lesbian media – OutWrite

A digital illustration of various sapphic couples from television. The largest couple on the left hand side is Amity, a white girl with short purple hair, a black tunic, a moon necklace, and pointy ears, and Luz, a Latina girl with brown skin, orange-brown hair, a half-cloak, and black studs, from "The Owl House." Amity cups Luz's face and holds her hand. At the bottom right corner are Beatrice, an Asian woman with dark purple hair in a bun and a cross scar on her cheek, and Ava, a white woman with orange-brown bobbed hair, from "Warrior Nun." Ava is smiling affectionately at Beatrice who is speaking. At the top right corner are Sydney, a white girl with short pink hair in an orange tank top and necklace, and Dina, a Black girl with dark curly hair and a white tank top, from "I Am Not Okay With This." Sydney leans against Dina and looks up at her lovingly. Various swirls and hearts surround all the couples.

From “I Am Not Okay With This” to “Everything Sucks”: A Lack of Lesbians in Media

After the cancellation of the beloved show “Warrior Nun” on Netflix, fans speculated as to why such a popular show could have been kicked to the curb by the streaming powerhouse. Some theorized that it may have been provoked by the second season’s relationship between two women. Though its fanbase’s dedication eventually led to the series’ development into a feature film trilogy, this isn’t the first case where shows with sapphic central characters have been stripped of funding and future seasons.

A digital illustration of two women holding hands and looking at a painting of two women. The couple's clothing color palette matches the two women's clothing in the painting. The woman on the left has light brown skin, curly brown hair, a blue bandana, and a brown vest over a light blue long-sleeve shirt. The woman on the right has light skin, straight brown hair, a red beret, a tan shirt, and a black purse. The women in the painting wear a red scarf and a blue scarf respectively.

Literature

The Underrepresentation of Sapphic Identities in Literature: A Historical Analysis

My first June after discovering sapphic literature was one of eager anticipation. I had loved sapphic novels from the moment I picked up “The Lady’s Guide to Celestial Mechanics” the year prior, and waited all year for Pride Month so that I could get new recommendations. Sure enough, they started rolling in! Scrolling through TikTok, I saw video after video advertising “queer book recs.” But what I saw was disappointing at best. In these videos, the word “queer” seemed to be synonymous with male-loving-male (MLM); every single video was full of nothing but MLM novel recommendations.

An illustration of a light-skinned girl with long light brown hair in a pink sweater holding hands with a girl with brown skin and her dark brown curls tied up in a bun in a white turtleneck and red shirt. They both look backwards and up, their faces filled with worry. Blue silhouettes of people with angry faces loom above them.

Arts & Entertainment

The Oversexualization of Lesbian Relationships in Media

The entertainment industry profits off the sexualization of women. Whether typecast as a complacent suburban housewife or a strong crime-fighting machine, women in media are reduced to their sexual attributes, especially lesbians and other queer people.

The "Bottoms" poster which includes PJ, a white girl in green making a muscle, and Josie, a black woman in teal making a muscle. Clinging to each of them is a young white woman and a young Wasian woman both wearing pink clothing items. Two football players lounge beneath them, another white woman and a Black man.

Film

Gay Wrongs, and Why I Support Them — On “Bottoms” and Queer Irreverence

Lesbians have never looked as hot as when they are covered in the blood of football jocks like the characters of “Bottoms,” the instant classic lesbian rom-com movie of the year. “Bottoms” — directed by Emma Seligman — follows Josie (Ayo Edebiri) and PJ’s (Rachel Sennott) attempt to woo their respective love interests, Isabel (Havana Rose Liu) and Brittany (Kaia Gerber), with a faux all-women’s self-defense fight club. The film screams of a dark humor and irreverence rarely seen in LGBTQ+ media — a refreshing new take that presents audiences with queer, gray morality, or what I lovingly call ‘Gay Wrongs’.