The relationship of Ali and Syd (as well as Ali’s relationship with Gender Studies professor, Leslie) represents the non-heterosexual queer relationship, where existing norms and discourses do not dictate how they live their lives as well as how they ‘do’ their relationship, gender, and sexuality.
Their relationship works as a place where Ali questions monogamy and as a safe space for her to experience with her gender identity as well as redefining phallus and what it can symbolize.
In the below mentioned scene, Ali walks in to the living room with a confident smile (as she is ‘in character’) and places herself in front of Syd. She is wearing a ‘wife-beater’, boxers (for men) and her long hair is done as if she has short hair, which makes her appear more ‘masculine’ than ‘feminine’. The entire scene appears comical and overacted – almost like a caricature. Her way of dressing is a way for her to challenge and play with the viewer’s understanding of gender while also reproducing the stereotypical understanding of a gay / queer relationship that consists of a female and a male part:
Syd quickly points out that Ali is breaking the pagt (the strap-on belongs in the bedroom) and repeatedly asks her to take it off. Nevertheless, Ali continues to perform her role as a powerful (heterosexual) man, who in every way feels superior do to ‘his’ (erect) penis.
Ali puts the strap-on in front of Syd’s face to indicate that she must put it in her mouth next (this is obviously ironic):
Here, Ali and Syd represents a break with the heterosexual matrix and its claim to phallus (penetration), since it exemplifies how two women can have sex ‘with’ phallus, but without heterosexuality.
The way Ali parodies ‘a man’ underlines how one, by performing ‘the male gender’ almost automatically walks, talks, and acts differently according to the privileges given to you because you are born male in a society dominated by a patriarchal order.
I’m going to do everything with this on now. I’m going to do the New York Times crossword puzzle with a dick on (…) I’m going to make tea with a dick on (…) I’m going to throw pebbles in a pond with a dick on (…) I’d like to have some feelings and watch the rain with a dick on
(10:43 in Mee-Maw)
This is also a way of changing the meaning of phallus and its powerful position. This is done by placing it in other non-sexual correlations than what we are used to – doing crossword puzzle, drinking tea, being sensitive, and looking at the rain (‘with a dick on’). The mystery of phallus is hereby removed while its power is being taken away (a form of power men have defined themselves, which Transparent is trying to break with through queer gaze) by redefining it as something ‘safe’ and well known. The remarks ‘with a dick on’ underlines the fact that it is possible to perform one’s gender. The strap-on is something you can take on and off which means that phallus is redefined as something that belongs to everyone, not just men. With this, we witness another ‘fuck you’ – this time (in line with Lacan) aimed at ‘the big Other’ (phallus as the symbol of authority as well as potency (not a real organ)), whereby the series demonstrates exactly how hollow the idea of ‘the big Other’ (the flawless, metaphysical authority) is – both sexually and identity-wise (Rösing 2007: 36, 42, 49).
This is seen when Ali takes off the strap-on and throws it to the floor right before the mood goes from humorous and charictuarizing to intimate. Ali embraces Syd (without the strap-on):
‘Having a dick on’ is something you choose. It has no power in itself, but they, on the other hand, do. With this, it is clear that Transparent seeks to create a new and different societal structure when it comes to power: also in the bedroom. Ali takes on phallus (the power) in order to let it manifest itself in her, next she throws it to the floor, while still keeping the power – ‘female empowerment’ right there!
Rösing, Lilian Munk (2007): Autoritetens genkomst. Tiderne Skifter, Espergærde. ISBN: 978-87-7973-243-8