Masarykova univerzita Filozofická fakulta
Katedra anglistiky a amerikanistiky
Bakalářská diplomová práce
2020 Veronika Rovenská
Masaryk University Faculty of Arts
Department of English and American Studies
English Language and Literature
Veronika Rovenská
Queer Representation and Animation in the 2010s: Steven Universe and She-Ra and the Princesses of Power Bachelor’s Diploma Thesis
Supervisor: Jeffrey Alan Vanderziel, B.A.
2020
I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.
…………………………………………….. Veronika Rovenská
ACKNOWLEDGEMENT
I would like to thank my supervisor – Jeffrey Alan Vanderziel, B.A. – for his guidance and useful advice.
Table of Contents
Introduction ...... 1
Chapter 1 – Stereotypes, Representation, History ...... 4
Methods and Stereotypes in LGBTQ+ Representation ...... 4
History of LGBTQ+ Representation in Animation ...... 6
Denial and Censorship of LGBTQ+ Representation ...... 9
Chapter 2 – Steven Universe ...... 12
Queer-Coded: Homeword Dynamics and Fusion ...... 12
Rebellion: Crystal Gems ...... 14
Gender and Identity ...... 17
Steven as Pink Diamond ...... 19
Chapter 3 – She-Ra and the Princesses of Power ...... 23
Challenging or Reinforcing Gender and Its Subversion ...... 23
Bow’s Secret Life as Parallel to Coming Out ...... 27
Queerness and Queer-Coding ...... 28
Catradora: Another Example of Queerbaiting? ...... 30
Chapter 4 – The Revolutionizing of Queer Representation ...... 34
Conclusion ...... 39
Primary Sources – She-Ra and the Princesses of Power ...... 42
Primary Sources – Steven Universe ...... 44
Secondary Sources ...... 46
Summary (English) ...... 49
Resumé (česky) ...... 51
List of Figures
Figure 1 Bugs Bunny cross-dressing, still from “Looney Tunes | Incognito Bugs | WB Kids”
(0:16) ...... 5
Figure 2 Queer-coded Scar, still from “Lion King Be Prepared 1080p HD” (1:06) ...... 8
Figure 3 Lemon Jade fusion, still from “Together Alone” (10:53) ...... 15
Figure 4 Kevin (left) with Stevonnie (right), still from “Alone Together” (9:23) ...... 18
Figure 5 Steven in Pink Diamon’s Attire, still from “Familiar” (10:30) ...... 20
Figure 6 Pink Steven, still from “Change Your Mind” (33:07) ...... 21
Figure 7 She-Ra’s redesign, still from “The Sword Part 1” (22:44) ...... 24
Figure 8 Double Trouble redesign, still from “The Valley of the Lost” (13:44) ...... 25
Figure 9 Rainbow Wave, still from “The Battle of Bright Moon” (20:51) ...... 30
Figure 10 Catra and Adora dancing, still from “Princess Prom” (18:47) ...... 33
Figure 11 Crystal Gems‘ Pearl (left) with Blue Diamond’s Pearl (right), still from “Familiar”
(5:09) ...... 35
Introduction
“There’s this idea that [the existence of queer people] is something that applies – or should only be discussed with adults, that is completely wrong,” claims Rebecca
Sugar, one of the current prominent creators of animation with LGBTQ+ representation.
She continues that “[i]f you wait to tell kids, to tell queer youth, that it matters how they feel or that they are even a person, then it’s going to be too late!” (“Rebecca Sugar Q &
A” 16:36–17:20). Since 2010, there has been a rise of queer portrayal in cartoons targeted at children audiences – series with magical themes where there are no boundaries to gender and sexuality. The surge of queer representation in cartoons for children and its accuracy is part of the current study.
As stated by Jeffery P. Dennis in “Perspectives: ʻThe Same Thing We Do Every
Nightʼ: Signifying Same-Sex Desire in Television Cartoons,” animation changes throughout decades. They go through phases of “signifying” (132) homosexual desire and no queer readings. Additionally, he distinguishes between same-sex attraction and homosexual identities. Nevertheless, Dennis’ focus is on sexuality and does not provide any instances in children’s animation with gender non-conforming or trans characters.
Moreover, his study only regards the animation of the 20th century, leaving space for further study of the following decades.
While the studies on the queer animation of the 21st century remain scarce, the rapidly changing dynamics in Western society opens space for queer readings, unlike those from the previous decades. Many analyses of this period focus mainly on the animation of the major studios of today – e.g. the Walt Disney Studios, while the other animated series targeted at children on streaming platforms and cable television are, frequently, overlooked. Only a few works, mainly articles and theses, deal with the topic of LGBTQ+ representation in the 21st-century animation, namely, Eli Dunn in
1 their work “Steven Universe, Fusion Magic, and the Queer Cartoon Carnivalesque” and
“the liminal cartoon” (3) in Madison Bradley’s “Girl Crush: Liminal Identities and
Lesbian Love in Children's Cartoons.”
This thesis focuses on the depiction of LGBTQ+ identities in the animation of the 2010s and will endeavour to contrast these cartoons with their predecessors and prove they are more open to instantiating LGBTQ+ characters without stereotypes and tropes that have been set in the 20th century. The shift in queer representation has its basis in the loosening of rigid norms asserted on the expression of gender and sexuality.
By exposing children to queer identities brings benefits for young queer people, both internally, coming to terms with their identity, and externally, the societal view of queer people.
The terms “LGBTQ+” (lesbian, gay, bisexual, transgender, queer) and “queer” will be adopted interchangeably in the thesis as the term “queer” is considered as an umbrella term, encompassing fluidity of sexuality and gender. Notably, the term has undergone reclamation by the LGBTQ+ community in recent decades. Also, the field of study is focused on animation from the United States, as it is considered to be the main producer of entertainment and societal conventions for Western culture. For the same reason, Eastern animation – e.g. Japanese anime, is excluded as Eastern societies share the dissimilar sets of beliefs and values concerning sexuality and gender identities.
The thesis consists of four chapters. The first chapter will outline the terms, phenomena, and stereotypes regarding LGBTQ+ characters that recurred in animated series of the past and how they changed concerning the present, tropes such as bury your gays, subversion of gender, conversion of heterosexuals, and differences between queer-coding and queerbaiting. This is followed by a brief history of same-sex relationships in animation, notably, shifts from no representation to alluded attraction,
2 and the trope of queer-coded villains, finishing with the emergence of “liminal cartoon”
(Bradley 3), followed by an analysis of the obstacles queer animation faces in Western society – censorship related to LGBTQ+ characters. The second chapter focuses on an analysis of the series: Steven Universe (2013–2019), including its epilogue series Steven
Universe Future (2019–2020) and Steven Universe: The Movie (2019). This is followed by research on She-Ra and the Princesses of Power (2018–2020). Both chapters will be analysed based on three criteria: gender identities, sexuality, and queer-coding. The fourth chapter inquires into how the two shows depict these identities. Furthermore, there is a comparison of what the series have in common and in what aspects they differ. Lastly, the chapter sheds light on why the shows gained adult audiences and what factors determine the censorship of animation.
Lastly, queer representation in animation targeted at children constitutes an essential part of depicting LGBTQ+ identities in the modern age, teaching young children about identities diverting from the heteronormative norm. The inclusion of queer characters in animation for children is a result of the shift in the way Western society views sexuality and gender. The accuracy in the portrayal of queer identities is an essential part in ameliorating the treatment of LGBTQ+ people in the future.
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Chapter 1 – Stereotypes, Representation, History
Before analysing cartoons from the 2010s, some concepts and stereotypes need explication as they will be later used in the analyses of Steven Universe franchise and
She-Ra and the Princesses of Power. The first term to clarify is heteronormativity. The term introduced in 1991 by Michael Warner (Barker 84) adopts Adrienne Rich's notion of compulsory heterosexuality (44). The concept ingrained in Western culture has its basis in the assumption that heterosexual relationships and cisgender identities are inherent unless stated otherwise. Heteronormativity contributed to the denial of queer identities in the animation of the 20th century, as characters’ sexualities and genders, were seldom discussed.
Methods and Stereotypes in LGBTQ+ Representation
The events of the 20th century brought change to the way queer identities are viewed. Unfortunately, it subsequently produced detrimental stereotypes. In culture, stereotypes are pervasive and subconscious and generally arise when the individuality of people is removed and replaced with a model example.
