Peacock: The Best LGBTQ TV Shows and Movies Streaming in 2023

“We are women’s parts” (since 2021)

What is it: Created by Nida Manzoor for Peacock/Channel 4, this enchanting musical comedy follows a British punk band made up of five Muslim women. They master friendship, romance and cultural differences in their universe and strive for musical success.

Why we love it: Of course, with their obvious Riot Grrrl influences, at least one character had to have their weird awakening, thanks to proud drummer Ayesha. Playful with enough flair and distinct twists to shake up the more well-known tracks, “We are Lady Parts” is an energetic fusion of emerging artists and the fictional framework that presents them. For Lady Parts, those harmonies aren’t always tidy: They’re a punk quartet that will fill any rehearsal room with as much sound as the room can handle. —SG

“An Old Man” (2022)

What is it: Split over two decades, this half-star-crossed romance is a lilting ode to the one who never quite gets away. Macedonian-Australian filmmaker Goran Stahelski’s poignant second feature follows two precocious young men who first dance around their feelings for each other and then reunite ten years later.

Why we love it: The upbeat romance about a young queer man’s first encounter with love captures a certain glowing youthful nostalgia. The fact that it’s all set in Melbourne, Australia adds a further detachment to the whole affair and coats it with a kind of dewy, far-off melodrama. While “Of an Age” veers a bit heavily towards sentimentality at times, a sharp wit and a few wild tone changes keep things afloat. It’s the kind of queer romance suspended in time that will captivate everyone, comparable to “Weekend” and “Call Me By Your Name.” – JD

“Vigil” (since 2021)

What is it: British favorites Suranne Jones and Rose Leslie star in this detective series where there’s a lot going on beneath the surface. In this conspiracy thriller set on a submarine, Jones plays a DCI who is sent aboard HMS Vigil to investigate the death of a crew member. Of course, it doesn’t take too many questions for the Vigil’s crew members to start resenting their presence on board.

Why we love it: An illuminating mystery of secret knowledge and who has access to crucial information, Jones and Leslie anchor the drama as detectives with their own personal history to unravel. There are some fireworks along the way that wouldn’t feel out of place in an action-packed series, but “Vigil” finds a different kind of strength in squeezing tensions from beneath the surface. —SG

“Your Story” (2016)

What is it: Her Story, a romantic dramedy about three Los Angeles-based women, became trans story when it was nominated for a 2016 short-form Emmy. Writer/creator Jen Richards plays Violet, a trans woman who must confront her attraction to women. She meets brave reporter Allie, played by co-creator Laura Zak.

Why we love it: In addition to the real chemistry and quips that Richards and Zak share, Her Story also saw the debut of Pose star Angelica Ross, who plays a power advocate juggling romance and career. The sharply crafted 9-minute episodes fly by, weaving an engrossing and charming narrative about two trans women living normal lives – a groundbreaking concept at the time. – JD

“TAR” (2022)

What is it: A scathing show from the intellectual elite that both satirizes and indulges our highest cultural ambitions, “TÁR” is a 158-minute whirlwind that delves deeper into conductor Lydia Tár’s captivating orbit as she becomes more reprehensible. Styled like Celine Sciamma in impeccably tailored suits and unfussy straight hair, Cate Blanchett’s Lydia is the fantasy of a power lesbian masking her toxic masculinity with a devious swagger.

Why we love it: Everything and nothing about Lydia Tár is downright odd; the meticulously chic, ruthlessly ambitious, hypnotically self-possessed orchestra conductor played by Cate Blanchett in Todd Field’s monumental third film. Lydia revolves around everyone in her life, although even the most infatuated women understand her role better than the submissive men who flatter her as she stabs them in the back.

German actress Nina Hoss plays the knowing partner with steely restraint, and Portrait of a Lady on Fire stunner Noémie Merlant brings a calm electricity to her scenes as she watches Lydia with a cool but loving intensity. But it’s Blanchett’s film to take away, and while Carol fans may despair at her coolness, there’s no denying the red-hot appeal of a brilliant woman who knows what she wants – and will stop at nothing to get it receive. – JD

“Porcupine Lake” (2017)

What is it: The only thing 13-year-old Bea wants in this world is a best friend, and when her lazy summer is interrupted by the introduction of the outspoken Kate, it seems her wish may finally be granted. But in acclaimed Canadian filmmaker Ingrid Veninger’s “Porcupine Lake,” a seemingly short-lived friendship takes on a new dimension as the pair grow even closer over the course of a fateful summer.

Why we love it: The sensitively told coming-of-age film takes a sensitive look at youth and its many emotions. Porcupine Lake has long been compelled by the exploration of youth and the heightened emotions that come with growing up to fully express Veninger’s compelling vision. —KE

“The Error Education of Cameron Post” (2018)

What is it: 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. In the film, Chloë Grace Moretz plays Cameron, a teenage girl who is deported to a gay conversion camp after being caught red-handed with her best friend. It also features a steely Jennifer Ehle as well as convincing twists from Sasha Lane and Forrest Goodluck.

Why we love it: For Desiree Akhavan, the filmmaker behind the disarmingly honest Appropriate Behavior, the film offered an opportunity to give a different twist to the stories she loves to tell. Akhavan’s expansive compositions and harmlessly burning long takes give her characters plenty of room to feel things, every moment of stillness and every square inch of negative space inviting them to question whether they should take God’s promises at their word. When children think of John Hughes, their surroundings smell of Todd Haynes. —DE

“Women Who Kill” (2016)

What is it: The popular web series Ingrid Jungermann, which predates this feature-length debut, is a huge step up from The Slope and F to the 7th. Women Who Kill follows straight-forward podcasters Morgan (Jungermann) and Jean (Ann Carr), a former couple whose popular digital show finds them profiling the killers of the same name. When Morgan meets the mysterious and seductive Simone (Sheila Vand), Jean suspects she is in danger.

Why we love it: This whip-smart satire offers a tongue-in-cheek snapshot of self-centered New York lesbians that’s equal parts pleasantly scruffy and unsettling. Jungermann knows exactly what she’s doing when she’s toying with the idea of ​​seeing lesbian sex as something potentially deadly. A self-confessed champion of the story, Jungermann’s dialogues are inherently witty but never overwhelm the plot with senseless rambling. – JD