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Netflix had many LGBTQ characters present on shows available on the streaming service through the 2010s. This was connected to the fact that in 2017, the company committed to devoting more of its future spending toward "new and original anime" due to its huge popularity worldwide.[1] GLAAD would describe Netflix as a company making "impressive strides in viewership and impact," when it came to LGBTQ representation.[2] This would continue into the 2020s, when the representation would be enhanced, with animated series like Kipo and the Age of Wonderbeasts and the final season of She-Ra and the Princesses of Power.

She-Ra and the Princesses of Power

People at Pride Parade carrying various flags, including the pansexual, bisexual, and rainbow flags in August 2016

In November 2018, Noelle Stevenson's She-Ra and the Princesses of Power premiered on Netflix. It had begun production in May 2015, with Stevenson saying their early conversations about queer relationships and characters were only possible because of Steven Universe, with pushback early on that they couldn't have any romance.[3] Stevenson would work on this project for almost the next five years until the premiere of the final season in May 2020.[4] She-Ra was quickly praised for its LGBTQ+ representation. Before the show began streaming, two gay characters, the fathers of series protagonist, Bow, were revealed at a panel.[5] Some stated that the show had a lot in common with shows like Avatar: The Last Airbender, Steven Universe and Sailor Moon, including characters which can be read as "fluidly on the gender and sexuality spectrum."[6] One reviewer stated that Stevenson was carrying the torch from Steven Universe, highlighting various LGBTQ+ characters in the show, and noting that the show tackles various topics like identity, responsibility, "importance of chosen family," and being queer itself.[3] Others noted that the show included a lesbian couple, Netossa & Spinnerella,[7] which are "closely bonded characters," and noted the "queer romance" manifested by the Adora-Catra relationship.[8][7][9] Stevenson noted the importance of featuring LGBTQ+ representation in kids animation, saying shows before made She-Ra's "range of queer representation" possible,[10] with some arguing she had roots in "queer fandom"[11] and called the show one of the "most LGBTQ-inclusive and diverse shows on television."[12] Stevenson and the crew of the show were strongly influenced by anime (especially those with magical girls),[13] fantasy roleplaying games like Dungeons and Dragons,[14] sci-fi in the 1970s and 1980s, paying homage to the original She-Ra: Princess of Power show.[15] The following year, the show would have a recurring non-binary character named Double Trouble.[16] Stevenson began working on She-Ra at the same time she began dating Molly Ostertag,[17] who ended up becoming very influential for the show, even "from the very beginning."[18] Ostertag was the one who came with the plot idea that the planet of Etheria was a weapon, employed in the season 4 finale, "Destiny Part 2".[19] At the same time, Stevenson and those working on the show were fighting very hard for the "Princess Prom" episode, trying to build in a queer framework to the show so it becomes normalized within the executive structure itself, and were hoping for a positive support from the fans.[3] Stevenson also admitted they hadn't been as explicit in the first season as they had wanted and were overwhelmed by the positive support from fans, noting that whenever a show has a "really powerful piece of representation," it helps other productions. This representation would continued into May 2020, when the show's final season aired, leaving a lasting impact on LGBTQ representation for years to come.

