Introduction

Serialized fiction has undergone major changes with the arrival on the global scene of new SVOD (subscription video-on-demand) services, such as Netflix, HBO and Disney+, mainly since 2015 (^{Cascajosa-Virino, 2018}). In this regard, a change of roles and a paradigm shift have been observed, with the consolidation of the fandom phenomenon (^{González-Neira & Quintas-Froufe, 2020}), the multiscreen television experience and viewer engagement through their comments on social networks (^{Rúas-Araújo & Quintas-Froufe, 2020}).

Spain has a considerable amount of its own production, with a progressive increase in the number of fictional series, and also in genres, formats and content (^{Lacalle & Sanchez-Ares, 2019}), especially on local distribution platforms with an international outlook, such as Movistar+, or directly on international distribution platforms with local offices, as is the case with Netflix.

Likewise, there has been an evident increase in the presence of LGBT+ characters at a time when these narratives are being more intensely addressed within the universe of serial fiction (^{González de Garay & Alfeo-Álvarez, 2017}; ^{Ventura, 2014}), as the audiovisual sector strives to assimilate the changes happening in society (^{Lacalle & Hidalgo-Marí, 2016}).

The research presented here is based on the assumption that audiovisual discourse and images carry enormous weight in the construction and formation of identities (^{Grossberg, 1996}). This also includes the representation of minorities that have traditionally been excluded in various fields (^{Hammack & Cohler, 2011}) and who are demanding integration in society under equal conditions, as is the case with the LGBT+ community. This takes on even greater importance given the peculiarities of SVOD platforms, which are transnational in nature and hence offer a means for cultural industries to export specific models of LGBT+ representation that thus become globalized (^{Amaya-Trujillo & Charlois-Allende, 2018}; ^{Hidalgo, 2020}). This is the case with fictional series like Elite (Netflix, 2018-), which was produced locally in Spain and went on to become one of the most-watched Netflix shows in the world (^{Carro, 2019}), and Veneno (2020), one of the most commented and applauded productions in the United States on HBO Max (^{Mullor, 2020}).

Hence, the goal of this research is to take a critical look at how the LGBT+ community is represented in contemporary Spanish serial fiction available on global distribution platforms since SVOD was established in 2015. This first involves a review of Spanish serial fiction with LGBT+ content, followed by critical discourse analysis of the pilot episodes of seven shows to understand the modern-day representation of this community and to obtain a transnational overview of such fictional series.

Historical evolution of spanish LGBT+ serial fiction

Studies of LGBT+ representation in Spanish serial fiction date it from the creation in 1956 of the first public Spanish television channel, TVE, under the Franco dictatorship. The goal during this historical period was to denigrate and conceal the LGBT+ community, for which purpose committees were even set up to oversee the prohibition on the representation of such people in the audiovisual realm (^{Mira, 2008}). There were two types of LGBT+ representation in this period: the characters and/or plots were either non-explicit and could only be understood through unspoken references, or they were explicit but based on recurring stereotypes. The outcome had to be of a moralistic nature, through the punishment, death or isolation of such characters, who were characterized in opposition to hegemonic heterosexuality (^{González de Garay & Alfeo-Álvarez, 2017, p. 64}).

During the period of the Spanish transition to democracy, LGBT+ characters in serial fiction continued to be presented in a concealed and stereotyped manner, as was the case with the series Curro Jiménez (TVE, 1976-1978), in which an episodic male character dressed up as a woman and harassed another man under the influence of drugs (^{Alfeo-Álvarez & González de Garay, 2012, pp. 2-3}). This moralistic intent would continue through to the eighties with the aim of depicting the supposedly negative consequences of sexual diversity (^{González de Garay & Alfeo-Álvarez, 2017, p. 65}). One such case was Pepe Carvalho (TVE, 1986), with its storyline involving a lesbian who trafficked drugs inside dead babies’ corpses (^{Alfeo-Álvarez & González de Garay, 2012, p. 4}).