The subversion of gender is the first stereotype. It encompasses behaviour exhibited in homosexual men and women that are commonly associated with the opposite gender. Therefore, the stereotype maintains the idea of heterosexuality in same-sex relationships. The depiction of the stereotype in the past championed Bugs
Bunny, who regularly cross-dressed (Fig. 1) or Snagglepuss, whose lisp and pink- coloured fur emitted effeminacy. However, an archetype that was well-known by the public of the 20th century was sissy – a caricature of a gay man. As described in the movie Celluloid Closet: “sissy made everyone feel more manly or more womanly by occupying the space in-between” (7:43–7:48), in the process, othering people with same-sex attraction. Similarly, the equivalent in lesbian relationships is butch/femme
4 dichotomy. The standard way of thinking about lesbians has it that lesbians appear more masculine than heterosexual women. Not only is the belief stereotypical, but it also denies the existence of feminine lesbians and their relationships. Overall, such a notion does not encompass diversity and thus is stereotypical.
Figure 1 Bugs Bunny cross-dressing, still from “Looney Tunes | Incognito Bugs | WB Kids” (0:16)
Bury-your-gays trope, also known as a dead lesbian syndrome, did not use to be as common in animation. The notion that cartoons are reserved for children resulted in only a small number of cartoons with deaths of characters. Due to this, the trope in the earlier years was nearly non-existent. Presently, with more LGBTQ+ characters in animation, this trope makes its way into cartoons. For instance, in Voltron: Legendary
Defender (2016–2018), Adam, the lover of Takashi Shirogane, is dead. The controversial part is that they share no on-screen time, and their relationship is reduced exclusively to flashbacks. Similarly, in Dragon Prince (2018–present), Ethari, a male character, mourns his husband Runaan, who is presumed to be dead. These instances emulate the notion that queer relationships cannot exist in society. Given these points, bury-your-gays trope occurs in the cartoons of the 21st century.
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A relatively new strategy is queerbaiting, which bears a negative connotation.
The term consisting of two words, queer and baiting, encapsulates the companies’ strategy of baiting the audience, mostly queer, to watch the show as it alludes to queer subtext while maintaining its straight audience. The show, through nuances, establishes a possible queerness of their characters without directly addressing it. Fandoms and pages like Tumblr then fuel this marketing strategy. Similarly to the bury-your-gays trope, queerbaiting has begun to permeate into cartoons in the 21st century, where characters can be queer. All in all, queerbaiting is an exploitative method of enticing queer audience.
A term related to queerbaiting is queer-coding. As opposite to queerbaiting, queer-coding represents a double-edged sword. In the past, when outed queer characters were not allowed on the screens, queer-coding enabled artists to include LGBTQ+ characters, while it, on the other hand, also enforced stereotypes. In contrast, Tricia
Ennis suggests that queer-coding is now “more of an academic tool … meant to help cultural critics discuss depictions of gender and sexuality in a nuanced way” (Ennis). In other words, queer-coding does not suggest queerness of characters, rather it alludes to the potentiality of viewing them as queer; and how their struggles relate to LGBTQ+ people. As can be seen, queer-coding is pertinent in portraying queer people when used appropriately.
History of LGBTQ+ Representation in Animation
Jeffery P. Dennis’s article “Perspectives: ʻThe Same Thing We Do Every
Nightʼ: Signifying Same-Sex Desire in Television Cartoons” and the movie Celluloid
Closet (1995), based on the book by Vitto Russo, represent the basis for the classification of animation in the thesis. They both focus on visual media in the second
6 half of the 20th century. The division into eras of decades makes the orientation in the text easier, and the changes between decades more visible.
It is a sound decision to divide cartoons into decades. The representation in animation is the product of historical developments and reflects the society in which it originates. According to Heather Wright, in her master’s thesis “‘The Childish, the
Transformative, and the Queer’: Queer Interventions as Praxis in Children’s Cartoons,” animation and comics have a history of censorship (16) in connection to what is deemed suitable for children. Animation, especially in the 20th century, was considered for children the same way comics were, resulting in censorship of both. Hence, cartoons do not occur in a cultural vacuum.
LGBTQ+ representation of the 20th century varied. Dennis emphasizes that the relationships in the cartoons did not involve explicit same-sex attraction per se, but rather just instances of queering the primary text that provided little or no background information concerning the relationships between characters (Dennis 132). The method was typical for the first half of the 20th century when homosexual desire was not perceived as a threat. The change came with the crisis of masculinity in the 1950s, with characters partaking in heterosexual relationships (134). Over the upcoming decades, the queer identities and spaces on display, in public and cinema, began to terrify the general public, leading to their erasure in animation. The sexuality of characters moved to the realm of heteronormativity and “forc[ed] producers to defuse the possibility [of same-sex attraction] through continuous demonstration of heterosexual desire” (134). It contradicts the situation that happened in U.S. society of that time, with the sexual revolution and the increase in queer activism, resulting in the rising societal dislike towards same-sex attraction. It appeared as an end to the same-sex attraction in cartoons.
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On the contrary, in the 1980s and 1990s, queerness started to appear anew in animation, mostly as a comedic gag or as equivalent to badness. The surge of the AIDS epidemic and the image of gay men as the carriers became a reason to portray same-sex identity as “anomalous and perverse” (Dennis 134). The trope that has been in live- action movies made its way to the world of unknowing children. Big corporations, especially Disney, with its renaissance, opened a market for a new type of queer-coded characters in children’s animation. Disney’s villains are visibly effeminate with Scar from The Lion King (1994) being lanky and theatrical and Hades from Hercules (1997) being flamboyant. Not only Disney took part in the creation of this trope in children’s cartoons, like The Powerpuff Girls (1998–2005), on Cartoon Network, fought a devil- like villain called HIM that sported high heels, had a high-pitched voice and was overall campy. This period in animation reflected the threat of LGBTQ+ people, in this case, gay men, and their way of life. The same-sex attraction was no longer just abnormal and undesirable, but also bad.
Figure 2 Queer-coded Scar, still from “Lion King Be Prepared 1080p HD” (1:06)
The turn of the century brought a divergent approach to representation, the period of “the liminal cartoon” (Bradley 3). According to Madison Bradley, the liminal cartoons appear in different periods, but are most prominent “from the ʼ90s to today”
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(14) and contain a “nontraditional thought” in which the cartoons place themselves as critics of the societal system (12). It opens doors for gender and sexual identities for younger audiences. Nevertheless, cartoons are still bound in the “system” (12) they oppose, and are not always positive instances of representation.
Denial and Censorship of LGBTQ+ Representation
Queer animation targeted at children has been controversial. In the public eye, it is the belief that “the child is innocent, childhood is under attack, and it is the adult queers who attack it” (Bradley 33), which created hostilities towards the inclusion of
LGBTQ+ characters in the animation. Yet, at the same time, the experts in queer studies and community diverge on the issue of whether queerness should be accessible to children. Mandy Elizabeth Moore, in the article “Future Visions: Queer Utopia in
Steven Universe,” mentions scholars who debate if it is justifiable to introduce children to queerness. Instead, she explicates that queer does not delineate content that is not suitable for children, but rather that a “queer child” (2) should contribute to the establishment of the “queer future” (2). The inclusion of children in the debate provides an insight into the situation queer culture is now. Queer presents a complex topic with varying opinions of scholars.
The creators are, in most cases, accused of playing it safe by their audience concerning queer representation. Aside from Steven Universe and She-Ra and the
Princesses of Power, which will be analysed in this thesis, other cartoons changed the portrayal of LGBTQ+ people in the 2010s. Notably shows such as Adventure Time
(2010–2018) and The Legend of Korra (2012–2014) received mixed reactions from the
LGBTQ+ audience and critics for their depiction of queer relationships.
The sexuality of the main characters in Adventure Time and The Legend of
Korra was not explicitly stated, only alluded to. Furthermore, the revelation happened
9 in the last episodes of both series. In The Legend of Korra, the relationship between
Korra and Asami was confirmed in the last scene of the series with them interlocking hands and walking into the portal, which was “widely lauded, [but] ultimately [fell] short” (Wright 16). Correspondingly, in Adventure Time, a romantic relationship between a vampire Marceline, and Princess Bubblegum was hinted, notably the song
“I’m Just Your Problem,” where Marceline questions “[w]hy [she] want[s] to …”
(“What Was Missing” 4:36–4:40) which makes her lost for words. Nevertheless, their relationship was confirmed only in the last episode by a kiss. The audience is left guessing whether they are friends or lovers until the last episode.