On May 15, 2020, what people have said about She-Ra and the Princesses of Power came to pass when the final season of Stevenson's show premiered on Netflix. The stakes were higher than ever before, with more danger than the previous season, according to Stevenson, as the season has "a core of optimism to it" with the characters discovering who "they are and following the path that each of them has."[20] Before the show premiered, Mey Rude, who has reviewed the show, said that it is "changing animation, television, and lives for the better"[21] and stated that She-Ra has and "will continue to be the catalyst for self discovery for countless queer people."[22] In an interview with Nerdist, Stevenson said that she wanted to represent points of view not usually seen in media, trying to explore them while being as "honest and as real as possible," adding that while crafting queer representation is different from "studio to studio, show to show," recommending that people who want such representation have to approach it "without any fear," saying that sometimes people hold back because they are scared, and called for increased LGBTQ+ representation.[23] She hoped that the show would inspire people to create "more queer relationships and characters who are textually queer," and that it inspires people in their lives as a whole. She echoed this in a later tweet, remarking that she hoped that in the future people stop thinking of LGBTQ+ representation "as a race or a contest and more as a community effort to uplift voices that have not yet had their stories told," adding that every piece of media is a broadening of horizons, not an endpoint.[24] In another interview, she made the argument that having characters who are incidental to the story, and have a "central and somewhat ambiguous, slow unfolding of a relationship," with the latter much tougher, arguing that it not time at the present for queer characters to die because that has been the norm for a while.[25] In terms of the show itself, the final season confirmed Rogelio and Kyle, who were childhood friends, with Noelle Stevenson confirming their relationship, adding that Lonnie is also part of it, implying a possible polyamorous relationship.[26] There were also scenes of a married lesbian couple (Netossa and Spinnerella), the two dads (George and Lance)[a] of series protagonist, Bow, and an episode with a major focus on Double Trouble,[b] a non-binary character. Most prominently, however, the slow-burn romance[c] of Catra and Adora came to a pinnacle, with both confessing their love toward each other and kissing one another in the series finale, with their love saving the universe.[27][25] Stevenson stated that while this romance was something she had planned from the show's conception, she wasn't sure how overt she could be, playing it sensitively at the beginning,[28] waiting for the right moment, laying the groundwork for the final season, with the slow-burn romance ultimately approved, and was glad she could finally talk about it, having it be central to the final season in "a very, very textually romantic way."[23][25] She implied influence of Steven Universe on the show,[d] while confirming the Bow/Glimmer, Scorpia/Perfuma, and Entrapta/Hordak relationships, while noting she fought hard for the Catra/Adora pairing during the show's development.[29][30] At the same time, in one interview she noted that while the show focuses on humanizing villains like Hordak, that Horde Prime represents someone who cannot be redeemed, with redemption as a choice, and open-ended nature of the final episode.[28] She further stated that she based Horde Prime on suicidal cult leaders and Christian fundamentalists as many of his phrases feel "like they're lifted straight out of religious sermons and songs," with megachurches used as a model for "designing Horde Prime's spaceship."[31] In an interview with GLAAD's Raina Deerwater she talked about queer representation in animation, situating her show with others like Legend of Korra and Steven Universe, noting that young fandom is expecting "nothing less than a variety of solid queer representation and central queer characters," calling it inspiring, and noting challenges that lay ahead.[32] When talking with Entertainment Weekly she told Christian Holub that she hoped that She-Ra would continue to pave the way, saying she hopes it will be easier to have "romances and relationships that are constant throughout the show" without it taking suspense out of the show itself.[33]

Furthermore, Stevenson talked to Gizmodo about the Catra/Adora relationship, shipping, and LGBTQ+ relationships in fiction:

"It’s kind of bothered me in the past when it comes to two characters who are gay or queer in a queer relationship, or are theorized to be in a queer relationship. And the way that it always seems to come down, the way it’s covered, that it is a shipping thing? Or it is something that, you know, bored kids on the internet do that’s not real—or it doesn’t have real merit and real value and real storytelling and meaning. That always seems to be the conversation around gay characters because it’s like, ‘Oh, I want these two characters to kiss. I ship them!’ Which is great. I love the fandom that is passionate about these things. But for me, I was like, why can’t it be a relationship that is central to the plot, a romance that is central to the plot. The way that so many straight characters have gotten to be, without it being the end-all-be-all...to actually see it [the Catra-Adora romance] be a central part of the plot and to fulfill the arcs of the characters in a way that felt satisfying. I really want to take it beyond ‘Oh, the shippers got what they want.’ Like, it’s not just a ship for me. It is a plot point. It is the necessary conclusion of each character’s arc, separate and together...I’m looking forward to seeing how that conversation evolves, and what it looks like in the next show and the next movie and the next story and the one after that. What can we ask for? What can we look for and what can we imagine for ourselves and for others that are represented on our screens and in our stories? And I’m excited for what that conversation will be."[34]

