Reckoning with Race in Adolescent Stories
Diversity and inclusion in film and television contributes to young people of color’s identity formation in positive ways when they avoid stereotyping.
This year ABC rebooted the classic 1990s series The Wonder Years, a show we discussed in our previous blog as a portal for talking about middle school and early adolescence. The time period of the late 1960s remains the same and the two series share many of the same coming-of-age themes, but there is one big difference. Instead of focusing on a middle-class white family in California, the family at the center of the reboot is a middle-class Black family living in Alabama.
Changing the race of a character or the cast of a show or film, or racebending, has a long history in America. While it has often been a tool of discrimination and whitewashing, it’s been used more recently to increase representation of people of color and disrupt established narratives. The Wonder Years reboot does the latter.
Research has consistently shown how important it is that children and young people see characters who not only look like them but also sound like them. Diversity and inclusion in film and television contributes to young people of color’s identity formation in positive ways when they avoid stereotyping (and the same can be said for LGBTQ+ youth). The new Wonder Years joins shows like Reservation Dogs and On My Block in mixing coming-of-age comedy with the drama of growing up in a society plagued by discrimination and structural racism.
Based on an early viewing, the reboot accurately depicts the universals of early adolescence - not just its awkwardness and heartbreaks, but also the ways in which young people explore their identities, make discoveries about themselves and the world around them, and benefit from the support of caring adults. It has to tread the fine line between overgeneralization and authentic portrayal of the experience of Black families in the South in the late ‘60s. In the original series, Kevin getting pulled over and ticketed is an annoyance. In the reboot, Dean gets the “police talk” from his parents well before he can even drive.
These shows have a delicate balance to strike. We know that all portrayals of adolescence better serve development when they address this stage of life not just as one to survive - filled with heightened risk - but also as a unique opportunity to build lifelong resilience and agency. That’s why narratives that effectively tackle race and equity in adolescence are ones that not only present adversity in believable ways, but also authentically show characters growing in resilience by navigating through it.
Here are a few recommendations, informed by our research, to support that approach.
Portray racism as embedded in everyday institutions, not just through transient interpersonal interactions. Highlighting how our institutions and social norms maintain racial inequality, limit opportunities, and create unequal access for people of color helps audiences to see their own roles in perpetuating these norms—and how it harms adolescents. For instance, in the fourth season of The Wire, the show portrayed to wide acclaim, an accurate view of Baltimore Schools: dysfunction, waste and mismanagement, a dearth of resources. The viewer absorbed the ways in which adolescents in such a large, underfunded school system struggle with navigating education and social pressures without the safety nets provided by more advantaged districts.
Use storylines that connect young people to their communities in positive ways. When adolescents are connected to their communities, both adolescents and communities thrive. Centering young people’s stories in the communities that shape them also makes for compelling narratives. The success of Hulu’s Reservation Dogs comes in part from its showing how the characters’ lives and outlooks are shaped by their experiences living in a reservation community. The characters and conditions that surround the four main adolescent characters are often played for laughs, but they also help make the story more meaningful.
Tell stories of resilience and agency, not just adversity. Authentic depictions of adolescents of color cannot ignore the challenges of growing up in a racist society. But depictions of some young people, particularly young Black men, being “lost” reinforces harmful stereotypes and can have a negative effect on identity formation. Stories that show young people not only confronting but also tackling oppressive, racist systems - not just racist individuals - makes for engaging storylines and shows audiences how structural racism works (see The Hate U Give).
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Wonder Woman 1984: When Lack of Diversity Makes Wonder Woman Lose Her Wonder
If you were to ask the typical moviegoer who is the first female superhero you think of, chances are they would say Wonder Woman. While other female superheroes do exist (say Catwoman or Storm for example), they often take a backseat to the male protagonist, serving as a romantic interest or cliche rather than as a nuanced, complicated character. So when Wonder Woman came out in 2017, it provided a much-needed breath of fresh air in an overly saturated male-centric superhero genre. Seeing Princess Diana in her native land with her sister warriors of Themyscira by her side inspired millions of girls around the world, telling them that they too could be the heroes of their own story.
But while Wonder Woman (2017) pushed the boundaries of representation and diversity forward, its sequel, Wonder Woman 1984, failed to break new ground, sacrificing the empowering plot of its predecessor for empty spectacle. And the consequences were considerable. While Wonder Woman (2017) boasted a B Mediaversity rating, 93% critic score on Rotten Tomatoes, and 76 Metascore, Wonder Woman 1984 suffered from a measly C- Mediversity rating, 59% critic score on Rotten Tomatoes, and 60 Metascore. So what went wrong?
