The shift in how gender identity is represented on digital platforms has marked a pivotal moment in media history. Traditional television, once limited by strict broadcasting schedules and corporate interests, now faces competition from streaming services that cater to niche audiences with diverse desires and stories. This digital transformation facilitates the emergence of non-heteronormative characters and narratives, allowing for more complex portrayals of gender identity. “Big Mouth” exemplifies this evolution, particularly through its depiction of Natalie, a trans character whose journey in the series provides a refreshing and realistic portrayal of trans experiences. She is voiced by Josie Totah, a trans actress who transitioned at a young age. As Goddard et al. (2018) argue, digital platforms create a space for queer aesthetics, challenging the heteronormative frameworks that have historically shaped television. “Big Mouth” embraces this new frontier, depicting not only the joys and struggles of Natalie’s trans identity but also highlighting how she navigates societal interactions that are sometimes supportive and other times discriminatory.

This portrayal of trans identity in “Big Mouth” echoes the argument made in Koch-Rein et al.’s (2020) work on the “transing” of television. As the authors suggest, trans representation should not be reduced to a simplistic celebration of inclusion but should offer a “transing” of the medium itself—a process where trans experiences and identities reshape the aesthetics and structures of existing television genres. In this context, “Big Mouth” reflects a broader trend of television moving beyond traditional realism and embracing more speculative, genre-defying approaches to trans visibility. (Goddard et Al, 2020)

Both “Big Mouth” and the work by Koch-Rein et al. highlight that trans media representations should be viewed as part of an ongoing transformation in television rather than just a goal of liberal inclusion. This “transing” of media fosters a deeper understanding of trans experiences, avoiding oversimplification while celebrating resilience and complexity. As such, “Big Mouth” demonstrates how digital platforms can provide authentic depictions of trans identity that blend realism with creative disruption.

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

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