Some reviewers praised the series on its character development, plotlines, redemption arc for Catra, the screen time for Entrapta, hilarious moments, the interactions between Netossa and Spinnerella, and wrapping up existing character arcs.[35] Others said that the sendoff of the series is satisfying, with Catra portrayed as a victim of trauma, with her past straining her relations with Adora, with the message that nothing can overpower "the collective power of friendship, love, and solid storytelling."[36] A review on The Mary Sue stated that the show's final season hammers home the message of love, compassion, and sttength, even with an emphasis on forgiveness and allowing those who wish to be redeemed the space to change, like Steven Universe, although none of the pain caused is erased, and noted the lesbian marriage (between Netossa and Spinnerella), the two "queer leads" (Adora and Catra), non-binary characters, and many other forms of representation.[37] The same review made the argument that in the last ten years, LGBTQ+ television for children has changed to the extend that going backward isn't an option, with shows like She-Ra leading the way. Some stated that the series ends on a powerful note, with the final season "packed with big queer energy," with lesbian love literally saving the universe in the series finale, praising the finale season for putting "LGBT+ characters front and centre with a finale that does justice to its fans."[38] At the same time, reviewers said that the kiss between Adora and Catra would change TV forever.[27] Three reviewers for Autostraddle, Valerie Anne, Meg Jones Wall, and Heather Hogan, reviewed the show's final season, calling it a "literally perfect season of television", the friendship between Scorpia and Perfuma, the hilarious moments, and Entrapta coming more out of her shell.[39] They further pointed to Catra's redemption arc, the focus on Netossa and Spinnerella, and called the Catra/Adora relationship one of the best "queer couple storylines." Tracy Brown of the Los Angeles Times noted that Etheria is a planet without restrictions on gender and no hetereonormativity, adding that the final season actualized the "central queer love story," thrilled to see Catra and Adora admit their love for each other, surprised by it only because she "didn't expect to be able to see a story like theirs unfold on a kids’ cartoon — at least not yet," going beyond what she called "ambiguous queer undertones," and said that she considers the TV show that lets all kids, especially those are queer, realize that "being honest about their feelings can make them a hero is as exciting as it is important."[40] Thomas Bacon of ScreenRant echoed this sentiment by saying that while the She-Ra franchise has always had "queer undertones," the queer romance between Adora and Catra is now canon, adding to the "lesbian relationship between the princesses Netossa and Spinnerella, and the nonbinary character Double Trouble," with the queer love between Adora and Catra becoming central, with their love saving the universe itself.[41] He described the show as bold and a "flagship show for queer representation," with nothing like it ever before, and hoped the show will "become a trend-setter." Adding to this was the review by Emmet Asher-Perrin on Tor.com, argues that Catra has an inferiority complex like Loki in Marvel Cinematic Universe films and the current "master" in the Doctor Who series, noting that while Catra becomes a villain originally, but after she realizes this makes her unhappy, she switches sides, saves Glimmer, and Adora rescues her from Horde Prime, noting that Catra stood in front of the girl she loved, confessing her feelings.[42] Another commentary, by Raina Deerwater of GLAAD in The Advocate, stated that the center of the show is a "relationship between two women" (Adora and Catra), with the dynamic between then driving the entire series, comparing the show to Killing Eve while noting shows like The Legend of Korra, Adventure Time, and Steven Universe also having central queer romances, and citing GLAAD's Where We Are on TV reports to talk about LGBTQ+ representation in popular media.[43] Deerwater also describes Adora and Catra as "undisputedly gay," with their kiss in the final episode making it clear that the show was a love story, with the title characters of both She-Ra and Killing Eve likely getting "to live their full queerness" following the series finales of both shows, while remaining optimistic about more representation going forward.

Marcus Scribner, voice of Bow, at the 2019 WonderCon, for "She-Ra and the Princess of Power", at the Anaheim Convention Center in Anaheim, California

On July 8, Maya Gittelman wrote an article on Tor.com praising the series. She stated that the show not only "queers fantasy archetypes" but has a "deliberately inclusive, [and] diverse cast," and works to highlight "different means of expressing power" and have room for "an expansive exploration of femininity."[44] Gittleman further argued that the show operates further "outside the gender binary" than any show she knows of, that "Catradora has actually been canon for years" with the show focusing on a world where "the love of two queer girls gets to save the universe." In the end of her review, she says she would like to see more diverse "queer stories" in the years to come. In a New York Times profile later that month, on July 21, of climate activist Jamie Margolin, she said she watched all five seasons of the show over a three-day period, telling the interview, "I was like, I hate the real world. I want to live on Etheria," a testament to the influence of the show.[45] The next month, in June, Stevenson confirmed something else about Catra. She said that Catra was a woman of color,[46] saying they discussed her "being a brown Latina" when designing her, although this was not "explicitly, textually present in the show,"[47] loving those who headcanon her as Persian.[48] The following month, Stevenson confirmed another lesbian relationship in She-Ra. On August 17, she confirmed that Light Hope and Mara, in She-Ra were love, a development cheered by fans and Shane Lynch, who had been a writer and script coordinator for the show.[49]

