Great Oak Gazette

Ty Van Horn’29

Staff Write

Introduction

In all forms of media, people look for storylines or characters they can see themselves in. For children, especially, stories play a crucial role in shaping their understanding of themselves and others. The representation of queer identities in children’s media is therefore vital—not only because it allows young LGBTQ+ viewers to feel seen and validated, but also because it cultivates empathy among non‐queer audiences. By reflecting real‐world diversity through accessible storytelling, children’s shows can teach understanding, normalize inclusion, and challenge stereotypes. The following series—The Hollow, Kipo and the Age of the Wonderbeasts, Steven Universe, Dead End: Paranormal Park, and The Owl House—demonstrate how authentic queer representation can promote empathy through creative, character‐driven narratives.

The Hollow

The animated Netflix series The Hollow begins with three teenagers—Adam, Kai, and
Mira—waking up in a strange, dangerous world with no memory of who they are. As they navigate puzzles, monsters, and shifting landscapes, they eventually discover that they are players trapped inside a virtual‐reality simulation. Behind the thrilling action, the show gradually reveals each character’s personal struggles, including Adam’s search for self‐identity.

In the second season, Adam comes out as gay, a revelation that deepens his characterization rather than defining it. His sexuality had been subtly hinted at earlier, such as when Mira kisses him in season one, episode seven, “The Riddle,” and he doesn’t reciprocate. In the following season, Adam’s conversation with Kai clarifies his identity—he explains that he isn’t interested in Mira romantically because he’s gay. The show handles this moment with sincerity and respect, depicting Adam’s honesty and his friends’ acceptance without unnecessary
tension. Additionally, Mira’s two gay fathers expand the show’s representation of queer families. By portraying queerness matter‐of‐factly, The Hollow gives young audiences both reflection and learning—LGBTQ+ viewers see themselves on screen, and all children see that diversity simply exists as part of everyday life.

Kipo and the Age of the Wonderbeasts

Kipo and the Age of the Wonderbeasts is a young adult animated series set in a colorful post‐apocalyptic world overrun by mutant animals. After being separated from her father, Kipo Oak ventures to the surface to find him, befriending the fierce human Wolf, the easy‐going Benson, and the mutant creatures Dave and Mandu. As Kipo journeys through this world, the series explores compassion, coexistence, and the strength that comes from embracing difference.

The show’s embrace of inclusion extends naturally to its LGBTQ+ representation. In
season one, episode 10, Benson openly comes out as gay after Kipo expresses romantic interest
in him. His honesty and Kipo’s immediate, supportive reaction model empathy, communication, and respect in both friendship and identity. Later in the story, Benson begins forming a relationship with Troy, which portrays same‐gender love as warm, sincere, and ordinary (season 2, episode 3). This representation is woven into the plot not just as a lesson but as a part of life. Kipo and the Age of the Wonderbeasts thus teaches empathy by showing young viewers—queer and non‐queer—that understanding others begins with acceptance and that embracing difference is a form of strength.

Steven Universe

Created by Rebecca Sugar, Steven Universe (2013‐2020) became a landmark in children’s media for its inclusive storytelling and emotional sophistication. The series follows Steven, a half‐human, half‐Gem boy learning about love, family, and identity from the Gems who raised him. Sugar, Cartoon Network’s first non‐binary showrunner, has said they wanted to create the representation they lacked growing up.
One of the most powerful portrayals in the show is the relationship between Ruby and Sapphire, who fuse to form Garnet—the show’s first same‐sex couple and a symbol of love and unity. Their eventual marriage made history as one of television’s first same‐gender weddings in children’s animation. “Fusion,” a recurring concept in the series, acts as a metaphor for intimacy and emotional connection. Pearl’s enduring love for Rose Quartz and Peridot’s aroace identity (confirmed by storyboard artist Maya Petersen in 2020) further reflect the spectrum of queer
experience. By treating these relationships with emotional honesty and depth, Steven Universe allows young audiences to relate to love, loss, and joy as universal feelings. This emotional transparency nurtures empathy by reminding viewers that relationships are built on understanding, not difference.

Dead End: Paranormal Park

Based on Hamish Steele’s graphic novel DeadEndia, Dead End: Paranormal Park is an
animated Netflix series that follows teenagers who work at a haunted theme park while contending with demons, curses, and their own insecurities. What distinguishes the show is the way it treats diversity as normal.

Its protagonist, Barney Guttman, is a gay, trans, and Jewish teen whose story focuses on finding belonging after feeling misunderstood by his family. His best friend, Norma Khan, a bisexual and autistic Pakistani American, and his boyfriend Logan Nguyen round out the show’s inclusive representation. There’s also Courtney Cahaté, a non‐binary demon whose friendship with the main characters emphasizes solidarity across worlds. Each identity exists without fanfare or explanation, underscoring that queerness can coexist with humor, adventure, and community. By normalizing diversity rather than centering conflict around it, Dead End: Paranormal Park helps young audiences empathize with a wide range of experiences while affirming that acceptance is key to meaningful relationships.

The Owl House

In The Owl House, produced by Disney, the story follows Luz Noceda, a human girl who accidentally stumbles into the Demon Realm and finds herself on the Boiling Isles. During her adventures, Luz learns magic, befriends many of the realm’s inhabitants, and even brings some of her human friends into this extraordinary world.

Throughout the series, Luz and several of her friends are portrayed as members of the LGBTQ+ community, most notably Amity Blight. Luz is shown wearing the colors of the bisexual flag, and in a 2020 Reddit “Ask Me Anything,” the show’s creator, Dana Terrace, confirmed that Luz is bisexual and Amity is lesbian. By season two, episode eight, “Knock, Knock, Knockin’ on Hooty’s Door,” Luz and Amity officially become a couple.

As two of the show’s central characters, Luz and Amity’s relationship is an integral part of the narrative and is portrayed with warmth and normalcy. Their story emphasizes that love and connection are universal, showing little difference between queer and heterosexual relationships. This portrayal helps young audiences recognize shared emotions—such as affection, confusion, and joy—and teaches empathy by showing that everyone’s feelings and relationships, regardless of gender, are equally valid and real.

Conclusion

Across The Hollow, Kipo and the Age of the Wonderbeasts, Steven Universe, Dead End: Paranormal Park, and The Owl House, LGBTQ+ representation in children’s media has evolved from fleeting subtext to purposeful storytelling. Each series models the same core message: identity is something to be understood and embraced, not hidden or judged. For queer children, these stories affirm that their experiences matter; for non‐queer audiences, they offer pathways to empathy through emotional honesty and shared humanity. Together, these shows demonstrate that children’s media can be both entertaining and transformative—helping a new generation learn that kindness, respect, and love are what truly define us.