From stories about harrowing queer experiences (“The Miseducation of Cameron Post”) to films that are harrowing queer experiences themselves (hello, “LIBRARY”), the Peacock has a reasonably decent LGBTQ lineup amid the annual spring sprint to Pride promote weird content before. June.
Peacock’s offering of lesbian, gay, bisexual, trans, and queer movies and TV shows isn’t nearly as robust as the other catalogs of competing services like Hulu, Netflix, and Prime Video. And it’s another shout-out to the glut of original gay content at HBO — still the only competitor in the streaming wars to air a critically acclaimed comedy about gay pirates.
But at least a handful of the LGBTQ stories currently available on Peacock are good enough to make you consider checking out the service, even if you don’t usually check out NBC’s stock of mediocre sitcoms. On the TV side, We Are Lady Parts stands out as a must-see series about five women and their punk band, recommended by IndieWire’s Steve Greene.
“Playful, with enough flair and idiosyncratic twists to shake up her more familiar pieces, ‘We Are Lady Parts’ is an energetic amalgamation of up-and-coming artists and the fictional framework that represents them,” he wrote in his review. “These harmonies aren’t always neat for Lady Parts: a punk quartet that fills any rehearsal space with as much sound as the room can handle.”
As for movies, of course, you can watch Cate Blanchett starrer “THE LIBRARY,” a harrowing psychological thriller about a lesbian orchestra conductor who dominated the queer movie debate in 2022. Or you can go off the beaten path and try “Pig Lake”. : 2017 romance and coming-of-age story from filmmaker Ingrid Veninger, screened at TIFF that year.
In no particular order, here are 8 of the best TV shows and movies currently available to stream on Peacock in April 2023. For more LGBTQ film recommendations, check out IndieWire’s guide to the best of the 21st century.
With editorial contributions by David Ehrlich, Kate Erbland, and Steve Greene.
“We Are Lady Parts” (2021–present)
Which: The charming musical comedy by Nida Manzoor for Peacock/Channel 4 follows a British punk band of five Muslim women. They navigate friendship, romance and cultural differences as they strive for musical success.
Why we love it: With their obvious Riot grrrl influence, of course at least one character had to wake up courtesy of weirdo drummer Ayesha. Playful, with enough sophistication and idiosyncratic twists to shake up her more familiar pieces, “We are Lady Parts” is an energetic amalgamation of emerging artists and the fictional framework that represents them. For Lady Parts, these harmonies are not always arranged: a punk quartet that fills any rehearsal space with as much sound as the room can handle. – SG
“An Age” (2022)
Which: Spanning two decades, this semi-star-crossing romance is a gentle ode to someone who never quite breaks free. Macedonian-Australian filmmaker Goran Stahelski’s poignant second film follows two precocious young men as they first dance around their feelings for each other and then meet again ten years later.
Why we love it: The buoyant romance about a queer young man’s brush with first love captures a certain glowing youthful nostalgia. The fact that it all takes place in Melbourne, Australia adds another dimension to the whole affair, drawing it into a kind of dewy faraway melodrama. While ‘Of an Age’ leans a bit heavily towards sentimentality at times, sharp wit and some wild tonal shifts keep things afloat. It’s the kind of quirky romance that’s suspended in time and everyone will be led to their own feelings, on par with “The Weekend” and “Call Me By Your Name.” – JD
“Vigil” (2021 to present)
Which: UK favorites Suranne Jones and Rose Leslie star in this detective show with plenty of under the surface. A conspiracy thriller set on a submarine, Jones plays a DCI sent aboard HMS Vigil to investigate the death of a crew member. Of course, it doesn’t take too many questions for members of the Vigil’s crew to start freaking out about his presence on board.
Why we love it: Jones and Leslie are a unraveling mystery about secret knowledge and who has access to key whispers of information. There are some fireworks along the way that wouldn’t be out of place in an action-driven series, but “Vigil” finds a different kind of strength in wringing out the tension beneath the surface. – SG
“Her Story” (2016)
Which: Her Story, a romantic dramedy about three women in Los Angeles, took over its entire storyline when it was nominated for an Emmy in 2016. Writer/creator Jen Richards stars as Violet, a trans woman who must confront her attraction to women. meets reporter Allie, played by Laura Zak.