Not always are the creators at fault for not including queer representation in their animation, but rather the companies that employ them, as Bradley points out that
“mainstream media still largely attempts to maintain a heterocentric world where queerness is othered” (17). As an illustration, an episode of Gravity Falls (2012–2016) titled “The Love God” was to star two old ladies falling in love and sharing a kiss after
Cupid throws a magical potion at them. What appeared as a chance for inclusivity, turned into an argument between the creator of the series, Alex Hirsch, and the Disney company’s representatives by whom the scene was deemed “not appropriate for [its] audience” (Kaiser) and, in the end, scrapped. In the same way, Cartoon Network, the network that released Steven Universe, did not allow creators to include a kiss on the mouth between two men in the show Clarence (2014–2018) and opted for the less controversial kiss on a cheek. Blaming the creators as the main reason why the
LGBTQ+ representation is strained in cartoons is not justified as the companies play a role in the production of animation.
Besides, censorship happens not only within the companies that produce the animation but also in the countries where the cartoons are released. A stark example is
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Russia with gay propaganda law. The law prohibits any media that would openly support queer people, even cartoons. This led to Ruby, a butch lesbian from Steven
Universe, being voiced by a male actor in the Russian version. Surprisingly, also the
United Kingdom (UK), whose laws are queer-friendly, censors shows, including Steven
Universe. In the episode “We Need to Talk,” Pearl and Rose Quartz, agender but feminine-looking gems, dance together, while other characters play on the instruments.
It starts innocent but quickly turns into a sensual dance ending with fusion. This led the
UK branch of Cartoon Networks to remove certain passages of the dance. The branch stated that the “edited version is more comfortable for local kids and their parents”
(Frank). It not only points to the belief that queer is not suitable for children, but that parents are not “comfortable” (Frank) with queerness. The queer representation is oppressed on a national level, and even countries that prize themselves in inclusivity are taking part in censoring non-heterosexual interactions.
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Chapter 2 – Steven Universe
Steven Universe, with its depiction of LGBTQ+ characters, is considered to be one of the most progressive shows of the decade. Over the years, the show has been lauded by critics and received renown as the winner of the Peabody Award and
GLAAD Media Award. With its run of one hundred sixty episodes, a movie, and an epilogue series, the show has pioneered acceptance and inclusivity of queer people in the 2010s. While the show receives awards for its achievements in LGBTQ+ representation, it also has its critics on how the show implements racial and gender stereotypes in the world-building of Gem society.
The main protagonist is the titular Steven Universe, who is not an ordinary boy.
He resides in a temple in fictional Beach City with three aliens from outer space that call themselves Crystal Gems – Garnet, Amethyst, and Pearl. Rose Quartz, Steven’s deceased mother, was their leader. They deserted their home planet, Homeworld, to protect Earth from gems’ supreme leaders, the Great Diamond Authority that subdues the planets across the universe. That is not the only thing that sets Steven apart from his peers because he is a hybrid of a gem and a human. To be able to conceive Steven, his mother gave up her life, and since then, Steven became a member of Crystal Gems.
Queer-Coded: Homeword Dynamics and Fusion
Homeworld is a home planet of the Gem race and also a capital of their empire.
In the empire, the gems live in an absolute monarchy, reigned by the Diamond
Authority. Under their rule, Gems are divided into groups, based on their body-structure and abilities, and their behaviour is constantly monitored. Were a gem to defy the orders, she would be punished by shattering, their version of execution. The functioning of Gem society echoes a heteronormative society with encoded “homophobia” (Baum
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11). To enumerate, Homeworld, through queer-coding, illustrates how heterosexual majority oppresses queer minority.
The focal concept of the show is fusion, a process consisting of two or more gems coming together to form one being. This symbiosis is crucial for the enhancement of gems’ powers. Nonetheless, the employment of fusion on Homeworld differs from the one by the rebellious group called Crystal Gems. While Homeworld utilizes fusion to maintain its power across the galaxy, for Crystal Gems, fusion symbolises same-sex relationships and experience of same-sex attraction.
Markedly, on Homeworld, fusion is essential for the empire to operate. The sole purpose for Gems to indulge in Fusion is to serve the Diamonds in attaining new colonies. Due to this, gems are allowed to fuse only when requested, their fusion lacks emotions. Thereupon, Fusion on Homeworld loses its potential queerness. Moreover, the concept of fusion of Homeworld resembles a process of reproduction. Through fusion, gems enforce the reproduction of their culture across the universe. The fusions that do not serve this reproductive process are considered defective.
Henceforth, fusions outside of these lines are seen as an abomination and have to be shattered. When Blue Diamond sees Garnet, a fusion, for the second time, she refers to Garnet as “that” (“Together Alone” 5:49–5:50). This rhetoric is pertinent as it indicates how those who do not follow the Diamonds’ orders are perceived as inferior and dehumanized. In like manner, Jasper explains to Steven that “[t]hose who cannot fit inside [Homeworld’s] order must be purged” (“Earthlings” 1:35–1:38). For this reason, many Gems live in denial of themselves, such as Lemon Jade or hiding like Off-Colors.
Even Diamonds later realize that their empire is flawed, but are hesitant to change it. For them to accept the shortcomings of their society and “in order to fix it,
[they]’d have to admit that it’s broken” (“Change Your Mind” 13:58–14:02).
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Significantly, White Diamond, the most powerful of the Diamonds, acknowledges that her efforts to remove Gems’ “deficiencies” (28:19–28:20) are immoral and that even she is not “perfect” (37:59). Since then, Diamonds make amends to compensate for their mistreatment of the Gem race.
The Homeworld and the Diamonds exploit fusion as means to colonize the planets across the galaxy. Their purpose for fusion is different from the one promoted by Crystal Gems, where they support love and fuse freely. On Homeworld, Gems that are disobedient or do not fit the overall scheme are punished. Hence, the Gems deny their feelings or hide. The Diamonds become aware that their frame of thought is flawed and realize there is a need for change.
Rebellion: Crystal Gems
Garnet represents the cause to fight for and serves as a “queer world-maker”
(Moore 12). As she points out, until then, “[gems]’ve never seen a fusion of two different types of gems” (“The Answer” 4:31–4:34) as she is “something entirely new”
(7:38 – 7:42). She opened space for same-sex relationships to exist. Crystal Gems fight for acceptance of different sexualities and genders. They serve as advocates for their cause and reassure those like them on the Homeworld. They provide a sense of belonging, similar to the one experienced in the LGBTQ+ community.
Crystal Gems are not the only ones who experience same-sex attraction.
Observing fusions of Crystal Gems, during the ball, makes two Jades fuse (Figure 3) and with tears in her eyes exclaim: “I knew I couldn’t be the only one” (“Together
Alone” 10:52–10:54). As well as a fusion of Topaz soldiers starts crying while she cannot openly express her feelings and has “to pretend [she is] fine” (“Stuck Together”
8:17–8:19) As Garnet said to Off-Colors, gems outside of the ordinary “are everywhere” (“Your Mother and Mine” 08:47–8:55). Garnet’s point is that even when
14 the heteronormative structure of Homeworld stifles same-sex attraction, there are gems that experience this attraction and conform to the heterosexual hegemony.
Figure 3 Lemon Jade fusion, still from “Together Alone” (10:53)
Moreover, in fusion, same-sex relationships vary the same way opposite-sex relationships do. It is not as Baum claims that lesbian relationships mimic heterosexual ones with the pairing of a masculine and feminine lesbian (10). Over the seasons, Ruby and Sapphire have not been the only lesbian relationship on the show. In “Stuck
Together,” there is a fusion of two Topazes, who are both butch. This indicates that neither masculinity nor femininity plays a role in lesbian relationships of the show.
Additionally, not every relationship is a healthy one. As Lapis and Jasper fuse to form
Malachite, they fight internally. Sometimes, even gems who previously fused, are unable to, as they are not synchronized with each other. This way, Steven Universe dismantles stereotypes and normalizes same-sex relationships.
