Dear Reader, we have gathered here today to celebrate the singular moment in every queer person's life when they fall in love-lust-obsession with a TV character only to wonder later: do I want to be them, do I want to be their best friend, or do I want to date them? It's one of the few universal experiences that queer people -- an umbrella term for gender and sexual orientations outside of cisgendered heterosexuality -- have in common.

The universality of this experience is unsurprising when you consider how many people met queer folks on TV before they did in real life. Pop culture has always served as a blueprint, a model of who you could become if you were just a little braver, a little bolder, and lived in a less hateful world. That's an impossible lure to resist, and during TV Guide's Pride Week, we'll be diving into the complicated characters on TV who shaped a generation of queer people. From one queer man's obsession with Meredith Grey's resilience to an examination of Pose's authenticity, we'll be rolling out a slate of personal essays, reported pieces, and cultural criticism that highlight the millions different ways queer people find and reflect themselves on TV.

Check back here throughout the month for more updates, or simply tap on the Pride 2019 button (above) for more content.

Finally, Queer Joy Is Infiltrating TV

In 2003, Degrassi: The Next Generation aired a two-part episode titled "Pride," in which high schooler Marco (Adamo Ruggiero) came out as gay to one of his friends. Viewers already knew about Marco's sexuality, but it remained a secret to the rest of the school, mostly because Marco feared their reactions. In "Pride," after an uncomfortable date, an overwhelmed Marco ends up spontaneously coming out to his friend Spinner (Shane Kippel), the school's bully, who doesn't exactly take the news well. Then, in the episode's second part, a group of homophobic men jump Marco, leaving him bleeding on the ground. Keep reading Pilot Viruet on how TV is finally moving beyond queer trama porn.

Killing Eve Reprises Buffy's Catastrophic Queer Desire

Twenty years after Faith swaggered into the Bronze, another queer girl with f---ed-up boundaries deigned to grace our screens, but this time the subtext has become the text. Jodie Comer's Villanelle on Killing Eve has some obvious parallels with her Slayer predecessor: a vague but traumatic past, legal difficulties, an older man telling her who to kill. Her fixation with Sandra Oh's Eve is every bit as destructive as Faith's with Buffy, but it's a great deal more honest. Faith makes a mess of her life, and everyone else's around her, because she can't admit she wants to be with Buffy; Villanelle makes a mess because it's worth it if she gets to be with Eve. (OK, and because she enjoys it.) They both have a nihilistic streak, but while Faith's is born of despair, Villanelle's is born of a twisted hope. Keep reading Lindsay King-Miller for a look at how Killing Eve took Buffy's subtext and made it text.

Pose Season 2 Asks: What Happens When Your Scene Goes Mainstream?

In its debut season, Pose filmed in locations all around New York, but for Season 2, the celebrated FX series officially set down roots in the Bronx -- a fitting development for the drama, since that's where co-creator Steven Canals is from and where the story's matriarch Blanca (Mj Rodriguez) provides a home to gay and trans youth rejected everywhere else. Pose's home, an industrial-looking warehouse studio the size of a shopping mall, may look bland on the outside one gloomy Friday in early May, but inside, the cavernous facility is practically overdosing on glamour as Rodriguez, Billy Porter, Indya Moore, and Dominique Jackson, along with hundreds of crew and extras, are hard at work filming a scene in the fabulous ballroom. In here, it's 1990 -- three years since Season 1's conclusion in 1987 -- and the vibe is electric, as extras in outrageous get-ups (one is dressed like an Italian clown, with a blond bang affixed to his bald black head) pass time waiting for direction, but upbeat exhaustion fills the air too. They've been shooting for months, conveying how Madonna's "Vogue" landed on the ballroom community like an atom bomb. With Sheila E.'s "A Love Bizarre" zinging through the speakers, they're shooting a pivotal scene over and over until producers on set, including maestro Ryan Murphy sense it's right. Keep reading Malcolm Venable, who went behind-the-scenes at Pose's new home in the Bronx and examined how success changes queer scenes.



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