In an essay in The Body, an HIV-AIDS community website, Abdul-Aliy A Muhammad argues that it is unethical and exploitive for writers to use the disease as a plot point in TV shows and movies. His argument is pitched at black writers particularly. (In case you are not familiar with the term he uses, the “down low” refers to apparently heterosexual black men who secretly have sex with males.) He argues in part,
Last week’s episode of the popular show on the Oprah Winfrey Network (OWN), Greenleaf, provided a storyline that’s become all too familiar—the disclosure of HIV status as a spicy and scandalous plot twist.
…During this season, at the end of episode three, a shocking reveal happens: AJ was raped in prison, and the person who raped him transmitted HIV to him. AJ is now suffering from HIV disease and finally tells Grace. That’s how the episode ends. As an HIV-positive Black person, my heart sank, because again, the failure to hold any nuance with HIV emerged, 16 years after the “down low” and HIV plot twists of the early 2000s. It’s as if we’re frozen in time.
… I want to say this to the writers and producers of Greenleaf, and other Black creatives: HIV is not a plot twist device. HIV is not a caricature, and HIV is not predatory. Yes, there are the very real stories of people contracting HIV after being raped, and yes, there are some people who are not fully open to their partners and who may have transmitted HIV. But the narrative of HIV as a hidden monster and prison rape are not what drive the epidemic in Black communities.
…[T]here have been many harmful representations of HIV stories in the media. Let’s start with Tyler Perry’s 2010 film…For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf. In his film adaptation, Janet Jackson’s character, “Lady in Red,” is married to a man named Carl Bradmore…His character is struggling with sexual desire and can be seen cruising for other men in the film, and ultimately there is a scene where oral sex is performed in a car. Hardwick’s character Carl Bradmore is in a BMW under a bridge and gets head from another Black man.
…Throughout the film, Lady in Red has a scarf tied around her neck, and toward the end, the scarf is red. She coughs frequently and drinks tea, ostensibly to soothe her throat. The drama erupts toward the end of the film, when they are both sitting on a bed and not facing each other. She says something to the effect of, “You can keep your sorry and your HIV”—which is saved as a grand reveal, to provide shock and melodrama to the story. Shange’s original play includes no “down low” men, and it was written before HIV, so these aspects were specifically added by Perry.
I watched this film in shock…. My mother was a Tyler Perry fan; she thought his desire to (and practice of) giving leading roles to Black actors was something to celebrate. I on the other hand felt… here again is another media representation of the [down low] monster as a viral operative to drive the drama of the plot, and to both titillate and disgust. There is data that suggests that Black people aren’t doing anything behaviorally different than white people when it comes to intimacy or other vulnerable ways to become HIV positive. The difference in disproportionate infections comes from anti-Black racism that discourages trust of systems and incarcerates and criminalizes Black people. Our vulnerability is undergirded by the lack of infrastructures of care and the breakdown of food systems in the hood and in the rural South.
Until we truly consider the truth about HIV and not the easily propagated myths, we are doing more harm to our communities and aren’t standing in solidarity with HIV-positive Black people…. Isn’t it time for TV and film catch up and stop with the same tired use of HIV as plot twist or cautionary tale. Continue reading