The nineties brought about a turning point and plots started to revolve around the acceptance of sexual diversity by other characters (^{Alfeo-Álvarez & González de Garay, 2012, p. 5}). One example is Oscar from Médico de Familia (Telecinco, 1995-1999), whose narrative was far removed from the prevailing stereotypes until then, although his storylines continued to revolve around defense of his sexual orientation. It was in that same period when the first gay teenage couple appeared in Spanish fiction, Santi and Ruben from Al Salir de Clase (Telecinco, 1997-2002), who also challenged the traditional stereotypes, but still suffered as a result of their sexuality (^{Durán-Manso, 2015, p. 69}).

Moving into the 2000s, research observes a quantitative increase in the number of LGBT+ characters appearing in serialized fiction (^{Alfeo-Álvarez & González de Garay, 2012, p. 7}). An important case is that of Mauri and Fernando from Aquí no Hay Quien Viva (Antena 3, 2003-2006), one of the first homosexual couples to be shown living together in a prime-time TV show, albeit in yet another comedy context (^{Durán-Manso, 2015, p. 69}) and being characterized with traditional hetero-normative roles. However, in the 2000s there was an increase in more integrated portrayals where sexual orientation was just one aspect of the characters, without it being the central storyline, as was the case with Maca and Esther in Hospital Central (Telecinco, 2000-2012) (^{Alfeo-Álvarez & González de Garay, 2012, p. 7}).

Finally, in the 2010s, changes were observed in certain models. Since the 2000s, there has been an assimilation by LGBT+ couples of the traits of heterosexual couples in fiction, thus generating a homonormativity (^{Puar, 2007}) that the audience will find socially acceptable. ^{Francisco-Amat et al. (2016)} found that series like Tierra de Lobos (Telecinco, 2010-2014) maintained heteronormative myths by attributing the traditional male role to one and the female one to the other half of the couple formed by Isabel and Cristina. Authors like ^{Durán-Manso (2015, p. 68)} claim that, at present, certain portrayals that are integrated into the narrative in a naturalized manner coexist alongside others that are based on stereotypes that reproduce and maintain distorted views of this group.

Methodology

Based on the bibliographic review and the theoretical framework, the research hypothesis is that contemporary Spanish serial fiction continues to produce a distorted construction of LGBT+ characters and storylines.

To test this hypothesis, this study uses critical discourse analysis to examine whether the hegemonic discourse of contemporary Spanish fiction broadcast on international distribution platforms presents a distorted, positive or neutral portrayal of the LGBT+ community. The 2015-2020 period is chosen because this was when new subscription platforms like Netflix arrived on the scene and because, due to it being such a recent phenomenon, research on this type of serialized fiction is an area that has yet to be explored.

To do so, series with storylines and/or characters related to the LGBT+ community were taken into consideration when they met the following criteria:

The sample was ultimately made up of the following shows:

The critical discourse analysis (CDA) technique is both a theory and a method (^{Fairclough, 2003, p. 179}). It is a type of research that identifies the abuse of social power, domination and inequality (^{van Dijk, 1999}) through the relationship between discourse and symbolic power, in this case, that exercised by multinationals through SVOD platforms, due to their preferential access to public discourse and symbolic resources. Specifically, this research has employed critical analysis of multimodal discourse (^{Flowerdew & Richardson, 2017}) since, due its very nature, serialized fiction is not framed in a pure textual analysis. Multimodal discourse analysis takes into account elements such as images, tone of speech, music, colors, looks and silences (^{Kress, 2003}). It is also a mainly qualitative form of critical discourse analysis with quantitative elements.

Doing this involved analysis on two levels:

Macro level results

More than half (57%) of the seven pilot episodes studied feature a macro discourse in which sexual orientation or LGBT+ identity is presented in a conflictive manner. This is the case with Malaka, Veneno and Locked Up (Vis a Vis), where sexual diversity is associated with marginal environments, prostitution and violence (Cristina “La Veneno”), drug trafficking and dealing (“La Tota” in Malaka, and Omar in Elite) or murders and extortion (Saray in Locked Up). In Elite, sexual orientation is a problem for the characters themselves, who keep it hidden and secret. Moreover, these characters are emotionally unstable and feature numerous stereotypes, as confirmed by the micro level results.

