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Boob(s On Your) Tube: It’s a Good Week For Queer Happy Endings on “Doubt” and “Stitchers”

Summer TV is slipping away, friends. Soon we’ll be back in the weird embrace of broadcast network television. I’ve got a preview coming for you next week. There’s still a few weeks left of this gloriously gay summer, though. Valerie Anne recapped Wynonna Earp this week and also the Orphan Black series finale (*sniffle*). Kayla recapped The Bold Type. And all of our staff writers weighed in on the lesbian sex scenes that changed their lives. Here’s what else!

Younger

What if, instead of counter-protesting, I tell women to eat cake. But like in a funny way.

I … don’t think that’s a good idea.

Younger is so good this year, y’all. I usually don’t care about straight people’s romances on TV but I’m really into the whole Liza/Josh/Richard thing. They’re both excellent dudes. No man is good enough for Sutton Foster but Liza seems so monumentally un-queer I can’t begrudge them both being in love with her. I also think Younger’s done a much better job integrating Maggie into the larger story this season and I hope very much that if I keep saying she’s going to meet Diana that she’ll meet Diana.

This week Maggie and Liza get some new upstairs neighbors, a gay couple who keeps chickens on the roof for their new farm-to-table restaurant that’s taking Williamsburg by storm. To make up for the crowing noises they invite Maggie and Liza to dinner at their restaurant, fawning over them when they arrive and setting them up with whatever the chef recommends. In between their many courses, Maggie tells a story to Liza about gelato and pubic hair that I don’t really understand but maybe the point is you gotta take the good with the bad?

Because Jessica Stein is back and her book is really good but Richard doesn’t want to publish it. In fact, he wants to have some lawyers shut her down. Maggie convinces him to have dinner with Jessica Stein, which he does, while she babysits, and it’s fine; they work everything out. Liza agrees to edit Jessica Stein’s book and she’s happy about it and also happy that she thinks she has a chance to win back Richard. Even though Richard tells Liza he only has eyes for her.

The gay guys with the farm-to-table restaurant leave Maggie and Liza with a $500 bill so Maggie steals their chickens and cooks them. JK, she calls the health department and punks them with a chicken from Whole Foods. Liza flops against the counter and says, “Maggie, I love you.” And reader, I do too.

Doubt

Written by Natalie

When Doubt concluded its run on Saturday night, Sadie’s just discovered that her fiance—the man she loves, the man she risked everything for—has been lying to her and may have murdered his teenage girlfriend. Nick’s had happiness, in his career and personal life (a romance with his co-worker, Tiffany), slip right through his fingertips, when’s he’s arrested for, essentially, not snitching while in prison. Isaiah mortgaged his firm for Nick’s bail and Albert is forced to leave the firm in order to defend his colleague. Everyone’s future is in doubt (pun intended).

And then, there’s Cameron Wirth…who ends the season in a committed relationship with Peter, a man who affirms her and his love for her privately and publicly and a man who would walk away from his dream job because she is the dream that truly matters.

In the show’s final episodes, another assistant district attorney, Krista Reed (Trisha LaFache), fills Peter in on some office rumors. His chances of becoming Interim District Attorney have dwindled because people in the office—people who were having fun with Cameron just the night before—think that Peter’s relationship with Cam is a liability in an election. He doesn’t have to stop dating her, Krista advises, just be more discreet. She even volunteers to spread the rumor that he and Cameron are just friends.

To his credit, Peter refuses. He plays it off during dinner with Cameron, saying that he’d rather spend his time in the courtroom, than deal with the politics of a DA appointment, but she sees through him. Cameron urges Peter to rethink his decision—”There’s nothing going on here except you backing down from a fight”—but he, again, refuses.

“Maybe I’m not backing down from a fight, okay? Maybe this is me, happier than I’ve ever been, realizing that I don’t want a life of compromise and backroom politics. Because that’s what a district attorney is,” Peter says, in an effort to convince himself and Cameron that giving up is the right choice. “I got a great job that I love, I got a hot girlfriend, and I got a bowl of pasta. I’m good.”

