In the early 1990s, Family Matters was riding high as one of America’s most beloved sitcoms. Audiences tuned in weekly to see the antics of Steve Urkel, the accident-prone neighbor with a heart of gold, played by Jaleel White. As the show leaned further into slapstick and surreal comedy, it introduced a variety of alter-egos for Steve — including a Southern belle named Myrtle Urkel.
Myrtle, portrayed by White in full drag, became a recurring character. She was a hyper-feminine, flirtatious cousin from Biloxi, Mississippi, obsessed with Eddie Winslow and known for her twangy voice and flamboyant wardrobe.
At the time, Myrtle was played for laughs — and she got them. But decades later, many viewers, cast members, and critics have reexamined the character through a modern lens. Was Myrtle Urkel just harmless comedy? Or was it an uncomfortable stereotype wrapped in laugh-track approval?
Introducing Myrtle Urkel: Urkel in a Dress
Myrtle debuted in season 2 of Family Matters, appearing as Steve’s Southern cousin. Jaleel White donned padded dresses, wigs, makeup, and a caricatured accent. Her infatuation with Eddie Winslow was the central gag in most of her appearances. Myrtle would fawn over Eddie, make suggestive remarks, and frequently disregard his discomfort.
The show framed her antics as zany and harmless, and the audience responded with laughter. Myrtle was brought back for several episodes over the years, becoming one of the show’s more memorable supporting characters.
But not everyone was laughing.
Behind the Scenes: Cast Members Express Concern
Jo Marie Payton, who played Harriette Winslow, and Reginald VelJohnson, who played Carl, reportedly grew uneasy with the direction of the show as it increasingly embraced exaggerated humor — particularly the Myrtle character.
In interviews after the series ended, Payton said:
“There were some things that just didn’t feel like the show we started with. The Myrtle stuff — it crossed a line for me.”
She hinted that the writers and producers were “doing too much,” chasing ratings at the expense of cultural authenticity and respectful comedy.
VelJohnson expressed similar concerns, noting that as the show shifted focus entirely to Urkel and his various alter-egos, the integrity of the Winslow family dynamic suffered. Myrtle, in particular, represented a sharp turn toward absurdism.
A Changing Landscape: Reexamining Drag and Comedy
In the early ‘90s, cross-dressing as a comedic device was common on television. Shows like Martin featured Martin Lawrence playing “Sheneneh,” and movies like Mrs. Doubtfire and Big Momma’s House drew major box office success with similar concepts.
But as society has become more aware of issues surrounding gender identity, LGBTQ+ representation, and cultural sensitivity, these portrayals have faced increasing scrutiny. What was once seen as harmless humor is now being revisited — and in many cases, criticized — for reinforcing stereotypes and making light of gender nonconformity.
Myrtle Urkel sits in this uncomfortable intersection. While she was not meant to represent a trans character or gender fluidity — she was simply Steve Urkel in disguise — her exaggerated femininity and predatory pursuit of Eddie has aged poorly.
Jaleel White’s Defense of the Character
In interviews, Jaleel White has consistently defended the character of Myrtle as a performance challenge, not a statement on gender identity.
“It was a chance for me to stretch myself comedically,” he said in a 2019 podcast. “I wasn’t making fun of women or the LGBTQ+ community. I was just trying to be funny — and Myrtle made people laugh.”
White has emphasized that the intention was never malicious, and that audiences at the time received the character with joy. In fact, Myrtle was popular enough to be considered for a spinoff, though it never materialized.
Still, White acknowledges the cultural shift.
“I get that some people view it differently now. The world has changed — and that’s a good thing. But you also have to look at things in the context of their time.”
The Problem of Consent and Stereotypes
One major criticism of the Myrtle Urkel character today is her persistent — and non-consensual — pursuit of Eddie Winslow.
In multiple episodes, Myrtle flirts aggressively, touches Eddie without permission, and ignores his repeated attempts to distance himself. These actions are played for laughs, but modern viewers see a double standard: had the genders been reversed, Myrtle’s behavior might have been framed as sexual harassment.
