It did take a long time for trans and non-binary characters to appear in the TV series. On the one hand, it has been a challenging process in the development of society to identify with sexual minorities LGB and a large number of people who identify have struggled to be successful and achieve a voice before they have fought to be socially accepted. Even if it is only sexual orientation, on the other hand, trans and non-binary characters challenge the dominant binary concept of gender in human history and face even more significant challenges in gaining social acceptance.

In recent years, trans and non-binary characters have become increasingly visible through online streaming platforms. transTV is a term that demonstrates the shifts and innovations in the television industry today as online platforms flourish, from technological innovations, representational politics, wider audiences, viewing modes to expressions and. The term TV is a term that demonstrates the transformation and innovation that is taking place in the television industry today. (Michael Goddard and Chris Hogg, 2020) especially with regard to the treatment and inclusion of gender, sexuality and other forms of diversity.

In the context of my upbringing, queer-themed works of art have continued for many years, particularly from the 1990s-2000s, with many very good Chinese films and television productions. It has also become a valuable asset today, but there are very few works by transgender and non-binary characters.

That is until I saw Euphoria, a drama about teenage drug use, suicide, and queer and transgender issues, which unfolds each of these issues but still focuses on the inner workings of teenagers and growing up. It’s a very appropriate presentation of the LGBT community, without over-emphasising it, just showing it objectively, with each character having their own issues to deal with, but without being treated unfairly. For example, the realistic emotional details of not being able to accept being gay, transgender bisexuality and heterosexuality in the face of gay advances make the drama even more touching. It’s worth noting that often Homophobia in many stories is just ‘Homophobia is a deep closet’, and I’m not sure if this presentation is just for the drama of the plot structure.

The aesthetic approach and practices of representation in Euphoria are both very successful. The non-realist lighting and editing, as well as the exceptional make-up, are particular highlights of the play. It attracted a large audience to the aesthetic style of the series, discussing the make-up, the dressing and, of course, the storyline.

Bibliography：

Michael Goddard and Christopher Hogg (2018), ‘Introduction: Trans TV as concept and intervention into contemporary television’, Critical Studies in Television 13:4: https://journals.sagepub.com/doi/full/10.1177/1749602018798217

Michael Goddard and Chris Hogg 2020, ‘Introduction: Trans TV Re-evaluated part II’, Trans TV Dossier 3, Critical Studies In Television 15: 3: https://journals.sagepub.com/toc/csta/15/3 

Anamarija Horvat ‘Crossing the Borders of Queer TV: Depictions of migration and (im)mobility in contemporary LGBTQ television’, Trans TV Dossier 3, Critical Studies In Television 15: 3: https://journals.sagepub.com/toc/csta/15/3 

Lianfei Zeng

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