#writing short gay themed films

[gerykei13]

Taylor Swift albums but I've been taking a lot of road trips recently and my imagination likes to make storylines out of albums so I thought I'd explain some of them:

folklore: two stranded friends oddly reconnect again when a guy that didn't know what he wanted breaks up with one over the summer, getting them into a 'high school love triangle'. Some get married, some others don't, some get divorced, some dedicate their lives to help, and some die. Fate brings them all to separate ways, eventually getting forgiveness, love, and closure, and eventually reunites the two of them in the same saltbox house. 50s-60s setting, some sapphic undertones, and death.

evermore: a love triangle between two stranded high school friends, one moved on, one stood still, and the former's fiance, who's well aware their relationship is going nowhere. No one gets married, she would've made a lovely bride thought, and there's an unsolved murder case in between the drama. Eventually, they all learn to let go, some run away, like you'd run from the law, and others just move on with their lives. 70s-80s small town "where the crawdads sing-style" setting, sapphic undertones are actually very much evident lol, and death obviously.

speak now: once upon a time in the 1500s off in a foreign land, a young prince made friends with a forest witch, eventually falling in love. There's dragons, magic, love, and a tragic ending full of hope ahead. "A Canterlot Wedding" vibes, medieval-ish setting, sapphic side story of course there is one I AM going to make everything gay because it's my headcanon/fanfiction and I can do whatever I want, someone dies holding their head like a hero on a history book page

red: a recent middle-class divorcee unknowingly makes friends with with her ex-husband's mistress. A tale of youth, growing up, letting go, and forgiving. They get separated at the end because not every story has a happy ending, you should know that by now. Themes of grief and anxiety come into the story. Late 2000s setting I guess I never really thought about the timeline on this one, a BIG sapphic storyline, I already said grief so I also want to mention there's a lot of bright lights scenery and an ambiguous long-distance ending

#things happen #last night i dreamt #that i was a director for some ts inspired shorts #and this is what i said in an interview #the recurring themes being the friends to lovers trope death growing up childhood and love triangles #not exactly in that order but yeah yknow #and i specifically remember saying to the host #“people like to complain 'gays are in everything these days' but fail to realize that it's not a majority in the content they consume...” #“and i think having eleven short films about sapphics it's not hurting anyone I actually think it's going to have a great impact” #and then i put a Jorge Gutierrez and said that every story has the same archetype because they're the same story through time #the main four characters are the same just reincarnated/reimagined #and i cant remember what else #but that was the dream #Taylor swift #what is it called when you make a headcanon of an album bc that's what happened here #idk #i may write some of these at some point but its not gonna be now #anyways dont take this seriously please #this is just for me #taking this out of private bc i need it and i couldn't find it

[zestymimblo]

Writeblr - ReIntroduction

Howdy howdy! I figured I'd type one of these out again because I'm trying to be more active on here, and also pushing myself to indulge in my passion for writing again... this helped last time, so I may as well give it another shot.

My name is Milo (he/xe) and I'm an aspiring author. I've always loved writing, and there's never been a point in my life where I didn't want to write in some capacity. It's easy for me to succumb to writer's block, but writing makes me happy and I want to be able to share what I create.

About Me

I'm a 21 year old (very gay) transman from Canada, and I want so badly to be able to travel to other parts of the world one day.

I'm a D&D nerd. When I struggle with a writing project, I often fall back on expanding my D&D worlds/characters. It's my safety net.

My career is in film. I work in the Art Department, mainly in props, and am working towards maybe becoming a Production Designer one day. Film work is a competing passion of mine, and you'll definitely find posts of me talking about work.

Like most other authors, I love weird shit, and you'll find a lot of weird stuff in my writing. Weird Fantasy is my favourite kind of genre.

In my writing you'll find themes of 2SLGTBQIA+, found family, fighting destiny, struggling under mega-corps/capitalism, nature vs nurture, self-discovery, different kinds of love, slightly unsettling surroundings, and weird lil monsters/freaky dudes.

My Current Projects

I have two writing projects going on right now. One I had to put on the backburner because I had written myself into a corner. The story wasn't progressing or flowing the way I had envisioned/planned, and I ended up getting more stressed than excited to write it. The other is one more laid-back for me to write. (Keep in mind, these short descriptions may be subject to change in the future)

The Strings of Willis Manor: Thistle Willis is sick. Her condition leaves her confined to the property of Willis Manor; a sprawling estate with lush gardens, dusty libraries, and secret corridors. At her attendance is Clementine (an automata handmaid, who was created with the sole purpose of tending to Thistle) and Andromeda Marrow (Thistle's childhood best friend). When her father doesn't return from a business trip to the South, Thistle's mother begins to fear the worst. In an effort to find a cure for her daughter, and establish Thistle as the head of the family business, Mama hires a Healer from an unknown land. But this cloaked Healer isn't who they say they are, and Thistle begins to uncover what really may be going on in the house she thought she could call home.

(Backburner) - Beneath Tattered Flesh: In the hissing, polluted, Magic, and bronze city of Ritec, Caesar Dampton is trying to move forward. He's trying to get over a bad break-up, make ends meet, and help his best friend - Emersyn Riley - find her place in the world. Between running away from his ex, and trying to figure out what he wants to do with his life, Caesar is stuck in a downward spiral. Newt Gourdeau got the chance of a lifetime; a full scholarship to Verne Cobb University. Leaving their small town behind, they carved out a life for themself in the city of opportunities. They're trying to bury their problems in mystery novels, university studies, and attempting to find a scientific reason as to why some people in this world have Magic, while others don't. Their obsessions leave them in solitude for days. But when the unlikely pair see similar tragic events happen at the same time, but in different parts of the city, they stumble into each other's lives. Manipulation and death follow the two at every step, but they're both determined to get to the bottom of a gruesome mystery unfolding in the city... or die trying.

What I'm Looking For

As you could probably already tell, I'm not awesome at keeping myself "on schedule", which is code for "I sometimes let my life/anxiety/career/whatever eat away at my passion for writing and I'll abandon it for several months a time". Having a place to post updates, or even just little rambles, really helps me out.

So in all honesty, if you're interested in what you see, then feel free to stick around! I'd love to chat, do fun word tags, and just be in a community of like-minded people.

Thanks for reading!

#queer writers #writeblr #my writing #writing #creative writing #writer #writers on tumblr #beta reader #writeblr intro #writeblr community

[latenightcinephile]

Film #918: 'Lawrence of Arabia', dir. David Lean, 1962.

Like many of David Lean's epic films, Lawrence of Arabia has had an enduring legacy, with its depictions of the desert landscape so impactful that almost every subsequent desert film is indebted to it in some regard. From Dune to The Lion King, the cinematic imagination of the desert has been set by this particular film. What interests me about the film is the way in which this visual style sets the tone for the film's themes - to me, Lawrence of Arabia is a film about identity, and how it is sculpted, and the sculpting of identity requires an extreme environment.

During the First World War, T. E. Lawrence (Peter O'Toole) is scouted for an undercover mission to determine the intentions and allegiances of the Iraqi Prince Faisal (Alec Guinness). Faisal intends to overthrow the Turkish regime, but Lawrence encourages him over time to engage in this attack in a way that is aligned with the British intentions in the region. Despite Lawrence's orders to make his assessments quietly, Lawrence is too outspoken, a quality which intrigues Faisal and further distances Lawrence from the British generals. Lawrence's first encounters with the Prince's commander, Sherif Ali (Omar Sharif), are antagonistic, and Ali is particularly doubtful when Lawrence conceives of a plan to attack the fortified port of Aqaba by riding across a punishing desert. Lawrence seemingly works a miracle by rescuing one of the Arab men, who was left behind while crossing the desert, but when this same man kills another in a blood feud, Lawrence executes him himself, rather than risk his strategy. The attack on Aqaba is successful, and Lawrence returns to Cairo to inform his superiors, who tactfully assure him that the British do not intend to annex parts of Arabia (despite the existence of a treaty which plans precisely that).

