The writers of Disenchantment have been hinting at Bean being queer since the second season, but it is in the episode titled ‘The Last Splash’ that we get to see her experience a genuine connection with another character. So far, Bean’s life has been about casual encounters and last-minute hook-ups, but this episode gives her an actual romantic arc without making it sappy or pretending that ‘this was what was missing all along’.
A voice in my head said: It’s a review; tell what you’ve read. Ask them to buy this book if you liked it, or ask them to stay away from it. The other one said, inspired by Joan Didion: If you’re not sure about this paragraph, place it in the middle; no one will notice it. Who knows what people do and do not notice, anyway?
The novel is a coming-of-age story which explores their sexual awakening. Ari and Dante incidentally meet at the swimming pool and become friends as Dante teaches Ari how to swim. The two are poles apart but find a middle ground for their bond to grow further.
Each episode is titled after pioneering works of feminist literature. Episode three, ‘The Colour Purple’, is particularly interesting because a direct connection is made to the theme of abuse from Alice Walker’s renowned book.
The story-telling arc of the song resonates with the idea of “catharsis” in literature, both, as the layman understands it, as well as in terms of the understanding Aristotle seemed to have.
Together, Rumii and Miyaa discover each other and love. Through confusion, passion, longing and romance, the protagonists learn to unlearn. Ultimately, the book reads like their relationship held a mirror to the realities of their lives.
The book, although labeled as a business book, reads like part memoir and part manifesto. Shahani doesn’t throw words and concepts in the air, but rather explains them through real-life experience which makes it more believable and practical.
‘The Married Woman’ depicts the journey of Aastha’s emancipation through queer love. Although she doesn’t take the complete flight of freedom, there are many small empowering moments.
It would be a sin to talk about ‘Euphoria’ without praising its cinematography, which is carefully planned by Marcell Rév, André Chemetoff, Drew Daniels and Adam Newport-Berra. Cinematography becomes the most essential means to drive the ‘emotional realism’ of the show as Marcell Rév puts it.
The 28-minute film dives deep into the lives of five Queer Sikhs living in India. Produced with a budget of 2,000 USD, the money was raised via a crowdfunding campaign that met its goal within 10 days of its launch, said Sukhdeep Singh, the director of the film.
What is surprising is that male sexuality in the film is represented as frozen and obscene in contrast to the eroticism and intimacy of the two women. It's because the director shows sexuality as a tool of domination. The male gaze is shown as an unwelcome voyeurism and lacks an understanding of women.
The trailer puts an effort to acquaint viewers with Ridhi Dogra's character Astha, an educated woman who appears to be on a quest to find herself. Astha is a loving wife, and a servile mother, but she finds herself at a crossroad as soon as she encounters the unorthodox and unusual artist Peeplika, played by Monica Dogra.
The sexual tension between the two is filled with the threat of Villanelle crossing the line, taking some extremely dangerous step that knocks out anyone in reach - constantly keeping the viewers at the edge of their seat.
The movies seems to show how emotionally disconnected he has been from the act of sex, that the release is more important to him than how, where or with whom he gets it.
A common thread that runs through the 4-part series is the starting of Miss Laya’s motorbike. The process entails three sets of words: ‘dhup dhup dhup’, ‘clap clap clap’, and ‘9, 8, 7, 6, 5, 4, 3, 2, 1, start!’
Princess Valorie has a stark and interesting character arc, one that can be expected to resonate with young queers.
Superhero movies have traditionally catered to a male audience with an emphasis on superbly choreographed action sequences with much flare and destruction. ‘Wonder Woman 1984’ turns that on its head. In one of the first action sequences of the movie, we get an “I hate guns” from Diana, as she gracefully and comically stops a robbery at the mall.
The film unfolds over the city in the darkness of night, which, as we know, is where we can see stray shapes and shadows in the corners. It may be the end of a workday, or it may be that those whom Chippa meets belong to the dregs of an indifferent society, people who are so invisible that they cannot help but allow Chippa such free rein.
Umbartha is one such classic that follows the journey of a woman, Sulabha Mahajan (played by Smita Patil), who defies her conservative husband and mother-in-law’s wishes and sets out to build her own identity.
There is a great conceit at the heart of the film directed by Pete Docter and Kemp Powers, namely the concept of the soul and its transcending worlds.