In 1997, The Watermelon Woman, the first feature film directed by a Black lesbian, Cheryl Dunye, took an authentic and unapologetic approach to storytelling in a way that was groundbreaking and unprecedented in media. Positive queer representation in film during the 1990s was rare, making the presence of multiple dynamic Black queer characters at the forefront of a film revolutionary. When the film was released, many viewers hoped it would mark the beginning of a new era for Black queer women in cinema. Unfortunately, even today media representation of Black, queer women still has a lot of work to do. According to GLAAD’s Where We Are on TV Report 2023 – 2024 Black representation came in at 95 Black LGBTQ characters of 468 LGBTQ characters (20 percent) and queer women only make a percentage of that. And while it’s more than we were able to see in the 90s, there’s a pressing need to address and rectify the portrayals that fall on us. Characters are frequently depicted as hypersexual, aggressive, or existing solely as sidekicks to more central figures. Such portrayals not only misinform audiences but also perpetuate harmful biases.
However in reality Black queer women are advocating for narratives that reflect their realities and their relationships. Stories that delve into their joys, struggles, love lives, and identities without resorting to clichés. This includes showcasing relationships that are genuine and multifaceted, moving beyond the typical coming-out tales to explore deeper relational dynamics. Actress Ayesha Harris, in a 2023 interview with Ebony when asked about the current state of LGBTQ+ media representation in film and television she states, “I do feel like we’re the pendulum that swings. It’s either something really traumatic or very whimsical. What I would like to see highlighted, in addition to all the great stories, is the middle where gay folks are just folks and we’re living our lives because being gay is not the biggest part of my life.” An approach as such, allows one to see the depth with in the stories of Black queer, women relationships and the unique nuances between the characters. And Black, queer women like Harris are continuing to show love to characters and stories that showcase them for who they really are instead of what stereotypes have painted them to be.
This ongoing disparity between how Black queer women are depicted and how they actually live their lives highlights the need to challenge these media myths and push for more authentic storytelling. By dissecting these misrepresentations and comparing them to the realities of Black queer experiences, we can better understand what needs to change and how media can evolve to meet those needs.
Myth: Masculine-Presenting Black Queer Women Are Always Aggressive or Hyper-Masculine in Relationships
Reality: Masculine-presenting queer women have emotional depth and complex identities beyond toughness or dominance.
The media often portrays masc-presenting Black queer women as aggressive, emotionally unavailable, or even as “predators.” This strips them of the emotional range that other characters are given. In reality, masculine-presenting queer women have nuanced identities, experiencing love, softness, vulnerability, and sensitivity.
Example: “Twenties” (2020-2021) Hattie and Ida B. – The main character, Hattie, played by Jonica T. Gibbs, is a masc-presenting Black queer woman who is confident but also funny, vulnerable, and struggling to navigate her personal and professional life. The show avoids making her a one-note character, instead presenting her as someone with dreams, fears, and emotional complexity.
Myth: Black Queer Women’s Love Stories Are Nonexistent or Always End in Tragedy
Reality: Black queer women deserve love stories with happy endings, not just heartbreak and loss.
Too often, Black queer relationships are either completely erased or doomed from the start. Either one character is killed off, or the relationship is portrayed as inherently dysfunctional. This scarcity not only marginalizes Black queer identities but also perpetuates the misconception that their love stories are inherently fraught with hardship and devoid of joy. Such portrayals can contribute to the erasure of positive and affirming experiences within the Black queer community, limiting the spectrum of narratives available to audiences.
Example: Tender (2020) | Kiana & Lulu – The short film Tender offers a refreshing and intimate portrayal that challenges these prevailing myths. Directed by Felicia Pride, Tender delves into the nuanced morning-after experience of two Black queer women, Kiana and Lulu, following their one-night stand. Instead of resorting to clichéd depictions of regret or turmoil, the film focuses on the blossoming connection between the two women as they navigate vulnerability, intimacy, and the potential for deeper affection. Through their interactions, Tender showcases the tenderness, complexity, and authenticity of Black queer love, providing a narrative that is both relatable and affirming. The film emphasizes the normalcy and beauty of their connection, highlighting that Black queer women are deserving of love stories that celebrate their identities without the overshadowing presence of tragedy.
Myth: Black Queer Relationships Are Always Hyper-sexualized
Reality: Black queer relationships can be portrayed with emotional depth and intimacy beyond physical attraction.
