Violence as Foreplay, Denial as Devotion
Stereotyping, Romanticised Violence, and the Gratifications of the Gallavich Fandom in Shameless (2011–2016)
Bibliographic Data
| ID | 22414418 |
|---|---|
| Authors | Aimee Viljoen (0000-0002-8658-7644, University of Johannesburg, corresponding author) |
| Year | 2026 |
| Pages | 1-18 |
| Publication date | 2026-06-21 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Critical Arts (JOURNAL) |
| Journal identifiers | ISSN: 0256-0046 • E-ISSN: 1992-6049 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/02560046.2026.2683852 |
| OpenAlex | W7165525935 |
| Language | EN |
| References cited | 10 |
This article examines the Gallavich fandom which is centred on the relationship between Ian Gallagher and Mickey Milkovich in the American television series Shameless (2011–2016). The couple and their fandom is examined through the intersecting lenses of uses and gratifications theory, fandom studies, and queer scholarship. Drawing on a mixed-methods study originally conducted in 2017, comprising textual analysis of six key scenes from seasons one to four, an online survey of 217 fans, and content analysis of fan-generated material across YouTube, Instagram and Tumblr, the article interrogates why a predominantly young, heterosexual female fandom is so intensely drawn to a relationship defined by physical and emotional abuse rooted in deep internalised homophobia. Returning to this material as an out lesbian scholar, the author offers a reflexively enriched re-analysis that situates the original findings within a more rigorous theoretical framework. The textual analysis reveals that violence functions as both foreplay and denial in the Gallavich dynamic, with aggression consistently romanticised as passion and Mickey’s internalised homophobia framed as depth of feeling rather than harm. Fan data confirm that engagement is highest during the turbulent early seasons, with audiences interpreting abuse through a romantic lens and projecting heterosexual gender roles onto the couple. The gratifications fans derive; affective, cognitive, social integrative and personal integrative; are real and meaningful, particularly for those exploring their own sexual identities. Yet these gratifications are obtained through a narrative that normalises intimate partner violence and reproduces heteronormative power dynamics within a same-sex relationship. The article concludes that Gallavich represents a form of incomplete queer progress: it expands the visible range of gay masculinity on screen while foreclosing the imaginative possibility of genuinely healthy queer relationships.
Denial · Fandom · Feeling · Lesbian · Narrative · Passion · Queer · Romance · Stalking · Gender, Feminism, and Media · LGBTQ Health, Identity, and Policy · Sexuality, Behavior, and Technology
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| Highly cited | No |
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