Shudder’s “Hell Motel” Combines Lesbians, Horror, and Bloody-Good Queer Storytelling

Shudder’s latest original series, “Hell Motel,” is making waves among horror enthusiasts and the LGBTQ+ community alike for its bold, bloody embrace of lesbian representation within a genre long dominated by heteronormative tropes. Created by Aaron Martin and Ian Carpenter—known for their work on “Slasher”—this eight-episode limited series debuted on June 17, 2025, with a two-episode premiere on Shudder and AMC+, promising a weekly dose of terror and satire.

At its heart, “Hell Motel” follows Ruby and Portia, a queer couple played by Brynn Godenir and Michelle Nolden, who take a leap of faith by purchasing the infamous Cold River Motel—site of a 30-year-old unsolved satanic mass murder. Their ambitious plan to transform the notorious property into a true-crime-themed curio museum and immersive experience sets the stage for a chilling grand opening, where invited influencers and celebrities are soon stalked by a masked killer known as Baphomet.

Unlike many predecessors in the horror canon, “Hell Motel” doesn’t sideline its queer characters or reduce them to stereotypes. Ruby and Portia’s relationship—an opposites-attract pairing of goth and glam, darkness and light—is central to the narrative, not just an afterthought. Their dynamic is as nuanced as it is entertaining: Ruby, with her dark aesthetic and fascination for the macabre, is the driving force behind the purchase, while Portia, initially skeptical, is eventually convinced by both Ruby and a delightfully deadpan realtor, played by Canadian drag queen Icesis Couture.

The series’ embrace of queer identity goes beyond tokenism. It allows its lesbian protagonists to be messy, flawed, and fully realized—qualities often denied to LGBTQ+ characters in genre television. “Hell Motel” makes space for queer women to be both heroines and anti-heroines, survivors and suspects, reflecting the complexity of real LGBTQ+ lives.

One of the show’s cleverest tricks is its sharp-eyed satire of the true-crime industrial complex. The plot revolves around a group of ten true crime obsessives—many of them social media influencers—who are lured to the motel’s opening weekend as a marketing stunt. What begins as a tongue-in-cheek send-up of influencer culture and the commodification of tragedy soon devolves into a grisly whodunit, as guests are picked off one by one in increasingly gruesome fashion.

Critics have noted that “Hell Motel” deftly balances shock and social critique, using its premise to lampoon the entertainment industry’s hunger to exploit real-life horror for profit. It’s a series that’s as eager to spill blood as it is to skewer the culture that celebrates such carnage, all while keeping queer characters at the fore.

True to its slasher roots, “Hell Motel” delivers on gore and suspense, with creative kills and a masked murderer whose identity keeps viewers guessing. But what elevates the series is its commitment to camp: from its outlandish set pieces to its sly humor, the show revels in the excesses of the genre, all while centering LGBTQ+ characters in roles both comedic and dramatic.

For many viewers, the presence of openly queer characters in a mainstream horror series—particularly one helmed by a queer creative team—marks a significant step forward. As horror continues to evolve into a space for marginalized voices, “Hell Motel” stands as a testament to the power of representation and the enduring appeal of stories that reflect the diversity of their audiences.

Early reactions from LGBTQ+ critics and fans have been overwhelmingly positive, with many praising the series for its irreverent tone, memorable performances, and willingness to push boundaries. The casting of drag icon Icesis Couture and the focus on lesbian leads have been hailed as victories for visibility, while the show’s blend of horror and humor has cemented its status as a cult favorite in the making.

As “Hell Motel” continues its weekly release schedule, it’s clear that Shudder’s gamble on queer horror is paying off—not just with scares, but with stories that resonate deeply with the LGBTQ+ community and beyond.