Dr Rebecca Beirne

Lesbian sexuality has a history of invisibility in moving-image media. Lesbian representation in television series has also frequently followed similar themes. One of the potential outcomes of increased lesbian representation in the media is offering points of identification for lesbian and bisexual women. Identifying and articulating definitional boundaries in lesbian and gay media studies is not quite as simple as it may initially seem, with associated terminology coming under fire where it is seen to exceed its relevance. Feminist film theory's intensive focus upon the gaze has resulted in much scrutiny as to the extent to which lesbian sexual representation caters to the heterosexual male gaze. When lesbian sex becomes almost invisible even in an encyclopedia entry about lesbian pornography, the most explicit of sexual representations, it shows the extent to which the discussion of lesbian sexual representation has become mired in discussions of authenticity, gender and politics.

Over the last decade, there has been an increase in the number of televisual protagonist and major secondary characters specifically identified within the text as having a diagnosed mental illness. This is a significant development in the context of characters with a mental illness on television, who were previously usually minor and heavily stigmatised. A key trend with these new protagonists and major characters is the attribution of special talents or powers associated with mental health conditions. This paper analyses the discursive construction of this trope in five recent television series: Sherlock (UK, BBC, 2010-), Homeland (USA, Showtime, 2011-), Perception (USA, TNT, 2012-2015), Hannibal (USA, NBC, 2013-2015) and Black Box (USA, ABC, 2014). Theoretically, this paper draws on Sami Schalk's formulation of the superpowered supercrip narrative', which refers to the representation of a character who has abilities or "powers" that operate in direct relationship with or contrast to their disability'. This paper is also indebted to Davi A Johnson's Managing Mr. Monk' (2008) for its discussion of mental illness as attaining social value' through becoming a resource with economic and ethical value, as do the conditions of the fictional characters explored in this article. Schalk's work on disability is here expanded to a more specific discussion of mental illness on television, while Johnson's work is updated to discuss whether the newer characterisations reflect the same rhetorical positioning as Monk (USA, USA Network, 2002-2009), one of the earliest texts celebrated for featuring a lead, sympathetic character clearly and explicitly identified with a mental health condition. Of the five lead characters examined here, three are figured as responsible for their symptoms because they have chosen not to take medication or withdraw from their medication. It is concurrently presented that if they do take medication, it dampens their abilities to perform valuable work in the community, thus removing their use value within the world of the series.