Mark Gevisser's excellent study of the global weaponization of homo- and transphobia, The Pink Line, provides a superb survey of the promise – and peril – of queer identity.
As Gabrielle Korn addresses in her memoir, Everybody (Else) Is Perfect, much of so-called "women's media" is merely a cynical marketing strategy at the expense of a thoughtful discussion of cultural values.
Viewers might temper a recognition of Finnish film Open Up to Me's strong points with an awareness of the complexity of trans portrayal in film.
From the rich archives of Chicago's Gerber Hart Library, John D'Emilio's Queer Legacies offers an inspiring overview of individual perseverance; poignant losses, and stirring collective gains.
Debut novel A World Between explores the messy relationship dynamics that both bolster and challenge our emotional bonds with the ones we love.
The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.
"[Pandemic lockdown] has been a detriment to many people's mental health," notes Nat Puff (aka Left at London) around her incendiary, politically-charged new album, "but goddamn it if I haven't been making some bops here and there!"