific to his race.

Another Black character that has a problematic representation is Veronica, a neighbor to the Gallaghers, and like a second family member to them. Throughout the series, Veronica also mentors and helps Liam in understanding and embracing his identity. In season ten, episode one, Liam even asks Veronica to teach him about slavery and they eat food their ancestors ate in the past. And while this brings up important history of Black people, the scene still has a light-hearted undertone, which can take away from its seriousness. This shows that although Shameless includes important topics regarding diversity, it still doesn't result in the Black characters being represented accurately. Although Veronica is viewed as a strong Black woman who has two daughters, a business, and a healthy relationship, she is also is portrayed as a sex-worker for some of the beginning seasons. She does this type of work to make money for her and her white partner, Kevin, to stay afloat, but this portrayal still doesn’t represent her well. Especially because her character is portrayed too sexually in the show, not only from her side work but the way she is dressed. Veronica wears many revealing and skimpy clothing, which can further sexualize her and take away her personality and character. From the very beginning seasons, there are many shots of Veronica having sex and/or her wearing only her bra and underwear often, when looking at scenes of her female white best friend, Fiona, she doesn’t have nearly as many scenes similar to Veronica’s. This is not okay because it can portray Black females in a false and horrible light that can say they are here for only sexual purposes.

Pictured: Veronica in a more revealing top while Fiona is all bundled up.

Nicole Murphy talks about how Veronica's character has been developed well enough to not be a token character in the show, but "her job as an internet sex worker and her relationship with her boyfriend Kevin are often shown in ways that slide easily into the jezebel myth." (Murphy, 63) This myth is explained as one that labels Black women as hypersexual females who influence white men into their beds (Murphy, 63). Therefore, it's evident that Veronica's representation is highly problematic, considering the myth roots stem from slavery. Throughout the series, Veronica uses her body to gain profit or something else via a sexual act with a white man. In season nine, episode three, Veronica helps one of the Gallaghers get a recommendation to an academy by doing this. This is also a considerable problem because Veronica is used for white gain, meaning she helped Carl, a white male, get something while she got nothing in return. Therefore, while Shameless has walked in the right direction in some aspects, the show is lacking greatly in proper representation for both Liam and Veronica. Hopefully in the next season, there will be better representation of both characters as they continue living in the South Side of Chicago.  

Pictured: Veronica making a joke that Fiona looks like her, which can indicate her outfit is revealing.

Works Cited:

Bowen, Sesali. “‘Shameless’ Gets Political With A New Liam & His New School.” Shameless Liam School, Chicago Immigration Race Issues, 6 Nov. 2017, www.refinery29.com/en-us/2017/11/179867/shameless-liam-school-racist-season-8-episode-1.

Moody, Trin. “Time To Get Critical About Representation in ‘Shameless.’” Medium, Incluvie, 27 July 2020, medium.com/incluvie/time-to-get-critical-about-representation-in-shameless-4fa2f6faac98.

Murphy, N. L. (2014). Class Negotiations: Poverty, Welfare Policy, and American Television. Austin: University of Texas.