Kim O’Kelly 🏳️‍⚧️ ⚢

Television Creator · Screenwriter
Sapphic Erotica · Chick Flick · Sci-Fi · Action & Adventure · Soap Opera
Film · Television · Digital

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE DANGEROUS DESIRE | NOLA DARLING & OPAL GILSTRAP — SHE’S GOTTA HAVE IT (2017)

WHEN YOUR BREAK FROM MEN COMES WITH ONE VERY SPECIFIC EXCEPTION

Let’s talk about Nola and Opal.

Because when Nola Darling decides she needs a break from men, naturally the solution is not celibacy.

It is Opal Gilstrap.

An ex.

A woman Nola already knows.

A woman who knows Nola right back.

And suddenly the cleanse becomes considerably less cleansing.

Nola spends so much of her romantic life defending herself.

Her freedom.

Her body.

Her refusal to belong to anyone.

Jamie wants permanence.

Mars wants devotion.

Greer wants to understand why being Greer is somehow not enough.

Everybody seems to want something from Nola that requires her to explain herself.

Opal feels different.

With Opal, Nola does not have to fight to remain Nola.

She can simply want.

Which, for a woman who has turned autonomy into both philosophy and armor, is dangerously seductive.

DeWanda Wise plays Nola like desire is never the problem.

The problem is what people try to attach to it.

Expectation.

Possession.

Definition.

Ilfenesh Hadera gives Opal exactly the kind of confidence that makes all of that noise disappear.

She does not need to conquer Nola.

She already knows what being with her feels like.

And that history changes everything.

Their attraction does not begin with discovery.

It begins with recognition.

The ease of touching someone whose body is not entirely new to you.

The confidence of returning somewhere you already know you like.

Very inconvenient for a cleanse.

And very convenient for us.

That is where the desire becomes dangerous.

Because Nola initially treats Opal like freedom.

A refuge from the exhausting politics surrounding the men in her life.

Sex without the same battle.

Intimacy without immediately feeling claimed.

Except Opal is not an escape hatch.

She is a person.

And people have a nasty habit of developing feelings.

Opal says she will not.

Nola certainly does not arrive looking for commitment.

Naturally, both assumptions age beautifully.

Because underneath all that physical ease is something Nola does not encounter very often:

safety.

She relaxes with Opal.

She talks about her.

She returns to her.

She meets Skylar.

And suddenly the woman who was supposed to represent uncomplicated desire begins looking suspiciously like something much more intimate.

By the time we see them again, eighteen months have passed.

And Nola Darling — patron saint of romantic compartmentalization — is actually in a committed relationship.

With Opal.

Of course, the chemistry has not exactly suffered.

If anything, now the desire has something it did not have before.

History.

Domesticity.

Love.

The sex is no longer a detour from Nola’s life.

It is part of the life she has built with Opal.

And that is what makes them so compelling.

Nola spends so much time insisting that desire should not automatically create ownership.

Opal may be the clearest proof that she is right.

Because their attraction works precisely when neither woman is trying to erase the other inside it.

Opal does not make Nola less free.

She makes freedom feel safe enough to share.

Some dangerous desires are dangerous because they make you lose control.

Nola and Opal?

Theirs is dangerous because Nola discovers something much more frightening.

Sometimes the person who lets you feel most free…

is the person you start wanting to come home to. 💋

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE DEADLY ATTRACTION | Alba & Natasha — ROOM IN ROME (2010)

DARLING, SOME WOMEN VISIT ROME FOR THE HISTORY. OTHERS DISCOVER THAT THE MOST DANGEROUS ATTRACTION IN THE ETERNAL CITY HAS ABSOLUTELY NOTHING TO DO WITH ANCIENT RUINS.

Let’s talk about Alba and Natasha.

Because apparently, one night in Rome is all it takes to turn a perfectly ordinary holiday into a rather spectacular romantic complication.

And darling, these two are about to become very complicated indeed.

