‘Sex Education’ is Queer, But the Gayest Part is My Crush on Gillian Anderson

Since her days as Dana Scully on The X-Files, Gillian Anderson has amassed a widespread and, um, vibrant queer fanbase. Basically, we all want her to tear us limb from limb and eat our faces. The British actress, who is queer herself, has riled up her lady-loving fans for years with her austere performances, killer power-suits, and willingness to openly flirt with Kate McKinnon.

Her latest endeavor, a teenage-centric Netflix dramedy called Sex Education, is queer as can be, with lesbian sex scenes and numerous LGBTQ leads. But the gayest part of Sex Education is actually the velocity at which my heart throbs for Gillian Anderson.

One boy in the show refers to Anderson’s character as a “sexy witch,” which would normally be the ultimate compliment, but in this case, barely scratches the surface of her sex appeal. Gillian plays Jean, an acclaimed sex therapist and promiscuous mother to 16-year-old Otis, who is sexually repressed as a result of his unconventional upbringing, being surrounded by phallic statues and jarring conversations about sex. Anderson wears motherhood well, despite usually playing less maternal characters. But she maintains her ever-severe disposition. Throughout the show, Gillian does a lot of staring in a British accent. There’s also some glaring in a British accent, judging in a British accent, and lots of intimidating in a British accent—all of which confirmed that I want Gillian Anderson to step on me.

I’ve written about the queer community’s desire for Brie Larson to punch them in the face—a craving I definitely share. But underneath Brie Larson’s superhero exterior as Captain Marvel, there’s something sweet and endearing about her. The same cannot be said for Gillian Anderson. I am scared of her, she makes my bones quiver, and I want her to stomp on my face and leave an oily black shoeprint on my forehead. What I’m trying to say is: I’m so gay for Gillian Anderson that my desires for her have surpassed normalcy. She has radicalized my lesbianism and I would let her do ghastly things to me, especially as the perpetually lustful Jean from Sex Education.

While I initially watched the Netflix show so I could pretend Gillian Anderson was yelling at me, Sex Education actually turned out to be one of the best shows I’ve seen in the last year. I expected to be bored during the evergreen virginal teenager content, but was pleasantly surprised by how gay it was. Long story short, I ended up unhinging my jaw and swallowing the show whole in less than 24 hours, leaving a tear in the space-time continuum where my TV used to be.

Queerness is ubiquitous in Sex Education, and does what every show or movie should do with sexuality: the show finds the delicate balance between normalizing queerness and removing its shock factor, and illustrating how sexuality can still be a big deal for certain people. For example, there’s Eric, a flamboyant gay guy and best friend to Otis, who is cursed with heterosexuality. What I love about Otis and Eric is that they’re lifelong besties who visibly diverge in personalities, sexualities, and interests: Eric is theatrical in his exuberant temperament and garish outfits while Otis is mild, both behaviorally and in his lackluster wardrobe which says “I’ve been wearing these clothes since I was 11.”

I hate having to say this, but it’s nice to see an unlikely and intimate straight-gay male friendship. It shouldn’t be rare, and I don’t want to call them an “unlikely” pairing, but they are. Otis and Eric are the perfect example of how life should be—straight white males like Otis, when freed from the prisons of toxic masculinity and homophobia, can form close bonds with gay men without feeling like others will think they’re gay by association (which, newsflash, isn’t a bad thing—it’s a compliment).

I’ve seen other straight-gay male friendships attempted on-screen before, like in Set It Up (2018), when Pete Davidson and Glen Powell were paired as besties—but their entire relationship felt forced, like Powell’s straight character was constantly calling out his friend’s queerness, as if to say “Look how chill I am with this dude being gay! I can talk about it without even being weird!”

In Sex Education, there’s no leftover bro detritus or defensiveness. Otis and Eric openly talk about their romantic endeavors and give each other advice on both girls and boys. They dress up in drag to attend a showing of Hedwig and the Angry Inch. Eric playfully grinds on Otis and slow-dances with him at the school dance, just like a pair of girls would do without being judged, labeled, or experiencing gay panic. We, as the audience, can see how special and unique Otis and Eric’s bond is, and how Eric’s queerness is NBD to his best friend. However, Eric’s sexuality is a big deal to other people in his life.

Eric’s father, who teeters on the edge of being openly homophobic, reprimands his son multiple times throughout the series—not necessarily for being gay, but for dressing up and standing out, because he worries about his son’s safety (which is heartbreakingly compromised when Eric is attacked by vicious straight men on the street).

Queerness is also a big to-do for Adam, the repressed school bully who (surprise surprise) targets Eric because he’s got a secret crush on him. We’ve seen this storyline tons of times before—looking at you, Karofsky from Glee. However, when the trope is contrasted with the low stakes queerness of the other characters, it works, as it demonstrates the spectrum of homophobia that unfortunately exists today. For example, it’s worth mentioning that there’s an out lesbian couple in Otis’ high school and no one ever targets them and they’re never the butt of the joke. The couple has a few cringey sex scenes, and later seek Otis’ expertise for sex and relationship advice—which, again, is NBD to him.

Unfortunately, Gillian Anderson’s character isn’t queer (that we know of—the show’s only in its first season and she’s clearly very sexually open). And even though I was totally sated by the range of queerness and LGBTQ storylines that Sex Education had to offer, I was markedly distracted by Anderson’s angular bone structure and Miranda Priestly hair. I would recommend this show to anyone who’s starved for queer content—so, everyone—but I would assign it to any queer Gillian fan. Jean offers the gravity of Stella Gibson in The Fall, the intimidating, lengthy pauses of her character in The Spy Who Dumped Me, and the fiery sex appeal of 1,000 mean lesbian suns.

But be forewarned: Watching Sex Education while crushing on Gillian Anderson will likely create a big gay black hole where your TV used to be—binge at your own risk.

Which ‘RuPaul’s Drag Race All Stars 4’ Queen Is Most Likely to Return?

Welcome to Drag Race Power Rankings! Every Saturday, we’ll debrief the previous night’s new episode of RuPaul’s Drag Race All Stars 4 to determine which queens are riding high, and which need she-mergency care. This week, we’re processing the twist-on-twist-on-twist delirium of the final six episode, and determine who has the best chance of returning to the competition this week.

10. Farrah Moan — POTENTIAL RETURNEE (last appearance: 9)

A note before we get too deep into this: According to VH1’s description for the next episode, the return challenge is a Lip Sync for Your Life battle royale, in which all the returning queens will get a chance to come back to the competition. So, with lots of love to Farrah, who looks amazing in her red return look, but I would be shocked if she were to win a lip sync.