Lawrence continues with guerrilla tactics against the Turks, but seems to increasingly buy into his own hero complex. During an undercover mission, Lawrence is captured by the Turkish Bey, who humiliates Lawrence - Lawrence is in disguise, but the suspicious Bey asks where he is from. No longer feeling like he has a purpose, and anxious about the aspects of his personality he has discovered, Lawrence returns to the British forces, but is immediately encouraged to join in the British capture of Damascus. Unlike his prior groups, who were committed to the cause of Arab independence and have been alienated by Lawrence's recklessness, Lawrence instead hires violent mercenaries. Despite Ali's protestations, this ragtag battalion engages in the slaughter of injured Turkish troops who are in retreat. Lawrence's army arrives in Damascus and conquers the city before the British arrive. A broken Lawrence attempts to unite the arguing forces, but is abandoned by them all, including Ali. He is recalled to Britain where, no longer useful to anybody in the war effort, he retires until his death in 1935.

The thing that first made me think about the themes of identity in Lawrence of Arabia was a short biography of Lawrence in the Robert Aldrich book Gay Lives, where the author acknowledges that most of what we think we know about Lawrence comes from his own writings in books such as The Seven Pillars of Wisdom. This makes any attempt to tell Lawrence's story a little suspect from the beginning, as we can easily believe that Lawrence's own story embellishes and burnishes the events that he was involved in. To its credit, the film deftly sidesteps any hagiography. Instead, it goes in the other direction, portraying Lawrence as an egomaniac and as someone who finds himself buying into his own mythology. Even in the historical record, there is no denying the charismatic power that Lawrence held, and O'Toole's performance exaggerates this in a number of subtle ways - his youthful glee at just how much he is doing early in the film means that every scene is made more buoyant (which only makes his descent into difficulty and eventual despair more pronounced). Some of this is also completely coincidental: one way to make the 5-foot-5 Lawrence seem larger-than-life would be to cast the 6-foot-2 O'Toole to play him, but I can't imagine that was a deliberate choice on the part of Lean. The potential differences between how Lawrence portrays himself in his writing, and who he really was and what he did, means that the film has a complicated task ahead of it. It must mine that gap for the contradictions in T. E. Lawrence, which are precisely the contradictions that can't easily be articulated in a screenplay. Very few people will deliver monologues in which they explain the differences between their presentation and their true self, and definitely not in the 1910s. So the film has to find a visual language in which to convey these ideas.

Taking out the specifics of Lawrence's life, this film has one consistent thematic through-line: the desert is the place where identity can be lost and the place where it can be found. From the very beginning of the film, it is clear that Lawrence doesn't fit comfortably within the strictures of his British identity. This is not just limited to the British army, but also seen in the distant and ambivalent way the attendees of his funeral speak about him. One of his enduring personality traits is his independence in dealing with the Arabs - he takes pains to specify to Prince Faisal and Ali that he is providing his own advice, not the advice of the British Army, and often seeks reassurance from his military superiors that he is not deceiving his Arab friends. When he is given specific orders, recommendations, or told that something is impossible, he frequently ignores this advice. As the Lawrence 'of Arabia', though, he is given permission to indulge these more reckless endeavours and tactics. Even in this, he finds it possible to go beyond what those familiar with the Arabian desert claim can be done, such as when he goes into the desert alone to retrieve the fallen man. He is rewarded for this with a white robe that he clearly adores - not only is it far more convenient than his former outfit, which unavoidably marks him out as a foreigner, but it represents the extent to which he has been accepted into a new culture, and the degree to which he embodies that culture's values. This security is short-lived, however. His triumph in rescuing Gasim, Prince Faisal's fallen man, immediately comes back to haunt him. Executing Gasim is the honourable thing to do, and it has the far more immediate benefit of allowing Lawrence's strategy to attack Aqaba to continue. On the other hand, it apparently awakens a bloodlust that Lawrence finds uncomfortable, and one that he will later cite to his superiors as evidence that he should be discharged. By going into the desert, he has been able to shed his ill-fitting identity and find one that suits him better. Like many experiences of cultural immersion, the process is uncomfortable, and forces Lawrence to face for the first time his violent desires. In England, he has never had to even consider whether these desires exist - there is no place in British society where they could be contemplated. Lawrence discovers himself in Arabia, and doesn't like what he finds.

A modern viewer has the opportunity to go even further. The accuracy of the film to Lawrence's life is mostly irrelevant - Lean's film presents us a character and invites us to analyse them. From a contemporary perspective I am inclined to ascribe to Lawrence some of the worst colonial traits. His white robes mark him out as an obvious interloper within the Arab world, even though they have been bestowed upon him as a mark of belonging. He seeks to immerse himself completely in this new culture, one that he feels at home in, but the film also presents him as being an egotist, and as such being quite proud of his successes. He has become an Arab, and gained their acceptance, but his ability to move back and forth between Arabia and the British Empire, however imperfect, makes him appear to be an improvement over either culture. "No Arab loves the desert," Ali tells him, but Lawrence does seem to love the desert - does that make him an improvement? Somehow, this man born in Wales rides into the desert and performs untold heroic feats, and the film provides no explanation for how he accomplishes them. It's merely that he believes in himself. And that self-belief is almost certainly a relic of a stern British imperialism that leads him to believe he can continue to defy the odds.

In order for the desert to be a place where identity can be lost and gained, Lean's film sets it apart in an impressive way, using all the techniques of the epic genre to astonish the viewer. Where Lean has always succeeded in his epics is the employment of the astonishing. Throughout the film there are many sequences that rely on the spectacle of film production - of amassing a large number of extras, building a large and impressive set, or conducting a tremendous stunt on camera - but some of the most powerful moments of spectacle here are the ones that consist of pointing the camera at something big or impressive that nobody thinks to point a camera at. The sun rises in real time, hypnotically: first a straight line of orange over the horizon, as thin as a hair, and then it grows.Lawrence and his guide ride on camels that appear as tiny specks in the distance. When Lawrence looks through his binoculars at a caravan in the distance, the caravan is still just a row of tiny specks in the distance. It's a powerful technique for showing just how sparse this region really is, and how for most of his time here, Lawrence is truly alone with himself.

At nearly four hours, Lawrence of Arabia is not the most approachable of films, but then epics seldom are. Rather than tell a basic biography of its subject, the film instead tries to encompass a number of different and sometimes contradictory perspectives on who T. E. Lawrence was. At times, it presents such an unvarnished view of this man that it feels less like a biopic and more like a rebuttal. There are hints here of the deeper recesses of Lawrence, including his supposed queer identity and his fascination with masochism. In a shorter or choppier film, one steered with a less skillful hand, these hints would be unsettling - the contradictions would feel like mistakes or clumsiness, rather than different aspects of the one figure. But Lean has one of the most skillful hands in the business, and he lets these hints slip back and forth within the film, so that we're aware of them if we choose to be, but never distracted by them. If nothing else, Lawrence of Arabia is a showcase of how to weave themes into a film. Fortunately, it's a lot more than just that.

#1001 movies #david lean #lawrence of arabia

[archiveofmystuff]

The Other Works of “The New Employee” Director Kim Jho Gwang Soo ***Mild Spoilers Ahead***

Given that I am currently LOVING Korea’s newest office-set BL The New Employee, I thought others might be interested to explore the other works of this darling show���s director, Kim Jho Gwang Soo.  Here I am going to focus on projects that he screenwrote and/or directed as those are his queer works.  Many of them are available on Gagaoolala. 

Who is Kim Jho Gwang Soo? As outlined in his MyDramaList biography, he is an openly gay South Korean filmmaker.  After collaborating with another openly gay director named Lee Song Hee Il’s 2006 film “No Regret” (regarded as Korea’s first gay feature film), he began to write and direct his own projects, as well as work as a producer.  

