1

How has queer representation in 21st century children’s cartoons impacted youth
audiences’ understanding of sexual identity?

Ashley Vargas
Fashion Institute of Technology
SS 444
Professor Celik Levine
December 1, 2020
 2

Abstract

This research paper aims to understand how queer representation in children’s cartoons

can result in LGBTQ youth gaining a better understanding of their sexuality. This was done

through analyzing two studies from Communique and the International Journal of

Communication that quantify how media impacts the minds of LGBTQ individuals. Also, it will

examine queer characters in cartoons throughout history and how they have developed into

genuine and positive influences on their audiences. Once these factors were connected, it was

determined that cartoons can be a positive social support for LGBTQ youth. They can result in

queer children feeling more confident in their identity or questioning their identity from a young

age.
 3

Introduction

With each new generation, the starting age of internet usage becomes younger and

younger. However, a lack of curation and age-restrictions on social media platforms like

YouTube, Tumblr, and Twitter, young minds are often exposed to harmful content1. These

platforms cannot fully control the content they recommend to child users. Unfortunately, for the

LGBTQ preteen audience, these social media platforms were the first and frequently only places

to find content that represents who they are and be a part of safe communities composed of other

queer youth who feel the same2. Often, G-rated media targeted towards children avoids LGBTQ

themes due to queer topics being taboo or deemed too sexual for young audiences. Therefore,

queer children must look to social media platforms for representation. However, this results in

furthering the negative stereotypes and erasure of the queer experience.

Until the last decade, larger youth media channels like Disney, Cartoon Network, and

DreamWorks, did not create shows that had characters of diverse LGBTQ identities. This was

until a new wave of cartoons were greenlit and the writers behind them pushed behind the scenes

for queer representation. Though these cartoons were not made without imperfections, they were

made with children in mind. Shows like Adventure Time, Steven Universe, and She-Ra and the

Princesses of Power explicitly display same sex love and different types of gender representation

within G ratings. This representation not only positively impacts LGBTQ children, but how

those in their family and social circles accept and see them. Through the study of the reception of

these western cartoons, we can gain insight of how queer representation in 21st century children’s

1
Martin, F., Wang, C., Petty, T., Wang, W., & Wilkins, P. (2018). Middle School Students’ Social Media
Use. Journal of Educational Technology & Society, 21(1), 213-224.
2
Ridder, S., & Dhaenens, F. (2019). Coming Out as Popular Media Practice: The Politics of Queer Youth Coming
Out on YouTube. DiGeSt. Journal of Diversity and Gender Studies, 6(2), 43-60.
 4

animated shows impacted youth audiences’ understanding of their own sexual identities. This

research will also serve to help the creation of a pitch deck of a LGBTQ inclusive cartoon,

targeted towards preteens.

Methodology

To investigate the impact of LGBTQ representation in G-rated cartoons on adolescents, I

researched the impact that diversity in media has on young audiences and the benefits of them

joining show communities, or fandoms, they find online. I will also analyze audience’s positive

and negative reactions to cartoons known for their queer representation. The definition of queer

in the context of this paper is “an adjective used by some people, particularly younger people,

whose sexual orientation is not exclusively heterosexual”3. First, I researched the origins of

queer characters in animated western media. Then, I will examine Steven Universe and

Adventure Time on Cartoon Network, which have been recognized for paving the way for

LGBTQ+ representation in children’s shows. Then I will discuss She-Ra and the Princesses of

Power, a DreamWorks series, which included a lesbian protagonist in an explicit same-sex

romantic relationship. All these shows had queer artists working on their staff, which will assist

to examine the importance of representation behind the scenes as well. Lastly, I reached out to

online forums and spoke with young fans about how these shows influenced how they viewed

themselves. When creating my pitch deck, my design and story choices were made with these

findings in mind.

3
Defining LGBTQ. (n.d.). The Center, https://gaycenter.org/about/lgbtq/
 5

Why Does Representation Matter?

