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How Heartstopper Gave The Finest LGBTQ+ Representation in Media

When Heartstopper was made available on Netflix on April 22, 2022, it gained rapid appeal among members of the LGBTQ+ community and their sympathizers. Because it explores the individuals' personalities and difficulties irrespective of their gender or sexuality, the program is renowned for having some of the finest LGBTQ+ representation in media.

In the LGBTQ+ romance series Heartstopper, Charlie and Nick, two high school students, recount their experiences as queer youths attending an all-boys institution. Charlie first thinks his crush Nick is heterosexual before the episode starts. Nick is simultaneously coming to terms with his sexuality. As a result of his dysfunctional relationship with his poisonous ex-boyfriend, Ben, Charlie faces with internal difficulties such as feeling like he is not enough and finding it difficult to trust others. Meanwhile, Nick feels the pressure of his homophobic buddies to be straight and stereotypically manly like them. Together, the two lads deal with their problems as they embark on their high school journey as LGBTQ+ teenagers. Given that the majority of LGBTQ+ portrayal emphasizes cisgender white homosexual guys, Heartstopper features excellent LGBTQ+ representation. The television series demonstrates how society has much more to give. The varied LGBTQ+ community and youthful queerness are both well-represented in the film Heartstopper. A homosexual guy, two lesbians, a bisexual man, and a transgender black girl are all included in the show. One problem with transgender depiction in television programs and motion pictures is that the characters' stories are built exclusively on the fact that they are transgender. In Heartstopper, Elle, who recently came out as transgender, attends an all-girls school. She struggles to fit in but eventually makes friends with Tara and Darcy. The main character Elle must deal with her worry about starting a new school as well as her romantic emotions for her closest buddy Tao. Amazing work was done in Heartstopper to demonstrate that transgender individuals' identity is much more than what tropes define them. With Tara and Darcy, whose storyline centers on how they are dating secretly at an all-girls school, Heartstopper also does a fantastic job of capturing some aspects of the lesbian community. They choose to come out via an Instagram post, but they quickly learn that it is tougher and scarier than they anticipated. They started to be talked about at school, and rumors started to circulate. Their story serves as a stark reminder of the realities of coming out. Nick and other LGBTQ+ closeted boys are frequently shown as having ingrained homophobia or even being nasty to other LGBTQ+ characters. But Heartstopper does not at anyway depict Nick as homophobic. Even before they start dating, he and Charlie are good friends and have a great platonic relationship. Other difficulties that youth confront, despite their sexuality or gender, are also covered in Heartstopper. The series portrays Charlie battling with his fears of not being good enough in society. Conflicts within his relationships make him split between selecting his friends or his significant other. Whether they identify as LGBTQ+ or not, many teens experience the same problems as Charlie does.

For homosexual teenagers, Heartstopper offers hope since Nick and Charlie's romance does not come to a tragic end. The two appear to be ecstatic about having found one other and themselves at the show's conclusion. Heartstopper depicts the community truthfully and demonstrates that hope is possible in the future for the LGBTQ+ community. Many LGBTQ+ films and TV series appeal to heterosexual audiences and attempt to teach about LGBTQ+ concerns. The show accurately and fairly covers a wide range of aspects of the queer community. Amazingly, the series depicts both the triumphant and tragic aspects of the LGBTQ+ community.

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Sex Education: Raising The Standard for Representing LGBTQ+ in The Entertainment Industry

Sex Education has indeed established itself as one of the most enlightening programs on adolescence and sexuality, but with the release of its second season, it raises the standard for complex representations of LGBTQ+ youth. By the time Sex Education season two's closing titles appear, the well-liked Netflix series is one of the queerest adolescent comedies ever; about half of the key characters have displayed queerness in some form.

