Goodbye to 'Hung,' the Last TV Comedy Where Men Aren't Punchlines

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The cancelled HBO show bucked the trend of portraying men as bumbling, incompetent losers

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HBO

HBO has announced that it is cancelling the comedy Hung after three seasons. This should not come as a surprise. Despite Hung's somewhat edgy premise—a well-endowed high school teacher from Detroit turns to prostitution to help make ends meet—the show's uneven comedic tone made it difficult to discern what exactly its creators were aiming for: Was Hung  a farce, a dramedy, or something in between?

But what always stood out to me about Hung was how seriously the show took its male characters and the way its narrative suggested men can actually be competent, functioning members of society. This made an anomaly in the world of television comedy, a world that is chock full male characters whose obvious defects are often exaggerated and function as punch lines.

As The Atlantic has argued, there is mounting evidence to suggest that men have seen better days, that our post-industrial economy we live seems, for myriad reasons, better suited to females. Men no longer constitute a majority of the workforce. They no longer make as much money in terms of real median income or graduate from institutions of higher learning at the same rate as their forefathers. And partially as a result, some women are starting to question the institution of marriage because committing to a man is presenting less and less of a financial and social upside.

The ever- prescient purveyors of pop culture seem to have caught on to this phenomenon and have adjusted the way television shows and films, particularly comedies, portray men. The 2011 fall television lineup garnered significant coverage for the fact that a number of new sitcoms—New Girl, 2 Broke Girls—revolve around female leads, while other shows like Last Man Standing suggest that a male-dominated society is a thing of the past.

If journalists like Hanna Rosin and Kate Bolick are correct, and we truly are witnessing the end of men and of male-female relationships as we have long known and understood them, the fact that it is happening against a backdrop of TV narratives in which men are a bunch of slobbering bozos seems like a dash of salt in an open wound.

Hung bucked this trend by portraying its male characters in a sometimes stunningly positive manner. Since the show's debut in 2009, its creators went out of their way to portray the leading character and a particular part of his anatomy as a Godsend to women. The world of Hung was not one, to quote the title of Maureen Dowd's 2005 book, that raises the question "Are men necessary?" It was a phallocentric show that suggested men can be the best answer to a woman's problems.

Every season of Hung explored different themes, but the one theme that remained constant throughout the show's run was the idea that females gain incredible pleasure from the company of a worthy man. Almost all of show's female characters at one time or another have sex and/or spend time with Ray Drecker (Thomas Jane), the aforementioned high school teacher turned male prostitute, and the show suggested that all of those characters are better off for their interactions with him. The primary reason female characters are attracted to Drecker is his sexual prowess, but the show also demonstrated that the women enjoy the non-sexual aspects of Drecker's company.

Consider the relationship Ray establishes with a pregnant woman named Claire (Kathryn Hahn) in season two. Sex s the crux of their relationship, but Claire also enjoys just spending time with Ray around her spacious house, which is filmed in a way to emphasize its emptiness. Abandoned by her husband, Claire clearly craves someone with whom she can have a relationship, and Ray is that person. The pair's casual conversations and friendly interactions are a boon to her and part of the reason she continues to hire him.

Throughout the show, Tanya Skagle (Jane Adams), who acts as Ray's pimp and business partner, pushes Ray to make every client relationship a well-rounded experience rather than a one-dimensional sexual relationship. Tanya is portrayed as the show's most progressive character, yet she firmly believes that in order for women to be satisfied they need more than sex. She also believes that a man is the best person to provide this type of non-sexual satisfaction.

Whether or not this depiction is accurate or fair is up for debate, but the show's sometimes obvious endorsement of the idea that a good man can be woman's savior always kept it intriguing. Considering the material, it would have been easy for Hung's creators to allow Ray's character to devolve into a joke. The show could have derived its humor at the expense of his aging-ex-athlete-who-seems-like-a-fish-out-of-water-in-the-post-recession-landscape character type, and Hung would not have been the first sitcom to use its male lead as the butt of its jokes (think Michael Scott in The Office, Phil Dunphy in Modern Family, and Homer Simpson in The Simpsons).

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Kevin Craft is a writer based in Arlington, Virginia. His work has appeared in The Washington Post, Salon, and Arlington Magazine.

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