An intersectional Approach to Representations of Asexual Spectrum, in Transnational Video-on-Demand Culture

Enes Akdağ

According to research on media representations of the asexual spectrum, asexuality is being seriously limited to just characters’ attitudes towards sexual activity. This comes from the  majority of annual reports published by GLAAD and the Asexuality Visibility and Education Network (AVEN). These individuals are represented as ‘ace-coded’ or explicitly confirmed asexual, not because they do not experience sexual attraction, but rather because, one might argue, they are not perceived as sexually attractive. In this aspect, ‘de-sexualised bodies’, rather than asexual subjectivities, are inclined to be given screen space. While there is the Vito Russo Test for LGBTQIA2S+ media representations, offered by Gay & Lesbian Alliance Against Defamation (GLAAD) founder and film historian Vito Russo, there is no test scale specifically designed for the asexual spectrum in the film and television industry. It is clear that the asexual spectrum needs its on test because existing gender & sexuality representation tests lack of the diversity in the asexual spectrum, split attraction model, attitudes towards sex, and intersectional framework.

Prior to my introduction of the ‘Ace Cake Test’ at the GenderEx Conference 2023, there were three tests used among the online asexual community. The first one is called the ‘Asexuality Spectrum Test’ which consists of six criteria:

(1) Lack of Sexual Attraction,

(2) Lack of Romantic Attraction,

(3) Absent Libido,

(4) Aversion to Sexual Behaviour,

(5) Trauma,

(6) Estrangement of Sexual Culture.

The ‘Asexuality Spectrum Test’ is one of the preferred test scales for those who questions their sexuality. Additionally, the ‘Radar Chart’ is the second test scale in which primary-secondary sexual attractions, primary-secondary romantic attractions and primary-secondary sexual desire has been conceptualized. The Radar Chart is reputed for offering new concepts, inspired by the ‘Split Attraction Model’.

The last and most complicated a-spec test is called ‘The Attraction Layer Cake’. While each of six different attraction types is marked with a colour layer; relationship types are symbolised with capital letters from A to C. Orientation types ranging from exclusively heterosexual to exclusively homosexuals are marked with numbers starting from 0 to 6. All of these asexual spectrum tests are designed to question daily life experiences of asexual people and, crucially, are lacking an intersectional framework and glossary in asexual community.

The Ace Cake Test is a new, intersectional test primarily designed to trace how asexual representations might be affirmative in transnational video-on-demand cultures. The name ‘Ace Cake’ is derived from the official maxim of ‘ace spectrum’ which is “cake is better than sex”. The Ace Cake Test consists of nine criteria. Each of these criteria is strongly linked with one aspect of an intersectional framework. The first criterion tracks whether a narrative film contains at least one explicitly identifiable asexual character or is ‘ace-coded’. The main problem with the ace-coding strategy is that it is a covert way of equating desexualisation with the asexual spectrum.

The second criterion is whether an asexual character has a leading or a supporting role. The most common asexual tropes such as ‘newcomer’, ‘sidekick’, or ‘henchman’, ‘spinster/old maid’ as ace-coded characters in supporting roles.

The third criterion is whether or not an asexual character is defined solely by their attitude to sex. One of the biggest misconceptions about the asexual community is its ‘sex-repulsiveness’. It should be made clear that sex-repulsiveness is an asexuality micro-label under attitudes towards sex, not an attraction. It does not necessarily mean that all asexual people are sex-repulsive by default. Quite the opposite; an asexual person might be sex favourable. By the same token, individuals’ attitudes towards sex can change over time. Unfortunately, asexual tropes, have a tendency to make room for ‘apothisexual’ characters, which refers to an asexual person who is strictly repulsive to sex.

The fourth criterion asks whether the gender identity of the asexual or ace-coded character is being discussed by other characters. ‘Compulsory sexuality’ or the ‘allonormative matrix’ supposes that every single person should feel sexual attraction to someone else. In this context, those who are reluctant or repulsed by sexual intimacy are encapsulated as having something ‘wrong’ with their gender identity.

The fifth criterion is whether or not an asexual character is portrayed as single and reluctant to date. The split attraction model suggests that sexual attraction and romantic attraction need not coincide. In other words, not all asexual characters are necessarily aromantic. Asexual folks date, and ‘being a single person’ is not a pejorative social status, though.

The sixth criterion traces whether an asexual or ace-coded character is being exposed to body-shaming and aging. Unsurprisingly, the myth of the model minority comes into play here. Asexual characters from BAME backgrounds tend to be portrayed within the border of these distinctions: fat or skinny, old or childish, hairy or hairless.

The seventh criterion questions whether or not an asexual character is portrayed as being autistic or intellectually disabled. Similarly, the eight criterion questions whether or not an asexual character is portrayed as disabled. The last two criteria are closely linked to the pathogenisation of asexuality.

“The main problem with the ace-coding strategy is that it is a covert way of equating desexualisation with the asexual spectrum”

The last criterion asks how an asexual character is being encapsulated, referring to their ethnic or religious backgrounds. Even the most controversial films on the asexual visibility, such as Eating Raoul (1982) and The Olivia Experiment (2012) failed at the Ace Cake Test. Major problems with those representations are characters being defined solely with their attitudes toward sex in narrative, pathogenization of asexual characters (esp. with severe mental health issues), portrayal of asexual experiences as a part of experimental, temporary phase. On the other hand, Todd Chavez from BoJack Horseman (2014-2020) and Elijah from Big Mouth (2017-2024) seem to be ideal candidate original series to pass the Ace Cake Test.

In this blog post, I intended to show how one filmmaker can create explicitly confirmed, affirmative asexual characters, by following ace cake test criteria as guideline. One last request: we need more screen space for homoromantic, biromantic, panromantic, asexual people! Please, be aware of ace-coding and ace-baiting strategies, in order to not ignoring daily life experiences of asexual spectrum.

Enes Akdağ is an Istanbul-based filmmaker and asexual activist. He holds an M.A. in Media and Communication Studies and a B.A. in Political Science and International Relations. He is a PhD researcher in the Communication Studies, at Kadir Has University. He has been working as a executive producer at Sapiens Production Company, in Turkey.