The Netflix and Chanel 4 series Feel Good is a clear example of how modern television has the ability to approach trans and non-binary representation with authenticity and care. This illustrates the broader progression in both the distribution and consumption of TV exemplifying the evolving landscape of Trans TV. This concept explores how “new modes of production, distribution and consumption, defined as they are according to the active desires of niche users… allow for a potentially more open manifestation of television”(Goddard & Hogg, 2018). It is these shifts that allow for shows such as Feel Good to center more nuanced representation. 

In this case the character of Mae is played by actor Mae Martin who identifies as non- binary in real life. It is a semi-autobiographical series and therefore comes from a place of sincerity. The narrative follows a wider theme of self -discovery as we explore love, addiction, and identity. It is in Season 2 where there is a real focus into Mae’s gender identity, yet it is how this is approached that sets the series apart. There is a refusal to define Mae’s identity solely in terms of conflict or external validation and therefore the series rejects tokenism favoring a more personal and complex portrayal of identity. In this approach they have echoed the idea of ‘transing’ television (Goddard & Hogg, 2020). In breaking down the traditional and more linear storytelling structures to instead reflect the fluidity of identity they have created a story that feels specific but can resonate with many.

In comparison to earlier work such as Transparent which often felt as though it came from a more cisgender perspective when exploring trans themes, Feel Good demonstrates the significance in allowing creators to tell their own stories. It allows for unmatched authenticity and provides the best opportunity for the complexity of gender and sexuality to be explored.

Olivia Coleman – 33752564

Bibliography

Goddard, E. and introduced by M., & Hogg, C. (2020). Introduction: Trans TV dossier, III: Trans TV re-evaluated, part 2. Critical Studies in Television: The International Journal of Television Studies, 15(3), 255–266. https://doi.org/10.1177/1749602020937566

Goddard, M. N., & 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), 470–474. https://doi.org/10.1177/1749602018798217