5. Hannah Has Drinks With Her Ex: “Girls,” “All Adventurous Women Do”
Based on their reunion drinks with each other, Hannah (Lena Dunham) and her gay ex Elijah (Andrew Rannells) seem made for each other. All of Hannah’s petty, narcissistic hang-ups are mirrored in Elijah, from her liberal arts ambitions stunted by laziness to her passive-aggressive lashing out to feel superior. Neither are the cultural ambassador so many non-viewers demand. Rather they’re flawed, floundering kids. Elijah identifies a “handsomeness” as the reason he was able to sleep with Hannah, a remark suggestive of both characters’ myopia but one that beautifully escalates the very mature play-acting of these two would-be adults into the verbal slapfest that ensues. She says she was lied to, he parries with Maya Angelou, she targets his vocal affectation, he puts on his indignant face. And it builds to probably the season’s greatest exit line, just as Hannah demands the last word. Elijah’s face fills the screen, his head bobbing toward the camera in tune with the dialogue, and he snaps, “It was nice to see you. Your dad is gay.” Just as a later scene deliciously rejects the gay-best-friend trope, Elijah refuses to be a symbol. He leaves Hannah speechless, which is victory enough.
4. Unique’s Debut: “Glee,” “Saturday Night Glee-ver”
In a season with an episode all about a teenage gay couple deciding to have sex -- which is pretty sudden for the squeaky clean, nothing-below-the-belt pair -- the most GLBT-empowering sequence is the surprise debut performance of Unique, the drag persona of a talented boy named Wade (Alex Newell). As Wade, he lacks the confidence to pull off the flamboyant “Boogie Shoes,” but as Unique he has the audience from note one, commanding the stage like the best of the series’ soloists. After years of closeted TV teens struggling to accept their sexuality, “Glee” makes coming out the joyous celebration it should be, with a foot-tapping number to boot. Fantasy, maybe, but one worth losing yourself to.
The anti-Kurt-and-Blaine, Ian Gallagher (Cameron Monaghan) has been quietly portraying gay adolescence for two years now, quickly coming to terms with his sexuality and expressing it not through elephant brooches and red skinny jeans but rather through sex. When Ian’s strictly sexual relationship with a neighborhood boy causes a bit of heartache after all, his recently returned mother tells him never to feel ashamed and takes him to a gay club for the first time. At first Ian feels a little uncomfortable, and eventually he confesses to feeling guilty. Suddenly the mundane scene becomes a powerful heart- to-heart, Cobra Starship filling the silence as Ian’s mom puts her arms around him. “I’m sorry you’re hurting, baby. Wanna dance?” He slowly starts to smile as the pace picks up, and the strobe editing takes them away, Ian momentarily finding escape and belonging in a LGBT space.
2. Renly and Loras’ Sexposition: “Game of Thrones,” “What Is Dead May Never Die”
Renly (Gethin Anthony) and Loras (Finn Jones) in bed is among the clearest depictions of gay sex on relatively mainstream television, and they don’t even get past kissing. That’s the name of the game, not just prurience but normalization. The gay romance is as visceral as anything else on the soapy drama, and for a moment, it’s practically fairy tale, a knight in bed with a king! Renly’s in that empowered mood of demanding his desires be sated, but Loras stops him to set up the next scene by telling Renly to knock up his new wife Margaery (Natalie Dormer) before the rumors of the king’s sexuality get too far out of hand. Renly’s court is already the most progressive with respect to gender, as a female knight earns her way into secret service, but that’s nothing next to Margaery gently suggesting Loras help a nervous Renly get started. It’s the “Game of Thrones” version of sweet, a compassionate embrace of alternative sexuality tangled up in incest and politics. Like almost everything else on “Game of Thrones,” the scene is really about the king and queen maintaining power, but that hardly undercuts the understanding.
At the end of another disappointing Valentine’s Day, the “Happy Endings” gang are preparing to pack it in when suddenly Max (Adam Pally) gets a flirtatious text from a very newly single ex named Grant (James Wolk). With that, the show puts all its romantic eggs in one basket, as everyone pitches in so at least Max can have some kind of happy ending. The Disney-prince-looking Grant opens his door to find candles all over the stoop, “More Than Words” blaring, a wrapped gift that was intended for Penny’s date, and a chariot to a nice restaurant with a dinner reservation. They kiss -- an on-screen first for the usually un-romantic Max -- and ride off into the night, as close to a fairy tale as a serialized rom-com can get. For once it’s the boy who gets the boy.