Paula Rabinowitz (1994) tells us that

Documentary form potentially allows the social space for minority identities to speak to the wider world, offering the potential to challenge representational norms, through social agency. As part of this, not only does the representation of the straight girl and the queer guy offer the potential to cross borders, framing the collaboration of individuals who may be seen as outsiders, but also such opportunity involves issues of performance and knowingness. Hence a sense of alliance is presented, offering a union between the straight girl and the queer guy, with the opportunity of performative political intent.

This chapter considers the representation of the straight girl and the queer guy within varying documentary media forms, considering the notions of social agency and performativity. As part of this I examine the documentary biographical film drama Carrington (Christopher Hampton 1995, UK), which explores the relationship between the artist Dora Carrington and the writer Lytton Strachey in the early twentieth century. The relationship between Carrington and Lytton may be considered as a historical representation of the straight girl and queer guy relationship that not only offers cultural and social resonance but also foregrounds notions of devotion and intensity (see Holroyd 1994). I also examine the diverse documentaries Fag Hags: Women Who Love Gay Men (Justine Pimlott 2005, Canada), My Husband Is Gay (Benetta Adamson 2005, UK) and My Husband Is Not Gay (TLC 2015, US), which explore intense relationships between straight girls and queer guys – in many instances relating legal marriages and questioning issues of fidelity – and the problematic relationship to queer desire, and gay identity. I also examine the reality television shows Would Like to Meet (BBC 2001, UK), Boy Meets Boy (Bravo 2003, US) and Queer Eye for the Straight Guy (Bravo 2003–7, US), which foreground the straight girl and queer guy relationship within the confines and opportunity of television formats.