Entourage

ENTOURAGE – SEASON 2 Episodes 11-13

            “Maybe You Can Have It All.” The hit HBO series “Entourage” boasts this motto for good reason. The characters lifestyle, location and leverage allow them to maintain their upper-echelon status by capitalizing on the resources they have acquired along the way. This creates an active breeding ground for multiple dimensions of masculinity. From the verbal interactions to the subtle comparisons in symbolism, this show is a hit for gender exploration.

            Even the first episode’s’ title of “Blue Balls Lagoon” suggests that there is foul play somewhere to be had. The opening scene introduces Turtle, the complacent chauffeur, and Vince, the rags-to-riches actor, rehearsing lines in which one part requires a long awaited embrace. Turtle snaps “I ain’t huggin you!” which then sets the tone for more hyper-masculine exchanges. The scene following establishes “E”, Vince’s manager, and Drama, Vince’s half-brother as interdependent characters who always has his best interest in mind. The fact that the entire relationship of all men is based upon their struggle to stardom is a concept well-endorsed as the “American Dream.” The only difference is the network of characters supporting the star, Vince, is not able to equally share the spotlight, which leaves an unbalance of power and status looming after every episode.

            Hegemonic masculinity is accepted and fostered amongst the inner circles of this Hollywood central show. One characteristic of hegemony is that is a very public matter with all parties concerned. A great example of someone following this protocol would be Vince’s abrasive booking agent, Ari. He is willing to step on anyone or anything in order to get his way to the top of the social totem pole. A reoccurring illustration is how Ari treats his gay personal assistant, Lloyd, who also happens to be Asian. Any chance Ari has to assert his masculinity, he will. For example when Ari’s job is being threatened he turns to Lloyd and says,” Do you want to make it in this industry or fold shirts at a Chinese laundry?” Not only does his comment ring in racism, it also gives Lloyd little chance to actually make a choice of whether or not to help Ari in this instance. After Ari is fired he asks Lloyd to come with him on his behalf to maintain “face” in front of the entire office. By making such a scene, Lloyd has to comply with his subordinate role and agrees under pressure. He is however able to say this to Ari as they exit; “Promise you won’t say anything about my race or sexual orientation?” Ari responds “I can’t promise, but I can promise I’ll always apologize after.” Even in this final statement of the episode, it leaves Lloyd in an inferior position where his request is clearly undermined.

            The maintenance of social stratification is constant throughout the themes expressed in each show. The marginal masculinity is upheld with Drama trying to attain Vince’s status yet can never attain it. It is also seen with Turtle, the obedient driver who, in his decked out gear and “bling bling,” may visually represent someone who has status but who obviously does not. Each individual represents some form of a gender performance and power struggle. A unique case of complicit masculinity is how “E” may not particularly believe in the system in which he works, yet he doesn’t challenge it either. He is in many ways benefitting from its existence by supporting Vince’s lifestyle. The “family” complex that is seen between all the men in this picture requires each person to contribute something to the greater good of their unit. Whether it is performing in films to bring in the big money or simply feeding the media fire to keep a name in the papers, every person contributes somehow to this type of system. Yet amongst a seemingly “functional” family, they are operating in a very dysfunctional system of social stratification. Plus when a situation shifts, so does the status that had been given with the previous position. Thus creating a situational theory to maintain and perpetuate.

            Each scene provides more affirmative statements that strengthen the masculine tension. Upon entering a scene one guy may greet the others with “hey idiots!” while they respond “what’s up asshole?”. The inferiority complex is also apparent in the 12^th episode when Drama and Turtle are allowed an adventure where they attempt to make a rapper a big time name. The exploitation begins here where Drama tries to relate to his counterpart through colloquial language. He saunters over to the new talent ‘Saigon’ and calls him “brother” and claims to be “strapped.” The dramatic change in language also shows how much power a seemingly powerless Drama has when put up against another inferior individual. All in all, this show capitalizes on the resources or lack there of, of many people in society. The extravagant props and relatable characters make it easy to digest for a compliant public consuming these messages. What is most ironic about the popularity of this show is that by us as consumers supporting the meanings expressed in each episode, we are inadvertently perpetuating the entire separation and hierarchy of the entire system.