In 2024, when Richard Gadd’s “Baby Reindeer” became a stock-boosting hit for Netflix, there were few Americans who knew his name.

In the UK, however, the Scottish writer/comedian/actor had already emerged as a talent to be reckoned with, blending autobiographical stand-up comedy with theater to create a reputation as an edgy and provocative creator whose shows tended to be equal parts divisive and successful. One of these, his fictionalized true-life story of being stalked and sexually harassed by a female fan, became an Olivier Award-winning hit in the London theater; that was “Baby Reindeer,” and – in the form of a seven-episode miniseries adaptation – it became the vehicle that carried him to wider fame.

Two years later, Gadd has returned with another high-profile miniseries, this time for HBO Max, and like its predecessor, it’s a story that deals with queer sexual repression, unhealthy attachments, and a central relationship that can safely be described without exaggeration as “toxic” – and it’s an even darker (and more twisted) ride that stretches across decades. 

“Half Man,” which debuted on April 23 and continues with one episode per week through May 14, is the story of two “brothers” – Niall (Jamie Bell) and Ruben (Gadd) – whose mothers (Neve McIntosh and Marianne McIvor) have become a lesbian couple after leaving their relationships with the boys’ respective fathers. They are seeming opposites in personality; Niall is quiet, sensitive, and secretly unsure about his sexuality, while Ruben is tough, rebellious, and prone to violence – and unsurprisingly, it’s a match made in hell.

We meet them at the top of the first episode as adults, on the day of Niall’s wedding, when Ruben shows up without warning; his appearance triggers what looks like fear in his “brother from another lover,” and a private meeting between them in a barn at the wedding site turns ugly, launching a flashback format that takes us back to their schooldays, when young Ruben (Stuart Campbell) – already in trouble with the law and trying for a new start – comes home from juvenile detention to become roommate, protector, and bully to young Niall (Mitchell Robertson), all in one.

It’s the dawn of a new and epic relationship, despite a history that has made Niall terrified of the older boy; their seemingly opposite qualities somehow mesh into a kind of symbiotic bubble, in which a tense equilibrium turns them into unlikely allies. Ruben makes sure Niall has nothing to fear from the sniggering schoolyard homophobes who target him, and Niall helps Ruben pass the tests he needs to pass in order to stay in school. Nevertheless, their dynamic is both surprisingly tender and alarmingly lopsided; though they form a bond, it’s a volatile one, and by the end of episode one – after an uncomfortable-to-watch late night incident that amounts to a sexual assault – there is little doubt that Ruben is a psychopath. By then, however, it’s too late; Niall has become hopelessly ensnared by his manipulations, and their dangerous attachment has taken permanent root.

In episode two, the timeline moves the past forward several years (while rolling the wedding-day story back a few hours as well), bringing Niall to his college years. Ruben is once again absent from his life, but the bond is still deep. He struggles to make connections in his new setting – including with another student, the openly gay Alby (Bilal Hasna), who recognizes a side of him that he has still yet to accept for himself. Though he gradually begins to adapt to his new social circle, his insecurities get the better of him – and despite warnings from his mother not to do so, he calls Ruben to come and visit. His arrival triggers another escalating series of incidents, this time entangling Niall’s new friends and culminating in a shocking, jealousy-fueled explosion of violence.

Without going on with the story – after all, the two remaining episodes have yet to be released, so we wouldn’t want to spoil anything – it’s safe to say there’s a pattern here, and it’s intentional.

Gadd has already been public about his own struggles with repression, which were directly explored (albeit fictionally) in “Baby Reindeer,” and it’s clear that he had more to say about the effects they had on his life and identity.

As he put it himself, in an interview with the Hollywood Reporter, “Themes of, I guess, masculinity, or what it means to be a man, or ‘I’ve gone through a masculinity crisis’ come into [the show] probably because I’ve been through that in my life, and I feel I can write to it and speak to it.

“I always think that the best kind of art is kept close to your chest, kept close to your heart, kept close to your experiences, and I guess with ‘Half Man,’ there’s a lot in it that I relate to. It’s not an autobiographical piece by any stretch, it’s purely fiction, but it certainly borrows from themes and struggles and issues that I understand.”