In the remaining 29%, the macro discourse is ambiguous, meaning that elements that naturalize LGBT+ orientation are introduced together with others associated to conflict, and it is unclear which of the two is the prominent form. This is the case with Unauthorized Living (Vivir sin Permiso), where Alejandro’s character is presented in a naturalized manner and his narrative is built around positive traits and actions, as opposed to Carlos, a drug addict represented by such negative traits as jealousy. Finally, with 14%, there is the naturalized discourse of The Ministry of Time (El Ministerio del Tiempo), where Irene is portrayed through such positive traits as bravery and impetuousness, and she fits naturally into the other characters’ storylines.

Micro level results

Discussion and conclusions

Spanish serial fiction with the presence of LGBT+ storylines has undergone various changes since its appearance, going from initial invisibility and stigmatization on traditional television, in which the characters had to be presented as the opposite of what is morally acceptable in society (^{Mira, 2008}), to a quantitative increase in these characters accentuated by the appearance of subscription video on-demand platforms (^{Marcos-Ramos & González-de-Garay, 2021}).

However, and considering the limitations of only analyzing the pilot episodes of fiction series, the application of CDA and the analysis of discourse on a macro and micro level has made it possible to infer, on the one hand, that these examined episodes from SVOD platforms from 2015 to 2020 mostly contain discourse in which the LGBT+ orientation or identity is constructed in an ambiguous or negative way, and is associated with marginal elements (prison settings, prostitution, etc.).

On the other hand, it is inferred that the themes continue to be linked mainly to conflicts associated to the characters’ sexuality and criminal actions (drug dealing and use, extortion, etc.). Hence, negative patterns continue to appear in these pilot episodes, just like back in the early decades of Spanish LGBT+ portrayals (^{González de Garay & Alfeo-Álvarez, 2017}). The studied LGBT+ characters recurrently perform negative or directly inconsequential or comic actions, while there are very few cases where they are shown in a positive light.

Likewise, a large percentage of these characters still hide their sexual orientation or identity, or it is somehow restricted, as was also the case with the earliest such representations in Spanish TV series (^{Alfeo-Álvarez & González de Garay, 2012}), thus promoting a discursive focus in which the privileged point of view is the heterosexual one, as opposed to a diversity of sexual orientations. This implies the presence of major conceptual polarization in most series, in which positive actions are associated with cisheterosexual characters and negative ones with other groups such as LGBT+, immigrants and people of low social class. Hence, the initial hypothesis is confirmed.

On the other hand, although they have decreased in number, traditional and recurring stereotypes are still employed, such as the LGBT+ character who is effeminate, evil or tormented by their condition, which coincides with other similar research, such as that by ^{McLaughlin and Rodriguez (2017)}. There has also been an increase in other more recent stereotypes, such as the homonormative LGBT+ character, as also found in other Spanish fiction of the last decade (^{Francisco-Amat et al., 2016}). There is evidence of a tendency towards the portrayal of more positive qualities associated with homonormative characters, such as Alejandro in Unauthorized Living (Netflix), as opposed to a negative representation in all of the analyzed cases of ethocultures other than Caucasian, such as “La Tota”, the gypsy from Malaka (RTVE Play). This is a main theoretical contribution of this research.

A greater presence and diversity of LGBT+ characters is observed than in the past, due to the inclusion of other ethnocultures -Arab in Elite (Netflix) or gypsy and African in Locked Up (Netflix)- and identities -such as trans in Veneno (HBO Max)-, which has led to a positive increase in the visibility of these diverse sexual orientations and identities on these subscription platforms.

However, this increase is revealed to be inefficient, since a poor symbolic construction based on stereotypes reinforces not only the distorted social image of this minority, but also the identity of the community itself, as research on identification with LGBT+ characters and its effects has shown (^{Madžarević & Soto-Sanfiel, 2018}). This is even more important when considering that the cultural industries have such huge potential for socialization, as well as the capacity for transnationalization that SVOD has endowed upon such series as Elite, which were produced in Spain by platforms like Netflix but have gone on to enjoy success in other countries like the United States, thereby fostering what has become a globalized but distorted vision of the LGBT+ community.