The term itself is accusatory, but is queerbaiting necessarily always harmful?
The short answer is yes. Representation of non-heterosexual relationships remains few and far between in mainstream media. The few depictions of queer relationships we do get often fall victim to the “Bury Your Gays” trope, meaning at least one of the characters won’t make it to the end of the story – take the finale of Killing Eve, for example. Queer representation plays a crucial role in the shaping attitudes towards LGBTQ+ identities, and for many young people in particular the media they are exposed to forms a major source of their education on LGBTQ+ matters.
To represent these stories is to validate queer individuals. When such representation appears to be present, only to be stripped away to nothing, it perpetuates the stigma from which queerness seems unable to break free. Thus, denying queer individuals the opportunity to see themselves represented through media, which undercuts any and all validation they may feel by discouraging the normalisation of queer experiences. And, with those identifying as LGBTQ+ disproportionately affected by mental health issues, is it not crucial that we aim to destigmatise however we can?
it perpetuates the stigma from which queerness seems unable to break free
Stonewall previously reported 52% of LGBT people had experienced depression in 2018, while the figure for young LGBT people (aged 18-24) stood even higher at 68%. While these figures alone are alarming enough, given that post-COVID studies have shown widespread deterioration in mental health since this report, it is safe to assume it now more important than ever to address the correlation between mental health and the LGBTQ+ population.
While also seen in film, literature, and almost every other conceivable media form, TV shows are generally regarded the most common culprit of queerbaiting – slow-burning narrative arcs are crafted across entire seasons to develop a relationship between two characters, only to amount to nothing after all. Using this seemingly promised representation to pander to an entire demographic who may not otherwise find appeal in something, is little short of exploitative. The term rainbow capitalism comes to mind, utilising LGBTQ+ themes as a tool for profit. A person’s identity is never something to be capitalised on, yet this is exactly what continues to happen.
A person’s identity is never something to be capitalised on, yet this is exactly what continues to happen
Queerbaiting is often reflective of widespread problematic attitudes towards queerness. To take an example – the most recent series of BBC hit Line of Duty featured longstanding character Kate Fleming (Vicky McClure) appearing to develop some level of romantic relationship with her new boss Joanne Davidson (Kelly MacDonald). A trickle of flirtatious exchanges, tentative physical touches, and a getaway car-chase later, both characters forget the other exists entirely with no explanation whatsoever for the subplot which began to unfold between them. A classic queerbait scenario, by all accounts.
Series creator Jed Mercurio told Den of Geek in 2021 that the “specific trajectory” of the so-called “Flemson” relationship was scrapped due to COVID-related filming limitations. And it is this, more so than the queerbaiting itself, that spotlighted a bigger problem. Queer relationships continue to be sexualised in media, worthy only of representation when they can satisfy the fetish of a heteronormative society through explicit physical intimacy. Because, of course, it is unfathomable that queer couples may communicate with feelings.
Whatever way you view it, queerbaiting is fundamentally homophobic. It diminishes LGBTQ+ narratives into little more than figments of our imaginations instead of using valuable platforms to promote affirmative attitudes towards them. And frankly, when media such as film and television is created as a form of popular culture – which is by nature reflective of the society from which it emerged – is it not wholly inaccurate to erase these narratives completely, or reduce the stories that are told to something unworthy of the conventional happy ending?
