It’s sad but true: “Ugly Betty” has ended. While I admit that I was late in joining the series’ loyal legions of fans, I’m equally comfortable admitting that I’m disappointed to see it go so soon.
On a creative level, I’m pleased to report that ABC did somewhat make up for their unfortunately misguided cancellation decision by giving the show enough time to write its final stretch of episodes with a proper conclusion in mind (unlike many axed shows that are forced to end mid-stream or worse: in a cliffhanger). Each of the characters and their interwoven storylines were sent off in an earned and believable way without succumbing to morbid sentimentality. In short, everybody got their version of a “happy ending,” but it felt genuine and realistic.
Even though it only aired for four years, I believe the show consistently accomplished what it set out to do, which brings me to the real reason why I’m writing this post. On the more significant thematic level, “Ugly Betty” has always been about empowerment and self-actualization. From its beginning to its end, the show retained its core messages about the nature of identity and the many forms it takes.
When it comes to personal identity, the importance of staying true to one’s self was always a major point in the series. By placing its heroine -- an average, every-girl -- in the demanding and often superficial world of a fashion magazine, the setting perfectly mirrored the persistent conflict of truth versus illusion in modern society. Betty herself exemplified that even under these most pressuring of circumstances, qualities like self-confidence, optimism, resourcefulness, and not compromising one’s values always triumphed over the schemes going on around her.
Those values were largely owed to her strong family support system, and her unapologetic embrace of her cultural identity as a Mexican-American was refreshing. How nice it was to see a show that didn’t resort to cheap shots at her heritage for laughs! The quality of the dialogue always found a way to turn around any derogatory comments and cleverly address the hypocrisy and ignorance.
Perhaps most impressive was the show’s mainstream approach to “alternative” sexual identities and inclusive treatment of its LGBT characters. Misperceptions about gay culture were always corrected by out-and-proud assistant Marc, and the gradual coming-out process of Betty’s teenage nephew Justin was handled with sensitivity and acceptance. In fact, “Ugly Betty” is possibly the only network series in recent (or any) memory to have featured a transsexual as a regularly-appearing character. Fearlessly portrayed by Rebecca Romijn (which gave me a new respect for her as an actress and not just a pretty face), Alexis was given as much screen time as other main characters to embark on her own journey toward understanding, all the while providing insights that undoubtedly made viewers think about a life experience that’s rarely explored on television today.
Making its audience think is the highest compliment I can give a TV show, and “Ugly Betty” delivered on a weekly basis. I especially appreciated how the ending of the series found each of the characters starting new chapters in their lives and taking comfort in the positive roles that change can play. There is talk, of course, of making a “Betty” movie, and show stars America Ferrera (Betty) and Ana Ortiz (Betty’s sister Hilda) have said they’d be on board. Whether this final episode or the hypothetical film act as “the” end, I’m fine with either outcome. Until there’s something more to report on that front, I’ll be on the lookout for another great series that seamlessly blends dramedy and satire with such valuable messages.
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