These effects were dulled by an August 26, 2020 exit interview with Stevenson and other members of the crew, such as Kiki Manrique, Michelle McMillian, Katherine Nolfi, Laura Sreebny, Shane Lynch, and Jess Zammit.[50][51] Comments made during the panel became controversial. At one point, Noelle Stevenson said that Bow's brothers had names that rhymed with his, including one named "Sow" who was said to "till the fields" as part of inside joke with storyboarder Sam Szymanski.[52][53] Some saw this as an unintentionally racist "joke" connotative of slavery and in bad taste.[54][55] Stevenson later apologized for the comments and rededicated herself to examining her "language and behavior" so she wouldn't make the same mistake again.[56][57] She also said she accepted the consequences and advised fans to not defend her.[58][59] The following day, She-Ra character designer Rae Geiger clarified that they had drawn the image of Bow's brothers, including "Sow", saying that Black people should speak on this issue, and apologizing to "anyone whose feelings were hurt."[60] The panel also sparked discussion on Reddit[61] and on Twitter,[55] with Black animators and illustrators commenting on issues they face in the animation industry. While some writing about the controversy highlighted further problematic comments,[52] others countered this, saying that a viral tweet spread misinformation about the panel, inflaming the controversy.[62][55]

On September 1, 2020, Stevenson wrote a long thread on the topic, apologizing once again to the show's fans and Black professionals, while saying she is getting an anti-racism consultant to craft a plan going forward.[63] She then made a commitment to hire "Black talent at every level," hiring anti-racism consultants and sensitivity readers, and asked those who defended her to commit themselves to anti-racist education.

Kipo and the Age of Wonderbeasts

As Netflix pushed forward, Kipo and the Age of Wonderbeasts became a shining example of expanded representation.[64] In the first season of Kipo, which streamed on January 10, Benson said outright he was gay, saying he only liked the series protagonist, Kipo, in a platonic way.[65] He also developed a crush on a male character, Troy, in the show's 10th episode.[66] Due to these elements, some noted the show's "casual queerness."[67] One critic, Petrana Radulovic, described Benson's coming out scene as setting a precedent for future programming for all ages:

"Despite the fact that LGBTQ representation in all-ages programming is better than ever, no one has actually uttered the words 'I’m gay' in an all-ages animation series. While some shows feature characters in more prominent and explicitly queer relationships than others (Mr. Ratburn’s Gay Rat Wedding in Arthur, for instance, as well as Bow’s dads on She-Ra and the Princesses of Power), up until now, no character has actually come out to another...The highlights noted by GLAAD over the years emphasize worlds and settings where being in a gay relationship is not challenged or seen as something different...there’s a different effect to a character proclaiming 'I’m gay,' let alone a lead character...Benson’s coming out scene isn’t a big, tearful affair, but a quiet moment between two people who are close. The LGBTQ+ community knows you don’t just come out once, but over and over, to co-workers, to new friends, to prospective love interests. Kipo and the Age of Wonderbeasts gets that right."[65]

Cosplayers of the Rose Quartz, Pearl, and Garnet from Steven Universe at Wondercon 2016 in March 2016; Rose, Pearl, and Garnet are all LGBTQ characters in the Steven Universe series

On June 12, 2020, the second season of Kipo began streaming on Netflix. Some reviewers described it as being colorful and funny, with its diversity allowing it comment on sexuality, race, and class, combining the world-building in Avatar: The Last Airbender and the inclusivity, and heart, of a show like Steven Universe.[68] Others argued that Kipo, like the "fellow empath Steven Universe," attempts to talk antagonists about their feelings.[69] or noted that the show explores "burgeoning same-sex relationships in a positive manner," referring to the relations between Benson and Troy.[70] Later that month, the series creator of Kipo, Radford "Rad" Sechrist, when asked by a fan about Asher's gender, said that Asher is non-binary and uses they/them pronouns,[71] which was later confirmed by Bill Wolkoff, co-screenwriter of Kipo.[72] A review of the season by Shamus Kelley pointed out the continued flirting between Troy and Benson, with Benson trying to impress him, and his dad, praising that their relationship has had "zero drama...[and] zero subtext," treated as a "regular thing without any of the restrictions gay characters have had before."[66] Kevin Johnson echoed this. He wrote about how in Kipo, "the surface world of earth is genuinely dangerous, and each character, still couched in their Blackness, represents different perspectives," exploring race like Steven Universe explored gender, and is willing to "explore the messiness of racial issue," believing that Kipo could become "a beacon through the thorny, fraught issues of race," just as Steven taught young viewers how to "let compassion and kindness guide them through encountering and dealing with gender concerns."[73] In an interview with Radford Sechrist and Bill Wolkoff,[74] they talked about Benson and Troy as gay characters:

