Queerbaiting is a marketing technique for fiction and entertainment in which creators hint at, but do not depict, same-sex romance or other LGBTQ+ representation. [6] The purpose of this method is to attract ("bait") a queer or straight ally audience with the suggestion or possibility of relationships or characters that appeal to them, [7] while not alienating homophobic members of the audience or censors by actually portraying queer relationships.
Queerbaiting has been observed in popular culture and fiction such as films, television series, books, music, ads, various forms of media, but also in celebrities who convey an ambiguous sexual identity through their works and statements. [8] The term arose in and has been popularized through discussions in Internet fandom [9] since the early 2010s. [10] It comes from a larger history of LGBTQ+ discourse in media representation dating back to the 1970s from subtle marketing to LGBTQ+ people through commercials and books. [11]
Queer fans have reacted with concern and anger to an identity they consider defining being used as a mere marketing ploy, a plaything for creatives, a mark of "edginess", or a commodity. [10]
Fans have derided, for instance, queer characters being used as plot devices rather than as characters for their own sake. Glee , for example, a series with many queer series regulars, was criticized by fans for presenting "superficial stereotypes of queerness for dramatic effect". [12]
Queer fans consider queerbaiting as "a way to throw us a bone when we normally wouldn't have anything, to acknowledge that we're there in the audience when the powers that be would prefer to ignore us". [13] Emmet Scout wrote that "queerbaiting works on its audience because it offers the suggestion that queer people do have a vital place in these stories, that they might even be the defining figures, the heroes. The suggestion—but not the reality." [14] Rose Bridges summarized the practice's effect on queer fans as receiving "just enough [representation] to keep us interested, but not enough to satisfy us and make us truly represented." [13]
Critics of those who engage in queerbaiting discourse point to its similarity, and perhaps confusion by audiences, with subtext. [15] Subtext became popular in media, especially in film, during the 1930s due to the Hays Code which limited what can be shown on screen. The use of subtext has been a literary ploy to tell a variety of stories since. However, those who engage with queerbaiting discourse argue that LGBT representation no longer needs to be in the shadows of media. [15] Instead of adding artistic value, queer fans view this tactic as perpetuating LGBT marginalization.
According to media scholars[ who? ], the perceived increase in queerbaiting reflects a shift towards a more positive perception of queer relationships in modern societies—and therefore, in a sense, societal progress. [10] However, the same societal shift has also increased expectations by queer fans as to the quality and authenticity of queer representation—they demand not just any representation at all, but rather "respectful and meaningful depictions" of their relationships. [10] That is why, according to media researcher Eve Ng, the ambiguous sexuality projected by twentieth-century entertainers such as David Bowie, Elton John and Madonna was not scrutinized to the same degree as that of their successors. [10]
Various businesses and corporations, such as Starbucks, Ben & Jerry's, and Tylenol have showcased queer people and queer families in advertisements, helping to normalize and increase awareness surrounding the queer community. [16]
Queerbaiting has brought the spending power of the queer community to light, and businesses make economic decisions that promote and support the queer community and its representation that ultimately entices the pink dollar. Terms associated with the queer community, like pink money, have shown the importance of queer people within an economy and a society. [16]
In May 2020, reviewer Sophie Perry, writing for a lesbian lifestyle magazine, Curve , noted how queerbaiting has long endured in LGBT representation, noting how She-Ra and Harley Quinn both had same-sex kisses, happening within stories that could have turned out to be "typical queerbaiting" but did not. [17] Perry added that the "queer conclusion" of the show is thanks to ND Stevenson, describing it as very different from the conclusion of The Legend of Korra , which confirmed Korra and Asami's relationship but left it "purposefully ambiguous" so it could air on a children's network. She concluded by calling She-Ra and the Princesses of Power culturally significant and added that as more creative queer people come to the fore, inevitably queerbaiting will "become a thing of the past".
