Conceptual and historical review of trans issues in American TV series:
narrative and audiovisual analysis of the character Jules in
Euphoria
(HBO: 2019-)
Revisión conceptual e histórica de lo trans en las series de televisión estadounidenses:
análisis narrativo y audiovisual del personaje de Jules en Euphoria (HBO: 2019-)
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How to cite this article:
Higueras-Ruiz, M. J. (2024). Conceptual and historical review of trans issues in American TV series: narrative and audiovisual analysis of the
character Jules in
Euphoria
(HBO: 2019-).
Doxa Comunicación
, 38, pp. 247-273.
https://doi.org/10.31921/doxacom.n38a1875
María José Higueras-Ruiz
. PhD in Social Sciences from the University of Granada (2020). Her doctoral thesis won rst
prize in communication from ATIC. She is currently an Assistant Professor of Media Communication at the University
of Salamanca, she is part of the research group
Observatorio de los Contenidos Audiovisuales
, and she teaches subjects
related to her lines of research: social representation in media. She has published several papers in prestigious
international journals, including
e Importance of Latinx Showrunners in Getting Authentic Latino TV Series in English-
Language American Television
(2021) in the International Journal of Communication or
Review of Trans Representation
in Spanish TV Fiction. Analysis of All about Dafne (HBO Max, 2021)
(2023) in
Revista Mediterránea de Comunicación.
University of Salamanca, Spain
[email protected]
ORCID: 0000-0002-6849-3433
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 16/12/2022 - Accepted: 22/06/2023 - Early access: 28/09/2023 - Published: 01/01/2024
Recibido: 16/12/2022 - Aceptado: 22/06/2023 - En edición: 28/09/2023 - Publicado: 01/01/2024
Abstract:
Contemporary ction TV series covers the representation of diverse
realities, making them more relatable and attractive to audiences.
erefore, VoD platforms promote the inclusion of varied narratives
and themes, particularly regarding the
LGBTIQ+
community. e
main objective of this research is to determine trans representation
in American TV series. From a qualitative methodology, we review
the related literature and conduct an in-depth textual analysis of the
character Jules in
Euphoria
(HBO: 2019-). e analysis focuses on
her personality, role, actions and factors related to her environment.
Moreover, we examine the narrative and audio-visual features of
her
presentation and sex scenes to identify the focus of this representation.
e ndings show an increase in the inclusion of a trans character and
progress towards an unstereotyped representation, favouring trans
realities unconditioned exclusively by gender identity. e presence
Resumen:
Las series de cción contemporáneas acogen la representación de realida
-
des diversas que contribuyen al atractivo e identicación de la audiencia.
Por ello, las plataformas de VoD –Video on demand– favorecen la inclu
-
sión de narrativas y temáticas variadas, especialmente en lo relativo a la
comunidad LGBTIQ+. El objetivo de esta investigación es conocer la rea
-
lidad trans en las series de cción producidas en Estados Unidos. Desde
una metodología cualitativa se revisa la bibliografía relacionada y se rea
-
liza un análisis textual en profundidad del personaje de Jules como perso
-
na, rol y actante en la serie de Euphoria (HBO: 2019-), junto con los facto
-
res de relación con su entorno. Además, para conocer la focalización de la
representación se examinan las cuestiones narrativas y audiovisuales de
sus escenas de presentación y sexo. Los resultados revelan el incremento de
personajes trans y el avance hacia una representación alejada de estereo
-
tipos y a favor de mostrar una realidad no condicionada exclusivamente
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1. Introduction
In the current audiovisual market, TV series are the focus of media, industrial, and academic interest. is drives the production
of innovative projects, both from a formal and narrative perspective. e popularity of VoD –Video-on-demand– services has
contributed to this, transforming the production, distribution and consumption of audiovisual projects, which include varied
themes and complex narratives. For this reason, academics consider that “it is also relevant to analyze the audiovisual ction
produced by VoD platforms given their increasing popularity, the importance of television ction in socialization processes, and
their inuence on conditioning the behavior of viewers” (Marcos-Ramos & González-de-Garay, 2021: 582).
Stories revolving around the LGBTIQ+ collective –lesbian, gay, bisexual, transexual, intersexual, queer, and other identities– can
increase their representation in the media on these platforms (Goddard & Hogg, 2018). is is conrmed in the report published
by the
Gay and Lesbian Alliance Against Defamation
(GLAAD, 2022), according to which 26 of 42 trans characters in American TV
ction during the 2021-2022 season were featured in platform TV series.
GLAAD is a non-prot organisation, launched in 1985 in response to the media homophobia brought about by the coverage of
AIDS cases in the United States. GLADD advocates for queer representation in the media. In 1989 the organisation created a prize
to recognise this inclusion (Kruger-Robbins, 2022). Additionally, GLADD publishes an annual report called
Where We Are on TV,
which focuses on the presence of this collective on TV. e publication aims to promote a respectful and realistic representation,
which has positive outcomes for the LGBTIQ+ community (Gross, 2005).