Where Wonder Woman 1984 Went Wrong
The film opens with a breathtaking flashback sequence, showing a pivotal moment in the life of young Diana, years before she’d become Wonder Woman. As she competes against fellow Amazons twice her size and age in feats of strength and skill, a perfect euphony of swift camerawork, quick editing, and an epic score fills the screen. The scene showcases Diana’s fearlessness and teaches her the virtue that truth triumphs over deception. Unfortunately, the rest of the film pales in comparison, whether it be in visual cohesion, story structure, or emotional impact.
To start things off, the film treats Barbara, Diana’s coworker at the Smithsonian Institution, as a two-dimensional plot device that reduces her to the strange girl trope. The two bond over a meal discussing how they fit in society, but beside that, Barbara’s role in the film becomes apparent: so Diana can have a big (poorly rendered) CGI fight with a physically imposing antagonist in the third act that seemingly every superhero film has. Considering the lack of nuanced female friendships in superhero films, it’s a shame that the screenwriters favored a heterosexual romance with Steve Trevor rather than exploring a potential relationship between Diana and Barbara, especially given that Wonder Woman is canonically bisexual in the comics. This was a perfect opportunity to represent the LGBTQ+ community that has been historically underrepresented, particularly within the superhero genre.
Instead, the film relies on what we are used to in superhero films, a heteronormative relationship in which the superhero’s purpose is based on their partner. Romance has the potential to be resonating and meaningful, but in Wonder Woman 1984, it feels forced and undeserved, especially given the context of how Steve sacrificed himself in Wonder Woman (2017). Diana’s abilities are regained only when she learns to let go of Steve, and there’s something deeply depressing and illogical about a female superhero whose identity is intertwined so much with a man that she is willing to lose her powers for him. Also, what is going on with the man whose body has been magically overtaken by Steve? Does he have a family or a job? Is he in the white man’s sunken place? Doesn’t Diana, who is supposed to be a beacon of truth and morality, find the notion of Steve inhabiting another man’s body problematic? The plot could have focused on this as the consequence of Diana’s wish, as it would have been much more thematically resonating for her to struggle with choosing her moral code over her love for Steve.
And that begs another question, why doesn’t Diana miss her Amazon sisters or her mentor who inspired her to believe in truth in the opening scene? Wonder Woman (2017) devoted the entire first act to the Amazons, portraying them as warriors, politicians, caregivers, and complex women with nuanced relationships. It set the standard for a feminist plot that didn’t pander to its audience but empowered them. The sequel would have benefitted from furthering this story arc by venturing deeper into Paradise Land, home of the Amazons of Themyscira. Instead, it takes place in a mostly white D.C., even though the city has been majority-Black since the 1950s and white residents made up just 26% of the population in 1984. It also relies on a banal plot device in a stone that can grant wishes, which seems more like a lazy deus ex-machina. rather than something original and exciting. Diana’s wish doesn’t cause a chain of events that lead to her losing her powers, they just magically disappear as a tradeoff for the sake of the plot and theme.
Lastly, I want to talk about the theme of the film: truth. Wonder Woman 1984 bashes the viewer in the head with this theme through dialogue that lacks subtlety and relies heavily on telling the audience rather than showing them. Its connection with the main plot seems incoherent at worst and passable at best, reducing the complex issue of longing for what you don’t have into something that is black and white (reminiscent of Kendall Jenner “solving racism” by handing a police officer a Pepsi) rather than addressing class differences and social/economic inequality. Barbara wants to be cool and confident so that she can become likable, but must stay a nerd because if she wishes to be like Diana then she becomes a cheetah? That just seems cruel and anti-feminist. And the film’s solution of Diana magically convincing the entire world to stop being greedy over the span of a painfully ignorant monologue was as tone-deaf as when Gal Gadot sang “Imagine.” The world may be beautiful if you’re a gorgeous Amazon superhero, but for most people, telling people to put rose-colored glasses over their terrible situation is patronizing. I’m sure the filmmakers’ intentions were in the right place, but the execution of the theme was mediocre and is obviously pandering to today’s political climate, sacrificing its authenticity in the process.
