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Įric steps away from his belongings momentarily to inquire bus schedules. In Otis’ absence, Eric sits at the bus stop alone. Otis fails to meet Eric at his bus stop before the bus departs, leaving him alone and assumably vulnerable given his identity and expression at the time. It is here that audiences may be led to believe that Eric’s expression of gender non-conformity will ultimately be celebrated, but it was not. The scene immediately sets up a potential opportunity for conflict, but audiences are relieved when one of the men asks, “Is it your Birthday?” Eric responds affirmatively and is passed a small bottle of alcohol for celebration. Eric is standing at the bus stop and is approached by two white men. A few minutes later Eric texts Otis and asks where he is. His dad looks at him with surprise, but there also exists a palpable fear in his eye.
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In Episode 5, Eric dresses in full drag. Episode five offers an active sequence to understand Eric’s role in Sex Education. Some may argue that the climax of Eric’s performance in its debut season is in episode five, just over halfway through the season. The operation of anti-Blackness and its effects on society and culture is nuanced in Sex Education given its base in the United Kingdom. The intersectionality of Blackness here offers a framework, especially in the context of the show’s location.
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The expressions of queerness they present are not valued for their material worth. In a media platform where queer people continue to fight for representation, Sex Education promotes the idea that queer characters are only valuable on screen-and in some ways in life-in their role as support for a heteronormative character.
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The scene is familiar-gay best friend gives girl advice and straight protagonist dresses in drag-but harmful nonetheless. Eric, to Otis, represents a traditional gay best friend. Shows like Sex Education, while particularly substantive and meaningful in many ways, also contribute to the exploitation of queer identities on and off the screen. While in no way a radical or liberatory intentional positioning, even Eric’s secondary status gives life to representation on camera. This is not the case for Sex Education, which intentionally places a white Otis, a filmed depiction of those who hold the most power in society by his white masculinity, as the focal point of the film. While this may be natural, given that some films take on a role of representation for various people of marginalized identity background by nature of the lived identities of characters within the film. In most contemporary film and cinema, such vibrantly queer characters are rarely ever given leading roles outside of films that explicitly target or market to queer audiences with an explicitly marketable queer narrative. Sex Education positions Eric as a supporting feature.
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While the main character of this series is Otis-a relatively small-framed white boy whose mom is a sex therapist and who struggles with being unable to masturbate-much of the work of discourse on gender and intersectional sexuality is performed by Eric Effiong. While Sex Education has less direct implications on gender expression and the language of gender and gender non-conformity than a show such as FX’s Pose, there exists much language and content that offers insight into the present media interpretation of gender beyond a binary construction and society’s discourse in approaching issues of racialized sexuality. Sex Education debuted as a Netflix original in January 2019, making it one of the newest web television series to date, and particular one of the most contemporary productions in pop-culture depicting both the sexualized facets of adolescence and the complicated intersections of race, gender, and sexuality within.