Later, Cameron urges Peter to think about the future…if at some point down the road, after they’ve broken up, he’ll regret not having taken a shot at the DA’s office because of her. He rejects the premise of her question because they’re not going to break-up. He’s in this relationship because he wants to build a life with her.

The look that flashes on Cameron’s face when Peter says he wants to build a life with her is priceless. It’s brief and it goes unacknowledged in the episode, but it spoke volumes. Ever the lawyer, Cameron pivots to the possibility that he might one day resent her for standing in the way of his dream job and to avoid that, maybe breaking up is the better option. Peter admits that he wants to be DA and that he has been running from the fight but he still refuses to let Cameron go. Instead, he walks over and kisses her in front of a group of gossipy paralegals.

“Now, I hope I don’t have to choose between the job and my relationship, but if I do, it’s you,” Peter confesses. “I told you, I’d always choose you. I meant it.”

There aren’t fairy tales written about black trans women. There’s no fairy godmother transforming pumpkins into chariots and tattered clothing into ball gowns. There are a lot of evil stepsisters—both real and imagined—but no one’s telling the story about the Prince Charming who sweeps a black trans woman off her feet and into the happily ever after. No one writes that fairytale.

But Doubt did.

Two years passed between the announcement that Laverne Cox would join the cast of Doubt and when the show finally made it into the CBS lineup. I’m not sure the writers of this show could’ve fathomed the world that they’d be injecting Cameron Wirth into; that two years feels like a two lifetimes ago.

Two years ago, hope felt possible; today, it’s in short supply.

But it’s in these moments that fairy tales mean the most. At their core, fairy tales are messages of hope. Or, as Neil Gaiman put it in the epigraph to Coraline, “Fairy tales are more than true – not because they tell us dragons exist, but because they tell us dragons can be beaten.”

It’s important that there are shows that reveal that the dragons that trans women face—mainly because cis people often can’t see those dragons for themselves—but there’s also a need for a reminder to trans women that those dragons can be beaten.

For one season, over 13 episodes, Doubt did that.

Stitchers

Written by Valerie Anne

I don’t want to brag y’all but when I said I didn’t think Stitchers was done with the Camille/Amanda storyline, I was right.

After a near-death experience leaves Camille a little shaken, she decides that she’s had enough of this break-up with Amanda, and she goes to the club where she works and SINGS FOR HER. Guess what song she sings! I’ll tell you! It’s the same song they played for each other on the guitar on the couch that one night. It’s also the same song that was playing in the club the first time they kissed. My favorite line for it/proof it’s the perfect “Camanda” song:

I’m finding cracks in all the walls I made
Little breakthroughs letting in some light

How perfectly Camille.

“Like a magic cure that’s always just an inch away from my fingertips”

And I love that they have a song that’s canonically theirs and they know it. Anyway, the song works, because of course it does, who wouldn’t it work on, and Camille runs off the stage, and her and Amanda kiss and make up.

I love these musical science geek beautiful geniuses.

The next day/episode, they wake up together, and even though it’s sandwiched between two very aggressively heterosexual scenes, I don’t care that much because they’re adorable.

HOLDING HANDS. WHILE THEY SLEEP. OKAY, YOU TWO. OKAY.

Amanda does ask Camille to move in, which I thought was a terrifying move, because we haven’t seen them together all that much, but Camille happily agrees (after expressing mild concern that they’d be walking stereotypes if they U-Hauled.) Later, when Camille tells Kirsten she’s moving out, Kirsten expresses my same worries, but Camille insists that she knows what her heart wants, and frankly could use a good thing happening to her. If she’s happy, I’m happy, so I’m on board.

I ship camille + that nose crinkle

That’s where they left it, which is great because while I suppose it’s possible they come back next season like “jk nevermind Amanda moved Out of Town so forget that moving out thing,” more likely they’ll have Camille moving in with her girlfriend be part of her emotional arc if the show gets picked up for a fourth season. Either way, we ended season three with a happy couple between two women, including one woman of color, and I’m going to file that one as a “win” for 2017. (This particular file drawer is pretty empty so it feels nice to put something in it.)

