The Representation of Transgender characters in Netflix movies

Research Paper (undergraduate) , 2024 , 83 Pages , Grade: A

Communications - Mass Media

This study explores the impact transgender characters have on viewers and the way Netflix media represents the community. In recent trends, transgender visibility has increased in mainstream media, it is important to understand how the portrayal of various transgender characters influences the viewers in terms of gender identity and inclusion. The research uses the mixed methods using surveys among 75 Netflix viewers and content analysis. The result of this research indicates that Netflix films/shows remain limited and often stereotypical. Detailed analysis of the films/shows resulted in Netflix still portraying transgender characters through a lens of victimisation, as well as comic reliefs. There is still a lack of transgender protagonists in mainstream Netflix films/shows, often side lined and their storyline revolving around their gender identity and struggles. There is a lack of personality and depth with transgender characters, often indicating token representation.

CONTENT

ABSTRACT

CHAPTER 1 INTRODUCTION

CHAPTER 2 REVIEW OF LITERATURE

CHAPTER 3 RESEARCH METHODOLOGY

CHAPTER 4 DATA ANALYSIS AND INTERPRETATION

CHAPTER 5 DISCUSSION AND CONCLUSION

REFERENCES

APPENDIX

List of Figures

4 Age analysis

4 Religion analysis

4 Mother tongue analysis

4 Gender analysis

4 Frequency of watching Netflix analysis

4 Exposure to transgender characters on Netflix analysis

4 Accuracy of Netflix’s portrayal of transgender characters analysis

4 Reinforcement of transgender stereotypes analysis

4 Frequency of transgender roles played by actual transgender actors on Netflix analysis

4 Common transgender representation seen on Netflix analysis

4 Screen time and depth given to transgender characters on Netflix analysis

4 Influence of Netflix on viewers perception of the transgender community analysis

4 Responsibility of Netflix in reducing social stigma analysis

4 Discussions prompted by Netflix analysis

4 Responsibility of Netflix to improve representation analysis

4 Comparison to real-life experiences analysis

4 Desired improvements in Transgender representation analysis

4 Perception improvement over the years analysis

List of Tables

3 Dependent Variables

Abstract

This study explores the impact transgender characters have on viewers and the way Netflix media represents the community. In recent trends, transgender visibility has increased in mainstream media, it is important to understand how the portrayal of various transgender characters influences the viewers in terms of gender identity and inclusion. The research uses the mixed methods using surveys among 75 Netflix viewers and content analysis. The result of this research indicates that Netflix films/shows remain limited and often stereotypical. Detailed analysis of the films/shows resulted in Netflix still portraying transgender characters through a lens of victimisation, as well as comic reliefs. There is still a lack of transgender protagonists in mainstream Netflix films/shows, often side lined and their storyline revolving around their gender identity and struggles. There is a lack of personality and depth with transgender characters, often indicating token representation.

Keywords: Transgender, Netflix, Gender identity, Inclusion, stereotypes

INTRODUCTION

Chapter I

1.1. Introduction

We’ve seen a significance in the rise of awareness surrounding the transgender community, most of which has caused more stigma towards the community. From everyday conversations in real life to heaps of hate towards the community online. This preconceived notion has caused distress towards transgenders in real life leading up-to many hate crimes and rights being denied. Media representation plays an integral role when it comes to shedding light on many marginalised communities. The positive/negative role that a character plays in a film/show tends to make viewers form an opinion on them in real life, which has resulted in many stereotypes revolving around the transgender community. The most common stereotype is pushing these characters to gender-roles in society and transgender people breaks this gender binary. This is an issue leading to misrepresentation that can be passed down for generations that can eventually be accepted as a suitable view. Positive representation can help with raising awareness, empathy and gains acceptance whereas with misrepresentation it can lead to prejudice, harmful stereotypes and eventually contributing to marginalisation.

Are people eager/willing to watch transgender oriented films? We aim to bring awareness over many such matters in question from the lack of rights, legal protection, harassment, healthcare, poverty, legal documents etc. This community is being denied of their existence and learning about them through a less saturated lens would help us better understand their lives and the right to be human. Media is such a power tool that can be used to influence the audience by educating them on such matters using emotions. There has been a great improvement over the years with regards to transgender representation. The characters play important roles that contribute to the story differentiating it from the typical comedic relief. The modern stories feature trans characters where the role has been crafted to be impactful and respectful. Certainly, there are still many areas that need to be improved by focusing on the fact that these identities break the gender binary and the heteronormative role which has been dominated due to the patriarchal society. We should work together to help improve the representation in media so that future generations have a more positive view and more importantly having trans youth feel more validated.

The main concern is also pointing towards how many derogatory terms have become so normal to use when referring to trans people. It’s often done to demean or invalidate them. The most common slur being tranny. Misgendering them by actively using incorrect pronouns to address them. In India namely they are called chakkas and meetha which indicates men having feminine qualities in them. Transgender identities have been associated to medical disorders reinforcing that it’s abnormal. Often being told that they’re sick or it’s just a phase. They are forced into horrors such as conversion therapies to make them ‘normal’ again because of these dangerous notions revolving around them. Understanding and addressing these issues is critical for supporting inclusivity and respect in the society. Why did we make life for them so difficult to live in the first place? How can transgenders be accepted and less stigmatised? When will society stop viewing them as a threat? We have so many questions left unanswered. For that reason, we are trying to debunk these myths and stereotypes by exploring what modern day transgender media has to offer us. With Netflix being such a popular streaming platform in this generation, it surely has ton to offer every individual’s preference but, is this platform powerful enough to set the right perception for transgenders in society.

1.2. Objective

- To explore how transgender people in real life view the representation of transgender characters available on Netflix.
- To analyse the recurring themes and patterns that showcase a transgender character’s portrayal.
- We seek to understand how these portrayals affect the depiction of transgender people and their role in society.
- By analysing participant responses, the researchers aim to understand whether Netflix portrayals have a positive\negative impact on its viewers.
- To be able to debunk stereotypes and myths that revolves around transgender characters.
- This research aims to spread awareness and help educate readers on new ideas and perceptions surrounding transgender characters.

1.3. Operational Definitions

1. Gender:

Gender refers to the socially and culturally constructed roles, behaviours, expressions, and identities associated with being male, female, or non-binary.

Judith Butler (1990) states that “gender is not a stable identity or locus of agency from which various acts proceed; rather, it is an identity tenuously constituted in time—an identity instituted through a stylised repetition of acts.” (Gender Trouble: Feminism and the Subversion of Identity).

2. Sex:

Sex is a biological classification based on reproductive anatomy and genetic composition, typically categorised as male or female.

Anne Fausto-Sterling (2000) argues that “sex is not simply a natural category but a cultural one as well, shaped by scientific discourse and social expectations” (Sexing the Body: Gender Politics and the Construction of Sexuality).

3. Transgender:

A transgender person is someone whose gender identity does not align with the sex assigned at birth.

According to the American Psychological Association (2015), “transgender people experience a gender identity that is different from their sex assigned at birth and may seek to transition through social, medical, or legal means” (Guidelines for Psychological Practice with Transgender and Gender Nonconforming People).

4. Queer:

Queer is an umbrella term for sexual and gender identities that do not conform to heteronormative and cis-normative standards.

Eve Kosofsky Sedgwick (1990) explains that “‘queer’ can refer to the open mesh of possibilities, gaps, overlaps, dissonances, and resonances that exist outside the confines of binary understandings of sexuality” (Epistemology of the Closet).

5. Gender Dysphoria:

Gender dysphoria is the psychological distress caused by a mismatch between one’s gender identity and sex assigned at birth.

According to the American Psychiatric Association (2013), “gender dysphoria involves a conflict between a person’s physical or assigned gender and the gender with which they identify, leading to significant distress or impairment” (Diagnostic and Statistical Manual of Mental Disorders (DSM-5)).

6. Media:

Media encompasses various platforms (television, films, social media, etc.) that shape public perception of gender and identity.

Rosalind Gill (2007) argues that “media representations of gender not only reflect social norms but also actively construct and reinforce them, often perpetuating stereotypes and hierarchies” (Gender and the Media).

7. Netflix:

Netflix is a global streaming platform that influences cultural and gender representation through its content.

Ramon Lobato (2019) states that “Netflix, as a transnational media service, has reshaped traditional TV culture and offered new spaces for diverse gender identities to be represented on screen” (Netflix Nations: The Geography of Digital Distribution).

8. Community:

A community is a social group sharing common interests, values, or identities, including LGBTQ+ support networks.

Benedict Anderson (1983) defines communities as “imagined political communities” where “the members will never know most of their fellow members, yet in the minds of each lives the image of their communion” (Imagined Communities).

9. Transition:

Transition is the process by which transgender individuals align their physical, social, and legal identity with their gender identity.

Arlene Istar Lev (2004) explains that “transition is not a single event but an evolving process of self-recognition, social integration, and sometimes medical intervention” (Transgender Emergence: Therapeutic Guidelines for Working with Gender-Variant People and Their Families).

10. Meetha’s and Chakas:

“Meethas" and "Chakas" are colloquial South Asian terms often used derogatorily to refer to effeminate men or queer individuals.

Gayatri Reddy (2005) notes that “terms like ‘chakka’ and ‘meetha’ serve as both markers of gender nonconformity and as social tools of marginalization” (With Respect to Sex: Negotiating Hijra Identity in South India).

11. Hijaras:

Hijras are a recognized third-gender community in South Asia with distinct social and cultural roles.

Serena Nanda (1990) describes hijras as “neither man nor woman, but a culturally recognized third gender that holds both spiritual significance and social stigma” (Neither Man nor Woman: The Hijras of India

12. Visibility:

Visibility refers to the degree to which marginalized identities are represented and acknowledged in society.

Jack Halberstam (2005) asserts that “visibility can be a double-edged sword, offering both representation and increased scrutiny, depending on societal attitudes” (In a Queer Time and Place: Transgender Bodies, Subcultural Lives).

13. Gender Identity:

Gender identity is an individual's internal sense of being male, female, non-binary, or another gender.

Judith Butler (2004) argues that “gender identity is performative, meaning it is created through repeated behaviours rather than being an inherent trait” (Undoing Gender).

14. Gender Expression:

Gender expression refers to the external display of gender through clothing, behaviour, and mannerisms.

Julia Serano (2007) states that “gender expression is often judged against rigid societal norms, leading to discrimination against those who do not conform” (Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity).

1.4. Theories

1. Harold Lasswell’s theory of communication

Lasswell’s Model of communication is a linear model that analyses communication with the of the 5 W’s [who, what, why, when, where] and the one H [how]. The theory is applied taking into context that Netflix is a global streaming platform, and it serves as a primary communicator. Within Netflix, many script writers, producers, and directors contribute when shaping the portrayal of transgender characters. There could be productions that include transgender creators and writers for authentic storylines, while also relying on cis gender creators for impacting the depth of representation. The message will vary across every movie and show. Production could lean towards a more positive representation to empower transgender characters as strong, resilient, and intelligent individuals for more authentic experiences. Since Netflix is an online global streaming service, people can subscribe and watch any type of content they desire to. It caters to a global market which results in the platform having many local and international film and show collection. This also results in having diverse groups of audience. It could be members of the LBGTQIA+ community who seek for relatable and authentic storylines, while on the other hand could be cis gender viewers who consume content to understand the transgender community. The representation is responsible for educating, valuing and or reinforcing biases, all this depends on the construction of the narrative.

2. Formalist Theory

The theory’s approach is aimed at analysing films, literature and other forms of art that focuses on their FORM rather than the aspects like its history or politics. It encourages the use of literary style and techniques alongside the use of cinematic devices. This theory will focus more on how transgender characters are being represented in Netflix rather than why they are portrayed in a certain way. It examines how transgender characters are integrated into the storyline, whether they are protagonists with complex arcs or just side lined in the story for token representation. Along with whether the narrative solely focuses on transgender struggles (gender dysphoria, transition struggles, victimization) or portraying them as multifaceted characters with personalities, goals and relationships. Camera angles and lighting also influences how the character is portrayed. Depending on if the character is framed with dignity and respect or does the cinematography violate and objectify the character. The costuming and make up choices play an important role, it shows whether the character is dressed authentically or overly exaggerated costumes that reinforce stereotypes. Dialogues show us if transgender characters are given complex and meaningful lines or are they reduced to just their gender identity. The incorrect use of pronouns and deadnaming by other characters reflects deeper narrative biases. It also examines the screen time given to transgender characters, whether they are given substantial amount or just until their ‘identity arc’ plays out. It is also important to examine if transgender characters are given enough time for character development or are their identities used for plot or shock value. A transgender is portrayed mostly depending on the genre of the film/show. Common transgender tropes are “deceptive trans woman” “magical transition” “for background diversity” are these tropes still relevant or does Netflix push beyond them? Taking all these factors into consideration we can see how Netflix influences its viewers.

