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For Theo, sex is about distraction, not connection. She may not be the protagonist, but Theo is a relatable and deeply felt queer character that holds the whole series together. This show premised on the story of a virgin who is accidentally impregnated at the gynecologist somehow managed to turn a weird, uncomfortable concept into a feminist home run.

Luisa, is a lesbian, and has some very telenovela-worthy affairs. Season Two, Asylum, has a really original and complicated lesbian character, Lana Winters Sarah Paulson who is institutionalized for her sexual orientation and loses her wife Clea Duvall. Season Seven, Cult, is pretty bad, but it finally gives Sarah Paulson a starring role as a Midwestern lesbian very upset about Trump.

In Season Two, it turns out that Judy is queer when she starts up a thing with a chef played by bisexual actress Natalie Morales. All American may be an unevenly written teen drama, but Coop is a superbly written black lesbian character in a class all her own. Georgia schemes. Ugh I love it when that happens. But Season Two delivered a romance to remember between two women of color, which hit some pretty interesting complications in Season Three. Come for the apocalyptic dystopia and attractive teenagers rolling around in the mud with weapons and fighting about the new world — and, chances are, drop off in Season Three after the lesbian death that sparked a movement and changed us all forever.

Bisexual protagonist! Degrassi: Next Class This legacy series from Canada is known for pushing forward progressive representations of adolescence while keeping it as PG as possible. The series, based on a comic book, centers on a dysfunctional family of adopted sibling superheroes who have reunited to stop the apocalypse and figure out how their father died.

In a survey by Herek and Capitanio employing a randomly selected, national probability sample in the United States, African American women reported greater sexual prejudice toward lesbians and gay men than White women. Unfortunately, this study did not ascertain whether these differences were statistically significant. Though limited, these data are consistent with pertinent theory. Specifically, the application of intergroup conflict theories to this literature suggests that African American women, relative to White women, may report higher levels of prejudice toward sexual minorities, particularly gay men.

According to this integrated conceptualization, a group experiences realistic threat when it perceives another group as a threat to its existence, to its political and economic power, and to its physical or material well-being. Additionally, similar to the well established realistic group conflict theory Sherif et al. Such reactions to possible threats may occur among some African American women in response to gay men.

For example, African American men who have sex with men or who self-identify as gay may be perceived by some African American women as contributing to the low availability of African American men eligible for marriage Ernst et al. African American women may feel that homosexuality, like incarceration, provides another reason for the greater proportion of eligible African American heterosexual women to African American heterosexual men in the marriage pool and the highest rates of unmarried females in the U.

This imbalance is not limited to single women who have never married but also includes women who are divorced, separated, and widowed. Moreover, it is exacerbated by the fact that most couples select their partners from their same race or ethnicity. In addition, African American women may attribute the higher rates of AIDS among African American women, relative to women from other racial groups, to African American men who have sex with both men and women Boykin, , especially given the greater susceptibility of HIV infection from male than female partners.

These perceptions may be reinforced by public health professionals and mass media discussions Malebranche, However, relative to gay men, lesbians may not pose a realistic threat to African American women in terms of competition for resources, economic and political power, or physical or emotional well-being.

In contrast to realistic threat, symbolic threat may be posed by both lesbians and gay men. Such perceptions are particularly likely among African American heterosexual women who, relative to White women, may view both lesbians and gay men as a more significant symbolic threat to their culture.

For example, some African Americans may fear that homosexuality in their community represents a threat to traditional values e. While Whites may also view homosexuality as a symbolic threat to their cultural and religious values, African Americans may be more socially conservative than whites despite their greater political liberalism than whites. These surveys generally consisted of national probability samples. Results indicated that, despite their higher likelihood to support laws prohibiting antigay discrimination, African Americans reported greater disapproval of homosexuality than Whites.

Likewise, the contributions of lesbians and gay men to African American culture e. Of course, theorists such as Kimmel and Pharr asserted that patriarchy and heterosexism are pervasive, and this is undoubtedly inclusive of White majority culture in the United States.

However, Tremble, Schneider, and Appathurai noted that White cultures in North American countries of the United States and Canada are demographically and economically large enough to sustain lesbian and gay subcultures, and much of visible lesbian and gay culture is White. As such, lesbians and gay men may enjoy greater visibility within these cultures, which may facilitate knowledge of and contact with lesbians and gay men among Whites.

Indeed, Liang and Amilo found in a sample of White, heterosexual, predominantly female college students at a large mid-Atlantic university in the United States that increased contact with lesbian and gay male students led to increases in positive attitudes toward lesbian and gay relationships, particularly among women in the sample.

Dunye makes a mockery of traditional sites and figures of authority including herself as director , places film and video in irreverent proximity, constantly eschews and reshuffles narrative conventions and refuses singular truths to affirm the authenticity found in multiplicity, collages and layerings. This is sorely missed in our current neoliberal moment, in which queer content, bodies and stories are fetishised, included and normalised, but rarely allowed to actually trouble the cinematic frame.

Where do we find, today, the kind of rebellious Black queer cinema that not only provokes the ire of governments but also refuses narrative transparency to invent its own filmic language? Dunye developed her trademark combination of talking heads, witty and acerbic humour and her specific brand of interracial cringe in shorts such as Janine , Vanilla Sex , The Potluck and the Passion and Greetings from Africa In Black queer filmmaking, talking heads become animated with defiant energy, formal eroticism and a kind of affective proximity.

For instance, Dunye does not work with a fixed script, creating a sense of play and performance. The Watermelon Woman is a deeply textured film that challenges the boundaries between fiction and nonfiction. Their lives mirror one another.