Lgbtqia

The Importance of Including LGBTQIA+ Characters in Youth Television and Movie Entertainment Media By Stephanie Santiful It would be unjust not to inform the audience that this article is persuasive. It has one goal—to persuade readers to agree with the argument that there needs to be more LGBTQIA+ characters in youth entertainment media. While the ultimate goal is to convince readers to agree with this argument, all information contained within the article is factual and is supported references. Many would argue that LGBTQIA+ youth have a challenging time navigating life. Not only are they learning—and perhaps struggling—with their identities, many may also be forced to endure bullying from their peers. Gower et al. (2017) state that LGBTQIA+ youth report higher rates of bullying than their heterosexual counterparts and that often times the bullying is “prejudicebased harassment,” which is a form of bullying that focuses on personal characteristics of the victim (p. 814). In Technical and Professional Communication (TPC), there is an urge for technical and professional communicators to be “community intellectuals” (Eble & Gailet, 2004). One aspect of the community intellectual is the need for “professionals to participate in rhetorical engagement within their own local communities” (Eble & Gailet, 2004, p. 342), which is one of the reasons why this article was created. In their 2004 article, Eble and Gailet cite Jim Porter’s claim that the writings created by technical and professional communicators is composed of “rhetorical ethics,” and thus sets out on identifying what is “desirable in a given situation” (p. 349). In the situation of whether LGBTQIA+ youth deserve to see themselves represented in youth entertainment media, desirable only scratches the surface. Gomillion and Giuliano (2011) cite Hammack who mention that GLB [(gay, lesbian, bisexual) identity development suggests media may influence a person’s self-perceptions. Gomillion and Giuliano also cite Ochman’s research, which found that “exposing children to same-sex storybook characters who were strong, positive role models enhanced children’s positive selfconcepts” (p. 331). According to Gomillion and Giuliano (2011), Ochman demonstrated how positive portrayals of media characters who share similarities with viewers can produce changes in the viewer’s self-image (p. 331). In short, if an LGBTQIA+ child or teen sees a positive portrayal of a character that who identifies in the same or similar way as the child/teen, then it will have a positive influence on the child/teens self-perception. With demonstrated proof (Gomillion & Giuliano, 2011) that youth seeing positive portrayals of characters that share the same similarities as the viewer, why is it that youth entertainment media

only now starting to create more television shows, cartoons, and movies that feature LGBTQIA+ youth characters as the main protagonists? For example, Nickelodeon's The Legend of Korra (2012-2014) displays numerous parallels to its predecessor, Avatar the Last Airbender (20052008). However, there were some key differences. One of these differences involves the ending of The Legend of Korra series in which the main character, Korra, and supporting character, Asami, can be seen holding hands. Whereas in Avatar the Last Airbender, the series ended with a romantic, onscreen kiss between the main character, Aang, and supporting character, Katara. Some have suggested that the relationship between Korra and Asami was strictly platonic. However, this argument was disproven by the show’s writers, Michael Dante DiMartino and Bryan Konietzko, who explicated state that Korra and Asami are bisexual (they previously dated the same boy earlier in the series). In fact, Korra and Asami’s romantic relationship continues to evolve in The Legend of Korra comics, which pick up where the television series left off. If Korra and Asami were indeed in a romantic relationship, what was it that prevented them from experiencing a kiss at the end of the series, an act that has been demonstrated countless times over the years in various forms of media, regardless of the characters’ ages? Many would argue it is the fact that Korra and Asami are both girls. Chances are, they would be correct. Konietzko, for example, explained how he approached Nickelodeon with the idea of making Korra and Asami’s relationship obvious to viewers: “While they [Nickelodeon] were supportive,” he wrote, “there was a limit to how far we could go with it.” Though this limit was never stated, one can gather that revealing an onscreen kiss was not within it. This seems to be the previous trend for youth media in the United States. A list detailing LGBTQ+ animated characters that have appeared in United States television shows and/or movies is disappointing. While there have been some LGBTQIA+ characters that have appeared in cartoons, animated television series, and animated movies, there has yet to be a single animated show/movie where the main character identifies as LGBTQIA+. In the past, when characters were revealed to identify as LGBTQIA+, the revelation happened toward the end of the film (ParaNorman) or the characters are stereotypically mocked (South Park). This begs the question of whether entertainment media has gotten any better at including LGBTQIA+ characters in youth entertainment media. According to a study conducted by The Williams Institute of the UCLA School of Law, 39.7% of people ages 18 and up who live in the United States are a part of the LGBTQ community. The United States Centers for Disease Control reports that 1.3 million kids (8%) of high schoolers are lesbian, gay, or bisexual (2016). This report does not include individuals who may identify themselves as a different group still belonging to the overarching LGBTQIA+ umbrella. If at least 1.3 million children (not including those in middle and elementary school) are members of the LGBTQIA+ community, why does current entertainment media not reflect that? Though it may seem like there has been an influx of entertainment media that feature LGBTQIA+ characters such as Steven Universe, One Day at a Time, Adventure Time, Andy

Mack, and Love, Simon, the amount of positively represented LGBTQIA characters is still stunted by shows which feature heterosexual couples. Children and teens who grow up not seeing themselves exemplified in entertainment media may be at risk of developing mental health issues such as anxiety and depression (Bird, Kuhns, & Garofalo, 2011; Padva, 2008). Seeing LGBTQIA+ individuals in entertainment media creates relatability for children and teens. With an overwhelming amount of televisions shows and movies that display heterosexual relationships and marriages, LGBTQIA+ youth may feel like they do not fit in with society. Often times, what little representation they receive is stereotypical and makes LGBTQIA+ people the butt of inappropriate and/or hurtful jokes. These jokes lead to intolerance and cruelty of one’s peers. According to a report by the Human Rights Campaign (2018), 92% of children and teens between the ages of 13-17 say they hear negatives messages about being LGBTQ from school, the Internet, and their peers. With the lack of positive queer representation available for LGBTQIA+ youth to relate to and for heterosexual youth to learn acceptance, the Internet—which many LGBTQIA+ youth use to seek information about their gender and/or sexual orientation—becomes a breeding ground of intolerance.