Concerning the terminology, we should note that related concepts are uid and varied in their use. Following the recommendation
published on the GLAAD website, we should approach each term respectfully, consider each individual’s preference, what they
feel comfortable with, and the language that represents and honours their identity. e concept of trans or transgender is often
used in the United States as an umbrella term for people who do not feel psychologically or vitally represented with their sex
assigned at birth and the gender characteristics socially associated with it, medically referred to as gender dysphoria (Spencer &
Capuzza, 2016).
e trans collective includes several sub-collectives, although its representation usually only includes transexual individuals
(Wellborn, 2015). However, trans people may or may not have undergone hormone treatment or surgery to change their sex, i.e.,
transition. erefore, there is a greater diversity of corporealities (Cobo-Durán & Otero-Escudero, 2021). e term “transexual” is
of the character Jules, the development of her own storylines, and the
audiovisual resources used in her narrative exemplify this landscape.
In conclusion, we highlight the television series’ positive contribution
to the representation of the LGBTIQ+ collective, especially in VoD
series.
Keywords:
TV show; transgender; television production; America; characters.
por la identidad de género. El personaje de Jules, el desarrollo de sus pro
-
pias tramas y los recursos audiovisuales utilizados ejemplican dicha ca
-
suística. En conclusión, anotamos un avance positivo en la contribución
de la cción televisiva a la representación del colectivo, especialmente por
parte de los operadores de VoD.
Palabras clave:
Programa de televisión; transgénero; producción televisiva; América;
personajes.
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traditionally used to dene people who transition, and the concept “non-binary,” “uid gender,” or “queer” refers to people who
do not identify with male or female genders (Joyrich, 2014).
e media are responsible for the dissemination of social and political issues. eir discourse inuences the audience’s knowledge
and behaviour concerning trans reality. McInroy and Craig (2015) stated, “Media is the predominant source where people, both
transgender and nontransgender, gain general knowledge about transgender issues. us, media representation inuences and
informs the general public’s attitudes” (606). Concerning the TV series under study in this research, Masanet
et al.
(2022: 143)
add:
In order to counteract these anti‐human‐rights dialectics, the media can serve as tools to oer alternative discourses, in particular
by providing realistic and non‐stereotyped LGBTQ+ representations. A broader and more diverse LGBTQ+ representation in media
products can contribute to generating pedagogies that reduce social prejudice towards LGBTQ+ people and also oer aspirational
models for them to identify with. TV series have the potential to help portray LGBTQ+ people in an everyday way.
Traditionally research regarding queer representation in television ction has focused on homosexuality due to the absence
of signicant data about trans reality. Poole (2017) points this out, “so far, full-length studies on LGBT television presence have
largely ignored the T” (2). Responding to that claim, several recent works have been published from television studies and queer
theory. ese texts have contributed to studying the collective’s visibility on television and played a crucial role in combating
transphobia (Capuzza & Spencer, 2017).
is landscape justies the present research, which aims to contribute to the eld of study previously described by reviewing
trans representation in American television and analysing the character Jules Vaughn in the TV series
Euphoria
(HBO: 2019).
is research uses a queer theory approach in the theoretical review and methodological application. Despite adopting this
perspective, it is essential to acknowledge the potential implicit limitations in this discourse due to the authors identifying as cis
and heterosexual.
Previously published papers have favoured this research’s context, inspiration and debate: Erdeli (2021) examines the corporality
of the character Jules. Masanet
et al
. (2022) study the context, aesthetic, narrative, contents and meaning of the representation
from three perspectives: the fact of being trans, the shift from fetichism to romanticism, and comfortable and violent spaces.
Macintosh (2022) analyses the lmmaking of
Euphoria
(HBO: 2019-), highlighting its
cool trans aesthetic
. Uli de la Fuente and
Martín-Ramallal (2022) value this TV series as a source of information and a tool for Generation Z
1
to combat hate speech. In
addition, Bretones (2022) examines audiovisual intertextual references used in this ction to explore the characters’ corporality,
sexuality, and gender.
e present research is an original contribution because it applies an in-depth textual analysis of the character Jules using a
combination of methodological approaches. We describe this character’s physical and psychological traits and other specic
factors related to queer representation connected to the rest of the characters. Moreover, examining narrative and audiovisual
lmmaking techniques applied in key scenes helps assess whether there is a trans focus in this project. By conducting a previous
1
Generation Z: Individuals born between the end of the 90s and the beginning of 2000.
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historical review and considering the production context of
Euphoria
(HBO: 2019-), we gain relevant insights through a diachronic
approach, enabling us to draw several conclusions about the contemporary television landscape.
1.1. Trans representation in American TV ction
We apply the four stages of media representation for racial minority groups proposed by Clark (1969) to review the presence
and characteristics of trans characters in American TV ction. In this case, we apply these phases to study the evolution of trans
characters: (1) non-representation, the group is ignored, (2) ridicule, the collective is represented with mockery, (3) regulation,
which involves a forced representation as a consequence of the previous phase, and (4) respect, when the characters break free
from negative and positive stereotypes, and their representation goes beyond gender identity.
We can identify the four periods and their trans characters by analysing American television history from a queer perspective.
However, the boundaries are blurred in these phases, and we nd dierent representations in the same period depending on the
production, channels or platform in charge of the distribution (Cook, 2018).
e absence of trans characters on television characterises the rst stage. ere are some exceptions of sporadic characters whose
representation often leans closer to transvestitism, such as in T
he Alfred Hitchcock Hour
(CBS: 1955-1964, NBC: 1964-1965).
is rst phase was overcome in the late 1970s when the rst set of trans characters appeared in the TV series
All at Glitters
(Sindicación, 1977) (Capuzza & Spencer, 2017).
e second stage of trans representation is dened by negative stereotypes, such as sensationalism (Namaste, 2005) and
sexualisation (Shelley, 2008). Representation characterised by the discourse of a woman trapped in a male body is also common.
