The L Word is in many ways pretty conventional

Like other cable productions, The L Word has exploited the attractions of subject matter deemed too controversial for the networks. It has also made use of a number of the talents of women writers and directors, queer and otherwise, creative figures who have too often found getting films financed, finished and seen in theatres a challenge. As Michele Aaron writes, new queer cinema also turned out to be more receptive to gay men than lesbians. The involvement in the show of writer/director Rose Troche and writer/performer Guinevere Turner (both gained attention and acclaim for the 1994 movie Go Fish, a hit with lesbian audiences for its smart evocation of lesbian community) is suggestive. The collection features interviews with Turner and with some of the show's performers, juxtaposing academic, fan and industry commentary. All parties agree that The L Word stands out and requires attention. Yet one of the contradictions around the show, and it preoccupies many of the authors contributing to this collection, is that The L Word is in many ways pretty conventional. Unlike the new queer cinema, for instance, it is not particularly formally innovative. Nor is it particularly concerned with sexual or gender politics – although these certainly figure, as in the attempts to deal with bisexuality or the recent storylines around Tasha's need to mask her sexuality if she is to continue to serve in the military. These issues figure since they are part of lesbian lives, even the relatively luxurious and open lesbian lives The L Word portrays.

Lost DVD 1-6
Family Guy DVD 1-8
Grey’s Anatomy DVD 1-6
The L Word DVD 1-6
Dexter DVD 1-4
Sons Of Anarchy DVD 1-2
The Tudors DVD 1-4