The Inequities between Queer and Straight Youth

In a research study done by Communique, a psychology journal that aims to support and

enhance the mental health of children and youth, they define the minority stress theory. This

theory proposes that sexual minorities, or those whose sexual preference and practices differ

significantly from the mainstream4, go through distinct and chronic stress that results in

disproportionately adverse behavioral and mental health outcomes. These stressors include

victimization, discrimination, and family rejection which lead to queer individuals turning to

harmful coping strategies such as self-harm and drug usage. To counteract these stressors, the

study asserts that one of the main protective factors for these adolescents is social support. This

social support states that those who see or have relationships with other LGBTQ people are

reported to have lower rates of depression and feel more affirmed with their identity5.

The Impacts of Media Representation

A study done by the International Journal of Communication further explores this idea of

social support by analyzing the effects of gay adolescent portrayals in media on young viewers.

The researchers monitored the reaction of four hundred and sixty-nine participants ages thirteen

to twenty-one to a story line of two romantically involved thirteen-year-old boys. The results

found that LGBTQ youth that watched the narrative felt an emotional response of hope and

positive emotions. The study further explains that lack of LGBTQ representation may lead to

4
Sexual Minorities. (2010). In R. L. Jackson (Ed.), Encyclopedia of Identity (Vol. 2, pp. 723-729). SAGE
Reference. https://link.gale.com/apps/doc/CX1700600247/GVRL?u=fitsuny&sid=GVRL&xid=dd6163e2
5
Taylor, J. (2019, November). Mental Health in LGBTQ Youth: Review of Research and
Outcomes. Communique, 48(3),
4+. https://link.gale.com/apps/doc/A610762162/AONE?u=fitsuny&sid=AONE&xid=0806d882
 6

youth, queer or not, believing that LGBTQ individuals are not an important or normal part of

society. Due to people spending a significant amount of time intaking entertainment

broadcasting, much of the forming of public opinions occurs though what they see in media.

Therefore, it is important that queer storylines appear in mainstream entertainment to

indoctrinate them in everyday culture.

Youth comparatively to adults, are more manipulated by these media influences,

specifically in their search for role models they can relate and look up to. Finding queer “media-

models” were reported to have positively impacted lesbian, gay, and bisexual youth when

dealing with self-realization, coming out, and defining their identity6. A modern example of

these media models can be found on YouTube. Queer creators on YouTube facilitate their own

identity development and create communities through establishing more visibility and promoting

acculturation. This acculturation provides queer youth with information about shared experiences

and connects them with one another to help them interact with other LGBTQ individuals and

survive heteronormative culture7. This is another example of social support that can be provided

to LGBTQ individuals who might not have access to an immediate queer community. This social

support can be provided to a younger and wider audience when as we see the development of

queer storylines in children’s cartoons.

6
Gillig, T. K., & Murphy, S. T. (2016). Fostering support for LGBTQ Youth? The effects of a gay adolescent media
portrayal on young viewers. International journal of communication [Online],
3828+. https://link.gale.com/apps/doc/A491909946/AONE?u=fitsuny&sid=AONE&xid=602d7b4a
7
Wuest, B. (2014). Stories like Mine: Coming Out Videos and Queer Identities on YouTube. Queer Youth and
Media Cultures, 19–33. https://doi.org/10.1057/9781137383556_2
 7

LGBTQ Themes in Cartoons

First Times on Screen

The first appearances of gay characters in animated shows happened at the end of the

twentieth century. Many adult-oriented cartoons began using queer characters as a punchline.

Though it may have seemed progressive for shows like Family Guy, South Park, and The

Simpsons to have reoccurring LGBTQ characters in the nineties, the way that they are portrayed

often perpetuate negative stereotypes8. For example, in an episode of South Park which

premiered in nineteen-ninety-seven, Mr. Garrison, a closeted gay teacher, explains what “gay” is

to a child as the following:

Well, Stan, gay people are evil, evil right down to their cold black hearts which pump not

blood like yours and mine but rather a thick vomitous oil that oozes through their rotten

veins and clots in their pea-size brains, which becomes the cause of their Nazist patterns

of violent behavior. . . . Now you go outside and practice football like a good little

heterosexual9.

