Disability Representation Win!!!
RTD went fearlessly with represention so far, he clearly has no fear of backlash. And the disability representation as a wheelchair user I was fucking ecstatic. Even more so than my excitement because I'm an enby, trans representation is amazing especially being Donna's daughter and a trans actor. But a wheelchair user character? We are always forgotten about. Also she's played by an actor who is a wheelchair user!!! I'm so happy. And they didn't shy away from making her an authority figure who should not be pitied.
Because fucking Chibnall's wheelchair representation was Yazmin's grandma feeling sorry for herself because "I was the first woman married in Pakistan , now look at me, in a wheelchair with shop bought cake" and it really fucking hurt. I remember how much that line in that episode hurt.
Credit where credit is due Chibnall did have disability representation. However, I feel like Ryan's dyspraxia was kind of shoe horned in as "see representation!" but it felt like he had dyspraxia when it was convenient to mention it and didn't have it in many other instances AND importantly the actor himself did not have dyspraxia, which cheapens it a little in my eyes. I also enjoyed that Diane not having an arm wasn't a huge plot point at all, she just doesn't have a lower arm, no biggie and it was a reflection of the actor who does not have a lower arm. Representation using actual members of the minority group ftw.
I don't remember if Moffat had any, he probably did? But not memorable I suppose.
I'll admit Shirley Anne Bingham having darts and explosives on her wheelchair was cool as fuck and makes sense since she works for a military-intelligence agency. The fact that it was a custom ultra light weight wheelchair not some annoying hospital one was also amazing, showing actual life of us wheelchair users (which make sense since the actor is one!)
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Thursday Thoughts: Levels of Media Representation
I saw Disney’s Strange World. I really liked Disney’s Strange World. One of the things I really liked about Strange World was how Ethan, the main teenage character, was gay.
Not that he was gay – how he was gay.
There’s more than one way to represent a minority identity in a movie. Each method of portraying this character and their identity has a different effect on the audience. When discussing media representation, it’s not enough to simply ask if there’s a queer character in this movie, or a Jewish character, or a disabled character, or a Black character. We also need to consider how the identity is represented, and exactly how much good – or harm – that kind of representation causes.
These different kinds of minority identity can be viewed as levels on a scale – from least explicit representation to most impactful representation.
An important disclaimer: I am a queer Jewish woman. I am also white and cisgender. In this blog post, I discuss representations of minority identities to which I do not belong, and so I have to assume that at some point I make a bad call about what is or isn’t “good representation” for those identities. It is vital to listen to oppressed people when they say that something is harmful. It is equally vital to listen when they say that something is empowering. I can explore this topic through the lens of the minority identities I have as well as my experience as a writer, media analyzer, and social justice warrior. I cannot call myself an expert on experiences I do not have.
But this idea has been bouncing around my head since I saw Strange World, and so now, I give it voice.
Let’s take a look at the levels of media representation.
[Here there be spoilers – for Disney’s Zootopia and Strange World, and also James Cameron’s Avatar. Other movies and series are mentioned in non-spoiler-y ways]
1. The Allegory
Many movies, especially children’s animated movies, present an allegory for minorities and the struggles they face. A recent example is Disney’s Zootopia, in which different animal species and species groups metaphorically represent real-world human groups. Judy’s struggle to be accepted and respected as the first rabbit police officer directly parallels women’s struggle to break into male-dominated careers.
At the same time, in Zootopia, predators are across the board viewed as potentially dangerous and untrustworthy, mirroring many stereotypes about and bigotry perpetrated against BIPOC humans. At one point, a pig shouts at a cheetah, “Go back to the forest!” It’s as blatant as can be. But an allegory for people of color is not the same thing as telling a story that includes people of color, even if some of the movie’s side characters are voiced by Black and Latinx actors.
There’s also a big problem with an allegory like the one presented in Zootopia – there’s a “reason” for the bigotry. The prey animals have a legitimate, historical reason to fear and hate predators. In the real world, there is no legitimate, historical reason for white people to fear and hate people of color. While allegories can be useful conversation starters or early lessons about prejudice, they often teach, however accidentally, that bigotry is rational.
2. Coding
Sometimes, a movie will include a character who seems queer because of their appearance, their speech, or their body language, but nothing actually happens in the story that confirms it. Or, sometimes a character seems Black, but their skin is actually grey or purple because they’re an alien. These are examples of minority coding.
Coding is important to understand as a part of film history. For a long time, the only way queer creatives could get away with portraying a character who was in any way like themselves was to create a queer-coded character – like Ursula from The Little Mermaid, created in part by Howard Ashman and modeled after the drag queen Divine. Besides the creative outlet, the value of a minority-coded character is that it allowed minority viewers to identify with a character for what was often the first time ever.
The unfortunate side of minority-coding is that coding often involves falling back on harmful stereotypes, especially when the character is created by someone who doesn’t share the identity. Think about Watto from the Star Wars prequel movies, with his big nose, his little round black hat, his nebulously-Eastern-European accent, and his obsession with money. He’s Jew-coded, though I really wish I could disown him.