That understanding translates to the series through its focus on tracing the roots of Niall and Ruben’s relationship by methodically tracking the cause-and-effect chain that links the major events of their lives together. It explores the contradictory combination of worship and terror, the transgressive eroticism that intertwines danger and desire, the power of the forbidden to make us want it more, and the self-loathing that punishes itself through violence toward others. The inverted framework of the storytelling, which works both forward and back to meet at (we assume) some definitive point, makes following it a bit like putting together a puzzle, which also has the effect of building suspense as we wait to see the “moment of truth.”

Of course, those who prefer a more straightforward narrative might not appreciate the additional challenge, especially when the subject matter – which revolves around experiences, feelings, and behavior that might be entirely unfamiliar to many audiences – is challenging enough by itself, in its own way. Likewise, and for much the same reason, there will be viewers who are unable to relate to its characters, as some of the show’s less-favorable reviews have pointed out.

But it would be naive to assume that the themes in “Half Man” – of fragile masculinity, internalized homophobia, misdirected rage, nihilistic rebellion, conflicted desires, projected shame, and the other ingredients that infuse this shadow-boxing psychodrama with such a distinctive musky odor – do not apply to more men in today’s culture of incels, “looksmaxxers,” and “the Man-o-sphere” than any of them would like to admit. We’d wager that its portrait of a same-sex, sub/Dom, borderline incestuous relationship might resonate more urgently there than within a queer community that has been grappling with those issues for generations already and are just waiting for everybody else to catch up.

In any case, Gadd’s newest variation on a theme is a solidly crafted, well-acted, and hypnotically fascinating (if sometimes uncomfortable) exercise in the kind of “can’t look away” drama that makes for a perfect binge watch. Or, at least, it will once all the episodes drop.

It’s surely a sign of the times that this year’s spring preview of upcoming screen entertainment doesn’t hold nearly as much boldly out-and-proud queer content as we would like – but then again, there are only a small handful of noteworthy titles overall – especially on the big screen, where, just like any year, the top-grade content is being saved for summer.

Even so, we’ve managed to put together a list of the movies and shows on the horizon that offer a much-needed taste of the rainbow; a mix that includes returning favorites, “don’t-miss” events, and a few promising big screen crowd-pleasers, it should keep you occupied until the summer season brings a fresh new crop of (hopeful) blockbusters with it.

Scarpetta (Prime Video, March 11). Proving once again that she’s on a quest to accumulate more screen appearances than any other actor in history, Nicole Kidman returns for another star turn by way of this true-crime-ish mystery series, adapted from the bestselling “Kay Scarpetta” novels by lesbian author Patrica Cornwell, as a “brilliant and beautiful” forensic pathologist who uses her knowledge to solve murders. If that’s not enough to draw you in, her co-stars include fellow Oscar-winners Jamie Lee Curtis (as her feisty older sister) and Ariana DuBose (as her nosy lesbian niece), as well as Bobby Cannavale and Simon Baker.

It’s Dorothy! (Peacock, March 13). Filmmaker Jeffrey McHale first won our attention with his fun and insightful “Showgirls” documentary, and now he’s back with a look at perhaps the ultimate queer icon in popular culture: none other than Dorothy Gale, that Kansas farm girl who taught us all that “there’s no place like home” in L. Frank Baum’s classic novel “The Wonderful Wizard of Oz” and its sequels – and of course, in a certain movie adaptation starring Judy Garland. Charting the journey of the fictional heroine across a century of cultural reiterations – on the page, the stage, the screen, and beyond – with a mix of archival material, artistic interpretations, and commentary from queer and queer-friendly voices such as John Waters, Rufus Wainwright, and Lena Waithe, it’s sure to be required viewing for every “Friend of Dorothy” – and all of their friends, too.

The 37th Annual GLAAD Media Awards (Hulu, March 21). Sure, it’s already happened and you already know (or can find out with a few quick taps of your phone screen) who and what the winners were – but, hey, we already know that the Oscars aren’t going to offer much in the way of queer victories (since there are only a small handful of queer nominees), so why not plan to watch the GLAAD ceremony (recorded live on March 5 for later streaming)?

