Voltron Partners Not Responsible for Failures in Gay Inclusion; Sources Dispute Claim From DreamWorks Staff

DreamWorks, Joaquim Dos Santos, and Lauren Montgomery, after claiming to make content “as inclusive as possible,” failed to follow basic best practices on handling diverse characters respectfully, ignored clear warnings that their depictions were harmful, and attempted to blame external partners to hide their studio’s mistakes.

“Each and every one of [the staff of the show] has been a champion of inclusivity and acceptance…”
—Joaquim Dos Santos, Voltron Executive Producer

With a 5% audience score for the last season on Rotten Tomatoes and countless messages on social media from upset fans, no one can deny that DreamWorks’ Voltron failed its audience. The animated show about giant robots, which was directly marketed to LGBT individuals with rainbows on its Netflix title cards and a cast and crew that spoke constantly about the value of diversity, delivered a marginalizing ending that left queer fans hurt, angered, and confused. Since then, many people have been asking, “What happened?” How did a show with so much promise fail so spectacularly?

Despite claiming the show’s staff were “champions of inclusivity and acceptance,” and having multiple resources within the studio to tell an inclusive story, showrunners Joaquim Dos Santos and Lauren Montgomery failed to follow even the most basic best practices for depicting minorities during their tenure at DreamWorks. At the same time, the studio ignored warnings from LGBT individuals that Voltron’s story, one that the Dos Santos would later declare was “an animated olive branch” to the queer community, would have a profoundly negative impact on real people in the queer community.

After seeing the negative reactions, the showrunners attempted to shift blame onto the intellectual property holder, World Events Productions (WEP), by claiming they were hamstrung in telling diverse stories by the show’s status as a licensed property. However, GeekDad has confirmed that the showrunners’ claim that the license holder put up roadblocks to depicting queer characters is utterly false. Voltron’s diversity problems are the fault of DreamWorks management and the showrunners themselves.  

So what happened?

Gay fans have spoken on how the ending of Voltron sent a clear hurtful message: you could be gay, or be a hero, but not both. As we discussed in our previous article, Shiro (the sole gay hero) was, before the final season, a complete character, one defined by more than just their queerness. Shiro is significant not in that’s he’s just gay, but that he’s a hero. He’s a main character in an action show. He’s respected and admired by his peers. He faces significant adversity throughout the show (as queer people often do), but he survives and triumphs over it. That narrative of overcoming obstacles, of earning respect and becoming a leader, a hero, is so important—before the final season, we have a glimpse of what it looks like to see a queer man succeeding.  

In the last season, after being revealed as gay, Shiro’s friendships, dreams, and career are all sidelined. His role in the story, despite being a leading character for the previous seasons, is greatly diminished. His friends barely interact with him. Though we see him find fulfillment in his job as leader for eight seasons, we’re told (though not shown) he “finally finds happiness,” by abruptly retiring in his late twenties, abandoning the admiralship we saw made him happy, and marrying a guy he’s never spoken with in a five-second epilogue.

The loss of the sole gay male hero in western animation was a devastating blow for queer fans. After waiting decades to see themselves represented by a hero who was more than just a gay person, queer fans saw their hero tokenized and taken from them in the final seconds of the show. Further, the gay wedding to a random character, after the showrunners had repeatedly claimed that any relationship would be developed over several seasons, dripped with insincerity. While straight relationships were, as promised, developed over time, the showrunners haphazardly threw a gay one in at the last minute for points, as though they were far more interested in getting the credit for a gay wedding than actually writing respectful (but potentially less flashy) stories about queer people.

But how was this allowed? DreamWorks had diversity consultants that existed to prevent this kind of hurtful depiction, and the studio acknowledged they had multiple gay writers on staff for other shows, any of whom could have easily been called in to consult.

