Part 2: They Totally Exist (but not officially)
So, what is the difference between something like this:
Intent. (oh, early 90s kids cartoons, how I miss you so.)
Cartoons intended for children often still have an adult or teen viewership. It is a cartoon staple to provide humor for both the young and older audience (especially cartoons that are already intended for slightly older children and moving away from the Junior-Learning style of say Dora the Explorer).
Western animation for children is, by default, a comedy genre. *wink* *wink* *nudge* *nudge* jokes to an adult sensability that will fly over the children's heads are common (and a part of the genre's history). Verbal innuendos, or casual crossdressing, are on a whole not taken as seriously by censors (compared to the unthinkable out gay character, or an offically transgendered character)
(cartoons have) ...always carried the potential for divisions of human/animal, naked/clothed, child/adult, and male/female, playing both and neither as the situation warrants. The characters’ fluidity allows not only for transgressive readings of gender roles, as Sam Abel (1995) argues, but implicit or explicit articulations of same-sex identity, behavior, and desire."
Because these transgressions are neatly hidden by humor, and a history of such humor, writers and studios can wave away questions of sexuality from an increasingly discerning audience.
When discussing the film Mädchen in Uniform, and the censoring of homosexuality during the Hays code, Russo says, “American society has willfully deleted the fact of homosexual behavior from its mind, laundering things as they come along, in order to maintain a more comfortable illusion. The censors removed it; the critics said, ‘well, look! It isn’t there;’ and anyone who saw it was labeled a pervert."
Children’s cartoons exist in similarly murky waters. Even if a character is intended to have a double reading there is always a safety net of plausible deniability.
But what happens when the punch line becomes a complex character? When does the line of innuendo crossover into a characters identity?
Part 3: Archetype of the Male Duo