LGBTQ+
Fun Down There defies the conventions of storytelling through its radical depiction of a couple who is non-monogamous on screen – and to do it so calmly is unheard of.
We spoke with actress Nicole Maines about the new queer film Bit, what intrigued her about the script, trans representation, season 5 of Supergirl, and more.
Heady problems My Days of Mercy’s characters through the wringer, but the clarity with which they are captured makes the difficult journey more poignant.
A beautifully poignant piece, Princess Cyd is a breezy treatment of sexuality, spirituality and women’s relationships in lieu of drama for drama’s sake.
LGBTQ+ fans want good stories about queer people, not the cop-out nonsense of Pitch Perfect 3 or wishy-washy garbage like Pitch Perfect and Pitch Perfect 2.
Whilst some of the standard-bearers for this era invite us to far-flung worlds, FX’s Pose takes us just 30 years into the past to discover New York’s ballroom scene.
Much as Pitch Perfect treated Cynthia as someone to laugh at, Pitch Perfect 2 uses Chloe’s bisexual leanings to distance her from the audience.
Pitch Perfect will only be remembered as the series to have blackjacked its fanbase into thinking it’s queer-friendly.
Despite the demand for more portrayals of lesbian intimacy and the potential to do so tastefully, the topic is still treated with little care.
The first season of Gentleman Jack is a largely amiable watch, putting a character we’ve not seen before in a series that feels quaintly familiar.
From being a mere dark joke to being a mere character choice, LGBTQ characters in teen films have completely transformed.
Jupiter Ascending was a critical and a box office failure. Aaron Berry examines it from the point of view of the directors’ own transition.
Jeffrey fully embraces the AIDS contradiction of 1995, always teetering on the edge of potentially borrowed time.
Video Dispatches is a regular column featuring reviews of recent home video releases – this week, focusing on LGBTQ+ releases from Shout!
While director Xavier Dolan and the film’s characters say goodbye to their twenties, Matthias et Maxime itself leaves much to be desired.