Crystal Gems and Earth serve as a safe place for Gems to express their differences. When Steven argues with Blue Diamond because she refuses to accept
Steven’s fusion with his friend Connie, he says that Crystal Gems “support [him] and
Connie” (“Change Your Mind” 4:21–4:24). Contrary to the safe environment the
Crystal Gems provide, Diamonds view Earth and Crystal Gems as “warp[ing Gems’]
15 sense of right and wrong” (4:05–4:08). In other words, Diamonds see the way Crystal
Gems live as inappropriate. Lastly, on Earth, Gems are set free from the blinding ideology of Homeworld. The most compelling evidence is Steven’s conversation with
Off-Colors, where he explains that “the Earth is a place where [everyone] can be
[them]selves … freely without having to hide who [they] are” (“Lars’ Head” 7:51–
7:57). Steven is insisting that on Earth, there is acceptance towards Gems who wish to express same-sex attraction or those who deviate the rules of Homeworld.
Not to mention, Crystal Gems and Earth serve as a safe place for Gems to express their differences. When Steven argues with Blue Diamond because she refuses to accept Steven’s fusion with his friend Connie, he says that Crystal Gems “support
[him] and Connie” (“Change Your Mind” 4:21–4:24). Contrary to the safe environment the Crystal Gems provide, Diamonds view Earth and Crystal Gems as “warp[ing
Gems’] sense of right and wrong” (4:05–4:08). In other words, Diamonds see the way
Crystal Gems live as inappropriate. Lastly, on Earth, Gems are set free from the blinding ideology of Homeworld. The most compelling evidence is Steven’s conversation with Off-Colors, where he explains that “the Earth is a place where
[everyone] can be [them]selves … freely without having to hide who [they] are” (“Lars’
Head” 7:51–7:57). Steven is insisting that on Earth, there is acceptance towards Gems who wish to express same-sex attraction or those who deviate the rules of Homeworld.
Lastly, Steven aids Crystal Gems in creating a world with no prejudice towards those that do not fit the norm. He is an active participant in creating the “queer utopia”
(Moore 13). Steven’s power to change the world is his belief that “[he] can make a difference” (“Steven Universe: The Movie” 1:10:50–1:10:53). Not only he acknowledges his potential, as Bismuth observes that Steven “[is] making [Crystal
Gems] believe in the future” (“Made of Honor” 9:07–9:10). Furthermore, his empathy
16 changes the Diamonds’ view on Gems, whom they once considered deviant. Steven insists that by “let[ing] everyone be whoever they are, maybe [White] could let [her]self be whoever [she is], too” (“Change Your Mind” 38:07–38:14). In making this comment,
Steven argues that even Diamonds are oppressed by their system similarly homophobic people are trapped by their own beliefs.
In summary, Crystal Gems and Earth represent a haven for Gems, whose behaviour is in contradiction to Diamonds’ beliefs. There they can express themselves without repercussions. Crystal Gems are the voice of oppressed Gems of Homeworld who hide. Additionally, same-sex relationships are shown to be the same as heterosexual ones. Lastly, Steven contributes to creating a queer world alongside his caretakers.
Gender and Identity
The concept of identity is essential to the story’s narrative as Steven attempts to navigate through life as the son of a traitor. His sole existence is defying the established society. Steven is not human, nor gem, but a hybrid. He exists in-between, manoeuvring through life, and trying to fit in both worlds. Not only Steven’s identity gives space for those in-between as the show gives voice to marginalized gender identities in the
LGBTQ+ community. The stark example is Steven’s fusion Stevonnie.
One of the show’s major representations is Stevonnie, who is confirmed to be not only non-binary but also intersex, as they are a fusion between Steven and his friend
Connie. To make Stevonnie’s experience as a non-binary person more accurate to the outside world, they are faced with obstacles a non-binary person experiences in the real world. While they struggle to understand who they are as a fusion, they are harassed and objectified by a boy named Kevin. He refers to Stevonnie as if they were a girl and makes Stevonnie uncomfortable (Figure 4). Stevonnie’s experience is an excellent
17 example of the outside world’s reaction to a non-binary person. Albeit, there is a problem with Stevonnie being the only representation of a non-binary person in the original series. Theoretically, Stevonnie is not one person, they are a fusion between
Steven and Connie, a boy and a girl, giving them a reason to stand outside the gender binaries.
Figure 4 Kevin (left) with Stevonnie (right), still from “Alone Together” (9:23)
In contrast to this, in the show’s epilogue series Steven Universe Future, Sadie’s new partner is called Shep. Shep is a non-binary human. They do not exist in the
“carnivalesque space” (Dunn 45) as they are an ordinary human. By removing magic in the show, whose non-binary identities are possible due to their magical powers, is a step forward for children to accept non-binary people in real life, where there are no supernatural powers to change the pre-existing bodies. Shep illustrates a person the audience may encounter in the real world. Because of this, Shep’s ordinary existence in the show serves as a complement to the magical existence of Stevonnie.
Lastly, the subversion of gender is not utilized as a queer stereotype, but as a way to erase rigid gender norms. The stark examples are Sadie, Steven, and Lars in the episode “Island Adventure,” in which they get stranded on an abandoned island. There,
Sadie carries out tasks that are associated with men, such as procuring food and fighting
18 the beast when they are in danger. On the other hand, Lars embodies a female gender role as he prepares the food, is highly emotional. However, Lars is insecure about his feminine side while trying to impress others in later episodes. To Lars, Steven serves as antithesis as he disregards others’ opinions and proudly wears a skirt on the island. This subversion of gender stereotypes influences those who watch the series and their awareness of gender (Bradley 19). Steven and Lars are boys, and their behaviour does not make them less boys, the same way Sadie is still a girl. This way, Steven Universe challenges established gender roles.
In conclusion, identity is essential for Steven Universe. The show opens space for marginal non-binary identities such as Stevonnie and Shep, whose experience sheds light on what challenges non-binary people face daily. Lastly, the show employs a subversion of gender on its characters despite their sexual orientation.
Steven as Pink Diamond
The moment Steven reveals that he is a son of Pink Diamond, who disguised herself as Rose Quartz, changes the Diamonds’ attitude towards Steven. He is no longer a traitor, but a long-lost member of the Diamond Authority. Notwithstanding, they do not perceive Steven as himself, but as Pink Diamond’s new chosen form. The disregard to Steven’s identity and words employed when he is addressed resemble the experience of trans people in the cisgender society. By all means, Steven’s experience is queer- coded.
Firstly, Steven desists his identity to ensure the well-being of others, by the same token, a trans person becomes closeted in specific situations. For Steven, his identity is crucial as he deems that “[he] thought [he]'d always be in [his] mother's shadow”
(Steven Universe: The Movie 5:55–5:58). Despite that, he always felt pressured to be like his mother that “[he] even thought about dying [his] hair pink” (“Storm in the
19
Room” 8:01–8:04). Moreover, he feigns to be his mother to protect others. When
Aquamarine and Topaz arrive on Earth in search of people Steven listed in earlier episodes, in hopes of saving his friends, Steven decides to pose as his mother, as Rose
Quartz is more valuable captive than everyone else. Likewise, in the episode “Familiar,”
Steven gets dressed into a smaller version of Pink Diamond’s clothes (Figure 5). He is set to change the Diamonds’ minds concerning Earth, even if it means conducting himself as someone else.
Figure 5 Steven in Pink Diamon’s Attire, still from “Familiar” (10:30)
Steven’s behaviour is considered rebellious. The most compelling evidence is
White Diamond’s outburst: “No! You are Pink Diamond! That is Pink Diamond’s gem!
You do not look like this! You do not sound like this! You are not half-human, you’re just acting like a child” (“Change Your Mind” 36:11–36:21). This passage insinuates how White’s rhetoric mimics the unaccepting parents who view their child’s identity as a phase. In the same fashion, Yellow Diamond asks Steven about his “strange disguise” and “[w]hy [he is] doing a voice” (“Legs from Here to Homeworld” 1:10–1:13). This behaviour of make-believe and pretend is identical to one of the children. They treat
Steven as if he was confused about himself, denying the possibility that he is someone else.