I mean, when I pitched it to the studio, Benson was a gay character. And it was interesting, because one of the first things that Peter Gal - who is [Chief Creative Officer of Television] - said was, "You can have a gay character, but he has to say the words 'I'm gay.' It can't be ambiguous or hinted out." And me and Bill were like, "Well, that's great."

Bill Wolkoff added that they were lucky and glad the studio empowered this, wanting to have a "young, 16-ish year old kid" who was gay and was not ashamed of it. He also said he hoped for a season 3, but couldn't confirm it would happen.[74] Adding to this, Shannon Miller wrote a review praising the show, specifically calling Benson the "joyful culmination of a long battle for intentional queer representation in Westernized youth animation," which has made progress from 2010 to 2020, while noting shows like Steven Universe, Adventure Time, and She-Ra and the Princesses of Power paved the way for Kipo.[75] Miller further noted how Noelle Stevenson and Rebecca Sugar "faced immense challenges while dealing with merely the visual component of queerness."

On September 6, the creator of Kipo, Rad Sechrist, answered a number of questions about the show. He told fans that he had wanted to do an "entire Benson Dave back story episode" in the second season, clarifying this didn't happen because Benson was gay but rather because they were pushed to focus more on Kipo in the season itself.[76] He also said that Kipo and Asher together "could be cool,"[77] while admitting that he did not think about Kipo being LGBTQ when producing seasons 1 and 2.[78] At the same time, he remained coy on how many future seasons,[79][80] if any, of the show, there would be,[81] and said that they are trying to create other series, or movies, within the Kipo universe.[82] A few days before these tweets, TV Guide listed as few animated series, including Kipo and Big Mouth as some of the best shows on TV. Two editors noted that Big Mouth has "important conversations about sex, gender roles, and identity" and called Kipo a "wildly imaginative story" with diverse characters.[83] On September 10 it was confirmed that Kipo would be returning on October 12 for its third and final season, with Rad Sechrist floating the possibility of some movies which would continue the story.[84][85][86]

Cosplay of Steven Universe from the Steven Universe series at Katsucon 2015 in Maryland, United States

On October 12, the third and final season of Kipo began streaming on Netflix.[87] Petrana Radulovic of Polygon said that Kipo is like Steven Universe, the protagonist of the series of the same name, in that she wants peace, wanting everyone to "set aside their differences and talk through their problems" and called it a "celebration of differences"[88] while Shannon Miller of The A.V. Club added that it better to think of the series akin to a "lengthy film split into three hearty acts."[89] Others highlighted the relationship between two male characters, Benson and Troy. Specifically, Beth Elderkin of Gizmodo called the relationship "perfect"[90] while Shamus Kelley of Den of Geek praised the "charmingly cute romance" between the two characters and said they were delighted both were still "together in the five-year time skip."[91] Additionally, GLAAD praised the series as being "LGBTQ-inclusive" and said that Benson's story "reflected the full diversity of the community."[92] In an interview, Bill Wolkoff acknowledged that past coming-of-age stories "about kids being gay and dealing with that" often got pushback, but that in this case Dreamworks was open to it.[93] He also felt they "didn’t have the baggage" of the show being part of a franchise, noting how in one season of Once Upon a Time and a character was "going to fall in love" but they wouldn't let them do a "gay love story." He said that in this case, they got to tell the story they wanted, with DreamWorks supporting them "from the beginning. He also stated that they structured the story without Benson having to deal with the real "extra weight of homophobia" and that writers told him it would be "subversive" to not put Troy and Benson "through hell." Sechrist added that someone noted how gay characters in media often have a "lot of turmoil" and that for people on their crew it was important that the gay relationship "wasn’t a big deal."[93]

Apart from this, Sechrist stated that he is trying to make a spin-off movie about Wolf,[94] one of the story's protagonists, while Den of Geek posed a few other spinoff movie ideas, including one which would focus on Benson and Troy's relationship.[95] Later in October, The A.V. Club published an interview with Rad Sechrist and Bill Wolkoff of Kipo. In the interview, Wolkoff said that they did not face roadblacks in presenting Benson and Troy, crediting creators like Noelle Stevenson, Rebecca Sugar, and others for fighting "difficult battles before Kipo came along."[96] He also noted how he fought for gay representation in the show, Once Upon A Time, saying they treated it "like a coming-of-age story," and said he is glad that the Season 1 episode "Ratland" meant a lot to young gay people, especially young Black people. Sechrist added that when they sold the show to DreamWorks, Peter Gal, then the head of development, stated that the character has to say "I'm gay" in an explicit way.