In this sense, there is a contradiction between gender identity and physical appearance, which is usually a source of laughter
and mockery (McInroy & Craig, 2015). Other stereotypes seek to ridicule, especially the trans woman. She is often portrayed as a
sexual oender who conceals her trans identity. erefore, her femaleness is considered deceitful, leading to rejection and even
repugnance (Serano, 2016).
ese characters have been subjected to harassment and ridicule; they generate fear and terror and are often discredited through
the following practices: using the person’s name or pronoun before their transition –deadnaming–, using the wrong gender to
refer to the person –misgendering–, thinking about the trans reality as a pathology, not as gender diversity –pathologisation–,
confusing trans with homosexuality or travestism, the sexualisation of trans people (Billard, 2016).
ere are numerous examples of trans characters suering from some of these practices in the American context. In the TV series
Friends
(NBC: 1994-2004), the father of one of the main characters is a trans woman, Helena Handbasket (Kathleen Turner), who
is rejected and misunderstood by her son. Helena performs cabaret shows but is also characterised as a woman o-stage. For this
reason, her trans identity is emphasised, although she is referred to as a drag queen in the TV series.
During the third stage, there is a moment of transition when trans characters move away from the stereotypes mentioned above.
Nevertheless, they are not naturally portrayed beyond their gender identity. is is the case of Alexis Meade (Rebecca Romijn)
in U
gly Betty
(ABC: 2006-2010), whose transition is unrealistic. Another confusing representation of transition is Max Sweeney’s
(Daniela Sea), the transgender male character in
e L Word
(Showtime: 2004-2009).
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In this phase, the “wrong body” discourse is common in the trans character’s narrative, whose storylines revolve around the
hormonal or surgical transition with the ultimate goal of gaining social acceptance (Siebler, 2012). is is called cispassing, when
the transition process is portrayed as a means for trans people to achieve personal and social acceptance of their image and
corporeality. Villegas Simón
et al
. (2023) express that these phenomena are negatively perceived by the audience belonging to
the collective according to the ndings of their qualitative analysis, which included interviews and focus groups with 19 trans
individuals:
Cispassing stands out as a transversal element that determines practically all popular discourses. On the one hand, cispassing drives
the decision behind the creation of most trans characters, who are those who t gender binarism best. On the other hand, cispassing
also determines the type of storyline involving trans people. Most of them address the tragic lives that trans people lead until they
achieve their supposed dream to adhere to the physical, cultural, and social aspects that are hegemonically associated with their
gender (Villegas Simón
et al
., 2023: 11).
In the fourth phase, discourses about genitalia, the wrong body and transitioning are gradually overcome. e broader concept
of trans favours it because it includes transsexuality but also transgender and uid gender. erefore, the transition discourse
includes other alternatives (Booth, 2015). Some narratives about queer diversity and subjectivity move away from ridiculous and
violent representations (Capuzza & Spencer, 2017).
e beginning of this stage in the American industry is featured in TV series such as
Nip/Tuck
(FX: 2003-2010) or
Dirty Sexy
Money
(ABC: 2007-2009). ese include recurring trans characters played by trans actresses. However, at rst glance, it is noted
that trans reality does not appear in the plot development, and trans characters are only present on average 7% of the screen time.
ese ndings are from a study conducted by Capuzza and Spencer (2017) regarding primary and secondary trans characters in
9 American TV series that premiered between 2008 and 2014.
Later, the character Sophia Burst (Laverne Cox) stands out, one of the prisoners in the TV series
Orange is the New Black
(Netix:
2013-2019). Although her gender identity determines her narrative, and the audience learns about her transition thanks to the
ashbacks, this character’s storyline goes beyond her gender identity. Cox’s performance leads to a nomination for an Emmy –the
rst time for a trans actress– and other roles in TV series such as
Doubt
(CBS: 2017) or
Inventing Anna
(Netix: 2022).
Another representative example of this stage is the TV series
Sense8
(Netix: 2015-2018). is project is considered LGBTIQ+ due
to its storylines and characters, such as Nami Marks (Jamie Clayton) and their production team, led by two trans women: sisters
Lana and Lilly Wachowski. is text is developed in a trans universe –transgender, transubjective and transphysic–: “It is not just
the rst TV show which presents a transgender character written/directed by trans creators and performed by a trans actress, but
it also tries to visualise a global imaginary of new forms of identity” (Ruiz del Olmo & Bustos Díaz, 2020: 385).
ere is also a broad representation of trans reality in
Pose
(FX: 2018-2021). e writers’ participation as well as actors and directors
belonging to the collective contributed to this (Koch-Rein
et al.
, 2020). is project forms part of a new wave of ction series
which respond to feminist demands resulting from social movements such as
#MeToo
and
#TimesUp
and portrays an inclusive
representation of gender perspectives (Garrido & Zaptsi, 2021). At this point, the TV series
Euphoria
(HBO: 2019-) is included
because it “shows dierent sexual orientations and gender identity proles, and it assertively critiques heteronormativity” (Uli de
la Fuente & Martín-Ramallal, 2022: 148).