9. Gia Gunn — POTENTIAL RETURNEE (last appearance: 8)

I actually think Gia has the lip-syncing skills to get back into this competition, depending on her opponent. But she spent the night of her elimination cursing out RuPaul … so yeah, she’s not getting back in.

8. Jasmine Masters — POTENTIAL RETURNEE (last appearance: 10)

All Stars 4

If there were to be just one returnee, I’d say Jasmine had no shot at coming back. But the description is clear that all the eliminated queens have the chance to come back. Jasmine is a talented lip syncer, and if she gets the right opponent, who knows! All that aside, though, I’m betting on just one returnee, and it’s not her.

7. Valentina (last week: 4)

Valentina

Time to go, Val. You’ve done what you needed to do here — got your lip sync redemption, endeared yourself to scores of fans — and now you’re just blowing up your spot. I enjoy Valentina’s delusions of grandeur as much as the next gay, but let’s send her on her way to Rent Live and narrow down to the strongest competitors left.

6. Naomi Smalls (last week: 5)

I actually don’t think Naomi will get sixth in this competition — in fact, I could see her making top four — but she’s this low because there is just no way she can win. She’s been all but invisible in the edit, and there aren’t enough episodes left to craft a compelling winner’s arc. Naomi is destined to be a bridesmaid in this competition, and considering how strong she’s been overall — though admittedly not this week — it’s kinda sad to see.

5. Latrice Royale — POTENTIAL RETURNEE (last appearance: 7)

The redemption challenge is a lip-sync tournament? Oh bitch, just put Latrice back in the competition right now. That said, if she can’t turn it out after winning her way back in, she’ll be back out the door right away.

4. Monique Heart (last week: 3)

The ooh-ah-ah sensation really did get screwed by the judging this week, earning a bottom placement despite being one of the clear best in the challenge. That’s the tough thing about All Stars‘ final weeks: If you’re not a winner, you’re a potential loser. While she was kind of mopey about it in the workroom during deliberations, I admire her for not getting too defensive on the runway. She’s learning how to work the judges, slowly.

3. Trinity the Tuck (last week: 2)

Trinity really threw Valentina under the bus after practically citizen’s arresting Manila for considering sending her home two weeks ago! Good lord. Trinity’s biggest issue is her inability to keep her eyes on her own paper. When she’s focused and working hard, there’s no one performing better in this competition. If she can get that focus back, I think she’s a lock for the finale, but that’s a big if at this point.

2. Monét X Change (last week: 6)

The biggest rise of the week goes to Ms. Change, who really, truly, and finally pulled her shit together. Both her challenge performance and runway were strong, and while I would’ve personally put Monique in the top two above her, I can’t quibble with the quality of her output this week. If she can keep this energy up, she could truly win this whole thing. But she has one massive obstacle standing in her way,.

1. Manila Luzon (last week: 1)

I mean, come on. If you’re not on the Manila train at this point — which, I’m very open that I wasn’t until recently — what are you doing? She’s slaying this competition, putting forward the most complete package of runway, challenge performance, attitude, and damn good TV of any queen left. In my mind, she’s the winner. Which probably means she goes home in two weeks. But we’ll cherish every moment until then.

‘RuPaul’s Drag Race All Stars 4’ Recap: Nobody Was Killed at Lady Bunny’s Funeral?

Usually I prefer to proceed somewhat chronologically in my RuPaul’s Drag Race All Stars 4 recaps, but this week, I think we have to start at the end. And what an end it was! Double lip sync win! Non-elimination! All Star rules finally suspended! A mirror message from Ru herself! Lady Bunny recreating the mirror gag from All Stars 2! And, of course, the inevitable return of the eliminated queens.

It was kind of the kitchen sink approach to reality TV production, and I wasn’t not entertained by it! It was just, you know, a lot. I’m still processing. Here, let’s process together.

Drag Race

The main challenge this week (well, only challenge, the mini-challenge drought continues) is a roast of Lady Bunny framed as a funeral. It’s a fun twist on the RuPaul Roast challenge, which previously appeared in seasons 5 and 9. Season 5’s roast episode was one of the all-time great Drag Race episodes, while season 9’s was … mostly just okay. Better than you’d expect in a season with zero comedy queens.

Two of the worst performers in that roast, however, were Trinity the Tuck (back in her days as Trinity Taylor) and Valentina. Trinity was bottom three, while Valentina was, ahem, lucky to be safe. The stakes are high for both of them going into this week, and they promptly make all the same mistakes they did the first time — despite guest judge Cecily Strong’s attempts to help them during rehearsal. Valentina completely ignores Cecily’s notes to avoid starting too mean, starting her set bitter and never letting up. Trinity, on the other hand, never gets a handle on her comic timing. The two contestants barely elicit a sincere laugh from the judges or audience.

I’m not going to lie to you, dear reader: It’s extremely satisfying to watch the season 9 alliance fail this week. While I enjoy Valentina tremendously as a TV character, and I think Trinity is playing in this competition with a level of technical prowess only previously matched by Alaska and BenDeLaCreme, they’re both carrying around big egos. Valentina has a warped sense of how she performs; she thought her performance in the season 9 roast was good (to quote Ru, “Was it?”), and completely misinterprets the judges’ comments this week. Meanwhile, Trinity once again whines about Manila Luzon’s deliberation process, after the season 3 queen reveals she would’ve sent Monét X Change home last week. It’s satisfying to see them brought back down to earth a bit. I think they both have what it takes to win this season, but I prefer a more self-aware Valentina and a laser-focused Trinity.

Speaking of Manila: She may never be my favorite in the challenges, but I am firmly Team Manila at this point in the race. Positively ridden with guilt that she once again couldn’t save Latrice Royale in a lip sync, Manila cries trying to explain her reasoning for wanting to eliminate Monét. Monét refuses to show Manila even an ounce of empathy for wanting to save her friend, and all but tells Manila that she’s not allowed to sit at the cool girls’ lunch table anymore. Seriously, she and the other girls all join hands in front of Manila as she’s crying, and don’t get up to leave when she does. It makes them look so damn petty.

The girls gang up on Manila again in the workroom, when she says she’ll choose who she wants to eliminate moving forward on a case-by-case basis. (Getting to choose who you want to send home if you win is, you may recall, the literal format of All Stars.) I admire Manila for sticking to her guns — but then again, it’s pretty easy to do when you keep winning. She does again this week, and it’s probably her hardest-earned win of the season. (Though I would’ve also given Manila the win way back in week 1, when she was just safe.) Her roast performance is perfectly pitched, with just enough sight gags — the umbrella! the will! — to balance out her battery of jokes. Her look is perfect, and she’s the only queen to roast most of her fellow competitors plus the judges. It’s surprising that she’s the only one to turn that trick, considering that roasting the full assemblage is usually a staple of these challenges.