Why we love it: In addition to the genuine chemistry and banter shared by Richards and Zak, “Her Story” also marks the debut of “Pose” star Angelica Ross, who plays a high-powered attorney juggling romance and career. The sharply crafted 9-minute episodes fly by, weaving a fascinating and charming narrative about two trans women living normal lives – a groundbreaking concept at the time. – JD
Which: A scathing mission of the intellectual elite, which simultaneously mocks and indulges our highest cultural ambitions, “TÁR” is a 158-minute whirlwind that becomes more damning as conductor Lydia Tár’s riveting track. Cate Blanchett’s Lydia, styled in impeccable tailored suits and sleek, straight Celine Sciamma hair, is a power lesbian fantasy that cloaks her toxic masculinity in an understated gentleness.
Why we love it: Everything and nothing in Lydia Tár is particularly strange; the meticulously elegant, ruthlessly ambitious, hypnotically self-righteous orchestra conductor played by Cate Blanchett in Todd Field’s monumental third film. Lydia runs circles around everyone in her life, although even the most depraved women understand their role better than the self-assured men who flinch when she stabs them in the back.
German actress Nina Hoss plays savvy partner Noémie Merlan with steely reserve, and the “Portrait of a Lady on Fire” stunner brings a quiet electricity to their scenes as she watches Lydia with cool but edgy intensity. But this is Blanchett’s film, and while Carol fans may get cold feet everywhere, there’s no denying the allure of a bright woman who knows what she wants — and will stop at nothing to get it. – JD
“Pig Lake” (2017)
Which: Thirteen-year-old Bea wants one thing in this world, a best friend, and when her lazy summer is interrupted by the introduction of outspoken Kate, it looks like she’ll finally get her wish. But in acclaimed Canadian filmmaker Ingrid Veninger’s “Pig Lake,” the initially fast-moving friendship takes on a new dimension as the pair grow closer during a fateful summer.
Why we love it: This sensitively told coming-of-age film takes a sharp look at youth and its many emotions. Exploring youth and the heightened emotions that come with growing up, “Porcupine Lake” seems to fully express Veninger’s unsettling vision. —KE
“Misleading Cameron Post” (2018)
Which: Based on Emily Danforth’s YA novel of the same name, “The Miseducation of Cameron Post” is a moving coming-of-age drama set in a gay conversion camp for Christian teenagers circa 1993. The main character of the film is Chloë Grace Moretz, the eponymous teenager Cameron. , who is sent to a gay conversion camp after being caught with his best friend. It also features a steely Jennifer Ehle and impressive curves from Sasha Lane and Forrest Goodluck.
Why we love it: For Desiree Akhavan, the filmmaker behind the disarmingly honest “Appropriate Behavior,” the film gave her a chance to spin the stories she loves to tell. Akhavan’s wide compositions and harmlessly searing long takes give his characters ample space to feel things out, every moment of silence and square inch of negative space making them question whether they should accept God’s promise. If the children quote John Hughes, their environment reeks of Todd Haynes. – BUT
“Women Who Kill” (2016)
Which: A giant leap between “The Slope” and “F to the 7th,” the popular web series Ingrid Jungermann created before her feature film debut, “Women Who Kill” stars straight-faced podcasters Morgan (Jungermann) and Jean (Ann ) follows. Carr), a former couple whose popular digital show profiles the eponymous killers. When Morgan meets the mysterious and alluring Simone (Sheila Vand), Jean suspects she may be in danger.
Why we love it: This whip-lash satire offers a wry snapshot of self-righteous New York lesbians that is both enjoyably sleazy and unsettling. A clever riff on the “kill your gays” trope, you can bet Jungermann knows exactly what he’s doing when he plays with the idea of lesbian sex as something potentially deadly. Jungermann’s dialogue is naturally witty, but it never overwhelms the plot by meandering pointlessly. – JD