The answer, unfortunately, appears to be simple arrogance. DreamWorks does not mandate that showrunners use the resources available to them, nor provides oversight at the studio level to ensure diverse content is handled respectfully (something they acknowledged in our interview with She-Ra executive producer Noelle Stevenson).

The showrunners did not seek review on the first animated gay male wedding from a single gay person. A source familiar with the events confirmed to GeekDad that the two straight showrunners wrote the the ending without involving the people they claimed to represent, or their own diversity consultant, in the process. Ultimately, when Dos Santos and Montgomery set off to depict the first gay male wedding in western animation, they chased their own ephemeral idea of “what’s good for gay people,” instead of actually speaking to gay people.

“We are honored to have been embraced so tightly by the fandom, more specifically the LGBTQ segment of the fandom.”
Joaquim Dos Santos, Voltron Executive Producer

While there were gay writers on other shows at DreamWorks, the source confirmed they weren’t consulted. Additionally, GeekDad would like to stress that simply having queer staff within the company doesn’t lessen the problem of showrunners failing to use readily-available resources. Expecting non-show staff to step up and offer feedback for issues in representation, especially when it’s outside their core role, means asking them to give unsolicited criticism on behalf of their entire group (and create more work for the studio, potentially harming their career for failing to be a team player). The entire purpose of having dedicated diversity consultants is to avoid asking any individual at a company to speak on behalf of their group at risk to their career.

Leaked image of Voltron’s Ending, from translation firm BTI Studios

Despite their failure to do basic review, DreamWorks was given a clear opportunity to correct their mistake. In late October, several days after the showrunners reported they had completed work on Voltron, but still months before the final season would air, screenshots of the ending leaked from BTI Studios, one of the localization firms DreamWorks hired to translate the final season. The leaks, shown above, depicted Shiro marrying a parody character resembling Roy Falkner from Macross (another animated show about giant robots, and one the showrunners are known fans of).

Fan reaction was swift and intensely critical, and fans reached out to DreamWorks, as well as Montgomery and Dos Santos, to discuss how destructive this ending would be. While at this point the studio’s options would have been limited given the show was technically complete, they could have trivially cut the hurtful epilogue, or they could have modified the text underneath the still of the wedding to prevent the gay hero from retiring, potentially softening the blow.

However, DreamWorks remained confident in their vision of gay representation, and despite the feedback from the leaks that the epilogue, that a sudden sloppy wedding, that the retirement of the sole queer hero, would be injurious to the queer community, the studio and its staff again prioritized their own idea of “what’s good for gays” over the opinions of the real gay fans who reached out to them.

The show’s final season aired on December 15, 2018. Unsurprisingly, queer fans hated it—the show, which had been explicitly marketed to LGBT consumers, quickly saw its approval rating tumble into single digits on Rotten Tomatoes. Many queer fans expressed confusion and hurt on Twitter. One fan would later recount to me, “The ending of Voltron, specifically season 8’s ending, left me feeling empty. There was an intrinsic thought that enveloped me, reminding me that no matter what, people like me don’t get their stories to be told.” This sentiment of hurt and exclusion, that Voltron wasn’t for everyone, was echoed again and again on social media.

Dos Santos and Montgomery were silent, and would not give an interview for the next three months. DreamWorks refused interview requests, and did not release a comment, but instead released a small clip on Twitter entitled “our heroes” that showed every major character except Shiro, they gay one they stripped of his hero status. Afterwards, they posted the entire epilogue to their social media in a tactless attempt to advertise the gay wedding, further antagonizing queer fans.

In stark contrast, fans on Twitter reported that Bob Koplar, the president of World Events Productions and Voltron’s IP owner, was reaching out to individual fans, returning calls to his office to personally apologize to people that were upset or felt lesser at the end of Voltron.

Many fans steadfastly refused to believe the wedding was the product of Dos Santos and Montgomery, who had made repeated prior statements that romances would be developed over time, and that the Shiro’s queerness would not become his only defining trait. More than thirty thousand fans signed a Change.org petition asking for DreamWorks to release the ending that the showrunners wanted, believing the released epilogue must have been a result of DreamWorks changing the planned ending by the showrunners.