Joining Manila in the top is Monét, who maybe wouldn’t be my choice, but I get why she wins. From a pure comedy perspective, she has the most jokes, and they all land. I prefer the Southern preacher caricature her season 10 sister Monique Heart puts on, even though Monique swallows a few of her jokes in her delivery. Monique was the emotional choice; Monét was the comedy-as-art choice. The panel is particularly technical this week — more on that in the final thoughts — so their decision makes sense.

That leaves us with Naomi Smalls, who is just a disaster this week. I’ve been high on Naomi all season, but her lack of wins has left me wondering if she’s really cut out to win this competition. Sadly for the leggy season 8 queen, she falls into the bottom before ever rising to the top, on the back of a one-note performance and shockingly underwhelming funeral drag look. Luckily for her, she is one of four queens in the bottom, as RuPaul puts everyone who didn’t win onto the chopping block. This is likely done for two reasons: to scare the girls, and because Ru already knows no one is going home this week.

Bottom Four

Deliberations are, to be frank, a fucking mess. Trinity immediately seems to realize she’s screwed up by being so aggressive with Manila, and both firmly stands on the strength of her report card while also being conciliatory toward the queen with the power. Naomi is clearly bummed to be in the bottom, and worries her lack of wins will take her out. Despite this, Monét and Manila don’t really seem to consider her a legitimate choice for elimination, though — in fact, the winners practically ask the other one to take on the responsibility of sending someone home this week instead of them.

The consensus choice among the other queens, though, is for Valentina to go home. Trinity immediately names her as the correct option (guess that season 9 alliance only goes so far), while Monique — who outright refuses to do one-on-ones, that’s how certain she is she doesn’t deserve to go home — goes off on Valentina in her confessional for not having a full face of makeup for the main challenge.

I personally don’t care about the makeup issue that much, though it is worth noting how it comes about, and how she responds to Ross Mathews’ criticism. Apparently Val runs out of time in the workroom, unable to finish her set and her face. So she wears sunglasses as part of her costume — but then tempts fate by making a Maskgate callback. She practically dares RuPaul to tell her to take the glasses off, which RuPaul promptly does. This backfires big time, revealing her face is incomplete.

Upon presenting her excuses to Ross, he promptly takes no shit. “I still wish your eyes had been done,” Ross says with the exact right blend of sweetness and bitchiness. The look Valentina shoots back at him could kill, and probably has. So, yeah, Monique’s pissed about that, and while it doesn’t matter as much to me, I can understand being mad if you think you might go home over someone who didn’t even finish beating their mug.

It is hilarious to watch the other queens insist that eliminating Valentina is the only fair thing to do, when just two weeks ago they were lecturing Manila for even considering sending Val home. My guess is Trinity fans will justify her throwing Valentina under the bus by citing Val’s record, but that doesn’t wash for two reasons. One, Val has a win, which should conceivably put her ahead of the winless Naomi. Two, Trinity insisted in that episode that she wanted to take Valentina with her all the way to the top four. Now she wants Valentina to go home in sixth?

The truth is, there is no “fair” when it comes to making elimination decisions on All Stars, and it behooves no one to pretend like there is a particularly “moral” way to do it. Alaska eliminated Tatianna twice and Alyssa Edwards once over Roxxxy Andrews in All Stars 2. Kennedy Davenport eliminated Milk the second she got the chance during All Stars 3 because, to put it bluntly, she just didn’t like Milk. Manila saying she doesn’t want to adhere to one kind of elimination style is not new or novel, and she shouldn’t be ostracized or judged by the other queens because she doesn’t want to pretend.

The lip sync to Aretha Franklin’s “Jump to It” isn’t exactly a close one. Manila has a couple of good moments, but clearly fumbles words here and there, and Monét just really nails it. However, Ru declares a joint win — a head-scratcher of a decision that makes more sense if you look at the other lip sync ties in All Stars seasons. Be it Raven and Jujubee on “Dancing on My Own,” Tatianna and Alyssa Edwards on “Shut Up and Drive,” or Shangela and BenDeLaCreme on “I Kissed a Girl,” double wins tend to come when the performers mostly work together versus against each other. Considering the amount of interplay between Manila and Monét on “Jump to It,” the tie makes a bit more sense. (But make no mistake: If one girl was winning, it’d have been Monét.)

Ru’s other big motivation for declaring two winners is that ultimately, who they chose to go home doesn’t matter. No one goes home this week, and All Star rules are promptly put on hold. What that means — and what the returning queens’ challenge to get back in will be — will have to wait for next week. A return for Latrice or we riot!

Dearly beloved, we have gathered our thoughts here today:

• Cecily Strong and Yvette Nicole Brown both make for good guest judges this week. Alongside Michelle Visage and Ross, they really turn the judging session into an artist’s critique, getting granular about both jokes and looks in a way I love. I’m still holding onto Jenifer Lewis as the best guest judge of the season, but these two are easily the runners-up right now.

• I didn’t talk about the angelic-themed runway this week, but the girls are uniformly very good! Special shout-outs go to Naomi for a Prince-inspired getup, Monét for a gorgeous bleeding heart detail on her chest, and Manila’s dewy Grecian outfit, which makes her look younger than anyone else on the stage. Age 37 looks really damn good on her.

• I have some thoughts about Valentina naming Monique and Naomi as the worst of the week, but I’ll be as generous in my reading as possible and say she just didn’t want to name her friend Trinity. (Even though Trinity didn’t exactly show her the same kindness.)

• With “Jump to It,” Aretha joins Paula Abdul, Britney Spears, Madonna, and Whitney Houston with four songs performed as lip syncs. Getting crowded at the top! (After I included this stat in a previous recap, someone asked why Ariana Grande doesn’t also have four, the long and short of it being that she’s just a featured artist on “Bang Bang.” So you can place her in the same echelon, but definitely give her an asterisk.)

• Naomi’s shade that she’s the only queen left who can give a millennial’s point of view is funnier than any of her roast jokes.

• Monique practically racing off the stage after Ru saves them all, saying “She ain’t gotta tell me twice,” is the biggest mood.

