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The SpongeBob Musical | Stifel Theatre
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Order by , and we can deliver your NextDay items by. In your cart, save the other item s for later in order to get NextDay delivery. We moved your item s to Saved for Later. There was a problem with saving your item s for later. On the other hand, Will and Grace and Queer Eye for the Straight Guy were full-blown exercises in making queerness a sparkly accessory for a cosmopolitan heterosexual lifestyle.
Who lives in a pineapple under the sea?
In her essay "Notes on Camp", Susan Sontag states:. Will and Grace and Queer Eye for the Straight Guy promoted a gay, campy aesthetic solely for the purposes of enhancing and enlightening heterosexual culture. In Will and Grace , gay men lent their ironic, snarky humor for middle-American laugh tracks, while in Queer Eye for the Straight Guy , Carson Kressley and his crew of homosexuals -- the "fab five" -- used their feminine knowledge of fashion to help heterosexual men seem more appealing to women.
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The gay men on these shows are self-aware, constantly making ironic and over-the top jokes at the expense of themselves and their straight friends. These jokes, however, offer miniscule, momentary escapes from the overall normative goals of these series. What makes SpongeBob SquarePants so different from these comedic gay shows is its celebration of a camp aesthetic on its own queer terms.
For example, SpongeBob, Squidward, and Patrick all live on Conch Street in houses that are kitschy exaggerations of their unique personalities. SpongeBob's "pineapple under the sea", manifests and mocks his playful, infantile sensibility. Squidward lives in a replica of an Easter Island Head decorated with expressions of egotism; his long face is featured on various rugs, busts, and paintings scattered around the house.
Lastly, Patrick's house is a giant brown rock with nothing but a TV antenna sticking out of it, the perfect visualization of his simple personality. Conch Street's inhabitants live in righteous solitude, existing and thriving for no one but themselves. A Google search for "SpongeBob is gay" brings a number of articles from conservative and LGBT blogs, most of them showing a list of specific moments in which something "gay" occurred in the series. These listicles tend to reference SpongeBob surfing on David Hasselhoff's brawny chest, the show's affinity for rainbows, and random homoerotic moments between the male characters.
Unfortunately, these articles fall into the conceptual trap of understanding SpongeBob and his friends' desires, relationships, and aesthetics as innately human. Although the series is filled with moments of homoeroticism and gender fluidity, to assume that necessarily demonstrates a presentation of a fixed identity denies the radical power of SpongeBob and his world.
One episode in particular highlights how the world of Bikini Bottom wholeheartedly rejects heteronormative culture and creates an "actually existing queer world". In the season three episode, "Rock-a-Bye-Bivalve", SpongeBob and Patrick find an abandoned baby clam and adopt it as their child.
Before raising the clam, the two best friends have a silly conversation about what gendered parental roles they'd both assume:. By explicitly mocking the performative nature of sexuality and gender, the act of trying to understand these characters' actual identities collapses, making space for an exploration of SpongeBob and Patrick's utopia. Patrick starts the conversation with wanting to be "mom" and then ends with screaming, "just call me daddy! Soon after agreeing on their gender roles, SpongeBob throws on a colorful dress and Patrick starts sporting a suit and tie; in Bikini Bottom, drag shows start instantaneously.
While many animated films and series impose heterosexual society onto animals and objects, "creative anthropomorphism" fights against that practice, using cartoon characters to explore nontraditional modes of thought.
In a scene where SpongeBob and Patrick are taking their baby clam on a stroll, a heterosexual, same-species fish couple walk by and are puzzled by this nonconforming family. A thought bubble appears above the head of the female fish, visualizing her deliberation of how SpongeBob and Patrick's family contradicts the rules of heterosexual reproduction. The thought bubble lingers for a few seconds and then disappears, leaving this biological question purposefully unresolved for both the fish and the viewer. SpongeBob and Patrick's interspecies, same-sex union isn't about "love winning", it's about love imploding.
Throughout the episode, the baby clam is used as a vessel to deconstruct traditional family structures. Patrick becomes the overworked dad and SpongeBob transforms into the underappreciated housewife; their queer friendship comically falls apart as they try to be normal. With Patrick's hyper-masculine aloofness and SpongeBob's Victorian neuroticism, they fail as parents.
source url In the episode's climax, SpongeBob points to a large mountain of dirty diapers as proof that he, as a mother, can't raise this clam on his own. Patrick then vows that he'll try his best to come back the next day at "six o'clock" to help him out with changing diapers and other domestic chores.
They repeatedly scream "six o'clock" to one another, until the promise, much like their family, is rendered absurd. Hillenburg made his marine biology degree known through a detailed, abiding love for the ocean as a place and idea unto itself, as well as a home to its many inhabitants. He encouraged children to be their most enthusiastic, overexcitable selves, to pursue their obscurest passions with every fiber of their being, to laugh so loudly it grates on everyone in earshot.
And for the former children, he has created a channel through which that un-self-consciousness can survive in the grownup world. Every millennial has an inner sponge, soft enough to absorb the shock of whatever adulthood can throw at us. Facebook Twitter Pinterest. Topics SpongeBob SquarePants. Reuse this content. Order by newest oldest recommendations.