Ncuti Gatwa's portrayal in Sex Education's first season exposed us to the unashamed, unrepentant Eric Effiong. Although he is close friends with the main character Otis Milburn, the program never treats him as the cliché homosexual best buddy or comedic relief. Sure, he's extremely entertaining and isn't scared to show off when it comes to his costumes, but Sex Education has always presented Eric as a complex individual. He has his own moral principles, which include his religion and the church family to which he belongs to. Also important is the fact that he is of Ghanaian and Nigerian heritage in a largely white LGBTQ+ television environment. One of the most progressive LGBT characters on television is Eric, especially with all of his qualities. Although, to be honest, it does so by employing one of the oldest tactics in the book—a love triangle—season two advances Eric's plot. However, heterosexual characters have traditionally been the only ones who had access to this narrative device. Rarely do queer characters ever have the chance to date one possible partner, much less two. The classic tension of who will he choose is used in the love triangle, but ultimately, it doesn't matter which boy Eric likes more; rather, it matters which one makes Eric feel more like himself. Even his mother can see the differences between the two as they compete for her son's affection.In the end, Eric picks Adam, one of the few bisexual young men on television. Adam's path of self-discovery and acceptance serves as a reminder that there are indeed plenty adolescents who battle with their identity, even though characters like Eric and Rahim are proud of their identity from the start. It also serves as a reminder that there is hope and that loving yourself will enable you to truly embrace everyone else. Ola, who discovers she is pansexual after her separation with Otis and the emergence of love for her friend Lily, joins Adam under the bisexual umbrella. She stands in stark contrast to Adam since Ola is willing to embrace rainbows and give tailored menswear her own unique twist after taking a little online exam to accept who she is. Ola and Adam are coworkers at the convenience store, and their relationship turns out to be one of Sex Education's most delightful and unexpected outcomes. Although their shared interest adds a new dimension to their relationship, their sexual orientation is not always what forges their bond.

While Sex Education receives acclaim for exposing the diversity of queerness, fans of the show would love to see a trans character be included in its plot. In the end though, it's so thrilling that about half the cast of a popular TV show may identify as gay in some way. It's not only that these LGBTQ+ characters in Sex Education fit a certain standard, though. The way they are incorporated into the program is how. Their sexuality is an element of their identity that impacts several other aspects of who they are, but it's not the entirety of who they are, as you can see in the care with which their narratives are portrayed. It's a vital part of their identity, and it motivates some of their decisions and behaviors, but not all of them. They are present, they identify as queer, but they are also let to be whole, multifaceted people.

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How Fear Street Differentiates From Other Horror Films

The filmmaker Leigh Janiak’s Fear Street films, a Netflix series based on R.L. Stine’s horror series, LGBT individuals not only are the primary protagonists, but a lesbian relationship fuels the whole plot. For Janiak, that was purposeful. It was a “opportunity to create a tale that hasn’t been done within that genre very frequently, if at all,” she noted. “That entails crafting this queer love tale that propelled everything.”  In Janiak’s perspective, Stine’s novels were typically “pretty straight and very white.” But Fear Street: 1994 which sets off the Netflix slasher trilogy that includes successors set in 1978 and 1666, offers a homosexual Black girl, Deena, as the lead. When it concerns her romance with Sam, Deena lets nothing get in the way. It’s not simple, as the films reveal. At the beginning of “1994,” Deena and Sam have split up and she poses as straight, with a boyfriend to add, in order to appease her prejudiced mother and society itself. The ’90s, as any millennial will attest, might have been an age where females mimicked major pop artists like Brandy, Britney Spears and Christina Aguilera, but it also made it challenging for individuals like Deena who fell outside of those cultural standards. She listens to Garbage, rocks oversized flannels and is into girls.  Society views her and automatically assume that they know who she is and what she is. Consequently, she’s been forced to take ownership of it, but that doesn’t mean it’s easy for her. She’s still an adolescent trying to figure out her identity. Other characters across the revamped world equally contradict the mainstream “wholesome, white final girl” cliché that has come to define the genre. Deena and Sam’s classmate, Kate, is an alpha Filipina American cheerleader. Deena’s brother, Josh, spends hours in AOL chat groups dedicated to conspiracy theories concerning the innumerable killings that have afflicted their town, Shadyside, for years. There’s also Martin, the conscientious mall attendant who’s continuously profiled by the cops. These individuals don't merely play supporting parts or function as jokes for the main characters. They serve as the narrative's main characters. In addition to creating a fun, truly terrifying trilogy that intelligently pays tribute to classics like “Scream” and “Friday the 13th,” Janiak wanted to cast “a light on a whole community of disadvantaged individuals who have been taught that they’re outside.” They are the heroes as well. Deena makes a significant promise to Sam in a touching scene from the movie "1994," just before the former quits rejecting her affections for her. In Fear Street, the promise of a future feels more meaningful as it signifies a shift that demands Deena to be taken back to 1666. There Sarah Fier, the lesbian woman who was hung for being in love with another woman and punished as a witch, could fight for justice against the same prejudice and violence that separates Deena and Sam today. Janiak intended to emphasize in "1666" that women who were accused of being witches in that time just didn't fit the stereotype.  They were dubbed witches “because they were different, because they were staring too long at the other girl, or because they didn’t want to get married,” she claimed. “They weren’t falling in line with whatever society lines were.” As it turns out, the alienation that humankind conveys is just as deadly as a witch’s curse, if not more so. It helped Janiak to go beyond the otherworldly worries to study the faults of society. Even if there is undoubtedly considerable bloodshed along the road, the Fear Street movies ultimately have aspirational themes. Sam and Deena contribute to the town's recovery, but more importantly, they maintain their romantic relationship. While smaller, independent films were more likely to contain gay themes, the LGBTQ+ movement is begun to demand more of the big production corporations. Seeing the success Fear Street achieved, these larger corporations may be more willing to take a chance on LGBT storytelling in future horror films.

