Queer Representation in Quién Mató a Sara

Jose Valenzuela, in his 2021 telenovela series Quién Mató a Sara, tackles -- among other things -- the topic of queer relationships and how they interplay with family dynamics. The show revolves around the story of the incredibly wealthy and powerful Lazcano family and their involvement in the murder of Sara Guzman. Sara was killed while she was on a family trip with the Lazcanos while she was dating and pregnant with one of the Lazcano's sons. Also accompanying the family on this trip is Alex Guzman, Sara's older brother and a family friend to the Lazcanos, who is later framed for her murder. The primary plotline revolves around Alex's search for the real killer within the Lazcano Family tree. Of the Lazcano children, one of the boys is gay. Jose Lazcano is openly gay and has been out to at least most of his friends and siblings since his teenage years. 

The handling of queer characters in the show, at least through the first season, is done with a certain degree of realism, at least as much so as can be expected from a genre that is melodramatic by design. The show's queer characters are given the same amount of problems as the rest of the cast and they navigate them in much the same way; however, many struggles are distinctly queer.

A primary source conflict for Jose, and his partner Lorenzo, is the strain put on their relationship by Jose's incredibly homophobic parents. The 2 exhibit some of the most common reactions that homophobic parents have towards their queer children.

 Jose's father, Cesar, is openly and verbally homophobic. He makes constant remarks, usually not particularly direct, and refuses to speak to Lorenzo. In one particularly abusive incident, Lorenzo and Jose invite the whole family to share the news that they are planning on having a child via surrogacy. The night ends in a dramatic outburst that breaks apart 2 separate relationships and includes a screaming match between Jose and Cesar. During said screaming match Cesar calls his son several slurs and at one point raises his hand as though to hit his son. 

The mother, Mariana, is less direct with her homophobia. In her, we see a softer, less confrontational version of that same homophobia. Mariana barely speaks to Jose about his relationship, aside from occasional implications that she does not want to hear about his relationship with his partner. Mariana mostly ignores Lorenzo and barely speaks to him outside of the bare minimum of polite interaction to maintain appearances. Mariana additionally does not step in to intervene, or even react, during her husband's homophobic tirade and other lesser incidents.

These familial interactions are dramatized portrayals of the experiences of real queer persons in their own family lives. Although some queer rights advocates may argue that the use of these real problems is insensitive and that it is markedly wrong to use such problems as plot devices, this is to be expected in the context of telenovelas. 

Although queer representation is often marked by queer pain, to the point that it often becomes inappropriate and disheartening, this genre of television is not a place to search for completely happy portrayals of any relationship, queer or otherwise. In a realist telenovela series, like this one, it would be unexpected and likely unwanted by viewers for any couple to have an easy time all the time. Quién Mató a Sara successfully gives queer characters representation and gives them the same volume of struggles as other characters, without shying away from realistic portrayals of queer struggles and relationships.


Comments

  1. Great blog Kaya! I think this is really interesting topic to look at! I remember learning in class that there is not a lot of queer representation in telenovelas. It's interesting how Cesar and Mariana have different ways on expressing their homophobic views. I like how the writers of Quien Mato a Sara focused on this realistic aspect of queer struggles and doesn't shy away from the topic.

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