In March 2021, a writer for Vanity Fair , Joanna Robinson asked when "queer coding" veers into the territory of "queer baiting", with Dana Terrace saying it happens a "lot in modern anime", and Robinson saying this is also seen in shows like the end of Supernatural or the "hubbub around Finn and Poe in The Rise of Skywalker ". [18]
Disney has been accused of queerbaiting on several occasions, with Kodi Maier of the University of Hull arguing that "Disney is willing to create animated films and television shows that suggest queer content, but only so long as it doesn’t damage its conservative image." [19] [20] The directors of Avengers: Endgame had spoken in interviews about believing it was "a perfect time" to include queer representation in the franchise, however, it turned out to be a single line said by an unnamed secondary character in the film. [21] The Rise of Skywalker faced similar criticism after director J.J. Abrams stated in the promotional press tour for the film that he had included queer representation in the film, but it turned out to be a single shot of a kiss in the background of one scene. [22] A number of other Disney films, including the 2017 Beauty and the Beast film and Cruella were promoted as having queer characters (in some cases promoted as having Disney's first openly queer character), yet in each case the portrayal of queerness on screen was either just hinted at or a brief background that could easily be missed. [23] [24]
The following characters, or relationships between characters of the same sex, have also been interpreted as examples of queerbaiting by at least some reliable media sources. This interpretation is not necessarily shared by all critics or fans.
Some series did portray a same-sex relationship after being criticized for queerbaiting:
On April Fool's Day 2020, content creators, who were mostly straight men, started to post short videos and challenges on social media, mostly TikTok and Instagram, lip-syncing to will.i.am's "Boys & Girls" and pretending to come out as bisexual. [60] In 2021, Alpha House influencers were accused of queerbaiting, while other straight web personalities received the same accusations. [61] Some influencers came out after being accused of queerbaiting. [62] Noah Beck was also accused of queerbaiting while he kept confirming his identity as straight. [63]
Many "challenges" or "trends" on TikTok or Instagram were accused of queerbaiting. This includes kissing others of the same gender, posting false coming out narratives, or falsely claiming to be in a same-sex relationship. [60] [64] Many celebrities, including Billie Eilish and Normani, [65] [66] were accused of queerbaiting for their posts on Instagram.
Although this has been criticised, others have argued that the popularity of this trend is an example of the growing acceptance of LGBT people and (among males) a homosocial embrace of a "softer" form of masculinity. [67]
American singer and actress Madonna is an ally recognized as a gay icon. She was introduced, while still a teenager, by her dance instructor, Christopher Flynn, an openly gay man who mentored her. Since then, Madonna has always acknowledged the importance of the community for her life and career, declaring that she "wouldn't have a career if it weren't for the gay community".
LGBT representation in children's television is representation of LGBT topics, themes, and people in television programming meant for children. LGBT representation in children's programming was often uncommon to non-existent for much of television's history up to the 2010s, but has significantly increased since then.
Historically, the portrayal of lesbian, gay, bisexual, and transgender (LGBT) people in media has been largely negative if not altogether absent, reflecting a general cultural intolerance of LGBT individuals; however, from the 1990s to present day, there has been an increase in the positive depictions of LGBT people, issues, and concerns within mainstream media in North America. The LGBT communities have taken an increasingly proactive stand in defining their own culture, with a primary goal of achieving an affirmative visibility in mainstream media. The positive portrayal or increased presence of the LGBT communities in media has served to increase acceptance and support for LGBT communities, establish LGBT communities as a norm, and provide information on the topic.
Gay media refers to media that predominantly targets a gay, lesbian or LGBTQ+ allied audience. The primary target market for gay media may also more broadly be considered to include members of an LGBTQ+ community. Secondary targets are LGBTQ+ allies, and in some instances those who oppose gay rights may be targeted as a form of activism to change their minds. There are many types of gay media, and the type is determined by the purpose of the media presented. Gay or queer media can also be defined as web sites, films, magazines and other cultural products that were created by queer individuals, or groups that are typically out, meaning that they are public or open about their identity. Gay creators do not always include gay themes or issues in their productions but there is usually at least subtle references to queerness or acceptance in these media.
Lesbian, gay, bisexual, transgender, and queer+(LGBTQ+)music is music that focuses on the experiences of gender and sexual minorities as a product of the broad gay liberation movement.
Straightwashing is portraying LGB or otherwise queer characters in fiction as heterosexual (straight), making LGB people appear heterosexual, or altering information about historical figures to make their representation comply with heteronormativity.
In fandom, Stucky is the pairing of Steve Rogers and James Buchanan "Bucky" Barnes, fictional characters who appear in comic books and related media produced by Marvel Comics. The pairing is a manifestation of shipping, a phenomenon in fandom wherein individuals create fan works that depict a romantic or sexual relationship between two characters whose relationship in the source material is typically neither romantic nor sexual; Stucky is an example of slash, a genre of fan works that focus on same-sex characters. In accordance with shipping naming conventions, Stucky is a portmanteau of "Steve" and "Bucky".