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Moonlight's Impactful Portrayal of Black Male Sexuality

Meticulously directed, brilliantly acted and lavishly shot, Moonlight is a coming-of-age film about a young black gay man growing up in poverty outside Miami. Barry Jenkins' queer black film is poised to become the first queer film to win Best Picture. A handful of queer films have made previous attempts to crack the glass cabinets of the Academy's premier movie hangout Moonlight. After centuries of shame, gay culture is now dominated by sex positivity and we value openness and confidence in the sex scene. We see more and more on television and in movies made just for us, but when feature films aim for mass appeal or prestige, things tend to get a little timid.

Moonlight's sexual content is an embarrassing few seconds of teenage handjobs, and when it comes to depicting physical sex, the film does a good job in catching the viewers' attention. There's no denying that Moonlight isn't chock-full of sex. But describing it as an exercise in shyness sells the film short. By transcending our sex lives, Moonlight explores what sexual identity is, queer men, especially It gives room for an incredibly rich depiction of what it means to black queer men in the face of expectations of hyper-masculinity. This specificity is important. Where excess masculinity manifests, gay sex is both liberating and dangerous. Therefore, there is sincerity in Chiron's avoidance of sex, the betrayal he faces at the hands of his first and only lover and school friend Kevin, and the crossroads men like him face in the real world. The events that shape Chiron's life, and the world he exists in, are complex enough to create a character who risks avoiding sex, regardless of the urge. It makes sense when Chiron reunites with Kevin as an adult and admits that he never touched another man after meeting. By taking gender out of the equation, Jenkins allows queerness to surface in a different way. As the camera lingers over a young Chiron in a bathtub, the viewer recognizes how he accepts the grief of isolation in exchange for a moment of calm from the hyper-vigilance he has developed to survive. When viewers meet the grown-up Chiron, they notice the tough exterior he has built to survive. When he reunites with Kevin and breaks out of that shell, he finds comfort in knowing he's safe to be who he really is. Loneliness is strange. We know it because we have lived it. For those of us who are privileged, it is an exaggerated reflection of our own experience. For those who are disadvantaged, scaling is true. Queerness may not be articulated in Moonlight, but much of it is not articulated at all in real life. What the film offers instead is arguably more important. As we confront our queer childhoods, we need to consider what growing up as queer in a heteronormative society takes away from us.

