Agatha All Along is Gayer Than You Think

In the lead-up to Agatha All Along, the cast members stated that the series would usher in a &8220;gay explosion,&8221; which is certainly a striking phrase for a Disney production. The Mouse House's track record with LGBTQ+ content has been rather inconsistent. For every positive portrayal like Love, Simon, there have been instances of an &8220;exclusively gay moment,&8221; and the notable censorship and subsequent reinstatement of a kiss in Lightyear. While not inherently malicious, my personal observation suggests Disney lacks both a strong inclination and demonstrable skill in representing queer individuals or creating related media. My apprehension stems from a personal belief that, frankly, Gay Stuff™️ isn't precisely Disney's area of expertise. The proclamation of a &8220;gay explosion&8221; can be viewed as either a bold prediction or a benchmark that must be reached. This assertion prompts the central query: how precisely will a Disney property define and portray the concept of &8220;gay.&8221; After all, queerness can manifest in a multitude of ways within media. Consequently, I immersed myself in the initial three installments of Agatha All Along to ascertain the extent of its queer quotient.

Two initial assumptions guided my viewing. Firstly, I anticipated a rather low threshold for declaring it the gayest production Disney has ever released. Secondly, given its ensemble cast, I predicted Agatha would embody a particular brand of queerness - not necessarily through overt queer actions, but rather by featuring elements that resonate with queer audiences (primarily, and perhaps regrettably, white gay men). These elements typically include campy or theatrical aesthetics, engaging narratives, musical numbers, and, of course, the presence of Kathryn Hahn. The casting undeniably supports this anticipated direction, featuring not only Hahn in the central role but also Aubrey Plaza, Patti Lupone, Emma Caulfield, Sasheer Zamata, and Joe Locke. Each of these performers, to varying degrees, has contributed significantly to the personal media collections of many LGBTQ+ individuals. Furthermore, as Lupone herself humorously pointed out, exhibiting a rather peculiar facial expression, &8220;it's a musical.&8221; Incorporating these specific elements is hardly a misstep, particularly if Disney harbors reservations about depicting more explicit content, such as same-sex intimacy.

Therefore, after examining the initial three episodes, what is the verdict on its queerness? Does it indeed stand as Disney's most gay-centric production to date? Please be advised that spoilers for Agatha All Along follow.

Indeed, the answer is a resounding yes. Even acknowledging the significant caveat that the definition of "gayest" for Disney might set a modest bar, Agatha All Along proves to be remarkably queer. To my pleasant surprise, it delivered! While I shall soon elaborate on certain reservations, it's important to acknowledge the commendable aspects. Here is a selection of some of my favorite queer moments encountered in Agatha All Along:

• Kathryn Hahn (a gay icon) offers a hilariously captivating rendition of Kate Winslet's (also gay) performance in a Mare of Easttown homage.


• Aubrey Plaza (soooo gay) makes a memorable entrance, radiating a powerful, alluring aura as Rio Vidal, and engaging Agatha with a suggestive remark about preferring things &8220;horizontal&8230;. In a grave.&8221; This delightful, spirited exchange brimming with sapphic undertones is truly a joy to behold. It appears these two performers shared a remarkable synergy and a certain wild energy between them at some point.


• Patti Lupone (unquestionably, overwhelmingly gay) simply shines in her performance. The sharp, witty chemistry she shares with Hahn could easily anchor an entire film franchise.


• Joe Locke (a queer talent) portrays Teen, a goth twink with a distinctly feminine presentation, who experiences a gasp of sheer delight, hand to his heart, upon witnessing Kathryn Hahn and Patti Lupone in conversation (a moment that is both gay and remarkably relatable). He also dismisses a call from his &8220;boyf&8221; to continue reveling in the company of these goddesses of stage and screen, and honestly, I can completely understand the impulse.


• The segment in the second episode where Agatha rallies a group of disgruntled, penniless witches to perform a song together in her basement (for the purpose of opening a portal to another dimension, and so forth) sparked a hopeful anticipation for upcoming drag shows inspired by this limited series. Wouldn't that be a fantastic concept?


• Sasheer Zamata (warmly welcomed into the queer fold!) delivers the line, &8220;I haven't seen you since I made a concerted effort to never see you again,&8221; with a delectable purr. I am absolutely thrilled to see her featured in more projects! (A truly gay moment.)


• The third installment features an extensive homage to the cinematic works of Nancy Meyers. Without revealing too much, I must highlight Debra Jo Rupp's (a gay performer) masterful delivery of the line, &8220;Bury me in this kitchen!&8221; This also brings to mind my intention to someday pen an essay exploring how Meyers truly qualifies as an &8220;auteur.&8221; For your information, the preceding sentence can also be described as (gay).

Thus, while Agatha All Along certainly surpasses my expectations for its queer content, it's time to introduce a degree of measured enthusiasm. Firstly, my understanding was that this would be a musical! While admittedly gay, my personal appreciation for musicals is quite profound. Across these three episodes, we've been treated to a single song, albeit an excellent one. My sincere hope is that more musical numbers will be forthcoming, and there is still ample opportunity for this to occur. As much as I admire all the (gay) elements I've previously highlighted, the series predominantly relies on atmosphere, implied meanings, and cultural references. Notable exceptions include the brief glimpse of Teen's romantic partner and the palpable homoerotic tension shared between Rio and Agatha. The characters' relationship is never explicitly defined, but the potential for a romantic or sexual connection is subtly suggested through the actors' performances and a few carefully chosen double entendres. While this is certainly not insignificant (I thoroughly enjoyed these aspects and would welcome more), it largely remains within the realm of subtext. If one is anticipating a genuine &8220;gay explosion,&8221; one would naturally expect a more overt manifestation than a fleeting glance and suggestive undertones.

Agatha All Along provides a delightful witchy escapade and exceeds expectations in its queer representation. I certainly didn't anticipate the series would present a psychedelic horror sequence set within the most aesthetically pleasing kitchen imaginable, and for that, I am genuinely appreciative. Nevertheless, there remains a considerable distance to traverse before this production can be accurately characterized as a &8220;gay explosion.&8221; Agatha still has room to develop its queer identity further, potentially incorporating more substantial elements, but please, oh please, could we be treated to at least one more musical number?