Firstly, I want to make clear that there is no trouble with Cher, she is blooming fabulous. I fondly remember turning back time as a kid and wondering if I was strong enough, and the Cher challenge in the latest season of Ru Paul’s was almost everything. No, my problem is not with Cher (unless she’s done something awful that is yet to come to light) but with the latest Mama Mia film’s ruthless exploitation of her. Here we go again (spoilers).
The original Mama Mia heavily implied that Meryl Streep’s mother was dead (I’m going to use their real names given their fictitious names aren’t very memorable and we didn’t really watch this for the characterisation). So it was quite a surprise when Streep’s mother turns up at the end of the second movie in the guise of Cher. Of course, she doesn’t just arrive, she arrives. In a helicopter, looking a million dollars and stealing the show with a marvellous rendition of Fernando. On top of that the other characters are pretty forgiving of the fact that Cher has been a largely absent character from both her daughter and grand daughter’s lives. She missed Meryl graduate, set up a hotel on a small Greek island, have and raise a child on said Greek island, get married, die and have a funeral. She missed all of her grand daughter’s life as well until she flew in at the last-minute. Now, I can’t know what Cher’s character was going through and what her struggles were and I do not want to pass judgement but, still, people seemed really forgiving at the end of Mama Mia 2 and I can’t help but wonder that it’s because the producers were more interested in shoe-horning Cher into the story by any means possible than they were developing her back story. And why might that be?
To get the gays in. Cher is a gay and queer icon of epic proportions. The LGBTQIA+ community love her for many reasons: her wondrous songs, brilliant dress sense, fierce support of her transgender son Chaz Bono and equality for transgender folks in general, her Oscar-nominated starring role as a lesbian in the film Silkwood, her joy at the recent Australian marriage equality vote and even her desire to emulate gay men from the age of 12 because she thought they were so much more fun than “regular men“. So, you can be pretty sure, that if you’ve got Cher cropping up at the end of your movie for a couple of minutes and singing a famous ABBA song then her queer fan base will be throwing their pink pounds away to get a front row seat at the cinema. I did, although I sat further back because I didn’t want to crane my neck. Of course, as far as the Mama Mia makers were concerned having a gay icon in their film equates to representing the LGBTQIA+ community. But it doesn’t, does it. Representation would mean actually having a lesbian, a transgender person, a bi-sexual or anyone from the LGBTQIA+ community adequately characterised in the film with a story arc of their own and despite the slightest of nods being sent in Colin Firth’s direction this didn’t happen. So just to recap, we’ve got a film based on ABBA songs with Cher in it and the queer representation is next to nil. Let’s just take a moment to let that one settle in.