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I am Made of Love and It’s Stronger Than You: Steven Universe and Models of Queer Resistance in Science-Fiction

Chapter 1. Science-Fiction and Resistance in Queer Subjectivity

“In other words, queer resistances emerge when the mechanisms of heteronormativity are exposed, when the concepts of gender and sexuality are being rearticulated in ways that defy the exclusion of subjects whose identities, desires, and practices are considered contradictory and unintelligible, and when ‘the presumption of heterosexuality’ no longer holds.” (Dhaenens, Articulations of Queer Resistance 4).

In order to articulate how Steven Universe makes use of Science-fiction conventions to explore models of queer resistance, it is first necessary to examine how queerness is woven into the fabric of its setting. Although Gems as a species are distinctly queer, their society serves as a metaphor for the various ways the centre seeks to regulate categories of identity and desire. This section will not only demonstrate how the show utilises its speculative elements to express different modes of queerness, but also argue that herein lies a possibility for resistance. In the world of Steven Universe, queerness is not merely a vector for non-normative forms of desire and expression but also a powerful tool to dismantle systems of oppression. Refusing to assimilate to the hegemonic discourse means exposing the artificial processes with which these are constructed and denaturalising them in the process. These forms of denaturalisation function simultaneously as a legitimising force for queer subjectivities. It will, furthermore become clearer, how Steven Universe sees queerness in itself as a force of positivity.

1.1. Gender and Performativity

One of the most notable aspects of the show is the fact that all members of its alien race, the Gems, are presenting as female. Due to his hybrid nature, Steven is the only alien character to exhibit a male gender identity. This immediately separates Steven Universe from the values of hegemonic society which usually sees the masculine as representative of universality: “[…] the female body is marked within masculine discourse, whereby the masculine body, in its conception with the universe, remains unmarked.” (Butler, Gender Trouble 17). The show subverts the expectation of maleness being an unquestioned neutral, by never fully explaining why the gems refer to themselves using female pronouns and to what extent they actually identify with womanhood. Instead, Steven Universe asks the viewer to accept this premise and, in the process, turn the feminine into the new “unmarked” position.

While the idea of single gender alien societies is not new, it is indicative of science-fiction’s power of questioning “heteronormative implications of progress” by “reimagining […] gender, sexuality, and identity.” (Thibodeau 263). In other words, while the Gems are repeatedly shown to be a highly advanced species, their singular gender separates them from the concept of heterosexuality. In fact, the heterosexual matrix cannot operate in Gem society, as it relies on both the existence of a rigid gender binary and the stability of the two genders it represents (cp. Butler, Gender Trouble 184).

Steven Universe’s Gem race adhere to neither standard. Thomas adds that the Gems themselves have no biological sex or gender identity, in a way that humans might understand, therefore inviting queer analysis (cp. Thomas 4). Seeing as Gems are “outside of human conceptualisations of sex and gender” (cp. Férnandez 64), it only follows that their means of reproduction must also differentiate itself from human ideas about birth and sexual intercourse. In its place, the show offers an alternative model that shows Gems as artificially grown in gigantic plantations referred to as “kindergardens” (“On the Run”). The inorganic nature of Gem production completely subverts the heterosexual narrative around the importance of birth and family making. Such an analysis harkens back to Lee Edelman’s polemic No Future: Queer Theory and The Death Drive. Here, Edelman famously argues that the centring of the Child as the symbol for heterosexual reproduction stands in direct opposition to queerness. The Child is used to always deflect political action onto the future, stalling meaningful change (cp. Edelman 3). For Gems, neither children nor heterosexual reproduction are of any concern. The show establishes that they “burst out of the earth’s crust already knowing what they’re supposed to be” (“Greg the Babysitter” 06:50— 06:59). By utilising the genre of science-fiction, Steven Universe thus suggests to the audience that a separation of creating life and heterosexuality is possible, which broadens the perspectives about queer possibilities.