Alba (Elena Anaya) is Spanish, confident, seductive, and considerably more interested in the beautiful Russian woman standing before her than in anything the city’s tourist attractions have to offer.

Natasha (Natasha Yarovenko), meanwhile, has a rather important detail to disclose.

She’s straight.

Or at least, that’s what she keeps telling herself.

And she’s getting married.

To a man.

Next week.

DARLING.

Not exactly the ideal moment to discover that an irresistible Spanish woman might have something to say about your understanding of romance.

But here they are.

Two strangers.

One hotel room.

And an entire night stretching before them.

At first, it’s temptation.

A little curiosity.

A nervous smile.

The dangerous pleasure of discovering that someone you’ve only just met can make the rest of the world seem terribly unimportant.

Alba knows how to flirt.

Natasha knows how to hesitate.

And neither seems particularly interested in making the sensible decision.

Which, darling, would probably involve returning to their respective hotel rooms and getting a good night’s sleep.

Naturally, nobody does that.

Instead, Julio Medem gives us an intimate, sensual encounter in which desire slowly becomes something far more unsettling.

Because beneath the flirtation, the kisses and the intoxicating closeness, these women begin revealing themselves.

Their stories.

Their fears.

Their carefully constructed versions of who they are.

And the more they discover, the harder it becomes to pretend that this is merely a beautiful adventure between two strangers.

Rome was supposed to be temporary.

The attraction was supposed to be uncomplicated.

And morning was supposed to put everything back where it belonged.

Oh, darling.

How adorable.

Because somewhere between midnight and sunrise, Alba and Natasha discover that the most dangerous thing about falling into someone’s arms isn’t always the desire.

Sometimes, it’s the possibility of wanting to stay.

And suddenly, an entire city filled with centuries of history cannot compete with what has happened in one little hotel room.

DARLING, THEY CAME TO ROME FOR ONE LAST NIGHT OF FREEDOM. THEY JUST DIDN’T EXPECT TO FIND SOMEONE WHO WOULD MAKE LEAVING FEEL LIKE THE REAL SIN.

[Film Updates @FilmUpdates]

Todd Haynes reveals his next film will likely be an adaptation of ‘THE MAIDS’ and will potentially star Cate Blanchett.

(https://t.co/78B3b0KLoK)

[Chaos Crave @ChaosCrave_]

Florence Pugh and Hailee Steinfeld are rumored to star as lovers in a modern remake of the iconic 1996 neo-noir thriller 'BOUND', with Lana and Lilly Wachowski rumored to return as directors!

The duo is reportedly being considered for the roles of Corky and Violet in a high-stakes mob heist.

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE DEADLY ATTRACTION | Suzie Marie Toller, Kelly Lanier Van Ryan & Sam Lombardo — WILD THINGS (1998)

WHEN YOUR LOVE TRIANGLE INVOLVES A MILLIONAIRE HEIRESS, A HIGH SCHOOL OUTCAST, AND A MAN WHO SHOULD NEVER HAVE BEEN TRUSTED WITH ANYONE’S FUTURE.

DARLING, WELCOME TO FLORIDA. 💋

Let’s talk about Suzie Toller, Kelly Van Ryan, and Sam Lombardo.

Beautiful beaches.

Expensive mansions.

Perfect swimming pools.

And enough lies, blackmail, and criminal conspiracies to keep the entire Florida justice system busy until Christmas.

Welcome to Blue Bay.

Enter Sam Lombardo, played by Matt Dillon.

Handsome. Charming. Popular.

A school guidance counselor whose professional judgment is about as reliable as a Florida weather forecast during hurricane season.

Then there’s Kelly Van Ryan.

Denise Richards.

OH, DARLING.

Beautiful. Wealthy. Privileged.

The kind of girl who has everything money can buy.

Except, apparently, a healthy relationship with reality.

And finally?

Suzie Marie Toller.

NEVE CAMPBELL.

The outsider.

The troublemaker.