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Steven is not Pink Diamond even though he possesses her gem. In “Change
Your Mind,” Steven’s gem is removed. Although the gem was previously Pink
Diamond, instead of her form, the gem goes through silhouettes of Pink Diamond and
Rose Quartz, finally settling with a pink version of Steven. In other words, the gem is not Pink, nor Rose anymore, but Steven’s inner-self. This pink version looks at White
Diamond and screams: “She is gone” (33:52–33:56). Pink does not exist anymore, and
Diamonds need to accept the gem the way it is. Rose or Pink Diamond, is gone and
Steven remains as the possessor of her gem.
Figure 6 Pink Steven, still from “Change Your Mind” (33:07)
The realization that Steven is not Pink, pretending to be someone she is not, makes Diamonds change their behaviour towards Steven. First Diamond to acknowledge it is Blue and defends Steven’s identity, although, at the same time, she misgenders him by shouting: “[s]he prefers to be called Steven” (6:39–6:42) She makes an effort while not completely understanding the concept of Steven’s transgender identity. Correspondingly, at the end of the finale, White Diamond is confused and tries to excuse her misdemeanour by claiming that she “only want[s Steven] to be
[her/him]self,” (34:49–34:52) to which Steven retorts: “I’ve always been me” (36:08–
21
36:10). This is a significant moment for Steven as he was himself the whole time, while others just did not see it. These reasons lead to Steven being finally himself.
Since then, Steven’s identity is not compromised. The Diamonds accept Steven as a person separate from his mother. In the movie, the Diamonds express their awareness of who Steven is as “[they] know that [he is] not [Pink]” (Steven Universe:
The Movie 3:32–3:35). Likewise, Jasper, who swore to serve the Diamonds and avenge
Pink, emphasizes that “[Steven] might have Pink Diamond’s gem, but [he is] not [her]
Diamond” (“Little Homeschool” 7:08–7:12). Steven is not his mother, and Jasper refuses to abide by him. These instances prove that Steven’s identity is respected by others.
The way Steven is treated in the series by the variety of gems indicates their inability to see Steven for himself. This experience has a striking parallel to trans-teens coming to terms with their gender identity and how their surroundings react to them.
Steven’s search for acceptance by his Diamond family proves to be tougher than with the Crystal-Gems family, as he cannot escape his gem’s past as Pink Diamond and Rose
Quartz. His behaviour is perceived as childish and considered a phase that will pass.
Luckily, he is eventually accepted after proving he is not the person his gem used to be.
In summary, Steven’s character arc utilizes queer-coding as a means to shed light on the issue of trans kids in society.
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Chapter 3 – She-Ra and the Princesses of Power
She-Ra, a mighty warrior with a sword, first appeared in the series She-Ra:
Princess of Power (1985). After that She-Ra disappeared from the TV screens, seemingly to be forgotten. The change came when DreamWorks Animation and Netflix joined forces to create a rebooted series that would be produced by Noelle Stevenson, a queer artist. As could have been expected, due to her involvement in the project, many hoped that she would include queer characters in her series.
Similarly, to the original series, Adora uses a magical sword to turn into a princess of power, She-Ra. She fights against the Evil Horde, an empire trying to conquer Etheria. As a child, she was kidnapped from her home planet Eternia, but the similarities end here. Instead of being a real princess and a sister to He-Man, who is not a character in the show, Adora is an orphan raised by Shadow Weaver, a sorceress, and second-in-command of Evil Horde. Since a young age, Adora trained to defeat the
Rebellion, defenders of Etheria, not knowing she fights for a villainous organisation.
Once she acquires the Sword of Protection, she discovers the true nature of the Horde.
Under those circumstances, she deserts the Horde and her childhood friend Catra and joins princess Glimmer and her friend Bow, who attempt to re-establish the Princess
Alliance, a faction of Rebellion consisting of Etheria’s princesses.
Challenging or Reinforcing Gender and Its Subversion
The show headed for a rocky start from the onset. Since the revelation of the characters’ designs (Figure 7), the show has been panned by die-hard fans of the original series. According to Abad-Santos in a Vox article, to the, mostly male, fans
“She-Ra is no longer appealing, no longer sexy, and perhaps no longer an object of their sexual attention” (Abad-Santos). This shows that women are allowed to express themselves, as long as it pleases the eyes of straight men. The comments also indicate
23 that cartoons are no longer exclusively for children as those comments are written by adults. Concerning the re-design, Santos, correspondingly, raises a question, whether the female’s capabilities depend on her appearance. By focusing on women’s capabilities, Abad-Santos overlooks the deeper problem the show is targeting. The show is not about whether femininity in women reflects their capabilities, but rather about how diverse female-bodied women express their femininity, making them complex characters with personalities.
Figure 7 She-Ra’s redesign, still from “The Sword Part 1” (22:44)
The new She-Ra is unapologetically queer. The fan comments included in Abad-
Santos’ article complain that Stevenson as a “[b]oyish lesbian re-imagines SHE-RA as a boyish lesbian,” alluding to a possible queerness of the main lead. On one hand, the show reinforces the queer stereotype of gender subversion as adult audiences identify
She-Ra as a queer character. On the other hand, by claiming both traits, the show manages to blur the strict assumptions associated with gender. The characters are queer- coded and express both masculine and feminine traits. Hordak, a male overlord, is seen crying, challenging the stigma that boys do not cry. Moreover, the establishment of
Princess Alliance challenges the notion that women are not suited to be leaders. The
24 show utilizes the gender-subversion stereotype to defy behaviour associated with a certain gender.
The show includes marginalized gender identities in the LGBTQ+ community.
As soon as the new character called Double Trouble was announced, the show received another wave of complaints. In the original series, Double Trouble did not play a major part. She was only an action figure with a face that could be changed between two options. This particular aspect made it possible to reinvent the character (Figure 8). The new Double Trouble rejects the gender binarity and uses they/them pronouns.
Additionally, to reduce the confusion with either male or female misgendering, they are a lizard-like creature that can “transform” (“The Valley of the Lost” 14:29–14:30) into anyone they please. Their non-binarity is accepted without question nor backlash.
Furthermore, their abilities make them a valuable ally to the Evil Horde, normalizing their non-binarity. Yet, they do not pick a side, they are not hero nor villain. Instead of non-binarity being a handicap, they make it their strength, calling it their “gifts” (14:08–
14:09). Double Trouble represents a marginalized queer identity that arouses respect for non-binary identities.
Figure 8 Double Trouble redesign, still from “The Valley of the Lost” (13:44)
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Living in a magical world does not reduce the significance of representation. Eli
Dunn, in their study, illuminates the problem of characters living in the world of
“fantastical, the carnival time” (56). They believe that these identities are only possible to make visible in cartoons through magic, making queerness reserved to the world of imaginary and unreal (56). Nonetheless, the show manages to portray non-binarity in a way that is easily understandable to the younger audiences. Children from an early age get to understand that Double Trouble is neither a boy nor a girl. This provides an open- mindedness that is crucial for acceptance. Furthermore, the world of fantasy is more acceptable to the general public than queer identities in real life. It is petty progress.
Lastly, the market of the shows from the 2010s is dominated by supernatural features, not to mention that every cartoon exists in a fictional world with its specific rules.
Overall, Double Trouble’s existence in a fictional world does not delude their significance.
Lastly, Double Trouble utilizes Judith Butler’s theory of gender performativity.
Double Trouble points to the arbitrariness of gender and the way people act, saying that people wear “costumes” (“The Valley of the Lost” 13:55–13:56) and that they are
“committing to [their] roles” (9:38–14:33). According to Judith Butler: “[To] say that gender is performative is to say that nobody really is a gender from the start” (“Judith
Butler: Your Behavior Creates Your Gender” 1:28–1:33). In making this comment,
Judith Butler argues that performativity does not mean performance. However, Double
Trouble’s reference to acting means that gender is based on pretending and that they do not have a gender. They can perform as either gender as they have none. This way, a character of Double Trouble encapsulates a theory of gender performativity.
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Bow’s Secret Life as Parallel to Coming Out
Coming out is one of the key events in a queer person’s life. A person comes out with hesitation as they are unsure how the society and their surroundings will react to the information. In She-Ra and the Princesses of Power, the main focus is on Bow as his situation is queer-coded and otherwise has no relation to sexuality.
