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When you have a drama, character change has to happen, or you’re on a failed drama. Sparks: Not at all, I thought we’d accomplished something great.I always knew that the benefit of the show would only be totally understood and respected about four years after it was over, and we’re almost at the two year mark.‘Maybe it is a birth right as opposed to something my religious book tells me based on ignorance.’ O&A: There was an obvious absence of people of color on the show, what do you attribute that to?
It’s really an awkward thing because I don’t know how one would handle it. Most of this kids there who were in the acting program had been acting since they were two years old.
It’s kinda like being on a date with someone, and they constantly don’t understand why you’re sitting across from them at dinner. I started in stand-up basically, which is really odd for anybody at that age.
It’s like, ‘I’m being nice, I’m being myself.’O&A: You started in the business back in 1986-87 around the age of 17. I won the “Funniest Teenager in Chicago Contest” when I was seventeen and that just opened up a lot of doors. Sparks: Let’s never underestimate the power of poverty and lack of education for creating a sense of humor.
Instead of going, ‘Let’s be all things to all people,’ which is entirely impossible, they kinda went ‘I knew this kinda person growing up, I’m gonna write that.’ We never really had somebody on that was transgender. The exec producers and Showtime had always intended for it to have a limited run.
O&A: The show originally aired from late 2000 to 2005, a short five years while most others culturally significant series run for eight or nine years. The show it was bought from, the British show, only had 10 episodes all together.
There was virtually nothing gay on American television before QAF, and even with the on-slot of “gay” shows, the characters on those shows take more cliché roles, or are presented as the token gays, only present to lure a gay audience seeking representation in the media.