The girl everyone underestimates.

BIG MISTAKE.

Because while Kelly has the money and Sam has the charm, Suzie possesses something considerably more dangerous.

A PLAN.

And what a plan.

An explosive accusation.

A spectacular courtroom scandal.

A ruined reputation.

And an enormous financial settlement.

Because apparently, when ordinary people have disagreements, they talk things through.

IN BLUE BAY, THEY ORGANIZE AN EIGHT-MILLION-DOLLAR CONSPIRACY.

Darling, whatever happened to simply blocking someone?

But the real entertainment begins when the supposed victims and villains turn out to be working together.

Sam.

Kelly.

Suzie.

Three conspirators.

One fortune.

And enough mutual distrust to destroy an entire marriage counseling practice.

Because sharing a secret is one thing.

Sharing several million dollars?

QUITE ANOTHER.

Kelly thinks she understands the game.

Sam thinks he’s controlling it.

And Suzie?

Well.

Suzie is watching.

Learning.

Waiting.

Meanwhile, the famous swimming pool at the Van Ryan estate becomes the setting for one of the film’s most notorious encounters.

An argument.

A confrontation.

An unexpected kiss.

Because apparently, in this particular corner of Florida, even a disagreement requires its own dramatic plot twist.

And Detective Ray Duquette?

He’s watching too.

DARLING, DOES ANYBODY IN THIS TOWN HAVE A NORMAL HOBBY?

But beneath all the scandalous spectacle lies something much more entertaining.

A competition for control.

Every alliance comes with an expiration date.

And every apparent victory is merely an invitation to the next betrayal.

This is where Wild Things becomes absolutely irresistible as a thriller.

Matt Dillon plays the charming opportunist.

Denise Richards gives Kelly all the arrogance of a privileged heiress convinced the world belongs to her.

And Neve Campbell?

SHE STEALS THE ENTIRE GAME.

Because Suzie isn’t simply the outsider invited into somebody else’s conspiracy.

She’s the one person who understands how dangerous everybody else really is.

And more importantly?

How to use that danger against them.

Romantic?

DARLING, PLEASE.

Healthy?

NOT EVEN REMOTELY.

A sensible financial arrangement?

ASK THEIR LAWYER.

Because by the time the final revelations arrive, this isn’t merely a story about attraction.

It’s about greed.

Manipulation.

Power.

And the extraordinary lengths people will go to when they believe they’re smarter than everyone around them.

Unfortunately for Sam and Kelly, there’s always someone smarter.

And her name is Suzie Toller.

Because some people play with fire.

Some people get burned.

And some people make sure everybody else is standing in the flames.

DARLING, NEVER UNDERESTIMATE THE GIRL WHO LOOKS LIKE SHE HAS NOTHING TO LOSE. SHE MIGHT BE THE ONLY ONE WHO KNOWS EXACTLY HOW THE GAME ENDS.

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE LEADING VILLAINESS | Magda Kassar — CHAINED HEAT II (1993)

WHEN YOUR PRISON WARDEN LOOKS LIKE A SUPERMODEL, BEHAVES LIKE A DICTATOR, AND HAS APPARENTLY NEVER HEARD OF THE GENEVA CONVENTIONS. 💋

Let’s talk about Magda Kassar.

Darling, welcome to Razik Prison.

A charming little establishment where corruption is practically a company policy, human rights are an optional extra, and the management has some VERY unconventional ideas about hospitality.

And who runs this delightful institution?

BRIGITTE NIELSEN.

OH, DARLING.

Tall. Blonde. Imposing. Absolutely terrifying.

Playing Magda Kassar, a woman who clearly looked at the concept of prison reform and thought:

How terribly disappointing.

Because Magda doesn’t simply run a prison.

She runs a criminal empire with prison cells attached.

And apparently, the dress code is somewhere between authoritarian chic and a particularly scandalous episode of Dynasty.

The year is 1993.

Subtlety has left the building.