I don’t think I ever fully understood ‘bedroom eyes’ til just now.

Exclusive “Stitchers” Season Finale Sneak Peek: Camille and Amanda Make Plans For The Future

The Stitchers season three finale is upon us and in this exclusive sneak peek it looks like Camille and Amanda are getting ready to take their relationship to the next level. Valerie Anne has been covering their blossoming love story in Boob(s On Your) Tube. When she last checked in on them, she closed out by saying, “While the storyline zigged when I thought it would zag, there are still two more episodes left in the season, and I don’t think we’re done with these two yet.”

She couldn’t have been more right.

Here’s hoping Camille has some bullet-proof vests stashed under that bed!

Boob(s On Your) Tube: “Stitchers” Isn’t Giving Up on Camille And Amanda

This has been a surprising summer for queer women on TV — in a good way! Last summer was such a bust on account of every gay getting buried, but there’s some fun and flirty things happening now. I’m actually enjoying queer TV right now more than I have since that one summer when Defiance and Pretty Little Liars were good and Bomb Girls existed. I’m not naive enough to call it a trend, but we’re having a nice moment. Carmen recapped Queen Sugar‘s midseason finale this week. Kayla recapped The Bold Type. Valerie Anne recapped Wynonna Earp and Orphan Black. And Faith made a list of TV moms she’d like to U-Haul with!

Here’s what else happened in the world.

Stitchers

Written by Valerie Anne

When last we left our Stitchers gals, Camille had saved Amanda from a baddie and they had a lovely little conversation about their feelings. I said, and I quote, “the conversation they have at the end of the episode gives me more hope than I originally anticipated having for this queer little relationship.”

Well my hope balloon is deflating fast, my friends. It’s not out of air yet, but the last few eps have been…not great for Camille and Amanda’s relationship.

It starts with Camille asking her coworker buddy Fisher for relationship advice, because she’s really into Amanda and doesn’t want to mess it up. Which seems great! Until she is assigned a case that reminds her of her childhood and she gets a little squirrelly.

Their next date night starts out fine…

And for once fine means fine!

But when Amanda calls her out for not quite being there, Camille asks the question I want to ask the people I care about so much it scares me at least once a week: “Why do you like me?”

Camille starts rambling about feeling like a liar but she’s not articulating her feelings in a way Amanda understands and she’s never seen her quite this down on herself, but before Camille can figure out how to explain what she’s feeling or even just that a case has her a little in her head, Kirsten comes home and Amanda excuses herself. Camille turns her anger at herself on Kirsten and tells her that her sister is probably a liar. Which is valid in context of the show, but also comes from a deeper place in Camille.

You see, Camille grew up in a trailer park, using her cute little girl face to swindle kind passers-by out of money. One day her older brother was getting arrested for having enough weed to be considered intent to sell, but Camille said she found it and the cops let them off with a stern look and a verbal warning. As soon as the cop was gone, her brother laughed like that was the most fun he’d ever had, and not only didn’t thank her for saving his ass from jail, but also told her nobody likes her.

Camille spent her childhood lying and surrounded by liars, and this case is reminding her of everyone she’s cared about who has hurt her and everyone she has hurt. So of course she’s not peak girlfriend material right now.

So she goes to Amanda to apologize, saying letting people get close and wearing her heart on her sleeve are new things for her, but Amanda is worth it to her, so she wants to give this thing a shot.

“I promise I’m not skipping U-Hauling and going right to proposing.”

For some reason Amanda says she doesn’t want to be “anyone’s shot” and storms off, leaving Camille and I very confused because what does that even mean??

On lots of shows that would have been it. Amanda would have walked into the metaphorical parking lot never to be seen again. Camille would only date guys for the rest of the show and no one would ever mention she was bisexual. But! This show! Is apparently not like that. To my surprise and delight, Camille tells her friends she’s on the outs with Amanda, and acknowledges that she’s bummed about it. They eventually need to call Amanda in on the case they’re on, and everyone checks in with Camille, who assures them she can be professional about it.