• In the preview for next week’s episode, we see each of the eliminated queens picking a lipstick from one box. My guess? We’re getting a full set of Lip Syncs for Your Life next week, with the eliminated queens getting to choose who they want to face off against. Winners earn their way back into the competition; losers face elimination. That might be too complicated — plus, Drag Race always seems reticent to shell out more money for lip sync song royalties — but we’ll see!

• So both Monét and Manila were going to eliminate Valentina, right? That would certainly make a certain piece of intel season 4 bad girl Willam leaked before the season started airing more interesting…

The next episode of RuPaul’s Drag Race All Stars 4 will air Friday, Jan. 18, at 8 p.m. Eastern on VH1.

‘Lindsay Lohan’s Beach Club’ is a Mess, and I’m Not Sure It’s in a Good Way

Lindsay Lohan isn’t a regular boss — she’s a cool boss.

In her new MTV reality show, Lindsay Lohan’s Beach Club, we see the former child star in a novel role: reformed messy celebrity-turned-business owner. Beach Club tells the story of Lohan and her horny new brand ambassadors recruited from all over the United States to come work at her beach club in Mykonos — the very same beach club where Lohan was filmed doing her strange dance a few months ago.

The cast members all sleep in the same place, some sharing rooms, in the style of MTV’s reality show classic, The Real World. Before I watched the pilot, I accidentally watched a promotional episode that showed brief vignettes to introduce us to Lohan’s new employees. If I hadn’t, I would have absolutely no idea what makes any of these people distinct, because besides one of them having blue hair, they’re virtually all the same. They’re all used to working in nightlife as promoters and bartenders, and now they’re traveling to Mykonos together.

The first episode of Beach Club basically follows the brand ambassadors on their first couple of days in Mykonos, meeting Lohan and training for their first day of work. All of the ambassadors are straight aside from Mike, who is the hunky bisexual from New Jersey. I sense that we’ll get one experimental kiss between Mike and another castmate by the end of season two.

On the first night, we watch the brand ambassadors enjoying dinner at the table before undressing and jumping in the pool for some flirty tension. But then — surprise: Lindsay shows up at their residence to meet them for the first time. Perfectly natural for your boss to show up at your house at night for a surprise visit after you and your coworkers get hammered. Not at all produced. In this scene, Lohan expresses some doubts about how serious some of her new ambassadors are, but really it’s just badly-manufactured tension.

Throughout the entire pilot, the producers frame Lindsay both as a reformed mess and also as an authority figure — and that’s a weird balance to try and strike. While an unannounced visit is something that might happen on a more competitive show like America’s Next Top Model or The Bachelor, that is not what Beach Club is supposed to be. It’s moments like this that make it extra hard to find Lohan convincing as a boss.

BILBAO, SPAIN - NOVEMBER 04:  Lindsay Lohan poses at the MTV EMAs 2018 studio at Bilbao Exhibition Centre on November 4, 2018 in Bilbao, Spain.  (Photo by Gareth Cattermole/MTV 2018/Getty Images for MTV)
Reformed mess Lindsay Lohan hawking for the brand.

The first day follows one brand ambassador in particular. Brent, the resident douche of the cast, is put in charge of managing the pool’s VIP cabana area while everyone else is… off doing other work things? It’s unclear and the show doesn’t really care. A lot of the episode revolves around the flirty relationship between him and the female VIP client — they go swimming together, into dressing rooms together, they kiss. This later comes up when another ambassador, Jonitta, points out that if she were doing anything that Brent was doing with a man, she would get attacked for it, and she’s annoyed at the double standard. That is pretty much the main drama for this episode.

And that’s kind of the problem. Aside from Lindsay, we don’t know these people and none of them know each other, so it’s hard to understand what the stakes are. In contrast, there are many reasons why Vanderpump Rules works as a show centered around Lisa Vanderpump’s employees. First, the cast members all knew each other before the show started. In fact, according to a profile in Vogue, Lisa Vanderpump pitched the show with “an outrageous diagram of hookups, breakups, cheating, and fights between her servers, bartenders, and bussers, all of whom, as in Los Angeles restaurants at large, were very good looking.” The point of the show is that the story was already baked-in, and the audience is just along for the ride. Plus, the heart of the show comes pretty naturally because Lisa Vanderpump herself fits very nicely in the role of omnipotent ruler. She’s believable as an authority figure and as a boss, which is super important for a show centered around a workplace and its ensuing staff drama

One of the better scenes of the Beach Club pilot is when Lindsay is comforting May, another new ambassador, who is feeling overwhelmed on her first day. It’s the one time in this episode Lindsay seems convincing as a boss. Then, just a couple scenes later, Lindsay is trying to tell Gabi, one of the other castmates, that May is feeling down — and asks Gabi to check in on how May is feeling. The problem is, Lindsay literally doesn’t remember May’s name. She keeps describing her as “one of the other ambassadors,” and all the heart that they put into their tender moment kind of goes away.

These scenes serve as a nice summary of what Lindsay Lohan’s Beach Club feels like so far. The premise, the cast, the Lindsay, all of them feel too removed from each other. I’m not asking for authenticity in my reality television, but I would appreciate an attempt at believability.

Is The WOW Presents Plus Subscription Worth The Fee?

Want to know something that’s not even slightly unique about me? I like Drag Race. Nay, I love Drag Race. Hell, I’ve watched Drag Race so many times I can quote every season verbatim (except maybe season seven, because, well, it’s season seven). So when I found out that WOW Presents (the production company behind RuPaul’s Drag Race) announced WOW Presents Plus, a streaming network available on iOS, Apple TV, Roku, and Android, rife with original series from some of RPDR’s best queens, I whipped out my credit card, bought a week’s worth of groceries and didn’t leave the house.

This sequestered seven-day binge occurred when the service originally launched in November 2017. Now, I believe I’ve consumed enough content on the platform (all of it) to responsibly determine whether the service is worth its $39.99 annual fee (or $3.99 a month). And, as a self-elected prophet, I’ve decided to bestow this knowledge unto you. You’re welcome.

Something I noticed straight out the gate was that almost every show followed the same format as WOW Presents’ standout series, UNHhhh, featuring Trixie Mattel and Katya Zamolodchikova. Essentially, queens sit next to each other (or do it solo) and wax poetic on a topic in front of a green screen while editors work their magic.

Admittedly, without these unceasing and turbulent graphic treatments, these series would be nothing more than a visual podcast. Series limited to this standard formula include: Bro’Laska (Alaska), Tea with Tati (Tatianna), Bobbin’ Around (Bob), AYO Sis (Aja), La Vida De Valentina (Valentina), Jasmine Masters’ Class (Jasmine Masters) and so on. Are they good? Yes. All of them. Have I watched every episode? Many times. Is there diversity among the series? Not at all.