Though South Park is known for its edgy satire, this dialogue furthers the normalization of the

homophobic rhetoric to its audience. This is especially detrimental as this episode was one of the

first times a gay character was seen on mainstream animation. Another issue facing writing of

queer characters is making them recognizably queer while also not making their sexuality or

gender a character’s central trait10. For example, Smithers from The Simpsons, is a recurring gay

8
The Changing Representation of LGBTQ Cartoon Characters. (2018, November 12). UWIRE Text,
1. https://link.gale.com/apps/doc/A618737008/AONE?u=fitsuny&sid=AONE&xid=be08b758
9
Janssen, D. (2003). "Time to Lose Faith in Humanity": "The Simpsons, South Park", and the Satiric
Tradition. Studies in Popular Culture, 26(1), 27-36.
10
Green, M. (2013). Screenwriting Representation: Teaching Approaches to Writing Queer Characters. Journal of
Film and Video, 65(1-2), 30-42. doi:10.5406/jfilmvideo.65.1-2.0030
 8

character, but does not have any other notable storylines besides his unrequited love for Mr.

Burns. Moreover, he did not officially come out as gay until twenty-sixteen, almost three

decades after the show’s first episode11.

G-rated cartoons targeting children did not include recurring representation of queer

characters until twenty-ten. As a newer and more open-minded generation of showrunners were

hired, there was a notable uptick of queer representation in animated shows. The employment of

LGBTQ showrunners, writers, and animators at that time led to more positive and genuine

depictions of queer characters12. At first the appearances of these queer characters were cameos

of same-sex parents13; however, the following shows helped to bring queer romance to the

forefront.

Cartoon Network Makes History

Rebecca Sugar first gained notoriety for becoming the first female showrunner in Cartoon

Network’s history. She has since come out publicly as non-binary and bisexual14 and has used

this perspective to create one of the most historical representations of queer love in children’s

media. Steven Universe is an animated series on Cartoon Network placed in a fictional coastal

town in the United States. The main character Steven is a half-human and half-gem hybrid who

is being raised by three gem-based aliens named the Crystal Gems. Though the show is primarily

focused on Steven, a cisgender boy, the relationships that surround him often represent queer

11
D'Addario, D. (2016, April 04). The Simpsons: Waylon Smithers Coming Out as Gay Falls Flat.
https://time.com/4280546/the-simpsons-smithers-comes-out-episode-review/
12
The Changing Representation of LGBTQ Cartoon Characters. (2018, November 12). UWIRE Text,
1. https://link.gale.com/apps/doc/A618737008/AONE?u=fitsuny&sid=AONE&xid=be08b758
13
Roshanian, A. (2016, July 19). Nickelodeon's 'Loud House' to Feature Married Gay Couple.
https://variety.com/2016/tv/news/loud-house-gay-couple-nickelodeon-1201816592/
14
Rude, M. (2018, August 10). How This Nonbinary Woman Created the Queerest Cartoon on Television.
https://www.them.us/story/rebecca-sugar-steven-universe-interview
 9

intimacy and Steven himself does not shy away from displaying more feminine traits15. The

show’s most notable feat was displaying the first ever same-sex wedding within a children’s

cartoon in the episode titled “Reunited”16. However, Sugar has been transparent about her

struggles push LGBTQ representation. In an interview with Variety, she explains:

They brought me in for a meeting, and they essentially said, ‘We know that you’re doing

this, and we know that if we were to tell you to stop, that would be based in bigotry.

Ultimately they told me in this meeting that it would be my decision if I were going to

tell the truth about what I was doing, which in hindsight was a really bold move for

Cartoon Network to make, to actually give the decision to speak about this to the queer

content creator generating this material.

Though Cartoon Network knew the possible repercussions of airing this episode, they decided to

take a progressive step forward and deal with the show being censored in multiple territories17. In

another interview she stated that the planning of this same-sex relationship began before gay

marriage was even legal, further exemplifying how Steven Universe is a historical step forward

in G-rated queer representation18.

Steven Universe’s most notable feat was its ability to intertwine this queer representation

seamlessly into its storyline. The characters did not need to be queer to tell a compelling

