Shameless Gay Individuals

A Word of Caution: This piece delves into narratives from Shameless leading up to the conclusion of its seventh season.

'Give me a kiss and I'll sever your tongue,' is the startling declaration Mickey Milkovich (portrayed by Noel Fisher) imparts to Ian Gallagher (brought to life by Cameron Monaghan) following their initial intimate encounter in the seventh episode of Shameless's first season, an event that marks Mickey's introduction as a gay individual. This very assertion, made in response to Ian's affectionate advance, serves as a defining emblem of Mickey's character, particularly during the nascent stages of the program.

Residing amidst the challenging environs of Chicago's southside, Mickey is initially presented as a hardened ruffian with a penchant for pilfering from the very establishment where Ian is employed. His readiness to resort to physical confrontation is consistently demonstrated throughout the series, as he is frequently observed engaging in altercations with a variety of individuals. Consequently, it was my immediate presumption that he would embody the archetypal antagonist, a disruptive force intended to vex the amiable Ian Gallagher. Imagine, then, my astonishment when his actual sexual orientation was unveiled, revealing an attraction to Ian.

In a considerable number of narratives I've encountered, male characters struggling with their hidden sexual identities are often characterized as aggressive bullies. This demeanor, it is posited, stems from an underlying insecurity about their homosexuality, compelling them to overcompensate for their true selves (a prime illustration being David Karofsky in Glee). The captivating aspect of Mickey, however, lies in the fact that his "tough-guy" facade is not merely a stratagem to conceal his sexual orientation; it is intrinsic to his very being. He hails from a lineage steeped in criminal activity. His father, a frequent inmate, inflicts verbal, physical, and even sexual abuse upon Mickey's younger sister, Mandy. Mickey's own brutality is a direct consequence of the harsh circumstances of his upbringing. He was compelled to adopt such a disposition for survival and, as a consequence, possesses no alternative mode of existence.

Therefore, throughout the initial seasons, Mickey's comprehension of his own sexual inclination is, at best, ambiguous. Indeed, it is less a matter of him being aware and closeted, and more a genuine inability to conceive of the possibility that he might be gay. For him, engaging in intimacy with Ian is simply an act that yields pleasure. It carries no inherent implications beyond that. As an illustration, when Ian attempts to castigate Mickey for his submissive role, Mickey retorts, 'Liking what I like don't make me a bitch.' He is even observed requesting Ian to utilize a sex toy, one unfamiliar to Ian. The significance here lies not in his sexual orientation, but in the pursuit of personal gratification. Thus, his admonition to Ian against kissing him, lest he 'cut [his] fucking tongue out,' is not solely for the purpose of maintaining appearances. A kiss signifies a deeper connection than mere physicality, and his liaison with Ian is strictly carnal because, regardless of his private actions, he does not identify as gay.

As the narrative unfolds, the underlying reasons for Mickey's perspective become increasingly apparent. In a pivotal scene during the third season, after his father discovers Ian and Mickey together, the elder Milkovich subjects both of them to a severe beating and subsequently arranges for a prostitute to sexually assault Mickey in an attempt to 'cure' him of his homosexuality. This profoundly distressing incident echoes a prior scene from season two, wherein Ian assures Mickey that they have nothing to be ashamed of, to which Mickey responds with a cynical, 'what fucking world do you live in?' Mickey's utterance is not merely a dismissive retort; it highlights a stark contrast between the worlds they inhabit. Ian resides in a sphere of familial acceptance, while Mickey's reality is a perilous domain devoid of such understanding.

Consequently, witnessing Mickey's gradual descent and his dawning realization of his burgeoning love for Ian is immensely satisfying, as it simultaneously compels Mickey to confront the possibility that he is, in fact, gay. In the second episode of season three, Mickey re-emerges after a period of confinement in juvenile detention and promptly seeks out Ian. Following their sexual encounter, Mickey casually remarks, 'missed ya,' much to Ian's evident surprise. Juxtaposing this moment with Ian's season one visit to Mickey in juvenile detention, during which Ian expresses, 'I miss you,' and Mickey threatens to sever his tongue if he repeats such a sentiment, it becomes unequivocally evident that Mickey, now the one professing to miss Ian, is developing genuine affection for him, irrespective of his attempts to frame their interactions as purely physical.

The series Shameless is replete with such resonant parallels, including Ian's development of a romantic connection with an older gentleman named Ned. Mickey's palpable frustration is evident as he questions Ian's attraction to Ned, to which Ian responds that Ned is uninhibited in expressing affection through kisses. Rather than reacting with ire or a sarcastic rejoinder, Mickey simply stares. A few scenes later, he discretely departs and surprises Ian with a kiss. Though fleeting, this tender gesture stands as one of their most cherished moments on the show, eliciting a delighted reaction from viewers. Reflecting upon Mickey's season one threat to Ian's tongue if he were to kiss him, and then observing Mickey's initiation of their first kiss two seasons thereafter, the profound contrast underscores the significant personal growth he has achieved in self-acceptance. Furthermore, in this particular instance, Mickey comprehends the necessity of asserting himself to retain Ian, an objective he diligently pursues. He is at last demonstrating sentiments towards Ian that were previously unexpressed, and he is finally prepared to act upon these burgeoning emotions.

These transformations are not confined solely to his conduct but are also discernible in his outward presentation. In the earlier installments of the series, Mickey frequently bore traces of dirt on his countenance, numerous contusions, and unkempt hair. Fast-forwarding a few seasons, his attire becomes more refined, and his overall appearance cleaner. It is as if his association with Ian has instilled a sense of well-being, prompting a desire to present himself attractively. These subtle alterations, meticulously woven into the fabric of the program, render Mickey's character development a source of considerable viewer delight.

It is precisely for this reason that, after four seasons, Mickey's public declaration of his homosexuality, in the presence of his entire family, including his homophobic father, as a means to prevent losing Ian, is immensely gratifying. The series had been diligently cultivating Mickey's character up to that juncture. Now that his deep affection for Ian is undeniable, Mickey is compelled to embrace his gay identity, doing so in his characteristically endearing fashion by proclaiming to the assembled company, 'I just want everybody here to know, I'm fucking gay.' In the subsequent season, Mickey's unwavering support, comfort, and loyalty to Ian during his struggle with a bipolar disorder diagnosis feel richly deserved. Subtle instances, such as Mickey referring to himself as Ian's boyfriend, evoke a nostalgic smile as one recalls his season one persona and reflects on the remarkable distance his character has traversed.

The sixth and seventh seasons of Shameless featured a rather limited presence of Mickey Milkovich, and it is my most earnest aspiration that the eighth season will facilitate the permanent return of my favored 'piece of southside trash,' as Ian once affectionately dubbed him. Without his presence, Shameless simply lacks its characteristic essence.