D.E.B.S.: A Dangerously Underrated Queer Classic

So many films featuring queer characters are centered on the narrative of coming out, and the often ensuing difficulties related to homophobia. While this is a reality that many of us within the LGBTQ+ community face, it’s nice to escape that gravity in order to enjoy a more light-hearted narrative. D.E.B.S. provides us with that escape: it’s a silly sapphic story about a reputable spy and a notorious super-villain who fall in love despite the odds. Described by some as a cartoonish Charlie's Angels with lesbians, this film absolutely merits being bumped to the top of your watchlist. 

In this film, we learn that a secret test designed to measure espionage skills has been embedded in the SAT’s, and that women who obtain high scores are recruited into the secret spy academy D.E.B.S. As the only person in the history of the academy to obtain a perfect score on the secret test, Amy is held to a much higher standard than her colleagues. Although she desperately wants to go to art school abroad, she feels pressured to remain a member of D.E.B.S. because her status as ‘the perfect score’ has surrounded her with expectations of greatness. However, once she meets Lucy Diamond, the dreams she once thought were out of reach begin to feel more realistic and attainable. 

From enemies to lovers, Amy and Lucy quickly fall for each other (professing their love after knowing each other for like a week, in classic u-haul lesbian fashion). While their first kiss doesn’t occur until about halfway through the film, the audience isn’t subjected to painful, prolonged yearning like we see in many popular period pieces. Now don’t get me wrong, I’m not saying that I don’t love a good period piece (I’ve definitely seen Carol more times than I’d like to admit), but the extended build-up of romantic chemistry and centrality of coming out often take precedence in such films. In D.E.B.S., however, Amy’s journey coming to terms with her sexuality and recognizing her romantic feelings for Lucy aren’t the sole conflicts in the plot (although they are significant, and one could definitely make an argument that this film is meant to be understood as an extended allegory for self-acceptance- but that would require more exhaustive research and analysis, and we simply don’t have the time to get into that right now). 

While this film does tackle Amy finally understanding and accepting that she loves women, the focus is more so on the specific woman that she’s fallen for: her nemesis. With the exception of Janet and Bobby, people don’t draw issue with the fact that Amy is involved with another woman, but with the fact that this woman is a villain. Also, regarding the often exhausting prolonged yearning typical in sapphic films, the initial yearning depicted between Amy and Lucy is not subtle, nor does it comprise the majority of the film. Ranging from holding each other at gunpoint while obviously flirting to Amy biting her lip while staring deeply into Lucy’s eyes, the audience is never forced to question the chemistry between them. Their connection is instantaneous, and, unlike many sapphic films, we aren’t forced to wait until the film is almost over for them to act on their romantic feelings. 

 This film is dangerously underrated and has outrageously low ratings, but, despite that, I would highly recommend it, especially if you love goofy, kitschy comedies!