‘Bloodsisters: Leather, Dykes, and Sadomasochism’ Review: A Queer Classic Ahead of Its Time

‘Bloodsisters: Leather, Dykes, and Sadomasochism’ Review: A Queer Classic Ahead of Its Time
More often than not, queer children are born to straight parents and raised in a straight world. Traditional coming-out stories, where a queer character must reveal their sexuality to their families, have long held fascination for mainstream audiences. Infinitely more fascinating is the self-actualization journey, the universal queer experience of coming out to oneself, which is where queerness really distinguishes itself from straightness. Queer people must discover identity on our own, often without community, reflections of ourselves, or any record of our history. That’s why the queer canon — of radical queer cinema, literature, and art — is so vital, and it’s something you certainly won’t find in the latest Ryan Murphy confection.

Before it became fashionable for every TV show to have an LGBTQ+ character, queer art was often made with very little money or support. This led to the scrappy, DIY aesthetic of the New Queer Cinema,
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