“oh I shall practice my curtsey”

The plot and many of the characters in Disney’s “The Lion King” be read as prime examples of the ways in which blatant homophobia is tolerated within mass media. This film contains queer characters, which fall into two distinct categories: comic relief as in the case of Timone and Pumba, or evil as in the films villain Scar. These characterizations of queerness are combined with an overarching theme which values heteronormativity to the point of placing heterosexuality as THE path, anything outside of this simply fails to be part of “the circle of life” thus perpetuating a culture of heterosexism.

Positioning Scar as queer sends a clear message specifically to children about what is and is not acceptable behavior. Scar’s queerness is referred to continually through the film, in both his mannerisms and the dialogue between characters. For instance when confronted by Mufassa about missing the presentation of Simba Scar replies “oh I shall practice my curtsey” his limp-wristed paw near his face. In this moment he is enacting classical stereotypically queer mannerisms (the limp wrested faggot) and makes a comment, which accentuates. His effeminacy places him outside of appropriate masculinity, which is constructed, as desirable and normal for male lions. Immediately following this exchange viewers witness Zazu say to Mufassa “there’s one in every family two in mine, and they always managed to ruin special occasions” thus Scar’s queerness is constructed as problematic within the family structure.

Later in the film as Simba remarks, “Uncle Scar, you’re so weird” to this Scar replies, “You have no idea.” In this interaction “weird” becomes a not so subtle code for queer. Scar as the villain is scene as dangerous and evil which is problematic in and of itself however Disney then goes further and into even more oppressive cultural stereotypes by alluding to him as a child molester. Scar talking to Simba says “and remember it’s our little secret” while he could be referring to the information about the “elephant graveyard” he had just provided. This phrase is a classic recount of the sort of phrases used by abusers to keep their victims from telling. It is a line, which children in American society are very much trained to pick up on, and to recognize it as meaning some sort of inappropriate touching has occurred. Constructing Scar serves no purpose other than to feed into the widely populated and inaccurate stereotype of gay men as child abusers.

Scar is not the only queer character within the film; Timone and Pumba also embody a queerness, which is then shared by Simba in his time in the jungle. In my analysis of the film I would argue that Timone and Pumba are gay couple. After the entrance of Simba into the jungle I argue that their relationship shifts into that of a polyamerious triangle, where the three live together in a three-way relationship. Their poly relationship is perhaps the clearest in Timon’s introduction to the song “can you feel the love tonight” as he says “I can see what’s happening, and they don’t have a clue they’ll fall in love and here’s the bottom line, our trios down to two” (before breaking into tears at the prospect of loosing one of his partners) thus insinuating that Simba would surcome to compulsive heterosexuality (which he inevitably does) and return with Nala to the Pride Lands.

Simba’s return to heterosexuality is spurred on primarily by the vision of his father and his obvious disapproval. Mufassa says “you are more than what you have become, you have forgotten who you are and thus forgotten me…you must take your place in the circle of life”. Simba’s queer relationship with Timone and Pumba is not viewed as appropriate, and is viewed as a waste of life. It is only possible for Simba to regain appropriate status when he embodies appropriate masculinity (fighting Scar) and sexuality (mating with Nala and producing an heir). Timone and Pumba on the other hand continue to be constructed as queer even after Simba leaves. Viewers watch as Nala in her search for Simba wake Timone and Pumba who had been sleeping curled up together (further evidence of their relationship).

Later after Timone and Pumba follow Simba back to the Pridelands, an act that arguably occurs only because of their commitment to him, the two are expected to create a distraction. In a scene relying on classic queer humor Timone says, “What do you want me to do, dress in drag and do the hula?” immediately followed by him doing just that. The inclusion of the very phrase “drag” into the film leaves no room for interpretation into the queer nature of these characters. Their queerness however, unlike that of Scar’s is seen as humorous, they function as comic relief to what is otherwise a relatively heavy film filled with moralistic lessons about life, death, and compulsive heterosexuality. In exchange for their humor they are spared Scar’s fatal ending.