The possibilities configured in the show’s alien species also expand to the realms of more profound matters of queer identity. The episode “Steven the Sword Fighter” reveals that Gem bodies are not material. A Gem’s consciousness is merely stored within her gem which in turn projects the body to the outside world. Therefore, a Gem’s appearance is merely “a conscious manifestation of light” (“Last One Out Of Beach City” 09:46—09:50). This feature of alien biology relates to Judith Butler’s theory on the performativity of gender. According to her work Gender Trouble: Feminism and the Subversion of Identity, gender is not essential nor innate, but produced through repeated performative acts. These behaviours are regulated by cultural norms which then are projected onto the body: “[…] [A]cts, gestures, and desire produce the effect of an internal core or substance, but produce this on the surface of the body, through play of signifying absences that suggest, but not reveal, the organizing principle of identity as a cause. Such acts, gestures, enactments, generally construed, are to express fabrications manufactured and sustained through corporeal signs and other discursive means.” (Butler, Gender Trouble 188). True to this notion, the Gems reflect their identity onto their bodies, proving that, at least for them “gender is always a doing” (Butler, Gender Trouble 34). Steven Universe successfully shows by means of alien biology how femininity is a performance that can be presented by anyone or anything (cp. Thomas 6). This is a notion that is conform with queer theory’s aim of rendering essentialist notions of identity obsolete (cp. Hall 93) and contributes to the larger goal of achieving queer liberation.

The ways the different characters make use of their abilities to play with gender are manifold and reflective of their progression as characters. Valentín rightfully states that one of the more interesting aspects of the show is the unique ways in which all characters straddle the lines between masculinity and femininity (cp. Valentín 203).

Amethyst in particular promises deeper insights into the potential of different configurations of gender and identity. As Gem bodies are essentially illusions, Gems have the explicit power to shapeshift, stressing the usefulness of speculative elements for queer explorations. Here, Amethyst stands out as she makes use of this power the most, constantly shifting between different appearances. She impersonates people, turns into animals, and even embodies inanimate objects for her own amusement. The casualness with which she regards shapeshifting show cases a fluid stance towards identity that is explicitly revelling in the act of imitation and queers her abilities. Moreover, it could even be said that Amethyst constantly parodies the notion of identity itself and mocks those with a more rigid mindset. Thomas implies that her experimentation with different gender expressions suggests a complicated relationship to identity, while still remaining open and playful (cp. Thomas 6). When Steven’s father, Greg, tells her, he is uncomfortable with shapeshifting, she transforms into him and replies: “Oh, I forgot. You’re so sensitive.” (“Maximum Capacity” 09:00—09:10). For Eli Dunn, these instances can force the viewer to recognise the implications of gender as a construct in ways that hold meaning for making a queer worldview more accessible: “The ability of the Gems to change their gender representation at will is a type of magic that fundamentally disconnects notions of gender from gender identity in the mind of the viewer. When the viewer is told that the Gems bodies are constructed and unreal, the viewer is forced to reconsider the implications of the female coded body traits […]” (Dunn 47).

Regardless, Amethyst’s queer approach towards identity does not mean a complete disconnection to the concept itself. On the contrary, the effects of internalised self-hatred are most visible in Amethyst’s expressions of body variance. A later episode shows Amethyst’s physical body being repeatedly destroyed, forcing her to retreat into her Gem and regenerate (“Reformed”). Due to her impatience, she does not undergo the process as intended and returns in a deformed state. As the episode continues, her teammates chastise her to do it properly, leading to her spitefully taking on more and more ridiculous forms. While doing so, she mocks the notions of what constitutes a “proper” body at all: “Just as bodily surfaces are enacted as the natural, so these surfaces can become the site of a dissonant and denaturalizes performance that reveals the performative status of the natural itself.” (Butler, Gender Trouble 200). In this way, Amethyst’s alien abilities function as a tool of critique, revealing how the body can act as performance. The interesting part is, that Amethyst’s questioning of bodily norms does not only read as decisively queer, but also thematises how repressive norms can affect an individual.

As Gem society is extraordinarily normative, Amethysts are expected to attain a certain standard of height. Even though shapeshifting is a possibility for Gems, the ability requires conscious effort and is therefore not sustainable. It is because of this reason that Amethyst’s lack of height is considered a defect on Homeworld. Melzer states that identity performance always acts within a “highly regulative set of norms” which dictate what is considered a valid representative of any given category (cp. Melzer 43). Amethyst moves between gendered positions by means of coping with Gem society finding her to be insufficient. As height is often associated with strength and masculinity, Amethyst occasionally takes on the wrestling persona of “Purple Puma” (“Tiger Millionaire”). While in this form, she towers over ordinary people, exhibiting a flat, hairy chest and uses masculine pronouns for herself (cp. Valentín 204). Jack Halberstam recognises that some forms of female masculinity are a form of “social rebellion” or “the place of pathology” wherein women use masculine signifiers to escape restrictive expectations (cp. Halberstam, Female Masculinity 9). These observations are in accordance with Butler’s assertion that gender as a performance is “open to splitting, self-parody, self-criticism, and those hyperbolic exhibitions of “the natural” that, in their very exaggeration, reveal its fundamentally phantasmic status.” (Butler, Gender Trouble 200).

