This insane Medicine moment from Harry's 1st tour where he'd sing that one part, wave byebye, then everything goes dark and then BAAAAM he comes back in the red light singing the sexiest part GOD pure rock n' roll
The funniest show on television is Girls5Eva, which transplanted from the backwoods of Peacock to the mires of Netflix for its third season. While a lot of shows have taken off after landing on Netflix — You, for instance — Girls5Eva, from the data available publicly, didn’t get many viewers on the platform. I’m no expert on the mechanics of streaming, but I have one radical explanation for why this is happening: There are simply not enough episodes of Girls5Eva available to watch. On Peacock, the show had two eight-episode seasons. Netflix has given it an additional six. That means that Girls5Eva has aired, in total, only 22 episodes, about the same number as a full-season order of an old-fashioned network sitcom like 30 Rock, to which Meredith Scardino’s series is deeply indebted (Scardino wrote on 30 Rock; Tina Fey is a Girls5Eva executive producer). Over a three-year period? This is simply not enough!
Sitcoms are built for mass production and consumption, with dynamics between characters designed to generate an endless stream of story lines, and it can take a season or two to fully gel. Girls5Eva is lucky enough to have a distinct sensibility and a strong cast from the start, but it hasn’t had the space to work through all the possible material. There’s so much to mine in flashbacks to the girl group’s checkered early-aughts past, in Wickie’s failed solo career, in Summer’s wackadoo Christian upbringing, in Gloria’s fraught lesbian drama, and in Dawn’s attempts to find her own way as a songwriter (plus the larger meta arc of Sara Bareilles coming into her own as a comedic actor). Season three, in which the crew goes on tour around the country, tries to cover so much ground it’s like a distance runner sprinting at her vO2 max. The overarching plot — they want to perform at Radio City Music Hall — encroaches on all the fun along the way, rushing past a guest appearance from Cat Cohen, the reveal of Wickie’s real backstory, and an intricate Harry Styles parody. Sitcoms should be about all the fun everyone is having along the way, and we’ve lost that.
But there is another and perhaps more important reason that we need longer seasons of Girls5Eva: holidays. Network sitcoms, airing on a traditional schedule, have the opportunity to set episodes around the holidays near which they would air; think of the Thanksgiving episodes of Friends, The Office’s Christmas episodes, 30 Rock’s impeccable use of Leap Day. In my ideal universe where Girls5Eva has 22-episode seasons, Netflix would also abandon the binge strategy and air those episodes weekly, but that’s not a necessity. You could still drop them all at once, which gives me the opportunity to revisit the holiday episodes as those holidays occur throughout the year. If you need convincing, here are my suggestions for some holidays the Girls5Eva might celebrate:
Christmas (duh): Dawn tries to write a Christmas song; Wickie reveals a longstanding feud with Mariah Carey (she claims one of the items from her riff rolodex appears in “All I Want for Christmas Is You”; Mariah does not know her).
Thanksgiving: The girls try to book a gig at the Macy’s Parade (as Peacock actually had the stars do, to the confusion of my parents watching at home) while also atoning for their past sins at the event (revealed in flashback).
Valentine’s Day: Gloria revisits a past relationship with Taylor Lautner (she was his dentist).
Tax season: Summer reveals she hasn’t been paying taxes for years (thought you were covered if you already paid your church).
Presidents’ Day: Dawn tries to write a song about Lincoln being sexy, inadvertently offends a gay activist group.
Pride month: Return of Bowen Yang’s lip-sync influencer.
Cuffing season: Big for Gloria.
The Feast of San Gennaro: Big for Dawn (why is the show so all-in on Sara Bareilles being Italian??).
V-E Day: Wickie and Dawn’s husband, Scott, discover their mutual fascination with the Eastern Front: “I spent a lot of time touring post-Soviet states, okay!”
Casimir Pulaski Day: Gloria has beef with Sufjan Stevens.
If you really want to enjoy Nicholas Stoller’s BROS (2022, Peacock+), skip the first scene. There’s no information in it you won’t get later, but what you do get is Billy Eichner’s character, Bobby, doing his podcast and whining incessantly. I know that’s part of his schtick as a comic, but at the start of an almost two- hour rom com, it can be a turn-off. The second scene is a funny awards ceremony in which he’s named “Best Cis White Gay Man” and delivers a speech about his passion, rescuing LGBTQ history. That not only gives Bobby a sympathetic goal, it also does a better job of setting up the film's comic tone, its satirical yet appreciative approach to gay culture. From there, the story of how Bobby and frustrated, heteronormative gay lawyer Aaron (Luke Macfarlane) navigate their inner conflicts to find love works as a gay WHEN HARRY MET SALLY (1989), with Eichner as a hotter Meg Ryan. There’s a lot of material in this film. I think the task of making one of the first studio-backed gay romantic comedies made Eichner and co-writer Stoller want to include everything they could. But a lot of the material is spot on, particularly Eichner’s misadventures with on-line dating and a silly, sexy first-time bedroom scene for the two stars. The relationship develops believably and plays up the film’s political stance in the differences between the two characters. Both Eichner and MacFarlane get to demonstrate more range than they have in their television work, and in the midst of all the comedy, each has some beautifully human moments. The strong supporting cast doesn’t always get as much to do as they could, but Harvey Fierstein, Bowen Yang, Amanda Bearse, Jim Rash and TS Madison have their moments. There are a lot of reasons the film under-performed at the box office: bad timing, its length, that opening scene, the wrong branding, shallow gay critiques from people who don’t believe MacFarlane could fall for someone who looks like Eichner (thereby missing the entire point of the relationship) and, most maddeningly, down-voting on the IMDb from a bunch of bigoted snowflakes afraid that the success of a gay romcom might make their microscopic sex organs fall off. On the plus side, it’s been doing well on demand.