And Brigitte Nielsen has arrived to make sure it never comes back.

Enter Alex Morrison, played by Kimberley Kates.

An innocent American woman who finds herself trapped inside Magda’s thoroughly corrupt institution.

Unfortunately, Alex is about to discover that the prison administration has considerably more sinister ambitions than rehabilitation.

Because behind those walls, Magda and her accomplice Rosa Schmidt have turned captivity into a business.

Exploitation. Blackmail. Corruption.

And enough criminal activity to keep an entire international tribunal employed until retirement.

Darling, this woman doesn’t need a disciplinary hearing.

SHE NEEDS AN INTERPOL TASK FORCE.

And Magda?

Completely unapologetic.

She moves through her domain with the confidence of a woman who has never encountered a rule she couldn’t break.

Every command is an occasion for intimidation.

Every room is another extension of her authority.

And every unfortunate soul who crosses her path learns one valuable lesson.

The warden is ALWAYS watching.

What makes her such a deliciously outrageous screen villain is Brigitte Nielsen herself.

That towering presence.

That icy expression.

That extraordinary talent for making even the most ridiculous dialogue sound like a royal decree.

Because darling, Chained Heat II isn’t exactly aspiring to Shakespeare.

It’s a gloriously excessive exploitation thriller that knows precisely which attractions it’s selling.

Dangerous women.

Scandalous situations.

Questionable decisions.

And Brigitte Nielsen behaving as though someone handed her the keys to the entire kingdom of bad taste.

A LITTLE RESTRAINT, MAGDA?

ABSOLUTELY NOT.

But beneath the camp spectacle is a genuinely vicious antagonist.

Her power depends on the vulnerability of the women imprisoned beneath her.

And when Alex begins threatening the comfortable little empire she’s built, Magda’s carefully maintained authority starts looking considerably less secure.

Because there’s one thing every great villainess eventually discovers.

Power is intoxicating.

Losing it?

FAR LESS ENJOYABLE.

And honestly, darling, half the entertainment is watching Brigitte Nielsen transform this outrageous character into a walking monument to excess.

She’s not here to be redeemed.

She’s not here to learn valuable lessons.

And she certainly isn’t here to win Employee of the Month.

She’s here to dominate the screen, terrorize the innocent, and remind everyone why certain women should NEVER be placed in positions of authority.

Romantic?

Good heavens, no.

Dangerous?

COMPLETELY.

Subtle?

DARLING, HAVE YOU SEEN THE MOVIE?

Because some villainesses enter a room and demand attention.

Others command an entire prison.

Magda Kassar?

She makes the prison look like an extension of her own terrible personality.

DARLING, SOME WOMEN ARE BORN TO RULE. OTHERS SHOULD NEVER HAVE BEEN GIVEN THE KEYS.

[Variety @Variety]

Tom Skerritt, who starred in the TV series “Picket Fences” and appeared in movies ranging from “MASH” to “Alien,” “Top Gun,” “A River Runs Through It” and “Ted,” has died of natural causes at 93.

https://t.co/13H8QfVBlc

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE DEADLY ATTRACTION | Abby Ableman (Eleanor) & Sam Bennet — CONCUSSION (2013)

WHEN YOUR CRUSH FROM SPIN CLASS BECOMES YOUR PAYING CLIENT, AND YOUR PERFECTLY ORGANIZED DOUBLE LIFE SUDDENLY GETS VERY, VERY COMPLICATED. 🫦

Let’s talk about Abby Ableman and Sam Bennet.

Darling, suburban life is wonderful.

Beautiful houses. Successful spouses. Perfect children.

And enough repressed desire to power the entire state of New Jersey.

Meet Abby Ableman, played by Robin Weigert.

Forty-two. Married. Two children. A comfortable existence.

And bored out of her mind.

After an unfortunate encounter with a baseball, Abby starts questioning everything.

Her marriage.

Her happiness.

And whether there’s more to life than renovating apartments and pretending she’s satisfied.