3. Queer Theory

The theory has an academic and intellectual approach with concepts of gender, sexuality and identity. It critically challenges how traditional and normative understanding of these concepts restrict and shape individual identities and experiences based on several societal norms. It examines whether Netflix still reinforces fixed gender binaries or a more progressive, fluid idea of gender. Are gender performances challenged in films/shows or are transgender characters are still subjected to stereotypical appearance of male/female. This theory also questions the agency transgender characters have over their own identities, whether Netflix still produces films/shows through a lens of cis gender validation. It also examines if the representation provided by Netflix is merely performative or do, they make the character central to the plot. The narrative subjects the characters to gender essentialism or does the film/show allow trans characters to exist with the constant approval and explanation of their gender identity. The theory also takes into consideration who tells the stories. It is just cis gender people behind the camera lens trying to make a meaningful impact or queer people involved in the creative process too. Using the queer theory lens, we will be able to understand the impact Netflix has on its viewers.

1.5. Scope

- The transgender population is still subjected to stigmatisation, prejudice and disdain from society which is why the representation was chosen.
- There are common attitudes that view people as worthless and incapable of doing anything.
- This study explores how transgender characters are portrayed in terms of their role, they are either depicted as a stereotypical or complex character.
- If the narrative is solely focused on their gender identity or are there any broader range of issues involved.
- To show how exposure to these characters can lead viewers to positive or negative portrayals and their attitudes towards the policies and rights of transgender individuals.
- To emphasise on positive emotions rather than the negative.
- Being able to position transgender people in the sphere of media representation and how they are defined, viewed, and perceived through camera lens.

1.6. Limitations

- There are several limitations to this study. First the study is only limited to transgender characters available on Netflix movies and shows.
- Netflix content analysed has been limited to the availability in the Indian region.
- The participants were recruited from Hyderabad itself, so the study lacks cultural diversity in responses.
- Third, the study included responses from different generations so has different beliefs and perspectives.
- The research focuses only on the transgender community and not the rest of the queer community.
- With Netflix constantly updating its trends the content might be outdated.

Chapter II REVIEW OF LITERATURE

2.1. Introduction

The representation of transgender characters in media, particularly in Netflix movies and shows, has evolved but continues to be a subject of scrutiny. Media portrayals influence audience perceptions, either reinforcing stereotypes or challenging societal norms. The literature on this topic discusses historical misrepresentations, common themes in transgender portrayals, and their impact on viewers, especially transgender youth.

Representation in media has a profound effect on public perceptions and identity formation. In the case of transgender characters, the visibility and portrayal in mainstream media can either challenge or reinforce stereotypes. According to Smith & Richardson (2022), mainstream cinema and television—including platforms like Netflix—continue to struggle with representing transgender identities authentically.

While independent and digital media have provided more positive portrayals, mainstream popular cinema has often relied on outdated or problematic narratives. Your research fits into this ongoing academic discussion by specifically analysing Netflix productions and their impact on audiences.

2.1.1. Historical Representation of Transgender Characters

Historically, on-screen portrayals of transgender individuals have largely been unfavourable. As Mocarski, Butler, Emmons, and Smallwood (2013) note, “when transgender peoples are represented in media, it is often in a way that marginalises them…this marginalisation serves as a strategy to reinforce gender binaries” (p. 250).

Culture plays a significant role in shaping how representations are created. Richardson (2016) states that “the body is shaped or constructed by the norms of culture” (p. 10). Thus, examining the portrayals of transgender individuals is likely to provide insights into cultural attitudes surrounding gender and the body.

McInroy and Craig (2017) argue that “LGBTQ people have consistently been stereotyped as comic relief, villains and/or criminals, mentally and/or physically ill, and victims of violence” (p. 34). Rigney (2003) agrees, stating that “cinematic representations of transgender characters have been notorious for their portrayals of the transgendered as psychotic serial killers or as figures of fun and comic relief” (p. 4).

2.1.2. Historical Context of Transgender Representation in Film and Television

The book outlines the evolution of transgender representation in mainstream media:

- Early Stereotypes: Historically, trans characters were either objects of ridicule (Ace Ventura: Pet Detective, 1994) or tragic figures (The Crying Game, 1992).
- The ‘Transgender Tipping Point’ (2014): Laverne Cox’s role in Orange Is the New Black*was considered a breakthrough moment for trans representation, making way for more trans actors in mainstream roles.
- The Role of Netflix: As an international streaming platform, Netflix has introduced more diverse trans characters, but its approach has been inconsistent, balancing between progressive and problematic narratives.

These historical developments provide a backdrop for analysing current Netflix shows and their portrayal of transgender characters.

2.2. Common Themes in Transgender Representation

Several recurring themes emerge in transgender portrayals in Netflix shows:

1. Trans normatively, Transgression, and ‘Fixing’ Transness

A significant theme present in literature is the normative criteria used to evaluate transgender individuals. Johnson (2016) investigates the idea of trans-normativity, which is characterised as the “ideological accountability structure that holds transgender individuals’ expressions and experiences of gender accountable it organises transgender experiences, identities, and narratives into a hierarchy of legitimacy that relies on a binary medical model and its related standards” (p. 466). Trans-normativity serves to both simplify the understanding of transgenderism for audiences and reduce its complexity (or its potential to challenge norms).

An intriguing observation is that transgender characters transitioning from male-to-female (MTF) have been depicted more frequently than those transitioning from female to male (FTM). Rigney (2003) notes that female-to-male characters have “largely gone unnoticed except in…a heterosexual context” (p. 5). Consequently, the cultural focus has primarily been on MTF representation rather than FTM.

Based on Smith & Richardson (2022), the representation of transgender characters in popular media—including Netflix—follows specific patterns:

One dominant theme in transgender representation is trans normativity—the idea that trans people must conform to medical transition narratives to be seen as legitimate. This is often depicted in media through:

- A focus on surgeries and hormones as central to a trans character’s identity.
- Before-and-after narratives that imply a “complete” transition is necessary.
- A ‘born in the wrong body’ trope that oversimplifies trans identities.

Netflix’s Orange Is the New Black follows this trend with Sophia Burset’s (played by Laverne Cox) storyline, which heavily focuses on her medical transition while sidelining other aspects of her identity.

While these narratives provide visibility, they also reinforce a limited view of trans experiences. A more inclusive approach would showcase trans people in roles where their identity is not solely defined by transition but by their relationships, careers, and personal struggles.

2. Victimisation and Violence

Transgender characters are often shown as victims of violence, reinforcing narratives of vulnerability. McInroy and Craig (2017) found that most transgender youth in media are depicted as insecure and bullied. Shows like Orange Is the New Black portray transgender characters like Sophia as victims of both institutional and interpersonal violence.

3. The ‘Bathroom Problem’

The ‘bathroom issue’ for transgender individuals can generally be described as the dilemma of which restroom to utilise and the consequences that arise from those decisions. For example, a pre-operative trans individual who does not fully pass may experience harassment if they choose to use the restroom that aligns with their gender identity. Sandercock (2015) contends that “public bathroom use is highly political for gender minorities” (p. 445). This bathroom issue is illustrated in the two series that Sandercock examines, Glee and Degrassi. Sandercock notes that both shows “demonstrate awareness of the political nature of public bathroom use as both Adam and Unique are assaulted in bathrooms at school” (p. 445). In the show Degrassi, transgender teen Adam Torres is assaulted in the school bathroom. The solution is that the school staff will escort him to use the handicap bathroom. Sandercock concludes that “the consequence that Adam, as a victim, should be segregated, underhandedly promotes a hierarchy of legitimacy and acceptance wherein gender-conforming, heterosexual cis men and women…accrue privilege. Their concerns and their spatial freedoms are privileged while the concerns and locations of others are marginalized” (pp. 447-448). The bathroom problem is widely configured in transgender representation as it is a part of everyday life. whether a trans person decides to get hormone replacement medication or surgery further complicates this issue.

4. Transgender Representation and Romance

Another notable issue in transgender representation is the lack of romantic storylines. Abbott (2013) coined the term “trans/romance dilemma,” describing how filmmakers avoid portraying transgender characters in romantic relationships to prevent audiences from questioning their gender authenticity.

5. Transgender Identity and Genre Constraints

The book explores how different genres shape transgender representation. In Netflix productions:

- Crime dramas (Orange Is the New Black) depict trans characters as victims of systemic oppression.
- Teen dramas (Sex Education) explore trans identities in a more affirming manner.
- Sci-fi and fantasy (Sense8) present trans characters with greater complexity, breaking from traditional stereotypes.

Genre plays a crucial role in how trans characters are perceived. While serious dramas often focus on oppression, lighter genres like teen comedies and sci-fi allow for more nuanced and empowered trans characters. Your research could explore how genre affects audience reception of trans portrayals.

6. The “Gaze” and the Objectification of Trans Bodies

The book applies Laura Mulvey’s (1975) theory of the “male gaze” to transgender representation, arguing that trans characters are often presented as subjects of curiosity rather than fully realized individuals. This gaze manifests in:

- Excessive focus on the trans body (e.g., scenes of undressing or medical transition).
- Voyeuristic depictions that position trans characters as “exotic” rather than relatable.
- Hyper sexualization of trans women while trans men remain underrepresented.

Netflix productions need to move beyond objectification by focusing on trans characters’ emotions, ambitions, and relationships rather than their bodies. This can shift the audience’s perception from viewing trans identities as “spectacles” to seeing them as ordinary yet unique human experiences.

7. The ‘Trans Deception’ Trope

One problematic trope discussed in the book is the “trans deception” narrative, where a trans character is portrayed as deceiving others about their gender. This trope often appears in crime thrillers and horror films, reinforcing negative stereotypes.

While Netflix has largely moved away from this harmful trope, your research could analyse whether subtler forms of this narrative still exist. For example, are trans characters always required to disclose their gender history? Are they shown as inherently trustworthy, or does suspicion linger around their identity?

8. The Influence of Trans Representation on Viewers

Smith & Richardson (2022) argue that trans representation in media affects both trans and cisgender audiences in the following ways:

A. Positive Impacts

- Increased visibility leads to social acceptance – Trans characters in mainstream shows have contributed to a greater understanding of trans identities.
- Empowerment for trans viewers – Seeing relatable characters can provide trans individuals with validation and hope.

B. Negative Impacts

- Reinforcing stereotypes – When trans characters are only shown as victims or hyper-medicalized figures, they reinforce limited narratives.
- Audience backlash – Some viewers resist positive trans representation, leading to toxic discourse on social media.

2.3. Impact on Viewer

The influence of these representations on viewers, particularly transgender youth, is significant. Media serves as one of the first sources where young transgender individuals encounter portrayals of people like them. McInroy and Craig (2017) found that positive representations provide a “sense of possibility,” helping transgender youth affirm their identities. However, negative portrayals can contribute to feelings of alienation and reinforce societal discrimination.

Additionally, these representations shape public perceptions of transgender individuals. Cowan (2009) argues that film and television serve as “windows into contemporary values,” influencing broader societal attitudes toward transgender people.

2.4. Progress and Future Directions

Despite the persistence of negative stereotypes, there has been progress. Shows like Orange Is the New Blacka and The Fosters have introduced more complex and nuanced transgender characters. Sophia, a Black transgender woman in Orange Is the New Black, provides a more layered representation, particularly in how the show explores her struggles within the prison system. Similarly, The Fosters includes transgender male characters like Cole and Aaron, moving beyond the dominant focus on trans women.

There is still a long way to go in achieving fully equitable and accurate transgender representation. Future research should continue to examine how transgender characters are integrated into mainstream narratives and how these portrayals evolve over time.

2.5. Conclusion: The Future of Trans Representation in Netflix Productions

The book suggests that while progress has been made, mainstream cinema still struggles with trans representation. Netflix, as a global platform, has the power to reshape narratives by:

- Casting more trans actors in lead roles.
- Employing trans writers and directors to create authentic stories.
- Moving away from trauma-based narratives toward diverse trans experiences.