What’s really creepy is that daisies twopopp tdl and many other lHARRIES are adults. Twopopp and other larries are older than Harry’s mom. But they way they talk about harry is really REALLY creepy. “He’s so hot. Sexy gay peacock, hot baby.” Dude, aren’t you ashamed? And the worst thing is that they hate “het harries” because they like harry and are attracted by him. They’re the worst!!
Yes, it's only okay to fetishize Harry as a hot gay man - you're not allowed to fantasise about him with women or even other men, only Ratlinson.
That understanding played out in vital Rolling Stone pictures like David Cassidy flaunting his bare middle down to his pubic hair, in a Playboy-style centerfold, and Jim Morrison seething beside the cover line "He's Hot, He's Sexy, He's Dead."
Athlete McLean, who acted as an associate to George Harrison 50 years prior, saw the profundity of the connection between the Beatles and Mr. Epstein one August day not some time before the chief's demise. Mr. McLean's activity was to get the artist musician Harry Nilsson, a promising new craftsman back then, and drive him to a meeting with Mr. Harrison at the house he was leasing on Blue Jay Way in the Hollywood Hills, Calif.
Photograph Mr. Epstein, focus, with the Beatles in a lodging in Paris in January 1964. Credit Harry Benson/Hulton Archive, by means of Getty Images
There was discussion of Mr. Nilsson maybe joining the Beatles' incipient organization. That is when things turned sour, Mr. McLean said.
"George was discussing how brilliant the entire thing would have been, endeavoring to persuade Harry to join the organization," Mr. McLean reviewed. "It was all awesome until the point when Harry stated, 'The main thing is, I don't figure I could be overseen by a gay man.'" (Mr. Epstein's sexuality was known by numerous in the business at the time.)
Angered, Mr. Harrison gave his aide a gesture.
"Instant, Harry was out of the house," Mr. McLean said. "George, similar to all the Beatles, was amazingly strong of Brian. To them, Brian was the man." (After Mr. Epstein kicked the bucket, Mr. Nilsson had a rapprochement with the band and worked intimately with John Lennon.)
Roger Daltrey, the lead vocalist of the Who, had a comparable regard for Mr. Lambert, who had a high society foundation when those of his level once in a while collaborated with common laborers miscreants like Mr. Daltrey.
"Pack was the main 'elegant' fellow I at any point met who wouldn't speak condescendingly to me," Mr. Daltrey said in "Lambert and Stamp." "Pack had this courageous quality."
At the time, men like Mr. Lambert needed to. Up until 1967, being gay was illicit in Britain, and long after that law changed, gay men remained an objective of police entanglement, extortion and beatings. Mr. Epstein was struck and was the objective of extortion before he kicked the bucket in 1967 from a unintentional overdose of dozing pills and liquor.
In the meantime, huge numbers of these men included extraordinary power inside their circle. As administrators of a portion of the time's most strong British musical crews, they remained at the bleeding edge of sounds, sensibilities and styles that would devastate and redo popular culture.
The gay chiefs of that time were blunt about their sexuality, if just among companions and associates. Other than Mr. Epstein and Mr. Lambert, those men included Robert Stigwood (director of Cream and the Bee Gees), Simon Napier-Bell (the Yardbirds, Marc Bolan), Billy Gaff (Rod Stewart), Ken Pitt (David Bowie), Barry Krost (Cat Stevens) and Larry Parnes (who formed pre-Beatles British rockers, including Tommy Steele and Billy Fury).
Photograph Jann Wenner, the fellow benefactor of Rolling Stone magazine, in 1970. Credit Bettmann Archive
Their sexual introduction was reflected by Americans including Nat Weiss (who supervised the Beatles' business advantages and later oversaw James Taylor), Danny Fields (who oversaw Iggy Pop and the Stooges and, later, the Ramones), and in addition music tycoons including David Geffen and Clive Davis (who recognizes as cross-sexual).
As indicated by Mr. Napier-Bell, some portion of the reason British gay men of his time inclined toward the music business was on the grounds that it was one of only a handful couple of ranges "where you could be out among yourselves. It resembled a private club," he said. "It was such a decent life. You'd go to Robert Stigwood's home and it resembled a gay bar."