It hurts so much to have gay marriage weaponized against us this way. It hurts so much to see straight fans tell us to shut up and be grateful for the wedding when it was done for the wrong reasons, all because they don’t understand why it hurts and don’t care enough to listen.
—C. Smith, queer critic on Twitter.

When they finally emerged months later, Dos Santos and Montgomery explained on AfterBuzz TV (a YouTube talk show) and on Let’s Voltron (the official Voltron podcast) that they had wanted to tell a more inclusive story, one that involved Shiro potentially reconnecting with his former boyfriend Adam. The showrunners claimed that, because they “didn’t have the position of being the creators of the IP” and because Voltron wasn’t “creator-owned,” (claims they made on AfterBuzz and Let’s Voltron respectively), they were unable to add in the fact that Shiro was gay until very late in production, after they already planned to kill off Shiro’s ex, Adam.

Confusingly, they also stated in multiple interviews they were given complete freedom to craft the epilogue as they saw fit. By their own admission, nothing was impeding them from writing a respectful conclusion in the epilogue, only that they could not pair Shiro with his (now dead) ex.

Dos Santos also made the misleading claim on AfterBuzz that they only had a day to make decisions about the epilogue. While the initial concept for what to depict in the epilogue may have been determined rapidly, production would not complete for at least six to eight weeks (as we know from the timestamps on the leaked animation and their own tweets about the show’s status). During this time a review could have been conducted in parallel, and they could have course-corrected by making changes to the animation storyboards, altering the text, or cutting the epilogue entirely.

The showrunners’ repeated claim that not owning Voltron is what caused issues with queer representation seemed to implicate WEP, Voltron’s IP holder. This is especially true when the claims are paired with a comment from Ty Labine, one of the voice actors on the show, who claimed that “keepers of the lore” had “kept the gates shut” regarding representation.

GeekDad’s source close to DreamWorks and WEP refuted this, and was able to confirm the IP holder was not responsible for blocking the introduction of queer characters.

Further muddying the waters, Dos Santos frequently contradicted himself in interviews. On the same episode of AfterBuzz where he claimed the issue of external ownership was part of the problem, he later stated, “To DreamWorks’ credit, the tide started changing internally… [they were] open to exploring this relationship between Adam and Shiro,” implicating DreamWorks as the party blocking queer characters.

Dos Santos also contradicted himself on Let’s Voltron. He stated that as She-Ra, helmed by the queer Noelle Stevenson, was in development at DreamWorks, attitudes within the studio began to shift, opening the door for them to have a gay hero. However, She-Ra was several months from release when Dos Santos and Montgomery got the green light from DreamWorks to say that Shiro was gay. The statement that a series in production changed minds at DreamWorks, and, by changing minds at DreamWorks, opened the door to representation seems to further confirm that forces within DreamWorks, not external partners, were blocking the introduction of queer characters. The issues in introducing a queer character were caused by DreamWorks, not external parties.

Though it is difficult to pin down exact statements since their answers constantly change (mid-interview in some cases), we can say that Dos Santos and Montgomery, as well as some voice actors, attempted to shift part of the blame onto the IP holder. In reality, the issues have always been with DreamWorks’ studio management, or with the showrunners themselves.

Unfortunately, Dos Santos and Montgomery still do not appear to understand the extent of the injury they caused. In their interview with AfterBuzz, when asked directly about Shiro’s abrupt retirement, they simply responded, “We saw it as ‘dude had been through a lot’,” but didn’t acknowledge the criticism from so many queer fans. Nor, when discussing the epilogue, did they acknowledge that they didn’t speak to a single gay person about the epilogue. Nor did they pledge to do better by involving more diverse voices in their creative process in the future. They even claimed to the AfterBuzz interviewers “we did the right thing,” despite the overwhelming evidence they did not.