Why It Matters
You might be thinking, why do all of these things matter, can’t Wonder Woman 1984 solely be based on entertainment value? While I would argue the film doesn’t even meet that quota, we as a society cannot settle for mediocrity. And from a financial standpoint, there is a great benefit to having authentically inclusive representation. Yes, there is content that represents underrepresented communities in a profound way, but there’s still a huge room for improvement before we can get complacent. Very few films have the audience and reach that the Wonder Woman banner has, which is why it’s so important that the film, along with movies that have similar platforms, empower underrepresented communities instead of kicking them to the curb. Yes, there will be bumps and bruises along the way, but that’s to be expected with generational long-lasting change. The late great novelist James Baldwin put it best, “Not everything that is faced can be changed, but nothing can be changed until it is faced.” Take risks as creatives and challenge the status quo, and then just maybe Wonder Woman can have a shot at getting back her wonder.
Actionable Insights
Take tests like the Race in Entertainment Media (R.E.M.) Test to help evaluate Authentically Inclusive Representation in your content.
Use your platform to empower underrepresented communities instead of avoiding them in your film.
Hire more women and POC in behind-the-scenes positions who can incorporate their lived experience into the plot, otherwise, their characters’ storylines may lack authenticity or even be depicted as raceless.
Write characters that defy both negative and positive stereotypes to help prevent prejudice and discrimination.
Showcase stories that are authentically diverse, as meaningful representation consists of more than simply casting women and people of color.
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Disclaimer: The views, thoughts, and opinions expressed in this blog belong solely to the author, and do not necessarily reflect the views of the Center for Scholars & Storytellers.
How to Achieve Authentic Racial Diversity in Hollywood Media
When I was younger, between the ages of 2 to 9 years old, there were only a few Black characters with whom I genuinely connected. Of course, I found great examples of characters who shared my identity in Rugrats’ precocious Suzie Carmichael and The Proud Family’s spunky Penny Proud, among others. However, I knew what to expect as the general unspoken rule: the characters who shared my racial identity would not appear as the active protagonists in my favourite shows. The hours that I spent watching TV after school often left me feeling disappointed and hungry for the well-rounded experiences that I saw conveyed in stories about characters with other racial identities.
As I got older, the children’s media landscape began to include more Black characters who were not only present but were also richly-developed and thoughtfully portrayed. I learned about the power of these media representations first-hand in 2009, when The Princess and the Frog premiered. Princess Tiana appeared on-screen as an ambitious, hard-working, resilient Black woman and changed my world. For the very first time, I saw myself fully represented in a daring and capable being who actively pursued her own happy ending. For the very first time, I imagined myself as an adult who could overcome any challenge and achieve my biggest dreams. Soaring eagerly upon the winds of change that Tiana brought about, for the next few years I spent every waking hour telling anyone who would listen about the deep beauty that I found in Tiana’s dreams. Throughout elementary and high school, I collected every film-related book, incessantly researched the film’s development, and made a hobby out of setting and achieving big goals to ensure that I could keep pace with Tiana’s signature brand of ambition. With every stellar grade that I achieved, I was rewarded with the internal glow that I imagined Tiana felt when she got her restaurant. “Almost There” became my mantra and my anthem.
My relationship with Princess Tiana is far from unique. Across the country, children are discovering, identifying with, and learning from the characters that they encounter as they spend over 4 hours each day watching TV, playing video games, and browsing websites. During these impactful hours, children are both constructing their identities and learning how to perceive others, particularly those from social groups with which they have little contact. Indeed, the inclusion of racially diverse characters in children’s media has increased over the past 2 decades. A recent report that I co-authored with the Toronto-based Children’s Media Lab revealed that between 2018 and 2019, 49% of animated characters on Canadian children’s television shows were depicted as people of colour; an increase from the estimate of 35% that was given one year earlier in a report which focused on both live-action and animated programs. Although these changes should be commended, since kids and teens are now engaging with media more than ever before, it is crucial to move beyond simply including racially diverse characters in stories. It is time for content creators to authentically portray racially diverse characters, as this will foster a genuine appreciation for diverse identities and inclusion.
When storytellers develop narratives, characters, and worlds that support well-rounded depictions of race, they create standout content that will reach wide audiences and inspire generations of viewers to live and breathe the social harmony for which our society hungers.
Authentic Representations of Race Strengthen Kids
While there are many real-life resources that children use to shape their identities, media offers children something truly unique: the opportunity to see themselves and their cultures represented in fantasy. When Princess Tiana entered my life in 2009, not only did she inspire me to imagine myself as a talented, resourceful leader who could deftly navigate life’s unexpected bayou adventures; she also showed me that I could accomplish these things while embracing my ethnic and racial identities. As Disney’s first African American princess, she pulled me off of my couch and into her lively world so that I could become the protagonist of my own life. The long-term impacts of media characters on children are well-documented beyond my experience.