Enter Eleanor.

Abby’s secret identity: a discreet escort for women.

Because darling, why buy a sports car for your midlife crisis when you could become somebody else’s guilty pleasure?

Business is going splendidly.

Until Sam Bennet walks in.

Maggie Siff.

OH, DARLING.

Beautiful. Elegant. Married. Impossibly composed.

The kind of woman who looks perfectly at home discussing school schedules and organic groceries while secretly dreaming of something considerably less respectable.

And here’s the complication.

Abby already knows her.

FROM SPIN CLASS.

Yes, darling. Apparently even exercise has become a gateway to forbidden desire.

Now Sam has booked an appointment with Eleanor.

And Abby discovers that her new client is the very woman she’s been admiring.

Well.

THAT’S AWKWARD.

Or deliciously convenient.

Because Eleanor is supposed to mean business.

Discretion. Pleasure. No attachments.

But Sam is different.

It’s the glances. The familiarity. The way Maggie Siff can make emotional unavailability look like an expensive accessory.

Suddenly, the woman who thought she controlled every rule of her double life is forgetting why those rules existed.

Because Sam isn’t merely another appointment.

She’s someone Abby knows.

Someone she wants.

And someone who can walk right back into the respectable suburban world they both inhabit.

Darling, nothing complicates an uncomplicated affair quite like catching feelings for a woman who has a husband, children, and somewhere else to be.

And Maggie Siff?

ABSOLUTELY MAGNETIC.

That cool elegance.

That effortless sensuality.

That infuriating ability to make one glance feel like an entire forbidden conversation.

Robin Weigert matches her beautifully, because beneath Eleanor’s confidence is Abby: a woman desperate to feel alive again.

Romantic?

Possibly.

Sensible?

NOT EVEN REMOTELY.

That’s the delicious danger of Concussion.

Two women with immaculate lives, hiding their dissatisfaction behind immaculate doors.

Abby invented Eleanor to keep desire separate from reality.

Then Sam Bennet walked in and made that separation almost impossible.

DARLING, THE MOST DANGEROUS WOMAN ISN’T ALWAYS THE ONE WHO KNOWS YOUR SECRET. SOMETIMES IT’S THE ONE WHO MAKES YOU WISH YOU DIDN’T HAVE TO KEEP IT.

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE DEADLY ATTRACTION | Nicky Nichols & Brook Soso — ORANGE IS THE NEW BLACK (2013–2019)

WHEN YOU WALK INTO A PRISON CHAPEL LOOKING FOR COMFORT AND MEET A WOMAN WHO HAS ABSOLUTELY NO INTENTION OF BEHAVING LIKE A SAINT. 🫦

Let’s talk about Nicky Nichols and Brook Soso.

Darling, there are bad days.

And then there are days when someone tries to trade your dignity for a prison blanket.

Welcome to Litchfield, where friendship is complicated and even the chapel isn’t safe from extracurricular activities.

Enter Brook Soso, played by Kimiko Glenn.

Sweet, idealistic, hopelessly talkative, and still convinced prison might resemble a dysfunctional feminist summer camp.

Oh, honey.

Meanwhile, Nicky Nichols, brought to gloriously inappropriate life by Natasha Lyonne, has other ideas.

You see, Nicky and Big Boo have embarked on a competition.

A competition involving women.

Lots of women.

And a scoring system that would make the Olympic Committee request legal representation.

Because apparently incarceration isn’t entertaining enough without turning your love life into a competitive sport.

And Brook?

Well, Brook has caught their attention.

Unfortunately, her introduction to Litchfield’s romantic possibilities has already gone spectacularly wrong.

After Piper Chapman’s disastrous blanket arrangement, she’s upset, humiliated, and desperately in need of someone who’ll listen.

And who should appear?

Nicky Nichols.

Darling.

Of all the women in Litchfield.

OF ALL THE WOMEN.

