Queer representation in the film and TV industry is far too often reduced to misleading stereotypes of “coming out”, shame, and exclusion, that neglect the countless other narratives that create a more balanced and diverse conception of what it means to be a part of the LGBTQ+ community. More often than not, queer characters are used as plot devices or background, seldom adding true meaning to the story, as they are rarely given the opportunity. However, DreamWorks epic, She-Ra and the Princesses of Power, has not only become an exception, but also a beacon for what the industry could become. A reboot of the 1985 He-Man spin-off, She-Ra: Princess of Power, Noelle Stevenson’s adaptation reintroduces us to a universe of diverse characters and stories, embodying the LGBTQ+ community in an attempt to normalise these experiences to audiences of all ages. 

As with its predecessor, Stevenson’s show stars Adora, a Horde captain bent on destroying the princesses that rebel against the organization that raised her. However, when she finds a magical sword, she becomes She-Ra and realizes she is on the wrong side of the war. Throughout five seasons, we see Adora and her new friends attempt to save their planet from destruction from the malicious Hordak, while struggling with their own issues of destiny, forgiveness, and friendship.

Queerness as a whole in the film and television industry has far too often been represented through stereotyping and the obligatory “coming out”. LGBTQ+ characters are only the main characters when the plot revolves around their sexuality. But why does sexuality have to be a plot point? Why do we only see the pain or the anxiety of queerness when there is so much love and hope and pride that exists? While most shows that embrace LGBTQ+ representation often make it a point to introduce their characters as queer, She-Ra chooses to develop its own by their individual personalities rather than who they love. One important example in the show are George and Lance, who are introduced as the fathers of one of the main characters, Bow. Both men are given distinct yet supporting personalities, are openly affectionate, and are provided plot significance for their knowledge and experience rather than solely being fathers. Yet, George and Lance are just the threshold of the She-Ra Universe; canonically ever-expanding with the inclusion of non-binary, lesbian, gay, bisexual, and transgender characters. 

Limited conceptions of the LGBTQ+ experience can be detrimental to not only the movement as a whole, but to individuals, young and old, trying to figure out who they are. Melanie Kohnen, in her book, Queer Representation, Visibility, and Race in American Film and Television, discusses the concept of “closet-as-screen” that shows the screen as both a “projection surface and filtering device;” limiting diverse perspectives to hollowed out stereotypes of queerness that can hinder the understanding of such diversity for viewers. She continues that “whenever a particular form of queer visibility is projected on film and TV screens, other possibilities are filtered or screened out.” By showing limited perceptions of the queer experience, myriads of other experiences are being neglected and subsequently left forgotten or unknown to consumers of such content.  If the “coming out” story is always told in a way that shows the queer character facing hardships from friends and family, losing loved ones, then that may influence a viewers own “coming out” by giving them possibly false conceptions of the people around them. Likewise, the use of stereotypes often perpetuates experiences of personal shame, exclusion, and of the conflict of feeling unnatural that can cause further pain. Outside these common narratives, though, are experiences of religious acceptance, of rivals to lovers, and of friendships that evolve into romantic relationships. Further than these, even, is representation that does not use queerness as a plot device or a character’s sole identity. All in all, stories and representation have power. Noelle Stevenson and her team took the opportunity of a reboot and created a fictional world where there is still pain and suffering, but also diverse love and growth and humanity within an alien world. They understood that far too many narratives were being excluded from the industry and decided to change that for the better. 

For Noelle Stevenson, the executive producer and creator of the new She-Ra, representation is about normalisation. In an interview with IndieWire, Stevenson stated that “it’s a responsibility in [her] eyes [to] create media for children, for all ages, that shows these issues as normal”. She sought to create diverse characters that fans could relate to directly, which did not exist when she was young. Her rendition of She-Ra did exactly that. Her characters were outwardly LGBTQ+ without making it a big deal, or, as Kohnan would say, “filtering out” other experiences. Stevenson stated in a separate interview with PaperMag that having blatant romance of queer characters “matters because kids can be like ‘oh I could marry a girl. I could fall in love and get married just like anyone else.’ The importance of that is so huge.” She also discusses how this impacts those outside the LGBTQ+ community where “the more subtle representation that is not always recognizable to viewers outside the community is also important: creating this environment and world where queer viewers feel very accepted and understood.” It is just as important to normalise the LGBTQ+ experience for those in it as it is to normalise it for those outside. As Stevenson discussed, queer representation is so much more than than the stereotypical stories told; it’s about expanding the community and creating an environment that is embraced by those who are queer and by their allies. 

The film and TV industry is increasingly more important for our exposure to people who we may not often have around us. It has become a tool for information and subsequently can either raise or diminish diverse voices and experiences. The LGBTQ+ community is diverse in its experiences, voices, and stories. Yes, “coming out” is one of them, but it is not the only one. Stevenson took a large leap by making the majority of her characters a part of the queer community. She took an even larger leap by making some of their relationships romantic (against many of the powers-that-be in the industry). However, the most important thing she did by creating She-Ra and the Princesses of Power is telling the world that everyone - whether your sexuality, your race, your gender, or your body type - deserves to be visible, and deserves their story to be told.