Liz Baker and her three roommates work at theNether Fields,a queer magazine in New York that’s on the verge of shutting down—until it’s bought at the last minute by two wealthy lesbians.

This book honestly had me at control freak. I cannot wait to see what Ari is all about and how she brings Nina out of her shell in this new lesbian romance for 2023. Phoebe Matthews is too focused on her first season as a professional soccer player to think about seducing her longtime idol. But when Grace ends up making the first move, they can’t keep their hands off of each other. Talia had let herself be charmed, only to discover that Gareth was also seeing Linden—unbeknownst to either of them. And now she and Linden want revenge. Only one question stands: Is Emmy in? Tansy Adams’ greatest love is her family’s bookstore, passed down from her late father. But when it comes to actual romance… Tansy can’t get past the first chapter. There's a slow and persistent burn in Mona Fastvold's The World to Come. The gorgeously spare period piece stars Katherine Waterston ( Alien: Covenant) as Abigail and Vanessa Kirby ( The Crown) as Tallie, two women battling the harsh elements in 19th-century New York State who find solace and a whole lot more in one another.Selling their chemistry on camera is surprisingly easy, and it’s still there when no one else is watching, which is an unexpected bonus. Winning this competition is going to be a piece of wedding cake. I felt like a lot of the world outside of Fall River was changing, but in that Calvinist community, she was really smart. She had a lot to say and no one to say it to," Sevigny said. "That's where we wanted to build the relationship with Bridget for her -- that Bridget was finally an outlet. It felt like she deserved that love and an escape from her horrid existence."

Anna’s tired of being defined by her bubbly persona. She wants to be taken seriously as an artist, and a duet with Eden could be just what she needs. When Erin Stewart hires a fake date for her parents’ anniversary party, she gets more than she bargained for.But the pure hedonism and debauchery that ensues isn’t exactly what she had in mind, and Eddie soon finds herself torn between her complicated feelings for Rose and her equally complicated dynamic with Nash, whose increasingly bad behavior doesn’t match up to her vision for her literary hero. If you also adore the grumpy sunshine trope Sophie seems to fit the bill, but I think her desperation to ignore her attraction to her boss is the best part of this novel. Having raised her eleven-year-old daughter mostly on her own while dealing with her unreliable ex and running a bookstore, Claire Sutherland depends upon a life without surprises. And Delilah Green is an unwelcome surprise…at first. When the two women begin to learn that maybe they’re not as different as they think, they may finally figure out the most important thing they have in common when it comes to finding a life worth living. When she meets twenty-eight-year-old A-list actress Valeria Sullivan around the office, Luna thinks she’s found her solution. She’ll use Valeria’s interest in her cinematography to get a PA job on the set of Valeria’s directorial debut—and if Valeria is as gay as Luna suspects, and she happens to be Luna’s route to losing her virginity, too . . . well, that’s just an added bonus.

Tello herself has another idea in the pipeline: A Civil War drama about women who dressed like men to fight in combat. Yes, it’s a period piece, but Tello can’t resist the temptation. “[That was] a time when women were allowed to be affectionate with one another as friends, it was easy for two women to sleep in the same bed, hold hands, and no one thought anything of it. There’s a natural tension there, and in the script, I really try to show how things we’re dealing with today as women are not that dissimilar to 1865.” Part revenge tale and part redemption song, Lizzie took years for indie darling Chloe Sevigny ( Boys Don't Cry, Big Love, Love and Friendship) and out writer Bryce Kass to shepherd to the screen. Although there were several iterations along the way, the final version of the film about the ax killer from the tiny town of Fall River, Mass., couldn't have come at a timelier moment. A film that shares a lineage with the queer true crime-based films of the '90s like Heavenly Creatures and Sister My Sister, Lizzie is a fresh take on the "murderous lesbians'" trope. The movie also fits right in with the #MeToo era, with Lizzie and her maid/love interest/co-conspirator Bridget (Kristen Stewart) literally bashing toxic masculinity in the face. They’ll neveractuallymeet, so what’s the harm in a little fib? Yet when real-life Gemma crosses Tansy’s path, her white lie nearly does her in.Between reconnecting with her old crew and working on a new script, a relationship with a movie star seems like something she’ll definitely mess up—but what could be more worth the risk? Skye wonders if she and Jordy can recapture the spark she knows they had, but Maya has other plans: exposing Jordy and getting revenge. As they navigate the competition, Skye and Maya discover that their real happily ever after is nothing they could have scripted.

Eden Sands has been a star for twenty years, but it’s lonely at the top. Her mediocre marriage just ended, and her inner circle is smaller than ever. The stage is the only place she’s ever felt like she truly belonged, and yet, her last album flopped, and her upcoming tour hasn’t sold out. There’s nothing wrong with a period piece. In fact, the more queer filmmakers can retell centuries of straight-washed history, the better. But we need more queer representation in all forms, for all eras. Without the balance of seeing, understanding, and just being entertained by the way women-loving women live today, in current times, an enormous cinematic gap must be filled. If not we risk perpetuating the idea that heterosexuality is superior, that queer stories aren't with telling, understanding, or feeling. We risk audiences never seeing or believing that love is universal.Margot is starting to feel like the fifth wheel now that her friends are paired up with their special someones when she comes face to face with her childhood friend. Based on the novel The Price of Salt, Todd Haynes’ 2015 film Carol is a rapturous love story between Carol (Cate Blanchett) and Therese (Rooney Mara). During her Christmas shopping, Carol meets Therese and the attraction between the two is apparent. They lose themselves in one another, creating a world of their own, all the while the real world they’re trying to escape begins to close in on them. The film was nominated for 6 Oscars at the 2016 Academy Awards.