2.6. RESEARCH GAP

Despite increasing academic interest in transgender representation in media, there remains a significant gap in research specifically examining how Netflix, as a global streaming platform, portrays transgender characters and how these portrayals influence audience perceptions. Existing studies have largely focused on traditional Hollywood films and network television, with limited attention to how streaming services like Netflix contribute to shaping transgender narratives.

Furthermore, while prior research has explored the impact of media on public attitudes toward transgender individuals, there is little empirical evidence on how Netflix’s portrayals specifically affect audience perceptions and biases. Most existing studies analyse trans representation from a qualitative perspective, focusing on character tropes and stereotypes, but few have investigated the direct relationship between exposure to trans characters on Netflix and shifts in viewers’ attitudes.

Another critical gap is the underrepresentation of trans youth and non-binary identities in mainstream media studies. While trans representation has improved, most academic discussions focus on adult trans characters, leaving a void in understanding how trans teenagers and non-binary individuals are depicted and whether Netflix provides relatable role models for trans youth Additionally, there is a lack of research on the role of trans creators in shaping these narratives—whether trans actors, writers, and directors contribute to more authentic and nuanced portrayals.

Thus, this study aims to address these gaps by conducting a comprehensive analysis of transgender representation in Netflix movies and shows, assessing whether these portrayals challenge or reinforce stereotypes, their impact on audience perceptions, and the inclusivity of trans youth and non-binary identities. This research will contribute to the growing discourse on media representation by focusing on how a leading streaming platform influences trans visibility and social attitudes in contemporary society.

A comprehensive analysis by Mocarski et al. (2019) highlights the complexities of transgender representation in media. The study emphasizes that while there has been an increase in visibility, the depth and authenticity of these portrayals often remain limited, potentially reinforcing stereotypes rather than dismantling them. According to Mocarski et al., many trans characters are still depicted through a cis-normative lens, which can contribute to misunderstanding rather than acceptance (Mocarski et al.).

The influence of transgender representation on viewers, particularly transgender youth, is profound. Positive portrayals can foster a sense of validation and belonging, while negative or stereotypical representations may perpetuate harmful biases. GLSEN emphasizes that authentic media representation serves as a powerful tool for dispelling stereotypes and empowering transgender individuals (GLSEN). Research also indicates that exposure to positive trans representation can reduce prejudicial attitudes among cisgender viewers, reinforcing the importance of accurate and diverse storytelling in mainstream media (Mocarski et al.).

CHAPTER III RESEARCH METHODOLOGY

3.1. Research Design

The research design is the conceptual framework within which research is carried forward through the collection, measurement and analysis of data. It is an outline of what the researcher does in the entire process from the wiring of the hypothesis, its practical ramifications until the ultimate analysis of the agglomerated data. A research design is the organization of situations for collecting and analysing data in a way that focuses to incorporate pertinence to the research goal. The research design here principally concentrates on the following concerns: (a) Formulation of the objectives of the research: To find out the implications and impact of transgender characters on viewers in Netflix films/shows and their impact in real life. It is also to find out the impact of age and gender group in perceiving the same in films. (b) Construction of the methods for data collection: the researcher administered quantitative methods through survey questionnaire. (c) Selection of the sample: the researcher selected samples of students from prominent colleges from various states of India for this study besides selecting a few of the activists and writers. (d) Collection of data: the data collection was done through Google Forms. (e) Processing and analysing of the data: through excel spreadsheet, the collected data were analysed and described, utilising mean and standard deviation. (f) Reporting the findings: the outcome of the experiments and survey are published in this study. The methodology of the study was through repetitive look into Netflix movies/shows and application of various Communication theories. There was a non-probability sampling involving a survey questionnaire prepared by the researcher and about 75 samples comprising of students, professors, social workers, writers and activists were collected and quantitative analysis was done to know the intensity and implications of the portrayal used in films and in the society. To meet the objective, the study has employed a Pilot test, a survey, coding of the data, finding of the mean and standard deviation, grouping of the dependent variables and an analysis within those groups. Thus, the situation of the transgender community, portrayal of the same in films are analysed and the results are recorded. Besides, the research has been designed with an analysis of the same variables based on age and gender groups. The research is carried out to find out whether there is any effect of age and gender on the dependent variables given. Then there is also an analysis on the terms used in films and their effects.

3.2. Pilot study

Initially, the questionnaire with about 50 questions were given to the guide who had suggested the researcher to categorise them and reduce to 15-20. Accordingly, the pilot study was carried among 75 of the respondents, a mixture of 10 college going students and 10 others who had been settled in some job or other. The latter also includes a transgender man. Many working adults also are included One of the activists suggested that the criticism of the transgender community has been really brought out well in the survey questionnaire as there were few questions which looked biased against Transgender individuals. Those questions were changed and sent back to the same activists and then the research questionnaire was sent to others for the survey. Other than this, the survey questionnaire was well received, and a lot of encouragement became a motivating factor for the research to be continued with greater vigour.

3.3. Quantitative Research Method

In quantitative research method, the observations are expressed predominantly in numerical terms. Usually, these research methods are conducted into forms namely surveys and experiments. This research is conducted based on a survey which was conducted among mostly their college students who have interest in watching films and analysing them. The quantitative research is explanatory, and they use precise statistical models to achieve comprehensive understandings of human communication. As much quantitative research do, this research also attempts to answer questions about people. The statistical tools namely, Mean values and Standard Deviation (SD) are used as means to achieve the results. Through this quantitative research, the researcher wishes to have precise explanation that characterises the process and develops methods to study communication behaviour. The research question has decided the method which is to be followed in this research.

3.3.1. Survey Method

The survey method used in this research follows the techniques that involves carefully recorded observations that provide quantitative descriptions of relationships among variables. The age difference and the gender difference among the respondents make this survey and experimental method which studies the effect of the variables in situations where all other influences are held constant. A variable like gender is kept constant while measuring the effect of a particular situation given to have a close look at how responses vary based on the other factors.

3.3.2. Data Collection

There would not be much data required for the research except that collected from watching the movie. There would be very few statistical data required about the atrocities committed against the transgender characters and about their position in the social ladder of Indian society. In case of representation of Transgender people in films, the researcher has utilised certain research on the percentage of Transgenders present in news media, statistics about the news report about the Transgender being highlighted in the media etc.

3.4. Sample Sampling

It was done on those who have watched films with transgender characters as well as those who are actively involved with the transgender community, say social workers, writers and a few who have crossed the barriers of the prejudices against them, Transgender and cis-gender, altogether 75 samples. This was quantitative research done on the topic. Thus, there was a non-probability sampling that involved non-random selection based on convenience or other criteria, allowing the researcher to easily collect initial data. Though the population involved with the research had a wider scope including the students, social workers, activists etc, this research has been non-random which means that every instance in the population has not an equal chance of selection. The study was restricted to mostly the college going students especially those students studying in the same college as the researcher. The researcher had chosen certain departments which would be suitable for this analysis namely English, Visual communication, Sociology and Social work departments. According to the researcher, this would be the right population to answer the survey questions based on the analysis of the film. Though the researcher had communicated the survey questions, sending them to about 900 students, she had got about 75 responses within that time limit given to them. The responses that arrived late were archived and kept for further studies without being included in this research. The researcher was aware that the sampling must be large enough to permit meaningful conclusions to be drawn. However, the same was questioned by the guide to limit to about 70 to 100 responses.

3.5. Administration of Survey Questionnaires

Survey is one of the essential methods of data collection which was deliberately formulated keeping its different elements for example: prevalent form, sequence, construction, wording of questions/questionnaires in mind, the researcher conducted it to the chosen students with an appeal to respond to the questions and return them after the completion. The questionnaires consisted of mostly closed ended questionnaire significant to the objectives of the research and for evoking personal and demographic information. The questionnaires were meticulously worded with clear orientation and instructions to support the sample population in filling them up. After having completed the process of filling up the details asked on the sheets, the questionnaires were collected from the students for analysis. It was observed that the students from all the colleges were very sincere in giving their responses. The analyses of the survey data were utilized to notify the researcher of a comprehensive figure of the students.

3.5.1. Questionnaires classification

Part A is the demographic details of the sample learners, Part-B focuses on the integration of ICT in TBLT, application of ICT tools, teachers’ use of ICT and TBLT materials, obstacles in integrating ICT in TBLT, differences in students’ motivation and attitude towards the integration of ICT in TBLT based on the demographic factors and Part – C is about the Attitude/Motivation Test Battery (AMTB) of Gardner (1985) which is adapted by the researcher for this study.

Part – A: Demographic Profile

Part – B: Form and Existence of Transgender individuals in the Society

Part – C: Form and Existence of Transgender characters in films

Part – D: Correlation between films and life

Part – E: Terms used against Transgender individuals in Films

Part – F: Age and Gender in understanding the Transgender individuals the society

Part – G: Perceptions of various age and gender groups about Transgender characters in films

Part – H: Age and Gender in understanding the correlation between Transgender characters and the terms used in films and the real society

Part – I: Perspectives of different Age Groups in perceiving Prejudice and Discrimination in the Terms used against Transgender characters in films

3.5.2. Informed Consents

Whenever human beings or animals are used as the subject of research, it is indispensable for acquiring informed consent from concerned party or competent authority on ethical ground. The researcher sent a note to all the respondents assuring them that the details filled would be purely utilised for the academic purposes and will not be shared with any other. The students showed great enthusiasm and participated in the proceeding with open heart and mind. The information gathered from the semi-interviews and survey questionnaires were great advantageous in answering some of the main and sub-questions of this research.

3.6. Variables

A Variable is a characteristic of the research which changes yet affect the other characteristics involved with the research. There are several variables identified in the research, and they are listed below.

3.6.1. Independent Variable

Independent variables predict outcomes hesitate in hypothesis. They are the starting points for making predictions. The focus of the research is on the frequency of transgender representation in Netflix films/shows. The quality of representation whether transgender characters are portrayed in a stereotypical manner. The relationship between these two is analysed the impact of the representation used in the screen and is analysed in the research. The independent variables used in the research are Age, Gender, Highest Level of Formal Education, Location and the State or the Union Territory the respondent lived the most. These variables are applied on various other dependent variables to find out the impact of the former on the latter.

3.6.2. Dependent Variables

Dependant variable is those whose values or activities are presumed to be conditioned on the independent variable in the hypothesis. There are a lot of dependent variables identified in the research, and they were analysed for the impact of the independent variable of the research. Besides, this would determine the intensity to which those statements are agreed upon by people belonging to different age groups, gender groups as well a generalised opinion of the same is determined. Prejudice and preconceived notions against the transgender community were the moderator variables identified in the research that intensifies discrimination and separation of the Transgender characters in Netflix.

The dependent variables identified in this research are listed below.

Table no.1

Illustrations are not included in the reading sample

3.6.3. Variables

Identified in many movies: In every movie and show observed, the lives of transgender characters are depicted through the difference shown in their lifestyles, gender identity, story arcs, negative or positive roles. The situation of the transgender characters is said to be caused by their discrimination as well demanding the response from the audience.

3.7. Measurement

Measurement refers to assigning numbers to variables according to a particular system. In this research the responses were numbered according to reverse coding. The demographic information about the respondents were also assigned numbers according to the category. But these numbers are only labels for the categories and there is no measure of the degree to which a variable is present. These are called nominal level measurement. The nominal level measurement was given to variables such as age, gender, educational status, geographical location and the state or the union territories the respondents live in. Their data obtained from these measurements is called as categorical data. They refer to the level of variables such as educational status which varies from illiteracy (no formal education to post-doctoral studies). The ordinal level measurement is used to rank the levels of understanding of the various statements and variables that are given in the research.

3.8. Method of assessment

the research involves assessment that was measured using the most popular tools in communication namely Likert scales. The questionnaires were formulated on Likert’s scale method of summated categorization and ranking for convenience, comfort, time-saving and quick responses from the respondents. The psychologist Renis Likert (1932) was the one who invented this scale which is the psychometric response utilized predominately in questionnaire for procuring participant’s predilection with a statement or a set of statements. It is not a comparative scaling mechanism and is one dimensional in trait. The propositions can be utilized by wording for or against in this method with five points rating response illustrating firmness of the respondents’ either acceptance or non-acceptance of the statement. This technique presents statements that reflect a clear position on an issue and asked the respondents to indicate their responses on the five-point scales. The composition of the quintessential five level Likert item is: 5) Strongly Agree, 4) Agree, 3) Neutral, 2) Disagree, 1) Strongly Disagree. The analysis of the data can be done either separately or summed up together for scoring after the completion of the questionnaires depending on the need. For the current study, Likert responses were investigated and analysed utilizing mean and standard deviation values. Reverse coding assigned value ‘1’ for strongly agree category, moving upwards on the scale to ‘5’ for strongly disagree. Thus, the statements which were accepted most by the respondents and agreed upon would be scoring less, being placed on the top of the table. The mean values of those statements and the standard deviation were calculated to determine the intensity and the impact of the variables on each other.