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Despite the cited exceptions, the representation of trans women by cisgender actors and actresses is common practice in the
current television scene. It is heavily criticised because it encourages fake corporealities and damages this community’s visibility,
inclusion, and improvement in working conditions (Cobo-Durán & Otero-Escudero, 2021: 83). e more noted example is the
trans character Maura Pfeerman, played by Jerey Tambor, in the TV series
Transparent
(Prime Video: 2014-2019). Nevertheless,
this project is highly regarded due to the showrunner Joey Soloway’s LGBTIQ+ point of view (Copier & Steinbock, 2017). In fact,
this TV series has been classied as
New Queer Quality TV
(Fellner, 2017: 6).
Hiring cisgender actors to play trans women on the screen reinforces the idea that trans women are not really women and fakes
their corporealities (Reitz, 2017), preventing the collective from being authentically visible (Cover, 2023). Trans actress Jen
Richards, who played the teacher Margo in
Mrs. Fletcher
(2019), reveals this circumstance in the documentary
Disclosure: Trans
Lives on Screen
(Feder, 2020): “e public thinks of trans women as men with good hair and makeup in costume. And that’s
reinforced every time we see a man who’s played a trans woman o-screen” (Feder, Netix: 2020, 01:00:29-01:01:00).
On the other hand, the representation of trans men and non-binary people is limited in TV series (Wellborn, 2015). We can nd
some exceptions, such as the character Trevor in
Shameless
(Showtime: 2011-2021), played by the trans actor Elliot Fletcher, who
also worked in
Faking It
(MTV: 2014-2016) and
e Fosters
(ABC Family: 2013-2018). e character Buck Vu in
e OA
(Netix:
2016-2019) is also notable, played by Ian Alexander, the rst Asian-American transgender person who acted on television; the
character Doctor Casey (Alex Blue Davis), among other
queer
characters in
Grey’s Anatomy
(ABC: 2005-); and Vanya in
e
Umbrella Academy
(Netix: 2019-), who shared with his brothers and sister that he had changed his name to Viktor, at the same
time that the actor Elliot Page shared his transition on social media.
is review demonstrates an evolution towards a narrative that revolves around the struggle for trans community rights, reports of
harassment, and the search for identication. Moreover, these narratives take a stand by showing trans people’s life experiences
as not being solely dened by this condition. Dening this idea, Reitz (2017) states that “Trans is only an adjective that describes
one aspect of transgender people. eir stories need to revolve around the plot and not the fact that they are trans” (6).
Logically, trans characters’ experiences are shaped by their gender identity at some point. Still, they are positively represented
when they advocate for and normalise the inclusion of the collective. Some examples are the writing teacher in
Mrs. Fletcher
(HBO: 2019), the superheroine in
Supergirl
(CW: 2015-2021), or the Latin Doctor in
With Love
(Amazon Prime: 2021-). When
this perspective is applied to the representation of trans teens, it is particularly relevant. TV series such as
Glee
(Fox: 2009-2015)
or
Chilling Adventures of Sabrina
(Netix: 2018-2020) are excellent examples of this trend. Two British TV series should also be
highlighted as they have made a signicant contribution in this sense:
Sex Education
(Netix: 2019-) or
Heartstopper
(Netix:
2022) (Vázquez-Rodríguez
et al.
, 2020).
e creative freedom provided by VoD platforms facilitates the representation of Queer sexualities in TV series (Capuzza &
Spencer, 2017). Moreover, it encourages writing and production teams to commit to renewing sexual representation. e TV
series object of study of this research responds to this aim. In
Euphoria
(HBO: 2019-), the showrunner Sam Levinson proposes to
break multiple taboos: adolescent drug addiction, gender diversity, child pornography, and sexual abuse.
e cable channel HBO produced this project in line with its brand image, characterised by the inclusion of controversial themes,
uncomfortable and amoral characters, and complex stories (DeFino, 2014). e TV series
Euphoria
(HBO: 2019-) shows a new
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representation of trans in ction, breaking away from this collective
’
s conventional association with negative stereotypes, tragedy
or suering. is project takes a step towards a trans aesthetic which is attractive for a general audience (Macintosh, 2022).
2. Methodology
e main objective of this research is to determine the presence and representation of the trans collective in ction TV series
produced in the United States. Specically, to study the identity traits of the character Jules Vaughn in
Euphoria
(HBO: 2019-). e
following research questions are related to this objective:
RQ1. What have been the characteristics of trans representation in American television ction
throughout
its history?
RQ2. What kind of relationships
does
the character Jules in
Euphoria
maintain
(HBO: 2019-)?
RQ3. What audiovisual resources are used to represent the character Jules in
Euphoria
(HBO: 2019-)?
RQ4. What are the narrative and audiovisual factors when introducing Jules and her sex scenes in
Euphoria
(HBO: 2019-)?
For this purpose, we review the related bibliography to establish the conceptual and historical context: the concept of transgender,
its variants and associated factors (Joyrich, 2014; McInroy & Craig, 2015; Wellborn, 2015), and the features and evolution of trans
representation in the American media (Capuzza & Spencer, 2017; Copier & Steinbock, 2017; Macintosh, 2022).
