for male actors. Also, when a man is promoting on an advertisement, they usually speak about the product and do not use it. They seem to be the beneficiary of the product or service, typically performed by women. Film historian Miriam Hansen argues the way female gaze came to film during the flapper films of the 1920s, specifically citing the famous Italian-American actor Rudolph Valentino as having been used on the screen to draw in a female audience as an embodiment of male beauty. Representations of transgender and non-binary characters In 1985, a U.S. non-governmental media monitoring organization called GLAAD was founded by Vito Russo, Jewelle Gomez, and Lauren Hinds with the support of other LGBT people in the media to combat media discrimination. The name "GLAAD" had been an acronym for "Gay & Lesbian Alliance Against Defamation," but is also known for its inclusivity of bisexual and transgender people. While sexually diverse representations of people (including transgender and non-binary people) have been growing steadily in recent years, many fictionalized media representations of trans and non-binary characters are created or produced by cisgender writers. Many of these portrayals attempt to adhere to a narrative that requires a trans character to desire to present as “passable” in order to legitimize or validate their experience as “authentic”. Emphasizing the notion of passing perpetuates internalized gender expectations, resulting in a growing pressure to conform to the male gaze and what is acceptable and "passable" media representations, especially in the transfeminine community. This reinforcement of sex and gender norms is also apparent in many representations of transgender men in various media sources from magazine covers to movies and television series to social media. Each of these binarized views of gender implies that to be transgender means to transition from one end of the gender binary to the other, leaving little room for ambiguity when it comes to gender non-conformity and non-binary representations. There is also an essentialist aspect of the narrative of desired binary-passing as a form of authenticity in that it provides an exceedingly narrow example of the many varied lived experiences of transgender individuals. In concentrating on this singular type of narrative, there is potential for media representations of gender non-conforming people who do not fit neatly into either binary category of male or female to be inadequate. In light of this, there are increasingly more depictions of non-binary, genderfluid, and genderless