Not only does Amethyst’s repeated mockery of body and gender norms expose them as illusions, but the show itself hints at experimentation with identity possibly alleviating feelings of inadequacy. Amethyst confesses later that she does not need the figure of Purple Puma anymore, as she now accepts herself the way she is: “I needed it when I felt like I wasn’t good enough. But I don’t feel that way anymore” (“Tiger Philanthropist” 07:10—07:16). Nevertheless, the show manages to avoid pathologizing queerness. The end of the episode shows Amethyst return to her alter ego, not in search for validation but because her time as a wrestler “meant everything (to her)” (“Tiger Philanthropist” 09:03—09:06). Without disregarding the play on parodic masculinity as a coping mechanism, Steven Universe attests a healing quality to the experimentation with gender. The alien body is presented as the site of social criticism, as well as positive connotations to queerness itself. These positive feelings towards queerness are depicted as harbouring an immense power for resisting further oppression.

How an acceptance of one’s own status as a queered entity can be harvested for resistance, is perfectly encapsulated in Amethyst’s confrontation with the enemy Gem Jasper. The parallels between these two opposing factions are clear: Jasper, similarly to Amethyst, was created to be a Homeworld soldier. Contrary to Amethyst, however, Jasper is described as the perfect example of what her specific Gem type should be (cp. “Beta”). Jasper herself asserts her superiority and makes clear the consequences of not fulfilling Homeworld’s demands: “Every Gem is made for a purpose: to serve the order of the Diamonds. Those who cannot fit inside this order must be purged!” (“Earthlings” 02:00— 02:06). In this sense, Jasper functions as the embodiment of Homeworld’s hegemonic discourse that excludes undesirable bodies and identities. She looks down on queerness and explicitly connects her abilities to serve the rigid system to her own worth: “Fighting is my life! It’s what I was made for! It is what you were made for too, runt.” (“Crack the Whip” 07:35—07:42). As Jasper repeatedly judges Amethyst according to normative standards of body and identity, Amethyst’s desire for victory over Jasper is framed as Amethyst complying to Homeworld’s demands. Instead of accepting her difference and alignment to queered identities, Amethyst attempts to meet Jasper on her terms which can only result in failure: “Steven... I can't win. No matter what I do, no matter how hard I work, she came out right, and I came out... wrong...” (“Earthlings” 03:54—04:05). It is when Steven redirects her focus onto the strength of their shared status as queer subjectivities, that they decide to team up: “That's just what Jasper thinks. She's the only one who thinks you should be like her! Stop trying to be like Jasper. You're nothing like Jasper! You're like me! Because we're both not like anybody.” (“Earthlings” 04:05— 04:18). In this way, Amethyst’s acceptance of her queered body leads to a connection to Steven as an ally in shared marginalisation. Their subsequent fusion defeats Jasper with ease where both of them alone where unable to do so.

Although fusion will be examined in detail later, its role in this encounter is particularly meaningful. Fusion, as the process of merging bodies, revolves around the feminine realms of emotional connection and the queer concept of blurring the boundaries of body and mind, turning it into the perfect metaphor for the strength of acceptance and unity for queer liberation purposes. In contrast to Jasper, Amethyst’s closeness to fluid identities and queerness makes it easier for her to engage in fusion and find strength. While it is true that Steven Universe does not negate physical limitations, the show proposes queer solidarity and self-acceptance as means of liberation.

The theme of gender expression standing in direct correlation to healing is also explored from a different angle in the character of Pearl. Pearl’s relationship to gender fluidity and performative identity is best understood when analysed through the lenses of lesbianism and female masculinity. Naturally, this beckons the question of how technically genderless aliens can be regarded lesbian. This is deeply connected to the nature of the category woman itself. Jack Halberstam criticises the mindset of restricting the boundaries of womanhood while leaving the lines of masculinity open: “[…] why is it [….] that one finds the limits of femininity so quickly whereas the limits of masculinity [….] seem fairly expansive?” (Halberstam, Female Masculinity 28). The policing of womanhood can be traced back to the masculine as unquestioned neutral territory when the feminine is only allowed to be represented by a highly specific set of features. When we return to Butler, the problem starts to dissolve in her theory of performativity. Womanhood is a set of behaviours and not dictated by biology: “The very subject of women is no longer understood in stable or abiding terms.” (Butler, Gender Trouble 2). The category of woman is henceforth rendered queer, as it is unstable and subject to change.