I understand why: It’s a successful formula that’s cheap and easy to produce. But people are paying money for this content and we deserve more effort. The service does feature some series that veer from the haphazard setup, like His Vintage Touch (where hairstylist Tony Medina styles hair for drag queens and celebrities), Drag Tots (a minutes-long animated series featuring the voices of Latrice Royale, Adore Delano, etc.) Feelin’ Fruity (a bizarre Pee Wee Herman-esque variety series from artist Seth Bogart), Transformations (a lengthier program where celebutante James St. James is given wacky makeovers from world-renowned queens and make-up artists) and others.  

The service also hosts a randomly curated collection of dated documentaries (like Party Monster Shockumentary, Becoming Chaz and Miss Navajo), slapdash Drag Con coverage and other bland, rice cake content that you will probably pass on, but fills the void if you’re super bored. Or high.

What’s arguably best about the service is that you can watch every season of RuPaul’s Drag Race (except Season 1), All Stars and Untucked.  But here’s the kicker: The only reason I can watch these series is because I’m located in Canada. You cannot access these shows in the United States. But if you’re in Europe, I believe they’re also available. Admittedly, these shows only recently became available in my neck of the woods, but I continued subscribing because I fell in love with a few of the series.

My favorite of the bunch, Follow Me, is a short docu-series that follows a day in the life of some of Drag Race’s more popular queens (Gia Gunn, Aja, Miss Vanjie, for example). You learn a lot about the personality behind the make-up, some of which is not always good (coughs – Aja – coughs).  Another promising series is Couple$ for Ca$h, which is kind of – scratch that, exactly – like the Newlywed Game, except it features drag queens and other queer celebrities.

While the majority of the shows are fun and entertaining, many times a season of a series (or the entire series) is only an episode or two. You might get one new episode (which, on average, run about 10 to 15 minutes) on the entire platform a day. It’s also worth mentioning that the search and browsing capabilities are a mess and many of the best series (UNHhhh, Fashion Photo RuView and Bro’Laska) are available for free on YouTube. On WOW Presents Plus, these episodes are uncensored and ad-free.

Admittedly, sometimes it feels like WOW Presents gets desperate for content and juices the crap out of any queen – the lifeblood of the service – who visits the production company’s offices. Shows like 20-Minute Makeup Challenge, Drag Queen Video Dates, Drag Queens React and Gown The House Down are ultimately Trinity The Tuck levels of filler. This clear lack of preparation can be painfully obvious at times.

Wow Presents Plus is certainly not without its faults. There are striking shortcomings and obstacles they need to overcome for a more worthwhile experience, but I’m confident it’ll happen. RPDR was similarly amateur at its inception and is now one of the biggest reality series on the planet with awards under its belt. I have faith that WOW Presents will continue to learn and improve on the service as more people subscribe. Now, is WOW Presents Plus worth the money? I say yes. Per month, it costs about the same as a cup of coffee. But does it compare to Netflix and other popular streaming services? Not even close.

What We Know About ‘Killing Eve’ Season 2 So Far

Sandra Oh made history twice at the Golden Globes last Sunday. She became the first Asian-American to host the ceremony, as well as the first Asian-American to win Golden Globes in multiple categories (her first was for her supporting role in Grey’s Anatomy as Dr. Cristina Yang, and the second was this year, for her titular role in the BBC America’s Killing Eve).

The series, returning for a much anticipated second season on April 7, sounds as if it’s picking up right where it left off: Villanelle has disappeared, and Eve is left reeling, having no idea if the woman she stabbed is alive or dead. With both of them in deep trouble, Eve has to find Villanelle before someone else does… but unfortunately, she’s not the only person looking for her.

From the new teaser, we know Eve is being questioned by MI6 about what really happened in Paris. (You know, when Eve went nuts on Villanelle’s stuff, drank her champagne, and then recited a soliloquy of Shakespearean proportions to Villanelle before suggesting they take a little siesta together in her bed, and then promptly climbing on top of her and stabbing her in the stomach.) What we don’t know is how Villanelle is going to react to Eve’s unexpected attack once she’s healed. According to Jodie Comer, who plays the queer assassin, her reaction might not be what audiences are expecting.

“I think what happened in episode 8 brings them closer together in a way that neither of them expect,” Comer said during a red carpet interview at the Golden Globes. “A lot of relationships were tested in Series 1, so I think the dynamics have really shifted.”

Will Villanelle be impressed with Eve’s finesse with sharp objects? Will she be pleasantly surprised to find that Eve is, in fact, a top? Considering that Villanelle is one of the most complex, unpredictable characters currently in television, any reaction she might have is unexpected, yet completely true to character.

“She’s never just straight-up upset about anything,” says show creator Phoebe Waller-Bridge about Villanelle. “She sees the world in a different way, so it would have a different impact on her I think.”

For Season 2, Waller-Bridge, who is being kept busy with a number of projects, has handed over head-writer duties to Emerald Fennell, an author and actress who played lesbian nurse Patsy Mount in the British period drama, Call The Midwife. While the Fleabag star and creator remains active behind the scenes of Killing Eve, she’s taken more of an executive producer role, according to Variety.

As far as storyline details, we‘ve learned via Sandra Oh in an interview with The Hollywood Reporter that Season 2 will spend more time with the two women interacting.

“It moves from a chase to being together — in the same room,” Oh said. “For me, it just gets so much more psychological. It’s trippy talking about it while I’m still in it, but these characters have established that they know who the other is. It just gets deeper and deeper.”

The story of Eve and Villanelle was introduced as one of mutual obsession, but their interactions were limited. It should be interesting to see how their dynamic evolves once the element of the chase is no longer a distraction.

Season 2 of Killing Eve airs on BBC America April 7 at 8pm.

Images via BBC America and Getty

‘The Fosters’ Spin-Off ‘Good Trouble’ is An Inclusive Show and A Good Watch, Too

Good Trouble is the new Freeform series by Joanna Johnson, Peter Paige and Bradley Bredeweg, the team behind The Fosters, a show centered around two moms and their foster children that redefined what a family drama is supposed to look like. It starred Teri Polo as Stef, and Sherri Saum as Lena, an interracial San Diego lesbian couple raising their four foster kids, Callie (Maia Mitchell), Mariana (Cierra Ramirez), Jesus (Noah Centineo) and Jude (Hayden Byerly), in addition to Stef’s biological son from her first marriage, Brandon (David Lambert). The show wrapped its five-year run last summer, and soon after, the spin-off centered around Mariana and Callie was announced.

