3 BIPOC-lead & queer-inclusive shows to binge this summer

‘Pose,’ ‘We Are Lady Parts,’ and ‘The Get Down’ contain beautiful stories, soundtracks, and visuals

The shows celebrate BIPOC and queer stories.

With every corner of the internet saturated with new media, it’s hard to parse through it all and find fun, quality shows that promote diverse perspectives.

Here are a few shows with BIPOC leads and queer characters that are totally worth binging this summer. Instead of dealing with decision fatigue, take a look at one of these stellar acclaimed shows that you might have missed out on.


Pose is a drama series centering on the lives of Black and brown LGBTQ+ individuals in the 1980s and 1990s in New York City as they navigate poverty, the HIV/AIDs crisis, and the rapidly shifting political landscape.

Blanca Rodriguez-Evangelista, played by Michaela Jaé Rodriguez, is the mother of House Evangelista, a “team” that lives and competes together in the Ball scene of New York City. Through her ambition, confidence, and guidance, the members of House Evangelista grow as performers and people as they take their skills off the ballroom floor.

Pose is a stunning and stellar show with a talented cast of LGBTQ+ and BIPOC actors. Its significance lies in what it does for representation in media and its influences in retelling the stories of real-life, queer New Yorkers.

Pose provides stunning looks, strong characters, and emotional backstories. Despite what can be sad subject matter, the show is laced with hope and a central message that prioritizes found family above all. It's informative, timely, and uplifting all at once and the perfect show to binge during pride month.

We Are Lady Parts

We Are Lady Parts is a fantastic British comedy series about Amina Vasan, a twenty-six-year-old PHD student looking for a committed relationship who becomes the lead guitarist for the band Lady Parts.

The show explores the rich, close-knit, and diverse Muslim community in London, as each member of the band has a different area of origin. The show is written primarily by Nida Manzoor, a Pakistani-British woman with enough experience in the community she writes about that the show feels like a love letter to a tight-knit community.

This show has a strong stylistic voice—the directors are not afraid to delve into the goofy and the campy. In ten episodes, the show packs emotional punches with its creative direction. It starts out light-hearted and funny, with Amina’s narration coating the whole show in a layer of clever irony.

As the show progresses and the relationships between the main cast deepens, the themes of finding freedom and new friendships, gaining confidence, staying true to yourself, queerness, and faith rise and strike a strong emotional chord.

The show also focuses on women in their late twenties and early thirties with messy lives, reminding us how people can grow and change and reach new milestones later in life. This is especially refreshing considering most forms of media using similar stories tend to be about high schoolers or college freshmen. 

The Get Down

The Get Down is a stellar musical drama on Netflix about a group of teenagers living in the south Bronx in the 1970s, trying to make names for themselves in the competitive and rapidly changing music industry.

The show is led by Justice Smith, who sings and raps his way through the series, intercut with character Nas’ own rapping to provide narration and context in each episode.

The Get Down is one of my favourite shows of all time. It’s a big, bold, and bright celebration of music and the ’70s. The show is an eclectic mix of various moods, sounds, and colours, with original music woven perfectly into the narrative.

While not a focus, the influences of queer culture on music, especially on the disco scene, play a role in the storytelling, like with the story arc of Jaiden Smith’s character, Dizzy.

This show deserves a dozen rewatches—it packs so much into one season and it’s visually stunning. If you have ever seen Romeo and Juliet, or enjoyed Moulin Rouge, then you might recognize Baz Luhrmann’s chaotic and gorgeous style in The Get Down.


All final editorial decisions are made by the Editor(s)-in-Chief and/or the Managing Editor. Authors should not be contacted, targeted, or harassed under any circumstances. If you have any grievances with this article, please direct your comments to journal_editors@ams.queensu.ca.

When commenting, be considerate and respectful of writers and fellow commenters. Try to stay on topic. Spam and comments that are hateful or discriminatory will be deleted. Our full commenting policy can be read here.