“Who are you?” (16:25–16:27) asks George, one of Bow’s fathers, in
“Reunion.” Despite Bow having two dads, which already is an instance of LGBTQ+ representation, the focus is on Bow. Even though Bow is loved by his parents, he cannot disclose his secret to them. He is not studying at the Academy of Historic Enterprises as he claims to do. Instead, he is an archer and technology expert that fights with Rebellion against the Evil Horde. Bows’ story, in many instances, resembles a coming-out story. It is against his fathers’ expectations and demands of him, and knowing the truth “would kill them” (8:00–8:02). Bow combats the image of a perfect son, the same way being
LGBTQ+ challenges the heteronormative society.
Due to that, Bow changes into a different person around his parents that is unfamiliar to Adora and Glimmer, the new surrogate family. When Glimmer exclaims:
“I feel like I don’t know you at all” (14:02–14:04), in her eyes, he becomes a stranger.
He tries to reassure her that she knows the “real” Bow (14:07–14:08), but for Glimmer, there exist two Bows. The Bow that loves technology and is willing to fight for the well-being of Etheria and the foreign Bow that studies at the Academy of Historic
Enterprises, following in his fathers’ footsteps. He perceives the pressure to conform to expectations “[b]ut the truth is [he is] nothing like the rest of [his] family. [He has] tried to tell them before, but they don’t want to hear it, so [he] pretend[s]” (14:22–14:31). He is conflicted between what is expected of him and how he feels, the same way LGBTQ+
27 youth struggles with their gender and sexuality. Subsequently, he is less himself with his parents, creating the perfect image of a son he is supposed to be.
The episode concludes with a battle against a monster, after which Bow proudly exclaims: “This is who I am and I can’t lie about it anymore, even though I know I am breaking your hearts” (18:29–18:34). In making this statement, Bow asserts that he can no longer hide his true self to please his parents. To some extent, his “coming out” is not completely voluntary as he was seen fighting the monster in his parents’ library, but he comes out nonetheless. At this moment, Lance, George’s husband, realizes the hurtful expectations they placed on their son. They reach an understanding of their son’s lifestyle, telling him that “[they] love [Bow] the way [he is],” and they not only support him but also “are proud of [him] no matter what path [he takes] in life” (19:23–19:27).
Bow is still their child, and they love him unconditionally.
Bow’s story arc is a stark exemplum of a queer-coded experience. His inability to tell his parents how he truly feels and the pretence that he is not what his fathers hate, is reminiscent to the closeted queer teens in a homophobic family. He leaves a toxic environment of his biological family for a same-spirited group of friends like him. This creates a conflict in Bow as he does not want to fail his family nor wants to pretend to be someone he is not. His coming out and his fathers’ acceptance spreads a message voiced by queer activists of parents supporting their children.
Queerness and Queer-Coding
Although the show portrays openly queer characters, they do not play a significant part in the story. Bow’s fathers appear only in one episode and not get mentioned ever since. Similarly, even though princesses Netossa and Spinnerella, a married couple, are members of the Princess Alliance since the third episode, they do not get as much screen time as their counterparts in the Alliance. Moreover, in “Flowers
28 for She-Ra,” Bow remarks that “[him and Glimmer] are not really sure what [Netossa and Spinnerella] do” (3:56–3:59). Additionally, they do not talk during the meeting, even though they are the only princesses present aside from the main trio and the queen.
This evokes an image that queer identities are irrelevant. They do not exist in the narrative of “continual episodic visibility” and are not “main protagonists” (Bradley
20). They exist not to blatantly show representation, but as background characters that can easily be omitted from the narrative if necessary. Given these points, the openly queer characters appear in the show sporadically and are set aside from the most events of the show.
Aside from openly queer characters in relationships, other characters exhibit same-sex desire as well. Firstly, Huntara, an ex-soldier of the Horde, is seen flirting with a female bartender in the Crimson Waste in episode “Huntara” and appears displeased when Adora interrupts her, Secondly, Adora’s eyes light up when she spots
Huntara for the first time or when she gets hugged by a muscular lady in “Flutterina,” foreshadowing her possible queerness. Thirdly, Scorpia has feelings for Catra as her cheeks flush when she looks at Catra and claims that “[she] and Catra have a special bond” (“White Out” 2:53–2:55). By letting characters to follow their same-sex desires, the creators normalize queer identities in society.
Lastly, the settings have colour-schemes of LGBTQ+ flags. It starts subtly with a background character in “Princess Prom” wears a lesbian-flag-coloured dress. This is then followed by Catra and Adora’s dance, where the scene dramatically changes to the hues of the bisexual flag. This indicates a possible relationship between them.
Furthermore, the scheme emerges in the episode “Promise,” where Catra and Adora run through the halls of Crystal Castle that turn to the colour of the bisexual flag. At last, queer-coding appears at the end of season one, when Bright Moon, one of the
29 kingdoms, is saved by the Princess Alliance. During the fight, each of the princesses shines a different colour that unites into a rainbow wave (Figure 9) washing away the
Horde, establishing a queer community. The colour combinations utilized in the show reflect the colours present on LGBTQ+ flags.
Figure 9 Rainbow Wave, still from “The Battle of Bright Moon” (20:51)
Overall, the show attempts not to be too intrusive towards its straight audience with the sporadic depiction of queer characters that do not label their experiences.
Those characters that are not confirmed to be queer engage in same-sex-desire acts without apparent queerness to them. Finally, the flag colours being included is a sign of representation, however, for those unfamiliar with the colour schemes, this representation has no apparent value.
Catradora: Another Example of Queerbaiting?
Catradora is the name of the most favoured ship of the series. A word ship, a shortened form of relationship, is a popular term in fandoms throughout the platforms on the internet. The term functions as a noun or a verb denoting a romantic, (non)- canonical relationship between characters. The ship name is a blend of the characters’ names that are shipped together. Many fans question if Catradora (Catra and Adora) is a
30 canonical ship, which would represent a same-sex relationship, or just a gimmick to attract queer audiences.
The bond between Catra and Adora seems ambiguous. Before Adora's departure, they were close, but now Catra and Adora stand on opposing sides. According to the voice-actors of Adora and Catra in an interview for io9, there is a possibility of them becoming “friends” again (“She-Ra's Cast Gives Insight Into Catra & Adora's
Relationship.” 0:20–0:21). On the other hand, Noelle Stevenson, in the same interview, refers to their bond as “relationship” (1:11–1:12), leaving space for fans to decide.
Furthermore, some instances indicate sexual tension between Catra and Adora. As of now, the outcome of their relationship is hard to categorize.
In many situations, they rely on each other. After their fight in “Princess Prom,”
Catra is about to push Adora, however, Adora steps aside, and Catra is to fall into the abyss. Fortunately, Adora catches her and pulls her towards herself, ending in a suggestive pose. The roles are reversed in the later episode. Another key point is that
Catra has a chance to capture Adora, but she decides not to. In an episode “No Princess
Left Behind,” she determines to give the sword back to Adora and stresses that it “is not because [she] like[s her]” (21:15–21:17). Notably, she repeats it in the episode
“Promise,” to which Adora teasingly replies: “I mean, I didn’t, I didn’t say anything”
(5:51–5:53). There is more than friendship between them as they choose to save each other in life-or-death situations.
The circumstances of Adora’s departure are reminiscent of a queer teen leaving an unaccepting family. Catra calls her decision to join the Rebellion as a “weird little identity crisis” (“The Sword Part 1” 18:05–18:08), and “[d]ress-up games” (“The Sea
Gate” 20:08–20:10) to make Adora come back. Catra believes Adora’s feelings will pass. By the same token, when talking to Shadow Weaver, their mother-figure, Catra
31 defends Adora as “[i]t’s just a phase” and that “[Adora] is confused” (21:17–21:20). As to clarify, Catra is alluding to the heteronormative belief that other sexualities do not exist and that queerness does not last. Finally, Catra notes to Shadow Weaver that
Adora “defected” (“Razz” 13:24–13:25). Adora’s departure is queer-coded as a teen leaving their un-supportive family, while Catra opts for security the Horde provides her.
