The best thing about The L Word, which ran from 2004 until 2009, is that it’s given strange ladies a typical language. On first dates, at gay book clubs, when meeting new associates — in essentially any circumstance where you, an unbalanced lesbian, are attempting to reach over the void and interface with another person who has lesbianism, if not ponderousness, in like manner — The L Word is a simple wagered. Regardless of whether somebody hasn’t seen it, their protection from a social touchstone is similarly as rich a point for discussion. This is the main show, all things considered, to have ever centered so totally around lesbianism, to the degree that the world it made, comprised of apparently unbounded strange ladies and, similar to, two men, was absolute fantastical. Indeed, even after 10 years, there still hasn’t been an arrangement very like it.
As per GLAAD’s “The place We Are on television” report for 2019, LGBTQ portrayal on TV is at an unsurpassed high; practically those characters, however, will in general be the single gay in an outfit of straight individuals. The shows since The L Word that have included in excess of a solitary eccentric individual in addition to their pivot of accomplices — like The Encourages, Vida, The Swinger, Straightforward, Faking It, and so forth — haven’t set up about the equivalent critical social impression. (In spite of the fact that a few, especially The Cross-sexual, have the right to!)
So it didn’t generally come as an unexpected when, not long ago, Showtime reported that The L Word, with three of its primary cast individuals, would hit our screens indeed. L Word maker Ilene Chaiken had drifted the chance of a recovery for quite a long time. “At the point when we went shut off in 2009, I think many individuals thought, ‘alright, the twirly doo is passed now, and there will be bunches of shows that depict lesbian life,'” she revealed to Amusement Week by week in 2017. “There’s actually nothing. It feels like possibly it should return.”
Furthermore, why not? This would be an opportunity for the arrangement to give penance for a portion of its past sins, including its bad perspectives toward trans and bi individuals, the shortage of butch characters and characters of shading, and its inexorably out of control plotlines. We’ll never get poor sweet Dana back (despite the fact that Chaiken laments slaughtering her off), yet it appears to be one of the show’s most troublesome characters could be making a what’s certain to be an unusual rebound — in case we’re to trust Mia Kirshner, who tweeted over the late spring that Jenny’s not dead all things considered. (I, for one, would invite it. Hers is the confused vitality we need at this moment!!)
Showtime reported that the eight-scene recovery, titled The L Word: Age Q, debuting this Sunday, Dec. 8, will concentrate on Shane (Kate Moennig), Bette (Jennifer Beals), and Alice (Leisha Hailey), close by another arrangement of “aloof LGBTQIA characters encountering love, tragedy, sex, misfortunes, and achievement in L.A.” Every one of my companions and I were insanely energized (Imagine a scenario where it’s great?) just as sorta apprehensive (However consider the possibility that it’s terrible. Also, not terrible fun, similar to the first was, yet more awful — imagine a scenario in which it’s *boring*.
At the point when Showtime discharged the initial three scenes as screeners for the press toward the beginning of November, I might possibly have shouted.
Heading into the show, I thought about how, precisely, Age Q was going to mix the old with the new. Chaiken is under a select agreement with Fox, so she couldn’t rudder the task, however she’s coming back to regulate things as an official maker; Beals, Hailey, and Moennig, with whom Chaiken has stayed close, are likewise EPs. Chaiken has pushed, in any case, that new showrunner and official maker Marja-Lewis Ryan is in the driver’s seat.
The greater part of all, I pondered whether the new L Word characters, individuals from “age Q,” would have the option to accomplish anything like the social fortitude of their ancestors. While straight young ladies and gay folks may depict themselves as per Sex and the City prime examples (“I’m a Carrie sun, Miranda rising”), lesbians have our charmingly flawed gathering of L Word women. I chuckled out loud when, on The Cross-sexual, maker and star Desiree Akhavan’s character portrays somebody as a “Shane attempting to be a Dana.”
Having now observed simply under portion of the new season, I’m as certain as ever that Bette, Shane, and Alice are really notable. Seeing these provocative, disappointing, strange, and very human characters again is really brilliant. Unfortunately, however, I’m stressed the restoration may surrender to the destiny of Netflix’s Stories of the City, another cutting edge revamp of a strange arrangement exemplary that debuted this past June. As refreshingly various as the new characters in the two backlashes seem to be, I don’t have the foggiest idea whether they’ll come anyplace near symbol status. Viewing these different social LGBTQ disgorgings, I really wanted to ponder (sorry, the smidgen of straight young lady inside me is a Carrie): Wouldn’t it be pleasant if Hollywood faced more challenges and permitted another age of strange characters to investigate their own universes?