Mean: mean is the average of all their scores. Population mean is computed by using the following formula,

𝑀𝑒𝑎𝑛, 𝜇 = Σ𝑋/𝑁

Where X is the value while capital N is the number of events in the sample. Standard deviation: the standard deviation shows how far the average of the scores deviates from the mean. Since the variance is the average of squared deviations of difference of squares from the mean, if we want to get to and square differences, we simply take the square root of the variance using the formulas. Standard Deviation:

𝑠 = √ (Σ (𝑥 −𝑥′)2/(𝑛 −1)

Where ‘x’ is the score taken, ′𝑥′′ is the sample mean, and ‘n’ is the number of samples.

3.9. Hypothesis

A hypothesis is an expectation about events based on generalisation of the assumed relationship between variables. Such assumptions become very important in research so that the researcher begins the process at a point. Here the hypothesis is the various possibilities of perceptions and preconceived ideas about the Transgender community. The words used against the transgender characters in films and society have a lot of prejudice and preconceived notions against them. They further reinforce such concepts and beliefs. Another major assumption held in this research is the role of age and gender in perceiving the situation of transgender individuals, their portrayal of transgender characters in in films, the correlation between films and the reality etc. The researcher began with a hypothesis that the effect of age and gender on the perception of Transgenders is high. The researcher has employed directional hypothesis which states the form of differences between the variables. Further hypothesis employed which states that there is no relationship between the variables. This research expands the Null hypothesis to include all results that opposed the material hypothesis. The research finds data which is accepting the null hypothesis. One of the most important applications of a hypothesis is that it must state relationships between variables. In this paper, the researcher has taken just two variables namely age and gender and analysed their effect on other variables such as necessity of religion, Necessity of Reservation, cis-gender characters being portrayed predominantly on the screen, films ignoring the authenticity of transgender reality etc. There are two types of statistical hypothesis, namely, a research hypothesis (H1) and a null hypothesis (H0). A research hypothesis is an expectation about events based on generalisations of the assumed relationship between variables. It is the prediction that researchers hope to examine. And null hypothesis states that there is no relationship between variables. If the Null hypothesis is rejected, then the research hypothesis maybe tenable and researchers conclude that relationship exists among variables. If the Null hypothesis is not rejected, then research make no claim that a relationship exists among variables. In this research, the null hypothesis is not rejected, thus the researcher makes no claim that a relationship exists among the variables.

3.9.1. Major hypothesis 1

H01 The age and the gender of the respondent will not have any significant influence on their conviction about the representation of transgender characters in Netflix flms/shows.

3.9.1.1. Sub-Hypothesis

Age

H01Aa the age of the respondent will not have any significant influence on their Conviction about the representation of transgender characters.

H01Ab The age of the respondent will not have any significant influence on their Awareness about the Prevalence of Abuse

H01Ac The age of the respondent will not have any significant influence on Presumption about Prejudices being true

H01Ad the age of the respondent will not have any significant influence on thoughts about Transgender individuals & Others living separately

H01Ae The age of the respondent will not have any significant influence on Opinion about the transgender culture being Different

H01Af The age of the respondent will not have any significant influence on gender identity

H01Ag The age of the respondent will not have any significant influence on Perceiving about Films Glorifying transgenders than criticise

H01Ah The age of the respondent will not have any significant influence on Opinion on transgender characters being mentioned in film is fine

H01Ai The age of the respondent will not have any significant influence on Awareness about transgender issues in Netflix Films/shows.

H01Aj The age of the respondent will not have any significant influence on gender identity in Netflix films/shows

H01Ak The age of the respondent will not have any significant influence on Realising Political Factors Promoting transgender community

H01Al The age of the respondent will not have any significant influence on Perceiving transgender portrayal as Poor in Netflix films/shows

H01Am The age of the respondent will not have any significant influence on Perceiving Dalit Locality portrayed in Bad light

H01An The age of the respondent will not have any significant influence on Realising Less Transgender Representation in Netflix film & Media

H01Ao The age of the respondent will not have any significant influence on Awareness about Less Real transgender Issues in Netflix Films

H01Ap The age of the respondent will not have any significant influence on Perceiving victimization of Transgenders

H01Aq The age of the respondent will not have any significant influence on Assessing whether of Adverse effects of transgenders as Victims

H01Ar The age of the respondent will not have any significant influence on Being critical about gender identity

H01As The age of the respondent will not have any significant influence on noticing the rare transgender rebellion & outspeaking

H01At The age of the respondent will not have any significant influence on feeling that richness of transgender identity in Netflix films/shows necessary than problems

H01Au The age of the respondent will not have any significant influence on Feeling the need for a transgender Storyteller than others

H01Av The age of the respondent will not have any significant influence on Agreement on transgender Abuse being Portrayed rightly in Netflix films

H01Aw The age of the respondent will not have any significant influence on Sensing the Emotional effect from transgender Portrayals

H01Ax The age of the respondent will not have any significant influence on Assessment of whether or not an increased Abuse due to portrayal

H01Ay The age of the respondent will not have any significant influence on Realising the Terms revealing Prejudice

H01Az The age of the respondent will not have any significant influence on Agreement on Appearance leading to guess transgenders

H01Aaa The age of the respondent will not have any significant influence on Perception on Correlation between transgender in Netflix films/shows and in reality.

H01Aab The age of the respondent will not have any significant influence on Awareness on Exclusive words being used for Estrangement

H01Aac The age of the respondent will not have any significant influence on Noticing the Locality and appearance of transgender as shown dirty places, dark and weak in films

H01Aad The age of the respondent will not have any significant influence on Agreement on Prejudice portrayed well

H01Aae The age of the respondent will not have any significant influence on Realisation of Reinforcing ideas to be challenged

H01Aaf The age of the respondent will not have any significant influence on Agreement on Films resulting in significant change in reality

H01Aag The age of the respondent will not have any significant influence on Awareness on Films’ Ignoring gender identity reality

H01Aah The age of the respondent will not have any significant influence on Assessment on whether transgender issues in films trigger violence against the dominant

H01Aai The age of the respondent will not have any significant influence on Agreement on Exaggeration of the conflict

H01Aaj The age of the respondent will not have any significant influence on Assessment on Awareness on whether Films promote constitutional values

H01Aak The age of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms promote exclusion of transgenders in the society

H01Aal The age of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms are discriminatory

H01Aam The age of the respondent will not have any significant influence on Assessment on Awareness of the Terms used in real society too

H01Aan The age of the respondent will not have any significant influence on Assessment on Noticing whether the ‘we' force formed by the Transgender in the film are often failures

H01Aao The age of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms reveal heteronormative prejudice

H01Aap The age of the respondent will not have any significant influence on Assessment on Opinion on which element in films has Stronger impact

H01Aaq The age of the respondent will not have any significant influence on Assessment on Opinion on the Stronger voice for the Transgenders

H01Aar The age of the respondent will not have any significant influence on Assessment on Opinion on the major Discriminating Factors

H01Aas The age of the respondent will not have any significant influence on Assessment on Opinions on the intended Meanings of the terms

3.9.1.2. Sub-Hypothesis

Gender

H01Ga The gender of the respondent will not have any significant influence on their Conviction about the Necessity of transgender representation.

H01Gb The gender of the respondent will not have any significant influence on their Awareness about the Prevalence of Abuse

H01Gc The gender of the respondent will not have any significant influence on Presumption about Prejudices being true

H01Gd The gender of the respondent will not have any significant influence on Thoughts about the conflict of gender identity

H01Ge The gender of the respondent will not have any significant influence on Opinion about the transgender Culture being Different

H01Gf The gender of the respondent will not have any significant influence on Feeling the need of Reservation

H01Gg The gender of the respondent will not have any significant influence on Perceiving about Films Glorifying transgenders than criticise

H01Gh The gender of the respondent will not have any significant influence on Opinion on transgender representation being mentioned in film is fine

H01Gi The gender of the respondent will not have any significant influence on Awareness about transgender in Netflix Films/shows

H01Gj The gender of the respondent will not have any significant influence on Noticing heteronormative Gaze in films

H01Gk The gender of the respondent will not have any significant influence on Realising Political Factors Promoting heteronormativity

H01Gl The gender of the respondent will not have any significant influence on Perceiving transgender portrayal as Poor in Netflix films/shows

H01Gm The gender of the respondent will not have any significant influence on Perceiving transgender Locality portrayed in Bad light

H01Gn The gender of the respondent will not have any significant influence on RealisingLess transgender Representation in Netflix film & Media

H01Go The gender of the respondent will not have any significant influence on Awareness about Less Real transgender Issues in Netflix Films/shows

H01Gp The gender of the respondent will not have any significant influence on Perceiving victimization of transgender characters

H01Gq The gender of the respondent will not have any significant influence on Assessing whether or not of Adverse effects of transgender characters as Victims

H01Gr The gender of the respondent will not have any significant influence on Being critical about transgender characters

H01Gs The gender of the respondent will not have any significant influence on Noticing the Rare transgender rebellion & Outspeaking

H01Gt The gender of the respondent will not have any significant influence on Feeling that Richness of transgender representation in Netflix films Necessary than problems

H01Gu The gender of the respondent will not have any significant influence on Feeling the need for a transgender Storyteller than others

H01Gv The gender of the respondent will not have any significant influence on Agreement on transgender Abuse being Portrayed rightly in Netflix films/shows

H01Gw The gender of the respondent will not have any significant influence on Sensing the Emotional effect from transgender Portrayals

H01Gx The gender of the respondent will not have any significant influence on Assessment of whether or not an increased Abuse in reality due to portrayal

H01Gy The gender of the respondent will not have any significant influence on Realising the Terms revealing Prejudice

H01Gz The gender of the respondent will not have any significant influence on Agreement on Appearance leading to guess transgenders

H01Gaa The gender of the respondent will not have any significant influence on Perception on Correlation between transgenders in Netflix films/shows and in reality.

H01Gab The gender of the respondent will not have any significant influence on Awareness on Exclusive words being used for Estrangement

H01Gac The gender of the respondent will not have any significant influence on Noticing the Locality and appearance of transgender as shown dirty places, dark and weak in films

H01Gad The gender of the respondent will not have any significant influence on Agreement on Prejudice portrayed well

H01Gae The gender of the respondent will not have any significant influence on Realisation of Reinforcing ideas to be challenged

H01Gaf The gender of the respondent will not have any significant influence on Agreement in Netflix Films/shows resulting in significant change in reality

H01Gag The gender of the respondent will not have any significant influence on Awareness in Netflix Films’ Ignoring transgender reality

H01Gah The gender of the respondent will not have any significant influence on Assessment on whether transgender issues in Netflix films/shows trigger violence against the dominant

H01Gai The gender of the respondent will not have any significant influence on Agreement on Exaggeration of the conflict

H01Gaj The gender of the respondent will not have any significant influence on Assessment on Awareness on whether Netflix Films/shows promote constitutional values

H01Gak The gender of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms promote exclusion of transgenders in the society

H01Gal The gender of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms are discriminatory

H01Gam The gender of the respondent will not have any significant influence on Assessment on Awareness of the Terms used in real society too

H01Gan The gender of the respondent will not have any significant influence on Assessment on Noticing whether the ‘we' force formed by the transgender in Netflix films/shows are often failures

H01Gao The gender of the respondent will not have any significant influence on Assessment on Agreement on whether the Terms reveal heteronormative prejudice

H01Gap The gender of the respondent will not have any significant influence on Assessment on Opinion on which element in films has Stronger impact

H01Gaq The gender of the respondent will not have any significant influence on Assessment on Opinion on the Stronger voice for the transgenders

H01Gar The gender of the respondent will not have any significant influence on Assessment on Opinion on the major Discriminating Factors

H01Gas The gender of the respondent will not have any significant influence on Assessment on Opinions on the intended Meanings of the terms

3.9.2. Major Hypothesis 2

H1a The terms used against the transgender characters such as ‘She-Male’ ‘Tranny’ ‘It/thing,’ ‘man in a dress,’ etc. are discriminatory, promote exclusion, reveal heteronormative prejudice and are used in real society too.