I realized after starting the New Employee that I have seen almost all of Kim Jho Gwang Soo’s works that he has directed or written without knowing it was all by him, so I wanted to give a little rundown of his projects so other people can discover them as well!  Synopses are going to be from MDL and the title of each film will be the link to its MDL page.  

NOTE: This summary will contain some mild spoilers for the purpose of trigger warnings!!  However, this post is also going off my memory and I have not watched everything recently so I apologize if I miss any warnings!  I will also give a blanket content warning for homophobia.  Most of his past works are not really set in the new Korean-BL world where homophobia barely exists so it is a theme in most, but not all, of his other projects. 

Boy Meets Boy (2008) - Short film, Director & Screenwriter

Synopsis: On a warm spring day Min-soo, a small boy, meets tall and broad-shouldered Seok-yi inside a bus.  Min-soo keeps looking at the intimidating boy whose sharp eyes are hidden under his baseball cap. Min-soo's heart starts beating.  What will happen to Min-soo and Seok-i? 

Thoughts: Super cute short film that the synopsis basically sums up.  Not a lot happens but it sure is adorable.  Happy ending.

Just Friends? (2009) - Short film, Director & Screenwriter

Synopsis: Min Soo is on leave from the military and visits his boyfriend Seok Yi. While having fun out on the town, they run into Min Soo's mother! When Min Soo's mother asks about their relationship, Seok Yi replies "... just friends." Making things more complicated, Min Soo's mother ends up sleeping with them that night! 

Thoughts: My personal favorite of his pre-TNE works.  Stars (now-well-known) actors Lee Je Hoon and Yeon Woo Jin.  This is one of my favorite short films of all time.  A succinct and satisfying story in under 30 minutes, fantastic chemistry, adorable couple moments, and family drama.  It is also a follow up to Boy Meets Boy, but it’s not necessary to watch that one to understand and enjoy this one!  Happy ending, but some angst thrown in beforehand. 

Love 100C (2010) - Short film, Director & Screenwriter 

TW: homophobic violence

Synopsis: A hearing-impaired boy, Min Soo, is gay, and he likes his classmate, Ji Seok.  One day, Min Soo impulsively has sex with a man who works in a public bath, an experience that lends him a new-found confidence, but at a heavy price.

Thoughts: This is a pretty big departure from his first two short films, while it is happy for a bit of it, the film explores the danger of living in a homophobic society.  Ultimately it is a film about sexual self discovery as well as how queer people are often robbed of safe and healthy self discovery because of violence inflicted upon them.  Definitely NOT a happy ending.

Two Weddings and a Funeral (2012) - Full-length film, Director

TW: death, homophobic violence

Synopsis: A gay man, Min Soo and a lesbian, Hyo Jin are both promising doctors at a general hospital. The colleagues agree to marry so Hyo Jin can legally adopt a child with her lover of ten years Seo Yeong, and Min Soo can please his parents while maintaining his closeted lifestyle. While secretly living with their respective partners, who move in next door, Min Soo and Hyo Jin appear to be a happy, "normal" couple. They enjoy all the benefits afforded to heterosexual couples and are also able to ward off public scrutiny and parental disapproval. However, Min Soo's intrusive parents begin to get a bit too involved with the couple's life, threatening their scheme.

Thoughts: There are parts of this movie I really enjoy.  It was great to have both a gay and lesbian couple in the film and a lot of the film revolved around the gay lead’s group of gay friends.  There was also a lot of playing with Korean honorifics within the friend group that I found really cool to listen to.  However, I didn’t love how the most fem gay character was treated throughout the film and it was quite shocking in a bad way at some points, given that it is supposed to be a romantic comedy.  A happy ending, but at what cost, lol. 

One Night Only (2014) - Short film, Director

I think this is actually two short films released together, but I have only seen the second part “One Night” and not the first part “Night Bug,” so I am going to focus on “One Night.” 

Synposis: Geun Ho is almost hit by a car. At that time, Joon, who is visiting Jinju from Seoul, saves Geun Ho. They happen to meet at a bar later that night. Geun Ho and his friends goes to Seoul with Joon.

Thoughts: It has been ages since I watched this one, but I think I mostly liked it.  Not really a happy ending, but as far as I can remember does not contain violence in the way that some of his other works do.  While the MDL synopsis doesn’t mention it, the film actually focuses both on Geun Ho as well as his 2 friends, not only Geun Ho.  

Made on the Rooftop (2021) - Full length film, Director

TW: serious medical issues.

Synopsis: Ha Neul, a job seeker who has nowhere to go after breaking up with his lover, Jung Min, moves to the house of his best friend Bong Shik, who lives in a tiny room. Bong Shik working as a BJ with a high tension + one-person broadcasting concept is courted by Min Ho, an attractive straight-forward man, but somehow just hesitates. Ha Neul and Jung Min try to reconcile, but they only go against each other and unintentionally hurt each other. One day, Jung-min is in a car accident and Ha Neul has to bring back Ari, the cat they used to raise together.

Thoughts: I really loved this movie.  Focuses on two friends and their respective romantic lives.  Deals with the realities of being in a closeted gay relationship with no legal rights when there is medical emergency, coming out to family, HIV, etc.  It is also genuinely really funny and, at many times, incredibly sweet and heartwarming.  One couple has a complete happy ending and the other has an open/unresolved but hopeful ending.  I would definitely recommend. 

I hope anyone who sees this considers checking out these films.  Most (if not all) are available on Gagaoolala, but you can likely find them other places as well (but please support legitimate streaming if you’re able)!!  Also who else can’t wait for the next episode of The New Employee? 

#kim jho gwang soo #the new employee #long post

[ellies-rambles]

(Anon from earlier, re: my previous ask)

I want to be clear that I'm not angry at you or trying to cancel you or anything, because that's seriously not what I'm doing. I just wanted to try to explain why, from a canon standpoint, as well as a historical standpoint, you saying Angus was trying to dodge the draft is not founded in fact. Sometimes a crack a teenage boy makes about a swimsuit looking like women's underwear is just the set-up to a "LOL I fucked your mom" joke.

While Vietnam is certainly a lingering gloom over the movie, the only time we hear about it in conjunction with Angus is A: when he's talking to Hunham and says that Barton Boys don't go to Vietnam, and B: when Angus says that, if he's sent to Fork Union, he will maybe be sent to Vietnam.

So basically, I love that you're trying to write about draft dodging and I think it's a very good thing to discuss and depict, especially nowadays with the current American political climate, but don't insert plot points where there are none and make connections to things that just simply aren't there. If you want to discuss a boy who claims to be gay to dodge the draft, cool! You can write that! Because Alexander Payne and David Hemingson certainly did not do that.

Much love xx

1) I never thought you trying to cancel me

2) intention can create dual meaning. Like that time I accidentally had people in my media arts class thinking a character in my short film ate paint swatches. Not what happened but damn I liked the reading

3) still doesn't know that the more commonly used phrase was resisting

4) wealthy boys definitely had ways out of Vietnam, but combining the fact that Angus is seen to be less wealthy than his peers (I believe Dominic Sessa has spoken on this and also the amount of money spent on his father was mentioned) and the fact that his family was willing to send him to military school implies his family had a pro-Vietnam War stance. He would've been more likely to be sent to Vietnam than his peers (also the scene with Angus and Mary at the end implies that in certain ways as well.)

5) Please learn what a plot point is in contrast with themes.

6) I KNEW YOU WERE A FILMMAKER'S CHOICE BITCH!