Camille and Amanda do have a loaded conversation, where Camille asks Amanda what she needs, as in to help with the case, and Amanda says, “space,” which is a joke because the case is in a Mars simulation, but also probably literal.

“You looking for a coo-oo-oo-ool rider?”

“I didn’t even like Grease 2.”

“Knew I should have gone with You’re the One that I Want…”

The next episode was a bottle episode so Kirstin and Cameron were the only ones in the episode until the very end, but it was one of the best episodes of crime-of-the-week serial dramas I’ve seen in a long time, so I thought that was worth mentioning.

In this week’s alien-conspiracy-themed episode, Camille proudly boasts that Gillian Anderson was her first crush, so that was fun. Also she spends the next episode making a face every time someone says Amanda’s name that looks like when someone’s hungover and someone else mentions booze.

I don’t think we’ve quite seen the end of Camille and Amanda. The end of their relationship wasn’t a clean cut, and I’m getting similar vibes as when on Rookie Blue Gail and Holly were fighting and weren’t speaking but had to work together and it was tense until one day Holly pulled her into an interrogation room and they made out and it was beautiful.

So what I’m saying is, though the storyline zigged when I thought it would zag, there are still two more episodes left in the season, and I don’t think we’re done with these two yet.

Men are from Mars. See you on Venus.

Younger

My favorite thing about Younger is obviously the relationships Liza has with the women in her life, mostly Maggie and Kelsey. My second favorite thing about Younger is how Maggie is such a cool cucumber with women but also she gets into the most ridiculous Scooby-Doo situations. This week’s wackadoodlry is actually a little too close to Darren Star’s Sex and the City shenanigans for my taste, but Debi Mazar makes everything so much better than it is on the page.

Maggie and Lauren are out at a gay bar, is how the whole thing gets started. Lauren’s rebounding from her boring boyfriend she dumped and looking for a lady to hook up with. (“I’m back and I’m oozing sex!”) Maggie is riding her wave of success from stabbing that salami at Montana’s art show last week. And so they decide to wing-woman each other.

They’re ogled and then approached by a woman named Donna who owns a gallery in Soho; she read the recent piece about Maggie in the New York Times and she wants to talk art with her. Also she wants to have sex with her. Maggie gets weird about it because Donna has a mustache that she doesn’t seem to know about. Lauren couldn’t care less.

Lauren: She was so into you; you could’ve fried an egg on that cooch.
Maggie: Did…did she have a mustache?
Lauren: Honestly? It wasn’t on her tits. That’s all I was lookin’ at.

They end up in the bathtub together and Donna asks if Maggie wants to shave her and Maggie says she does and she goes for the mustache but that’s not what Donna meant at all and so that’s the end of that.

This plus last year’s Mikvah disaster should be enough to deter Maggie from ever going near a bath with another woman again for the rest of her life.

The Fosters

Callie and Aaron are getting serious. Sex serious. And in a surprising turn of events, everyone handles it with such refreshing maturity I’m not really sure what to do with myself. I mean, yes, Callie spends the entire day driving back and forth between Aaron and AJ sorting out her drama, but it’s because she’s trying to take control of her life in a healthy way for once. She tells AJ it’s complete bullshit that he cheated on her and then blamed it on her because she had a lot of stuff going on in her life, like being arrested for yet another crime she didn’t commit and nearly getting shut by a drug dealer. He agrees. It was a childish thing to do. And when Aaron’s not ready to have sex with her because he doesn’t trust that she’s not just using him for a rebound, she accepts that, and tells him that when the time comes she’s going to have some questions and she needs the whole process to be a judgement free zone for both of them, a safe space to communicate about the differences between having sex with a cis guy and a trans guy. Aaron is very cool with that. (Much cooler than he was about her getting sex advice from Cole and acting like what one trans guy likes is universal for all trans guys.)

Mariana also has some drama going on, some roller derby drama. It’s blah blah whatever posturing for alpha social status. All I care about is Mariana is going to be the greatest roller derby player on the earth. She has some aggression she needs to get out, for sure, and also she has never not completely excelled at everything she’s ever tried to do. She did forget her butt pad though. She probably won’t make that mistake again.