Moonlight explores aspects of queerness, and how many of us are forced to replace our 'normal' childhood naivety to constantly perceive and replace our surroundings. It is a study of aspects of queerness that we find too painful to talk about because we need to embrace Possible threat. Facing it through Moonlight gives queer viewers the chance to reconcile their sense of loss and childhood resentment, and begin healing in a way sex scenes can't. Moonlight deals with research into how male heteronormativity can destroy us and reconstruct us with repressed and harmful images. It's a conversation that's far more urgent than expressions.

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Generation: Unfiltered LBGTQ+ Experiences with Identity

The father-daughter team of Daniel and Zelda Barnz's most recent blockbuster show on HBO, Generation, follows the journey of a group of teenagers who are exploring their sexuality while still in high school. The series focuses on the views of mostly LGBT teenagers as they explore their sexual identity and interpersonal relationships in modern times. Generation and Euphoria both focus on the seriousness in adolescent situations, but Generation is a little less grim and a lot more realistic in its narrative, attempting to depict the true realities of LGBTQ youth in today's society.

Chester, a queer student who likes rocking crop tops and making power statements on his recently painted nails, stars in the eight-episode series. Riley joins Chester and attempts to hook him up with her buddy Nathan, a secretive bisexual who lives with his sister Naomi in a strict, religious household. Greta is another notable character as she has affections for Riley but hesitates to approach her because she thinks her mother won't approve. Greta is the daughter of an undocumented immigrant. They all get along with Arianna, who uses crude language and makes obscene jokes that she believes are acceptable because her parents are homosexual. The narrative of the show begins when Delilah, a feminist activist with morality, is compelled to divulge a secret that she has been keeping in opposition to Arianna's character. The episodes of the show include catchy names like Dickscovery, Pussy Power, and The Wheels on the Bussy. The fact that queer individuals are at the heart of the plot and constitute a significant portion of the cast differentiates Generation from other films that address topics like the environmentalism, racism, social inequality, and transphobia. It's encouraging to see that the LGBTQ+ characters on the program are not frequently made fun of by their peers. The other students in the school as well as Chester's water polo teammates respect and adore him. They casually say "hello" to him whenever he passes by a bunch of his friends wearing a crop top and a skirt. Although it may seem like a small thing, everyone who has ever felt they couldn't be themselves as a teenager will relate to the situation.

Generation depicts a largely accurate depiction of what it's like to be a teenager in the US. It demonstrates the banality of ongoing lockdowns following school shootings and the utter dread that comes from having a crush while being unsure of what to do. A recent Gallup study found that Gen Z is one of the most LGBTQ-inclusive groups, and Generation provides a portrait of this generation, which is more racially and culturally diverse than previous ones. According to survey results, one in six Gen Z respondents identify as queer or transgender. Gallup editor Jeffrey Jones told Newsy that this younger generation, which includes those between the ages of 18 and 24, "doesn't have the same stigma against being LGBT that previous generations grew up with." Additionally, Gen Z is more inclined to challenge concepts of binary gender and sexual orientation.  The storylines of LGBTQ+ characters on screen have evolved past the typical coming-out stories and toward more complex discussions about the difficulties of living with conservative parents, assembling a network of supportive friends and allies, and defining queer relationships as a result of Gen Z's inherent inclusiveness. The actress who plays Delilah in the show, Lukita Maxwell, stated, "I'm simply incredibly inspired by the type of TV that's coming out right now. HBO Max is creating a home for tales of LGBT kids with Generation and Euphoria, as well as the skateboarding-centered Betty and soon-to-be-released Gossip Girl revival." Maxwell expressed his excitement at the increased trans representation in the entertainment industry. "If we're going to get a season two, hopefully, the writers were probably thinking about that and wanted to explore it and have some more trans people in high school, because that representation is really crucial".