There she is, approaching with the reassuring manner of someone who has just spotted a VERY promising opportunity.

A sympathetic question.

A little attention.

Just enough tenderness to make poor Brook believe somebody finally understands her.

Well.

Nicky understands something.

And it isn’t necessarily Brook’s emotional needs.

Because Nicky is many things.

Funny. Shameless. Charismatic. Dangerously persuasive.

But a woman motivated exclusively by charitable intentions?

PLEASE.

The chapel becomes the setting for one of Litchfield’s most gloriously chaotic encounters.

Brook, bless her innocent heart, approaches the experience as another fascinating chapter in her personal development.

She has questions.

She has observations.

She has feelings.

SO MANY FEELINGS.

And naturally, she intends to discuss every single one.

Because if there’s one thing Brook Soso can do, it’s talk.

Before a conversation.

During a conversation.

After a conversation.

Even when the conversation has become considerably less conversational.

Darling, this woman could provide live commentary on her own honeymoon.

Nicky, meanwhile, has a very different understanding of the evening’s objectives.

And Natasha Lyonne’s expressions?

PRICELESS.

Amusement. Impatience. Disbelief. And the sudden realization that seducing Litchfield’s most talkative woman might have been a spectacular tactical error.

Because the opportunity may be irresistible.

But the running commentary?

ABSOLUTELY EXHAUSTING.

Eventually, Nicky makes her desire for silence unmistakably clear in a moment so unsubtle that the comedy writes itself.

Romantic?

Not particularly.

Tender?

Hardly.

A masterclass in healthy communication?

Darling, we’re talking about Nicky Nichols.

And that’s precisely the deliciously messy comedy that makes Orange Is the New Black unforgettable.

Everybody has an ulterior motive.

Nobody is behaving quite as admirably as they imagine.

Somehow, between terrible decisions, chaos, and a complete absence of discretion, these women remain impossible to forget.

And Nicky?

Give Natasha Lyonne a crooked smile, a wicked sense of humor, and one unsuspecting woman, and she’ll manufacture a disaster before dinner.

And Brook?

Poor Brook.

She came looking for reassurance.

She found Nicky Nichols.

DARLING, SOMETIMES THE DEVIL DOESN’T TEMPT YOU OUTSIDE THE CHURCH. SOMETIMES SHE’S ALREADY WAITING INSIDE.

[Luu @luu52z_]

Harta de este debate
Yo no soy lesbiana pero creo q es OBVIO q las mujeres trans son MUJERES y a una lesbiana le puede gustar una mujer trans xq oh, es mujer. Dejando esto en claro, tmb está bien q no estés con algn trans xq no te gusta el pene y no x eso sos transfóbico.

[Variety @Variety]

Tom Cruise to Be Honored With AFI Life Achievement Award in 2027 https://t.co/63znO7L9VQ

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE LEADING LOVERS | Ruthie O’Neil & Shar — QUEER AS FOLK (2022)

WHEN YOU’RE READY TO RAISE TWINS, BUT YOUR PARTNER IS STILL RAISING HELL.

Let’s talk about Ruthie O’Neil and Shar.

New Orleans.

Two lovers.

Two babies on the way.

And one former party girl whose idea of settling down apparently needs a little editing.

Darling, parenthood is about to get interesting.

In Queer as Folk, Jesse James Keitel makes Ruthie magnetic, impulsive, and spectacularly bad at pretending everything is fine.

CG gives Shar the warmth and backbone of someone who can handle almost anything.

Almost.

Shar is ready to build a family.

Ruthie loves Shar.

The babies, the responsibilities, the end of wild nights?

Well, she’s working on it.

Then tragedy strikes Babylon, and Shar gives birth to their twins while Ruthie’s world is turned upside down.

Suddenly, love isn’t just about stolen kisses and late nights.

It’s sleepless mornings, difficult conversations, and learning how to stay when running away feels easier.

And these two don’t always make it easy.

Ruthie hides behind jokes and desire. Shar wants honesty, not another performance.