The new series, premiering tonight on Freeform, follows the Adams foster sisters one year after The Fosters left off. Transitioning from college life to their first real jobs in Los Angeles proves to be a challenging experience for Callie and Mariana, whose moving truck is robbed quickly upon their arrival. There’s also the issue of their new digs, which, previously unbeknownst to Callie, is a communal living situation in a downtown Los Angeles loft, the only place Callie’s law-clerk salary will allow them to rent.

*Caution: Spoilers ahead*

We quickly learn that while Mariana makes enough in her new job at a tech startup for them to not have to share a bathroom with eight other people, Callie insists on splitting living expenses down the middle. Mariana’s new co-worker, Gael (Tommy Martinez), also happens to live in the building — and Mariana intends on making him her boyfriend.

Alice (played by out comic/actress Sherry Cola) is the lesbian loft manager who has yet to come out to her parents; she is introduced as the caretaker of the loft, and by extension, the roommates. She’s in charge of repairing broken appliances, providing the toilet paper, and introducing Callie and Mariana to the others, including Malika (Zuri Adele).

Malika is a former foster child and social justice activist who brings up the case of a young black man who was killed by the police when he was presumed to be carrying a weapon. Later, Callie learns that her new boss, a conservative Federal Judge, will be taking over the case, setting up what could potentially be a conflict between the roommates.

Elsewhere, Mariana is having trouble with her new team, which is composed of male co-workers who appear to have no intention of taking her seriously, instantly assigning her work that mainly involves sorting files that include crude graphics of female bodies. Thinking she could at least make an impression by approaching the company head with an idea for an app, Mariana is instead reprimanded for going over her supervisor’s head.

The pilot deals with the hurdles of entering the workforce, and what that looks like for young female professionals in fields that are predominantly male. It also introduces Callie and Mariana to a more adult environment that now involves drinking and sex, cementing that the Adams foster sisters are all grown-up and that this is a different show from its predecessor. Still, Good Trouble stays true to its socially-conscious roots.

What made The Fosters groundbreaking was its depiction of LGBTQ characters. From interracial lesbian moms Lena and Stef, to trans men characters like Aaron and Cole (played by actual trans actors Elliot Fletcher and Tom Phelan), these characters helped increase queer and trans visibility in television. That intent seems to be carrying over to Good Trouble, with characters like Alice and Gael.

After a grueling first few days, Callie and Mariana sit by the gorgeous rooftop pool in the building that realistically no person in their 20s can afford unless it’s split between eight people, so kudos to the writers for keeping it real, and Callie finally admits she hooked up with Gael on their first night there without knowing who he was.

Just as they’ve decided they do not want to fight over a guy, they spot Gael in his room, which is conveniently visible from across the pool, and thirstily watch him remove his shirt. Moments later, a second male enters the bedroom and Gael kisses him, the camera panning away just as things begin to heat up between them.

Mariana quickly decides she’s no longer interested, but judging by glimpses of future episodes, Callie might not be so quick to give him up just yet. That’s good news, as we’re overdue for a bisexual leading man who isn’t dismissed the moment his sexuality is revealed. Grown-ish, another spin-off about young adults, had the chance to explore a similar storyline in Season 1, but the writers chose to go another route.

When Nomi (Emily Arlook), Grown-ish’s bisexual character, learns a man she’s dating is also bisexual, she immediately dumps him. Rather than delve into Nomi’s internalized biphobia and the double standard bisexual men face every day, the storyline is never visited again. That Good Trouble might explore an alternate take is a promising and refreshing prospect.

For those missing the rest of the Adams foster clan, expect to see familiar faces sooner rather than later. Mariana’s twin brother, Jesus (Noah Centineo) is slated to make an appearance as soon as episode 4, while Stef and Lena are also expected to pay a visit at some point in the future, among other members of the Adams foster family.

While Good Trouble has a decidedly different tone than The Fosters, out lesbian EP Joanna Johnson hopes it will resonate with audiences in a familial way.

“When you leave home, you go out in the world and you create your chosen family of friends and people that you work with, and that’s what this show is about,” she tells Variety. “It’s still a family show, but it’s the family you choose to surround you and support you.”

Good Trouble premieres January 8 on Freeform, and the pilot is now streaming on Hulu.

Images via Freeform

The 2019 Golden Globes Reward Straight Hollywood and Real Queer Stories

Halfway through last night’s awards show I joked my headline for the night would be “The 2019 Golden Globes: Not Too Homophobic Yet.”

By that point, openly gay actor Ben Whishaw had taken the stage to accept an award for his very gay role in the very gay Russell T. Davies’ gay-themed A Very English Scandal, and he’d even used the word “queer” in dedicating his award to the real-life Norman Scott he portrayed in the show. Scott, for those who have yet to watch the Amazon mini-series, was the secret, kept lover of British politician Jeremy Thorpe (played by the highly heterosexual Hugh Grant). Scott said that he was “deeply moved” by the speech. 

Other wins satisfied our gay agenda, to be sure (Gaga’s win for “Shallow,” for one – sorry, Linda Perry), but there remained an interesting trend of heterosexuals winning for portraying queer people. Darren Criss took home Best Performance by an Actor in a Limited Series or Motion Picture Made for Television just a few weeks after saying he would never take a gay role from a gay actor again, and when the cast of The Assassination of Gianni Versace took the stage, it wasn’t openly gay EPs Ryan Murphy or lesbian Nina Jacobson who spoke about homophobia on the mic, nor gay writer Tom Rob Smith, but straight producer Brad Simpson.

“Gianni Versace was murdered 20 years ago,” Simpson said, speaking for his team. “He was one of the very few public figures who was out during a time of intense hate and fear. This was the era of ‘Don’t ask, don’t tell.’ It was the Defense of Marriage Act era. Those forces of hate and fear are still with us. They tell us we should be scared of people who are different than us. They tell us we should put walls around ourselves.”

For a show like Versace, this was fitting. Everyone involved with the series spoke passionately about Versace‘s raison d’être throughout the show’s run and subsequent press and now awards season. Versace’s being gay, as well as internalized, public, and familial homophobia, were not only central to the plot, but the point. 

Compare that to the Queen biopic Bohemian RhapsodyRami Malek’s win for Best Actor was not as big of a surprise, perhaps, as the film’s Best Picture win. The highly contentious portrait of the known queer, HIV-positive frontman Freddie Mercury had critics upset about the lack of queer context available in the final cut, especially in relation to his relationship with Jim Hutton. So while Simpson acknowledged Versace’s queerness and homophobia being central to his respective project, Malek (also heterosexual) did not touch on Mercury’s identity in any certain terms. It was the same way through much of the press tour for Bohemian Rhapsody. In our own interview with Malek, he was loath to refer to Mercury as a queer icon.

