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This article examines how the 2019 period drama  Gentleman Jack  generates its affirmative project of lesbian televisual representation.  GJ  turns negative realities of gender and sexuality nonconformity in the nineteenth century to productive, affirmative use through what we view as a highly effective strategy of visually engaging viewers as witnesses to and coconspirators in Lister’s journey through Lister’s fourth wall breaks and the camera’s prioritization of her perspective. We analyze  GJ ’s various overlooked characters and reinscribed power hierarchies, which we argue results from both prioritizing Lister’s perspective and fans’ tendencies to view Lister through “pink-tinted glasses” as a result of cathexis with Lister. Through close reading of scenes illustrating social censorship, Lister’s nonconforming gender performance, the labor behind Lister’s wealth, and marriage’s promise of happiness, we assert that the series misses subtle opportunities to critique the hierarchies on which Lister’s exceptionalism relies. Pulling from Janet Lea’s reception analysis, this article further asserts that fans interpret  GJ  politically as well as for entertainment, and the elements to which they most strongly cathect reflect what fans most desire from LGBTQ + representational politics. Ultimately, we argue that if these continue to be the priorities of LGBTQ + fans and activist organizations today, the characters overlooked in Lister’s pursuit of her own happiness offer audiences the opportunity to reflect on who may be sidelined or undercut in contemporary pursuits of LGBTQ + affirmation.

“Pink-tinted glasses”: looking and affirmation in Gentleman Jack