Stef and Lena are mostly still trying to navigate Jesus’ head injury recovery and the very clear PTSD that’s going along with it. He finally has a real conversation with Emma about her decision to get an abortion. She reiterates that it is her body and it was her choice (this show has done a brilliant job with Emma’s unwillingness to back down or shoulder guilt or shame about her decision) but she’s sorry she didn’t at least discuss it with him first. Again, she was still going to do what she wanted to do, which was get an abortion, but she knows it was hard for him to have to learn about it the way he did. Probably he still shouldn’t have taken a bat to Brandon’s room to deal with it. He agrees. And he’s actually feeling pretty okay about things in his life, until Stef and Lena tell him he can return to school but only with the help of an aid.

Probably something also happened with Brandon in this episode but I cannot remember it. ¯\_(ツ)_/¯

Boob(s On Your) Tube: “Stitchers” Continues the Bisexual Revolution

What’s that you spy with your greedy little TV eyes? Why, yes! Yes, it is! An installment of Boob(s On Your) Tube, the gay TV column that gets killed and revived more often than a white man on a sci-fi TV show! There are so many reasons this column is hard to keep up with, including the fact that almost all the queer characters are on binge-able streaming shows these days. But with the help of some of Autostraddle’s best and most dedicated TV writers I’m determined to make this damn thing work!

In case you’ve missed it this summer, I recapped the deeply disappointing end of Pretty Little Liars. Valerie Anne continues to brilliantly recap Wynonna Earp and Orphan Black. Our team joined together to slog through season five of Orange Is the New Black. Faith even recapped every single episode of Sense8 (and will be doing the two-hour series finale, too!). We’ve also done standalone reviews of almost too many things to count: Claws, Brown Girls, Queen Sugar, Naomi Watts’ new show, Danger and Eggs, Master of None, Anne of Green Gables, 13 Reasons Why, Loud House, Dear White People, and the Handmaid’s Tale.

Riese is almost done writing a review of the first season of Hulu’s Harlots and Faith is working on a review for the first season of GLOW.

Boob(s On Your) Tube hasn’t been regular, but we’ve been working hard to bring you the best and most fun and most activist-minded TV coverage on the great wide internet!

The most thrilling thing I want to tell you about is that two Boob(s On Your) Tube regulars have joined our TV writing team! If you’ve ever read this column, you know that Pecola and CP have always provided funny, sharp commentary about all of our favorite shows, and now they’re doing it professionally. I have known Pecola on the internet for years and years. Her wisdom has shown me the light in a dozen different ways since my earliest days at AfterEllen and it is an absolute honor to be working alongside her. I’ve only started to know CP and already she has infused my life with such a warmth with her open-hearted criticism I feel like I am stating to enjoy television again. CP is Carmen Phillips. Pecola is Natalie. My heart is very happy writing this paragraph.

So other than all that, below is what we haven’t talked about yet this summer on teevee.

Stitchers

Written by Valerie Anne

Have you been watching Stitchers? I’ve been watching Stitchers. I’ll confess I started watching Stitchers because Allison Scagliotti was in it and I live in a pretty constant state of missing Warehouse 13, and you know what, that turned out to be a perfectly valid reason to watch this show. Her character, Camille, provides a similar snarky energy as Claudia did, but now with more maturity and confidence.

In the first season, there was a line that piqued my interest during a conversation between Camille and her then-boyfriend about her not mentioning a guy she dated. She shrugs it off, saying it didn’t matter much, they didn’t even date that long; as if to prove the point, she mentions that she dated his sister longer.

It was a well-placed line, that honestly even if they never followed up on it, didn’t feel manipulative or too much like a punchline. It was more to show that Camille is who she is, no apologies, and she has depths we don’t quite know about yet. But, we’re in luck, because not only are they following up with it, they’re doing it in style.

This season on Stitchers, there’s a new Medical Examiner in town, who happens to also be a DJ and also into Camille and also a very attractive woman. Her name is Amanda and she’s played by Anna Akana and I love her.