The fact that it was portrayed by a male actor in drag complicates matters even further. Critics argue that Myrtle reinforces the harmful stereotype of gender-nonconforming people as “predators” or hypersexual.
This is not just a problem of hindsight — it’s an issue that, according to reports, some cast and crew raised even during the show’s original run.
Black Masculinity, Comedy, and the Drag Trope
Within the Black entertainment world, the “man in a dress” trope has sparked considerable debate.
Comedians like Dave Chappelle have publicly criticized Hollywood for pressuring Black male actors to dress as women in order to achieve mainstream success. He famously walked away from Chappelle’s Show partly due to these pressures.
While Jaleel White has never said he was forced to play Myrtle, the character exists within a broader pattern. Critics argue that such roles contribute to the emasculation of Black men in media, where comedic success is too often tied to feminization or caricature.
White has said that he saw Myrtle not as emasculating but as a showcase of range:
“I was playing Steve, Stefan, Myrtle, Bruce Lee Urkel — I was doing it all. For me, it was about comedy, not identity.”
Still, for many Black actors, the choice to cross-dress for a laugh is not just about humor — it’s about survival in a system with limited roles and expectations.
Audience Reception Then vs. Now
In the 1990s, audiences generally embraced Myrtle. Kids found her funny, adults laughed at the absurdity, and the show used her appearances to boost ratings. But today, the reaction is much more mixed.
Social media commentary and YouTube retrospectives often highlight Myrtle as “problematic,” “cringeworthy,” or even “traumatizing.” Some fans, particularly those in the LGBTQ+ community, view the character as a product of a time when gender identity was either mocked or misunderstood.
Others still see Myrtle as a nostalgic character — a silly, over-the-top persona not meant to be analyzed too deeply.
This split reveals a larger generational divide in how we engage with older media, and how our standards for representation have evolved.
What Could the Show Have Done Differently?
Critics argue that Family Matters could have handled Myrtle with more nuance — or better yet, avoided relying on cross-dressing as a recurring gag. If the intention was to showcase White’s range, why not create a female character played by an actual actress? Or provide Myrtle with depth and purpose beyond her obsession with Eddie?
At minimum, the show could have acknowledged the discomfort her actions caused. But instead, Eddie’s boundaries were routinely played for comedy.
This is particularly ironic given Family Matters’ emphasis on lessons, morals, and family values. In other plotlines, the show tackled issues like racism, guns, peer pressure, and bullying. Yet when it came to Myrtle, those values were abandoned for cheap laughs.
Jaleel White Today: Reflecting Without Regret
Though White has never publicly apologized for Myrtle Urkel, he has demonstrated growing awareness of how the character is viewed today. In his 2024 memoir Growing Up Urkel, he devotes an entire chapter to Myrtle and how the performance impacted his identity and public perception.
“People assumed I was gay. Some said I was confused. Some called me brave. But all I was trying to do was make people laugh.”
He writes that the backlash Myrtle now receives doesn’t hurt his feelings, but it does make him think more critically about the kinds of roles he played.
“Comedy changes. Society changes. What was okay then may not be okay now — and that’s something every performer has to reckon with.”
Conclusion: Rewriting the Legacy of Myrtle Urkel
In the end, Myrtle Urkel is a reflection of her time — a cross-dressing comedic character played by a young man in a family sitcom that was evolving into something much bigger, weirder, and less grounded than anyone originally intended.
She made people laugh, but she also made people uncomfortable — even if they didn’t realize it until years later. And that discomfort deserves space in the conversation about Family Matters’ legacy.
For all of Jaleel White’s talent and comedic timing, Myrtle is a reminder of how easily representation can slip into stereotype when not handled with care. It’s not about canceling a character — it’s about acknowledging the complexity of creating comedy that respects the diversity of its audience.
The legacy of Myrtle Urkel isn’t one of shame, but of reflection. In the ever-evolving landscape of entertainment, characters like Myrtle force us to ask better questions — about intention, impact, and the power of a punchline.