As media consumers, if we’re going to claim a show is actually groundbreaking, the staff should do more than simply tell us they care about diversity. Regardless of intent, the fact that Dos Santos and Montgomery failed to follow even the most basic steps to ensure that the first gay male wedding in western animation was actually positive for gay men, and the fact that they, and their studio, ignored clear warnings, demonstrates an utterly broken content review process at DreamWorks, and a system in which executive producers and show staff are permitted to skirt responsibility for their failures by shifting blame onto external parties.

DreamWorks and representatives for Dos Santos did not respond to our request for comment. We were unable to reach representatives for Montgomery. Additionally, in retaliation for this article, author Sean Z’s interview with DreamWorks’ Executive Producer Brenden Hay was delayed indefinitely.

Sean Z would like to thank GeekDad Editor-at-Large Ken Denmead and core contributor Jules Sherred for their support on this piece, as well as the sources who shared this information with us.

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This post was last modified on May 4, 2019 10:50 am

Sean Z: @https://twitter.com/Sean_Z_Writes Sean Z writes about fandom, media, and queerness for GeekDad. When he’s not researching fandom, he enjoys listening to video game music, playing boardgames, and writing code.

View Comments (73)

  • Hey man, maybe don't act like you speak for the whole gay community on this. Personally, my queer ass was overjoyed that we're living in a time when we got not one but two onscreen gay weddings in kids' shows. It is so much more than I ever would have expected growing up watching cartoons where the only reference to gay people were shitty homophobic jokes aimed at amusing parents.

    Like, it's fine if you have issues with the storyline! *I* had issues with the storyline! There are legitimate criticisms to be made! But saying this was "devastating" to LGBT people as a whole? That it hurts gay representation? Citation needed, my friend. You can't assume that people yelling on Twitter are the most reprentative members of the community. Some of us were busy watching it with our kids and getting verklempt about progress.

    And it IS progress. This is how progress happens! You don't go from "we can barely acknowledge the character is gay on screen" to "fully developed romance" in one go, dude. We are working past *years* where the idea of having actual gay characters on kids shows was just... impossible. I mean, maybe you're young and don't remember the fuss people made about the purple tellytubby being gay because he carried a handbag, and this was obviously an attempt to corrupt your children and make them gay. But that was the attitude! Any connection between gay people and children's media was seen as us trying to push the Gay Agenda on the children. The best we ever got were characters that never had romances, and so were allowed to be ambiguous.

    Again, not saying you can't criticize the story. But you have to take in the context of literal *decades* where the very idea was completely out of the question. We are fighting against a long, long, history here.

    • Don’t take scraps and praise it for the sake of representation. Have standards and stick to them or else media would think all they need to do is the bare minimum. If you think this is a step forward. You’re part of the reason why last minute forced lgbt happens. That’s not progress and people need to have higher standards if they ever want to move forward and actually progress

  • Ok when the hell was Netflix or dream works promotion targeted the LGBT like what it was the LGBT that attached themselves too it because now people can't just be a team they all have to be in a relationship with each other it is a show about a giant robot that needed team work and bonding to form otherwise it wouldn't work it was never supposed to be about LGBT relationships it was supposed to be a team saving the universe with a giant robot

  • While a great read (forgot to mention how Shiro is easily the kost tortured character in the series, to a point that reaches torture porn. wow, they gay man is exploited for gay torture and pain porn, how progressive! /s), the constant use of the q slur made me skim through a lot of it because it started making me uncomfortable.

    • Do you also take this argument to universities that have Queer Studies departments?

      Practically every word the LGBTQ+ community has has been used as a slur. "Homosexual" was originally a medical diagnosis. About ten years ago there was a *huge* social media campaign to get people to stop saying "gay" when they meant "bad." And yet when it comes to the word "queer" we're just supposed to roll over and let the homophobes have it? What? That makes no sense.

