“Deadloch” Delivers Australian Lesbians, Murder Mysteries, and Hilarity
Hop in the Subaru, we’re heading to Deadloch. This Australian mystery/comedy is chock full of queer women, mysteries, and humor.
Hop in the Subaru, we’re heading to Deadloch. This Australian mystery/comedy is chock full of queer women, mysteries, and humor.
The line between fantasy and reality continues to blur as Veronica and Betty realize a charged, intense connection.
Even if her attraction to Veronica is mostly relegated to fantasies, that doesn’t make it not “real.”
Supernatural survival series FROM delivers us another queer character by bus in Season 2.
As in previous seasons, it’s hard not to feel that a show that’s theoretically about raising the profile of an often-misrepresented racial minority in America, instead completely misrepresents racism as it exists in America.
Billie finds herself in a love triangle full of queer tension.
Aisha Tyler plays Jennifer Garner’s gay best friend in an Apple TV+ miniseries about deception and family.
The show eased a fear I didn’t realize I had by guaranteeing that the end of The L Word: Generation Q did not mean the end of Sepideh Moafi playing queer and looking at women like she wants to devour them.
With “Red Head Redemption,” Jinkx finds something between her singular cabaret shows and more traditional stand-up.
I love their more serious work, but I hope this new mix of levity is here to stay as well.
I’m one half of a Hallmark movie, if they made Hallmark movies about middle age lesbians.
Rise of the Pink Ladies wants the privilege of deciding when and how questions of race matter, but that’s not how it works — not on a fictional television show where teenagers sing on cafeteria tables for fun, and not in life.
This series is the gold standard for how gender-swapping adaptations should function; it should feel intentional and be an additive and expansive choice, not mere surface-level detail.
Yes, it gets gay, and not just like for a smidge of a second but for a whole episode!
I’m delighted to report that there is not one, but two different storylines that involve LGBTQ+ characters in the TV adaptation of Naomi Alderman’s best-selling book.
Beef grapples with a lot of the same themes of sex, power, wealth, perception, and deception as the popular series White Lotus but does so with a lot more nuance — especially in its explorations of race — and a lot more creative ambition.
Since television is a collaborative medium, changes to expand a story to include other identities and experiences are welcome. The problem with this series is it wants inclusivity without acknowledging how that changes its central narrative.
On the show where anything goes, time travel gets complicated.
“So for you babies in the LGBTQ community, I want y’all to hear me. I respect every-motherfuckin’-body in here free enough to be their goddamn selves.”
What I was feeling was genuine familiarity. What I was feeling all this time was seen.