Diversity and Representation in TV: A Case Study from the Past
Looking back at 2000s Disney Channel's representation
It is impossible to avoid conversations about diversity and on-screen representation in modern films and TV programs. The understandable desire for identity groups to see people like themself on their screens is a perfectly reasonable request. Yet, in recent years we have seen a backlash against this from people claiming that minority groups are ‘artificially’ inserted into media productions to fulfil some woke agenda. Effective inclusion in TV and film is not new, and nor has it been a linear progression, highlighted by the 2015/2016 Oscar nominations.
I have a case to make for inclusion and representation in TV, and that case is to turn back a particular example from the noughties. I am referring to the much-beloved set of Disney Channel shows, including greats such as ‘That’s So Raven’, Suite Life, Phineas and Ferb and the ‘original movies’. Yes, I was (and still am) a big fan of these programs, they are simple and entertaining, but I also want to discuss a different angle to approach these shows that I only took notice of after I became fascinated with identity.
As a preface, this is not to say that these shows are perfect. They most certainly play on all sorts of stereotypes of many different characteristics. Yet many of these episodes are nuanced by their endings, with an acknowledgement that character actions were wrong or appropriated cultural elements are appreciated by someone from the original culture group or the appropriation itself serves as comedy, demonstrating the absurdity of those particular characters performing these actions.
Here I will discuss 2 topics that (from my cultural perspective), demonstrate how Disney Channel’s diversity and inclusion (from now over a decade ago) feel positive and progressive.
1) On-Screen Representation
Representation feels like a particularly key topic in today’s media. As of 2021, 8 out of 10 top 10 films of the year had casts that were 30% non-white, and films that had over 90% white cast did poorly in the box office.
Diversity alone cannot be claimed as the sole factor for these films’ successes, but it certainly seems to be a contributing factor. Another key factor must be the story that these forms of media are telling, which is why I recommend turning to Disney Channel. The channel makes an effort to tell a multitude of stories, exploring the diversity of America through setting and character development.
This leads to episodes that don’t include a great deal of diversity in their own right, but instead, it is in the wider range of programmes where the true diversity of the channel is noted. The most viewed series episode ever on the channel is ‘That’s So Raven’s “Country Cousins” with a majority Black cast, but is followed by “Rollacaster”, the debut episode of the multi-ethnic show ‘Phineas and Ferb’.
The wider channel’s aims of story exploration mean that inclusion is presented by real and meaningful exploration of different backgrounds and sub-cultures in America throughout many episodes, which can often be lost in series that are multi-ethnic as they dedicate limited time to explore these themes. The channel then provides diverse multi-ethnic interactions in other shows, meaning that viewers are provided with a range of different experiences.
2) Treatment of Culture
I believe that a scene to best exemplifies some positive and humorous treatment of culture comes from ‘Jessie’, where Ravi (of Indian descent) ‘defeats’ a bully by allowing him to take a bite from his sandwich, which contains very spice chillies, which the bully can’t handle. He then proceeds to eat the sandwich with no difficulty. This humorous scene plays on the rather simple trope of white people not being able to handle spice but uses it in the plot to highlight this key part of Indian culture.
It’s not all humorous exchange. An Episode of Suite Life on Deck sees London Tipton (heiress to a great deal of wealth) return to her grandmother’s farm in Thailand. London travels with roommate and ‘farm-girl ‘ Bailey to the farm and receives a huge culture shock, whereas Bailey embraces the lifestyle. This is followed by London giving her Grandmother a makeover, transforming her from a farmer to a Western fashion icon. One problem, her Grandma doesn’t like it. The episode is resolved by London and her Grandma acknowledging their differences and London accepting this different lifestyle.
2 main themes underscore this episode. The first is that Bailey and London’s grandma are represented as similar characters and personalities. This quite powerfully demonstrates the similarities between 2 people from 2 different sides of the world. The second is that London’s ‘civilising mission’ to de-farm her Grandma is the butt of the joke in the episode. We are laughing at London’s ignorance and attempt to drastically change her Grandma’s life. This message is a key takeaway for young people. Accepting other cultures and not trying to radically change them, presented in a way that is fundamental and simple for them to understand.
These 2 examples provide a brief overview of how Disney Channel approaches sensitive cultural differences with messages that could be taken away by children. In the long run, these messages have in theory been useful in providing early lessons in tolerance and acceptance.
Conclusions
Whilst modern critics of the ‘woke mob’ make liberal and progressive approaches to identity seem new, Disney Channel provides us with clear examples of how these themes were handled 20 years ago. Promotions of tolerance, acceptance and kindness are not a result of the (so-called) culture war or 2010s but have instead been reacting to wider societal trends.
It is also fascinating to then ponder what is different now, compared to the original creation of these shows. Is it how the message is portrayed? Or does the current challenge say more about how our discourse has progressed?