Next, we
use
a qualitative methodology and conduct an in-depth textual analysis of the character Jules in the rst season of the TV
series
Euphoria
(HBO: 2019-). We have selected this method due to the
limited
number of trans characters in audiovisual ction;
we aim to gather more detailed information about the representation of the character through qualitative examination instead of
data quantication.
We have applied the test proposed by Vito Russo, a cinematic historian and co-founder of GLAAD, to set out three criteria for
creating LGBTQIA+ characters in the media: (1) the inclusion of one person from the collective, in our case, one trans person; (2)
this character must not only be dened by their gender identity; and (3) their presence must not be complementary so that their
absence would have an impact on the plot (GLAAD, 2013: 8). We have applied this test to select the TV series
Euphoria
(HBO:
2019-) as a case study.
Moreover, this project
’
s contemporaneity, popularity and recognition in the contemporary television landscape contribute to this
decision.
Firstly, we watched the TV series twice and analysed the character using a model proposed by Pérez-Rufí (2016). is author uses
the textual analysis published by Casetti and Di Chio (1998, 1999) and Chatman (1990) to identify the construction and working
of television discourse.
e character is analysed on three levels: narrative –the character as a person–; the story –the character as a role–; and a fable –the
character as an actant– (Casetti & Di Chio, 1998). Although these parameters originate from literary theory and narratology, they
are applied to audiovisual discourse and receive inuences from other theories, such as queer theory. ey are applied to the
construction of characters because they expose new discourses and ideologies in audiovisual ction (Pérez-Rufí, 2016).
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Next, we review Cobo-Durán’s and Otero-Escudero’s proposal (2021: 86) in their study of the TV series
Veneno
(Atresplayer
Premium: 2020). An analysis table will be used in our research to clarify the following items on trans representation through the
character Jules: attraction to other characters, victims or perpetrators of violence, and family, friends, and love relationships.
ese authors defend the relevance of analysing two types of
crucial
scenes —the introduction and sex scene— from narrative
and lmmaking parameters to determine whether the focalisation of the storytelling is carried out from a cisgender perspective
or if there really is a transgender point of view which oers positive images for the representation of the collective (Cobo-Durán &
Otero-Escudero, 2021: 87). In this paper we also apply this analysis to assess the focalisation of the trans character in the TV series
Euphoria
(HBO: 2019-) and the audiovisual features of the representation.
3. Results
3.1. Euphoria (HBO: 2019-) TV Series Production
e project
Euphoria
(HBO: 2019-) is a teen drama based on an Iranian TV series of the same name.
Euphoria
(HBO: 2019-) is
produced and aired on the cable channel HBO in the United States, and it is globally distributed on HBO’s streaming platform.
e showrunner, Sam Levinson, the creator, executive producer, writer, and director of this TV series, oversees production and
applies a personal brand to the project (Macintosh, 2022). Levinson’s lmography is characterised by addressing teenage themes
revolving around the Internet, drugs, gender identity, or sex. Some examples are the lm
Assassination Nation
(2018) and the TV
series
e Idol
(HBO: 2022-).
e TV series
Euphoria
(HBO: 2019-) comprises two seasons, consisting of eight episodes each (45-50 minutes), which premiered
on 16 June 2019 and the second season on 9 January 2022, respectively. Moreover, there are two special one-hour episodes in
the series. e story revolves around a group of teenagers whose experiences are narrated by the main character, Rue Bennet
(Zendaya). Sex, drugs, abuse, friendship, or violence are some themes explored, highlighting the main challenges these characters
face.
e plot is developed
linearly
, with some jumps in time, especially ashbacks. e spaces include streets in the town, the high
school, and houses. e lming stands out for a cinematographic style in the photography, camera movements, and music. e
montage and editing are also marked by this style, which
uses
some techniques
standard
in cinema, such as cross-dissolve or
sound eects.
e project was acclaimed by television critics who value the maturity with which risky themes are shown. is is expressed by
Goodman (2019) in
e Hollywood Reporter
: “It might not be every teen’s story, but it’s a story that hasn’t been told quite like
this in a while.” Audiences also embraced the project positively, whose rst season received a rating of 81% on the website
Rotten
Tomatoes
2
.
Euphoria
(HBO: 2019-) has received numerous lm and television nominations and awards in lm and television
2
Rotten Tomatoes:
Euphoria
Season 1.
https://www.rottentomatoes.com/tv/euphoria/s01
<p>[Enlace de URL / hc (has AS)]</p>
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festivals, especially for Zendaya’s performance. She won the
Satellite Awards
in 2019 and the
PrimeTime Emmy Awards
in 2022
for best actress in a drama TV series.
is ction contributes to trans representation in American television thanks to the character Jules.
Euphoria
(HBO: 2019-)
meets the three requirements of the Vito Russo test previously indicated: (1) it includes at least one trans character, Jules, among
other LGBTIQ+ characters; (2) gender identity is not a trait that denes Jules exclusively, because she has a broader narrative
framework and personality of her own; and (3) Jule’s absence would have consequences on the plot so that her presence is not
merely complementary or casual.
3.2. Analysis of the character of Jules Vaughn as a person, role and actant
e character Jules is played by trans actress and activist Hunter Schafer. Regarding this analysis, we rst focus on the narrative
level: exploring the character as a person. Jules is a 17-year-old trans girl with the following physical characteristics: she is tall and
slim, has long, straight blonde hair, clear skin and light blue eyes. Regarding her style, Jules often wears female childlike clothing
in soft and bright colours, extravagant accessories and make-up. From a sociological point of view, the character belongs to a
middle social class, with the corresponding economic and cultural level.
