In the introductory chapter of Annamarie Jagose’s Queer Theory, queerness is chiefly characterized by its indeterminacy. To clarify, Jagose marks elasticity and unknowability as key; thus, any attempts to solidify queerness within a narrow, academic framework contradicts queerness itself. In a society which prioritizes “coming out” and ascribing one’s self to a specific label within a narrow (and often hierarchical) LGBT umbrella, the indeterminacy of queerness almost seems counterproductive. However, Miss Major’s display of fluidity in Major! derails such a line of thought, instead demonstrating how the fluidity of queerness has seeped into every facet of Miss Major’s life and has sculpted her into the community elder she is today. Miss Major’s fluidity of being is unabashedly demonstrated throughout the film: she is shown dolled up in dresses, she is shown sitting on a rumpled bed with stubble, she is shown hard at work with the TGIJP headquarters, and she is shown in masculine attire alongside her ex-wife and her infant son in old photographs. To continue, Miss Major is referred to with various pronouns, depending on who is speaking at the time, though Major herself admits to not having qualms with as much.