theres a third option now

Because I study queer media history as a hobby, am working on an intense project on media censorship, and the way Steven Universe was treated is a fucking textbook example of queer content getting shut down by the powers-that-be.

It was literally censored in reaction to its inclusion of queer content. This isn't a secret and it never has been. Rebecca Sugar has been completely open about how hard they had to fight against homophobia at Cartoon Network. Steven Universe is a case study of anti-queer censorship from a mindset of "think of the children."

[ID: A screenshot of a comment from tumblr user mechfried, saying, "Wait, that isn't working out here, they wouldn't cancel the show for having a gay wedding, but than [sic] give the same creator a movie and a second show to continue that story." End ID.]

"Cancellation" doesn't just mean "immediately ended." Cancellations can include shortenings.

These photos are from the "End of an Era" artbook.

Transcript:

Rebecca Sugar: After the publication of The Answer in 2016, I was pulled into a meeting and asked to explain myself. I had been told to play down this relationship, and now it existed as a book. In every meeting like this, I would defend our stories and our audience of queer youth--they deserve cartoons and picture books, too. I would leave these meetings feeling rattled. I drew this self-portrait the night of The Answer book meeting. [Portrait not included in this photo.]

Transcription:

We decided it would be an inexorable part of the story. And then the back-and-forth started, and no one wanted to say the real concerns, so instead it was, "Will this appeal to our demographic of six-to-eleven-year-old boys?" But Ben 10 had an alien wedding, Powerpuff Girls had a wedding--there was no question that the Cartoon Network audience would definitely watch a wedding. Arguments were made that it was "out of character" for Steven to want a wedding, but we'd covered our bases there with the episode "Open Book" [S1E51], which had already aired ages ago. It's old news that Steven loves weddings. I wouldn't bend on the story, and every time there was a concern about it not being entertaining enough, I would add more: A big musical number! A huge fight! A half-hour special! This thing will be so entertaining it'll blow kids' hair back!

"But if Steven Universe gets a gay wedding, then every show is going to want a gay wedding!" "YES!" I said. "GOOD! WHY NOT???"

Eventually the decision came down from on high: We could have the wedding. I knew that was an extremely difficult call to make, and that we were going to be censored heavily and pulled in many countries because of it. And we didn't know at that time if this would mean the end of the show. It looked as if the writing was on the wall, and we were working toward the end.

I had been told this would be the final pickup for us, and I campaigned for an additional six episodes on the end of the season in order to wrap up the story--this became the Era 3 arc.

Navigating a cosmos of relationships was a lot for a young person like Steven as he attempted to find the good in everyone and hook that connection that would allow positive change to blossom in the minds of others. His powers were going to be put into the test in so many more ways as the series moved through this slate of episodes, building steam toward an interplanetary conflict.

while SU presents you with characters who suck, and who want you to look at that and examine "okay, but why do they suck. what happened in their lives that made them that way. can we help them not be that way and heal from that damage, while not simply excusing their behavior." It also takes characters that you love and peels them apart and shows you their most damaged and fucked up parts, and asks you to still love them even through their flaws, because everyone in the world has nastiness inside them that they are trying to get past or hide, and still deserve love and a chance to improve themselves anyways.

both these shows are great and i think they do what they set out to do well. And you would think that the more adult out of these shows would be the more challenging of the two. But nobody goes into breaking bad expecting there to be only love and light, because its an adults show with adult themes

Basically nobody went into SU expecting challenging topics. "Everyone should be given compassion" is a common lesson given to children through cartoons, but its rarely given in conjunction with characters that are as realistically fucked up, traumatized, bigoted, and neglectful as some characters in SU are. And at the end of the day, the very unfortunate reality is that people in this world are much quicker to accept the idea of "there are some people who have been inherently broken by our society, who become assholes and ruin everything around them" than they are willing to accept the idea that those people could be healed and stop being an asshole under the right circumstances, with the right help, and that it might (god forbid) be our responsibility sometimes to be that help.

All my bigger Gris + SUF drawings together! I really want to replay the game sometime so i can imagine more of how this version would play out.

Here are two things I believe about Steven Universe:

First, Steven Universe has a lot of high-concept science fiction worldbuilding concepts that it is not really interested in engaging with, because it is not what the show is about. These include:

The radical alternate history of the world, including the changed division of the states, the fact world war 2 possibly didn’t happen, the absence of Russia, the cultural fallout of California (somehow!) being flyover the way the Midwest is often treated as in real life. All of these are, like, hugely interesting, and totally ancillary to what the show wants to do, so they’re exclusively used for one of gags. 

