Editing Stock character (section)

===Television===
Due to the scheduling constraints on television production, in which episodes need to be quickly scripted and shot, television scriptwriters often depend heavily on stock characters borrowed from popular film.<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> TV writers use these stock characters to quickly communicate to the audience.<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> In the late 1990s, there was a trend for screenwriters to add a gay stock character, which replaced the 1980s era's "African-American workplace pal" stock character.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> In the 1990s, a number of [[sitcom]]s introduced gay stock characters with the quality of the depictions being viewed as setting a new bar for onscreen [[LGBT]] depiction.<ref>Kessler, Kelly. "Politics of the Sitcom Formula: Friends, Mad About You and the Sapphic Second Banana". In ''The New Queer Aesthetic on Television: Essays on Recent Programming'' Ed. James R. Keller, Leslie Stratyner. McFarland, 2014.  p. 130.</ref>

One challenge with the use of stock characters in TV shows is that, as with films, these stock characters can incorporate [[racial stereotype]]s, and "prejudicial and demeaning images".<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref> One concern raised with these gay stock characters is they tend to be shown as just advice-giving "sidekicks" who are not truly integrated into the narrative; as well, the gay character's life is not depicted, apart from their advice-giving interactions with the main characters.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> This also echoed the way that Black and Latino characters were used in 1980s and early 1990s shows: they were given a stock character role as a police chief, which in put them in a position of power, but then these characters were used as minor characters, with little narrative interaction with main characters.<ref>Davis, Glyn; Gary Needham. ''Queer TV: Theories, Histories''. Routledge, Dec. 3, 2008. p. 31</ref> In the 2000s, with changing views on depicting race, Latino/a characters are both [[typecast]] into stock characters and the writers play with viewer expectations by making a seemingly stock Latino/a character act or behave "against type".<ref>Molina-Guzmán, Isabel. ''Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era''. University of Arizona Press, Mar. 27, 2018 . p. 19.</ref>

Southern sheriff stock characters are depicted with a negative stereotype of being obese, poorly trained, uneducated, and racist, as was done with Sheriff Roscoe P. Coltrane from ''[[The Dukes of Hazzard]]''.<ref>Ely Jr., James W., Bradley G. Bond. ''The New Encyclopedia of Southern Culture: Volume 10: Law and Culture''. UNC Press Books, 2014. p. 60</ref>