#film #the holdovers #vietnam war #angus tully #strange æons should make a video about this saga #im so invested in my own drama #i should be doing my latin rn but im too invested #anongate? #what are we calling this #dodgegate #YES #DODGEGATE

[ragnarokproofing]

this post is going to be under construction for forever, basically.

i haven't decided on my fake name yet. i live in chicago but i'm leaving soon. late twenties. male. i hold an MFA in creative writing and a BA in game development.

i write fantasy, primarily dark fantasy, but am also interested in urban fantasy and historical fantasy. i have a decade of experience writing and posting fanfic in many different fandoms.

my writing focuses on themes of masculinity and homophobia, transness, sexuality and kink, disability, and gay love/romance.

i speak english and have a questionable grasp of french and czech. i am studying norwegian and old norse/icelandic.

i'm open to tag games and the like but it will probably take me a minute to get to them.

fiction: i'm really passionate about YA lit, even though i'm not writing any right now. my favorite YA authors are laini taylor, alex london (yes, the one plagiarized by james somerton), and margaret rogerson.

my favorite (adult) fiction authors are cathrynne m. valente, ursula k. le guin, and brandon sanderson. my favorite nonfiction authors are neil price, richard preston, and lindsey fitzharris.

film: my favorite directors are masaaki yuasa, robert eggers, and the wachowski sisters. my favorite films are cloud atlas (2012), ravenous (1999), mind game (2004), pom poko (1994), and trick or treat (1986).

i love B movies, and i have a growing collection of DVD movie packs and vinegar syndrome special editions. i have the oversized "champagne and bullets" poster hanging on my wall, and i own the miami connection soundtrack on vinyl. i am one of the only people on earth unironically interested in the history of shot-on-video movies.

music: anything in the "alternative" sphere, but i have a special fondness for folk punk and psychobilly/horrorpunk. my favorite bands are the mountain goats, AJJ, florence + the machine, aganst me!, editors, and baroness.

study/academic topics: my thesis is largely inspired by my passion for viking/medieval scandinavian history and culture. i am studying old norse/old icelandic, in the hopes of being able to read the sagas in their original language.

i love medical history and know everything there is to know about WWI-era facial reconstructive surgery, and plan to write a story about it someday (i was into it before the fitzharris book, goddammit!). i will read any nonfiction book about a part of medical history, whether it's a specific disease or a technique or field.

other: lake superior and the minnesota north shore, minnesota public radio, food culture and food writing, candles and incense that smell like the woods, tattoos that look like woodcuts, collecting enamel pins, travel patches, and mosser cats, fiber arts.

my thesis: a grand-scale dark fantasy novel about a misanthropic wizard academic and an alcoholic viking mercenary trying to save the world. main themes: cultural homophobia, misogyny, and machismo and the way they affect gay men, fascism and surviving under hostile systems, sacrifice and what makes a world worth saving, languages and the way they affect our lives, romance.

vampire story: a short story about a vampire that works at hot topic befriending a community college student in 2007. main themes: being suicidal and what makes life worth living, connection, romance.

viking story: a short horror story about a viking that gets stuck in a cave while searching for his unrequited love, who may or may not be dead. main themes: homophobia and machismo, grief and mourning.

i don't like naming things.

i don't care who follows me.

this blog is occasionally NSFW.

if you post a lot about political issues, i will not follow you. this is because i am here for fun, not to be angry, depressed, homicidal, or suicidal. if you do not like that, get bent. it will not change.

if you are weird to me, i will block you.

if you, under any circumstances, refer to me or any of my male characters as baby, baby girl, girlie, bitch, princess, or any other infantilizing, misogynistic horseshit, i will block you.

that's it.

#my posts #writeblr intro #about me #writeblr

[blacknidstang]

Once in a while i go back to rewatch some early episodes and Roadkill always ALWAYS makes me cry a little. It's a whole little bittersweet short horror film. Beautiful writing, the way it's tied to the themes of loss and grief like the entirety of the season that perfectly connects the boys dealing with John's death to ahbl and Dean's deal.

And beside all the wonderful writing and structure of the episode, it's one of those times the samdean parallels between married couple hits on a whole different level bc it doesnt feel like a little uncomfortable gay incest joke. The way the woman, Molly, desperately says "do you know what was the last thing i told him?? I called him a jerk!! What if that's the last thing i'll ever tell him" and truly such peculiar choice of word. I don't think it's any accident and i don't think it's any joke either. It's terribly painful because in retrospect it's a setup for Sam & Dean facing the prospect of losing each other. And on the other hand i'd dare to say a bit about how Sam's final moments with John went on as they argued. This makes it all the more poignant that Sam tells Molly "what are you gonna say to him? That you love him? That you're sorry? Molly he already knows that" well Sam who are you talking about right now.

But beside Molly and David, one thing that i think on some level connects to Sam & Dean are actually Greely & his wife. When Sam & Molly look at Greely's life and recognize how loving he was once, Sam clearly sees himself in the monster that the vengeful ghost has become, talking about how something he could not control happened to him. Yeah, not so subtle with comparatives. But that's not all, the one peculiar detail for me was always Greely's wife hanging herself after his death. "She couldn't live without him." It's peculiar in a way that it's completely and utterly irrelevant to the plot of the story, the wife could've simply died of old age. It just didn't matter. But it had to be there. It had to be there because there's one part of a duo who becomes a monster and the other lover who cannot live without him. We see all of these throughout the season. It's repeated motif of lovers and loss. And then the seasons hits us with ahbl, with Sam's death and the sort of anguish and desperation we see ing Dean that is not even comparable to every mourning lover coming before him. I'm not saying Greely and his wife are an exact direct samdean parallel in this episode specifically but i think all of these were put into season 2 to prepare us for when we see Dean not being able to live without Sam.

#spn #sam&dean #spn 2.16

[alovelywaytospendanevening]

Hello again, not quite sure how to formulate this question, but on the topic of EM Forster, I read most of his novels many years ago, and then recently re-read The Longest Journey. I really enjoyed it and I like the themes, but I found the style quite strange and a bit hard to follow at times. I've read that the book was meant to be 'symbolic' and not particularly realistic. But anyway, I wondered what you made of the style of it and how you like it (or not) in relation to the others. I am planning to re-read (and re-watch) Maurice soon.

Hello again!

I got to say I haven't read The Longest Journey. I love Maurice, but I'm not really a big Forster fan (I actually know considerably more about Fred Benson!).

However, I do know The Longest Journey is commonly referred as Forster's most polarizing novel. It is, after all, his only novel that was never adapted into a film. I read a short summary of it on Drewey Wayne Gunn's Gay Novels of Britain and Ireland (a very useful guide) and I confess I wasn't very impressed. So your thoughts don't seem to be unusual.

On the other hand, it's interesting that for a long time Maurice was considered a lesser work among Forster's bibliography, to the point its rights' owners were reluctant to give Merchant Ivory their permission to adapt it. Just take a look at some reviews from the time of its release:

C. P. Snow, in The Financial Times, found the novel 'crippled' by its "explicit purpose," with the ending "artistically quite wrong" (a near universal criticism at the time). Walter Allen in the Daily Telegraph, characterised it as "a thesis novel, a plea for public recognition of the homosexual," which Forster had "wasted" himself doing, instead of an autobiographical work. For Michael Ratcliffe, in The Times, it stands as "the least poetic, the least witty, the least dense and the most immediately realistic of the six novels." Philip Toynbee, in The Observer, found the novel "deeply embarrassing" and "perfunctory to the point of painful incompetence," prompting him to question "whether there really is such a thing as a specifically homosexual sensibility." Toynbee went on to state that he could "detect nothing particularly homosexual about Maurice other than it happens to be about homosexuals."

The reason for such a cold reception seems clear to me: Forster was seen as a "serious author", and a story about two homosexuals falling in love and having a happy ending was still interpreted in the 1970s as purely trifle activism, and not really “real art”. You can still detect the influence of this line of thinking in contemporary gay literature, where the gays-suffering-and-dying-because-they’re-gay releases remain the most acclaimed and “serious” ones.

