The 8 Best LGBTQ Movies and TV Shows on Peacock Right Now

The 8 Best LGBTQ Movies and TV Shows on Peacock Right Now,"Miseducation of Cameron Post," "We Are Lady Parts," "Of An Age," "Porcupine Lake," and more of the best LGBTQ TV and movies on Peacock.

The 8 Best LGBTQ Movies and TV Shows on Peacock Right Now

From stories about harrowing queer experiences (“The Miseducation of Cameron Post”) to films that are themselves harrowing queer experiences (hello, “TÁR”), Peacock has a reasonably decent LGBTQ offering amid the annual spring sprint to promote queer content before Pride in June.

Peacock’s selection of lesbian, gay, bisexual, trans, and queer-inclusive movies and TV shows is not nearly as robust as the other catalogues on competing services, Hulu, Netflix, and Prime Video. And it’s an even further cry from the plethora of original gay content at HBO — which is still the only competitor in the streaming wars brandishing a critically acclaimed comedy about gay pirates.

But at least a handful of the LGBTQ stories currently available on Peacock are good enough to consider visiting the service, even if you’re not usually there perusing its stockpile of middling NBC sitcoms. On the TV side, “We Are Lady Parts” stands out as a must-watch series about five women and their punk band, recommended by IndieWire’s Steve Greene.

“Playful with enough flair and distinct twists to shake up its more familiar pieces, ‘We Are Lady Parts’ is an energetic merging of aspiring artists and the fictional frame that presents them,” he wrote in his review. “For Lady Parts, those harmonies aren’t always tidy: they’re a punk quartet filling up any kind of rehearsal space with as much sound as the room can handle.”

As for films, you could of course check out the Cate Blanchett starring “TÁR”: a harrowing psychological thriller about a lesbian orchestra conductor that dominated queer film discussion in 2022. Or you could go further off the beaten path and try “Porcupine Lake”: a 2017 romance and coming-of-age story from filmmaker Ingrid Veninger that screened at TIFF that year.

Listed in no particular order, here are 8 of the best TV shows and movies currently available for you to stream on Peacock in April 2023. For more LGBTQ film recommendations, check out IndieWire’s guide to the best of the 21st century.

With editorial contributions by David Ehrlich, Kate Erbland, and Steve Greene.

“We Are Lady Parts” (2021-present)
Image Credit: Courtesy NBC/Peacock
What it is: Created by Nida Manzoor for Peacock/Channel 4, this charming musical comedy follows a British punk band made up of five Muslim women. They navigate friendship, romance, and cultural differences in their all while pursuing musical success.
Why we love it: With their obvious Riot grrrl influences, naturally at least one character had to have her queer awakening, courtesy of swaggering drummer Ayesha. Playful with enough flair and distinct twists to shake up its more familiar pieces, “We are Lady Parts” is an energetic merging of aspiring artists and the fictional frame that presents them. For Lady Parts, those harmonies aren’t always tidy: They’re a punk quartet filling up any kind of rehearsal space with as much sound as the room can handle. —SG

“Of An Age” (2022)

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

Why we love it: The peppy romance about a young queer man’s first brush with love captures a certain glowing youthful nostalgia. That the entire thing is set in Melbourne, Australia, adds another layer of distance to the whole affair, coating it in a kind of dewy faraway melodrama. While “Of an Age” leans a little heavily toward sentimentality at times, a sharp wit and a few wild shifts in tone keep things afloat. It’s the kind of queer romance suspended in time that will have everyone in their feels, on par with “Weekend” and “Call Me By Your Name.” —JD

“Vigil” (2021-present)

What it is: U.K. favorites Suranne Jones and Rose Leslie star in this detective show with plenty going on below the surface. A conspiracy thriller set on a submarine, Jones plays a DCI sent aboard the HMS Vigil to look into the death of a crew member. Of course, It doesn’t take too many questions before the crew members of the Vigil start to outwardly bristle at her presence on board.

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

“Her Story” (2016)

What it is: A romantic dramedy about three women living in Los Angeles, “Her Story” made trans herstory when it was nominated for a short form Emmy in 2016. Writer/creator Jen Richards stars as Violet, a trans woman who must confront her attraction to women when she meets plucky reporter Allie, played by co-creator Laura Zak.