To regard Pearl as a woman and lesbian is therefore to view her identity not in terms of heteronormative discourses of biology, but allowing for the possibility to extrapolate valuable insights about gendered positions in society: “However, in an exploration of the fundamental instability of the category “women” does not find against feminism but, in resisting the urge to foreclose prematurely that category, licenses new possibilities for a feminism that constitutes “women” as the effect of, not the prerequisite for, its inquiries.” (Jagose, Way Out 273). With regards to the popular definition of lesbians as women cultivating romantic relationship with other women, identifying Pearl as a lesbian is a valid point of analysis. Steven Universe takes great care to repeatedly emphasise and explore the relationship between Pearl and Steven’s mother, Rose. The romantic attraction Pearl harbours for Rose defines her character and affects most of her actions throughout the course of the show. Interestingly, her progression in terms of lesbian affiliations and resistance towards Homeworld’s demands are reflected onto her body in increasingly explicit ways. Pearl embodies a progression into female masculinity where her gender performance changes with her widening understanding of liberation. This harkens back to Halberstam’s identification of female masculinity as a tool to subvert masculine power by turning a “blind eye to conventional masculinities and refusing to engage” (Halberstam, Female Masculinity 9).

To understand this better, one needs to examine the role Pearl is meant to fulfil in the social hierarchy of her home planet. Pearls, as a category of Gems, are made to serve and entertain elite Gems: “[…] Pearls aren’t made for this. They are meant for looking nice and holding your stuff for you […]” (“Back to the Barn” 03:02—03:12). Pearls are therefore, more than other Gem categories, marked with femininity and womanhood. Simone de Beauvoir remarks upon women’s role as subservient to masculine powers, always forced to obey as the perpetual Other (cp. de Beauvoir 29). Pearls are not only meant for the purpose of servitude, but also reduced to their appearance which usually mirrors that of her master: Upon examining Pearl, a Homeworld Gem remarks: “It looks like a fancy one, too. Who do you belong to anyway?” (“Back to the Barn” 03:38—03:42). Pearl herself disturbs these lines and expresses liberation through a refusal of participation in the hegemony of Homeworld, going as far as to openly rebel against it.

The progression becomes ever so clearer when the programme offers a flashback to show how Pearl conducted herself on Homeworld. Her dress is designed to be decidedly feminine while she defaults to a subservient body position. As Homeworld demands conformity to the role of a “Pearl”, the parallels to earth’s gender discourse become highly visible. Despite the Gem at the core of their being serving as the only material reality behind their existence, Homeworld society expects a certain set of presentation and behaviours from each Gem. Deviation from the norm is not allowed and can be met with punishment. With regards to her latter transformation, Pearl’s position on Homeworld recalls Butler: “Femininity is taken on by a woman who ‘wishes for masculinity,’ but fears the retributive consequences of taking on the public appearance of masculinity.” (Butler, Gender Trouble 70). After Pearl flees to earth and joins a rebellion against Homeworld’s regime, her presentation and performance become masculinised. She takes up sword fighting, fully knowing that this is not acceptable for a Pearl (“Sworn to the Sword”), and her subsequent regenerations take on more masculine aspects with each iteration: “The lesbian body, then, (like every body) is discursively constructed, a cultural text, on the surface of which the constantly changing, and contradictory possible meanings of “lesbian” are inscribed and resisted.” (Jagose, Way out 280).

First, Pearl’s dress is exchanged for a pair of leggings with a tule skirt serving as a layer (“Gem Glow”), the second transformation shows her abandoning the skirt while still suggesting a feminine alignment by incorporating a large bow into her outfit (“Steven The Sword Fighter”). Meanwhile, the colour pink becomes less apparent in her design with time. The show suggests Pearl’s move from the feminine towards the masculine end of the spectrum that is used to embody resistance to Homeworld’s demands of femininity. In other words, Pearl’s female masculinity is constructed in the same way, even conceived through the same discursive means, as the hegemonic identity she inhabited before (cp. Jagose, Way out 278). Pearl’s identity becomes queered as her body proves to be signifier of gender fluidity that always changes within contexts (cp. Butler, Gender Trouble 188). This can be seen as a typical articulation of queer resistance, as it not only exposes the artificiality of gendered categories but also refuses to replicate them (cp. Butler, Gender Trouble 201). Steven Universe implies a connection between queer desires and the ways they are reflected on the body. Halberstam himself states that this mixture can be particularly dangerous to heteronormative society: “[…] when and where female masculinity conjoins with possibly queer identities, it is far less likely to meet with approval. Because female masculinity seems to be at its most threatening when coupled with lesbian desire.” (Halberstam, Female Masculinity 28).

