In the contemporary media environment, the notion of Trans TV has emerged as a reaction to the ‘multiple transformations of television’ (Goddard & Hogg, 2018:471). Goddard and Hogg elaborate that ‘the use of the word ‘trans’ in ‘Trans TV’ indicates a medium in a process of transformation and is a starting point for reflecting on the emergence of prominent televisual representations of transgender characters, as well as, in some cases, performers, writers and producers’ (Goddard & Hogg, 2020:256).

Two shows that have emerged from a niche of low fantasy and superhero shows that have trans representation in a main group of characters are Sense 8 and Umbrella Academy. What is interesting about both of these shows is the fact that real-life events and transitions of artists had a creative influence on the shows. In the case of Umbrella Academy, the coming out of the actor Elliot Page as transgender influenced showrunners to consult him about the creative decisions, the storyline, and the development of the character he plays. In the case of Sense8, the writers and directors Lana and Lilly Watchowski, well known for their work in the sci-fi and fantasy genre, used their personal experience to create an authentic trans character for the show Sense8.

In both shows, trans characters are part of what can be called ‘surrogate families’ – groups that feel like more than families. In Umbrella Academy the seven children are adopted by an eccentric billionaire, and in Sense 8, the sensates from one cluster are considered a family. In both shows, all characters born in different places around the world are also connected by the fact that they share the same time and date of birth. Because of this, in both shows, the trans characters are depicted as ‘peers’ and not ‘the odd ones’.

What both shows use and emphasize as important is the name. In Umbrella Academy an important moment for Elliot Page’s character Vanya is telling her three brothers that her new name is Victor.

On the other hand, in Sense8, the mother of the trans character Nomi Marks intentionally uses the character’s old name to protest her transition.

With the storyline of Nomi, the Watchowski sisters portray the struggles trans people can face regarding the acceptance of their new identities, by their real families, society, and institutions. On the other side, the show also portrays unconditional acceptance of who they are, through the dynamic of their sensate family. We can say that the sensates (connected people from all around the world) can be an allegory for online experiences where people can sometimes find more support and acceptance online – from people who have shared experiences – than within their own families, communities, and societies.

References:

Goddard, M. & Hogg, C. (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

Goddard, M. & Hogg, C. (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

Wachowski, L., & Wachowski, L. (Creators). (2015–2018). Sense8 [TV series]. Netflix.

Author: Marina Zec, 33839036