Why 2015 Was The Best Year For LGBT Television Ever (/bent)

 Amazon Studios "Transparent"

Amazon Studios “Transparent”

Great back and forth from Peter Knegt and Matthew Hammett Knott at /bent on the many reasons why 2015 was the best year for positive LGBT representation on television yet. Featuring many of my personal favorites including Transparent, Looking, and Orange is the New Black. From /bent,

With a little over a week left of the year, /bent’s Peter Knegt and Matthew Hammett Knott decided to make a joint declaration about the year in LGBT television. Check out their conversation below…

Knegt: Let me just start by stating a fact: 2015 was the best year ever for LGBT representation on television. Or whatever “television” means now. Between the networks, cable and streaming, I can count a solid seven shows with central LGBT characters that were at the very least great — if not extraordinary. In no particular order: “Please Like Me,” “Broad City,” “Orange is the New Black,” “Looking,” “Cucumber,” “Empire” and “Transparent.” And that’s not even going into the countless fantastic series’ with various LGBT storylines or supporting characters (“Mr. Robot” in particular). Compare that to the year in film, in which the stunning likes of “Tangerine” and “Carol” were exceptions to a rule where most LGBT-themed films were offensively contrived and/or shallow, and it’s hard to argue which medium is winning this particular war.


Knott: I couldn’t agree more – and among other shows I’ve been watching, we can add to that list “How to Get Away With Murder” and a great subplot on “UnReal”, alongside countless other examples. What’s great is that some of these shows have absolutely been foregrounding the LGBT experience, while others have simply had characters engage with their sexuality while plot lines as a whole cover vastly different narrative territory. You can’t say there hasn’t been diversity – and it’s been racially diverse as well as age and gender-wise. Honestly, the couple with the best chemistry on TV this year was Viola Davis and Famke Janssen, and when have we ever seen a show led by a black bisexual middle-aged woman who doesn’t give a second thought to the fluidity of her desires? The answer is never, and it’s incredibly refreshing to witness.

 

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