Gingered and sinewy, Jesse Tyler Ferguson floats across television screens with the delicacy of a big city ballet dancer. At times he can be witty, at others fiercely dramatic. Young adults adore him. Some may even fantasize about him. But who is this Jesse really? What does he represent?
Ferguson shot to fame as the gay character Mitchell Pritchett on the ABC sitcom Modern Family. His brutal portrayal of someone ensconced in the same-sex lifestyle has won over many critics. He has shown the genuinely obsessive nature of these people, revealing their tragically painful indecisiveness and bitter cruelty. Yet beyond the psychological disorder, there is something quite human in this Mitchell character. He evokes our empathy, our most heartfelt desires to embrace and heal this troubled young man.
Part of Ferguson’s great success is that he’s able to consistently maintain the grave mental instability of his character. Is it the sign of a uniquely talented craftsman of the dramatic arts? Is the actor drawing deep from his wells of emotional complexity? Or is there more to this picture, more than the marketers of big Hollywood would care to admit?
The unpleasant news is that Jesse Tyler Ferguson suffers himself from homosexuality. He has been caught up in this lifestyle for many years and is infamous in certain underground New York City subcultures due to his insatiable penchant for sodomistic encounters, no matter where or how. Alleyways, basement discos, tenement rooftops, all are fetid hunting grounds for the dark Ferguson who comes out Jekyll-like after midnight to prowl. His yellowed teeth resemble fangs beneath ghetto streetlamps, he drapes a long black coat over his shoulders like a cape and, in the blink of an eye, he disappears into the grimy canyons of Gotham, scraping those walls with effluent-encrusted fingernails.
What does this mean for television audiences? What does this mean for America? As a people who cherish the sacred liberty so hard-won by our most vainglorious fighting men, it gives us pause. Can one of our fellow soldiers in the war of faith be saved? Will his flesh wounds ultimately spread to his soul? Who will pray over the desiccated corpse when the sun has finally set on our hopes?
Maybe all that’s too brash. Maybe we should be looking at the smaller picture. Clearly, this homosexual bias of Jesse’s disturbs his theatrical work. Could it be argued that he depicts his gay characters with a secret sympathy? Does he work too hard in convincing us that Mitchell is normal and moral? I believe one could say these very things and it truly hurts me to admit this. There is so much at stake here, such a weighty and abundant career… yet just as people have called out the pedophile and communist creative types in the past for secretly infusing their art with radical ideologies, we must begrudgingly do so here.
Is it appropriate for a homosexual to depict a gay man on screen? In real life, we worry about the partiality of homosexual judges deciding gay rights cases. When it comes to this case, those who love the rule of law cannot stay silent on the matter of Jesse.
The truth is that homosexuals harbor bestial cravings to violate every single human orifice with sweaty assiduity, to crush every sprig of decency in the family, to obliterate every vestige of destiny in the American experiment that Jesus Christ has himself blessed with such abundance. How we must turn away now and let Jesse free from our dreams! He is not one who can be trusted to speak the intimate truth of perversion to the cultural powers at large. Jesse, I will miss you. I have loved you… but no longer can I dream with a man who has not freed himself to dream beyond his worst nightmares, to dream in the warm passion of his sleep the dreamlike beauty of dreams. Yes, I will miss you…
Friends, may I humbly ask you to turn away now as I weep?