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With the additional runtime afforded to a 10-episode season compared to a mainstream movie, it also allows the show to dig deeper into the lives and backstories of all of the characters, including Mia’s homelife, Victor’s awkward neighbour Felix (Anthony Turpel) and Mia’s outwardly confident best friend Lake (Bebe Wood) as well as developing clear tension between Victor’s parents Armando (James Martinez) and Isabel (Ana Ortiz). Love, Victor is certainly unusual in the way that it links itself to its parent material, with Victor openly criticising Simon for his experience being too easy, and this element of representation is clear throughout.
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However, despite his easy relationship and close friendship with her, he finds himself developing feelings for the confident and openly gay Benji (George Sear) as they work together at a coffee shop.
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However, it’s clear that Creekwood High is far from the utopia that Victor has heard, and instead finds himself pressured through expectation to start a relationship with Mia (Rachel Hilson), with whom he shares an instant rapport. Moving to Atlanta from Texas, Victor originally thinks of moving to Creekwood High as an opportunity to start afresh, especially as he questions his sexuality.
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In contrast to Simon (Nick Robinson, who doesn’t heavily feature in the show), Victor (Michael Cimino) comes from a working class Latinx family, inhabiting a dinky apartment instead of a mini-mansion, who have deeply religious ideals and often make anti-gay remarks that persuade Victor that his road to coming out is going to be vastly different to Simon’s picture perfect fairytale ending. Nothing explicit or inappropriate actually occurs in the show by today’s (or, at least, the UK’s) broadcast standards, and the underage drinking and (fairly chaste) references to sexual exploration wouldn’t be amiss in Hollyoaks, so really isn’t too much to bat an eyelid at. Perhaps as a Disney+ original, it may have had more of a significant impact on the young teen audience that this sort of show will probably be far more transformative for, as well as demonstrating Disney’s commitment to providing diverse stories. Having seen the entire of Love, Victor‘s first season, it’s about as edgy as a Beanie Baby. Originally given a straight-to-series order by Disney+, with Aptaker and Berger in the role of showrunner, it was later relocated to Hulu over fears that Love, Victor would prove too edgy to sit alongside the rest of Disney+’s original programming.
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Obviously, it would be impossible for one queer story to perfectly represent the entire queer experience, nor should it, and, perhaps, it isn’t wholly surprising that a concession to be made in producing a gay coming-of-age story for a mainstream movie would be that the protagonist be as accessible as possible to soothe the potential discomfort of any heterosexual viewers. Something reflected upon in contemporary reviews was Simon’s status as a privileged, white, masculine presenting man with a liberal, accepting family, which obviously does not represent the vast majority of queer experience. Groundbreaking though it may be, this does not mean that Love, Simon is above reproach. The fact that it took until 2018 for this to occur might surprise a member of the public who probably hasn’t been paying attention. Directed by Greg Berlanti and written by Isaac Aptaker and Elizabeth Berger, Love, Simon was the first mainstream gay-led movie. It is perhaps easy to underestimate the impact and the significance of 2018’s Love, Simon. Starring Michael Cimino, Rachel Hilson, Anthony Turpel, Bebe Wood, Mason Gooding, George Seer, Isabella Ferreira, Mateo Fernandez, James Martinez, and Ana Ortiz Love, Victor addresses some of the criticism aimed at 2018 movie Love, Simon