Stan’s Invisible Boys carries the tradition of real, gritty Aussie teen drama, while smashing it into something new
- Written by: Damien O'Meara, Lecturer, School of Media and Communication, RMIT University
Stan’s new series Invisible Boys follows four young gay men as they understand and explore their identities while living in Geraldton, a regional town in Western Australia.
Charlie Roth (Joseph Zada), Zeke Calogero (Aydan Clafiore), Kade “Hammer” Hammersmith (Zach Blampied) and Matt Jones (Joe Klocek) represent four very different young men. Yet they share the experience of feeling invisible because of their sexuality.
An adaptation of Holden Sheppard’s novel of the same name, the story challenges linear narratives of progress and typical ideals of queer life. It also shows how such mentalities can lead gay and bisexual men growing up in regional Australia to feel invisible, as they often don’t fit the neat narratives associated with “progress”.
Invisible Boys is an example of what my colleague Whitney Monaghan and I have termed a queer storyworld, which centres LGBTQIA+ stories, communities and issues in complex and nuanced ways.
Read more: We studied two decades of queer representation on Australian TV, and found some interesting trends
Aussie teen drama is gritty and real
Australian teen drama found international success in the 1990s. Series such as Heartbreak High (1994–99) and Sweat (1996) included underrepresented stories of cultural diversity and diverse sexuality, and were promoted with reference to their “gritty” themes.
The terms “gritty” and “real” have become key markers of the Aussie teen drama. Journalist Grace Back notes how Heartbreak High’s appeal lay in its characters having to “grapple with gritty issues”.
Similarly, Janine Kelly from the Australian Children’s Television Foundation describes More Than This (2022) as a “real, gritty and powerful series [that] reflects the diversity of the suburban Australian public-school environment.”
The trailer for Invisible Boys features a review describing the show as “powerful, topical and all too real”, placing it alongside the bold teen dramas that have come before.
But I’d argue no previous teen drama has been quite as truthful in its representation of some young gay and bisexual men’s experiences.
Sexual desire in the gay teen narrative
Invisible Boys is set in 2017, against the backdrop of the highly visible and divisive same-sex marriage survey.
The show examines how gay teen sex manifests in environments that often aren’t very visible. In the first five minutes, we see 17-year-old Charlie attempting to have sex at a beat – a public space where gay men seek anonymous sexual intimacy.
Later, an inciting incident occurs when Charlie uses an app to arrange a sexual encounter with an older married man in his home, before being caught by his wife.
Invisible Boys examines how the sexual desires of gay and bisexual men do not hibernate in the face of oppression.
Research shows some older gay adolescents (under 18) seek out and have positive experiences of sex with older men. That these experiences exist means they should have a place in teen dramas, to examine and drive important conversations.
Queer as Folk (1999–2000) faced criticism for its underage sex storyline from the broader public and the LGBTQIA+ community alike, wherein the series opens with 15-year-old Nathan (Charlie Hunnam) seeking and finding a sexual partner on the gay scene in Manchester.
However, this story was based in something real: the oppressive Section 28 laws in England that made it illegal for gay and bisexual men under 18 to explore their sexuality. This drove them to spaces where they could remain anonymous.
Invisible Boys tackles the reality of gay and bisexual life in a regional town. Other teen series in other markets, such as Heartstopper (2022–), present a somewhat normative view of queer teen life under banners of “love is love”. And while this story is true for some, it has been told.
Challenging gay respectability politics
Respectability politics is the view that “marginalised groups must demonstrate that they adhere to normative values before they will be accepted or granted rights by dominant groups”. We see this in the dominance of homonormative representation in Australian TV, which sees heterosexual norms being applied to LGBTQIA+ people – as well as in its exclusion of gay sex.
Invisible Boys challenges the dominance of gay respectability politics in the teen drama genre.
While older Australian series such as Dance Academy (2010–13) (admittedly aimed at younger teen audiences) explored queer sexuality through chaste kisses and teen angst, primetime series such as Please Like Me (2013–16) and In Our Blood (2022) made headway by telling complex, intimate stories of gay men.
Similarly, the horny gay teen isn’t hidden away in Invisible Boys – nor are his choices always comfortable.
A sign for streamers and Australian TV
Streaming services have often struggled to nail Australia’s television sensibility. Netflix’s Tidelands (2018) was criticised for not quite capturing what made Australian series appealing, while Stan’s Eden (2021) was met with similar critiques.
More recently, Prime Video’s Deadloch (2023–) and the Netflix reboot of Heartbreak High (2022–24) have signalled a shift to something more suited to local viewers.
Yet the creators of Heartbreak High made certain decisions that stood out to local viewers, such as not including school uniforms (likely to appeal to a global audience). Invisible Boys does not dilute the specificity of regional Aussie experiences.
The series challenges the way gay adolescence is often understood by broader communities.
Stan
In the tradition of iconic teen dramas from 1970s and 1990s, such as Class of ‘74 (1974–75), the original Heartbreak High (1994–99), and Sweat (1996), the series is willing to go there by tackling the inconvenient truths of teenage life.
As someone who grew up gay in regional Australia, it feels like an authentic representation of my own experience. There’s something universal about Charlie, Zeke, Kade and Matt’s stories of not fitting in, and of being invisible to be safe.
Most striking is the way the series captures the complicated mix of joy and fear – the clash of opportunity and consequence – that accompanies becoming visibly gay in these environments.
Invisible Boys is streaming on Stan.
Authors: Damien O'Meara, Lecturer, School of Media and Communication, RMIT University
