Another cartoon that sticks out to me from that time is Daria. Daria was a show released in 1997, and follows the life of cynical Daria Morgendorffer. Daria is raised in an upper class neighborhood where she feels as if she doesn’t fit in with her peers or family. I found myself relating to her cynical attitude - a cynical attitude that I had adopted for feeling like there was something wrong with me for having my ‘gay thoughts’. But, I also felt myself wanting to watch her more and more. Looking back on it, I’m not sure if it was fully a crush. I just wanted to hang out with someone beautiful who understood what it was like to feel separate from everyone else.
One of the most interesting things about this show is that it’s not about two people falling in love; instead, it focuses on what happens after you’ve fallen in love with someone.
Discovering positive, complex narratives about queer individuals in anime can be a difficult task. To some extent, it requires accepting the limits of representational politics, and enjoying television even when it is problematic.
The quarrel is about whether the super-soldiers are just two lads being dudebro pals together or if there is definite homoerotic tension brewing between the two. Unsurprisingly, the majority of the Captain America fandom is straight men who are seemingly incapable of understanding queercodes, and most likely err on the side of being very homophobic.
Even though some cinematic elements are compromised, His Storyy tables human issues in a relationship and family beautifully.
Seldom we witness such heart-warming stories of Transgender persons on screen. Amidst the hopelessness, the new jewellery advertisement came as a silver lining, echoing the sentiments of transgender persons. Such trans-visibility on the silver screen is very rare, and this kind of initiative can help start the conversation that is long overdue about the stories of transgender persons.
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’.
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.
Gay relationships were unheard of in children’s animation. And yet, there we were, the scene in front of us, the creators’ own words confirming that the two women were together.
‘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 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.
At the opening of host Krasinski's monologue, the cast members kept interrupting with various funny references to his character from The Office – including a lot of asking about Pam. That's when Davidson stood beside him on stage.
Fast forward to now, I have watched most seasons of Selling Sunset, after which I watched the first season of Housewives of Beverly Hills. Bear with me as I express surprise at the barrage of misogyny that they were. Confused as to why we were documenting and consuming these specific people’s lives on-screen, I looked up the early cast of Housewives of Beverly Hills.
Yet, it was my first time hearing about an intersex person that wasn’t one of the two ‘disorders’ in our Biology textbook. It was my first time seeing the idea of someone having XY chromosomes but presenting physically in line with society’s notion of a cis-woman.
Queer cinema has been treated outlandish, never mainstream. But it changed in 2020. From miniseries to documentaries to movies, and mostly due to the COVID-19 pandemic, most of great streaming content was released on the OTT platforms.
Paatal Lok explores the crime thriller genre brilliantly with its fast paced storytelling and the way it managed to sew together the loose ends with its climax, even if I say so myself. However, the show’s actual intrigue comes from its critique of the Indian polity. It attempts to comment on the prevailing caste hierarchy, Islamophobia, and transphobia in the country.
LGBTQ+ characters are not Christmas ornaments that’ll get you an easy ‘woke’ pass. The main challenge before creator Mike Flanagan was to weave the romance into the horror without making it look tokenistic.
Schitt’s Creek shows no compromise in representing the unconditional and wholesome love between two men. It ensures that their relationship engages with the audience in the same capacity as any other heterosexual relationship would.