15
Ravela, C. (2017). STEVEN UNIVERSE. Queer Studies in Media & Pop Culture, 2(3),
389+. https://link.gale.com/apps/doc/A511005192/PPDS?u=fitsuny&sid=PPDS&xid=c8ce40c4
16
Alptraum, L. (2018, July 09). Steven Universe's message of love is emphatically queer.
https://www.polygon.com/tv/2018/7/9/17549458/steven-universe-wedding-queer-love-ruby-sapphire
17
Holloway, D. (2020, April 07). 'Steven Universe' Creator Looks Back on Her Groundbreaking Series as It Comes
to a Close. https://variety.com/2020/tv/features/rebecca-sugar-cartoon-network-steven-universe-
1203537231/
18
Nick Romano August 13, & Romano, N. (2018, August 13). 'Steven Universe' creator is doing more for LGBTQ
visibility than you might know. https://ew.com/tv/2018/08/13/steven-universe-rebecca-sugar-lgbtq-
cartoons/
 10

narrative; however, it is organic, and it is told from a protagonist who genuinely believes that

everyone deserves love. A major example of how LGBTQ themes are intertwined with the

storyline is the exploration of ‘fusion’ between the gems. Fusion is the ability for gems to

combine with one another to become a more powerful being. This fusion can only happen when

the gems are in sync and preform a choreographed dance that merges different dance styles.

These dances between two female presenting aliens imply romance and sometimes end in the

gems kissing. Besides the explicit physical representation these fusion dances give to their queer

audience, it also represents a stronger bond of trust and intimacy between two gems19. Garnet,

one of the main Crystal Gems, is revealed to have been a fusion of a Ruby and a Sapphire at the

end of the shows first season. The relationship between the two also gains more depth as the

audience learns that Ruby and Sapphire were not allowed to fuse in the eyes of their planet’s

leaders, and had to run away from their home to be together20. This reflects the homophobia

many queer couples face in the real world; however, it displayed in a way that younger children

can learn from and LGBTQ youth can relate to.

Though Cartoon Network has received notable praise for airing queer relationships, it did

not come without criticism from the LGBTQ community. Sugar also worked on another Cartoon

Network original, Adventure Time. The show was created by Pendleton Ward, and its story is

centered on the adventures of Jake the dog and Finn the human in the land of Ooo21. Two

recurring love interests for the main hero Finn, Princess Bubblegum and Marceline the Vampire

Queen, were implied throughout the show to have had been in a lesbian relationship. However, it

was not until the shows finale that the two share a kiss and confirm their past romantic

19
Ravela, C. (2017). STEVEN UNIVERSE. Queer Studies in Media & Pop Culture
20
Pladek, Brittany. "Steven Universe." Science Fiction Film and Television
21
Leslie, C. (2015). Adventure Time and gender stereotypes. Screen Education, (78),
44+. https://link.gale.com/apps/doc/A440821085/AONE?u=fitsuny&sid=AONE&xid=a24410e4
 11

relationship. Many fans felt as if this was queerbaiting or an afterthought to the storyline22.

Queerbaiting is an unofficial media term referring to when show creators make characters seem

like they might be gay but have no intention of making it happen. This allows the show to appear

more progressive and gain a dedicated queer audience, while also not facing the consequences of

having LGBTQ characters23.

Challenging what a Princess is

DreamWorks animation also has received criticism for queerbaiting. Voltron Legendary

Defender is a follows a group of five pilot students and their journeys in space. It received heavy

criticism for feeding into its fanbase’s push to romantically pair two of the main male characters

to grow the show’s audience. To appease fans to appear progressive, the show reveals one of the

older main characters had a previous gay relationship. However, the episode after this romance is

introduced, the main character’s past lover dies in a battle. Many within the queer community

refer to this as an example of the “bury your gays” trope, which refers to killing a LGBTQ

character or causing them suffering without progressing the plot24. The executive producer of the

show, Joaquim Dos Santos responded to the disappointed fans by explaining that, “…the staff

created this Voltron series with the intent of being as inclusive as possible.” However, he also

stated, “Are there still boundaries? Well, for this type of action adventure/product

driven/traditionally boys toys” show the answer is unfortunately yes.”25 The case of Voltron

Legendary Defender demonstrates the extra barrier more “masculine” shows face when trying to

22
The Changing Representation of LGBTQ Cartoon Characters. (2018, November 12). UWIRE Text
23
LGeekBT: The Damage of "Queerbaiting." (2016, March 30). UWIRE Text,
1. https://link.gale.com/apps/doc/A447839338/AONE?u=fitsuny&sid=AONE&xid=25df613f
24
The Changing Representation of LGBTQ Cartoon Characters. (2018, November 12). UWIRE Text, 8
25
Haasch, P. (2018, August 16). Voltron creator addresses fans over season 7's queerbaiting controversy.
https://www.polygon.com/tv/2018/8/16/17698024/voltron-adam-controversy-netflix-queerbaiting-dos-
santos-letter
 12

appeal to a male audience at the expense of queer representation. In the research study done by

the International Journal of Communication, heterosexual boys had the highest rates of

experiencing disgust when viewing a show featuring a gay relationship26. This further explains

DreamWorks apprehension for including gay characters within a space action adventure targeted

at the male adolescent audience.

