Queer Villains We Love (and Hate!): Why Are the Best Baddies So Fabulous?
- Daniel Hope
- Jan 13
- 5 min read
There’s something about a good villain. The right villain. The ones who slink into a scene dripping in camp energy, wielding wit like a weapon and serving more drama than a West End opening night. They’re not just bad; they’re fabulously bad.
From classic literature to modern prestige TV, queer-coded villains have long been stealing scenes (and occasionally, thrones) with their sarcastic one-liners, theatrical capes and suspiciously well-groomed eyebrows. But why do we love them so much?
And—as a Brit—should I be alarmed that half of the greatest villains of all time are essentially eccentric gay men with RP accents?
Let’s break it down.
The Origins of the Queer-Coded Villain
For much of film and literary history, explicitly LGBTQ+ characters weren’t allowed to exist—or if they did, they had to be villains. From the Hays Code era of Hollywood, where queerness was only acceptable if punished, to Victorian novels dripping in repression, queerness was often associated with something sinister, deviant or downright evil.
And so, the queer-coded villain was born.
The sharp cheekbones, the flamboyant mannerisms, the disdain for heteronormativity—whether intentional or not, these characters stood out. And while they were meant to be sinister, for many queer viewers, they were something else entirely: relatable, powerful and sometimes the only representation we had.
Disney Really Went All In on This, Didn’t They?
Lady Tremaine, Maleficent, the Evil Queen from Snow White… all high on the list.
Disney loves a queer-coded villain, whether they meant to or not. The arched brows, the immaculate fashion, the taste for theatrics—these were the characters that commanded attention. They weren’t just bad, they were stylishly wicked. They were cruel, cutting and often far more interesting than the blandly heroic princesses they were tormenting.
Was it problematic? Sure. Am I mad about it? Not even slightly.
Because growing up, I didn’t want to be the princess—I wanted to be the woman in the cape, delivering a perfectly timed insult and holding a goblet of something mysterious.
So let’s talk about some of the best queer-coded villains of all time, shall we?
Queer-Coded Villains Who Stole the Show
There are countless villains who could have made this list—from Elphaba (if you do count her as a villain!) to Cate Blanchett’s truly divine Lady Tremaine. I could go on forever, but instead, here are just a few of my favourites and why they deserve their place in the queer-coded hall of fame!
Scar – The Lion King (1994)
The original sassy, side-eyeing menace. Scar is what happens when you take a Shakespearean villain, give him a RP accent, a lot of disdain, and the energy of a drama school graduate who peaked in their GCSE performance of Macbeth. He is everything.
He hates his family, loathes children, and is absolutely too refined to do any actual labour. The hyenas? Mere minions. The throne? His by right. And let’s be honest, “Be Prepared” is essentially a drag performance in itself.
Mrs. Danvers – Rebecca (1938)
The original literary lesbian villain, Mrs. Danvers is obsessed with her deceased mistress, Rebecca, and makes it her life’s mission to torment the new (and much duller) Mrs. de Winter.
Cold, calculating, and more than a little unhinged, she’s queer-coded in the most gothic, tragic way possible. She may not be twirling a villainous mustache, but the longing glances, the whispers about Rebecca’s scent, the sheer level of manipulation? Oh, she’s one of us.
Villanelle – Killing Eve (2018-2022)
Villanelle is chaotic queer excellence. A deadly assassin, but make it couture.Ok, I get it. How can you be queer-coded when they are openly queer. But tell me this, would she be as interesting if not?
She’s brilliant, unpredictable and has an unhealthy obsession with her pursuer, Eve Polastri. But who wouldn’t? The tension? The power play? The fashion? It’s basically a queer romance disguised as a crime thriller.
Jafar – Aladdin (1992)
Jafar is what happens when a theatre kid doesn’t get cast as the lead and decides to burn the whole production down.
His ultimate plan? Marry the man, overthrow the system and rule in luxurious silk robes. A queer-coded agenda if ever I saw one.
The arched eyebrows, the deep disdain for straight, muscley men, the way he clutches his staff like it’s a perfectly balanced martini—Jafar is serving high-drama villain realness.
Loki – The Marvel Universe (2011-Present)
Was he ever truly a villain? Probably not. Is he still ridiculously queer-coded? Absolutely.
Loki never just enters a room—he makes an entrance. Cloaked in emerald green, smirking like he knows something you don’t (because he probably does), and delivering monologues like a theatre kid who will be the star.
Canonically genderfluid and bisexual, Loki shapeshifts, bends expectations, and refuses to fit into any box—whether that’s hero, villain, or something in between. And let’s be real, he’s got more chaotic queer energy than most Pride parades.
Once the MCU’s resident trickster (and Thor’s highly dramatic little brother), Loki has evolved into something far more complex. But villain or not, one thing’s for sure—he’ll always be serving mischievous, fabulous and just a little bit unhinged.
Ursula – The Little Mermaid (1989)
Oh, she wasn’t even subtle. Ursula, the campiest, most fabulous villain in Disney history, was literally based on drag queen Divine. The big hair, the cackle, the body language, the way she sashays across the ocean floor—she is drag in animated form. It was a shame that Disney did not take this approach for the live-action...
And what is Poor Unfortunate Souls if not a full-blown musical number straight out of a drag cabaret? Ursula is the ultimate diva villain, and frankly, Ariel had nothing on her.
Count Olaf – A Series of Unfortunate Events (1999-2006, TV & Film Adaptations)
A master of disguise, a theatrical menace, and a walking embodiment of chaotic queer energy.
From campy evil stepmother to failed thespian to menacing criminal mastermind, Count Olaf is shapeshifting camp in its most ridiculous form. Played by both Jim Carrey (OTT and wild) and Neil Patrick Harris (perfectly sardonic), Olaf is proof that sometimes, villains are just frustrated actors with a flair for the dramatic.
Lord Voldemort – Harry Potter Series (1997-2007)
A man who wants to live forever, spends his entire existence looking for a bit of soul he misplaced and waves his wand with a distinct flourish? Yeah, that’s pretty gay.
Voldemort is dramatic, theatrical and never enters a room without making a statement. He doesn’t just kill people—he kills them while delivering a monologue and an intense stare.
And let’s be honest—no straight man is that committed to a flowing robe aesthetic.
The Grand High Witch – The Witches (1990)
Anjelica Huston’s bone-chilling, high-glamour take on Roald Dahl’s most terrifying creation is everything.
The Grand High Witch struts into a room in full couture, ready to kill some children with the level of precision usually reserved for planning Met Gala looks. She’s ruthless, powerful, and serving gothic drag villain realness.
Final Thoughts: Let’s Reclaim Them
Yes, the history of queer-coded villains is problematic. Yes, they were often meant to represent something "other" and "sinister". But over time, we’ve taken these characters and made them our own.
They’re powerful, charismatic and often more interesting than the heroes they oppose. And if being fabulous, witty and dramatic makes you a villain, well… maybe we’re all a little villainous.
Who’s your favourite queer-coded villain? Drop a comment, let’s discuss!
Queerly Yours,
Daniel
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