“Thank you to Freddie Mercury for giving me the joy of a lifetime,” Malek said at the end of his acceptance speech. “I love you, you beautiful man. This is for – and because of – you, gorgeous.” 

Backstage after their wins, though, it was clear the cast and crew of Bohemian Rhapsody wanted nothing to do with the sexuality conversation. When asked about some critics not praising the film, the Queen guitarist Brian May couldn’t even bring himself to speak to queerness directly. Instead, he says some judged the trailer too harshly but once they saw the film itself, they found Bohemian Rhapsody “did the thing well.” That thing? His queerness – and as far as it being portrayed accurately? Still arguable. And despite having been pressed about and criticized for ignoring much of Mercury’s queerness, Malek and his cohorts’ conversations about Mercury and the film are devoid of that investigation. Every backstage interview Malek had was without mention of Mercury’s being queer, which, although not central to the film (a choice, of course), was still a huge part of his legacy, whether the surviving members of Queen and the crew behind Bohemian Rhapsody like it or not. 

Though Mercury was widely known to be bisexual, he never came out publicly during his lifetime – which is the same case for Dr. Don Shirley,  the queer classical pianist portrayed by Mahershala Ali in the winner for Best Picture – Musical or Comedy. Green Book (which also won Best Screenplay) only slightly hints at Shirley’s sexuality in a brief scene where it’s mentioned he’d been arrested for taking part in a gay sex act at a YMCA while on tour. The rest of the film is devoid of any sexual or romantic information about him at all, which is desexualizing more than anything, but more in tune with the real Shirley. According to family members, Shirley’s response to people asking if he was gay was the tongue-in-cheek response: “Why? Are you interested?” 

But as Shirley was not nearly as well-known as Mercury, nor regarded for his queerness as part of his persona, Green Book can only truly be read as not-straight with a provided context often left out of the cultural conversation. Bohemian Rhapsody, on the other hand, ran with a revisionist history that seemed to extend beyond the film itself.

Olivia Colman also won for her role as the also very real queer Queen Anne in The Favourite, and thanked her “bitches” (aka co-stars/on-screen lovers Emma Stone and Rachel Weisz), but made no mention of the Queen herself. Even though Colman’s version of the royal matriarch was high parody based in some kind of rumored reality, the film and cast were never hesitant about the Sapphicness on flamboyant display. And even though it was based in a time where homosexuality was not only uncouth but illegal, homophobia played a smaller role in that film than it did in the others – and didn’t feel as palpable from cast and crew during press runs. 

By the Globes’ end, Ben Whishaw was the only openly LGBTQ actor to win (other nominees like Billy Porter and the team from Pose went home empty-handed), and perhaps it’s no surprise he’s the only one who made any sort of specific mention of the queer person who he portrayed, and how it carried a weight stronger than that of one singular gay man. Still, it’s worth noting that straight Brad Simpson of Versace also used his opportunity at the mic to address the theme of homophobia in a way that also included empathy. Because LGBTQ people shouldn’t bear the burden of being the only ones to bring these themes to light, just as Sandra Oh and Regina King shouldn’t have to be the only women who spoke up for inclusion and change while Michael Douglas and all of the other straight white dudes get to use their time to thank their publicists and family and money people. Because Michael Douglas can play Liberace and be a mouthpiece for a closeted gay man one time in his life and take off the glistening cape, but Billy Porter will still be wearing his. Because not only LGBTQ people care about LGBTQ stories and history. 

The powers behind Bohemian Rhapsody and Green Book might not acknowledge their respective films or protagonists as queer, but how they handle the press and public conversations surrounding the very real queer people at the center of their stories can be just as harmful as their narrative of erasure. So while it may seem like the problem is straight people playing gay or telling gay stories (especially those based on real people and events), the heart of the issue is how the people and the stories are treated throughout – how the films inform their legacies, and vice versa. Because queer people can and should play heterosexual roles, too (see: Whishaw currently starring quite convincingly as the straight dad in the Return of Mary Poppins) – and use their platforms to speak to things outside of homophobia and relevant LGBTQ issues. 

“It needs to be an even playing field for everybody, that would be my ideal,” Whishaw told reporters backstage after his English Scandal win. “I don’t know how far we’re away from that.”

This current awards season could serve as a useful barometer. 

‘The Favourite’ Cast Was Aggressively Queer at the Golden Globes and It Rocked

Watching Maya Rudolph jokingly propose to Amy Poehler on live TV wasn’t even close to the gayest moment of the 76th annual Golden Globe awards. Sunday’s show was brimming with queerness, from actors like Olivia Colman and Sandra Oh, who took home trophies for portraying queer characters, to Ben Whishaw, an out gay actor who won for his role in A Very English Scandal. But the gayest and most rapturous part of the evening was both times the cast of The Favourite was featured; Olivia Colman, Rachel Weisz, and Emma Stone, the stars who brought three queer characters to life in Yorgos Lanthimos’ period film, openly flaunted female queerness in a way that’s rarely been done before on an awards show—and it was brilliant.

If The Favourite gets nominated at the Oscars, which it likely will, then a lesbian movie may finally have a Call Me By Your Name moment; movies that center queer female romances are almost never awarded at the Oscars, or any award shows for that matter. In the past, lesbian-themed movies have been majorly snubbed, like Carol in 2015. But the three stars of The Favourite have breathed life into the film in such a magically gay way that’s elevated the excitement surrounding the film. When they’re together, lesbianism just oozes out of their pores, despite none of them identifying as queer. They’re just glowing, and their chemistry is magnetic, their enthusiasm contagious.

On Sunday night, we saw two major moments with these animated leading ladies—Colman, who won for Best Actress in a Motion Picture – Musical or Comedy, and Weisz and Stone, both of whom were nominated. First, the Holy Trinity presented an award together. The three women strutted on stage holding hands and giggling like giddy girls with a Sapphic secret, and then continued to toss lesbian innuendos around like rainbow confetti.

Weisz described her character, Sarah Churchill, as “capable of giving even the queen a good tongue lashing,” while her co-star Colman tittered. Then, Stone lamented that her character, Abigail Hill, was overlooked, despite being “just as good with her hands as Sarah.” If hearing Rachel Weisz say “tongue lashing” and Emma Stone joking about finger-banging wasn’t enough to make you blush, the women just pressed further.