The L Word: Age Q begins 10 years after the first arrangement left off. We locate our three adored unique characters living considerably more fabulous lives than they were in 2009: Alice has spun an effective web recording into her own syndicated program; Shane is back in LA subsequent to storing up a strange fortune somewhere else; and Bette, in a splendid move for the show, is running for chairman of the city where she’d recently vanquished the workmanship world.
We’ve moved from West Hollywood, where the first arrangement was based, toward the eastern LA neighborhood of Silverlake, which bodes well given the tides of Los Angeles improvement and, importantly, the moving locus of strange life. The changing city plays considerably more of a topical job in Age Q than it did in past seasons, when the characters appeared to exist in a charming, well off enclave resistant from the disparity and turmoil of the outside world: Bette is running for chairman since she’s energetic about completion the narcotic and lodging emergencies, while Shane, capricious, jobless, and über-rich, considers purchasing and restoring an onetime gay bar that has transformed throughout the years into a straight games brother spot. Bette is cleverly delineated as a political dynamic who battles to live her governmental issues on an individual level: While she advocates for open tutoring, she thinks her own little girl, Angie (Jordan Frame), merits “the best” at her extravagant non-public school (which Angie happens to abhor). She’s likewise at once in her life when she’s experiencing hot flashes, which implies we get the opportunity to have a great time Bette deadpanning to Alice that “demise is coming.”
These are both fun, intriguing plotlines for our OGs, however the show — to some degree annoyingly — is retaining pivotal foundation information about them two, similar to why Bette’s so enthusiastic about narcotics, and what the arrangement with Shane and her starting at yet unintroduced spouse (!) is. Probably this prodding implies we’re in for emotional, crushing uncovers in the two offices, which, sure, welcome on the drama; that is what we’re all here for.
Present-day Alice likewise has a delightful arrangement, however her blogger/columnist profession, which has now handled her a Television program, despite everything looks bad as it generally has. Additional convincing is her own life: She’s moved in with a lady named Nat (Stephanie Allynne, who’s likewise incredible inverse Tig Notaro in One Mississippi) and Nat’s two children from a past marriage. This relationship doesn’t appear to be bound to last, since Alice is hilariously clumsy at youngster raising; one of my preferred scenes includes Shane improving employment taking care of a child emergency than Alice does. (Truly, I have a weakness for mascs/andros being sweet to kids; I am a femme generalization and I acknowledge it.)
The cumbersome activity component of Alice’s plotline is generally a vehicle to associate our old characters with the new (just as highlight some huge, opportune visitor stars — I won’t ruin the main significant one). Rosanny Zayas is Sophie Suarez, one of Alice’s makers, who’s dating Dani Nùñez (Arienne Mandi), a youthful, yearning VP at her dad’s minority-possessed venture firm who, in the wake of being torn another one by Bette for the association’s job in financing pharmaceuticals, has an emergency of still, small voice and chooses to join Bette’s political battle. Dani and Sophie live with Micah Lee (Leo Sheng), a subordinate educator. They’re old buddies with a hapless creation aide on Alice’s show, played by Jacqueline Toboni, whom you may recollect from her job in the flawless lesbian scenes of Netflix’s Simple. Toboni is Finley — she passes by just Finley, natch — and is by all accounts this present age’s response to Shane: She’s the hot, short-haired, male/female one with minimal measure of her crap together.
Like Shane, however, Finley just as Sophie are manly inclining yet not so much butch, implying that the most notorious lesbian demonstration ever has still neglected to furnish us with any noteworthy portrayal of a gigantic lump of our locale. In better news, notwithstanding, Micah is an Asian American trans man, and both Sophie and Dani are ladies of shading (Zayas, who plays Sophie, is Dominican, while Mandi, who plays Dani, is Iranian and Chilean); they’re a properly agent cut of both LA’s populace and LGBTQ individuals on the loose. (Also, debuting on Dec. 8 just after The L Word: Age Q, another semiautobiographical Showtime appear, Work in Progress, follows Abby McEnany, a self-distinguished fat, strange dyke from Chicago — it would seem that we can get our butch portrayal there, at any rate.)
Directly as it so happens, the show appears to be resolved to pass on its new dynamic bona fides. The absolute first sexual moment — which is additionally the main scene all in all — highlights cunnilingus and period blood; the previous was, scandalously, not delineated super frequently in the first (simply like tie ons and sex toys). It’s a promising start, one that shows this rendition of The L Word challenges go to