The first time they kissed was a lustful response to some capital ‘e’ Emotions Camille was feeling and for a minute I worried the ME was just an outlet for distraction, but in a following episode, we see the two of them sitting on the couch, SINGING TO EACH OTHER. Camille plays the guitar and sings for Amanda, admitting she doesn’t usually do that for anyone. The two of them share cute kisses on the couch, and later even rip each other’s clothes off as they tumble down the hallway in the middle of a everyone-is-having-sex montage.

In this week’s episode, Camille is still playing coy with her coworkers, admitting she’s seeing someone new (describing their night together as a “hard R” as opposed to Kirsten’s PG night), but it isn’t until about halfway through the episode when she gives up the gig and decides she can’t contain how giddy her new gal makes her. She even goes on a double-date with her ex-boyfriend/coworker and his new girlfriend who happens to also be Camille’s roommate’s estranged half-sister (it’s…complicated).

On that date, Camille’s ex pulls Amanda aside to warn her not to hurt Camille, but Amanda doesn’t bat a perfect eyelash before threatening him nine ways to Sunday if he doesn’t cut that out right now. Amanda can fend for herself, is what I’m saying. Camille and Amanda are part of the crux of the episode, which I won’t spoil for you, but I will say that the conversation they have at the end of the episode gives me more hope than I originally anticipated having for this queer little relationship.

What I’m saying is, it seems like they’re taking this storyline seriously and the bisexual revolution continues apace.

Younger

Last summer I was convinced that me and my friend Nic were literally the only two people on earth watching Younger, but when the fifth season premiered last week it trended on Twitter (my favorite irony since Younger is aimed at 30-somethings who, according to the show itself, are irredeemably bamboozled by the World Wide Web) and then this week it trended again. In fact, the season five premiere was the highest-rated episode of the show to date. Which is good! Because I want more! It’s so ridiculous but also very fun and so far this season, the best it’s ever been.

One reason for that is Liza’s relationship with Kelsey, which has kind of become the emotional anchor of the entire show. At the end of season four, Liza came out to Kelsey as not-a-millennial. She also broke up with Josh. So now Josh and Kelsey are both mourning Liza, but the relationship where all the pathos is aimed is the one between two women. Liza kicks off “Post Truth” — an episode where Kristin Chenoweth plays “a one-woman reality-distortion field,” so Kellyanne Conway, basically — by telling Kelsey that the most important people in her life are her daughter, Maggie, and Kelsey. She tries to explain, tries to talk it out, tries to force Kelsey to listen, but Kelsey feels deeply betrayed and can’t let it go. She helps Liza walk back a blackmailed story about her real age from an Entertainment Weekly writer, but she insists it’s for the business, not because she loves Liza.

When they’re not making sad moon-eyes at each other, they’re bickering like ex-girlfriends: “You really have no idea what a meme is; I can’t believe I’ve been so blind!”

Maggie tries to help Liza navigate her breakup with Josh and her friend-breakup with Kelsey. First up: A new route to the L train. “Never face a painful situation when you can just skulk around it,” Maggie insists. But! In a welcome change of pace, Liza’s drama doesn’t push out the chance for Maggie to have her own storyline. When a barista compliments Maggie’s art and then gives her five free coffee card punches — “fifth one’s free!” — Maggie assumes she’s being hit on with euphemisms and symbolism. The barista’s name is Montana and Maggie invites her over to “look at some art” by which she means “scissor” but by which Montana actually means “look at some art.” They laugh when Maggie makes a move and Montana insists she’s straight. “It’s fine; some of my best friends are straight,” Maggie insists.

They’re for absolute sure going to fall in love.

The Bold Type

I was just going to toss a blurb in here about The Bold Type when I heard there was a lesbian subplot in the pilot episode, and also the main character is played by Katie “Karma Ashcroft” Stevens, but then I watched the pilot episode this afternoon and have decided it deserves a full review. I’ve been really down on Freeform because I can’t help but blame it for part of Pretty Little Liars‘ dive-bomb into heteronormative oblivion, but when I step back and examine the information inside my noggin, I’m looking at The Fosters, Stitchers, and now The Bold Type and realizing Freeform is still the queerest non-streaming TV network around and I’m just going to have to exercise my Paige McCullers-style garbage can vendetta elsewhere.