3.9.2.1. Sub-thesis

H1a The terms used against the transgender characters such as ‘She-Male’ ‘Tranny’ ‘It/thing,’ ‘man in a dress,’ etc. promote exclusion of transgenders in the society

H1b The terms used against the transgender characters such as ‘She-Male’ ‘Tranny’ ‘It/thing,’ ‘man in a dress,’ etc. are discriminatory

H1c The terms used against the transgender characters such as ‘She-Male’ ‘Tranny’ ‘It/thing,’ ‘man in a dress,’ etc are used in real society too

H1d The terms used against the transgender characters such ‘She-Male’ ‘Tranny’ ‘It/thing,’ ‘man in a dress,’ etc. reveal heteronormative prejudice

Chapter IV DATA ANALYSIS AND INTERPRETATION

4.1. Content Analysis of films

In this section we will be studying the representation of transgender characters that are seen in Netflix films/shows.

4.1.1. Heart-stopper

2022 ⃓ U/A 13+ ⃓ 3 seasons ⃓ Romance

It is a queer coming of age series about two boys Nick and Charlie who fall in love along with figuring out teenage life and struggles with their friends. The show is adapted from the graphic novel and web-comic by Alice Oseman. The show’s focus is being able to show realistic struggles in a teenager’s life, along with constant themes of love, friendship, and the LGBTQIA+ community.

The character Elle plays a significant role in portraying a healthy and realistic representation of a transgender girl. She is a very loving, assertive and supportive character. Elle is seen making a gender transition at the young age of 16. She is a very talented in the art domain and we see her eventually applying for an art university. Elle is so important to understand that many teens go through gender crisis and how important it is to surround yourself with positive figures. It also has a positive role in portraying transgender romantic relationships. We see Elle’s growing crush on her best-friend Tao Xu, who identifies as a heterosexual cis-gender man. Tao is seen as a very important person in Elle’s life. He has been there for throughout her journey of transitioning. While the pair explores their blooming love for each other, we see how remarkably trans sex positivity is portrayed in the show. This helps breaks the stigmas that revolves around transgender people and the act of sex.

Overall, Elle is a very important character to the Netflix show Heart-stopper, as her contribution reflects over youth who identify with her expression and lifestyle. It could stand as a reminder that, no matter what your gender identity maybe, you must always be your authentic self.

4.1.2. Umbrella Academy

2019 ⃓ U/A 16+ ⃓ 4 seasons ⃓ Action-Comedy

A family that has been reunited by their father’s death, alienated siblings with astonishing powers face the truth of their family secrets while a threat to humanity emerges. It’s based on a comic series of the same name.

In this show we see the transition of the character Vanya Hargreeves who is initially introduced as a cis-gender female who transitions to a transgender man in season 3 episode 2, we are then reintroduced to the character as Viktor Hargreeves. The transition of Viktor isn’t just key to his gender identity, rather his sense of self as an individual. The declaration of his transition was very delicate and intimate, as it took place in the family house amongst his brothers. It was very refreshing scene as it didn’t just focus on the character’s physical appearance, rather gave more importance to his emotional aspect, as the changes also involves psychological and relational shifts. Most often we see mainstream media using just the character’s physical transition as the focus of gender identity while turning a blind eye towards the complexities of the character’s emotional changes and process. Transgender characters that we see in many pieces of media are usually given the role of victims or just there for tokenism. This takes away the authenticity from the character, but with Viktor’s character his transition is seen on a larger scale in terms of his identity as it doesn’t define him entirely but rather just adds to his development.

Another key aspect in Viktor’s transition is his family’s reaction, we wouldn’t call the reaction as perfect, but the initial feelings of awkwardness, confusion and adjustment just makes it more natural. Many transgender individuals will be able to relate to this aspect. With characters like Luther, we see that his immediate reaction is love and acceptance, in contrast to his other brother Diego who takes time to understand the transition. These effective reactions show cases how important it is to educate, understand and the willingness to accept and be open when it comes to transgender experiences. Viktor’s representation is very important due to its authenticity but also since it wasn’t just there for shock value and was carefully built over the seasons.

We see a common pattern in mainstream media where they fail to add more depth to transgender characters. As there should be a fine line between being able to show the struggles of the community without making it the character’s identity solely about their gender (“Why the Umbrella Academy’s Viktor Hargreeves Matters: A Brief Analysis of Trans Representation in Television | FSU Student Union”). In these circumstances we can say that even though the representation may not be perfect, yet it is seen as more relatable and respectful towards the transgender community.

4.1.3. Shameless (U.S)

2011 ⃓ 18+ ⃓ 11 seasons ⃓ Drama-Comedy

In this show we meet the Gallagher family where the six siblings are trying to deal with their alcoholic father, Frank and their absent mother Monica while also dealing with their own disastrous lives.

Trevor is initially introduced during the later seasons of the show (specifically season 8; episode 3) as a mechanic who works at a shop. From befriending Ian Gallagher to becoming a romantic interest, Trevor isn’t just introduced as a comic relief or plot device as we see in many mainstream media.

Trevor’s representation in the show becomes very important for the transgender community, as the character is an individual with traits, interests, making him more layered as a character than just his gender identity. It showcases and uses his trans identity to represent the deeper explorations of his relationships, especially with Ian. The character is also regarded for representing struggles of the transgender community.

Trevor’s carries himself as a very confident, self-assured, and calm individual. This demeanour of his often contrasts Ian’s who is always struggling with his emotions and his own identity. With Trevor being very assuring and honest as a partner is what made him attractive to Ian. Their relationship shows how many external factors can hinder a relationship, with Ian struggling to come to terms with his feelings for Trevor. We see Ian unable to sort his feelings for past relationships; Mickey. There is also lots of confusion when understanding Trevor’s gender identity, as Ian doesn’t educate himself enough and tends to ask Trevor extremely offensive questions about it (Moody). The lack of knowledge that an individual has regarding the transgender community is what usually leads to harmful stereotypes. We see Trevor having moments of discomfort, vulnerability as he faces not being fully understood or respected by society because of his gender. Throughout his appearance in the show, Trevor has faced many misunderstandings and micro-aggressions regarding his gender. The other characters who aren’t familiar with his gender often leaven sensitive remarks.

Remarks such as -

Ian: “Wait, so… are you like a real guy, or…?”

Lip: “So, Ian’s dating a guy now... or whatever. That's cool, I guess.”

Mickey: "You're telling me you're with... that ?"

These lines reflect ignorance and lack of acceptance revolving transgender identities and how people aren’t malicious with their intentions but still leave the person with discomfort. It shows us clearly how cis-gendered individuals perceive the trans community. These comments can often represent underlying transphobia, as they deduce a transgender character just to their gender identity. The use of “that” in Mickey’s dialogue shows the inability of the character to look beyond the surface of a transgender individual. These lines truly reflect the experiences faced by transgender people on a daily basis.

Trevor has done lots in show to bring awareness about the challenges faced by the transgender community. The character’s transition and storyline represent, how complex and layered a transgender person is, giving the audience an authentic education about the emotional, psychological and physical aspects of being transgender.

Shameless has portrayed the struggles and lives of the transgender community in a very realistic manner, even though not perfect, it still served as a platform for nearly authentic representation while keeping the raw and chaotic essence of the show.

4.1.4. Orange Is the New Black

2013 ⃓ A ⃓ 7 seasons ⃓ Comedy-drama

The series revolves around a privileged girl from New York- Piper Chapman, who’s past crimes catch up with her eventually ending her up in prison, where she deals with making friends and foes.

Sophia Burset is one of the many central characters that we see in the women’s prison. Her character represents the transgender community on a broader and more societal level, as the character is a black transgender woman whose struggles are very different when compared to the predominant white race. Sophia works as a hair stylist in prison and as viewers, we get to see her life before and during prison.

Sophia transitioned later in life and before her transition we see that she was married and had a son with her wife. Her character has a lot of depth as we see her struggles of coming out, disapproval of her gender identity by her family, struggles of intersectionality between race and gender. These aspects make us understand her completely as a person, rather than just a transgender individual.

Sophia’s character shows a very raw portrayal of the struggles faced by transgender people, such as- gender discrimination, race discrimination, gender dysphoria as the world fails to accept her identity. The show gives us a new perspective with it being set in prison. Struggles faced in prison can be very difficult and dangerous, as many aspects can be overlooked. In season 1, Sophia is denied hormone therapy by the doctor, this can become a very alarming health issue. One of Sophia’s dialogue- “I’ve been on hormone therapy for years. You can’t just take me off it. It’s cruel, it’s inhumane. I need that medication.” Highlights how easily transgender individuals are denied healthcare, especially in systematic barriers.

Many of Sophia’s struggles are caused due to the overlapping of- race and gender. This causes her to face many forms of oppression, this intersectionality is explored with how other characters and the prison treats her. In terms of real-life events, reports show that since 2013, over 300 transgender and non-binary individuals have been victims of violence in America, out of which two-thirds (63%) of those victims have been black-transgender women (Chavda, Janakee, and Janakee Chavda. “3. Black Americans’ Views on Transgender and Nonbinary Issues.” Pew Research Centre, 18 Apr. 2024). Sophia’s character reflects the daily struggles of violence, discrimination, dysphoria, prejudice and social marginalisation that many black-transgender individuals must face; especially in terms of prison life.

Sophia’s relationships explore the emotional aspect of transgender individual’s identity. The most pivotal relationship in Sophia’s life is her marriage to her wife, Crystal. Sophia’s gender identity caused a huge rift in their marriage, ultimately ending their marriage because Crystal couldn’t come to terms with her identity. Another focal point of Sohpia’s relationship is with her son, Michael. It's a very complex relationship, as Michael is often distant and angry towards Sophia as he doesn't understand what it means to be transgender. Their relationship shows us how many transgender parents struggle to maintain bonds with their family; especially their children. Sohpia says "I don’t regret being me. But I do regret the pain it caused my family, especially my son." Which reflects the tribulations and heartache transgender parents go through while wanting to live their authentic life and dealing with rejection from their loved ones.

Sophia’s time in prison has caused her a great number of struggles, especially with her fellow inmates who fail to understand her gender identity. Many conversations and remarks made by other inmates surely reflects the lack of knowledge and acceptance towards the transgender community. A few notable dialogues from fellow characters includes;

Red: “You’re not a real woman. You’re just a man who’s had surgery.”

Caputo: “You still have a penis, right? I mean, that’s something I don’t get.”

Lorna: “So, you’re like, just a man in a dress?”

These comments and remarks often reflect transphobic mindset of the characters. They reduce her Sophia’s identity to her medical procedure, which directly invalidates her sense of being a woman. Many a times, very invasive and insensitive remarks focus more on the physical body of a transgender individual rather than their gender identity. Comments like these reflect how cis-gendered people think of being trans as a performative act, as it includes just changing up their appearance. It shows how these characters lack the understanding of gender identity, due to the impact of a cis-normative society.

Sophia’s character in the show represents many unique struggles faced by black-transgender women, especially in context of prison. Her story serves as a platform for bringing awareness of the struggles, discrimination, legal rights, oppression, and social acceptance. Sophia will always remain a groundbreaking and significant transgender character in the history of television.

4.1.5. Sex Education

2019 ⃓ A ⃓ 4 seasons ⃓ Comedy

A teenage boy Otis with the help of his inner knowledge by his sex therapist mother Jean Milburn, sets up a sex therapy clinic in his school with the help of his friends. We see how teenagers cope with their sexual identity, and while on this journey we see Otis in a turmoil of identifying that he might need therapy for himself.

Cal Bowman is introduced in the season 3 as a new student at Moordale Secondary High. The character is openly non-binary and goes by they/them pronouns. Many people today still aren't familiar with the gender identity, ‘non-binary’ and this character brings significant representation to it. The show ultimately offers a platform for gender identities that go beyond the male and female binaries. As we know, non-binary representation in mainstream media is still relatively rare, with characters like Cal we get more visibility and normalisation when it comes to breaking gender binaries.