  • Loved shiro, hated season 8. I think they let us all down as fans with that season, and the low audiene score attests to that. I am not gay so shiro being gay wasn't important to me personally, but I loved him, and tgat ending, in fact all he did in season 8,just did not sit right with me at all. I feel for anyone deeply invested in his arc.

    • I disliked Shiro's epilogue, but I enjoyed season 8. What was it about season 8 that fell short for you?

  • Legit, what?

    I do not understand just WHAT this article ACTUALLY IS talking about. Have they even SEEN the whole Voltron series?!

    Shiro in the beginning was the main character we were trying to get info upon. We knew nothing about him, how his arm came into play, and just why Keith had a bond with that man. We got to find out later on that he is apparently a 'clone' of millions within the series.
    Shiro went through some extremely, huge hardships, and piloted the Black Lion, THE MAIN LION, twice!! First time, because he had a natural instinct only then to disappear, second time because Keith forced Shiro into becoming the leader again.

    We finally got the info we needed on Shiro after he returned to the paladins, and the "retiring around his 20's" thing, boy. Legit a HUGE shake my head. He was twenty when he went into space, returning to earth he missed a year or so, now if we add that he is well, maybe in the 20-24 age group. Continue on about traveling the WHOLE UNIVERSE and so on, before he vanished. We can assume for earth years, he might as well be considered in the age range of 24-30's. NOW, when Shiro dissapeared, he was within the Black Lion soul wise. Before I continue, remember, SHIRO WAS CLONED AT AN EARLY AGE OF 20. After they found Shiro, maybe add 2ish more earth years or less, around 30-32? Take that whole season of finding Shiro's soul in the Black Lion, adding to his age now, he would be well over his 60's with how much grey hair he has. Legit, there was logic in the ENTIRE Voltron series. Not many people pay attention to that detail.

    NOW, explain to me HOW this man is seen as a hero and gay, but can't be both?! This man saved the universe with every other paladin around him. He risked his own life to try and save those around him, HE EVEN GAVE UP HIS LIFE ONCE TO SAVE PEOPLE. How does this mean he isn't a hero?!

    We got to know and understand Shiro as the season of Voltron was coming to an end, we finally understood him and now focused upon new targets of the series. Legit, they focused on even background characters as well. WHAT OTHER PLATFORM FOCUSES ON THAT?!

    Do the research, and watch the series. Then collect the data and post.

    • Bro. You really said all of this? I'm embarrassed for you, fam.

      Looks like we found the internalized homophobe!

    • I am physically CRINGING at your response to this article, honestly. Here's some stuff you got wrong.

      Shiro is at most in his mid-to-late twenties. In season 1, he's 25. In season six, he's 26. There is no way he is in his thirties unless more mumbo-jumbo time-skip shit were to happen. He's not 60 because of the grey hair. His hair is grey because of QUINTESSENCE EXPOSURE. How do you think he got the white forelock??

      And in regards to "he can't be seen as both a hero and a gay man", that's responding to the logic that is used in sidelining his relationships with all of the paladins, and turning him into a cardboard cut-out of a captain, while tokenising him as the gay rep. Also, Keith didn't force Shiro into being the leader again???

      "Do the research, and watch the series. Then collect the data and post."
      That's incredibly ironic considering it looks like you didn't do at least 2 of those things.

