In the last few years there has been a positive shift in LGBTQ+ representation in television, specifically in the genre of teen drama, which has led to a notable increase in LGBTQ+ content production. Queer-focused dramas have gone viral on social media and seen worldwide popularity due to their relatability, Gen-Z humour and how they are marketed to younger generations. This rise in popularity is due to a shift away from telling stories about being queer to telling stories about queer people: Queer identity is no longer a part of the logline for shows, but rather a character trait of the protagonists and supporting characters. Greater diversity in the cast and crew of television shows seems to have had an influence on the representation of queer identities on screen, leading to more of these programmes being renewed while heteronormative teen dramas have faced cancellations.
The LGBTQ+ teen drama is a recent subgenre that offers an authentic representation of queer teen lives in a comedic, light-hearted way, and shifts the focus from queer tragedy to queer joy. For decades, LGBTQ+ characters in television faced only horrific endings from death or forms of violence, such as Buffy the Vampire Slayer’s Tara McLay, who is mistakenly killed by a gunshot through the heart, or The OC’s Marissa Cooper, who dies in a car crash. Although in some cases LGBTQ+ deaths may be interpreted as a form of activism, such as to raise awareness for the AIDS epidemic, these stories are created within a heteronormative culture. Many LGBTQ+ narratives from the past few decades have focussed solely on LGBTQ+ stories in relation to HIV, further associating the idea of queerness with tragedy and death. Although narratives centred around HIV can be made with the intention of allyship, they are ultimately made to educate and/or entertain an overwhelmingly heterosexual audience. LGBTQ+ content in the past few years has moved away from these one-dimensional tragic storylines and instead creates stories about the complexity of queer existence - joy, love, pain, and all - for queer audiences.
A major factor in this is the growth of LGBTQ+ representation within the television industry. When casting the 2022 Netflix-hit Heartstopper, producer Patrick Walters stated, “There was never any option but to cast authentically. But there was also a worry if we’d find these people, and we knew that if we didn’t find them, we couldn’t make the show.”1 Arguably, the series has reached its success through authentic narratives and better representation both in front of and behind the camera. This series not only demonstrates the success of queer stories but the importance of queer storytellers.
Netflix has created and renewed many globally popular teen LGBTQ+ drama programmes over the past year. Heartstopper, which made Netflix’s Top 10 list in 54 countries within its first three weeks of release, has been renewed for a second season.2 This programme focuses on two protagonists, Charlie and Nick, as they fall in love in an English high school. Rather than solely focussing on their queer identities, this show focuses on their relationship with one another and with their friends. Like heteronormative teen dramas, Heartstopper is about friendships, first loves, fights, and the struggles of high-school life. What makes this show original is its inclusivity of LGBTQ+ identities and the way it portrays queer joy and love. Heartstopper allows young LGBTQ+ viewers to resonate with the characters and causes older viewers to feel heartache for their teen years.
Similarly, Netflix’s Heartbreak High (2022-present), which was renewed for a second season only a month after its release, is an Australian teen drama that focuses on Amerie, her friends, and the theatrics that ensue when she graffiti's a “sex map” on the wall of her school. Almost every character in this show belongs to the LGBTQ+ community, and the focus is on figuring out relationships, navigating safe queer sex for the first time, and discovering the power of friendship. This show’s representation of neurodivergent, LGBTQ+ and POC individuals and comedic pop-culture references pushed it to the top charts across the UK.
Additionally, the Swedish show Young Royals (2021-) became popular across the UK upon premiere and was renewed for a third – albeit final – season at the end of 2022.3 This show follows protagonist Prince Wilhelm as he falls in love with his classmate Simon and begins to explore his queer identity, navigating how to be an LGBTQ+ person both in a high-school setting and as a member of the monarchy. Full of teen melodrama, this show reflects the insecurities LGBTQ+ teens have outside of their queer identity; it normalizes that queer teenagers experience “coming of age” stories similar to everyone else.
The most interesting part of Netflix’s LGBTQ+ content is how they have gained global success. Despite their humour, references and aesthetics being targeted to their country of origin, each of these programmes has gained global recognition through social media platforms such as TikTok. Shows from Sweden and Australia have entered the top UK charts because their content is high in demand and low in supply. As such, Netflix is not the only streaming service to adapt to the demand for better teen LGBTQ+ representation. Consider Prime Video’s A League of Their Own (2022), or Disney+’s Love, Victor (2020-2022), both of which highlight the complexity of queer existence.
Recent years have seen the cancellation of many popular teen dramas, with mainstream shows such as Fate the Winx Saga (2021-2022), Grand Army (2020) or The Society (2019) facing cancellations after only one or two seasons. All these series feature heteronormative narratives and protagonists, and while these series were well-received by some they failed to gain sufficient traction for renewal. Although these shows are LGBTQ+ inclusive, they are not focussed on telling diverse stories and do not stand out amongst the mass of options viewers face amongst services’ algorithmic recommendations.
Sex Education of course presents a key exception, delivering its fourth season this year. This show centres around Otis and his main love interest, Maeve, neither of whom identify as queer. Nonetheless, many characters are members of the LGBTQ+ community, as seen in queer family dynamics such as Jackson’s two mothers, and in the exploration of understanding one's sexuality, as seen through Ola’s discovering her sexual identity. Sex Education also depicts diversity in gender as it was one of the first teen programmes to feature a non-binary character. Although the series’ protagonist and romantic narrative are not LGBTQ+-focussed, the show promotes inclusivity and depicts queer experiences on screen without falling back on the tropes of the tragic, one-dimensional queer supporting character.
A world of online streaming services means a world of nearly infinite choice where only the most innovative, entertaining, and engaging series will be renewed. The teen drama is evolving away from the same heteronormative stories that have been retold for decades - market saturation has arguably worn out the genre. Instead, viewers are demanding new perspectives that relish in inclusive joy. Although there is still room for improvement in terms of representation, it is likely the future of the teen drama genre will demand productions to be socially aware and actively promote diverse characters, subjects, and narratives. Someday “LGBTQ+ teen drama” will not be a subgenre but will be a definition of “teen drama” itself. Teen audiences are demanding this inclusivity in the industry, and as these teens age, diversification will be demanded across television genres in the future.
About the Author
Rothery Sullivan is a fourth-year student studying English Literature and Film & Television Studies at University of Glasgow. Her previously written pieces regarding film and television have appeared in the Glasgow Guardian, including reviews and critical pieces on genre and the industry developments. She served as an editor at the Glasgow Guardian and is currently an editor at the Glasgow University Magazine.
Craig, David. “Heartstopper Boss: ‘There Was Never Any Option but to Cast Authentically.’” RadioTimes.com. Radio Times, April 19, 2022. https://www.radiotimes.com/tv/drama/heartstopper-casting-alice-oseman-newsupdate/.
Keswani, Alex. “The Heart Stopping Impact of Heartstopper.” The Daily Pennsylvanian. The Daily Pennsylvanian, July 28, 2022. https://www.thedp.com/article/2022/07/heartstopper-impact-global-success-representation.
Phillipe Thao, “‘Young Royals’ Takes the Throne for a Third and Final Season,” Netflix, December 14, 2022, https://www.netflix.com/tudum/articles/young-royals-season-3-announcement.