Here’s what I’ll say about The Bold Type: It’s on the nose with its Feminism 101, but the overtness is welcome. This show is aimed at teens and young college students. There is a queer subplot in the pilot, one that involves a lesbian Muslim photographer and potentially a romantic connection with one of the main characters. And it focuses on lots of different kinds of female relationships, including a refreshing one between a badass lady editor in chief and Karma Ashcroft. Maybe you could watch it this weekend and we can talk about it on Monday?

Coming Soon

Natalie’s going to share some thoughts with us about the final episodes of Laverne Cox’s Doubt and get us caught up with Claws, Carmen’s going to keep us in the loop on Queen Sugar, The Fosters is returning, and so is Game of Thrones. Yara Greyjoy’s making out with some woman who’s not Daenerys in the trailer.

Pop Culture Fix: Wonder Woman Will Save Us From Patriarchal Action Movies and Other Riveting Stories

Welcome to your weekly Pop Culture fix, in which I successfully prepare microwave popcorn and then consume it on the couch while telling you about relevant Pop Culture stories.

+  Wonder Woman comes out this week and already has a 95% rating on Rotten Tomatoes and has pissed off a lot of men. Success! Heather’s gonna check it out and review it for you this weekend. Here’s some background reading:

+ The trailer for Stitchers Season Three has a lesbian kiss in it! Camille apparently said once that she was bisexual but nothing has been done or said about it since, but that’s gonna change, it seems.

+ Will Game Of Thrones get its first lesbian power couple?!! And if so will somebody make a YouTube compilation of the storyline so I can watch it without having to watch the rest of this very bloody television program?

+ Jill Soloway: “I’m obsessed with a movement for women, people of color, queer people, and an intersectional power movement. I think about revolution all the time. How do I square that with my TV and filmmaking ambitions?”

+ The cast of Orange is the New Black would like to thank all its true fans who did not illegally download the show and instead are waiting for the premiere. IN SONG!

+ ‘BPM,’ Winner of Cannes’ Grand Prize, Is a Breathtaking Look at the Fight Against AIDS

+ TV Diversity won’t improve for the 2017 pilot season. GREAT!

+ WGN is moving in a new direction away from original programming, and ‘Underground’ will be an especially unfortunate casualty of that move. It’s getting the axe after two seasons, and Jasika Nicole has only been on it for one season so far!

+ If you’ve ever wondered which lesbian kisses a man who makes lists for The Richest will never forget, this is your lucky day: 15 Lesbian Kisses From Hollywood We’ll Never Forget. It will not surprise you that a lot of the kisses on this list involved straight women.

+ Bec Sandridge Is The Queer Aussie Singer You Need To Know

+ Will Sense8 Return For Season 3? It’s an outrageously expensive show to produce so I would not be surprised if the answer is no

+ The team of Issa Rae’s incredible HBO show “Insecure” has “four gay and lesbian writers” in it, reveals showrunner Prentice Penny in an interview with Business Insider.

+ That Gay Episode: ‘Roseanne’ Launches A Low-Key Gay Revolution

+ Chavela Vargas, the Queer Matriarch Latin Music Deserves

+ ‘Will & Grace’ is returning to NBC, but LGBTQ TV has moved on

+ In an interview with The Guardian, Syd the Kid says that a lot of the backlash to her music and public statements from the gay community really bummed her out.

+ Melissa Etheridge says that Anybody Who Smokes Cannabis Is Using it Medicinally’

+ When Is Anime Queerbaiting? 

+ Love Songs About Girls To Make Your Queer Heart Soar (if you liked this you’ll probably also love 28 Gay Girl Covers Of Straight Songs Because Everything’s Better When It’s Queered)

+ ‘The Handmaid’s Tale’ Is More Than Fiction—It’s a Dark Reminder of Slavery

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