    • there's literally a bunch of things I want to refute, but you insinuating that shiro already hit the sixties totally caught me off guard. lmao and now i forget what i want to say

  • I'm surprisingly not surprised. However, I'm going to say this but it breaks my heart to. I don't think the originally intended Shiro to be gay. I think they lied. I think they made him gain the last minute to score cool points and for PR stunts. The showrunners just wanted to make a character that they thought was going to be expendable and left on the Wayside by season 2, as they're token gay guy. That way, it'd be an easy out for them in writing a character and seemingly be edgy. They didn't want to make any other character gay, not even Pidge, even though that could have clearly have been a good representative too, because she was a Mainstay of the story and I think that Laura Montgomery didn't want to have her favorite character to be gay. It hurts to say this but the way they wrote that story, really gives a strong hint of that. You could see who their favorite was and you could see who they were throwing away on the Wayside once they were done with him. It breaks my heart they did this. I admired them so much. They still make me cry

  • Nobody abruptly retired. He "left the battle behind" because they WON THE WAR, what battles do you want him fighting? What is this common expectation from Shiro fans that he just be battling constantly and never get a moment's peace to do exploration or research, the things we also see him genuinely interested in when it comes to space? Is he supposed to go...pick fights? I guess? Since the war's over? Just start a new one?

    • The problem is the context itself. His epilogue card say that he 'left the battle behind', but it's been YEARS since the actual war, so what battle is he fighting in? Afterbuzz interview has also confirmed that the epilogue happen years after the final battle--they literally said it as a response for Shiro's epilogue question. Which means that in these gap that they aren't showing, Shiro is still 'doing something'. Presumably continue being the Admiral of Atlas and helping the universe to recover from the battle. You know, helping people, exploring space, all that jazz--the thing he literally do before he got caught up in an intergalactic war.

      Which means that in THIS context, 'left the battle' is an indirect way of saying that he stopped doing all that. Because see, the word 'battle' doesn't always equal to 'war'. And the whole sentence: 'Shiro found his happiness and left the battle behind'--insinuates that he just retired to be, what, a househusband? I can't express just how wrong that sound to me. Shiro, the dude who literally left his FIANCE behind to go to the moon, finally find his 'true happiness' by dating a guy and marrying him. In his presumably late twenties or maybe early thirties. An age where you're usually referred to as being ADULT, a group of age where people usually just start getting comfortable with this stage of life. Not.... the typical age where people usually planned a retirement.

      Maybe it's just a matter of individual impression of the epilogue, but the way they worded it completely disregard Shiro's core character throughout the series, and I think that's what really upset people.

    • The think is the war was over for everyone, but Shiro was the only one that “left the battle behind”

      So how is that everyone is left with new beginnings, except Shiro that gets an end?

      • I don't know, could it be because his arc was largely about the aftermath of being abducted, tortured, and had part of his body turned into a literal weapon, and when a character arc is about being a tool of war "doesn't have to fight anymore" is a pretty common end goal?

        And he got a new beginning. That's what weddings are, in fiction, extremely obvious symbolism for something new beginning. The only more obvious choice would have been him holding a baby in his epilogue card.

        • The war was over. It made no sense to point this out in Shiro’s epilogue when we seen that the battle was over and won and there was nothin else for them to be fighting. Why didn’t anybody else leave the battle behind? Why was Shiro the only one who left the battle behind? Is there still a battle going on, and are the other Paladins fighting it?

          And by you’re logic of new beginnings, shouldn’t everyone have gotten married. Or is everyone still stuck in a battle

    • the problem with the line is that he literally starts the show as a pilot for the Galaxy Garrison. his literal job, since the start of the show, is to explore space and protect Earth. he never, at any point, says that he wants to do anything else.

      then, at the ripe, ancient age of 27, after becoming Earth's highest ranking officer and literally mind-melding with Atlas, he just... quits.

      and then dies. because in-show, he's never cured of his terminal disease. so no, your hollow attempts at defending JDS/LM are worthless.

      • If you read "leave the battle behind" as "quit his job" that's your problem, my dude. If you think the only way he can be useful, or active, or anything but I guess dead, is to be in battle, that's entirely on you.

  • I appreciate this article, and especially bringing up the non stop contradictions by the executive staff, but I'm confused why you completely left out Zethrid and Ezor for rep inclusion?