Maurice’s reputation (both novel and film) grew a lot in the last few years, thankfully. Forster benefited from writing what he truly wanted: it’s a tightly written, focused story. The themes of romantic friendship, institutional oppression, interclass relationships, masculinity, the English nature and even religion are well presented and utilized. I also appreciate how Forster wasn’t afraid of making his protagonist imperfect, in an “uncool” way: Maurice Hall is an aggressively average middle-class snob, and he's also quite misogynist toward his mom and sisters (and went no contact with them, even though they didn’t deserve it). Some people complain its narrative is too slow for modern standards, but I’m used to it. And maybe Forster needed some missteps like The Longest Journey to reach to this story.

#ask #e. m. forster #maurice

[stormblessed95]

What is Queerbaiting?

I had a good conversation about this with @ejassy the other day and figured I'd just make a post about it in case anyone else wanted to either share their own thoughts too or were just confused over what people mean when they say queerbaiting. Which CAN get confusing, especially when it gets used incorrectly ALOT.

So in short simple terms, for queerbaiting and its similar phrases?

Queer subtext: I normally think of this in 2 ways. The first being unintentionally gay. This was clearly not the intention of the writer ever, but the gay ships were just accidentally too full of chemistry and the ship shipped itself by accident even though the characters aren't "canon" gay (think batman and joker. Or Lord of the rings or Elsa from Frozen. Or like a good portion of misogynistic anime writers who can't write a female character that isn't flat AF lol)

The second being where it can also be defined as INTENTIONALLY gay. Where instead of it being something that just happened, it was written like this pn purpose and with full intention of being queer and is in its own way, good queer representation, even if the queer relationship isn't ever technically confirmed, or only confirmed "off screen" by the writers. This is subtext and its sometimes left only as subtext because the romance is only a subplot or because of censorship. (Think Legend of Korra or Think Merthur from Merlin bbc.)

Queercoding: acting queer or leaning into queer themes/subtext but not explicity queer for any number of reasons, including censorship for fictional universes or just being closeted. Basically there is enough subtext available for the audience to read them as queer regardless of if their sexuality is never confirmed either way. (Again, think Elsa. Or Jo March from Little Women, or think Nick Carraway from the Great Gatsby. Think of Wei Wuxian and Lan Wangji from The Untamed, the show not the web novel verison lol. Think Xena: Warrior Princess)

Queerbaiting: obviously leaning into and promoting queer subtext and queer themes to keep gay fans on the hook and invested in your media with zero intentions of follow through. Almost at times even turning it into like a joke or just making it very obvious that the character was never actually queer. This was a term coined by queer theorist academics in the 1990s and didn't actually exist before then. This is not a term that can apply to real people. Real people can't queerbait. With very few exceptions to that "rule." Which I will discuss some of those possible exceptions in a bit. (Think Destial from supernatural, or Johnlock from Sherlock, or think Supercorp, Lena and Kara, from Supergirl. Or think Sam and Bucky from MCU, Bechloe from Pitch Perfect or Sterek from Teen Wolf. If anyone doesnt know why these would fall under a more queerbaiting label and dont already know, please feel free to ask for sure)

There are some good sources out there that go into much more detail about what queerbaiting is, how it's been misused and more too as well if you have the time to watch them. This video was recommended from @guacamoli-avocadorado here. It is a great intro to the term and how it is used/should be used broken down in an easy to understand way. And it gives a bunch more examples like I shared above, etc.

And this one is longer but a really good and interesting dialogue about the topic. They take the definition of queerbaiting and expands upon it greatly as well as gives a very through dive down the history of queerness and queer subtext through film and media. This one was recommended by @chikooritajjk

Now, real people cannot queer bait. It's impossible UNLESS they have CONFIRMED their sexuality as "straight" and will sometimes "play gay," for an audience. And not just a straight actor playing a gay one, but doing something that is intentionally queer but backtracking and being like "well I mean, I'm straight so I didn't mean it." And doing so repeatedly and/or even making light of it or joking about it. Or even just being plain homophobic about it. Unless you are talking about the actions they take to promote their "brand" in an effort to profit off queer fans on purpose, while continuing to make it clear its not "that serious," then you could make an argument that that person is queerbaiting. Which, for clarification, two people of the same sex simply interacting together, even with lots of general affection, cannot be classified as queerbaiting ever. Especially because a person doesn't have to be "out" to act on their queerness. Our queerness is our own. No one gets to demand someone to give answers about their sexuality to confirm queerness or not before the public "decides" to keep trying to bully an answer out of them or not. You don't get to take self expression and someone else's comfort away from them for your own comfort in labels that don't belong to you anyway. The thing is, no one owes anyone any explanations about how they present themselves or what their sexuality is. You can't forcibly out people. "I think you are gay, therefore I'm owed an explanation and if you don't give me one, it means you are just queerbaiting" is WRONG. It's an umbrella media term, not a bullying tactic. This applys to everyone, random people off the street, actors, musicians, authors who write/engage in queer literature, public speakers, influencers, etc...

There are some of kpop idol groups (or other celebrities in general) that could be classified as queerbaiting. Because they use queerness to build and promote their "brand" while otherwise never doing anything about it (even as an ally) and/or even being lowkey homophobic about it all or just continuing to make sure the audience knows they "arent actually gay." Or they use queerness in a way that fetishizies it, again without actually meaning it in any way. That's a whole seperate issue, and it could in ways be considered queerbaiting. Or it could more likely dig further into the issue of inauthenic queer fetishization used as a shock value for an audience to be used as sexual fantasies for their STRAIGHT audience, rather than to draw in a queer audience who are more looking for the possible authenticity of queerness or allyship in the celebrities/idols they are building these parasocial relationships with. Because again, unless you know what this person's sexuality is, how are you sure they aren't just exploring/or expressing their own queerness and aren't labeling it or are closeted for whatever their reasons may be, including just not being ready to come out yet.

It is a fine line to walk, and there will probably be times in the "real life" instances above where you will have to use your own critical thinking skills to decide how you feel about things, etc. But for the most part, real people can't really queerbait. But hopefully this helps anyone who was/is confused. There are also a lot more resources out there if you wanted to continue looking into it. This is just what I know about it all myself too, if anyone has anything to add, they are free to do so. 💜

#what is queerbaiting

[daenystheedreamer]

i thoght the yaoi thing was joke? :(

its /hj. tbc i haaaate most yaoi the majority of it is tasteless voyeuristic erotica which isnt like an evil thing to make but still extremely bad. i think its funny and i mostly read it cos its hilarious. more thoughts under the cut

it's misrepresented and #misunderstood especially by western gay people. its not representation, it's not 'led by queer people', and the difference between 'yaoi' and 'boy's love' is marginal. it's predominantly heterosexual women who enjoy writing drawing reading two (or more..) guys fuck which is fine. yaoi vs bl is often used as both a categorical distinction (yaoi is erotica, bl isn't) and a moral one (yaoi is cringe/homophobic/bad and bl is pure/wholesome/untainted) which is like fundamentally so wrong if you know anything about the genre.

the history is really interesting. It's roots are firmly in shojou manga, as in, explicitly for young women. early works are often taboo-breaking and deal with sexual abuse, incest, etc. an early muse for the genre was bjorn andressen as tadzio in the film 'death in venice' and if you know anything about that film and andressen says A Lot. shonen ai (literally boy love) was originally a term which was pederastic in nature but became the name for the genre. to crib from the wikipedia article cos it summarises it well:

While the term shōnen-ai historically connoted ephebophilia or pederasty, beginning in the 1970s it was used to describe a new genre of shōjo manga (girls' manga) featuring romance between bishōnen (lit. "beautiful boys"), a term for androgynous or effeminate male characters. Early shōnen-ai works were inspired by European literature, the writings of Taruho Inagaki, and the Bildungsroman genre Shōnen-ai often features references to literature, history, science, and philosophy; Suzuki describes the genre as being "pedantic" and "difficult to understand", with "philosophical and abstract musings" that challenged young readers who were often only able to understand the references and deeper themes as they grew older.