Catra has compassion for Adora. Before Adora deserted the Horde, they were inseparable. As an illustration, in the first episode, they are shown sharing a bed. As a result of her absence, in episode “Razz,” Catra sits on the bed looking at the drawing of her and Adora and starts clawing at it crying. It designates how close they were, and her emotional turmoil closely resembles a break-up. Further, in the episode “Flowers for
She-Ra,” there is a drawing of She-Ra pinned to her locker, which she frantically destroys as for Shadow Weaver not to see. The scene resembles the way queer teens hide their sexuality in a heteronormative world. Later in the episode, Shadow Weaver accuses Catra of “protecting [Adora]” (21:12–21:15). Catra has no reason to hide the information about Adora, but she cares for Adora and wants her to re-join the Horde.
Lastly, in the episode “Princess Prom,” Catra and Adora dance together when a dramatic switch happens, and Catra ends with hands around Adora’s waist (Figure 10).
Given these points, Catra is, in her way, affectioned towards Adora.
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Figure 10 Catra and Adora dancing, still from “Princess Prom” (18:47)
At present, the question of whether the show is queerbaiting its viewers is hard to answer. There exists a considerable amount of evidence alluding to a possible same- sex relationship between Catra and Adora, however, none of it is displayed explicitly.
Unfortunately, as of the time this thesis is written, the show is not finished, with the last season airing on May 15th. After the release, it will be apparent if the show was queerbaiting its audience. Although the confirmation of their relationship may come true, the show's ending would be similar to Adventure Time and Legend of Korra, with the relationship being revealed at the end of the series.
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Chapter 4 – The Revolutionizing of Queer Representation
The shows analysed in this thesis serve as a sample of the 2010s’ LGBTQ+ cartoons. This chapter explores the ways Steven Universe and She-Ra and the
Princesses of Power depict queer characters, their similarities, and differences, as well as how these shows make a case for the future of queer animation. It centres on the shows’ ability to portray LGBTQ+ identities without stereotypes and through what methods the shows achieve that. The last section assesses why shows similar to Steven
Universe are censored, while She-Ra and the Princesses of Power remains unaltered.
Allowing LGBTQ+ artists to participate in the creative process of show-making is a vital part of representing queer characters. A thing to bear in mind is that both shows are produced by queer authors, Rebecca Sugar and Noelle Stevenson. As stated by Sugar, the themes in Steven Universe are “based on [her] experience as a bisexual woman” (“Mensagem Rebecca Sugar - SDCC 2016 [LEG PT-BR]” 00:29–00:32). Thus incorporating the personal experience of LGBTQ+ people suggests less stereotypical patterns in the depiction of queer characters. Additionally, both producers focus on combating the heteronormative system while being part of it (Bradley 16). Not only that, but both shows have also managed to shift the points of view from the heterosexual majority towards the queer minority. In other words, the queer characters are not othered but stand as prominent components of the narrative. Lastly, the shows challenge the stereotype of queerness associated with badness. The characters are the heroes of their stories. By doing so, the producers created a queer space in cartoons.
Moreover, the common themes of both shows are female relationships and the expression of femininity. The shows have powerful female characters who move the plot forward. For this reason, many relationships in the series are lesbian. Conversely, the cartoons emphasize that being vulnerable or feminine is not a weakness, but a way
34 to challenge the imposed gender roles. Moreover, the two shows focus on societies run by women who embody varying degrees of femininity. As an illustration, princesses wear clothing from dresses to pants or varying lengths of hair. In Steven Universe,
Pearls wear dresses, but the Pearl that is a member of Crystal Gems wears pants and a jacket (Figure 11). Even Steven takes part in expressing his inner femininity, blurring the lines between what is inherently masculine and feminine.
Figure 11 Crystal Gems‘ Pearl (left) with Blue Diamond’s Pearl (right), still from “Familiar” (5:09)
Furthermore, the shows portray groups rebelling against the conquerors, who strive to destroy their planet and impose their beliefs on its occupants. Yet, there is discord as She-Ra’s characters do not attempt to change the minds of the conquerors, rather they defend their homeland. Moreover, the shows depict prominent members of the established system, who have privileges but opt to give them up as the ways of the system are against their beliefs. The examples are Adora, who leaves The Horde even though she is to become a Force Captain and Pink Diamond, who becomes Rose
Quartz, fighting against other Diamonds. Lastly, the rebels participate in creating a
“decolonial kind of queer utopia” (Moore 7). Moore’s claims that such a condition is not met is debatable as of that time, Steven Universe: The Movie was not released. In the movie, Diamonds free all their colonies because of Steven.
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In contrast to She-Ra and the Princesses of Power, Steven Universe exists in a world where changing minds is possible. This notion is voiced in the movie, where a betrayed gem Spinnel retorts that “[Steven] can’t just make everything better by singing some stupid song” (Steven Universe: The Movie 1:12:17–1:12:23). Despite that, he manages to do just that, and Spinnel gives up her revenge. Even the episode where
Steven makes Diamonds understand is called “Change Your Mind,” Diamonds listen to him and become members of the newly-established queer-friendly Gem society. On the other hand, even though the characters’ minds in She-Ra and the Princesses of Power are changeable, the shift does not have the immense power as the shift in Steven
Universe, as She-Ra’s characters cannot resolve the substantial issue of conquest. In other words, Steven Universe embodies the power to change people’s minds through conversation.
Despite the shows’ focus on the queer representation, their treatment of the queer characters is contrastive. Steven Universe’s queerness centres around its outed lesbian characters that do not conform to gender norms, and advocate the interests of the
LGBTQ+ community. Contradictory, as aforementioned, She-Ra’s homosexual characters and their appearance in the show is episodic. Instead, the show falls back profoundly on queer-coding to an astounding degree that it arises a question if the assumed queer-coding is not simply queerbaiting. Nevertheless, considering the shows’ depiction of non-binary identities, the shows are on the same footing. Arguably, even though Stevonnie has less screen-time than Double Trouble, their significance is equal, due to Stevonnie’s impactful scenes in the show. Although shows use varied methods in depicting its characters, they manage to do so without stereotypes.
Compared to the shows of preceding decades described by Dennis, such as
Pinky and the Brain or Yogi Bear, the characters in shows of the 2010s no longer
36 employ anthropomorphised animals as the protagonists of the cartoons. Despite that, the characters are not wholly human, either. As a result, homosexuality and gender non- conformity remain to be othered. The characters representing queer people are not entirely human as Catra has animal-like characteristics, Double Trouble is of foreign species, as well as Gems, who are an alien race. This distinction establishes a barrier between the audience and the shows’ queer characters as they are set apart from humans.
Another thought-provoking phenomenon is the shows’ audience. Even though cartoons are targeted at children, adults, mostly members of the LGBTQ+ community, watch these shows, too. It is due to the animation providing space to express queer identities without the fear of judgement and repercussions. Additionally, the shows share educational value. Steven Universe deals with heavy topics such as interpersonal interactions, relationships, the psychology of the characters, loss, and PTSD. On the same note, She-Ra and the Princesses of Power deals with cycles of mental abuse and loss of beloved ones. The depth of characters, and their development through seasons, relinquishes the label “for children” and the impact of such shows transcendent their purpose of children’s broadcasting.
Lastly, the platforms the shows are on influence how censored they are. Netflix, as an online streaming service, provides unaltered episodes of She-Ra and the
Princesses of Power even for Poland that is known for its religion-backed anti-
LGBTQ+ ideology. As the platform allows its viewers to change between languages, the visual aspect remains the same for viewers from across the globe. The only way the show can be censored is through its translation of the dialogue or not allowing access to the show in countries against LGBTQ+ rights. In contrast, Steven Universe, as a television series, is bound by regional changes. As an example, in the Russian version,
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Ruby, who is involved in a lesbian relationship, is voiced by a male actor to produce an illusion of a straight relationship with Sapphire. On the same note, in South East Asia,
Ruby and Sapphire’s wedding is eluded altogether, creating inconsistencies in the overall plot. The platform used for broadcasting the shows influences the level of censorship they receive.
In summary, both shows are created by queer women. The inclusion of queer authors generally provides fewer stereotypes in the animation. By participating in the production of queer animation, the creators undermine the heteronormativity of society.
The two shows achieve that by mostly female characters that engage in same-sex relationships and express ranging levels of femininity. The female characters are influential leaders who defend their home from the invaders. Through different means, they attempt to establish peace. However, it is possible only in societies that are capable of change. The queer representation Steven Universe provides, is superior to the one of
She-Ra and the Princesses of Power, as She-Ra relies on queer-coding or even queerbaiting. The shows differ from their predecessors as they no longer include anthropomorphic animals as main characters. Surprisingly, the thought-provoking nature of the shows expanded their audiences as adults also watch the series. Finally, the censorship of these shows has its basis on the platform they were released.
