15 Movies Accused of Queer-Baiting That Never Delivered

Queer-baiting remains a controversial topic in modern cinema where marketing teams or filmmakers hint at LGBTQ+ representation to attract an audience without delivering substantive content. This practice often involves subtextual chemistry or vague promotional comments that lead viewers to expect a romance that never materializes on screen. Studios frequently use these tactics to court progressive viewers while maintaining plausibility for international markets with strict censorship. The following films generated significant conversation regarding implied queer storylines that ultimately went nowhere.

‘Sherlock Holmes’ (2009)

Guy Ritchie directed this adaptation that leaned heavily into the intense bond between the famous detective and his partner. Many viewers interpreted the constant bickering and physical closeness between Holmes and Watson as romantic tension rather than platonic friendship. The film plays with these perceptions constantly without ever confirming any attraction between the two leads. Robert Downey Jr even jokingly fueled these interpretations during the press tour for the movie while the script kept them strictly straight.

‘Star Wars: The Rise of Skywalker’ (2019)

The marketing campaign leading up to this finale suggested a deeper connection between Finn and Poe Dameron. Oscar Isaac and John Boyega displayed palpable chemistry that fans hoped would evolve into a significant romance by the end of the trilogy. The film ultimately paired them off with new female characters introduced in the final act to quell the speculation. Disney touted a historic LGBTQ+ moment that turned out to be a fleeting background kiss between two minor resistance fighters.

‘Beauty and the Beast’ (2017)

Director Bill Condon famously promised an exclusively gay moment for the character LeFou in this live action remake. Audiences expected a significant subplot exploring his unrequited love for the villainous Gaston. The actual scene amounted to a brief dance with another man during the final celebration ballroom sequence. This generated massive headlines but resulted in barely seconds of screen time for the promised representation.

‘Pitch Perfect’ (2012)

The relationship between Beca and Chloe became a focal point for fans who noticed their intense chemistry throughout the movie. Scenes involving close physical contact and emotional confessions spurred hopes for a romantic coupling in the sequels. The franchise continued to tease this dynamic through three films while keeping them strictly friends. Promotional materials often highlighted their bond in ways that suggested something more intimate than sisterhood.

‘Captain America: Civil War’ (2016)

Steve Rogers drops everything to save his childhood friend Bucky Barnes from global persecution in this Marvel installment. Their bond drives the entire emotional conflict of the film and supersedes other alliances or laws. Many viewers read the intensity of the devotion Captain America shows as romantic rather than purely platonic. The narrative insists on a heteronormative path by pairing Steve with Sharon Carter despite a lack of character development.

‘Raya and the Last Dragon’ (2021)

Kelly Marie Tran voiced the titular warrior and spoke openly about viewing the character as queer during interviews. The rivalry and eventual reconciliation between Raya and Namaari contained tropes often found in romantic dramas. Their intense stares and shared history led many to believe a romantic reveal was imminent by the conclusion. Disney kept the text explicitly platonic despite the heavy subtext perceived by the audience and the actress herself.

‘Fantastic Beasts: The Crimes of Grindelwald’ (2018)

Author J.K. Rowling revealed Dumbledore was gay years prior to the release of this prequel series. Fans expected the film to explicitly address his romantic past with the dark wizard Grindelwald given the plot focus. The movie relegated their relationship to vague allusions and a blood pact without defining the nature of their bond. It was not until the subsequent sequel that the text finally acknowledged their love verbally.

‘Thor: Ragnarok’ (2017)

Tessa Thompson approached her role as Valkyrie with the understanding that the character is bisexual based on comic book lore. A scene confirming a woman leaving her bedroom was reportedly filmed but cut from the final theatrical version. The movie leaves her sexuality ambiguous while focusing on her warrior past and heavy drinking habits. Fans had to wait for the next installment to see any onscreen confirmation of her identity.

‘Solo: A Star Wars Story’ (2018)

Screenwriter Jonathan Kasdan stated in interviews that Lando Calrissian is pansexual prior to the film release. Donald Glover delivered a charming performance that included flirting with Han Solo and a droid character. The film itself never explicitly confirms his sexual orientation beyond his general charisma and distinct fashion sense. This created a disconnect between the progressive press statements and the actual content presented on the screen.

‘Bend It Like Beckham’ (2002)

The plot involves the main character Jess hiding her soccer playing from her strict traditional parents. Her friendship with Jules leads to a misunderstanding where her parents believe the two girls are in a sexual relationship. The film utilizes the concept of them being lesbians for comedic tension before reinforcing their heterosexuality. It remains a beloved film despite using queer identity as a plot device for straight characters.

‘Power Rangers’ (2017)

Early buzz for the reboot highlighted Trini as the first LGBTQ+ superhero in a major film franchise. A scene features a character asking if she is having boyfriend or girlfriend troubles during a campfire discussion. Trini never answers the question clearly or explores her identity further after that brief moment. The significant hype around this inclusion felt disproportionate to the ambiguous line of dialogue delivered in the final cut.

‘Luca’ (2021)

The story follows two young sea monsters hiding their true selves to explore the human world together. Many viewers drew parallels between their secret lives and the queer experience of coming out to unaccepting families. Director Enrico Casarosa insisted the story was about childhood friendship rather than romance. The coding was strong enough that the denial felt like a rejection of a valid interpretation to many fans.

‘Magic Mike XXL’ (2015)

This sequel celebrates male bonding and sexuality in a way that attracted a large gay fanbase. A scene in a drag club features the male strippers voguing and interacting with the queer community enthusiastically. Despite the inclusive atmosphere and aesthetics the main characters remain staunchly heterosexual throughout the story. The film teases the possibility of fluidity without ever committing to a queer storyline for the leads.

‘Frozen II’ (2019)

A massive internet campaign trended globally as fans hoped the sequel would give the Ice Queen a female partner. Elsa shows no interest in male suitors and focuses entirely on her own self discovery and family history. Her lack of a romantic subplot is rare for a Disney princess but did not result in a queer identity. The filmmakers kept her status ambiguous rather than fulfilling the specific request of the audience.

‘Cruella’ (2021)

The character Artie appears as a glam rock fashion enthusiast who befriends the titular antihero. His styling and mannerisms draw heavily from queer culture and David Bowie aesthetics. Disney stopped short of giving him a boyfriend or a verbal confirmation of his sexuality in the script. He serves as a queer coded sidekick who exists to support the female lead without his own romantic arc.

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