LGBTQIA+ children and teens often face hurtful beliefs and opinions such as the above when they use the Internet. Enjoying television shows and movies can be an outlet for them just as it is for their heterosexual counterparts. Unfortunately, when entertainment media makes fun of their

very existence, it leads them to believe that not only are they not allowed the privilege of seeing themselves reflected in media, it also may make them feel as though they are second-class citizens not worthy of respect. This kind of destructive thinking may increase their involvement in abusive relationships. In fact, according to a CDC survey (2017), 23% of LGB students experienced sexual dating violence at least 12 months before the survey was conducted, 18% had experienced physical dating violence, and 18% had been forced to have sexual intercourse at some point in their lives. Worse, it may also increase their risk of committing suicide (Greydanus, 2017). There is a common misconception that with the 2015 Supreme Court ruling making it legal for same-sex couples to marry that there is no longer a fight for equality in entertainment media. This could not be further from the truth and is demonstrated by the number of mainstream children and/or teen movies that feature an LGBTQIA+ protagonist and has aired within the past three years. Currently, the only movie that fits this criterion is Love, Simon, which is based on the book, Simon vs. the Homo Sapiens Agenda by Becky Albertalli. As for television shows (both animated and non-animated), after the cancellation of the Netflix series, One Day at a Time, there does not seem to be a single series that features an LGBTQIA+ character as the protagonist. Sometimes show creators have stated that notable characters are queer but fail to explicitly reveal this information onscreen. This makes LGBTQIA+ people feel as though these statements are not authentic. Other times, viewers may be led to believe that a character is non-heterosexual due to subtle actions and statements made during the show without actual confirmation from the show’s creators. This is often referred to as “queerbaiting” among the LGBTQIA community, which can also be damaging to LGBTQIA+ youth.

As mentioned in Katie Hoss’s tweet, the Disney film, Mulan, follows the story of a female character who disguises herself as a male named Ping. To many, Li Shing, another male character seems interested, perhaps even attracted to Ping. However, when it was announced that Mulan would be getting a live-action movie, Li Shing was apparently written out of the film. Book Publishing is Slightly Ahead of the Curve Unlike television and movies, book publishing has begun publishing more books for children, teens, and young adults that feature LGBTQIA+ characters. Also, unlike most television shows and movies, LGBTQIA+ people are the main characters. More so, websites such as LGBTQ Reads allow readers to search for books based on how the main character identifies.

There have been innumerous calls from literary agents, publishers, book reviewers, readers, and authors demanding the inclusion of more stories that feature LGBTQIA+ protagonists. Many of these individuals have relied heavily on Twitter to let their followers and others know of the

importance of including diverse characters and stories. Others have taken things a step further by researching and reporting the statistics of LGBTQIA+ youth fiction. Author Malinda Lo (2017), for example, reports that there has been an increase in book publishers publishing LGBTQIA+ young adult fiction, noting that in 2015 there were 54 LGBTQ YA books published by mainstream publishers. In 2016, that number increased to 79. A Google search reveals that there have been at least 255 middle grade and YA books that have been or will be published in 2018 (including both large, small, and self-publishers). There does not seem to be any statistics to compare this number to the amount of middle grade and young adult fiction that features heterosexual main characters or couples. Television and Film Needs to Change It is obvious that a change is needed. LGBTQIA+ characters need to appear in entertainment media for children and teens, especially in television and film. Book publishing has begun taking the necessary steps to publish books that reflect the world around us. With only one mainstream movie (not counting Netflix movies) and no LGBTQIA+ main characters appearing in mainstream cartoons or animations, United States television media is doing a disservice to LGBTQIA+ children and teens who are actively trying to find their space in the society. Change requires effort. Many writers, producers, and others involved in television and movingmaking must make a conscience effort to welcome diversity and inclusion both in the office and on the screen. The importance of including LGBTQIA+ characters affects more than today’s society and culture. It will affect future generations. With studies (Gallup, 2018) being presented which reveal that the percentage of LGBTQIA+ individuals is on the rise, a shift for more diverse entertainment media seems inevitable. The status quo of the heterosexual, cisgender character has reigned supreme for decades. The time has come for content creators to accept that the United States of America is full of people who aren’t heterosexual and/or cisgender, and they deserve to see themselves reflected in television and movies. TPC’s Responsibility TPC as community and public intellectuals also have a viable role in doing its part to acknowledge the issue. Bowdon (2004) argues that public intellectuals must create positive changes within one’s community by recognizing opportune moments of intervention (as cited by Cushman, p. 326). Whether it is acknowledging that there are still few instances of LGBTQIA+ main characters when writing about the “groundbreaking” Love, Simon (Stack, 2018; D'Addario, 2018) or simply explicitly stating the imbalance of LGBTQIA+ characters compared to heterosexual characters in articles, reviews, and other forms of writing for the public. TPC has the responsibility of focusing on this disproportion whenever one is writing about the topic of youth entertainment. Doing so will shed light on the issue and may help to make society work to solve this problem, which will benefit LGBTQIA+ youth and those who support them.

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