Levithan and Merrell (2006) indicate everyone identified as gay, lesbian, transgender, bisexual, or queers (LGBTQIA) has a set of life experiences and single-story—eluding the classical character appropriated the LGBTQIA society. As the story of children’s and adolescent literature concerning LGBTQIA characters rises continually, most titles usually focus on a single end of the LGBTQIA rather than the enormous diversity (Morris, 2019). For instance, LGBTQIA text might predominantly represent white gays who are middle-class standards as opposed to individuals from other social classes, ethnicities, sexual orientations, races, or gender identities. Also, characters in LGBTQIA text are usually portly exaggerated gender or nonconformity characters than others (Corey-Boulet, 2019). Depictions of LGBTQIA people have mostly been presented in the films. However, due to varying levels of prejudice and censorship against the LGBTQ+ society, the representations have a complicated, frequently coded, and long history on the screens. For instance, gay characters are often used as laughs or not explicitly stated to be queer in most Hollywood films.
A film by the name “The Gay Brother” represents two men dancing together. The film shows a subversion of standard male behavior. Hollywood often represents gay men and lesbians as homophobic and cruel. Increasing intersectionalism is atop one of the top priorities to boost diversity (Baumgartner et al., 2021). If the film contains many females, there could be many questions like could the actors be LGBTQIA? Another way to create variety is to avoid inclusion. There has been a lot of LGBTQIA inclusion; most of it was white men. Diversity makes better and new chances. Diversity benefits both minorities and non-minorities. Variety also gives voice to the voiceless and creates attention to underrepresented society.