Pronouns are very essential when it comes to how a person identifies themselves, usually for cis-gender individuals it's easier to classify pronouns. Cal is very assertive and open when letting people know about, their pronouns. Assuming or not respecting a person's pronouns could indicate that you do not see beyond the gender binary and many people who are under the trans umbrella- such as: non-binary, or gender non-conforming people just do not exist (Zambon, Veronica. What to Know About Gender Pronouns. 12 Feb. 2021). The show introduces the use of gender-neutral pronouns in a very straightforward and calm manner.

Cal’s character in the show isn't just there for being a token non-binary character but also giving opportunities to break the stereotypes between gender and identities. Cal as had moments where the other characters don't seem to understand their gender identity, which can often lead them to feeling frustrated "Just because I don’t look how people expect me to do, doesn’t mean I’m not valid. I don’t need to fit into a box to be me." Says Cal. This statement confronts the stereotype that non-binary individuals do not have to fit into these gender roles expected of society, which is why, individuals are often pushed into two boxes of gender roles- male presenting or female presenting. Gender goes beyond these boxes and can be very personal, self-defining and valid experiences of non-binary people. Through Cal’s perspective we get to explore how rigid these gender norms are, especially in educational institutions. These implications affect cis-gender people too in a way, but mainly, non-binary individuals. Especially in context of school uniform norms, Cal is seen to be very uncomfortable when the female students are asked to follow the dress-code of ‘skirts and blouses’ which disregards a person's identity and how they chose to represent themselves physically. These conventional fashion norms become very restrictive when it comes to how a person chooses to express themselves.

4.1.6. Feel Good

2020 ⃓ A ⃓ 2 seasons ⃓ Comedy-Romance

When a comedian and recovering addict Mae Martin is trying to juggle between sobriety, gender identity and their past traumas, while also navigating the messy and fiery relationship with George.

We get a different perspective on defining gender fluidity when it comes to this show, mainstream media often has this unrealistic depiction about the psychological sentiments regarding a transgender person’s journey. Not everyone has akin story to tell, taking into mind the struggles a person faces when dealing with gender identity has a much more important to story tell. Mae perfectly portrays how any individual can deal with gender crisis at any given point in their life. With Mae having a history of trauma and addiction, these elements often intersect with their gender identity in the show. The character often feels very isolated from everything, reflecting how many transgender people may feel alone and distant from themselves and society. The show brings a very realistic picture of how not easy it is to figure out one's gender.

The character is usually very uncomfortable when being referred to as a ‘woman’, it shows how society assumes a person's gender based on based on physical appearances. Mae throughout the show struggles with traditional gender expectations and is seen comfortable with being presented as an androgynous person. They don’t immediately verbalise their feelings of discomfort, but it’s seen through their body language and visible uneasiness. This lack of certainty is often project onto their relationship, while George usually refers to Mae as her “girlfriend” that fits into the gendered traditional role, Mae is conflicted with that identity.

In season 2, we see a direct conversation about Mae’s gender conflict, they confess feeling about feeling “like an alien” in the therapy sessions. Along with another strong feelings like, “not feeling like a real person”, this showcases the character’s struggles with gender dysphoria. These strong feeling leads to Mae not being entirely comfortable with their body and the physical dysphoria is seen when, Mae avoids looking into mirrors, even when being intimate and the focus is on parts of their body which they can’t control. Mae’s character highlights how important it is to acknowledge people who don’t fit into traditional gender roles and are more comfortable with gender neutral pronouns like ‘they/them’. In Season 2 episode 6, Mae finally states that “I don’t think I’m a woman”, yet this doesn’t portray an immediate shift with their identity or pronouns, rather it serves as an acknowledgment of their gender experience.

Mae’s character is an important addition to the transgender representation on Netflix media. With the character presentation gender as something that is fluid and usually complex. Society pressurises individuals to fit into either one of the given genders roles and to always be sure of their identity, Mae shows how the journey of understanding oneself over time is more important than arriving at a clear label. The character’s relationship also brings ups many points on how attraction is also interconnected with identity, as having a cis gender partner these relationships also manifest gendered roles. The character’s dynamic role adds a newer narrative that revolves around the transgender community, especially individuals who identify with the label ‘non-binary’. Ultimately, Mae’s realistic and non-linear journey draws a picture that sometimes understanding who you are can get messy.

4.1.7. Squid Game

2021 ⃓ A ⃓ 2 seasons ⃓ Thriller-Action

In this action packed-drama we see hundreds of players who sign up for a hefty cash-prize through a strange invitation to compete in childhood games, where they soon realise death awaits them.

In season 2, we are introduced to player 120, also known as Cho Hyun Ju. Her backstory tells us that she was a former member of the South Korean Special forces. The character gets discharged from the military due to coming out as transgender and wanting gender reassignment surgery. This immediately highlights the discrimination faced by transgender individuals in institutional settings. It is still a major issue in South Korea as the legal and institutional systems are solely based on the heteronormative society that reinforces traditional gender roles (Jang). The character’s reason to join the game was because she wanted to seek financial aid to support her gender-affirming surgery and to start a new life in Thailand. We see a very deep and vulnerable motivation from the character. Due to her strong military background, the character is often seen exhibiting leadership skills towards her other teammates.

However, the series sparked lots of controversy among viewers regarding the casting of Park Sung-Hoon, a cis-gender male to represent a transgender character. The debate was whether there would be authenticity with the portrayal. This reflects how a conservative country like South Korea offers little to no opportunities for openly transgender figures, unlike other asian countries like Thailand or Philippines that has a much stronger platform that interrogates transgender individuals into mainstream media (KTimes). Comparatively, this character offers a better representation of transgender individuals. South Korea has a history of relying on overly exaggerated crossing-dressing to portray trans individuals (Ktimes). The director of the show Hwang expressed his feelings regarding this matter, his initial intent was to cast a transgender actress but due to the marination of the community in Korea, resulted in the scarcity of transgender performers (Desk). There is constant effort in the industry to have transgender actor to play roles to portray not only authentic but respectful storylines that will change individuals' perspectives. This critical issue is being resisted due to the country being deeply rooted in traditional and cultural norms.

The character depicts these issues throughout the course of the show, certain dialogues clearly represent real-life feelings and issues;

Hyun-Ju - "I thought my strength would be enough to make people accept me, but every step forward feels like I’m dragging myself through a world that doesn't see me. The only place that feels like a chance is in here... in the game."

These lines show us how conflicting it is between the struggles of an individual vs society. Despite, the character’s strong resilience and self-assured personality, it becomes difficult to always keep this demeanour when society has so much prejudice against the community. The character’s strong determination to win the cash prize shows how she's willing to risk everything and escape to a place where she might be more accepted.

VIP (male): "What’s that? A man in a dress? A soldier pretending to be a woman? How amusing."

These remarks have become common for transgender people in real life, many might not get the depth of these remarks and the harmful impact it leaves on individuals.

This reflects the poor understanding and objectification that often dehumanizes trans individuals. In many spaces, people are still very spectacle that often becomes very invasive instead of choosing to be respectful. This condescending nature of the character critiques situations that the community faces in real life. These transphobic statements might just seem like another dialogue in the show, but it portrays what transgender individuals must face daily.

4.1.8. Mismatched

2020 ⃓ A ⃓ 3 seasons ⃓ Romance-Comedy

After an unfortunate set-up of the pair Dimple and Rishi by their families, eventually striking up an experimental friendship at their summer programme. Will soon reveal deep feelings that aren’t far behind.

In season 3 of the show, we are introduced to the character Rith Joshi offers a very nuanced representation of transgender individuals in Indian mainstream media. The portrayal sheds importance over queer, non-binary and transgender people which is very empowering. The character is a hacker and are part of an online reality called Betterverse. Through the complexities of the teach world, the character also manifests the complexities of their own gender identity. The show delves into the struggles of being part of the transgender community especially through the lens of an Indian perspective. On a surface level, the show explores Riht’s experiences with self-acceptance and the struggles of coping with a judgemental world.

Ruth’s representation is a win for Indian mainstream media, as it usually focuses on harmful stereotypes that pushes characters to secondary role that is present for tokenism. The inaccurate depictions have evolved many negative notions surrounding the community, Rith’s character is so essential as it doesn’t just represent the trans community but also being an integral part to the plot of the overall show.

Many non-binary individuals struggle with coming to terms with their identity and acceptance from society, as they break gender-binaries. In the show, Rith says "I’ve spent so many years trying to fit into a world that never understood me. But now I know, I don’t need to fit. I just need to be myself, in whatever way that feels right.", this dialogue strongly resonates with the character finally coming to an acceptance that they do not need to conform to societal expected gender roles.

4.1.9. Sense 8

2015 ⃓ A ⃓ 2 seasons ⃓ Sci-Fi

In this thrilling series we see eight strangers around the world interconnected by a violent vision. It soon unravels that they all can connect with each other’s thoughts and actions while they go on the search to find out what happened and why.

The character representation of Naomi Marks is remarkable since she is played by a trans actress herself Jamie Clayton. The representation of Naomi becomes even more wonderful as she was written by Lana Wachowski, a trans woman herself. Naomi is a fully developed character with a central role that doesn’t revolve around the plot of being transgender or gender dysphoria. This is groundbreaking as it opens the window for transgender individuals to see themselves as whole individuals aside from their gender identity. It gives the community the space to overlook just one layer of themselves and see explore all the layers possible.

Naomi is a white American from San Francisco, who is a hacker and activist. Even though her gender identity is a very important representation, her character isn’t solely defined by that. She plays an important role in the. Sensate Cluster while being portrayed as a strong and intelligent woman. Due to her advanced hacking skills, she becomes one of the most important members of the cluster, despite facing quite a handful of discrimination she never lets it determine who she is. Another aspect of the character is her relationship with Amanita Neets, her girlfriend. She has been the most supportive figure in Naomi’s life always defending her against bigotry while also constantly reaffirming her. Their relationships show us a portrayal that transgender love is as unconditional as any other relationship.

The biggest conflict with Naomi is her transphobic family. Her mother refuses to recognise her as a woman and constantly deadnames her. There are couple of scenes showing us how her mother tries forcing the character into conversion therapy, this highlights real life issues of many queer individuals. The character, however, doesn't conform to ger family's expectations and chooses her found family over her biological one. It is unfortunately a common experience for transgender individuals to get abandoned by their families and often experience aggression and hostility. The responses were usually in the form of verbal abuse, physical violence and being forced out of their home. (Koken et al.)

4.1.10. Fanfic

2023 ⃓ U/A ⃓ 16+ ⃓ Drama

In this coming-of-age story a teenage transgender boy who falls for the new transfer student, he now deals with having to come-out to his parents, teachers and classmates.

This is one of the rare mainstream Polish movies that exclusively features a transgender and non-binary protagonist. The story revolves around the character Toś, who explores their gender identity while also navigating their relationships and family, alongside their journey of self-acceptance. The character comes to a realisation that they’re trans masculine and non-binary. Unlike many other films that focuses on the external struggle, this movie changes the perspective and focuses on the internal realisation of this is who I'm supposed to be. Toś is a very creative and introverted character, while writing fanfiction to process their emotions and struggles. It serves as a place for them to be a refuge and the means of self-exploration.

The character realistically portrays the struggles a person faces with their identity and being perceived as a girl. The overall feeling of being in a body that doesn’t feel like theirs and longing for a name that feels like them that makes them feel comfortable in their identity. The character’s love interest Leon accepts Toś’s identity without hesitation. Throughout the development of their relationship, it helps affirm Toś’s gender identity in many ways that helps the character become more confident in their own skin. This indicates how important it is to foster positive relationships that helps create a safe space for individuals to express their gender identity.

4.1.11. Chandigarh Kare Aashiqui

2021 ⃓ U/A ⃓ 16+ ⃓ Drama-Romance

When the love affair between Manu and Maanvi’s love affair takes an unexpected turn when the truth of Maanvi’s deep backstory comes to light. This incident makes Manu rethink his relationship with her.

This film attempts to deal with transgender representation but ends up with mixed results. The film is about Mavinder Manu Munjal, a cis-gender male bodybuilder who falls in love with Maanvi Brar who is a transgender woman. The plot of this story revolves around the unfolding of her identity in the relationship and dealing with reactions that tries to paint a picture for acceptance for the community in India. The film deserves credit for portraying a storyline about a transgender woman, especially in a romantic setting but, the plot ends up reinforcing harmful stereotypes and problematic story-telling choices that didn’t really foster towards a modernistic perspective.