The Comeback: Season 3 (HBO Max, March 22). Another returning gem is this inventive “mockumentary” style sitcom-about-a-sitcom, starring Lisa Kudrow as a “B-list” television star trying to revive her own faltering career. Slow to catch on in its first season (which originally aired in 2005), it won acclaim (and new fans) when it was rebooted in 2014 by Kudrow and collaborator/co-creator Michael Patrick King (former executive producer of “Sex in the City,” and now returns after a 12-year hiatus for another installment, which tracks “never-was” has-been Valerie Cherish through yet another attempt to make stardom happen. If you like cynical, sharp-edged satire, especially when it’s aimed at the behind-the-scenes world of show-biz, then you’ve probably already discovered this one – but if you haven’t, now’s your chance to jump on board.

Heartbreak High: Season 3 (Netflix, March 25). Fans of this imported Australian teen “dramedy” series – itself the “soft reboot” of another popular Australian series from the ‘90s – will be thrilled for the arrival of its third and final installment, which picks up where it left off in the lives (and sex lives) of the students and teachers of a suburban high school. As always, it can be expected to push the envelope (and some buttons) with its irreverent treatment of issues of class, race, and sexuality – and to deliver another season’s worth of the colorful and striking costume designs that have been acclaimed as a highlight of the show. And yes, it includes a refreshingly significant number of variously queer characters, so if you’re not already on board with his hidden gem of a streamer, we suggest you should give it a shot – you can probably even catch up on the first two seasons before this one drops.

Pretty Lethal (Prime Video, March 25). Fresh from a March 13 debut at the SXSW Film and TV Festival, this girl-power fueled action thriller from director Vicky Jewson and writer Kate Freund centers on a troupe of ballerinas who, while en route to a prestigious ballet competition, are stranded by a bus breakdown and must take shelter at a remote roadside inn run by Uma Thurman as a ruthless crime boss. Needless to say, the girls are forced to adapt their dance prowess into combat skills before the night is over. With a cast that includes Maddie Ziegler, Lana Condor, Avantika, Millicent Simonds, and Michael Culkin, our bet is that it’s sure to be campy fun with a feminist twist. 

Forbidden Fruits (Theaters, March 27). Adapted from the play “Of the woman came the beginning of sin, and through her we all die” by Lily Houghton (who co-wrote the screenplay with director Meredith Alloway), this comedy/horror film about a group of young witches who operate a “femme cult” out of the basement of a mall store called “Free Eden” looks like another campy treat, full of witchy wiles and bitchy rivalries, but something about its theatrical pedigree tells us it will also be more than that. Even if we’re wrong, though, we’ll be perfectly happy; why would anyone say no to a delicious piece of camp, especially when it has a cast led by Lili Reinhart, Lola Tung, Victoria Pedretti, and Alexandra Shipp, with creator/influencer Emma Chamberlain in her film debut and heavyweight talent Gabrielle Union thrown in for good measure? We’re ready to join the coven.

Club Cumming (WOW Presents Plus, March 30). Queer icon Alan Cumming (currently riding high as host of “The Traitors”) takes us inside his NYC East Village gay bar, nightclub, and showplace for a behind-the-scenes reality series that spotlights the talent, fashion, and fabulously queer vibe that makes the establishment one of queer New York’s most iconic nightspots. Cabaret singer Daphne Always, go-go dancer and drag performer Michelle Wynters, Drag queen Brini Maxwell, Drag king Cunning Stunt, and Comedian Jake Cornell are among the many reasons why this little slice of the queer New York scene is reason enough alone to become a subscriber to World of Wonder’s streaming platform – though if you’re a “Drag Race” superfan, chances are good you already are.

The Boys: Season 5 (Prime Video, April 8). Amazon’s violent superhero satire, complete with its divisive and deliciously challenging emphasis on queer storylines and its in-your-face caricature of contemporary American “culture war” politics, returns for its fifth and final season, along with all the thorny issues of racism, nationalism, and xenophobia it has showcased all along, and an ensemble cast that includes Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, and the rest of the usual players. A decidedly queer-informed game-changer in the mainstream fan culture, it’s a show that will be sorely missed – but with several spin-offs already in existence (including the even-queerer “Gen V”) and another (“Vought Rising”) on the way, we can take comfort in knowing that its influence will live on.