One study revealed that for children whose racial identities were misrepresented in media, watching television was linked to decreases in self-esteem due to an absence of characters who positively reflected their identities. Other studies have revealed that negative representations of Latinx and Black characters lead viewers to feel ashamed and less positive about their social groups. In a landmark study, researchers found that Indigenous American adults who saw stereotypical representations of their cultures felt less positive about their identities, and predicted that they would achieve less in the future than those who did not see the stereotypical representations.
The inclusion of authentic, racially diverse characters is particularly impactful for children who are members of underrepresented groups. Seeing characters who not only look like them but who also share their experiences can help them to absorb positive messages that boost their self-esteem. Additionally, when children who are not from underrepresented groups see these rich characters portrayed, they may learn how to respect and empathize with individuals from other racial groups.
Authentic Representations Create Excellent Content
A list of the top-grossing films of 2019 in the US shows that authenticity sells. Many of the films that appear on the list, such as Frozen 2 and The Lion King, were created by production and development teams that travelled to the countries that appeared in their films and learned about the cultures that they depicted.
Lived experiences are particularly crucial when depicting characters from diverse racial groups. Acclaimed films such as the Oscar-winning and high-earning Black Panther and Pixar’s animated Soul (which has already been nominated for 2 Golden Globes and received 3 trophies from the Critics Choice Super Awards) were developed by directors, producers, and writers who shared their characters’ identities and experiences. As a result, they captured nuances that made the films deeply resonate with diverse audiences which, in turn, enabled the films to become blockbusters.
Films and television shows that feature authentic representations of race also stand out because they depict dynamic, three-dimensional characters that defy common tropes. This is important because children more strongly remember and connect with characters who have well-rounded and relatable qualities. In fact, many leading resources that offer tips for developing compelling stories advocate for the creation of detailed characters who have believable desires and fleshed out personality traits. When racially diverse characters are depicted as dynamic individuals who both inhabit and shape their worlds, they easily captivate viewers with their enduring appeal and attract a loyal fan base.
Authentic Representations Evoke Change
While it is crucial for all children to see themselves represented on the screen, creating characters through which viewers can also hear themselves, see their diverse abilities portrayed, and embrace their unique personalities can also dismantle harmful racial stereotypes and biases. A recent analysis of contemporary media showed that Black characters are often portrayed as unemployed and aggressive individuals. Other findings were that Latinx characters tend to be portrayed as individuals who are unintelligent and short-tempered; East Asian characters are often portrayed as characters who fulfill the “Model Minority” stereotype; and Arabic characters are often portrayed as criminals. While inauthentic representations persist, research shows that positive, authentic representations of people of colour can make public attitudes towards these groups more positive.
With the exciting possibility of making an enduring impact across the media landscape, content creators have an opportunity to transform films, TV shows, and video games into powerful catalysts for positive social change.
Actionable Insights
Encourage writers, directors, artists, and other industry professionals who have diverse racial identities to share their authentic stories.
When representing racially diverse characters, consult with as many individuals who share characters’ races, cultures, and experiences as you can. Since no single experience will apply to all individuals from a given racial group, consult with diverse experts at every stage of content development and production.
Create racially diverse main characters who have a variety of personality traits, quirks, abilities, appearances, and conflicts that make them relatable and able to stand on their own.
Hire voice actors who share characters’ racial identities. Many talented voice actors are aware of the impact that authentic representations have on young audiences, and are eager to work on projects that champion authentic stories.
Hold frequent user testing and focus group sessions with members of the racial group that you are depicting, to ensure that your characters and stories are respectful and resonate with your target audience.
The compelling strength that Tiana brought to my world through her well-developed personality ignited my decision to become a children’s media consultant: a role that has enabled me to watch and contribute to the trend of increasing authentic diversity in media by supporting industry leaders. During and beyond Black History Month, I celebrate and acknowledge storytellers’ efforts to authentically represent racially diverse characters so that their stories can be remembered and relished long after the credits roll. While we have trends yet to change, I truly do believe that we are almost there.
Josanne Buchanan, BSc.
Children’s Media Consultant at OK Play / Research Assistant at Children’s Media Lab
How to move beyond tokenism in kids TV
With kids watching more content than ever, the industry should consider how it can create a more diverse on-screen landscape, writes Kevin Clark.
In April 1968, Harriett Glickman, a mother and former school teacher, wrote Charles Schulz to encourage the addition of a Black character to his “Peanuts” comic strip. The story of Glickman’s interactions with Schulz were recounted upon her death in March of this year. Schulz liked the idea but had reservations. He worried how a Black character would be received.
