We need more representation in media
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We are lacking proper representation of marginalized groups in all kinds of media.
Media—in whatever form that may take—influences how people see the world and act within it. Representations in media can demonize or uplift, humanize or degrade, normalize or alienate; they can reinforce stereotypes or actively fight against them. Those who produce media are, thus, in a particularly powerful position, as how they portray individuals and groups of people shapes public opinion, whether viewers consciously recognize it or not.
When asked about same-sex marriage, then Vice-President Joe Biden remarked, “I think Will and Grace probably did more to educate the American public than almost anything anybody’s ever done so far.” Homosexual couples and characters in popular television shows and movies have helped to normalize those identities and relationships in the public sphere. When positive, accurate, multi-faceted representations of such stigmatized and marginalized groups appear in the media, perceptions of those groups can be altered for the better.
Representation is not only positive in this broader social sense—it also provides individuals with inspiration, identification, and a greater sense of community. People with identities who face discrimination or alienation may find comfort and connection with popular figures who share that identity that they might not have much access to in their day-to-day lives. The somewhat recently released television series adaptation Heartstopper (2022—) features two LGTBQIA+ teenagers as they navigate their romantic relationship. The show quickly reached high levels of popularity; within two days of its release, it was among the top ten most-watched English-language series on Netflix. Oseman, the author of the original novels, commented on that immediate popularity, stating, “It shows that they are mainstream. There are so many people who want queer stories, especially young people.”
Such stories, despite their popularity, are also controversial and are often met with backlash and resistance. Heartstopper itself—the novel form—was pulled from several library shelves in locations across the United States. In 2022, the American Library Association recorded the highest number of attempted book bans since they began collecting that data twenty years ago—and many of those books were authored by or written about members of the LGBTQIA+ community. 2023 data reported by the American Library Association indicates that the number only rose that next year and that 47 percent of titles targeted for censorship represented “the voices and lived experiences of LGBTQIA+ and BIPOC individuals.” Stories that highlight diversity and depict the lives of underrepresented groups are still being targeted. Still, many who seek to hear those stories and see a glance of themselves may respond in turn.
Stories that do not necessarily speak to the experiences of different identities but have diverse casts are also important. Fantastical tales and fictional novels and movies have often been characterized by a distinct lack of diversity, with BIPOC or LGBTQIA+ characters serving as background, supplemental to the main cast.
Anything that changes that pattern through remakes or retellings is often resisted. The announcement of Halle Bailey starring as Ariel in The Little Mermaid (2023) live-action remake brought with it a wave of backlash on news outlets and social media platforms. The hashtag “NotMyAriel” began trending on Twitter as the trailer racked up over 1 million dislikes on YouTube. Diehard Disney fans and conservative influencers alike argued that this choice for the live-action Ariel was not true to the original; they argued that she was only chosen for her race to pursue a ‘woke’ ideal they did not agree with or approve of.
In response to this backlash, a countermovement ensued, with videos circulating online of young black girls watching the trailer, experiencing joy at seeing someone on screen who they identified with, a princess they recognized themselves in. Along with the initial slew of hatred came an outpouring of love and support, reflected in the movie’s performance at the box office upon release and on Disney+ after. The movie was one of the top five highest-grossing films of the summer domestically, earning nearly $300 million ($570 million at the global box office). In its first five days of streaming on Disney+, it obtained 16 million views. The predictions that the movie would perform unsuccessfully, based on the initial controversy, proved false.
An active audience exists for diverse stories. Telling those stories is beneficial for society and individuals, but it is also popular despite occasional loud resistance. And while great strides have been made in recent years to create a more diverse media output, there is still an urgent need (and market) for more. We, the audience, should continue to push for and consume those books and movies—repeatedly showing producers and authors that more representation can only be positive when executed well and with accuracy.