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Love, Simon: "First Mainstream Gay Coming-Of-Age Movie"

Love, Simon is a historic film for the LGBTQ community since it is the first big studio production to have a gay lead, and it has even more significance because it was directed by a man who identifies with the LGBTQ+ community. However, some people have criticized the movie, including Time Magazine writer Daniel D'Addario, who contends that LGBTQ+ teenagers nowadays don't require a story of acceptance because they already have a higher likelihood of fitting in as a result of modern society's progressive steps. Denying the significance of this period in popular culture for the LGBTQ+ community, in my opinion, would be damaging. Love, Simon can provide reassurance to teenagers who are reluctant to come out about their sexual orientation, impart lessons on self-acceptance, and even provide healing for adults who were unable to access this kind of portrayal as adolescents.  Research conducted  by the Gay & Lesbian Alliance Against Defamation found that LGBTQ characters were on screen for less than a minute in 43% of the LGBTQ-inclusive movies produced by the seven major studios.

The LGBTQ community should be frequently and in a variety of ways represented in popular culture, and Love, Simon is a significant first step in that direction. Many individuals in the LGBTQ+ community hope to see more movies like Love, Simon that develop its message and garner a comparable level of public interest. Film studios, according to junior film and media arts student Emily Detwiler, are starting to see that there is a market for LGBTQ stories. It's refreshing to see a gay character in a leading role in Hollywood, as opposed to a sidekick who just provides the humor, like Patrick in "The Perks of Being a Wallflower." The primary character in the movie's closest friend, Patrick, epitomizes the archetype of the stereotypical "gay best friend."  Although the gay male character in Love, Simon is more nuanced and multifaceted, there is definitely potential for improvement. Future LGBTQ-focused movies should feature leads from even more diverse backgrounds, in my opinion. The primary character in Love, Simon is a cisgender, white male from an accepting upper middle class family. Although his gay identity is still legitimate, other LGBTQ people who are less fortunate may not identify with this character or story. There is still good representation in the homosexual men realm. But many also want to see Black bisexuals, non-binary persons with impairments, trans females who are content and whole, and asexual folks who are flourishing despite what the world says about them. People want their stories to span genres. The same few genres are frequently chosen for LGBTQ films as it can be seen with drama and romance films that include Moonlight, Call Me By Your Name, and Blue is the Warmest Color.

Because straight people's sexuality is accepted as the standard and relationships are frequently put into stories even when they are unrelated to the plot, straight characters predominate in many genres, not just romance movies. LGBTQ+ portrayals must go beyond those focusing on identities and coming out, according to the industry. The LGBTQ+ community needs more action, fantasy, and science fiction movies in addition to more corny romantic comedies. The world needs more films similar to Love, Simon. Films like these allow individuals to understand that it's acceptable to be queer or to question oneself, and that it's natural to feel the emotions presented in the moment. Representation of LGBTQ+ individuals in film, despite of color, is critical for individuals who have been told they will never succeed due of their sexual orientation or racial color as these films provide comfort at times that may feel alone. Love, Simon may not be flawless, but it gives a voice to a neglected group of people and creates a pathway for future LGBTQ+ movies aimed at young adults. 

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Orange Is The New Black: Queer Revolution on Television

As Orange Is The New Black was altering the lives of many, it also made an impact on LGBTQ+ representation in the 2010s. It can be seen that prior to Orange Is The New Black, there were hardly any queer female TV leads. Queer women of color were no longer limited to screen time and representation like Glee or other shows during the peak of Orange is the New Black, thus allowing them to appear in mainstream television. Due to the genre-defying depth of its character journeys, Orange Is The New Black became the first television series to be nominated for both the Best Drama and Best Comedy awards at the 2015 Emmys. Laverne Cox and Uzo Aduba were actresses who have won multiple Emmys and numerous nominations. Both Cox and Aduba have made use of their platforms to advocate for humanitarian movements like immigration and LGBTQ rights, among others. In addition, by including such a large variety of genders that more accurately portrays the society we live in, rather than just one queer character meant to represent the entire group as many other shows have done, Orange Is The New Black alleviated the burden of stereotyping. Because of the fact that sexuality exerts a significant influence on social structure, Orange Is the New Black presents some of the most complex, in-depth representations of queer women on television.

