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By Emily Bryant

April 14, 2021




 

Discussions surrounding LGBTQ+ representation in our media have been constant over the past few decades. Many have argued over the years that showing queer people on our screens and in our books is unnecessary. Conversely, many others believe that presenting such characters encourages the normalization of queer people and their experiences. Giving characters the space to break away from heteronormativity provides queer people with the representation that, I would argue, is desperately needed. Thus, I will explore some of these representations and their significance in terms of LGBTQ+ representation.


A prominent example of showcasing queer characters is the television show Glee. The complex, slow-build romance of Brittany and Santana came onto our screens in the early 2010s, stamping itself onto prime time television. While I was not an avid watcher of Glee at the time, I know plenty of people who resonated deeply with the stories they told about Brittany and Santana. Their relationship felt real to its queer audience because it was imperfect and layered. We saw their highs and their lows, giving grounding to a lesbian relationship that is rarely reflected in media. This is not the only developed queer relationship in Glee; an equally complex and grounded relationship is presented through Kurt and Blaine. Much like Brittany and Santana, this pairing grew gradually on our screens and suffered many pitfalls along the way. Both relationships highlighted the struggles of queer young people but still normalize LGBTQ+ relationships as a whole. Glee’s presentation of these characters and their relationships provided exposure to queerness for young people, which may have been lacking in their day-to-day lives. In addition, Glee breaks away from the television and film trope of killing its queer characters that were present in media proceeding it (we’re looking at you, Buffy the Vampire Slayer).


Queer representation in television is not exclusive to Glee, however. The conflicts and complexities of LGBTQ+ people and relationships are consistent within Noelle Stevenson’s She-Ra and the Princesses of Power on Netflix. The audience follows the relationship between Adora and Catra across its five seasons as they both struggle to come to terms with their feelings towards each other. The show also encourages the normalization of queerness through the presence of long-standing queer relationships like Spinerella and Netossa and Bow’s dads, as well as the presence of non-binary characters like Double Trouble. Seeing this acceptance was groundbreaking for me as a queer person, as (much like with Brittany and Santana) my feelings and struggles were validated. Such presence in LGBTQ+ characters is echoed in animated shows across the 21st century, like Marceline and Princess Bubblegum in Adventure Time and many of the Crystal Gems in Steven Universe. Their placement within primarily children’s television enables children and young people to have a greater awareness and understanding of queer people. As such, the exposure to these characters allows space for improved tolerance and acceptance of LGBTQ+ people in the real world.


Such normalization of LGBTQ+ characters is also prominent in graphic novels and comic books. Gay relationships are brought to the forefront through Marvel Comics’ Billy ‘Wiccan’ Kaplan and Teddy ‘Hulking’ Altman and DC Comics’ Midnighter and Apollo. These openly gay characters became prominent in their respective comics, allowing them to be reflected as well-rounded individuals. Such complex gay characters are also present in DC Comics’ Kate ‘Batwoman’ Kane, Wonder Woman, and Marvel Comics’ Bobby ‘Iceman’ Drake just to name a few. Comic books have provided a platform for non-heteronormative characters to shine in complex, detailed storylines. This is also true of non-cisgendered characters. DC is homed to the Doom Patrol’s Coagula and Nia ‘Dreamer’ Nal, openly transgender women. Marvel hosts the genderfluid Loki and a multitude of queer characters in its runs of The Young Avengers and The Runaways. While much work is yet to be done for trans and non-cis-gendered characters in comics, the presence of these characters shows that progress is being made. Such representation is not exclusive to these companies. Dark Horse Comics represents a collection of LGBTQ+ characters through its runs of various Dragon Age and The Umbrella Academy comics. In addition, the 21st century has shown a rise in LGBTQ+ specific comic books like Noelle Stevenson’s Nimona and Mariko and Jillian Tamaki’s This One Summer. These representations solidify queerness in these spaces and expand its exposure to people in the comic book sphere.


Queer characters in these visual media present an interesting concept: being LGBTQ+ does not need to be their defining characteristic. We have been shown layered and complex individuals that each follow unique journeys, allowing them to stand on their own among the heteronormative masses. This media presents the potential for exposure to queerness to people of all ages and backgrounds, offering the chance for greater widespread acceptance and tolerance of queer people. So while many believe it is unnecessary, I would argue these representations provide an opportunity for queer people to be seen and accepted by those around them and themselves. As queer people, these representations remind us that who we are is okay and people who will accept us. With LGBTQ+ representation in our media on the rise, perhaps this paves the way for wider tolerance and acceptance of queer people.


Emily Bryant

Emily is an English Literature student with a love for writing. She is passionate about writing on women’s and LGBTQ+ experiences and issues, providing well-researched ideas and concepts for any readership. She is currently based in South Wales and enjoys photography, writing, and playing tabletop role-playing games.


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