The programme outright states that the moment of awakening for Pearl is directly incited by her love for Rose to whom she was gifted as a servant: “I was supposed to make her happy. I just never could” (“Now We’re Only Falling Apart” 03:06—03:10). Seeing how Rose is uncomfortable with the restrictions on Homeworld, Pearl incites the first sparks of rebellion in an effort to make her happy. She suggests tricking the authorities and spending a day on earth when it was explicitly forbidden for Rose to do so (“Now We’re Only Falling Apart”). This slight misdemeanour quickly spirals out of control, as both Pearl and Rose grow endeared by Earth and develop a desire to live there freely. The liberational implications of their actions are hard to miss. They harken back to the building of queer utopia which proves how queerness itself “is a longing that propels us onward, beyond romances of the negative and toiling of the present. Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing.” (Muñoz 1).

However, Pearl’s freedom from authorities may be paradoxically stifled because of her connections to Rose. The programme grapples with the fact that Pearl’s wish to follow Rose may be interpreted as her remaining subservient to her former master instead of breaking free. To counter that, it can be said that Pearl’s love for Rose is completely inappropriate to Homeworld society. When Pearl attempts to fuse with Rose, she exclaims: “This is very not allowed.” (“Now We’re Only Falling Apart” 09:58—10:01). This means that their lesbian relationship is a societal taboo that gives room to further transgression and ultimately, rebellion. How exactly queer love and the war against oppression are cause and effect of one another within the show will be examined at a later point. For now, it is important to note that Pearl’s inability to let Rose go is presented as a failure to completely liberate herself. While the relationship is still queer, it is not equal and remains tenuously connected to the hierarchy out of which it was born. Various scenes suggest that even after Rose’s death, Pearl is unable to let go of their relationship: “Everything I ever did, I did for her. Now she’s gone. But I’m still here.” (“Rose’s Scabbard” 09:30—09:35). It is when Pearl accepts Rose’s death and experiences attraction to a human woman that her arch is completed. The episode “Last One Out Of Beach City” shows Pearl trying to flirt with a mysterious girl and breaking various rules in the process: “I am done thinking about the past. Tonight, I am all about the future.” (“Last One Out Of Beach City” 04:50—05:00). The symbol for overcoming the boundaries of her past and freeing herself from the last constraints of Homeworld’s oppression are encapsulated in her wearing a jacket. As a Gem’s attire is normally an inseparable part of her body, wearing clothes overstep Gem conventions and signify human territory. Here, she crosses lines between cultures to fulfil a romantic desire. Even her interest in the girl itself is significantly queered as an example of interspecies romance.

The importance of this experience can be observed with Pearl’s last regeneration. Her new form reflects the change towards a more queer, liberated identity onto her body. The colour pink is entirely absent from her design, signifying her removal from symbolic femininity as well as her freedom from Rose. The ways the design incorporates pants and a jacket recall the events of “Last One Out Of Beach City” while suggesting a close alignment to the classical butch identity (“Change Your Mind”). (Fig. 1. Pearl in her jacket. “Last One Out Of Beach City.” 02:52) Amethyst shrugs off masculinist notions about strength and overcomes her desire to fit into hegemonic society by questioning the nature of normativity itself. Pearl, on the other hand, escapes demands of femininity and her fate as a servant with the transformative power of queer desire. Consequently, Steven Universe uses the alien biological components of shapeshifting and the fantastical element of alternative societies to subvert expectations of hegemonic gender and reveal the artificiality of identity as a construct. While doing so, the programme also refers to Butler’s theories in ways that renegotiate queer subjectivities along the lines of political change: “The critical task is, rather, to locate strategies of subversive repetition enabled by those constructions, to affirm the local possibilities of intervention […]” (Butler, Gender Trouble 200). Both Amethyst and Pearl gain the strength to overcome the hegemonic oppression put upon them by their home planet through means of performativity. The queer reality of Pearl’s and Amethyst’s victories negate hegemonic assumptions about identity in ways that threaten oppressive forces. Queering one’s own identity is deeply connected to envisioning a future where categories break down. By engaging in performative practices, one is already in the process of building this exact world: “Performativity and Utopia both call into question what is epistemologically there and signal a highly ephemeral ontological field that can be characterized as a doing in futurity.” (Muñoz 26).