    • Sure says a lot that in spite of them being the one actual undeniable example of the showrunners sweeping the more unsightly parts of their narrative under the rug as well as being directly responsible for what originally would've been incredibly hurtful and poorly handled wlw rep they still weren't considered worth including for once, doesn't it :) But then again they never are, so why start now?

  • Thank you for such a respectful and fact-filled report. The condemnation of those involved in failing the community is appreciated, but the fact that it's not hateful and embittered (as I certainly am) is refreshing, haha. I am deeply hurt by the fact that two straight people used us for points but didnt even think to use us as a resource. It's like we're trinkets. It's heartbreaking. But to know for sure is a bit of a balm. Once again I am disappointed but not surprised, but this is a wonderful article. Thank you for the time and work that went into it.

  • Voltron was incredible. I had mad respect for Shiro at the end of the series.

    This was ... A cartoon about a giant robot from outer space. Why can't we just appreciate it for the amazing piece of imagination it was?

    • Because queer people are vastly under represented, so when they show up, it *REALLY* matters how they are treated.

    • So the remake of a remake is an "amazing piece of imagination"?

      Your expectations are so low that it's no wonder you think it was incredible

      • It's 2019, everything has to be read into and agendas seen where they're not needed or welcome. Entertainment for entertainment's sake is dead, gotta fill those quotas and get woke...sigh.

        • Very rarely is there entertainment for entertainment's sake. That presupposes that everything was created in a vacuum, neither commenting on anything nor influenced in creation by anything. There's always an agenda. The thing is, whenever someone points out negatively that there is an agenda, it really means, "not my agenda."

          • Sounds like you've already made up your mind or don't want any back and forth. (Comments on blog articles aren't the best for responses, especially since the updates can't be provided for specific comment threads, but I try.)

            "Well written stories can get a person to think and see the world in a different way without telling them what to think."

            You're right. Well written stories can make a statement without being explicit. The interracial kiss you mentioned was definitely an agenda item, and it was presented in a manner that was more implicit than explicit. So great example, and I agree.

            "however pushing your group over others is certainly agendist"

            The supposed absence of an agenda is "agendist" as well. A purposeful lack of transgression, I suppose we could call it, is itself an agenda supportive of the status quo. It implies that things are fine.

            Of course, it's curious to say that bringing to light one group over other groups is agendist. That means in order to not be agendist all groups and all issues need to be tackled at once, which is an impossible task that cannot be accomplished. No one reasonably asks for that. It's a suggestion that leads to flattening it all out to...not attempting anything. Again, we end up with the status quo. According to the groups who believe that there needs to be greater representation and issues need to be tackled, that is viewed as something that really only looks at one group. The group that benefits most from the status quo.

            "Also, I don’t have an agenda other than ‘entertain me’ so that observation’s moot."

            A more on-topic question: How did Voltron do in terms of entertaining you? You haven't said anything about the series, so I'd love to hear your thoughts.

          • Sigh.

            There's telling an engaging story and then there's simply pushing an ideology. Well written stories can get a person to think and see the world in a different way without telling them what to think. ST's interracial kiss is a great example of this. But this thinking that everything needs a quota for 'my group' is just asinine. Each time someone pushes for it they're forgetting all the other groups who aren't represented in some way and are okay with that. Yes, 'but this is tackling one group now...' I get it, however pushing your group over others is certainly agendist. Also, I don't have an agenda other than 'entertain me' so that observation's moot. And I love that someone else invoked the bugbear of the SWM already. Kinda reinforces my point of agendas. Oh well, I'm out. I forget it's the internet and trying to have a conversation is next to impossible. And, no, not just because you think it's not 'what I want to hear.'

        • Dude that never existed. Ever. Entertainment for entertainment's sake has either been a vehicle for selling some product or telling everyone what status quo was for someone else's benefit.

          • To think that Star Trek had the first interracial kiss on American television 1968 and people are acting like fiction pushing for representation is a novelty

        • Forgot we're supposed to only have white, straight, male media for entertainment. How dare, etc.

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