The existence of same sex female relationships is taken for granted right away. In the show, Piper Chapman's  counselor looks like a fool when he tells her forcefully and consolingly that she "does not have to have lesbian sex" in Litchfield. Then again, she has already done so as the opening scene of the show features her and her ex-girlfriend having sex in the shower. When Piper discovers Alex is also staying at Litchfield, she realizes her hesitation to rekindle her friendship is not due to her tendency to lean toward the LGBT end of the Kinsey spectrum. Piper seems concerned that she might cheat on her male fiance due to unresolved feelings for her ex. She isn't really concerned about sexual flexibility, and Piper is the one who brings it up. For all of the lesbian and bisexual women in Litchfield, the idea of fidelity transcend heteronormative social pressure, which contributes to Orange Is the New Black feeling innovative. One prisoner's present lover is concerned that she'll meet someone else, regardless of gender, as she gets ready to leave the prison. Big Boo, played by Lea DeLaria, would prefer to see the woman who rejected her serve further years in prison than leave Litchfield in a relationship with someone else, adds another layer of complexity to the story. All of the same-sex relationships in Orange Is the New Black share a similar sophistication, which makes them feel more genuine than those in earlier films. Orange Is the New Black does a great job portraying queer women as a part of a greater spectrum beyond sexuality. No character makes it clearer than transgender prisoner Sophia Burset, who is portrayed by a trans actress, Laverne Cox.

The importance of attitude in representation is much greater than that of obvious appearance. Orange Is The New Black subverts viewers' preconceptions by depicting a variety of women's experiences in a nuanced manner. These are experiences that feel like stereotypes yet deviate from them, as it can be seen from Taystee's brilliance and complete lack of possibilities to Big Boo's butchness paired with a genuinely nurturing heart. Everyone in life is different, and the show's makers do a superb job of expressing this over the entire run. Without a doubt, Orange Is The New Black will be remembered as one of the most groundbreaking shows for and about women. The depiction of same-sex relationships in media not only increases tolerance among the general public but also teaches younger generations that it's perfectly acceptable to have certain emotions. Orange Is The New Black sparked discussions and assisted people in recognizing their true identities.

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Euphoria: Groundbreaking Queer Representation in the Modern Film Industry

HBO’s Euphoria is hands down one of the best shows out in the modern film industry that made an impact on LGBTQ+ representation in film. Euphoria's characters each add their own unique qualities to the story, but while being gay isn't their primary character attribute, the way queer people's identities are explored is revolutionary. The struggles that each LGBTQ+ character faces are unique, and their sexual orientation or gender identity is never presented as the root of their problems. Euphoria executes showing queer characters on an accurate scale, but writers make it known that it doesn't mean to say that these characters enjoy perfect happy lives. As they both struggle with their sexual confusion in different ways, such as rape or violence, Nate and his father Cal, two of the primary antagonists, serve as examples of the dangers that LGBTQ+ repression and fear can represent. In addition, Jules in the series is one of the most interesting characters in television history. Beginning with episode four in the first season, viewers get a look at her early years before her transition and observe how her terrible experiences formed the basis for the destructive behaviors she currently practices. Similarly, Nate struggles with his sexuality in other parts of  the series after being exposed to his father's collection of illegal porn from an early age(crazy I know).

It's refreshing to see the main character Rue(I love Zendaya btw) defy gender norms in her own way as non-binary individuals are among the LGBTQ+ community's most misunderstood and inaccurately portrayed individuals. Not only that, but Euphoria also does a great job on not making the idea of focusing on labels throughout the show a priority. It can be seen that each character's relationships with others around them significantly vary ever since the first season aired on HBO. To compare, other programs would use unusual couple names and revise the way the characters were depicted as a method to indicate these shifts. However, Euphoria demonstrates how present-day individuals are eschewing from cliches when it comes to romantic relationships being aired on screen. Maddie, Nate's girlfriend, bluntly asserts that "Sexuality is on a spectrum," during a discussion regarding his sexuality. The show is fueled by this informed appreciation of the changing nature of sexuality and gender identity, with both young adults and their parents exhibiting improved understandings of contemporary queer language and issues. Being rejected from one's family because they identify with the LGBTQ+ community is one of the most prevalent motifs of queer representation in literature and also in film. While Euphoria shows parents who truly love their children regardless of their sexual orientation or gender identity, not many people in society can say that they can relate to this as well.