Queer coding involves attributing stereotypically queer traits without explicitly stating gender and sexual identity. Though such a character's sexual identity may not be explicitly confirmed within their respective work, a character might be coded as queer through the use of traits and stereotypes recognizable to the audience. Queer coding is a concept both in the discussion of media portrayal of LGBT people and academic research involving queer theory or gender studies.
For many years, LGBT representation increased on animated series and animated films. In the 1990s, LGBT characters were depicted in animated series like South Park, The Ambiguously Gay Duo, and The Simpsons. In the early 2000s, LGBT representation increased in Western animation, culminating in GLAAD's "Where We Are in TV" report in 2005, even as representation in such animation was scattered and disparate. In the 2000s, series like Queer Duck, The Oblongs, The Venture Bros., Drawn Together, and Archer would air. It would not be until the advent of shows like Steven Universe, The Legend of Korra, and Adventure Time in the 2010s, that LGBT characters in animation would gain more of a prominent role, leading to shows such as She-Ra and the Princesses of Power in 2018 and Kipo and the Age of Wonderbeasts in 2020, along with other series in the 2020s. This page will show this progress by building off the lists of animated series which contain these characters and explain the History of LGBT characters in animation. It does not focus on LGBT characters in anime series or films, which is examined on the LGBT themes in anime and manga page.
In the 1990s, more LGBTQ characters began to be depicted in animated series than in any of the years before. The depiction of LGBTQ characters changed significantly compared to previous decades. Some of the most prominent Western animated series during this decade which featured LGBTQ characters were South Park, King of the Hill, Futurama, and The Ambiguously Gay Duo. The representation in 1990s series would also influence series in the 2000s.
The depiction of LGBTQ characters in animated series in the 2010s changed significantly from the previous decade; especially in Western animation. This included Rebecca Sugar's Steven Universe which aired on Cartoon Network and praised for going "above and beyond when it comes to inclusive storytelling" The 2010s also brought with it shows such as Adventure Time, The Legend of Korra, BoJack Horseman, OK K.O.! Let's Be Heroes, Amphibia, She-Ra and the Princesses of Power, and The Bravest Knight, among others, all of which had strong LGBTQ characters. Representation of LGBTQ characters would only continue to grow in the 2020s.
Netflix has contributed substantially to LGBTQ representation in animation. Lesbian, gay, bisexual, pansexual, asexual and transgender characters have appeared in various animated series, and some animated films, on the streaming platform. GLAAD described Netflix as a company taking "impressive strides in viewership and impact," when it came to LGBTQ representation. Scholars have stated that LGBTQ characters on streaming services, such as Netflix, "made more displays of affection" than on broadcast networks.
Cartoon Network, an American TV channel which launched in 1992, and Adult Swim, its adult-oriented nighttime programming block which launched in 2001, has regularly featured lesbian, gay, bisexual, and transgender (LGBT) characters in its programming.
He-Man, a fictional superhero from the sword and sorcery franchise Masters of the Universe created by Mattel, has often attracted queer interpretations and discussions over his status as a gay icon. His first appearance was in the 1982 comics included with his toy figures. The animated television series He-Man and the Masters of the Universe, which aired from 1983 to 1986, focused on the character and established traits that would remain consistent in future installments of the franchise.
This article features the history of the representation of lesbian, gay, bisexual, and transgender (LGBT) characters in animated productions under The Walt Disney Company, including films from the studios Walt Disney Animation Studios and Pixar, and programming from the Disney Branded Television channels as well as the streaming service Disney+. From 1983 onward, Disney struggled with LGBTQ representation in their animated series, and their content often included LGBT stereotypes or the content was censored in series such as Blazing Dragons. Some creators have also criticized Disney studio executives of cutting LGBTQ scenes from their shows in the past, or criticized that their shows were not seen as part of the "Disney brand", like The Owl House.
Larries are shipping conspiracy theorists who believe that former One Direction bandmates Harry Styles and Louis Tomlinson have a long-term and secret romantic relationship. A fundamental part of this conspiracy theory is that the two, name blended as "Larry Stylinson", have been closeted by their management company, Modest Management, supposedly guided by homophobic corporate interests. Proponents of the conspiracy theory have used the hashtag #LarryIsReal.