In recent years, queer representation in media has seen a significant shift for the better. Shows like “Heartstopper” and movies like “Love, Simon” provide viewers with a warm and fluffy portrayal of queer love and identity, rather than frequently employed traumatic or one-note stereotypical representations of queer folks.
“Heartstopper” follows the love story of two high school boys, Nick and Charlie, and their mostly queer-identifying friend group through the trials and tribulations of being a teenager and figuring out their identities. While “Heartstopper” has garnered praise for its uplifting tone and authentic representation, it has also sparked debate over whether it — and similar media — is well-written and contributes meaningfully to queer representation. Some claim that it is merely “gaystreaming,” which entails creating sanitized, market-friendly queer content.
“Gaystreaming” refers to the phenomenon where mainstream media selectively incorporates LGBTQ+ themes, characters or aesthetics in a way that attracts a broader audience without fully committing to authentic representation or addressing deeper issues. This lack of an accurate portrayal results in a surface-level, stereotyped representation of the queer community. It’s all in the interest of making sure that queer characters are palatable enough to retain viewers and shareholders while also bringing in a queer audience. While shows like “Heartstopper” represent a wide variety of identities, it isn’t willing to take meaningful risks or provide a nuanced portrayal of characters, resulting in a diluted or commodified representation.
Both “Love, Simon” and “Heartstopper” avoid portraying their protagonist queer characters as flawed or morally ambiguous. While straight characters in media, especially men, often enjoy the privilege of being written as morally gray, “bad” queer characters are labeled as being “bad representation” or “poor role models.” This double standard limits the range of queer storytelling.
In “Love, Simon,” the only defining characteristic of the protagonist is that he is gay. All of the tension in the movie revolves around his fear of being accepted by his peers and family, even though we aren’t given much reason to believe he wouldn’t be. He is stripped of any other character traits so that he is agreeable to a broad audience to the point that the character becomes boring to watch.
In “Heartstopper,” it’s worth asking the question of whether the show would hold its weight if the characters were not queer. The characters aren’t particularly interesting without their queer identities. They have the potential to be if some parts of the story that were briefly touched on were developed better and explored further, but as it currently sits, it would be monotonous and dull.
In a media landscape where complex multi-layered characters are valued, queer narratives risk falling flat if their characters cannot break free from the expectations of being morally sound.
The question of what constitutes well-done queer representation is complex and multifaceted, hinging on factors like character development and storytelling quality. Effective representation relies on characters being well-written and multidimensional, rather than tokenistic or defined solely by their queer identity or any other single quality. A character’s queerness shouldn’t be the most interesting thing about them. Allowing the characters in the show the freedom to be imperfect adds depth and authenticity to their portrayal.
While it can be argued that “Heartstopper” strives to remain lighthearted, it touches on important social justice issues without getting into the essence of it. If the show is willing to bring up serious and sensitive issues, it should strive to do more than just briefly touch on the topic and shy away from digging any deeper. “Heartstopper” offers a pioneering feel-good queer narrative, but true representation should strive to excel in all areas of production and writing rather than relying on its novelty as queer content.
That’s not to say that the conflict needs to have higher stakes — realistic representation does not always mean depicting trauma. It can also involve characters navigating ordinary struggles in ways that resonate with viewers. Conflict can be meaningful while also being low-stakes. Balancing positive representation with authentic character flaws, conflicts and proportionate stakes can create more engaging and relatable narratives.
An example of a wonderfully written queer character is in the TV show “Brooklyn Nine-Nine.” Two major characters, Rosa Diaz and Raymond Holt, are queer, but they are well-developed, flawed people with dynamic personalities that don’t rely solely on their queerness. Their queer identities are never used as a punchline in a demeaning way; instead, it adds depth to the characters and occasionally creates interesting and comedic beats that enhance the story. The writers committed to representing the challenges of their identities, which are often intersectional, without reducing them to stereotypes of any of their identities.
“Brooklyn Nine-Nine” masterfully balances the representation of its queer and POC characters, allowing them to embody those identities without being confined to a narrow portrayal. It’s crucial for minorities to see themselves represented in stories that don’t solely focus on one aspect of their identity. This kind of representation helps dismantle stereotypes that people who belong to some identity must all behave a certain way and shows that there can be diversity between individuals within a community.
While criticism about media like “Heartstopper” and “Love, Simon” holds weight, it’s essential to acknowledge the value of lighthearted queer media. For queer audiences of all ages, seeing easygoing, non-traumatic content of people they can relate to can be therapeutic. A sense of normalcy and comfort in a world where queer people often face real-life struggles and discrimination holds a lot of appeal among queer audiences.
Happy and accepted queer role models allow younger viewers to see themselves in characters that are not defined by their struggles. “Heartstopper” portrays the process of self-discovery as something beautiful rather than shameful — it’s okay to be unsure and to change your mind.
Feel-good media occupies an important place in the evolving landscape of queer media. While their portrayal of queer joy, identity exploration and acceptance offers a refreshing and uplifting alternative to a rampant trauma-centric narrative, it also invites scrutiny regarding the depth and complexity of queer representation in media. Nonetheless, they provide value in normalizing positive, relatable queer stories and create a comforting space for viewers seeking both representation and endearing entertainment.
Ananya Kashyap is an Arts and Entertainment Intern for the fall 2024 quarter. She can be reached at ananyask@uci.edu.
Edited by Trista Lara and Ben De Guzman.