Representation in other animations

Big Mouth

One of the other animations with LGBTQ characters was Big Mouth, which has aired on Netflix from 2017 to the present. In October 2018, a protagonist on the show, Jay Bilzerian, came out as bisexual.[97] Over a year later, Ali, a pansexual character, was introduced. In the latter case, however, some criticized it as an oversimplification of the "relationship between private parts and gender identity," even as her existence was praised as putting the show ahead of "most television representations of sexual expression."[98] Those were not the only LGBTQ characters in the show. Shannon Glaser, the mother of Jessi Glaser.[99] was married to her husband but was shown to be secretly cheating on him by dating Cantor Dina Reznick, another woman.[100] Cantor is a recurring character in the show and Shannon's love interest. Additionally, there was Matthew MacDell, a flamboyantly gay student with a love of drama and spreading gossip, who is in a relationship with Aiden, the latter introduced as his boyfriend in the Valentine's Day special, "My Furry Valentine."[101]

BoJack Horseman

Another show that became very prominent was Bojack Horseman, airing from 2014 to 2020 on the streaming service. The show had a number of LGBTQ+ characters. For instance, Kelsey Jannings reveals she had an ex-wife in the episode "Later."[102] Hollyhock, a female teenage horse and Bojack's sister, has eight adoptive fathers (Dashawn Manheim, Steve Mannheim, Jose Guerrero, Cupe Robinson III, Otto Zilberschlag, Arturo "Ice Man" Fonzerelli, Gregory Hsung, and Quackers McQuack) in a polyamorous gay relationship.[103] With this, some critics praised the show for portraying homosexuality in a realist fashion.[104] There's also Todd Chavez, who, in the season 3 finale, "That Went Well," Todd confides in his friend Emily that he doesn't think he is either straight or gay, and in fact "might be nothing". He explores the identity further in season 4 and accepts his asexuality, while meeting others who share his orientation.[105][106] The show also featured a married lesbian couple, Mary-Beth and Dr Indria,[107] the gay therapist of Bojack, Doctor Champ,[108] and a closeted gay man named Herb Kazaaz."[102]

The Hollow

The short-lived series, The Hollow, featured various LGBTQ+ characters. On May 8, the show's second season premiered on Netflix. The first episode of that season, titled "Home," features one of the show's protagonists, an Asian girl named Mira, was shown to be adopted by her two fathers named Paul and Curtis and a brother named Miles. The second episode featured a Hispanic boy named Adam, was revealed to homosexual, saying that Mira, a female protagonist, is "not his type."[109] Prior to this, in the trailer for Season 2 the LGBT pride flag was seen in his room, leading some fans to speculate he was gay.[110] Some critics stated that while this was somewhat clear in season one, there is little or no "romantic entanglement" for the show's characters in the show's second season, with the show focusing on "difficult and dramatic friendships" instead.[109] Like The Hollow, Hoops featured a gay character. In the show, Scott is a gay boy on the school basketball team.[111]

Twelve Forever

Another short-lived series, Twelve Forever, had a number of LGBTQ characters. This included Galaxander, a gay inhabitant of Endless Island,[112] and a gay couple, Mack Beefhouse in the same fantasy world.[113] More prominently was Reggie Abbott, the protagonist. She has a crush on Conelly, a 13-year-old schoolmate with whom she shares the same taste in imagining and creating stories, as shown in the two-part episode, "Locked Out Forever." Due to the show's abrupt ending, Shadi Petosky, one of the executive producers, stated they won't be able to further explore that aspect of the character/relationship.[114] Elsewhere, Petosky described Reggie as a queer character "coming to terms with her sexuality".[115]