From a psychological perspective, Jules is loving, kind and caring, maintaining good relationships with her father and friends.
Sometimes her actions are somewhat naive, but she also has an adventurous and spontaneous spirit. Despite uncomfortable
situations such as abuse in high school or violent sexual relationships, Jules strives to maintain a positive attitude. We observe
psychological problems primarily associated with gender dysphoria, leading to depression and self-harm. is is expressed by
Rue’s voice-over:
e truth was, Jules, hated herself. She hated how her brain worked, the way it would get stuck on a thought…like choking. And it
would just play on an innite loop until she couldn’t think or breathe or stand to be alive. She didn’t just hate her brain, though; she
hated her body. Not every part. Just her shoulders and her arms and her hands. And also her chest, her stomach, her thighs. Her
knees were the worst. Plus, her ankles and her big fucking stupid feet. She hated her life. Not because it was bad, but because when
you hate your brain and your body, it’s hard to enjoy the rest. So Jules developed a few coping mechanisms. None of them healthy. A
few are scary enough to land her in (#01x04: Levinson, HBO: 2019, 00:03:52-00:04:58).
Regarding the analysis from the story level—character as a role—Jules performs the role of the main character’s best friend and
later her girlfriend. is character plays a supportive role in Rue’s ght against drugs. Jules also has her own personal conicts
due to blackmail and threats she receives from a high school classmate, Nate. Jules is motivated to ensure her safety and Rue’s.
Finally, at the level of fable —the character as an actant—Jules helps Rue, but as previously indicated, she also develops her own
storylines and takes charge of her actions.
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3.3. Examination of the character Jules Vaughn’s relationships
We apply the analysis table
3
proposed by Cobo-Durán and Otero-Escudero (2021) to delve into the character Jules’ sexual, violent,
family, friend, and romantic relationships. is proposal is adapted and modied according to the needs of our object of study.
e ndings in the table show that the character Jules has a signicant presence on screen, highlighting her prominence in both
her own storylines and the ones developed with Rue. e inclusive casting of characters in
Euphoria
(HBO: 2019-) allows for the
representation of a wide range of experiences of a group of teenagers. In this case, Jule’s experiences are not portrayed in a limited
or secondary way.
Concerning attraction, it should be noted that in
Euphoria
(HBO: 2019-), characters are not strictly categorised based on gender
identity and sexual attraction. For this reason, it is complex to classify characters in this sense for this research. erefore, we
have organised moments of attraction with other characters based on encounters in the TV series, regardless of personal tastes or
motivations that observation cannot deduce. In this case, we nd ve situations when Jules feels attracted to bisexual characters,
two with homosexual characters, and ve with heterosexual characters. Moreover, we noted multiple sexual encounters of Jules
with older men in a ashback during her introduction.
Regarding violence, Jules never generates violent situations. However, we observe her desire for revenge due to Nate’s abuses.
It is shown in two imaginary scenes: Rue shoots Nate while Jules is encouraging, and Jules hangs Nate before kissing him in a
sexual dynamic. Both moments belong to an imaginary world, so we have decided not to include them in the analysis table.
Nevertheless, Jules is a victim of blackmail by Nate on several occasions. It causes her to self-harm in a scene, which is considered
physical violence, although it is not caused directly by Nate but is motivated by his attitude.
As noted in ve scenes, Jules maintains a positive relationship with her father. ese are brief moments, but they show a complicit,
aectionate and compassionate father-daughter relationship. However, her relationship with her mother is dierent, especially
since Jules is admitted to a psychiatric
centre
against her will. Jules returns home recovered, but eventually, her mother abandons
her.
Jules’ friend relationships appear in most scenes. First, we highlight Rue and Jules’ relationship hanging out as friends: they ride
their bicycles, eat together at high school, or sleep embraced. However, we also note that Jules is part of a bigger group of friends:
as seen in the festival, winter dancing, or in the skating rink. In these cases, Jules’s experiences are no dierent from any other girl
in her class.
Finally, we review scenes where Jules and Rue appear as a couple. Key moments could be present in any teenager’s parent’s life,
such as taking photos before going out together to the high school dance, having arguments at parties under the inuence of
alcohol, demonstrating care and attention, or exchanging messages.
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3.4. Analysis of Jules Vaughn’s introduction and sex scenes
Jules rst appears at the beginning of the pilot episode. Jules is riding her bicycle, and Rue returns to town after spending time in
a rehabilitation centre. ey make eye contact in a shot-reverse shot mode, which slows down the action. e lighting is soft and
uniform thanks to the natural light, and Rue’s voice-over presents the character: Jules is a new girl in the city who has moved there
with her father. We also observe other images alongside the audio: Jules lying in bed and chatting with a man she met on a dating
application. She is getting ready to go out, getting dressed and putting on makeup, and
pricking
a syringe in her thigh.
Later, the spectator nds out about Jules’ childhood and her transition process thanks to a ashback at the beginning of the fourth
episode in the rst season. When Jules was 11, she was admitted to a psychiatric centre for depression and self-harming episodes.
Jules started her transition process at 13 years old, and she had sex at 16 years old. It is represented across several shots and fast
shots where Jules meets with dierent men. Rue’s voice-over narrates this scene. erefore, there is no rst-person
focalisation
.