There is still much to be said about queer representation- not just on the screen. Euphoria has the potential to develop overall but the writers do a great job in acknowledging that these characters do not always have to identify with labels for their sexuality. Euphoria and many other shows in the modern film industry provide outlets for marginalized groups to seek comfort by knowing that people can voice their story for them as people from the LGBTQ+ community are included in the story and writing process of shows. 

There is no doubt that some individuals may believe that Euphoria only depends on shock value to depict how teens go on about their daily lives, but others find it refreshing to witness that the show does not overlook the negative sides of exploring one's sexuality. Although the chatacters' frequent drug usage, reckless sex, and drinking might occasionally seem unnecessary, the way it captures the honesty and complexity of teenage love is spot on. Euphoria does a great job in depicting what life would be like if there were no preconceived ideas about what constitutes ideal romance as the show illustrates through its plot that it is a state in which individuals fall in love with those who, regardless of gender, make them feel secure, at ease, and cared for.

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LGBTQ+ Representation in 13 Reasons Why

13 Reasons Why definitely had an impact on the film industry as the show focused on many sensitive topics such as substance abuse, bullying, sexual assault, as well as sexual identity. As I mentioned with the previous blog post, many damaging preconceptions about bisexuality continue to exist despite society's expanding awareness of sexuality, leaving many people to continue to feel alienated (this can be seen in a Match survey as it reports that bisexual men are less likely to feel supported by the LGBTQ+ community). On-screen representation still needs some work as only 14 of the 109 films from major production companies released in 2018 have LGBTQ+ characters, according to a GLAAD survey (only two of those characters identified as bisexual). Additionally, bisexual characters frequently lack depth and are overly sexualized in society, which perpetuates the negative stereotype loop. People who identify outside of the straight/gay dichotomy are frequently underrepresented in cinema and television, whether it's through portraying bi+ characters as licentious cheaters, viewing bisexuality as a liminal space to coming out as gay, or simply not portraying them at all. As the quarterback of the high school football team, a devoted lover, and a well-rounded character, Charlie St. George from 13 Reasons defies the clichés surrounding LGBTQ+ representation. The acceptance of his friends and teammates, his lack of self-doubt, and his coming out to his understanding father are all positives. With regard to how Charlie's relationship with his boyfriend Alex is portrayed in 13 Reasons, a lot of overused clichés are expertly avoided by directors. No one ever questions either character's past experiences with women or, in Alex's case, the importance of labeling sexuality.

Although the show did a good job including LGBTQ+ characters, 13 Reasons' portrayal of HIV in its last season dramatically undermines its positive queer representation. In a surprising turn of events, Justin Foley, one of the major characters, is shown to have HIV that has advanced into full-blown AIDS in the series' last episode. Justin, who battled drug addiction throughout the series, passes away before finishing high school. Justin's passing strikes as a cynical use of HIV for shock value with a flagrant disdain for its encouragement of AIDS-related stigma. Instead of using the show to demonstrate that an AIDS diagnosis is no longer a death sentence, the program utilized HIV as a means of eliminating a character who battled substance abuse, homelessness, and same-sex sex work. HIV still disproportionately affects parts of the LGBTQ+ community today, and AIDS stigmatization has a long, intertwined history with the queer community. With the use of an incorrect depiction of HIV connected to his sex work with men, 13 Reasons killed off a fan-favorite character(played by a homosexual actor) in accordance with multiple negative stereotypes, culminating in an emotionally manipulative effort at a tear-jerker ending.

The gay depiction in 13 Reasons Why's fourth season is a good example of how the program frequently approaches delicate subjects: intrepidly and with what seems like little preparation as to the implications. This strategy can sometimes be successful, as it was with its bi+ representation but sometimes can inflict more harm than good. Queer stories are increasingly being included into the narratives on television and in movies. This is a refreshing departure from earlier works in which homosexual people were either comedic relief or pitiful targets as I mentioned in the first blog post. The rich and varied history of the gay community is now being portrayed on both large and small screens. These programs not only entertain viewers, but also provide the gay community the much-needed representation it needs. These performances are providing LGBT people with a vital opportunity to see themselves reflected in the media.