Maanvi is a character who is very confident and a successful Zumba instructor. She is self-assured and unapologetic about her gender identity. However, the casting of a cis-gender actress Vaani Kapoor makes it very problematic, as it reinforces the idea that trans women are just cis-males playing dress up. This stereotype becomes very harmful towards the community as it makes them to be taken less seriously. The reaction of Mavinder upon finding out that she is trans, becomes a very common reaction among Indians. The reaction suggests how many people still stigmatise the community, transphobia is still relevant among many Indians, along with a qualitative-based study done in Chennai, 2022 documented a widespread prejudice, discrimination and violence against the transgender community. This is an alarming call for inclusive policies and support systems to address these challenges (Kumar et al.). Yet the character stands her ground and doesn’t make anyone think that she is any less of a woman.

4.1.12. Bombay Begums

2021 ⃓ A ⃓ 1 season ⃓ Drama

In this series set in urban Mumbai, five women from different generations are faced with personal crisis, desires, and ethics. We see their journey as they move away from traditional norms and form an identity by achieving their dreams.

Mainstream Indian did in fact take a step forward by casting a transgender woman to portray a transgender character. Yet, proper casting doesn't always indicate proper portrayal. It ultimately allows a trans woman to authentically shape and tell her story that avoids the misinterpretation caused by cis actors playing trans roles. Certainly, representation should go beyond casting, it makes us question whether the character has depth and complexity or just included for token representation. The biggest problem we face with Indian mainstream media is the overuse of certain tropes that reinforces stereotypes, such as; the “tragic trans woman” is a common stereotype that showcases trans characters as victims, we also have the “hypersexualized” trope where trans woman is reduced to sexual objects or entertainers rather than being shown as multifaceted people. Even though this show gives the characters moments of dignity and strength it still leans towards familiar tropes that ends up with the victimized stereotype.

If a transgender character is only shown through a lens of suffering, viewers will automatically associate feelings of pain and guilt with being trans. There is more to a transgender storyline that showcases characters with feelings of joy and strength. We see with dialogues like;

Young trans woman - "They’ll never let us belong."

Ivanka’s character - "Then we take up space anyway. Existence isn’t something we need to ask permission for."

It gives the feeling of empowerment that transgender people shouldn't have to apologise for who they are. It breaks the gender binary and shows a more progressive perspective on gender. It is important to analyse the framework through which transgender characters are portrayed, as we see in the show it still consists of cis gender power structures. At times, Ivanka’s character felt side lined just to serve as a reflection of cis women's struggles. The show tells its trans story through the perspective of cis people rather than focusing on the trans voice.

In context of Indian mainstream media, it is progressive for casting a transgender actress. It acts as an important step for visibility. However, the limitation in storylines prevents it from becoming a full potential portrayal. Viewers can find it encouraging to see a trans actress on screen, while also feeling frustrated about the character still stuck in struggle-based storylines.

While we appreciate the effort of inclusion in Bombay Begums, we can't ignore the portrayal that leans towards struggle tropes. It missed the opportunity to showcase a more layered and complex transgender character that doesn't conform to cis normative. The show could still make the effort to go beyond token representation. Especially with Indian media, it needs to start telling more authentic stories.

4.2. Data Analysis

4.2.1. Age

Fig no 1.1

Illustrations are not included in the reading sample

The provided data consists of the age groups of the participants from the survey with 50% of them being from the age group of 16-20 years, 30% of them being between the age group of 21-25, 10% being between 26-30 age group and 5% each within the age group of 31-35 and 46+. This shows that many participants who participated in the survey are the young generation providing a modernistic perspective.

4.2.2. Religion

Fig no. 1.2

Illustrations are not included in the reading sample

Religious beliefs play an important role in shaping attitudes of people towards the transgender community. Participants that have participated in the study belong to different religious backgrounds. Analyzing the above pie-chart we can distinguish that most survey participants belong to the Hindu religion with 64%. Respondents identifying as Christians are of 14.70% and Islam being 8%. Respondents who identify as agnostic are 6.70% and Atheist are 4%. The rest being messianic jew 1.30% and others 1.30%.

4.2.3. Mother tongue

Fig no 1.3

The survey has been taken by a 30% of Telugu speaking people as the study has been limited to Telangana only. There are 20% of Hindi speaking people and 20% both Tamil and Gujrati. The rest 15% being other languages and English-speaking people.

4.2.4. Gender

Fig no 1.4

The provided data constitutes the gender of the participants from the survey with a dominating female population of 63%, alongside the male population being 26.7%, with the rest of the population being 4% non-binary and 1.3% transgender man. This implies that cis-gender females have an overwhelming presence with participating in the survey. Even though comparatively the male participation is lesser, their presence is still notable. The participation of non-binary and transgender individuals might be just 5.3% together, but this contributes towards gender diversity and a more granular understanding towards the community.

4.2.5. Frequency

Fig no. 1.5

Illustrations are not included in the reading sample

Frequency of Watching Netflix

Findings:

The survey shows respondents varying in their Netflix watching habits, 41.30% people watching it few times a week whereas 26.70% watching it few times a month. The viewers who watch it daily are 22.70% and people watching it rarely are 9.30%.

Implications:

Viewers who watch Netflix daily or few times a week are more likely to have come across trans characters compared to those who watch it few times a month or rarely.

4.2.6. Exposure to Transgender Characters on Netflix

Fig no. 1.6

Illustrations are not included in the reading sample

Findings:

Many participants answered ‘yes’ with an 84% response which indicates that they have come across trans characters on Netflix and the representation of trans community is noticeable in mainstream Netflix context.

A few respondents of 12% answered ‘no’ which states that they might have not come across or do not engage with content featuring trans people or also might indicate that there’s limited representation of these people in Netflix. The 4% of people were not sure about the exposure to these trans characters.

Implications:

The more responses of yes state that there is an effort made by the mainstream platform of Netflix to include trans gender character in their shows and movies. However, the responses of no can state that there is still not a widespread representation across all the different genres.

4.2.7. Accuracy of Netflix’s Portrayal of Transgender Characters

Fig no. 1.7

Illustrations are not included in the reading sample

Findings:

Responses ranged from “Very Accurate” to “Neutral” or “Somewhat Accurate,” and “Very Inaccurate ”. The participants who answered with somewhat accurate and very inaccurate are seen to be 40% each who see progress in representation but still find inaccuracies regarding their representation. The viewers criticize the portrayal being overly dramatic and reinforcing stereotypes. many respondents state that most trans characters are shown through a narrative of discrimination and hardships. The representation is more on trans women than trans man and non-binary individuals. The 8% participant have responded with neutral option stating that they might have not paid attention to these people in depth.

4.3. Implications:

While Netflix as a platform has improved the representation but there is still a gap between the media portrayals of trans character to those in real life. A more enhanced range experience and identities need to be showcased to enhance the authenticity.

4.2.8. Reinforcement of Transgender Stereotypes

Fig no. 1.8

Findings

The respondents responded with a “yes” are 16% or “sometimes” are 45% and few of them believe that Netflix has completely moved beyond stereotypes. The trans representation has is often shown as suffering, facing discrimination or have a tragic ending. Some shows use them as a comic relief whereas some focus on their bodies rather than their identities. The 20% of participants were not sure whether the reinforcement is positive or not.

Implication

Many respondents feel Netflix has not moved beyond old stereotypes but have challenged these stereotypes in few shows like sex education and pose.

4.2.9. Frequency of transgender characters played by actual transgender actors in Netflix content

Fig no. 1.9

Illustrations are not included in the reading sample

Findings

The survey shows participants answering with “rarely” or “sometimes” and few noted that cisgender actors continue to dominate the transgender roles in movies and shows. The 33.30% have answered rarely whereas 50.70% participants have answered sometimes which shows they might have come across people playing roles of trans by a trans person itself. The rest 12% of people have stated it to be often and 1.30% as never, might have never come across such movies and shows.

Implications:

Most of the viewers believe that having trans person play the trans role gives more in-depth analysis of the character where the audience can see authenticity and respect these characters. There is not much casting of trans person playing trans role but if given an opportunity there are many trans people who would make a career in acting which will let people know the real aspects without sugarcoating of their life.

4.2.10. Kind of transgender representation in Netflix content

Fig.no 1.10

Illustrations are not included in the reading sample

Findings:

The question above speaks of what kind of transgender representation do people come across when they watch movies and shows on Netflix. The options given to the respondents were as victims of discrimination and violence, as strong and independent individuals, as comic relief, as villains, as ordinary people with diverse storylines, the usually pathetic kind that ruins a movie show, always whining crying and all the above. The most common responses with 41.30% are that they are victims of discrimination shown suffering for societal justice. Some characters are depicted in exaggerated ways. They appear without any major storylines.

Implications:

Many trans characters are still limited to a stereotypical role which states that there is a need for diverse representation. The trans characters should not be limited to specific roles but instead show them in all kinds of roles like parents, friend, teachers, professionals and not just defined by their gender identity.

4.2.11. Screentime and Depth to transgender characters

Fig.no 1.11

Illustrations are not included in the reading sample

Findings:

The amount of time given to trans people on screen results were said to be often side characters with a majority of 62.7% participants. The responses from the people were answered either “somewhat” or “no”. The responses of no were people with 18.7% whereas the other 18.7% felt that they are well depicted and central to the plot. Even if they appeared they were often seen playing minor roles which were not that important and seemed to include them for a laughter of audience. Usually seen for a min or two in movies and fewer episodes if were in a show.

Implications:

Shows and movies need to expand trans roles beyond the side characters and include them as leads. With a visibility and depth given to trans characters, the audience can engage with a more realistic and diverse transgender roles.

4.2.12. Change of perception

Fig.no 1.12

Illustrations are not included in the reading sample

Findings:

The respondents answered saying yes were 25.3% who believe that exposure to trans characters has influenced their understanding. A few 30.7% of the participants answered with a no suggesting that the representation hasn’t been impactful enough or their own perceptions were already formed. 32% respondents feel it has somewhat impacted them and the rest 12% are not sure whether it has or has not changed any perception of trans gender community.

Implications:

Media alone plays a huge role in shaping public perception. If the representation is inaccurate, it might reinforce misconception rather than educating the audience. More positive and realistic portrayals can foster empathy and acceptance among people.

4.2.13. Reduction in societal stigma

Fig.no 1.13

Illustrations are not included in the reading sample

Findings:

A majority of 42.7% respondents responded with “strongly agree” and 40% with “agree” that positive representation can reduce societal stigma about the trans community. The 12% respondents were neutral about this.

Implications:

Media as channel plays a role for social change, provided that the portrayals are handled with care and authenticity.

4.2.14. Discussions Prompted by Netflix Content

Fig.no 1.14

Illustrations are not included in the reading sample

Findings:

Some respondents have engaged in discussion about trans representation after watching shows and movies with trans characters on Netflix, while others have not. 41.3% of people have occasionally discussed about the trans characters after watching movies and shows, 22.7% of people rarely engaged in any discussions and 24% people never engaged in any conversation as if they never felt the need or curiosity to speak or discuss things about it.

Implications:

These conversations show how the media can initiate more extensive social discourse; the range of answers may be influenced by personal preferences, cultural background, or the material viewed. The responses vary from one another depending on individual’s interest, the culture they belong to, or the specific content that they watched.

4.2.15. Responsibility of Netflix to Improve Representation

Fig no. 1.15.

Findings:

A lot of participants think Netflix could do a better job of representing transgender characters. Opinions vary, on the extent of that the responsibility and the effectiveness of current efforts. The majority of people with 38.7% have answered with “strongly agree” and 26.7% with just “agree”. The 24% respondents have answered it with a “neutral”.

Implications: the expectation that people have from Netflix as the mainstream content provider, it should lead in representation by investing in diverse storytelling and their talents both off and on screen.

4.2.16. Comparison to Real-Life Experiences

Fig no. 1.16

Illustrations are not included in the reading sample

Findings

A common sentiment among people is that Netflix representation is “Not accurate” or perhaps “Somewhat realistic” when compared to real life experience of transgender individuals. 48% of the participants have responded with “somewhat realistic” whereas the 24% feel it's not realistic at all. The 22.7% participants are not sure about this question.

Implication:

The gap highlights the need for content that accurately shows the complexity and diversity of transgender life.

