The storytellers of the various identity groups frequently influence how transgender and non-binary characters are created and portrayed in the movie. It has taken so long for transgender and non-binary characters to be represented in television shows because, historically, the media industry has not been sufficiently diverse, especially when it comes to creators and producers, which has led to an under-representation of these groups’ voices and experiences. However, as market demands and societal attitudes have evolved, dramas that explore gender diversity—such as Euphoria, Sense8, and Pose—have gained increased visibility. This article will examine why the 2019 HBO series Euphoria has emerged as one of Trans TV’s major offerings.

With its emphasis on transgender and non-binary characters, Euphoria has a significant presence in the Trans TV culture and is successful in showing a variety of gender identities and sexual orientations. Goddard and Hogg describe Trans TV as a cultural intervention that questions conventional gender norms and narrative frameworks, in addition to being a replication of transgender discourse (Goddard and Hogg, 2018). Through characters such as Jules (Hunter Schafer), Euphoria shows her internal struggles and upbringing; the scene of her psychological journey contrasts with her social media presence in the sixth episode of season one, providing viewers with a view of the complexities of real trans people in their search for self-identity.

Simultaneously, the drama is visually aesthetic and creative, allowing transgender persons to have their identities shown in a way that transcends stereotypes through both emotional and visual representation. Such as the camera rotation, lighting, and montage of Rue (Zendaya)’s drug addiction in the first episode of Euphoria’s first season, which depicts the teen’s inner battles and gives the audience a “real” sense of what it’s like to be addicted to drugs, the show is renowned for its stylised cinematography and daring use of colour. In terms of representational practice, the characters’ nuanced relationships and the examination of drug addiction and gender identity defy conventional narratives and reflect the actual struggles faced by young people today.

Similar to Newman’s assertion that television is a history of ideas about modern social perceptions, technology, and culture (Newman, 2014), Trans TV’s growing number of episodes that highlight gender diversity implies that television as a medium can advance significant social issues at the nexus of culture and technology.

References:

Goddard, M.N. and Hogg, C. (2018). Introduction: Trans TV as concept and intervention into contemporary television. Critical Studies in Television: The International Journal of Television Studies, 13(4), pp.470–474. doi:https://doi.org/10.1177/1749602018798217.

Newman, M.Z. (2014). Video revolutions : on the history of a medium. New York: Columbia University Press.

By Xinran Liu 33732297