Is ‘Get Even’ a good show with a robust queer storyline? It is not. Did I watch the entire thing in two days anyhow? I sure did!!!! Should you do the same?? Probably!
Ultimately Kayleigh Llewellyn’s show proves that writing from a place of lived experience will always result in the sharpest stories — that’s as evident in its failures as it is in its successes.
“Instead of feeling like an affirmation for my disdain for Kat and Eva’s relationship, it feels like The Bold Type is re-emphasizing one of the things that makes the Kat/Eva storyline problematic: diminishing the show’s lead black character to bolster the bonafides of its white ones.”
Or maybe I was the only one not watch. Either way, we should all be watching!
So often, when you’re single, especially if you’ve been single for a long time, people will give you the same empty platitudes. You just haven’t met the right person yet, you’ll find love when you’re not looking for it, you have to love yourself before anyone else can love you, etc. But this show takes those sentiments and clicks a new lens into place over them.
Netflix’s BSC adaptation is, to my surprise and delight, a faithful recreation of Stoneybrook and its resident squad of tween entrepreneurs with essential 2020 updates to Ann M. Martin’s easter candy-colored world.
There’s nothing gayer than falling in love with your best friend, which is why it’s endlessly bizarre and frustrating that we hardly ever see it happen on TV.
It’s quintessential One Day at a Time: affirming in a way that few other shows could be, affirming in a way that few others strive to be.
I wanted “Homecoming” to be Janelle Monáe’s star vehicle and for her search to be as compelling as Julia Roberts’ during the first season, but sadly — it simply wasn’t.
The reason I didn’t like “Never Have I Ever” wasn’t because I didn’t feel seen. It’s because Mindy Kaling and I are clearly looking at the same world, but Kaling is expecting me to overlook all of its pain.
“Killing Eve” is far from its cat-and-mouse beginnings. There’s the looming question of who’s in control. Villanelle and Eve are each other’s captors and captives. All at once.
Natalie Morales swaggers into Season 2 of Dead to Me to queer things up for the better.
Motherland casually and seamlessly put queer women at the center of its story.
“Even after all the growth and apologies, all the blushing and teasing, all the conversations about what they both want, I couldn’t let myself believe it. I was so afraid to be let down. But holy shit y’all, THEY DID IT.”
Centering a lesbian of color in an American crime drama does make Hightown feel different than some of its grisly drug drama companions (Ozark, Breaking Bad, Justified, to name a few).
Sophie and Julia finally smooch on the lips, and Parker’s back with some teenage lesbian love advice.
Sexual and gender fluidity feel possible for every character. It’s a girl power narrative that feels loose in its definition of girl — and certainly loose in its assumption of who those girls will date.
I can’t believe these heroes and villains have brought all their lesbian drama to bear on the resolution of the biggest arc of the season; I’ve been waiting to see this on TV my entire life!
“There’s a once-in-century virus eating away at the fabric of everything we know about how to live, just let the gays kiss for once! Let women of color win the fucking Oscar!” Drew, Riese and Carmen binged Ryan Murphy’s newest Netflix release, and they can’t wait to talk about it.
It can feel like the only responsible story is one where a trans teen is certain of their identity and is allowed to transition. But that’s not the experience of so many kids both trans and cis.