Euphoria: Season 3 (HBO Max, April 12). The controversial Sam Levinson-created drama that is HBO’s fourth most-watched series of all time is back after a lengthy hiatus, rejoining the lives of its dysfunctional characters – queer struggling addict Rue (Zendaya), trans teen Jules (Hunter Schafer), abusive sexually insecure football star Nate (Jacob Elordi), and the rest – a full five years later, away from the social traumas of high school and settled into what we can only assume is an equally-dysfunctional life as young adults. Renowned for its cinematic visual styling and its no-holds-barred treatment of “triggering” subject matter, this long-awaited return is likely to be at or near the top of a lot of watchlists – and ours is no exception.

Mother Mary (Theaters, April 17). One of the most promising (and queerest) offerings of the season is this psychological thriller set in the world of pop music, helmed by acclaimed filmmaker David Lowery (“A Ghost Story,” “The Green Knight”) and starring Anne Hathaway (“The Devil Wears Prada,” “Les Misérables”) as a pop singer who becomes entwined in a twisted affair with fashion designer Michaela Cole (“I May Destroy You,” “Black Earth Rising”). Besides its two queer-fan-fave stars, it features trans actress Hunter Schafer (“Euphoria”), FKA Twigs, and Jessica Brown Findlay (“Downton Abbey”) in supporting roles, and to top it all off, it includes a soundtrack full of original songs. With a celebrated director behind it and an award-winning pair of leading ladies, this one has all the potential of a future classic.

The Devil Wears Prada 2 (Theaters, May 1). Meryl Streep is back as Miranda Priestley, need we say more? We know the answer to that is “no,” but we still need to remind you that Anne Hathaway, Emily Blunt, and Stanley Tucci are all part of the deal, too, as this hotly anticipated sequel hits the screen just ahead of the summer rush. Along for the ride are Kenneth Branagh, Justin Theroux, Lucy Liu, B.J. Novak, Conrad Ricamora, Sydney Sweeney, Rachel Bloom, Donatella Versace, and Lady Gaga herself. We trust that will be sufficient to ensure that you will show up on opening day – dressed accordingly, of course.

The Sheep Detectives (Theaters, May 8) Rounding out our roundup with a fun-for-the-family treat that blends live action with animation for an inter-species “whodunnit” with an all-star array of talent, this adaptation of Leonie Swann’s 2005 novel “Three Bags Full” centers on a flock of sheep as they attempt to solve the murder of their beloved shepherd. Boasting onscreen performances from Hugh Jackman, Emma Thompson, Nicholas Braun, Nicholas Galitzine, and Molly Gordon, along with character voices provided by Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Brett Goldstein, and Rhys Darby, this one might be just the kind of lightweight entertainment we all need as we move deeper into the confounding year of 2026.

And if not, stay hopeful – the films and shows of summer will be here soon enough.

It’s unfortunate how poorly so many people view reality television. 

Of course, the genre doesn’t always do itself any favors; for decades, the most prominent examples of this medium were drunken fights and jaw-dropping bigotry. But viewers forget that reality TV has evolved along with its eternally growing audience. It still contains wild drama, yes, but recent years have seen an increase in shows like “RuPaul’s Drag Race” and “We’re Here,” which offer nuanced insight into the experiences of queer communities today. Series like these have an undeniable impact on the many who watch them, with their episodes among the most reliable sources of authentic representation that queer viewers can count on. That’s why reality television as a whole deserves more respect, and that’s why Netflix’s “The Boyfriend” is one of the most impactful programs airing today. The show has become a hit, with season 2 now streaming.

