The comic’s series about addiction and relationships is both a tender exploration of trauma, and extraordinarily funny. This is TV that gives you a crash course in empathy
American Gods star Dana Aliya Levinson on the Grand Peacock Inn's "radical" queer divinity: "To feel celebrated and uplifted in a sexual scene, was just incredibly healing."
“Freaky” offers liberating and honest portraits of young women and queer people, free from tokenism and broad generalizations to which the genre can often resort.
To see one of the few dark-skinned fat queer women on HBO's Lovecraft Country killed off by their white racist lover was just so deeply upsetting.
The new movie adaptation of The Boys in the Band can feel more like a history lesson than urgent viewing. That’s not necessarily a bad thing.
Hollywood on Netflix serves as a love letter speaking to what the future may hold through a bold retelling of the past and what could have been.
The film makes plain what queer audiences have been quietly telling us forever: that their lives have always been present, even at times where their existence has been vehemently denied. Even in the face of a suffocating culture of repression.
“This Extraordinary Being” reveals that the show's America’s first costumed crime fighter was William Reeves, the childhood survivor of the destruction of Tulsa, Oklahoma’s Black Wall Street, and a queer black man.
“The Question” was a defining moment both within the show and in animated television at large.
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