“Did these women really love her,” Colman asked about her character, “or did they just want her for her body politic?” She added cheekily, “Then again, when the women were these two hotties, did it really matter?” It was silly and sexy and indulgent; everything we want from an award-winning cast on a live show.

When I first saw The Favourite, I was jarred not only by how much I wanted Rachel Weisz to shoot me with a weathered musket, but by the movie’s brazen queerness; it’s not often queer women get to see themselves portrayed on the big screen, and this movie was certainly one of a kind in regards to the way these women were portrayed; lesbian or bisexual characters are almost never afforded the opportunity to be witty and brash, rather than self-serious and dramatic. So, it was mollifying to see that energy played out in a buzzy awards season movie, and subsequently carried into the real world by the actors themselves. All three actresses wielded the bold, flirtatious queerness of their characters like a sword, threatening to slay any naysayers who dare stand in their way. Rather than shy away from the movie’s gay plot, their giggly presentation seemingly said, “This one is for the queer women watching.”

And when Olivia Colman accepted the award for her role as Queen Anne, she kept the celebration going. In her speech, the British actress thanked her “bitches,” nodding to her female costars and drawing a coquettish wave from Rachel Weisz. Between their gay shenanigans, Sandra Oh’s win, and Halle Berry openly flirting with Lena Waithe on stage (she totally was, right?!) the whole award show felt like a knowing wink to queer fans.

What makes The Favourite so special is exactly what Colman, Weisz, and Stone embodied on stage: It’s just so much goddamn fun. The movie allows queer women to be outrageous and wretched and hysterical and hilarious, rather than boxing them into any tired trope or lesbian stereotype. And to see that spirit translated from the big screen to a live awards telecast was so satisfying. As a queer woman, I finally felt included in the exclusive fun of awards season in a way I never have before. I look forward to every red carpet, award ceremony, or acceptance speech the stars of The Favourite may grace, and I’m already prematurely mourning a world after the Oscars, a lifeless dystopia in which Olivia Colman, Rachel Weisz, and Emma Stone stop publicly fawning over each other like a pack of hormonal teenagers. But it’s good while it lasts.

Header image via Getty

Here Are The Gayest Looks of the 2019 Golden Globes

SuitWatch 2019 kicked off Sunday night at the 76th annual Golden Globe Awards. Our favorite film and TV actresses tore through the red carpet like a Category 5 hurricane, and while the floor-length gowns and designer dresses were certainly something to be ogled, I personally had my eye on the gayer fashions.

Last year’s Golden Globes carpet was defined by the “blackout” Time’s Up protest, and I was hoping this year’s would be marked by menswear, given the memorable 2018 trend (see: Ocean’s 8 press tour, the Cannes red carpet, everything Blake Lively wore in A Simple Favor). But I have to be honest, the pre-show was basically as heterosexual as a Reddit forum for adult Disney fans. Although there wasn’t much to work with, here are the best queer girl looks from the 2019 Golden Globes.

Janelle Monae

I’m not sure what the fuck is going on here, but I adore it. The out queer Janelle sported a golden headpiece and a gilded dress that’s basically the formal wear equivalent of a gay girl wearing a Billabong t-shirt over a long-sleeved tee. She’s serving belted, layered pansexual glory and I want her to step on me.

Elsie Fisher

Fifteen-year old Elsie Fisher, the Eighth Grade star nominated for Best Actress in a Motion Picture – Musical or Comedy, wore an adorable red velvet collared pantsuit to kick off her first ever awards season. It’s the perfect outfit for walking up to an old dude and saying, “Move, my suit is velvet.”

Lena Waithe

Presenter Lena Waithe was somehow the second best dressed bleach-blonde lesbian in a jet-black suit, right after Chris Messina, who stunned straight women, gay men, and even lesbians with his dirtbag-yellow locks. But Lena Waithe looked dapper as ever in a black turtleneck, gold necklace, and mean mug that screams, “Be gayer.”

Glenn Close

Nominated for her role in The Wife, Glenn Close wore a fucking velvet cape. I think at a certain point, when you’re of age and you’ve been in enough award-winning movies, you just sort of say “Fuck it, I’m wearing a cape” and go to the Golden Globes looking like Professor McGonagall’s twin lesbian Auror. It’s a power move. This is the best red carpet cape since Lena Waithe’s rainbow flag piece at the Met Gala. Next year, we’re surpassing capes and going straight for robes. Gilded robes 2020.

Rosamund Pike

Sure, I’m the Chairwoman of SuitWatch 2019, but that doesn’t mean I can’t appreciate other queer getups. For example, Rosamund Pike, nominated for her role in A Private War, wore a jacket that says “I robbed Michael Jackson’s grave for this,” and a thick choker that’s perfect for walking into a gay bar and waiting for a lesbian to say “I think I’ve seen you on Hinge.” Great work, Rosamund. Great gay work.

Linda Perry

Linda Perry, the queer 4 Non-Blondes songwriter—nominated for Best Original Song in Dumplin’—sported a shimmering metallic suit accompanied by that fucking top hat, which is, at this point, basically an appendage of hers rather than an accessory. The hat seems to grow taller and taller with each appearance—it began as your average Silver Lake Lesbian Hat, then over the years competed with Pharrell for Most Longitudinal Hat, and today, it can be scaled by any of the Spider People in the Spider-verse.

Julia Roberts

The first photograph I saw of Julia Roberts at the Golden Globes was from the waist up, and I thought, “snore.” The next one was a full-length shot and I hurled myself face-first through a plate glass window. The actress, nominated for her role in Amazon’s Homecoming, wore a mashup of black tapered trousers with a tan dress, which was the most ambitious crossover outfit in history. Roberts has worn numerous power-suits on red carpets past, so I’m elated that she stuck to her roots. Pierce my cartilage with your stilettos, queen.

Judy Greer

Styled by Karla Welch, Judy Greer stormed the red carpet in an Alberta Ferretti suit and goddamn oversized bowtie, winning the Gay Girl Golden Globe Fashion Awards by a landslide. Her flare pants are perfect for openly vaping in a movie theater while straight people glare at you even though you’re just doing this for your people, who’ve been previously oppressed for centuries, and didn’t have the same opportunities as you do now, like being able to vape in a movie theater. Greer’s can simply be called “Lesbian Cater Waiter Who Fucked Your Bridesmaid and Ruined the Whole Wedding.”

And a special shoutout to the queer male looks of the Golden Globes red carpet, like twink icon Timothée Chalamet, who sported a literal metallic harness, and Billy Porter of Pose, who scalped Glenn Close with his bedazzled, reversible cape.

Images via Getty