Yaoi, on the other hand:

Coined in the late 1970s by manga artists Yasuko Sakata and Akiko Hatsu, yaoi is a portmanteau of yama nashi, ochi nashi, imi nashi (山[場]なし、落ちなし、意味なし), which translates to "no climax, no point, no meaning".[f] Initially used by artists as a self-deprecating and ironic euphemism, the portmanteau refers to how early yaoi works typically focused on sex to the exclusion of plot and character development; it is also a subversive reference to the classical Japanese narrative structure of introduction, development, twist, and conclusion

by the way, that [f] note is: "The acronym yamete, oshiri ga itai (やめて お尻が 痛い, "stop, my ass hurts!") is also less commonly used."

Like the term fujoshi, meaning 'rotten girl', is the same it's very silly and self-deprecating. That's so fun! I think the yaoi genre in general is a really interesting phenomena that's rooted so deeply in Japan as a culture. I think it's great that women are able to sincerely enjoy something fun, I think it's great that women were able and continue to have successful careers in writing, and I also think it's mostly bad.

A lot of modern stuff, especially the works getting pumped out of korea by genuinely evil webtoon companies, suffer from the fundamental problems with serialisation. It putters from chapter to chapter and every single one is the same as the other. A lot of Japanese bl/yaoi is in the form of short fiction, about 5-10 chapters, and again there are fundamental problems with this. they often suffer from too much crammed in AND from so little stretched thin.

I also think yes morally or 'representationally' or whatever they are like Pretty cringe. like sorry uke/seme is BAD. sexual assault is not even handled so much as it is kicked around. Women are non-existent at best and horrifically sexist at worst. Also the writing, though ofc i read (often fan-) translated works, just sucks.

You guys don't know how bad it gets. like ok example.... it's hard giving examples cos most of its just boring or bad in a lame way. okay there's this korean rom-com drama webtoon about a boss and his employee and the boss is actually an immortal snake-deity who fell in love with this guy and his employee is the reincarnation of that guy. sounds fine right? well the snake boss has two dicks. So.

#ask #Anonymous #look i know this ask is a joke but i love overexplaining stuff. i love being a nerd. im sowwy🫶

[kwebtv]

Leslie Allen Jordan (April 29, 1955 – October 24, 2022) Stage, film and television actor, comedian, writer, and singer. His television roles included Lonnie Garr on Hearts Afire (1993–1995), Beverley Leslie on Will & Grace (2001–2006, 2017–2020), for which he won the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series in 2006, several characters in the American Horror Story franchise (2013–2019), Sid on The Cool Kids (2018–2019), and Phil on Call Me Kat (2021–2022).

Jordan began his career in 1986, appearing as Malone in the adventure series The Fall Guy. He quickly became recognisable in the industry for his diminutive size and Southern drawl. His television career includes guest appearances on Murphy Brown, Will & Grace, Lois & Clark: The New Adventures of Superman, Star Trek: Voyager, Caroline in the City, Pee-Wee's Playhouse, Reba, Boston Public, Boston Legal, Nash Bridges, American Horror Story, and Hearts Afire.

 In 2007, he guest-starred on the comedy drama Ugly Betty as celebrity-trasher Quincy Combs, and starred as Jesse Joe in the short-lived CW television program Hidden Palms.

On the television series Will & Grace, Jordan played Beverley Leslie, Karen's pretentious, sexually ambiguous rival, for which he received an Emmy Award for Outstanding Guest Actor in a Comedy Series at the 58th Annual Primetime Emmy Awards in 2006. His Emmy Award earned him an invitation to present the awards for Outstanding Writing for a Comedy Series and Outstanding Directing for a Comedy Series at the 2006 Emmy Awards with Cloris Leachman a week later.

Jordan starred in the pilot episode of Laugh Out, the world's first interactive, gay-themed comedy show. On August 18, 2014, Jordan became a housemate in the fourteenth season of the British reality game show Celebrity Big Brother. He was the second person to leave the Big Brother house (August 29, 2014). In January 2015, Jordan guest-starred in the British sitcom Benidorm for two episodes, as the character Buck A. Roo.

On November 1, 2017, Jordan appeared in the new British television drama Living the Dream, produced jointly by Sky and Big Talk Productions, but branded as a Sky Original Production.

In 2018-2019, Jordan starred in the Fox sitcom The Cool Kids, along with Martin Mull, Vicki Lawrence, and David Alan Grier.

On April 2, 2020, it was announced Jordan would play the role of Phil in the Fox sitcom Call Me Kat, along with Mayim Bialik, Swoosie Kurtz, Kyla Pratt, and Cheyenne Jackson.  (Wikipedia)

#Leslie Jordan #TV #Obit #Obituary #O2022 #Will and Grace #Hearts Afire #The Cool Kids #Call Me Kat

[genuflectx]

Terato/Exo Book List

Do you keep searching for that perfect novel? The one monster, alien, or non-human romance in a published work that captures you? But you just keep ending up on half-baked Goodreads lists curated by someone’s lonely mom who thinks changing a bodybuilder to the color purple is monstrous? Well look no further because I’ll read those books for you and rate them for an exophilia audience!

Right now the list is too short to be split into more categories, but as I add more I may include categories. 

They read like this: Book name, author name: Brief synopsis and sometimes a comment on it’s content, themes, or my enjoyment. {Whether or not the love interest is monstrous/alien/etc, whether it ends happy, if there was romance/sex, sometimes include if there’s major death} (a rating of my personal enjoyment out from 1 to 10)

★★★Everything is in alphabetical order. LOOK OUT FOR SPOILERS★★★

✦ A Soul to Keep (Duskwalker Brides Book 1) by Opal Reyne: “Bad omen” Reia is offered up to the human-eating Orpheus, who only wants a human companion. Reia must decide whether to risk running away or learn to like him and stay. Multiple long and detailed sex scenes and pred-prey kink. Has romance but it’s sort of 2nd to the smut. Not great but not terrible writing. Has rape victim blaming in it though, and sadly some non-consensual touching a the beginning. {Skull-head monster/human, happy ending} (7/10)

✦ Be Kind My Neighbor by Yugo Limbo: Wegg, a drifting musician, comes to the town of Baths and meets the friendly neighborhood handyman, Mr. Neighbor. They grow closer as a string of mysterious murders continue to rise in number. This one is a comic. Cults, horror, goopy gay trans love, kinky sex scenes, gorgeous psychedelic art! Mr. Neighbor is a living cloth-man with some fun things underneath (wink) and Wegg is an egg-person. I’m ALWAYS a big fan of Yugo’s work! {They’re both human shaped but Mr. Neighbor is monstrous in his own right, romance and sex, happy ending} (10/10)

✦ The Last Hour of Gann by R. Lee Smith: Amber, her sister Nicci, and a group of about 40 humans are stranded on an unknown alien planet. With the help of a medieval alien lizardman named Meoraq they travel to a temple that the humans hope is an ancient transmissions tower or skyport. It’s 421k words long, full to the brim with rape, fatphobia, misogyny, misandry, emotional abuse, second hand embarrassment... first read some reviews if you want to consider this. {Humanoid alien lizard man, romance and sex, mostly a happy ending. But way too long and rape scenes seemed fetishy} (4/10)

✦ The Mabon Feast (Wheel of the Year #1) by C. M. Nascosta: A witch ousted by her community takes a tenant into her Victorian house in order to make ends meet and not feel lonely. Turns out the only tenant she can get is a mysterious and sickly drider. She almost never sees him. Over the course of a few months things change between them and an aphrodisiac-like scent permeates the house. Things come to a head and get spicy. Very well written but sometimes overwhelmingly flowery! {Non-human spider centaur- i.e. a drider- love interest, fun but somewhat extreme sexual acts, happy ending} (8/10)