Even when a coded character is created with love and good intentions, the fact that the character’s identity is never explicitly confirmed in the movie gives bigoted viewers an easy out or an excuse to cause harm. It’s truly awful when a minority viewer who identifies with a fictional character gets dogpiled on social media by white supremacists who are furious that she dared to claim their favorite alien character was Black.
3. The Easy Cut
Near the end of Star Wars: The Rise of Skywalker, two minor characters, both women, run up to each other and kiss. This is an example of the easy cut level of media representation. If you were to cut about five seconds of footage out of this movie, you would cut out the entirety of its queer representation. I won’t beat a dead horse here, but this kind of representation, though explicit, is insufficient.
I also include in this category those TV characters who are revealed to be Jewish during the show’s Christmas episode, but their Judaism is never brought up in any other context. If you skipped that one episode, you would never know they were Jewish, so does it really matter?
4. Ignorable
Sometimes a character has dark skin, but their race doesn’t have any impact on their story or how they move through the world. Sometimes a character has an accent that implies that they’re from a certain part of the world, but we never actually learn anything about their culture. Sometimes a character has a mezuzah on their doorpost, but they don’t ever mention the fact that they’re Jewish even though their story is about literally wrestling with Egyptian gods. (Yeah, I’m still salty about Moon Knight.)
These are examples of ignorable representation. The visible or audible aspects of this character’s minority identity are present for more than five seconds, so you couldn’t so easily cut it out of the show. However, the character interacts with the world in the exact same way that the “default” straight white man would. The media ignores how different identities create unique perspectives and experiences. As a result, this character’s minority identity hardly matters at all.
5. The Token Minority
The Black best friend. The sassy gay friend. The one elderly Asian man who owns the restaurant. The only female Smurf. These are some examples of the token minority. They’re not the main character of the story, and so they’re often one-dimensional, lacking a driving plotline of their own. Their only purpose in-universe is to support the straight/white/male/all of the above protagonist.
This is because their only purpose out-of-universe is to draw in a wider audience because the show has a character who is not straight/white/male/all of the above. As a result, this character lacks the complexity to be a true representation of a person and their experiences, which has the harmful effect of implying that real-world people with minority identities are not as complex, interesting, or worthy of focus as real-world people with majority identities. If every time you see yourself in a story, you are the side character in someone else’s life, what does that teach you about how you fit into the world? The token minority exists, and their identity cannot be ignored or denied, but they still don’t seem to matter.
6. Suffering
Finally, a category where the minority character’s identity cannot be ignored, and they are also the main character! However, the reason that their identity cannot be ignored is that their identity is the cause of the story’s conflict. Their identity is a big, terrible deal – a source of obstacles or of outright suffering for the character.
Think about Black people in movies about slavery, Jewish people in movies about the Holocaust, or queer people in movies about homophobia. Their identity matters to the story, yes, but in a profoundly negative way. The character’s minority identity might even be presented as something to escape or overcome, instead of as an important part of who they are. In James Cameron’s Avatar, Jake Sully begins the movie as a paraplegic, and his happy ending involves receiving a new body that is not disabled.
It is important for us to see and learn stories about different people’s struggles. We cannot afford to allow the world to forget about the ways that bigotry has led to suffering, because when we remember, we can learn from history and – G-d willing – put an end to bigotry, or at least more effectively fight it.
The problem is when these stories dominate the media. If we only hear about Jewish suffering, and never about Jewish joy, that sends a message to the world that Judaism is a terrible thing. Minorities’ suffering is one kind of representation, but it cannot be a complete picture.
7. Not A Big Deal, Yet Impossible To Ignore
But what if a movie included, as a main or major character, someone whose minority identity is not a big, bad deal, but also something that has a real impact on the way this character interacts with the world around them, to the point where their identity cannot be cut, ignored, or denied?
This brings me to Ethan from Strange World. While watching this movie, I felt I was truly seeing a person. Not an allegory, an implication, a stereotype, a token, or someone who only existed to suffer.
Ethan is a gay person. He’s a teenager with a crush on a boy named Diazo. He flirts with Diazo. His friends make fun of him and Diazo for flirting with each other. Ethan’s dad, Searcher, wants to meet and get to know Diazo, and Ethan is completely embarrassed about this. In the middle of a dangerous adventure, Ethan gleefully imagines how impressed Diazo will be when he hears about it. Ethan’s grandfather, Jaeger, is excited to hear Ethan talk about how Diazo makes him feel. Also, Ethan’s relationship with Diazo, and the way Diazo encourages Ethan to be himself and be an explorer, is an integral part of Ethan’s journey and character growth through the movie.
It is impossible to ignore that Ethan is gay. But it’s also not a big deal. It’s an integral part of who Ethan is. It informs his behavior just as much as being straight or aro-ace would inform his behavior. But it’s not an obstacle, nor a source of suffering, nor the only reason that Ethan exists in the story.
We need more of this kind of representation. I cannot exaggerate how much of a positive impact that characters like Ethan stand to create. People of all identities deserve to see themselves in movies, series, and all kinds of media as complete human beings who matter and whose identity matters as an integral part of their lives. Ethan is not the first example, and not even the first example that Disney has created (Mirabel from Encanto comes to mind – she and her family are undeniably, integrally Colombian). But he is an example that all creatives should learn from.
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