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Conclusion
Over the past decade, queer characters have made their way onto the TV screens. Not only that, but they also began to appear in children’s cartoons. The recent outpouring of queer representation in animation targeted at children raises a question if the shows employ the same patterns of representation as their predecessors, notably queer-coding or queerbaiting. The main focus of this thesis was whether the characters in cartoons tend to mirror stereotypical beliefs regarding LGBTQ+ people from cartoons as well as other fields of entertainment of the past, namely movies.
The first chapter of the thesis was a theoretical part that concentrated on the history of queer animation. The opening part dealt with heteronormativity, a term coined by Michael Warner that describes an underlying belief that people are heterosexual and cisgender until refuted. Then followed a variety of stereotypes associated with queer people, namely subversion of gender and bury-your-gays trope, along with methods of queer-coding and queerbaiting. Then, an outline of everchanging queer representation in animation during the 20th century was drawn, finishing with the rise of the new type of cartoons. The first chapter concluded with various kinds of censorship and denial of queer-identities and queer-reading of the material and corporate influence on LGBTQ+ representation.
The consecutive chapter focused on Steven Universe and opened with a plot summary followed by a section on queer-coded dynamics of Homeword. Firstly, the concept of fusion was explained, and how Homeworld exploits fusion in achieving its goals, eradicating its queer undertones and suppressing any attempts for change. The second section dealt with Rebellion and Crystal Gems, especially Garnet, as queer activists fighting for change. Their position showed other same-minded Gems that they are not alone, and their significance is in creating queer spaces. Significant was how
39 their fusions normalize lesbian relationships as they are not idealistic and show struggles of staying together. The following paragraph was on Steven’s input to building queer society. The chapter was brought to the close with a section on gender and identity. It surveyed Stevonnie, a fusion, whose experience as a non-binary person bears reminiscence to the everyday struggle of non-binary people, and the significance of Shep’s existence as a non-binary human. Additionally, the chapter explored the subversion of gender that was not related to sexuality. The chapter closed with Steven’s experience comparable to a trans person not accepted by their family.
The show She-Ra and the Princesses of Power was the focus of the third chapter. After a short plot summary, followed the controversial redesign of She-Ra and how the series subversion of gender serves as a device to dispose of the gender-norms rigidness and allows its characters to express femininity. The section about gender was concluded by a non-binary character Double Trouble, who combines the concepts of gender performativity and gender performance, and their magical abilities. Then ensued a section about Bow’s secret life and his inability to say to his fathers, who he is, correlating with the coming-out experience. The last part of the chapter was devoted to the queer-coding and the show’s same-sex-oriented characters. The homosexual characters appear sporadically, and the show’s queerness relies heavily on allusion to same-sex attraction and queer-reading of the material – colour schemes. Lastly, the chapter investigated a relationship between Catra and Adora, which suggests queer- coded experience. However, based on the known information, the outcome was unpredictable, whether the characters are queer or a gimmick of queerbaiting.
The last chapter brought the two shows together and compared their similar features and their differences. Beginning with the significance of queer artists, the shows’ producers used their experience in creating characters, establishing queer
40 identities not only as the central aspect of the shows but also as heroes. Their characters engage in removing boundaries between feminine and masculine. They defend their planets from conquerors and differ in the fact that Steven Universe’s issue is resolved, but She-Ra and the Princesses of Power’s cannot be. When the shows were analysed on their depiction of LGBTQ+ characters, Steven Universe was superior, as She-Ra and the
Princesses of Power relies more on queer-reading of the material. The striking actuality was that the shows are no longer solely for children. The chapter concluded with a comparison between the cartoons’ platforms and their censorship.
In conclusion, the shows Steven Universe and She-Ra and the Princesses of
Power, allow their characters to express their gender and sexuality. This conceives space for discussion of the matter in children’s cartoons. The common method utilized to express queer identities is through queer-coding rather than queerbaiting. Compared to the previous decades, the cartoons also include openly LGBTQ+ characters, who do not inhibit the role of villains. Instead, they become the shows’ heroes who fight for equality. The cartoons combat the stereotypes of the past, yet, they are not flawless with issues of subversion of gender and conversion to homosexuality. Despite their shortcomings, these animations, especially Steven Universe, open doors for more queer animation and their amelioration of queer representation in the future.
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Primary Sources – She-Ra and the Princesses of Power
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Netflix, 13 November 2018.
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2019.
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November 2018.
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Primary Sources – Steven Universe
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“The Answer.” Steven Universe. season 2, episode 21, Cartoon Network, 4 January
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Summary (English)
This bachelor thesis deals with the LGBTQ+ representation in the animation of the 2010s. The focus of the thesis is on two animations – Steven Universe and She-Ra and the Princesses of Power. The thesis aims to shed light on the changes in queer representation in the cartoons of the 2010s compared to the ones of the 20th century.
The thesis concentrates on proving that 2010s cartoons no longer employ stereotypes of their predecessors.
The first chapter provides an overview of stereotypes and methods in depicting
LGBTQ+ characters, namely, heteronormativity, subversion of gender, and bury-your- gays trope. This is followed by a short survey about the history of queer representation in animation. The chapter closes with the section on denial of queer identities and censorship.
The second chapter analyses cartoon Steven Universe. The first thing is the concept of fusion and its usage by Homeword as a heteronormative society. It is followed by the analysis of the Rebellion and Crystal Gems who advocate for equality and acceptance of queer identities, Gems, who defy Homeworld’s expectations. Lastly, the chapter concentrates on non-binary identities, subversion of gender that is unrelated to sexuality, and a parallel between Steven as Pink Diamond and trans teens.
The third chapter is devoted to She-Ra and the Princesses of Power. The show is analyses on its subversion of gender, its nonbinary character. Additionally, the chapter compares Bow’s secret lifestyle to a closeted teen. Lastly, the chapter deals with outed queer characters in the show and implied homosexuality between Catra and Adora.
The last chapter combines the two animations in drawing similarities and differences between them. The chapter compares the shows in their representation of
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LGBTQ+ characters and queer-coding. Lastly, the focus is on the shows’ queer authors, their audiences, and censorship.
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Resumé (česky)
Tato bakalářská práce se zabývá tématem znázorňování LGBTQ+ postav v animovaných seriálech mezi roky 2010 – 2020, zdůrazněny jsou pak seriály Steven
Universe a She-Ra and the Princesses of Power. Cílem této práce je nastínit změny v zobrazování queer postav z období 2010 – 2020 a dokázat ústup od stereotypizace queer postav v porovnání s animací z předešlého století.
První kapitola se věnuje jednotlivým metodám a stereotypům spojovaných s
LGBTQ+ lidmi, a to především na koncept heteronormativity a stereotypy genderové subverze a bury your gays. Poté následuje krátké zmapování, jak byli queer lidé donedávna zobrazováni. Kapitola je završena pojednáním na popírání queer identity a cenzury.
Druhá kapitola se zabývá studií seriálu Steven Universe. V první části se zaobírá fúzí a jak ji Homeworld, paralela k heteronormativní společnosti, zneužívá ve svůj prospěch. Následně jsou zkoumáni Crystal Gems, jenž prosazují rovnost všech drahokamů jakožto queer identit. Toto je doplněno částí o ne-binární genderové identitě, genderové subverzi a přirovnání Stevena pomocí queer-codingu k trans chlapci.
Třetí kapitola zkoumá animovaný seriál She-Ra and the Princesses of Power. Na začátku je rozebírána genderová subverze a ne-binární postava Double Trouble. Mimo jiné se kapitola zaobírá porovnáním Bowa a jeho utajovaného života s životem
LGBTQ+ lidí. Na závěr kapitola zkoumá homosexuální postavy v seriále a nejasný vztah mezi postavami Catry a Adory.
Poslední kapitola je věnována porovnání seriálů mezi sebou. Jejich společné rysy jako jsou užívání genderové subverze k stírání genderových hranic a vzdor proti koloniálním velmocím. Důraz je také kladen na autorky seriálů a fanoušky. Celou práci uzavírá pojednání na téma cenzury.
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