This type of representation is essential in normalizing the full spectrum of queer relationships. While physical attraction is a part of any romance, reducing Black queer love to just sex erases the depth and richness of their experiences. By showcasing affectionate, emotionally resonant relationships, media can provide a more truthful and layered portrayal of Black queer love.
Example: “A League of Their Own” (2022) | Max & Esther – Historically, Black queer women in media have often been reduced to hypersexualized roles, with relationships that focus more on physical encounters than emotional depth. A League of Their Own challenges this by giving Max a well-developed romantic storyline with Esther. Their relationship is built on trust, mutual respect, and shared experiences, allowing audiences to see a genuine emotional connection with a Black queer woman.
Myth: Black Queer Women Are Always in Interracial Relationships
Reality: Black queer love exists and thrives in media.
For decades, Black, queer women in media have often been depicted in relationships with non-Black partners, which, while an important form of representation, has frequently overshadowed depictions of Black queer love between two Black women. This trend can sometimes unintentionally suggest that Black queer relationships are less viable or less common, reinforcing harmful stereotypes about desirability, compatibility, and the availability of love within the Black queer community. The lack of Black-on-Black queer love stories can make it seem as though they are nonexistent or unworthy of exploration when that’s simply not true.
Example: “The Chi” (2020 – Present) | Nina & Dre – In many mainstream media portrayals, Black queer women are frequently paired with non-Black partners, which, while an important representation, can sometimes overshadow depictions of Black queer love between two Black women. The Chi challenges this by giving us Nina and Dre, a married Black queer couple navigating the complexities of parenting, commitment, and personal growth. Their relationship is neither sensationalized nor treated as an anomaly—it is simply part of the fabric of their lives. By showcasing a long-term, emotionally rich relationship between two Black women, The Chi contributes to a broader and more inclusive representation of Black queer love in media.
Myth: Bisexual Black Women Are Either Confused or Just “Going Through a Phase”
Reality: Bisexuality is a valid, stable identity that isn’t just a stepping stone to something else.
Media often erases or invalidates bisexual Black women, treating their identity as something temporary or insincere. This contributes to real-world stigma, where bisexual women often feel pressure to “choose a side.”
Example: “Harlem” (2021-Present) | Quinn – Quinn, who comes out as bisexual, is given space to explore her identity in a way that feels real and authentic, rather than being treated as a phase or just an experiment.
Myth: Black Queer Women Only Get Happy Endings in Secondary or Side Relationships
Reality: Black queer women deserve to be the main love story.
Mainstream media has struggled to center Black queer women in fully realized love stories with happy endings. When they do appear in relationships, their narratives often revolve around tragedy, unrequited love, or being in the periphery of someone else’s romance. If they do experience happiness, it is frequently as a side character in a larger story rather than in their own. This pattern perpetuates the idea that Black queer women are not worthy of full, satisfying romantic arcs.
Example: “Rafiki” (2023 – U.S. Release) | Kena & Ziki – In many films, Black queer love is sidelined or treated as a subplot. Rafiki, however, places its protagonists, Kena and Ziki, at the center of the story. Their love is the driving force of the film, highlighting their deep bond and the challenges they face together.
Myth: Black Queer Relationships Are Just for Representation Points
Reality: Black queer relationships should be given depth, development, and screen time.
There is a common misconception that Black queer relationships in media exist solely to check a diversity box, rather than being deeply developed, meaningful representations of love, struggle, and connection. While representation is important, reducing these relationships to mere tokens of inclusivity strips them of their authenticity and can result in one-dimensional storytelling. Black queer relationships, like all relationships, are multifaceted—filled with love, conflict, growth, and intimacy beyond the optics of diversity efforts.
When executed with care and nuance, Black queer relationships in media contribute to richer, more authentic storytelling that resonates with real-life experiences.
Example: “The Equalizer” (2021 – Present) | Vi & Trish – The Equalizer treats Aunt Vi and Trish’s relationship with the respect and depth it deserves. Their love story is not just a checkbox for diversity but a meaningful, evolving relationship.
While progress has been made in representing Black queer women in media, challenges persist. Authentic and diverse portrayals are crucial in dismantling stereotypes and reflecting the true spectrum of experiences within this community. By learning from positive and negative examples, the media industry can move towards more inclusive storytelling that resonates with and accurately represents Black queer women.