The Gay Boogie
I've always liked Ellen—I even sat through her sitcom, which was brilliant in fits and unfit for television in bits. I liked her more than I ever could have thought possible when she came out, was disappointed when I saw her in person and she did not radiate warmth (to be fair, I was with a camera crew and she probably thought we were after her, which we weren't) and have enjoyed her talk show to an extent. The extent to which I don't enjoy it is that every once in a while, it bugs me that the smart, hip, 50-year-old lesbian has to dance to engage her adult audience. I don't despise the dance, and I see it as a smart branding thing that she probably tripped into, but it comes off as phony. For me.
The rest of her show isn't phony; her bubbliness—unlike when Rosie had her talk show, whose fake persona I loathed—seems to be genuine. And while I sometimes wish she were more political (I hate when people say they're not political...we all should be since politics affects every facet of our lives), I have to give her credit for being openly, unapologetically gay. That is really enough.
But beyond that, she spoke passionately about Lawrence King this year in a move that really blew me away. And now that the conservative-heavy (so much for "activist judges") California supreme court has ruled that gay marriage should be legal (possibly going into effect within 30 days), Ellen has not let us—or herself—down: She's announced on her show that she plans to marry Portia de Rossi.
I think Ellen, with her visibility and her appeal to citizens from eight to 80, is probably the most important, directly impactful (even if it's not a word) figure in the gay-rights movement. And for that, I can overlook her cloying dance routine. In fact, her stealthy success at making a difference helps me understand what all that dancing could be about in the first place.