However, Jules’ gender identity and her transition process are
shown
from a perspective which enables us to determine a trans
gaze, both narrative discourse and audiovisual lmmaking.
On the other hand, Jules is often represented as vulnerable during sex scenes. In most cases, these are chance and sporadic
meetings with unknown men who meet with Jules in isolated places because they cheat on their wives or feel ashamed about
the sexual act, which is a general fetishist pleasure. Rue’s voiceover notes that all men make it clear to Jules that they are not
homosexual. ese meetings appear in the ashbacks previously mentioned.
ere is an entire scene featuring Jules having sex in a motel room with an older man she had just met, Cal Jacobs. A shot shows
how Cal tears the girl’s stockings and penetrates her while lying face down. ere are several whole shots, but some close shots
of Jules’s face during sex are shown, demonstrating that the girl feels uncomfortable in this situation. e lighting is uniform, and
the colours are austere, which conveys this encounter’s cold and impersonal nature.
4. Discussion
By conducting a historical review of American TV ction from a trans perspective, we notice a gradual but positive representation
of characters from this collective. After the rst phase, when trans individuals’ inclusion was absent or confused with transvestism,
we highlight a second phase characterised by negative stereotypes, the wrong body discourse, and the transition process as a way
to achieve personal and social acceptance. Next, trans representation moves away from these limitations in the third stage, when
characters begin to star in their storylines, although their stories still revolve around trans reality.
Jules’s characters exemplify the fourth phase of trans-collective representation in American TV ction. erefore, the TV series
Euphoria
(HBO: 2019-) is located in Clark’s (1969) fourth stage of representation. Following Uli de la Fuente and Martín-Ramallal
(2022) ndings, gender identity does not drive Jules’ storylines. is character has her own narrative, which might be developed
regardless of her trans reality. And it is not necessary to verbalise this situation in any scene.
e audience becomes aware that this character is a trans girl on two occasions: her childhood ashback and a conversation
about her transition with Anna. In the latter, Jules expresses her view about femininity and what being queer entails for her:
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Anna: So, have you?
Jules: Have I what?
Anna: Conquered femininity?
Jules: I don’t know. But it’s not like I even wanna conquer it. It’s like I wanna fucking obliterate it. And then move on to the next level.
And the next, and the next. I don’t really know what that means or looks like, but… I want it.
Anna: Queerness is innite.
(#01x07: Levinson, HBO: 2019, 00:37:37-00:38:08)
ese reections make it possible to go beyond the conventional trans representation in audiovisual media, especially from a
binary perspective, and move away from stereotypes present in previous TV series. is broader and more complex landscape
contributes to collective identication and allows us to combat hate speech. In this ction, “Jules is an ethical and moral example
of how society should react to transsexuality without conditions”(Uli de la Fuente & Martín-Ramallal, 2022: 148).
Coinciding with Masanet
et al.
(2022), the narrative does not focus on Jules being a trans girl or her transition process. Still, it
explores a richer representation in which she explores her identity and the construction of romanticism with Rue. Following this
line, Macintosh (2022: 14) concludes:
rough the character of Jules, the show explores questions of identity, authenticity, and the complex relationships between gender
and sexuality that increasingly inform youth culture –all while avoiding the focus on the transition that typically characterises
transgender characters’ narrative arcs in mainstream media.
Jules plays a signicant role in the plot with an on-screen presence equivalent to the remaining characters. Besides, there are
dierent friend, sexual, love, and family relationships. Jules’ sporadic sexual encounters with unknown men contrast with her
romantic relationship with Rue or Jules’ polyamorous feelings when she tells Rue that she kissed Anna and is in love with both of
them.
Physical violence is not notable in the narrative, but Jules suers abuse and blackmail from the same character: Nate. ere are no
scenes where Jules generates violence, except for hypothetical situations in which she would like to avenge her bully. Friendships
often revolve around Rue, who becomes her best friend, but we also observe other friendship scenes with a bigger group of
girls. Regarding family, the solid relationship between Jules and her father is noteworthy, he supports and accepts her, and their
relationship is aectionate and based on mutual respect.
On the other hand, audiovisual resources used in the analysed scenes align with the cinematographic aesthetic of the TV series
Euphoria
(2019-), which some authors call queer aesthetic (Macintosh, 2022). ese elements include complex camera movements
and transitions, subjective framings, contrasting lighting with vibrant colours, amboyant clothing and original makeup, the use
of voice-over, and predominant music. All these factors conrm the cinematographic aesthetic in the lmmaking of this ction.
is TV series appeals to a demanding viewer who appreciates the meticulous aesthetic, departing from the parameters of
conventional television. Together with the cultural references –cinema, video clips, and TV shows– referred to by Bretones (2022),
the audiovisual narrative examined in this work fosters an intertextual dialogue on sexuality and gender. As a result, audiovisual
lming parameters transcend aesthetics.
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Specically, the introduction and sex scenes use audiovisual narrative and lmmaking resources to introduce the character of
Jules and her sexual meetings from a descriptive and dramatic perspective. In the rst case, the voice-over of Rue is highlighted,
which contextualises and presents to Jules. Soft lighting and colours transmit the gentle and loving character of Jules. Concerning
sex scenes, close-up and detailed shots lead the viewer’s gaze to know Jules’s feelings, and the edition provides a fast and brisk
pace in the presentation of sporadic dates.