Voltron: Legendary Defender

Apart from those listed, another example is Voltron: Legendary Defender, airing on Netflix from 2016 to 2018. It featured three gay characters, Shrio and Adam,[116] who broke up, with Adam dying several years later, but at the end of eighth and final season, Shiro is married to Curtis, a background character introduced in Season 8. The series was fraught with criticism for its LGBTQ representation. The show got in hot water for killing off a gay character,[117][118] with some saying the show was following a stereotype known as "burying that gay", leading showrunner Joaquim Dos Santos to apologize to fans.[119][120] This was not a surprise as "not all queer presentation" was created equal as one scholar noted, with representation of bisexual and transgender characters lagging behind lesbians and gay men in some respects,[121] with this representation important in the U.S. political climate while GLAAD called for Hollywood to produce more characters with LGBTQ+ characters.[122][123] Renaldo Metadeen of Comic Book Resources gave his own take, criticizing the marriage between Shiro and Adam, calling it "cheap and tacked on," while stating that making a "five-second blip of the wedding...come[s] off as a publicity stunt."[124]

Other animations

Castlevania started streaming at the same time as Big Mouth. However, it would not be until 2020 that LGBTQ characters would be introduced on the show. One of these characters was a young Japanese man Taka, introduced in the third-season episode "The Reparation of My Heart," and near the season-finale, he and Sumi have sex with Alucard, and shown as gay.[125] Additionally, on March 5, Sam Deats, one of the directors of the series, would confirm that the half-vampire son of Dracula, Alucard, was bisexual.[126] A year after Castlevania began streaming, Super Drags, a Brazilian show, was added to Netflix. The show focuses on Donizete, Patrick, and Ralph, three gay friends working in a department store,[127] who are also drag queen superheroes, named Scarlet Carmesim, Lemon Chifon, and Safira Cyan are the Super Drags, and are responsible for protecting the LGBTQ community.[128] The same year, Disenchantment, a show created by Matt Groening, creator of The Simpsons and Futurama, began its first season. In an episode in that season, "Castle Party Massacre" it is hinted that Odval and Sorcerio are secretly in a gay relationship, as they secretly host a magic and sex cult when King Zøg is away. IndieWire reviewer Michael Schneider wrote that Sorcerio and Odval have been "a couple for a long time."[129] Later, on July 12, 2019, an episode of 3Below: Tales of Arcadia, titled "Asteroid Rage," included a lesbian kiss between two characters.[130] and DreamWorks Dragons, streaming from 2014 to 2018, which features an LGBTQ+ character, Gobber, who is also a double apputee.[131][132] Another Netflix show that pushed forward representation was The Dragon Prince. In late November 2019, the official Twitter account for The Dragon Prince revealed that Kazi was genderqueer and used they/them pronouns.[133][134] Later that month, the third season began streaming on Netflix. In that season it is revealed that Runaan, the leader of the assassins and father figure to Rayla,[135] is married to a male elf named Ethari.[136]

Upcoming shows

There are various upcoming shows which will have LGBTQ characters. One of these is Q-Force. It promises to be an animated comedy series that will focus on the adventures of a handsome secret agent and "his team of fellow LGBTQ super-spies",[137] with no release date as of yet. On August 17, 2020, Margaret Evans interviewed Hamish Steele, creator of DeadEndia about LGBTQ characters in her show, which will be released sometime in 2021. Steele explained how the show changed from its original iteration on Cartoon Hangover in 2014, and the graphic novels that followed it,[138] stating that he is grateful for showrunners who fought for LGBTQ characters in their shows, adding that there was "absolutely no pushback from Netflix about representation," while describing Barney as a trans male character.[139] He also hoped that the show will help out "more trans creators getting their chance to tell their stories" while hinting at other LGBTQ characters in the show apart from Barney, noting the performance of Miss Coco Peru on the show as Pauline. The show will also feature Alex Brightman as Pugsley, Emily Osment as Courtney, and Kathreen Khavari as Badyah.

See also

Notes

  1. ^ They make a brief appearance in episode "Return to the Fright Zone" in the show's final season.
  2. ^ In the episode "Perils of Peekablue," Double Trouble reappears, posing as "Peekablue," a male prince
  3. ^ Bustle defines a slow burn as a "romance novel that focuses on a character-driven love story where that relationship takes some time to develop," with the same applying to animation.
  4. ^ In the A.V. Club interview she said they wanted to create a pink lion of Catra named Claudine but didn't because its design was "pretty much identical to the pink lion from Steven Universe" so they chose Melog (from the original She-Ra series) as a "therapy animal" for Catra.

References

Citations

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Sources

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