This was not the first time Schulz had considered questions concerning racial diversity in comic strips. A few years prior, he had discussed the issue with African American cartoonist Morrie Turner, whom Schulz had mentored. Schulz encouraged Turner to create a comic strip with diverse characters. Turner’s first attempt, Dinky Fellas, featured all-Black characters. Unfortunately, only one daily newspaper published it. In 1965, Turner changed the strip’s name to Wee Pals and added white characters. It became the first American syndicated comic strip featuring diverse characters.
Ultimately, Schulz took the step in July 1968 to add a Black character, Franklin Armstrong, to the already popular Peanuts gang. Schulz got some pushback, but also cheers.
What Glickman, Turner and Schulz did meant a lot to Black people. I applaud their vision and courage. More than 50 years later, we need the same level of courage to move media forward for all children, beyond what was done in 1968.
When my kids were growing up, it was challenging finding content for my daughter with authentic, high-quality images of Black girls. I was also frustrated seeing my young son with such a limited menu of children’s television shows which portrayed someone like himself as the main character.
With schools closed because of COVID-19, some children are spending a lot of time watching television at home. Think about what they are seeing.
There are still not enough authentic, multi-dimensional characters representing diverse perspectives in children’s media. I want children who are rich and poor, of all hues, of all faiths to see themselves in the media they consume. I want the media that children consume to help them understand others who don’t look or sound like them, who have different cultures, religions or economic status. Every child should internalize the idea that all things are possible for everyone, before broader societal narratives lead them to a different and intractable conclusion. To make this happen the aperture of the various media groups must be widened.
These aren’t new ideas. Indeed, many of the ways in which we need to widen the media groups have been oft discussed. But they bear repeating as movement is still lacking.
Move away from tokenism and embrace the culture. Too often a group of characters are put together simply to show diversity. It leads to flat characters. Giving a character an ethnic name, mentioning she celebrates Ramadan, or coloring her tan does not lead to a relatable experience for children. The characters must have accurately portrayed issues, customs, dialogue, and emotions that lead the viewer, no matter who they are, to a visceral connection. An example of this is the Oscar Award-winning animated short film, Hair Love, which is beautifully conceived and resonates with multiple audiences.
Believe that with quality work, the audience will come. There is a pervasive fear in the industry that there will not be enough viewership, nationally and, many argue, internationally, for work that features ethnically diverse characters or issues. The national and international demographics suggest the viewers are there. Generation Z, makes up 32% of the world’s population, and is the most ethnically diverse in history. According to PEW research, nearly half (48%) of Gen Z identifies as racially or ethnically diverse. And they have an estimated purchasing power of US$44 billion annually, according to the National Retail Federation. What’s more, shows that feature authentically diverse characters are not only for people who belong to that particular group, but are for all people—if the work is well done.
Enlist a diversity of writers, producers, animators, voice talent, and creative execs to develop and green-light, authentic shows that enrich everyone. In addition to inclusive writer’s rooms, crews, and characters, inclusion needs to exist at all levels of production and decision making. Creative executives are heavily involved in decisions that may lead to shows being greenlit and/or receiving the resources needed to be successful.
Currently, there are no statistics on the ethnic diversity of behind-the-scenes staff and executives in children’s media. However, we do know that only 13% of Hollywood writers are people of color. In kids television in the United States, men make up 71% of creators, 53% of writers, 80% of directors and 64% of producers, while in Canada, men make up 62% of creators, 63% of writers, 82% of directors and 57% of producers. Bottom line, it’s difficult to write or make decisions about things with which you are unfamiliar.
Examine the entire slate of offerings in light of the world’s changing demographics. Make sure the suite of media offerings represents the demographic realities of what children, their families, and communities really need and care about in a global context. To that end, children’s media should provide opportunities for children to see themselves and their communities, while also being exposed to and learn about the lives, customs, and perspectives of others.
Let’s thank Harriett Glickman, Morrie Turner, Charles Schulz, and Franklin for a great start. Now let’s move beyond Franklin. I think they’d all be proud to be the initiators of a bigger legacy.
Kevin Clark, Ph.D.
Professor of Learning Technologies and Director of the Center for Digital Media Innovation and Diversity at George Mason University and a children’s media consultant.
This post originally appeared on KidScreen
https://kidscreen.com/2020/05/25/how-to-move-beyond-tokenism-in-kids-tv/
[c] Brunico Communications Ltd. Reprinted with permission.