To move past Voltron Legendary Defender, in twenty-eighteen DreamWorks premiered

She-Ra and the Princesses of Power. The show’s creator, Noelle Stevenson, is a lesbian comic

artist who is known for her feminist narratives27. The show centers around Adora, who can

transform into the powerful warrior She-ra, and her adventures with other magical princesses in

the enchanted land of Etheria28. The show is aimed at an adolescent girl audience with its pink

and sparkly art style; however, it quickly broke out of stereotypical expectations. Adora’s same-

sex romantic relationship is not only a side story within the series, but rather a pivotal piece

within its storyline. Catra, Adora’s half-cat humanoid childhood friend, is often on the side of

evil throughout the seasons; however, the love that the two have for one another climax within

the series finale. Throughout the show, their relationship goes through heartbreak, loss, and

growth. Their romance was undeniably planned since the first episode, which is why their

relationship provides such strong queer representation. Stevenson took a risk with She-ra and the

26
Gillig, T. K., & Murphy, S. T. (2016). Fostering support for LGBTQ Youth? The effects of a gay adolescent
media portrayal on young viewers. International journal of communication [Online],
3828+. https://link.gale.com/apps/doc/A491909946/AONE?u=fitsuny&sid=AONE&xid=602d7b4a
27
Stevenson, N. (2020, October 11). Noelle Stevenson Shares Her Coming Out Story in an Original Comic.
https://www.oprahmag.com/life/relationships-love/a34100347/noelle-stevenson-coming-out-story/
28
'SHE-RA' CREATOR NOELLE STEVENSON TALKS TO GLAAD ABOUT THE FINAL SEASON, QUEER
REPRESENTATION IN ANIMATION, AND WATCHING 'KILLING EVE'. (2020, May 18). States
News Service,
NA. https://link.gale.com/apps/doc/A626548115/AONE?u=fitsuny&sid=AONE&xid=eaea8aae
 13

Princesses of Power by placing this lesbian romance in the center of the show’s narrative.

Stevenson explains in an interview with GLAAD:

I had been working closely with a few members of the crew specifically on the Catra and

Adora story, the writers were in on it. Some of the board artists were in on it. It was a

secret that was kept close to the heart of the crew. Then once we started the writing for

that final season, I was like, this is time. It is time now. There was a day where I just

entered the writer's room, like [I] was a cartoon character, I kicked the door open, I was

like, "I'm going to further the gay agenda. All right everybody, here's the plan, here's

what we're doing."29

Like Sugar, Stevenson also had intentions of including LGBTQ themes within her show since its

conception and received high praise from queer fans. Beyond the show’s romantic

representation, fans also identified with the diverse character designs of the princesses. In a

response to a Reddit post I made in the She-ra community asking “Did She-Ra help you feel

more comfortable about your sexual identity growing up? If so how?”, anonymous fans shared:

Big warriorlady make shoulder and height dysphoria go poof.

I mean I'm pretty short but I do have big """manly""" shoulders and honestly she ra really

did give me a lot of confidence about them.

Oh my god yes, it has. I'm a trans woman (17) but only some of my closest friends and

family members know. I'm really glad that I started watching this show when I did,

29
'SHE-RA' CREATOR NOELLE STEVENSON TALKS TO GLAAD ABOUT THE FINAL SEASON, QUEER
REPRESENTATION IN ANIMATION, AND WATCHING 'KILLING EVE'.
 14

because Perfuma's character gives me hope. It's really great seeing someone like myself

in a normally cisgender space like cartoons. It helps me understand that I'm not alone.

These comments specifically refer to the characters of Scorpia and Perfuma, who both appear to

have flat chests and more masculine body types. However, the show uses these designs to further

exemplify their strengths as princesses rather than something to be ashamed of.