Until one intimate conversation breaks through Ruthie’s defenses.

And beneath all that attitude is a woman who desperately needs to feel safe in her own skin again.

That’s the beauty of their chemistry.

It’s sexy, messy, tender, and occasionally in desperate need of couples therapy.

Of course, this is Queer as Folk.

A quiet domestic life would be positively irresponsible.

Just when marriage enters the conversation, old attractions and spectacularly inconvenient kisses threaten the family they’re trying to protect.

Darling, apparently the twins aren’t the only ones keeping everyone awake.

But Ruthie and Shar are more than their mistakes.

They’re two people trying to build a home in the middle of a storm.

Because falling in love is one thing.

Staying in love when the party’s over?

Darling, that’s the real revolution.

[milly tulipa callie’s wife @evmmssx]

meu deus a callie to toda me tremendo

[Democrats @TheDemocrats]

Happy Birthday, Madam Vice President 🇺🇲

[Most @Most]

The Hunting Wives are back with a bang, bang.

Season 2 is coming November 26!

[Mfaomé | Coach sportif @mfaome]

C’est la séquence la plus hilarante que j’ai pu voir depuis des années ptdr cheh

[Kim O’Kelly 🏳️‍⚧️ ⚢ @KimmyOKelly]

THE LEADING LOVERS | Emily Dickinson & Susan Gilbert — DICKINSON (2019–2021)

WHEN THE LOVE OF YOUR LIFE MARRIES YOUR BROTHER, FAMILY DINNERS BECOME A LITTLE COMPLICATED.

Let’s talk about Emily Dickinson and Sue Gilbert.

A poet.

Her best friend.

Her greatest love.

And, eventually, her sister-in-law.

Darling, the nineteenth century really knew how to create a scandal.

In Dickinson, Emily and Sue have the sort of connection that makes ordinary friendship look terribly underqualified.

Hailee Steinfeld makes Emily restless, brilliant, and completely incapable of behaving like the respectable young lady Amherst expects.

Ella Hunt gives Sue a quieter intensity.

One writes poetry.

The other is the reason half the words seem to catch fire.

They understand each other in stolen glances, private conversations, and kisses that society would much rather pretend never happened.

A beautiful arrangement.

Until Austin enters the picture.

Emily’s brother loves Sue, too.

And Sue marries him.

Yes. Her brother.

Darling, there are easier ways to stay close to your girlfriend.

Suddenly, Emily’s great love is living practically next door, wearing the Dickinson name, and belonging to a marriage that cannot possibly contain everything she feels.

There is jealousy.

There is distance.

There are misunderstandings that could fill several volumes.

Fortunately, Emily is rather good with words.

But behind the wit and rebellion lies something achingly tender.

Sue knows the woman beneath the poet. Emily sees the loneliness behind Sue’s composure.

They hurt each other. They find each other again.

And through all the chaos, the feeling refuses to disappear.

Because this isn’t merely a forbidden romance dressed in nineteenth-century gowns.

It’s two women trying to love each other in a world that has no proper place for their love.

History remembers Emily Dickinson for her poems.

But in Dickinson, Sue is the woman who makes you understand why she had to write them.

[Netflix @netflix]

HUNTING WIVES TRAILER TOMORROW

[The Academy @TheAcademy]

Charlize Theron has us completely under her spell at the Academy Museum Gala.

[TF1 @TF1]

L’amour l’a conduite en enfer. Sa vengeance ne fait que commencer.

🗡️ 𝙇𝙖 𝘾𝙤𝙢𝙩𝙚𝙨𝙨𝙚 𝙙𝙚 𝙈𝙤𝙣𝙩𝙚-𝘾𝙧𝙞𝙨𝙩𝙤, bientôt sur TF1 et TF1+

[The Academy @TheAcademy]

Charlize Theron x Academy Museum Gala.

Portrait by Gina Gizella Manning
Set Design by PLATNA STUDIO