4.2.17. Desired Improvements in Transgender Representation

Fig no. 1.17

Illustrations are not included in the reading sample

Findings

The 28% of respondents feel that the improvement that they would like to see is less focus on trauma and more on everyday experience. The next highest majority of 26.7% want to improve the representation by seeing more diverse stories that go beyond western perspectives, a more local and authentic portrayal of trans community. The rest 25.3% participants want more transgender actors playing trans roles so that the depiction is real and not a fiction or a stereotype.

Implications

Implementing these changes could lead to more comprehensive and empowering portrayals that resonate better with both transgender viewers and the broader audience.

Suggested improvements include:

1. More diverse and auth
2. entic storylines beyond the typical narratives of trauma or tokenism.
3. Increased casting of transgender actors in transgender roles.
4. Greater emphasis on the everyday lives and successes of transgender individuals rather than solely focusing on discrimination or humor.

4.2.18. Perception of Improvement Over the Years

Fig no. 1.18

Illustrations are not included in the reading sample

Findings

Respondents are divided on whether Netflix has improved in transgender representation. Some note improvements in Western productions, while others argue that certain regional content e.g. Indian series or movies still rely on outdated stereotypes. Participants of 45.3% feel that this trans representation has helped them understand transgender experience better. The rest 29.3% people had no impacts on their views and the 20% people were challenged with their preexisting perceptions on transgender people.

Implications

The overall trend appears mixed while there is progress, it is uneven across genres and geographies, suggesting that further efforts are needed to ensure consistent improvement.

4.2.19. Overall Influence on Perspectives Toward the Transgender Community

Findings: Most participants agreed that seeing transgender characters has improved their understanding of transgender and has helped them understand transgender realities and challenged their preconceived notions. However, a subset, on the other hand, claimed little to no impact, which might reflect either their pre-established views or could be the discrepancy between personal realities and on-screen depiction

Implications:

This total influence highlights how well the media can shape social beliefs, but it also shows that representation needs to be managed delicately to have a larger societal impact.

Findings, Discussions, Recommendation & Conclusion

Chapter V Discussion and Conclusion

The results show that Transgender representation in Netflix films/shows remain limited and stereotypical. With the analysis done of every film and show it indicates that transgender characters are depicted as victims of discrimination and comic reliefs. There is a lack of character diversity with fully developed story lines unique to the individual rather than just their gender identity. They aren’t many transgender protagonists; they often appear as minor supporting roles with lack of broader personalities. It is important to bring light about the real life struggles of that transgender community, but it is equally important for a portrayal that consists of their personality, aspirations, character growth etc... These aspects will help viewers understand the community in a more realistic manner rather than just people who are often hyper-sexualized that conclude with tragic narratives. There is so much more to a transgender person than just their gender identity. Despite there being a positive widespread among people on gender binary, these representations in films that still sexualize and objectify transgender characters could show the persistent existence of sexist culture. This leads to narrowing down the community to their stereotypes and dehumanizing them.

When considering the data from the surveys, we can see the factors and biases that influences a viewer's perceptions. We see 50.7% (fig 1.1) of the participants belonging to the age group of 16-20, it influences a modernistic perspective from the younger generation. As years progress, so do people's opinions. With newer studies and understandings on the transgender community, people’s biases can reduce with time. This age group is dominated by students, being part of peer groups and meeting new people in educational institutions helps shaping an individual’s opinions and how they look at life.

Other factors like cultural beliefs also plays a vital role on a person's subjective view. We see that 64% (fig 1.2) of the participants belong to the religious group of Hinduism. In the Indian society, where Hinduism is a dominating religion, historically back to pre-colonized India, the Hijra community were considered very important people in royal courts often serving as advisors, guardians and performers (Nanda,1999) Their presence in society was valuable, also well documented with, historical texts and records highlighting their esteemed positions (Reddy, 2005). The British standards criminalized the community, such as the, the Criminal Tribes Act of 1871, which labeled Hijra’s as ‘criminal caste’ (Hinchy,2019). Since, the community has struggled with legal and social dehumanization, which resulted in their systematic exclusion from the mainstream society. Even after the Indian independence, the stigma persisted and still leaves the Hijra community marginalized despite their deep-rooted historical culture (Gupta,2006).

Gender is another important element that contributes to a person's way of thinking. We see that 63% (fig1.4) are female cis gender participants. Since the topic is gender sensitive, female audience tend to overstate their allyship. Research studies indicates that, women exhibit higher levels of empathy and support for marginalized communities compared to men (Eisenberg & Lennon, 1983; Karniol et al., 2003). As a result, a female dominated survey sample will be more inclined towards trans-positive perspectives. It is also important to address the importance Feminism plays in shaping these attitudes. While most of feminism spaces include transgender representation, there can be more gender-critical groups that oppose certain aspects of transgender rights, particularly regarding gendered spaces and legal rights (Jeffreys, 2014; Stock, 2021). This internal divide within feminism can create a division with survey responses. Since the survey has an overwhelming participation of females, it will fail to understand the perception of other genders views on the transgender community.

Many respondents are regular with watching Netflix content (Fig no 1.5). This indicates that the respondents are well updated with Netflix content updates and the movies/shows that are released on the platform. This dominating number (41.3%) of regular viewers will contribute to an accurate and reliable finding.

Around 84% (Fig no 1.6) of the respondents have watched Netflix content that included transgender characters in the movie/show. Another dominating contribution that can tell us that these viewers are aware the existence of transgender characters in mainstream media.

On the other hand, only 8% (Fig no 1.7) of the respondents agree with the statement that Netflix has an accurate representation of transgender characters. This finding tells us that Netflix has an overall poor representation of transgender characters as 40% of the respondents agree with the statement that the representation lies between somewhat accurate to neutral. It could indicate that, respondents aren’t fully satisfied with the accuracy of transgender characters. Netflix could be reinforcing common stereotypes to the accuracy of a character and viewers don’t agree with this representation.

With an overwhelming number of 44% (Fig no 1.8) agreeing with the statement that Netflix movies and shows reinforce transgender stereotypes. This tells us that even though Netflix has made the effort to diversify the characters in various movies/shows, the platform hasn’t made the effort that contributes towards accurate representation. Stereotypes are harmful, subjecting the transgender community towards dangerous situations in real life. When global platforms like Netflix contributes to these harmful stereotypes, they are also contributing towards misinformation distorted perceptions of the transgender community. As a result, viewers will internalize and generalize them to the transgender population in real life, which further reinforces biases and discrimination (Capuzza and Spencer 210).

Around 50.7% (Fig no 1.9) of the viewers believe that transgender characters are played by actual transgender actors. We can say that Netflix understands the importance of authentic storytelling and the importance of representation on screen. Transgender actors having agency in their role gives them an opportunity to tell a story that makes the community feel seen and respected as it will reinforce positive attitudes among viewers.

With an overwhelming amount of 41.3% (fig no 1.10) respondents agreeing with the statement that transgender characters are usually depicted as characters of victimization and violence. Many characters are still limited to this common trans stereotype which states the platform’s need for token representation. Transgender characters cannot be subjected only towards struggles and pain, this limits viewers perception on the community and attributes to the stereotypes.

Netflix must improve its visibility with transgender characters, improving their screen time is key. By expanding the depth of the characters, it gives space for visibility. It gives a chance for viewers to engage with more realistic storylines that focuses on authenticity.

Here we see 32% (fig 1.12) of the respondents agree with the statement that watching transgender characters on Netflix has changed their perception of the transgender community. Media plays an important role in shaping audiences' opinions. If the media narrative is slightly false and negative, it reinforces misconception rather than keeping the audience informed. Netflix should focus on fostering more positive and accurate portrayals of transgender characters that contributes to empathy and acceptance among viewers. Netflix as a media channel must play a role for social change. They should handle portrayals with genuineness.

Around 41.3% (fig no. 1.14) of respondents have discussions about transgender representation in media after watching Netflix content. This shows how media initiates conversations in social discourses. The responses might vary due to personal preferences and interests. Depending on the narrative the discussions can be either positive or negative. It could also signify that transgender characters are being acknowledged for their presence in a movie/show in mainstream media. This helps normalize trans experiences in many spaces. It shows the power of media as a tool that helps influencing society. Audience isn’t just passively consuming content; they also seem to engage in meaningful conversations. This overall signifies the growing awareness that platforms like Netflix brings for the transgender community.

The transgender representation landscape in Netflix media is dynamic and complex, according to this analysis. Through the use of Formalist, Lasswell's Communication, and Queer Theory, as well as a quantitative poll with 75 varied participants, the study reveals both long-standing flaws and significant developments in the representation of transgender characters. According to the study's findings, Netflix has made significant progress in presenting transgender characters with more complexity and genuineness. Characters like Cal from Sex Education, Elle from Heartstopper, and Viktor from The Umbrella Academy are shown as complete people who are not just defined by their gender identity. Particularly for transgender youth, who frequently look to the media for role models, these representations provide affirming representation and aid in normalizing transgender lives. Historical representations of transgender people as comic relief, trauma victims, or dishonest characters are strongly refuted by the addition of emotional depth, romantic intricacy, and character development.

But the survey also reveals that troubling trends continue. Some television programs still primarily tell stories about medical transition or center transgender characters on victimization. Although these themes might depict difficulties encountered in the actual world, if they are not counterbalanced with images of empowerment and positivity, they run the risk of perpetuating stereotypes. Even when used for realism, misgendering, deadnaming, and the casual use of slurs need to be handled cautiously since, if narrative context does not confront them, they can continue to cause harm. According to the survey results, viewers' perceptions of these representations differ by age and gender, with younger viewers typically displaying greater empathy and knowledge, while older generations show more hesitancy or bias due to cultural standards.

The significance of cultural distinctiveness is also emphasized in the conversation, especially in the Indian setting where terminology like "chakka" and "meetha" still have negative connotations. Although Netflix provides transgender storylines with worldwide prominence, local cultural attitudes minimize its impact. As a result, there is a great need for locally relevant, culturally aware content that combats bias in society and encourages tolerance.

In summary, Netflix has significant influence over how the general public views gender diversity. Even though the platform has advanced significantly, much more has to be done. Authentic storytelling requires transgender voices to be included in the creative process, both in front of and behind the camera. Future representations should aim to show transgender people as leaders, lovers, friends, and complex human beings, rather than only through the prism of their challenges. By doing this, the media can transcend symbolic efforts and make a significant contribution to a society that is more accepting, courteous, and compassionate.

References

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Hinchy, Jessica. Governing Gender and Sexuality in Colonial India: The Hijra, c. 1850–1900. Cambridge University Press, 2019.

Jeffreys, S. (2014). Gender Hurts: A Feminist Analysis of the Politics of Transgenderism. Routledge.

Karniol, R., Grosz, E., & Schorr, I. (2003). "Caring, Gender Role Orientation, and Volunteering." Sex Roles, 49(1-2), 11-19.

Moody, Trin. “Time to Get Critical About Representation in ‘Shameless.’” Medium, 15 Dec. 2021, medium.com/inclusive/time-to-get-critical-about-representation-in-shameless-4fa2f6faac98.

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ANNEXURE-A

QUESTIONNAIRRE

1. Your name

2. Your age

3. Gender

4. Your Email

5. Mother tongue

6. Your religion

7. How often do watch Netflix?

8. Have you watched any Netflix movie/show with transgender characters?

9. How accurately do you think Netflix portrays transgender characters?

10. Do you think Netflix movies/shows reinforce transgender stereotypes?

11. How often are transgender characters played by actual transgender actors in Netflix content?

12. What kind of transgender representation do you see most in Netflix content?

13. Do you think Netflix gives enough screen-time and depth to transgender characters?

14. Has watching transgender characters on Netflix changed your perception of the transgender community?

15. Do you think positive transgender representation in Netflix content can reduce societal stigma?

16. Have you had discussions about transgender representation in media after watching Netflix content?

17. Do you think Netflix has a responsibility to improve transgender representation in its content?

18. Does Netflix's transgender representation compare to real life experiences?

19. What improvements would you like to see in transgender representation on Netflix?

20. Do you think Netflix has improved in transgender representation over the years-Why? Why not?

21. How has Netflix's transgender representation influenced your perspective on the community?

[...]

• Course: Mass Communication
• Grade: A
• Author: A Prabhu (Author)
• Publication Year: 2024
• Pages: 83
• Catalog Number: V1581753
• ISBN (PDF): 9783389147528
• ISBN (Book): 9783389147535
• Language: English
• Tags: transgender representation Netflix, LGBTQ+ media portrayal, gender identity in film, stereotyping in streaming content, diversity in mainstream media