The sitcom Friends has long been celebrated as a cultural touchstone for its humor, iconic characters, and portrayal of friendships in New York City. However, watching it again two decades later, the show reveals some cringe-worthy moments, especially for those of us in the LGBTQ+ community. As a proud and out gay man, it’s hard to ignore the problematic tone the show adopts in several episodes.
One of the most glaring issues is Chandler’s attitude toward his father, who is portrayed as transgender. Instead of accepting or even attempting to understand his father’s identity, Chandler often resorts to jokes and derision, feeding into outdated stereotypes.
Throughout the series, Chandler is frequently mistaken for being gay, and he constantly reacts with exaggerated discomfort or anxiety. This recurring joke plays into the idea that being seen as gay is embarrassing or something to be avoided, which subtly reinforces homophobic attitudes. There’s even a flashback episode where Chandler talks about being afraid of “turning gay” because his parents got divorced. This comment reduces complex personal issues to a baseless fear of homosexuality, implying that being gay is something undesirable or linked to emotional trauma.
This discomfort with LGBTQ+ identities is a recurring theme throughout the series, with many characters expressing unease around gay people, whether through homophobic jokes or dismissive attitudes.
Take, for example, the episode where Ross and Brad Pitt’s character cruelly joke that Rachel is a hermaphrodite. The comment isn’t just off-color; it shows a total disregard for sensitivity and the real-life experiences of intersex individuals. When Carol and Susan get married, the ceremony is treated as a novelty, with some characters expressing awkwardness about attending. Though the show deserves credit for airing a lesbian wedding at a time when this was rarely seen on TV, it was still framed in a way that made the audience feel like it was an oddity.
Similarly, Monica and Chandler’s treatment of their maid—accusing her of stealing Monica’s clothes—feels not only overblown but abusive. The way Monica handles that situation, fueled by her insecurities, highlights a troubling power dynamic.
Joey’s character, known for his womanizing ways, also offers moments of toxic masculinity that now feel outdated. He’s perfectly fine with sleeping around, but when it comes to his sister being pregnant, he can’t handle it. Then there’s the issue of his discomfort with grooming and self-care, reinforcing the stereotype that men who take care of their appearance are somehow less masculine. In one episode, Phoebe even calls Joey a “woman” for grooming himself, though Monica rightfully stands up for him. Similarly, Joey’s comments about men doing their eyebrows being “sissy” is another eye-rolling moment.
Joey often makes offhand comments that imply being gay is something to be avoided, like when he jokingly warns Ross about the dangers of hanging out with his lesbian ex-wife and her partner. He treats the idea of being around gay people as if it’s a threat to his own masculinity. Whenever Chandler or Joey show affection toward each other, it’s often accompanied by homophobic jokes or awkwardness, as if two men expressing close friendship must be shielded by humor to avoid any “gay” connotations.
The show is littered with subtle (and sometimes not-so-subtle) homophobia. Ross, in particular, stands out in his awkwardness and unease with anything that challenges traditional masculinity. He’s irritated by Sandy, the male nanny, despite Sandy being the perfect caregiver for his child. Rachel defends Sandy, but in the end, he’s still written off because he doesn’t fit into Ross’s heteronormative idea of a nanny. And when they hire a different nanny, Ross’s immediate reaction is sexual—only to find out she’s a lesbian, which Joey, predictably, finds exciting.
There are countless other moments: Mona’s date commenting on Ross’s pink shirt, the ridicule of a gay colleague at Ross’s conference, and the laughter at Ross’s speech when he uses the term “homo erectus.” These are moments that might’ve seemed harmless to straight audiences at the time but are painful and alienating for LGBTQ+ viewers today. Imagine how I felt when these scenes came up when I was struggling to find acceptance in a homophobic society.
In retrospect, Friends often worked for its straight, cisgender audience by reinforcing the norms of the time. But for those of us who see these jokes and storylines through the lens of experience and pride in our identities, the show feels outdated and at times deeply offensive. What was once a comfort watch has become a reminder of the work still needed to challenge and change these ingrained cultural narratives.
Hearts Still Care 
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