The presence of “Roadside picnic”- style depots of abandoned alien technology all over the planet, including in places that teens are capable of casually accessing in some cases, as well as the presence of wandering inhuman monsters that have coexisted with humanity for as long as there’s been agriculture. This is the kind of thing that should have a much larger impact on the shape of culture than it was shown to, and the main reason it doesn’t is because the show is thematically about Steven acting as a bridge between the two mostly siloed worlds- but the world is implicitly big enough that stuff should be happening without him and around him! And yet you never get anyone remotely curious about any of it who don’t use Steven as an entry point.

The occurrence of a massive extraterrestrial war in the show’s backstory, with thousands of superpowered aliens fighting an ideological rebellion against their totalitarian homeworld, culminating in a giant not-qute-but-arguably-worse-than-a-massacre, and including ideological infighting among the “heroic” side about how far is too far. All issues famously better unpacked in a show for adults.

The biology and society of the gems themselves. Generally examined in broad strokes as needed to make the story work, but many of my favorite SU fan works are the ones that do deep headcanon dives into the how and why of the gems- what are gems, how did their culture come to be, what does the day-to-day look like, why do they all have weapons by default, what was their militarization for, what are the mechanics of fusion, why do fusions always have a coherent aesthetic concept if cross-gem fusions aren’t supposed to happen, what are the implications of a society where “wall decoration” is a job that a sentient being is custom-engineered to fill, often digging even further into the horrifying implications of their society than the show itself could get away with.

However.

Steven Universe has a number of emotional arcs, character arcs and trope examinations that work so well specifically because Steven Universe is unironically a show aimed at children. One one level, this is because you have to adapt really mature themes and arcs so that kids will get them and so the suits will let you; on another level you have to pull it off with the constraint of 11-minute episodes, you have to work with the strengths and weaknesses of animation, you have to throw in the flashy stuff that kids watch cartoons for. And that leads to some beats that, in terms of pure craft, are interesting in terms of how they’re executed in the specific context of a kids show.

Rose’s arc, particularly the fact that her death is suicide-coded as all-get-out, and her behaviors are allowed to ripple forward, benefit and damage her survivors in a consistent way in a way that I’ve never seen- in a children’s show.

Pearl’s abandonment issues, rampant projection, complicated feelings regarding Steven and Greg, her treatment of Connie, her difficulty forming an independent identity and the ways in which that hurts the people around her- in a children’s show.

Amethyst’s arc, her guilt simply for being born (and what that’s a metaphor for), everything that’s implied about her dynamic with Greg and Rose in Maximum Capacity, her identity problems and lack of cultural context, all unpacked over the course of dozens of episodes of a children’s show.

Lapis’s bumpy, non-linear recovery arc, including her toxic relationship with Jasper and an excellent approximation of an emotionally abusive relationship with Peridot, all- and I cannot beat this drum enough- in a children’s show. Similarly, Sadie and Lars’s whole thing and how that was given space to breathe and play out.

And of course, Steven himself. Steven’s long term arc is normally something you would find in a show like The Venture Brothers, something that’s willing to play off the tropes of the kid hero while being very much aimed at an older audience, with a level of detached parodic irony baked into the execution (since they’re often unpacking specific characters via expies.) Steven Universe is literally the only children’s thing I’ve seen on TV that, even as it does all the unironically fun adventures and misadventures, also does the work to examine how much being an archetypical wholesome Saturday-morning cartoon kid hero would screw you up, and we watch it happen in real time, and there’s a whole season fully highlighting the damage his status as a kid hero has done to his identity.  And I can’t stress enough the degree to which the impact would be lost if this arc hadn’t been done “in house;” if Steven Universe Future had been done twenty years from now as a deconstructive parody of a nostalgia property, it would suck. It wouldn’t land.

Steven Universe is a show that taught me to meet a story where it’s at, and judge it’s success and failures in terms of what it chose to prioritize, and not what I would have wanted to prioritize had I been writing it. Because at the end of the day, it’s fine to let the high-concept nerdbait setting elements fall by the wayside in favor of prioritizing the character-driven thematic stuff and genre analysis stuff.