Clarissa Williamson

Clarissa Williamson

The Client List

During the first episode of The Client List “The Rub of Sugarland” the main character Riley is depicted as the stereotypical southern bell with a husband and a family that is present. As the episode starts sexuality is shown to be the focal point. The scene opens with a white man naked and Riley behind a transparent room divider getting ready. The man asks “are you coming or what?” and then the scene cuts to three weeks earlier where the family is shown celebrating Riley’s husbands birthday with their two children and families from both sides. With this representation of family as an example, the show is displaying a minoritizing discourse of sexuality and gender. The fact that the show is set in the south adds the limitations of relatable elements for a viewer. Riley and her family live in a beautiful home with a remodeled kitchen and upper-middle class neighborhood. The all-American ideal is soon short lived when Kyle, Riley’s husband, opens a gift from Riley and is upset that she bought such an expensive leather jacket. The family has been going through financial struggles with Kyle’s disability checks not covering expenses, which has leads to Riley finding the job at the spa in Sugarland. Riley’s mom Linette, played by Cybill Shepherd, is the definition of a stereotypical. Linette often makes comments to and about Riley that reinforces heterosexual ideologies. An example would be when Riley was upset about finding out that Kyle had left her, Linette mentions that she had been married four times and says “the lord never intended for us girls to be alone”, insinuating that women are meant to be with men. This heterosexual gaze being displayed encompasses the minoritizing discourse that society should be arranged around what works for heterosexuals (i.e., marriage). The minoritizing discourse ideal begins to shift as the show continues. One aspect that does not shift is the focus of heterosexual relationships, both physical and mental.

Riley was introduced to Sugarland by running into her old co-worker, Selena. They both were waiting for their car to be pulled up by valet. Riley mentions that she has been having trouble finding a job and Selena offers to put in a good word with the boss. When Selena’s car arrives Riley is in shock from the hot red two-seated Corvette. Selena says that the tips over at Sugarland were great and that’s how she can afford it. When Riley goes to apply for the job she is immediately hired. Unknown to Riley she was hired based on her looks because Georgia, the owner, is hiring her for a specific client list. During Riley’s first day of work her client, Hank, starts to caress her and she smacks his hand stating “that is off limits.” Hank responds “the girls that don’t give extra don’t do very well here.” This interaction between Riley and Hank signify sexuality as the basis of success within that particular business. Riley confronts Georgia about this interaction and declines to be a part of the “client list.” As the show progresses Riley is still struggling to make the payments on her home so she decided to engage in “extras” for certain clients.

Black representation within the show is small but present. The owner of the seductive spa, Georgia, is played by Loretta Devine and a one of Riley’s co-workers, Kendra, is played by Naturi Naughton. The physical characterization of Georgia is somewhat stereotypical of obese black women, appearing on screen wearing a low cut shirt exposing her cleavage. Although displaying a black individual owning a business definitely shatters primacy of norms within a Texas suburban community. The incorporation of Georgia as the owner displays the show embodying a universalizing discourse of society’s fluidity. Seeing as “representation can function both to reinforce oppressive standards of feminine behavior and to imagine possibilities not typically available to women” The Client List gives a different aspect to why women may use their bodies for their benefit (Mayne, p.163). Mayne states that typically women are represented in popular culture as either “Madonna” (middle-upper class) or whore (poor-working class), being sexual (Mayne, p.162). Riley’s character plays with both sides, adding to the universalizing discourse of the show. Selena, Jolene, and Kendra are Riley’s roommates who also engage in the client list. They all give a little background into their romantic relationships and each person as a different motive. Kendra has a fiancée who doesn’t know about what she does and when asked does he know, she responds “my business, is my business.” Another co-worker tells that her boyfriend knows all about her job and that it gets him excited. The mentioning of different aspects of life creates different avenues for audience relation, placing all forms of sexual expression on a continuum.