Why we love it: In addition to the genuine chemistry and banter shared by Richards and Zak, “Her Story” also saw the debut of “Pose” star Angelica Ross, who plays a power-lawyer juggling romance and career. The sharply-crafted 9-minute episodes fly by, weaving a compelling and charming narrative about two trans women living normal lives — a groundbreaking concept at the time. —JD

“TÁR” (2022)

TAR, Cate Blanchett, 2022. ph: Florian Hoffmeister / © Focus Features / courtesy Everett Collection — Image Credit: ©Focus Features/Courtesy Everett Collection

What it is: A scathing sendup of the intellectual elite that both satirizes and indulges our loftiest cultural ambitions, “TÁR” is a 158-minute whirlwind that pes deeper into conductor Lydia Tár’s riveting orbit the more reprehensible she becomes. Styled like Celine Sciamma in impeccable bespoke suits and unfussy straight hair, Cate Blanchett’s Lydia is the fantasy of a power lesbian, masking her toxic masculinity with an underhanded gentility.

Why we love it: There is everything and nothing distinctly queer about Lydia Tár; the meticulously chic, ruthlessly ambitious, hypnotically self-possessed orchestra conductor played by Cate Blanchett in Todd Field’s monumental third film. Lydia conducts circles around everyone in her life, though even the most besotted women understand their roles better than the obsequious men who fawn over her as she stabs them in the back.

German actress Nina Hoss plays the knowing partner with a steely reserve, and “Portrait of a Lady on Fire” stunner Noémie Merlant brings a quiet electricity to their scenes, as she observes Lydia with a cool but doting intensity. But it’s Blanchett’s film to carry, and while “Carol” fans may whither at her chilliness, 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. —JD

“Porcupine Lake” (2017)

What it is: 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 appears as if she is finally getting her wish. But in lauded Canadian filmmaker Ingrid Veninger’s “Porcupine Lake,” what initially seems like a fast-moving friendship takes on a new dimension as the pair grow even closer together over the course of one fateful summer.

Why we love it: This sensitively told coming-of-age film from takes an insightful look at youth and its many emotions. Long compelled by exploring youth and the heightened emotions that go hand-in-hand with growing up, “Porcupine Lake” looks to fully express Veninger’s stirring vision. —KE

“The Miseducation of Cameron Post” (2018)

THE MISEDUCATION OF CAMERON POST, from left: Forrest Goodluck, Sasha Lane, Chloe Grace Moretz, 2018. ph: Jeong Park /© FilmRise /Courtesy Everett Collection — Image Credit: Courtesy Everett Collection

What it is: Based on Emily Danforth’s YA novel of the same name, “The Miseducation of Cameron Post” is a moving coming-of-age drama set at a gay conversion camp for Christian teens circa 1993. The film stars Chloë Grace Moretz as the eponymous teenager Cameron, who is shunted off to gay conversion camp after she’s caught in flagrante with her best friend. It also features a steely Jennifer Ehle, as well as compelling turns from Sasha Lane and Forrest Goodluck.

Why we love it: For Desiree Akhavan, the filmmaker behind the disarmingly honest “Appropriate Behavior,” the film offered the chance to put a different spin on the stories she likes to tell. Akhavan’s wide compositions and innocuously searing long-takes provide plenty of room for her characters to feel things out, every moment of silence and square inch of negative space inviting them to question if they should take God’s Promise at its word. If the kids evoke John Hughes, their environment reeks of Todd Haynes. —DE

“Women Who Kill” (2016)

WOMEN WHO KILL, from left: Ingrid Jungermann, Ann Carr, 2016. © FilmRise /Courtesy Everett Collection — Image Credit: Courtesy Everett Collection

What it is: A giant step up from “The Slope” and “F to the 7th,” the popular web series Ingrid Jungermann created prior to this feature-length debut, “Women Who Kill” follows straight-faced podcasters Morgan (Jungermann) and Jean (Ann Carr), a former couple whose popular digital show finds them profiling the eponymous murderers. When Morgan meets the mysterious and alluring Simone (Sheila Vand), Jean suspects she may be in danger.

Why we love it: This whip-smart satire offers a wry snapshot of self-involved New York lesbians that’s both enjoyably smarmy and unsettling in equal doses. A clever riff on the “kill your gays” trope, you can bet Jungermann knows exactly what she’s doing when she toys with the idea of lesbian sex as something potentially lethal. A self-professed stickler for story, Jungermann’s dialogue is naturally witty, but never overpowers the plot by meandering pointlessly. —JD