Concerning the applied analysis mode, the ndings obtained about the character Jules are compared with the results from the
TV series
Veneno
(Atresplayer Premium: 2020) from Cobo-Durán’s and Otero-Escudero’s (2021) research. ese authors point
out a canonic representation of sexuality rooted in the heteronormative system, portraying trans women’s sexuality as oriented
toward men. It coincides with Jules’ sporadic sexual relationships but not her romantic involvement with Rue. In addition, in the
case of
Veneno
(Atresplayer Premium: 2020), friendships with other trans women are emphasised, unlike
Euphoria
(HBO: 2019-).
Cobo-Durán and Otero-Escudero (2021) found more negative tropes in their analysis –violence, sexual work, and media
representation of the body– which derive from the bibliographic style of the ction. ese stereotypes are overcome by the
character of Valeria in this TV series, whose representation is more similar to the Jules ones. Valeria provides the transgender
view to the narrative with “a tendency moves away the stereotypical tradition around the identity and corporality, she assumes an
active role to take her own decisions respect her sexuality and transition” (Cobo-Durán & Otero-Escudero, 2021: 93).
e TV series
Euphoria
(HBO: 2019-) contributes to shedding light on the trans reality experienced by Generation Z. Despite
some plots being exaggerated to condemn generational conicts, this ction portrays and inuences the personality, values, and
feelings of teenagers (Uli de la Fuente & Martín-Ramallal, 2022: 153). As with other ndings from the analysis of TV series aimed
at adolescents, like
Sex Education
(Netix: 2019-),
Euphoria’s
characters defy typical stereotypes in teen comedy and possess
more psychological depth, engaging in more complex narratives related to gender, identity and sexual orientation (Valverde-
Maestre & Pérez-Rufí, 2021: 181).
Research regarding teen series concludes that the representation of teenagers is adapted to the current reality, which includes a
wide variety of contexts: family, educational, labour, and sexual (Mateos-Pérez, 2021). Authors examining these projects highlight
negative aspects, such as scenes of unprotected sex and depicting alcohol consumption without negative consequences. But they
also acknowledge the visibility of sex oenders and the criticism of objectifying women’s bodies, as seen in the TV series
Euphoria
(HBO: 2019-) (Donstrup, 2022).
5. Conclusions
e analysis of the ndings shows a more comprehensive, more realistic and more complex representation of the LGBTIQ+,
especially of trans, in current American TV ction. A historical review of this reality connects this new representation with the
contemporary television landscape and the production of VoD platforms.
e trans issue in the American television market has experienced a positive evolution, moving away from hypersexualisation,
sensationalism and negative stereotypes. is shift contributes to a broader queer reality, including dierent corporealities and
gender identities. e industry, critics, and audience acceptance of the project
Euphoria
(HBO: 2019-) responds to the need
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for
a fair and respectful representation of this collective in the media, positively aecting general audiences, especially trans
individuals.
e development of the character Jules Vaughn’s storylines go beyond solely focusing on her trans reality, which is eectively
combined with the use of audiovisual narrative and lmmaking techniques of a cinematographic nature; the TV series
Euphoria
(HBO: 2019-) contributes positively to trans representation in audiovisual media. Jules provides a realistic and relatable
representation of a trans individual, presenting typical teenage conicts in friendships, love and family relationships. Still, her
condition is not the only determinant or evident aspect of her character. Moreover, Jules’ conicts are no more complex than any
other character’s storylines.
e methodological techniques applied in this research represent a novel contribution to the analysis of the character Jules,
both from a general and queer perspective. Together with results from the audiovisual narrative and lmmaking, these
ndings complement previous studies of the TV series
Euphoria
(HBO: 2019-) and bring a new perspective by examining Jules’
representation from a trans viewpoint. is work has been limited to the rst season of the TV series because it introduces Jules
and her reality. However, the analysis of the following seasons and special episodes is proposed to strengthen the ndings from
this research further.
e changes in the television market and the production of innovative projects, both from a narrative and thematic point of view,
as well as audiovisual production, encourage academic attention and its study from a communicative and social perspective. e
evolution of social movements around gender justies the constant examination of queer representation in the media. Future
research that applies the methodology used here to several TV series from dierent historical and geographic contexts allows us
to reach further conclusions and advance in the research of this area of study.
6. Acknowledgements
is work has been supported by the Spanish State Research Agency through the project
“Transmedialización e hibridación
de cción y no cción en la cultura mediática contemporánea (FICTRANS)”, Ref. PID2021-124434NB-I00, funded by MCIN/
AEI/10.13039/501100011033/FEDER Una manera de hacer Europa, Plan Estatal de Investigación Cientíca, Técnica y de
Innovación 2021-2023.
Principal researchers: Domingo Sánchez-Mesa Martínez and Juan Ángel Jódar Marín
.
Article translated into English by the author and proofreading by Sophie Phillips.
7. Conict of interest
e author declares that there is no conict of interest contained in this article.
8. Bibliographic references
Billard, T. J. (2016). Writing in the Margins: Mainstream News Media Representations of Transgenderism.
International Journal of
Communication
,
10
, 4193-4218.
https://bit.ly/3akBCYe
<p>[Enlace de URL / hc (has AS)]</p>