Jim Fouratt, who has worked in the music business since the 1960s, trusts the men in Mr. Napier-Bell's hover conveyed to the rising rock scene an uncommon comprehension of picture. "As gay men, we need to change ourselves keeping in mind the end goal to survive," he said. "That matches impeccably with the disguise of shake 'n' move, with the dream."
Martin Aston, the creator of "Separating the Walls of Heartache: How Music Came Out," said the association between shake's gay directors and picture shaping stems from the way that "gay men at the time would be judged altogether on what they looked like. It wasn't care for there were bunches of pleasant spots to go and have beautiful discussions. It was altogether conveyed through cruising."
Subsequently, Mr. Aston stated, gay men built up a solace with the specialty of being seen, "rather than straight men, who, before the marvel of the 'metrosexual,' were undermined by the idea of being taken a gander at, of turning into a protest."
Vivek Tiwary, the creator of "The Fifth Beatle," contends that Mr. Epstein's sexual introduction affected the Beatles' open picture.
"Brian Epstein's appreciation for the greater part of the Beatles, and specifically to John, enabled him to make a picture for the band that was engaging to young ladies, as well as to young men," Mr. Tiwary said. "Brian recognized what it resembled to be a kid, and also how to draw in them. A straight chief may very well believe, 'Here's a cluster of adorable young men that young ladies will love.' He may make them so young lady inviting that they appear to be excessively powerless for folks, making it impossible to get into them."
One of Mr. Epstein's essential choices was to change the Beatles' outfits, from denim and cowhide to natty suits. Utilizing the best neighborhood tailors, he got the band into single-breasted, three-catch mohair suits, with limit lapels and considerably smaller jeans, as indicated by Mark Lewisohn in his book on the band, "Tune In."
Photograph From left, Pete Townshend, Kit Lambert and Roger Daltrey, recording in I.B.C Studios, amid the Who's sessions for "The Seeker." Credit Chris Morphet/Redferns
By sharpening such looks, the chiefs accomplished more than impact the introduction of artists. They propelled the picture of another sort of man. As the '60s advanced, hermaphrodism wound up noticeably integral to male show, with long hair, splendidly hued attire, and, on account of the mods of the mid-'60s, gaudy custom-made suits.
"The mods adored just to be seen strolling down the road, sharp dressed with sharkskin jeans and cosmetics," said James Cooper, the chief of "Lambert and Stamp." "These extreme folks wore eyeliner."
Mr. Fouratt believes that a significant part of the consent for the sexual orientation obscuring originated from the spreading drug culture. "Medications enabled men and young men to find their magnificence and gentility," he said. "The egotistism of heroes resembles the peacock, where the male is the wonderful one, not the female. That turned into the bleeding edge in shake 'n' roll, energized by the gay chiefs."
It played out most unmistakably in a star like Mick Jagger, who embraced a batty and dressing persona, influences shared by the Rolling Stones' first administrator, Andrew Loog Oldham.
"Mick was alluring for that trimming," Mr. Oldham said. "Numerous men may state to their mates, 'Gracious, he's a poof!' So they wouldn't fret their spouses or lady friends getting a charge out of him."
Straight demigods additionally found that appropriating the arousing consciousness of gay men paid off in sexual open doors. "David Bowie needed to constrain the regular workers folks in his band the Spiders from Mars to wear those glitz garments," Mr. Aston said. "In any case, when they saw the effect it had on ladies, they resembled, 'Pass me the redden!'"
In any case, given the denunciation of homosexuality at the time, one may anticipate that the rockers will have some inconvenience with the gay men who prompted them. On account of the Who, Mr. Cooper trusts the individuals fortified with Mr. Lambert not notwithstanding his sexual personality but rather in some courses as a result of it. The improbability, and common hazard, of the association between Mr. Lambert (a high society, favored gay man) and his accomplice in administration, Chris Stamp (a straight road kid) awed them profoundly.
I have no words. From start to finish, top to bottom, H keeps outgaying himself. From his gay cowboy outfit with bedazzled cherries and strawberries, and with a giant HS bedazzled on his ass. To the camera catching rainbows in the lights nonstop. To H running with the pride flag. To him being SO HAPPY and giggling nonstop throughout. To actual rainbows being used in the screens. To his flamboyant dancing. To MEDICINE, when he sang him, licked all his fingers for tasted, and did the riding motion for ride it. To him singing I WILL SURVIVE - A LITERAL GAY ANTHEM - IN A GIANT PINK FEATHER COAT with Lizzo while doing the GAYEST CATWALK OF PRIDE ANYONE'S EVER SEEN. I felt like I was watching a pride parade float. H gave his all tonight. Absolute queer fury and pride. Dripping allover. Tonight was such an incredible queer statement. He couldn't be clearer, it was so obviously in your face for the whole world to see. I'm here, I'm queer.
This was an insane, incredible show of pure PRIDE. I am truly speechless. I am SO PROUD OF H ALWAYS AND FOREVER. He is a true rockstar, he was meant for that stage and he shines SO BRIGHT on it.