Japan’s first gay dating show, this series brings together a group of eligible men for one summer in ‘The Green Room,’ a house where they’ll live, run a small business, and hopefully find their true love. Overseen by a panel of commentators — a common practice for Japanese reality TV — the series has astounded for two seasons with the genuine emotions on display. Yet along with the romance, what sets “The Boyfriend” apart is just how informative it is. Not only by offering insight into a queer culture outside of America, but by creating a level of representation that Japan as a country has never seen before. So many scenes and stories on the show are important for LGBTQ audiences across the globe, but what truly sets “The Boyfriend” apart is the simple message that grounds this entire series: it’s not wrong to be gay. 

“In Japan, LGBTQ+ people … [they] are prohibited,” said Durian, a commentator from “The Boyfriend” and one of Japan’s biggest drag performers. “They are regarded as nonexistent …[and] for some of the young people, when it comes to the fact that they are being ignored in society, it could lead to them not having pride in themselves.”

It was a sentiment echoed by “The Boyfriend” cast, with the group describing how LGBTQ identity is rarely discussed in public and only shown through stereotypes. “When I was in middle school, the word gay didn’t exist,” described Huwei, a contestant and member of Thailand’s national judo team. “People would use other words, [ones that] usually mean just being [like] women.” This is reflected in the portrayal of gay people in Japanese media, with the cast detailing how the few times they saw gay characters, it was always hyper-effeminate, ultra cheerful men — traits that were used as joke fodder for the audience. “They’re trying to be [funny], and they’re trying to make people laugh, but it didn’t necessarily have a positive impression,” said Tomoaki, whose time on the show saw the man grapple with accepting his own sexuality.

These topics come up naturally on the program, as well as other facets of what it means to live as a queer person in Japan, granting American audiences vital insight into an LGBTQ culture outside of their own. Durian explained their customs further, saying, “Japan is a bit reserved and very quiet. People may be a little frustrated because they think [the cast] should be more direct, but [their behavior] is really a part of Japanese culture. And if viewers can [understand] that, they’ll be happy.”

It can be easy to forget that the fight for LGBTQ liberation looks different in areas across the world. The cast of “The Boyfriend” not only portrays what dating looks like in their country, but also the many ways their communities fight for acceptance that international audiences don’t often get to see. It doesn’t do this in a way that discredits or villainizes Japanese culture — in fact, many of the men profess how much they love the country that raised them. But their national pride is paired with a hope that their country can grow and begin granting LGBTQ people the respect they deserve. It’s this desire that drives so much of the series’ emotion, making it all the more heartwarming when viewers realize just how important “The Boyfriend” is to this ongoing hope today.  

“For me, I’d never been a part of a gay community … this is really [the first] time I was able to be really true to myself,” said Ryuki, a college student and the youngest member of the group. Bomi, who spent a majority of the season pining after fellow contestant Huwei, agreed, saying, “When I came to the ‘Green Room,’ honestly, in the beginning, I was scared … for the last 20 years, I have not really been honest to myself. But through the life I had [on this show], I’ve been able to be truly myself.”

The franchise’s inherent inclusivity not only allowed the men to find romance but to simply find community amongst one another. This led not only to great television but also to the entire cast raving about their time on the show, while also recognizing how hard it is to find this sense of belonging for so many LGBTQ people in Japan today. 

As the conversation wound down, the men reflected on what their inclusion on this series means for their country going forward. As members of Japan’s inaugural gay dating show, they’ll be providing examples of queer identity outside of the grinning caricatures that have always permeated popular culture. They would finally be giving so many young LGBTQ viewers the knowledge that there are real people like them out there living happy lives today. This realization drove many of the cast to tears, with each expressing how they hoped these episodes would help those viewers desperately searching for representation. And while they all expressed their care, Bomi summarized the group’s thoughts on what they hoped people took away from “The Boyfriend” best.

“I want people to feel that they’re not alone. You’re not alone. I want to tell [them] that we all have the same kind of issues, and there are a lot of people who haven’t really expressed themselves yet … but we are here. We are here with you.”

An uplifting message of community, one that was only possible because of the genuine bonds this group forged throughout their experience. This shows just how much of an impact “The Boyfriend” is already making on Japanese culture, and it’s a reminder for viewers across the world that none of us are alone in the fight for queer equity today. 

“The Boyfriend” season 2 is now streaming on Netflix.