Conclusion

Only Happy Endings in Other Worlds

When looking at the main commonalities of the shows examined it is apparent that there

is a stronger ease in displaying LGBTQ representation in children’s shows with a more feminine

audience. Nolle Stevenson and Rebecca Sugar were able to succeed in their portrayals of queer

storylines not only because of their own genuine experiences, but the shows that they produced

had a more accepting audience that would support them. Also, there are still barriers because

most queer characters are often non-human, and their stories can only take place in alternative

universes to our own. These shows can provide social support to a wider audience of young

people and are created with them in mind. When coming up with my own show idea, I designed

a more masculine main character within a setting close to the world we live in. Though cartoons

are often used for escapism, its important for queer youth to see characters like them in a world

that looks like theirs as well.

 15

References

Alptraum, L. (2018, July 09). Steven Universe's message of love is emphatically queer.
Retrieved November 20, 2020, from
https://www.polygon.com/tv/2018/7/9/17549458/steven-universe-wedding-queer-love-
ruby-sapphire

D'Addario, D. (2016, April 04). The Simpsons: Waylon Smithers Coming Out as Gay Falls Flat.
Retrieved November 23, 2020, from https://time.com/4280546/the-simpsons-smithers-
comes-out-episode-review/

Defining LGBTQ. (n.d.). Retrieved November 15, 2020, from https://gaycenter.org/about/lgbtq/

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Gillig, T. K., & Murphy, S. T. (2016). Fostering support for LGBTQ Youth? The effects of a gay
adolescent media portrayal on young viewers. International journal of
communication [Online],
3828+. https://link.gale.com/apps/doc/A491909946/AONE?u=fitsuny&sid=AONE&xid=
602d7b4a

Green, M. (2013). Screenwriting Representation: Teaching Approaches to Writing Queer

Characters. Journal of Film and Video, 65(1-2), 30-42. doi:10.5406/jfilmvideo.65.1-
2.0030

Haasch, P. (2018, August 16). Voltron creator addresses fans over season 7's queerbaiting
controversy. Retrieved November 26, 2020, from
https://www.polygon.com/tv/2018/8/16/17698024/voltron-adam-controversy-netflix-
queerbaiting-dos-santos-letter

Holloway, D. (2020, April 07). 'Steven Universe' Creator Looks Back on Her Groundbreaking
Series as It Comes to a Close. Retrieved November 30, 2020, from
 16

https://variety.com/2020/tv/features/rebecca-sugar-cartoon-network-steven-universe-
1203537231/

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613f

Nick Romano August 13, & Romano, N. (2018, August 13). 'Steven Universe' creator is doing
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https://ew.com/tv/2018/08/13/steven-universe-rebecca-sugar-lgbtq-cartoons/

Pladek, B. (2016). Steven Universe. Science Fiction Film and Television, 9(3),
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63f89b8

Ridder, S., & Dhaenens, F. (2019). Coming Out as Popular Media Practice: The Politics of
Queer Youth Coming Out on YouTube. DiGeSt. Journal of Diversity and Gender
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 17

Roshanian, A. (2016, July 19). Nickelodeon's 'Loud House' to Feature Married Gay Couple.
Retrieved November 13, 2020, from https://variety.com/2016/tv/news/loud-house-gay-
couple-nickelodeon-1201816592/

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Television. Retrieved November 23, 2020, from https://www.them.us/story/rebecca-
sugar-steven-universe-interview

Sexual Minorities. (2010). In R. L. Jackson (Ed.), Encyclopedia of Identity (Vol. 2, pp. 723-729).
SAGE
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&xid=dd6163e2

'SHE-RA' CREATOR NOELLE STEVENSON TALKS TO GLAAD ABOUT THE FINAL

SEASON, QUEER REPRESENTATION IN ANIMATION, AND WATCHING
'KILLING EVE'. (2020, May 18). States News Service,
NA. https://link.gale.com/apps/doc/A626548115/AONE?u=fitsuny&sid=AONE&xid=ea
ea8aae

Stevenson, N. (2020, October 11). Noelle Stevenson Shares Her Coming Out Story in an
Original Comic. Retrieved November 23, 2020, from
https://www.oprahmag.com/life/relationships-love/a34100347/noelle-stevenson-coming-
out-story/

Taylor, J. (2019, November). Mental Health in LGBTQ Youth: Review of Research and
Outcomes. Communique, 48(3),
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