✦ Noumena Series (Axiom’s End/Truth of the Divine/Book 3 TBA) by Lindsay Ellis: A first-contact story with serious themes of xenophobia (alien and human) and severe mental illness. Cybernetic insectoid raptor-shaped alien/human romance. No human/alien smut in books 1-2, book 3 yet to be seen but the author has implied they might have sex in it. I suggest reading trigger warnings for this series. {Very non-human love interest, very sad story especially book 2. Found the plot, themes, and writing to be engaging with a few small writing-style annoyances.} (9/10)

✦ The Shape of Water (tie-in book) by Daniel Kraus: A re-telling of the film The Shape of Water. It runs through different characters’ perspectives, including the fishman. It has vague descriptions of human/monster sex, which is still more than the film gave. Ends like the movie. {Human-shaped but monstrous fishman, ends bittersweet but they don’t die, romantic. Found the writing to be somewhat droll at times.} (6/10)

✦ The Scorpion's Mate (Iriduan Test Subjects #1) by Susan Trombley: A human gets abducted for alien government experiments and learns she’s meant to be a mutant scorpion alien’s broodmare. Very generic romance novel writing, not very romantic, but sex scenes hot with fun kinks like pheromones. Has an odd kink of eating food secreted out of a dick hole though. {Very non-human, vanilla sex but non-vanilla kinks, happy ending. Generic writing.} (6/10) 

✦ Strange Love (Galactic Love #1) by Ann Aguirre: An alien accidentally abducts a human and her dog and she decides to go through challenges with him to prove they’re compatible mates. The alien is a non-humanoid insect-lizard thing with weird funky alien junk. Sex scenes are great, but I found the story and characterizations to be extremly lacking. {Very non-human love interest, interesting GNC sex scenes, bitter sweet ending. But the writing wasn’t too great. You get the sense that she was bored writing it.} (4/10)

✦{NOT WHAT YOU’RE LOOKING FOR}

✖ The Ender Saga by Orson Scott Card: Consists of Ender’s Game, Speaker for the Dead, Xenocide, and Children of the Mind. Ender’s Game is the shortest, simplest, and imo best written. The first is a sci-fi classic worth reading, but is about a child with no romance. However, it’s sequels feature a multidimensional-controlling A.I. in it that eventually falls in love with a human, becomes human, and marries him. But romance is not a part of this series, these relationships are just sorta stated matter-o-fact. It’s not what you’re looking for and Card is a bit of a nasty person. The series also has weird focus on trying to paint colonialism and religious indoctrination into Christianity in a good light, and oddly has incestuous themes.  (Insectoid aliens, “pig” aliens, multidimensional A.I./human.} (Ender’s Game: 8/10)

#terato #exophilia #monster boyfriend #monster girlfriend #books #novels #terato book list #book list #book review

[matan4il]

I know The Last of Us probably isn't your jam and you don't have alot of time. However I saw you and another anon talking about the importance of all LBGTQ representation (especially the soft gay boys) and I have to say you need to watch episode 3.

Literally if you get past the first 10 minutes of Joel and Ellie you will enter a straight 45 minutes of the best romance I have ever seen. Even my husband was crying by the end. It's just straight through and plays almost as a short movie of 2 characters know one even knows. You don't need to know anything about this show. It was so so good. I think you will really like it. I didn't know I needed the most beautiful old gay guys falling in love and living their best life in the apocalypse, but here we are.

Hi Nonnie!

TBH, I’ve kind of watched every type of genre you can think of, probably some you probably wouldn’t immediately think of (thanks to my dad, who introduced me to all sorts of weird films). You can always rec anything to me!

That being said:

“Older means we’re still here.”

Thanks, Nonnie, I didn’t need my heart! ;_; Yeah, I joined you and your hubby for sure. No, that was an entire roller coaster ride. And TBH with you, stories of love growing older always get to me the most. My fave love song is in Hebrew, It’s called Romeo and it’s sung by one man to another about having grown old together (it was also written by a gay man). Obviously, I had to write my own (short) Buddie ficlet on this theme, One Last Time.

Anyway, you hit me right in the feels. Not to mention, yep. I do think every bit of diverse queer representation matters! So this was really important, a reminder that older same sex couples exist because gay people come in all sorts of shapes and forms, in addition to being incredibly moving. Thank you for sharing this rec with me! Now we get to pay it forward to those who are interested... I’ll just add a fair warning, as with many older love stories, there is a sunset in this one.

“And I think I’m going to love you for a long time.”

#buddie #buddie fic #buddie fan fic #buddie fanfic #911 fic #911fic #911 fanfic #911fanfic #911 fan fic #9-1-1 #evan buckley #eddie diaz #the last of us #frank x bill #ask #anon ask #fandom love #911 on abc #911abc #911 abc

[my-chaos-radio]

Release: January 13, 1997

Lyrics:

Just tell me what you've got to say to me

I've been waiting for so long to hear the truth

It comes as no surprise at all you see

So cut the crap and tell me that we're through

Now, I know your heart, I know your mind

You don't even know you're being unkind

So much for all your highbrow Marxist ways

Just use me up and then you walk away

Boy, you can't play me that way

Well, I guess what you say is true

I could never be the right kind of girl for you

I could never be your woman

I could never be your woman

I could never be your woman

I could never be your woman

When I saw my best friend yesterday

She said she never liked you from the start

Well me, I wish that I could claim the same

But you always knew you held my heart

And you're such a charming, handsome man

Now I think I finally understand

Is it in your genes? I don't know

But I'll soon find out, that's for sure

Why did you play me this way?

Well, I guess what you say is true

I could never be the right kind of girl for you

I could never be your woman

I could never be your woman

I could never be your woman

Oh, I could never be your woman

Well, I guess what they say is true

I could never spend my life with a man like you

Songwriter:

I could never be your woman

I could never be your woman

I could never be your woman

Oh, I could never be your woman

Irving Wallman / Bing Crosby / Prakash Mishra / Max Wartel

SongFacts:

"Your Woman" is a song by British music producer White Town. It was released in January 1997 as the lead single from the album Women in Technology. It features a muted trumpet line taken from a 1932 recording of "My Woman" by Lew Stone and his Monseigneur Band. The song peaked at No. 1 on the UK Singles Chart. Outside the United Kingdom, the single reached No. 1 in Iceland, Israel and Spain, peaked within the top 10 on the charts of at least 12 countries, and reached No. 23 in the United States.

In the booklet of their 1999 album 69 Love Songs, The Magnetic Fields' frontman Stephin Merritt described "Your Woman" as one of his "favourite pop songs of the last few years." In 2010, the song was named the 158th best track of the 1990s by Pitchfork.

Jyoti Prakash Mishra, White Town's sole member and the writer of "Your Woman", had garnered some notoriety within the United Kingdom's underground music scene in the years leading up to the song's mainstream release. In 1997, the song was heard by Mark Radcliffe (a BBC Radio 1 presenter at the time) who played it, helping Mishra gain much recognition in a short time.

Mishra has stated that the lyrics could stem from or be related to multiple situations. He says "When I wrote it, I was trying to write a pop song that had more than one perspective. Although it's written in the first person, the character behind that viewpoint isn't necessarily what the casual listener would expect".

Mishra wrote that the themes of the song include: "Being a member of an orthodox Trotskyist/Marxist movement. Being a straight guy in love with a lesbian. Being a gay guy in love with a straight man. Being a straight girl in love with a lying, two-timing, fake-arse Marxist. The hypocrisy that results when love and lust get mixed up with highbrow ideals." Mishra admitted that being signed to a major label (EMI) did not allow him to express creative control, and the loss of his anonymity due to the song's popularity drove him "mad".