Aiming to address significant issues, 13 Reasons Why prioritizes communication over anything else. The series undoubtedly made some mistakes along the road, many of which they have already admitted and taken measures to correct. But in its last season, the program addressed a subject that young people had long asked for but had not seen addressed in popular culture as a whole. The importance that representations of all types have in how we see ourselves is crucial in every aspect of life, and this subject is no exception. Moreover, having your sexual identity represented on film may have a seemingly limitless amount of influence and power, as seen by the numerous followers who have expressed their thanks online.

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Representation of the LGBTQ+ Community in Entertainment Industry: History

Dating back to 1922, the first ever same-sex kiss was depicted in Cecil B. Demille’s Manslaughter. Though it was not a LGBTQ+ focused film, it made history in the representation of sexuality in the media industry. Films made around this time period were based on stereotypes and cliches based on sexuality, but there were a handful of films that did not take these into consideration when producing a film. I am specifically talking about the film Wings, a silent movie released in 1927 by John Monk Saunders and William A. Wellman, which won the first ever Best Picture award at the Oscars. It did not win an award for no reason though, as it was respectful of the romance between the two male characters and the producer/director did not care about the strong disapproval of homosexuals during the time. This film was well-received by the public, but the sad reality is that this was one of few motion pictures that represented LGBTQ+ characters on a true scale. A similar film that impacted the LGBTQ+ community at this time would be Morocco, a film directed by Josef von Sternberg in 1930. This film in particular showed many undertones of queer representation. Even though the main relationship in this movie was heterosexual, Mademoiselle in the film broke through gender norms as she was seen wearing a tuxedo and even shared a kiss with a female patron. Because the 1920s/1930s was a period in time in which the ideas were changing profoundly, there were several interpretations of LGBTQ+ characters in film. Some found them comical, others depicted them as serious, and other individuals even went to extremes in which they felt that government involvement was necessary to regulate or even stop these kinds of characters popping up in the entertainment industry. This is where the introduction of the Hays Code(also known as the Motion Picture Production Code) took a toll on the film industry as it prohibited the representation of LGBTQ+ stories and characters for almost 3 whole decades from 1934 to 1968. The Hays Code wanted films to be respectful and safe for the public, which essentially meant that topics such as seduction, sex perversion and miscegenation were not allowed. However, filmmakers still found their way around the Hays Code and managed to represent queerness on movies/shows. The Hays Code was deemed unconstitutional by the Supreme Court under the First Amendment(1952) and was officially abandoned in 1968, which was later replaced by age-based ratings. After 3 decades of the Hays Code, filmmakers no longer had to work around these guidelines and continued to produce films that represented the LGBTQ+ community in Hollywood. 

As mentioned previously, the time of the 1920s was a period in which individuals were able to express themselves through several forms, such as writing, music and writing. Although the LGBTQ+ community was still not accepted by the public, it did not put an end to individuals exploring their identity and finding cultures that helped shape them during the time. Whether it would be Rainy, Bessie Smith or Gladys Bently, these were women who expressed their desires through music, specifically Blues. The entertainment industry at this time(excluding films because of the Hays Code) gave individuals more freedom to explore their sexuality. These were women who helped others find themselves and their sexuality through music and sang for those who often felt closeted because of the public not being able to accept them in society.

The question remains, how did the representation of the LGBTQ+ community change over time? Thanks to more modern times and a more open society than the past, there has been an increase in the representation of this community. Sadly, almost 2.8 billion individuals are still living in fear since identifying as gay can lead to them being reprimanded and only 780 million people are living where it is a legal right. I wanted to solely talk about representation in the past to give more of a background to what media representation was like in different times. I’ll be talking more about LGBTQ+ representation in more modern films in future blog posts :)

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