This article focuses on Kaelyn and Lucy, a long distance (US-UK) lesbian couple who document their relationship on YouTube. Their channel has attracted a following of hundreds of thousands of individuals who profess to feeling an intimate attachment to the couple. This article considers how Kaelyn and Lucy's performance of lesbian intimacy online has amassed such a following. In exploring the multiple feelings that Kaelyn and Lucy's YouTube channel contains, it builds on and contributes to theorizing online emotion, and in particular, frames their channel as a "digital archive of feelings" (Kuntsman, 2012). Picking up on the way in which followers profess to having unmediated access to their relationship, I build on Bolter and Grusin's concept of "remediation" to argue that Kaelyn and Lucy produce a sense of immediacy for their followers through the remediation of other romantic genres. Secondly, I draw out the importance of time to the creation of a sense of shared intimacy, arguing that Kaelyn and Lucy's use of YouTube invites followers to feel as though they are sharing in the timing of the couple's relationship. This article thus uses this case study to reflect on the process by which a contemporary representation of lesbian intimacy has become a scene of attachment, whereby a larger "intimate public" (Berlant, 2008) has formed.

This article considers the question of feminist futurity through Marge Piercy's Woman on the Edge of Time (1976). While dominant readings of this novel have focused on its relationship to the feminist Utopian genre and feminist theory from the 1970s, this essay aims to critically reframe the novel through contemporary feminist theorising on time and futurity. Drawing on recent feminist and queer theory that suggests that the future might most productively be figured through more nuanced and renewed engagements with the past, I argue that readings of Piercy's novel that frame it only through its contemporary moment obscure the novel's critique of singular, linear models of time. The novel represents the future through the themes of loss, mourning and haunting, which I argue resist a model of time that moves linearly from past to future and instead bring the past and future into complex relation with each other. In this regard, Piercy's novel is read as representing a form of feminist futurity that engages with progress in time as necessarily uneven, discontinuous and fractured, speaking to contemporary demands for a feminist futurity that might require more nuanced accounts of the past.

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