The '>Abort, Retry, Fail?_' message that appeared on some inlay cards was explained by the artist: "Well, this cheerful message became a kind of shibboleth for me and sort-of characterises what's been going on for me the last few years." The song was created using free MIDI sequencing software for the Atari ST and a cheap multitrack cassette tape recorder.

The accompanying music video for "Your Woman" was produced in black and white silent film style. Most of the outdoor scenes were filmed in Derby.

In the video, there are numerous elements of acting, cinematography and editing that suggest an old fashioned film style. The exaggerated gestures of Chloé Treend, the hat wearing woman, helpless and fearful, and those of her quick tempered lover hint at the acting style from 1920s expressionist films. The ostensive metaphors, such as the use of hypnosis on the woman by the man or the recurring shots of crossroad signs bearing names of romantic relationship related attitudes, remind of the 1920s and 1930s efforts to express subjectivism in film.

The use of circular masks, as to emphasise focal points or for a mere elegant look, also belongs to the aforementioned period. At the point where the woman first enters the man's bedroom and in the final rope scene, match cuts are used in a manner resemblant of that from silent experimental films. Mishra can be seen for brief moments on television screens in the background.

There is also a scene where the woman closes the door on the man's arm, as she tries to escape from his advances. This is a direct reference to scene from Salvador Dalí and Luis Buñuel's surrealist film Un chien andalou (1928).

#Youtube #Spotify #White Town #Your woman #music #music video #hit of the day #video of the day #youtube video #chaos radi o #good music #90s #90s charts #90s music #90s style #1997 #alternative indie #dance #dance electronic #alternative pop #funk #electronic #synth pop #pop #indietronica #lyrics #songfacts #141

[homomenhommes]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more 

1965 – Boris Izaguirre Lobo, born in Caracas, is a Venezuelan-Spanish screenwriter, journalist, writer, TV host and showman.

Izaguirre wrote the scripts of some of the Venezuelan telenovelas: Rubí and La dama de Rosa. After their success in Spain, he went to live in Santiago de Compostela. In Spain, Izaguirre started to write scripts and participate in TV shows. He is considered one of the most important showmen, especially after his participation in the late night television show Crónicas Marcianas.

Izaguirre has written articles in several publications: Zero, El País Semanal, Fotogramas and Marie Claire. He was one of the presenters of the TV show Channel nº4 with Ana García-Siñeriz between 2005 and 2008, when the program was removed. He also has been host of Miss Venezuela pageant in 2009, 2010, 2012, and 2013.

In February 2006, Izaguirre married his longtime boyfriend Rubén Nogueira.

He was finalist of the Premio Planeta in 2007 with his novel Villa Diamante.

Since 2015 Izaguirre is in the panel of TV show Suelta la Sopa of Telemundo (Miami, Florida) with descriptive segments that reveal the best kept secrets of favorite soap opera stars narrated in a docudrama style.

1967 – Christian McLaughlin, born in Houlton, Maine, is a television writer, producer, and author. McLaughlin is a graduate of Radio-Television-Film at the University of Texas. He gained notoriety in his early twenties with the publication of his gay-themed novels, Glamourpuss and Sex Toys of the Gods.

He met his writing partner, Valerie Ahern, at the University of Texas, and started writing sitcom spec scripts together a year later. Together, they created and produced MTV's Emmy nominated soap opera Spyder Games (originally called Spyder Web) after being approached by Drew Tappon at MTV Series Development; they are currently working with Maverick Television to create the first all-LGBT serial, San Rafael, for MTV's new gay channel, Logo. According to Logo, San Rafael is about "the unexpected schemes and twists in the intertwined lives of a group of LGBT friends and foes living in the same apartment complex."

David Holman, then a production executive at Columbia Pictures Television, helped McLaughlin land an internship job at The Young and the Restless in 1989. His supervisor was Michael Minnis, then a script coordinator and writers' assistant. His internship included script synopsis of Y&R episodes and extras casting.

He served as a creative consultant for the 2004 Fox reality special Seriously, Dude, I'm Gay but the special was pulled from the schedule before airing following complaints from media watchdog GLAAD. McLaughlin responded to the criticism, saying, "It's unfortunate that a group as well-intentioned as GLAAD is going to set themselves up as censors and judge what other people should be allowed to air or see."

1973 – Douglas A. Martin, born in Nassawadox, Virginia, is a poet, a novelist and a short story writer. He was raised in Warner Robins, Georgia and moved to New York City in 1998. Beginning as a performance poet and dramatist, Martin then moved to the novel form, and he has concentrated most of his creative energies here since his first full-length prose work Outline of My Lover.

In 1991, when Douglas A. Martin was a senior in high school, he was so captivated by R.E.M.'s homoerotically charged video "Losing My Religion" that he told his sister, "I'm going to marry Michael Stipe." (Stipe is the frontman for R.E.M.) After high school, the obsessed adolescent went to study theater at the University of Georgia in Athens — the relatively small college town where R.E.M. hail from and still maintain residence as Athens' multi-millionaire heroes.

In "Outline of My Lover", a fictionalised autobiography, Martin, 26, writes in first person about a teenager who moves to Athens and seeks out a relationship with a luminous rock star.

"The individual in the book is based very strongly on my life and my relationship with Michael Stipe, but it's not a kiss-and-tell. I've been keeping a journal since 1992. I have over 100 journals — each one is over 200 pages. If this was a kiss-and-tell, it would be a much thicker book."

Martin's work since Outline of My Lover includes Branwell, a novel based on the life of Branwell Brontë, and They Change The Subject, a collection of stories. The Haiku Year was co-authored with Michael Stipe, Tom Gilroy, Grant Lee Phillips, and others. A volume of poetry, In the Time of Assignments was published in 2008. This work was followed by an experimental narrative, Your Body Figured (Nightboat books), which deals with aspects of the lives of the artists Balthus, Francis Bacon and his muse and model George Dyer, and the poet Hart Crane. In 2009, Martin published a third novel, Once You Go Back.

He says of himself:

"I am a man who sleeps with men. Though I have some problems with how "man" is largely defined in the common imagination. We're at a point post-Stonewall where gay means a very specific thing, queer and homosexual mean very specific things. My personal preference is Homosexual because it's romantic.

"As a writer it's incredibly liberating to approach autobiography and say, You're going back to find every most obvious homosexual cliché in your life and try to write about it in a way that feels particular and true to you.

1926 – The Captive, a melodrama about a young woman seduced by an older woman (her “shadow”), creates a sensation on Broadway for its lesbian undertones.

2012 – California becomes the first state to ban gay conversion therapy on minors to "cure" them of their homosexuality.

[pennyserenade]

kinda obsessed with the idea that the lgbtq of the 1930s and 1940s being obsessed with cary grant and katharine hepburn, almost so much so that i want to write a short story about it. cary and katharine made four movies together, starting off with undoubtedly the most gay one, syvlia scarlett - where katharine hepburn dresses as a boy and is kissed by a woman - in 1935. then they followed it up with bringing up baby, which included the line “i just went gay all of the sudden,” and holiday, directed by known gay man george cukor (known by hollywood, at least, but not by the whole wide world), and containing themes of feeling like an outsider, in 1938. they wrapped it up in 1940 with the film the philadelphia story, also directed by george cukor, though a tad bit more heterosexual than the rest (but only just a stone’s throw because a threesome could’ve happened at any moment between cary, jimmy, and katharine and felt right). that’s six years of gay yearning. six years of hearing rumors about cary grant and his roommate. six years of hearing about katharine hepburn and hers. six years of the gay history condensed down into four separate but connected outings to the movies, where all the characters go to see a katharine hepburn and cary grant picture together, and come out and sit at someone’s home for dinner to talk about them 

#misc. #i think it could be oh so neat #just men loving men and women loving women #and people talking openly and happily about being gay bc it did happen