Works Cited:

Beauvoir, Simone de. The Second Sex. New York: Vintage Books 1989, c1952. Print.

Butler, Judith. Undoing Gender. New York: Routledge, 2004.

--. Gender Trouble: Feminism and the Subversion of Identity. 1990.

Dhaenens, Frederik: “Articulations of queer resistance on the small screen”, Continuum 28.4, 2014. Pp. 520-531.

-- “The Fantastic Queer: Reading Gay Representations in Torchwood and True Blood as Articulations of Queer Resistance”, Critical Studies in Media Communication, 30.2, 2013. Pp. 102-116.

Dunn, Eli: “Steven Universe, Fusion Magic, and the Queer Cartoon Carnivalesque.” Gender Forum: An Internet Journal of Gender Studies 56, 2016. Pp. 44–57.

Edelman, Lee. No Future: Queer Theory and the Death Drive. 2004.

Halberstam, Jack. Female Masculinity. Durham: Duke University Press, 1998.

Hall, Donald E. Queer Theories. Hampshire: Palgrave Macmillan, 2003.

Hollinger, Veronica.: “(Re)Reading Queerly: Science Fiction, Feminism, and the Defamiliarization of Gender.” Science Fiction Studies 26.1, 1999. Pp. 23–40.

Jagose, Annamarie. Queer Theory: An Introduction. New York: New York University Press, 1996. Print.

--: “Way Out: The Category ‘Lesbian’ and the Fantasy of the Utopic Space.” Journal of the History of Sexuality, 4.2, 1993. Pp. 264–287.

--: “The Trouble with Antinormativity” Differences 1 26.1, 2015. Pp. 26–47.

Jameson, Fredric. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London: Verso, 2005.

Melzer, Patricia. Alien Constructions: Science Fiction and Feminist Thought. University of Texas Press, 2006.

Merrick, Helen: “Gender in Science Fiction.” The Cambridge Companion to Science Fiction, edited by Edward James and Farah Mendlesohn, Cambridge University Press, 2003, pp. 241–252.

Moore, Mandy Elizabeth: "Future Visions: Queer Utopia in Steven Universe," Research on Diversity in Youth Literature 2.1, 2019. Pp. 1-17.

Muñoz, José E. Cruising Utopia: The Then and There of Queer Futurity, 2009.

Pawlak, Wendy Sue: “The Spaces between: Non-Binary Representations of Gender in Twentieth-Century American Film.” Dissertation Abstracts International, 73.11, U of ArizonaProQuest, 2013.

Pearson, Wendy Gay: “Alien Cryptographies: The View from Queer.” Science Fiction Studies 26.1, 1999. Pp. 1-22.

--: “Science Fiction and Queer Theory” Published as a book chapter in: The Cambridge Companion to Science Fiction. Edward James and Farah Mendlesohn. (Eds.), 2003. Pp. 149-160.

Roqueta Fernandez, Marta: “Posthumanism and the creation of racialised, queer identities and sexualities: An analysis of ‘Steven Universe’” Monográfico: Nuevas Amazonas, 2.7, 2019. Pp. 48-84. 78 Shelley,

Valentin, Al: “Using the Animator’s Tools to Dismantle the Master’s House? Gender, Race, Sexuality and Disability in Cartoon Network’s Adventure Time and Steven Universe.” Buffy to Batgirl: Essays on Female Power, Evolving Femininity and Gender Roles in Science Fiction and Fantasy, edited by Julie M. Still et al., McFarland & Company Publishing, 2019, pp. 175–215.

Vasques Vital, André: “Water, gender, and modern science in the Steven Universe animation”, Feminist Media Studies, 2019. Ward, Pendleton, creator. Adventure Time. Cartoon Network Studios, 2010.

Wälivaara, Josefine. Dreams of a Subversive Future: Sexuality, (Hetero)normativity, and Queer Potential in Science Fiction Film and Television. Umeå, 2016

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