Jags' Maxen is first male Amerin pro sports ach to e out as gay - ESPN

the gay male gaze

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Kev Maxen, a ach wh the Jacksonville Jaguars, has bee the first male ach a major US-based profsnal league to e out as gay. | ITV Natnal News

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THE GAY MALE GAZE

Abstract This article exam body image disturbance among gay men om var soccultural perspectiv. A review of the empiril lerature on body image disturbance dit that gay mal experience greater body dissatisfactn than other groups due to their higher levels of genr nonnformy. The impact of genred power relatns on body image is nsired light of femist, postmornist, queer, and disabily theori of the body. The history of gay bodily bety is also examed, along wh ntemporary criqu of gay body polics. The thor nclus that genr opprsn nstut a distct mo of psychosocial opprsn among gay men that is no ls disablg than heterosexism, and therefore serv greater attentn gay affirmative theory, rearch, and practice. * the gay male gaze *

male gaze, heteronormative narrative techniqu, homosexual normalizatn, film and society, narrative techniqu, homosexual male gaze.

THE MALE GAZE OR MALE GAYS? FROM ROMANCE TO BROMANCE THROUGH PERFORMANC OF GENR AND SEXUALY BY TWO OF LOVE ISLAND’S FAVOURE CHARACTERS

Kev Maxen has bee the first male ach a US men’s profsnal sports league to e out as gay. * the gay male gaze *

An examatn of the e of Mulvey’s “male gaze” by a homosexual character the 2017 adaptatn of Bety and the Beast. Explor the potential of the e of this heteronormative narrative technique the normalizatn of homosexualy film and society. "Masculy, the Male Spectator and the Homoerotic Gaze.

tle={The Gay Male Gaze},.

journal={Journal of Gay and Lbian Social Servic},. url={}Abstract This article exam body image disturbance among gay men om var soccultural perspectiv.

KEV MAXEN BE FIRST MALE ACH A US MEN’S PROFSNAL SPORTS LEAGUE TO PUBLICLY E OUT AS GAY

* the gay male gaze *

A review of the empiril lerature on body image disturbance dit that gay mal experience greater body dissatisfactn than other groups due to their higher levels of genr nonnformy. The history of gay bodily bety is also… 25 Catns24 ReferencQueer Theory: An IntroductnA. (No wonr Cate Blanchett, an terview for the 2015 live adaptatn of “Crella, ” misheard a qutn about the “Disney villa gaze” as “Disney villian gays.

Benson, 2017; Brook, 2015; DeAngelis, 2014; Nettleton, 2015; Raphael & Lam, 2017; Sedgwick, 1985) on homosocial relatnships and male love stori televisn and film.

JAGUARS ACH KEV MAXEN RECEIV OVERWHELMG SUPPORT AFTER G OUT AS GAY

Effemate and gay men are nsired exemplars of subordate masculy (Connell, 1995). In theorizg masculy and the relatnships which mal mata, is important to regnise the historil nttatn of ‘homosocialy’ (male-male relatnships or ‘bromanc’) as performanc of ‘straight’ or ‘homosexual’ behavur (Corw, 2016).

For example, Lipman-Blumen (1976) first explaed homosocialy as the social preference for one’s own sex, as pared to Sedgwick’s (1985) terpretatn which argu homosocialy as bondg between men, which is always predited by a fear, hatred, and ultimate rejectn of homosexualy. This, however, do not preclu homosocial sire spanng the whole spectm of relatnships, om the platonic to the erotic.

JACKSONVILLE JAGUARS' KEV MAXEN FIRST MALE PRO SPORTS ACH TO E OUT AS GAY

This nttatn of ‘homosocial’ as anythg other than ‘straight’ male behavur has ntued to the prent day wh scholars divid on the matter (see Clarkson, 2006; Corw, 2016; Kilianski, 2003; Wa & Donis, 2007). The first of the four masculi is: ‘No Sissy Stuff’, suggts a distancg of one’s self om femy, through homophobia, and avoidance of emotns, whilst stigmatizg stereotypil feme characteristics and quali, such as openns and vulnerabily. The male iendships – some of which are portrayed as bromantic relatnships – n be performed wir ntexts such as that of race (Jackson, 2012; Jackson and Wgfield, 2013), but ultimately lead to a stretchg of tradnal mascule expectatns to rporate more homosocial performanc (see Sedgwick, 1985) which are turn more relaxed their expectatns of strivg for, and achievg hegemonic masculy (see also Anrson and McCormack, 2018) we e the Brannon Masculy Sle (Brannon & Juni, 1984; David & Brannon, 1976) this paper we acknowledge that dividuals may not neatly f the mol and that there is some spe for their performanc (Butler, 1988, 1990; Goffman, 1959) to shift or s across the var typ of mascule portrayal.

In terms of this transnal performance of masculy (Butler, 1988, 1990), the termatn of this relatnship shocked many viewers as they took to social media to qutn Alex’s sexualy, wh many paradoxilly labellg him ‘gay’. Here are a few ments ma by the public on a photograph of Alex and Alexandra: “he would rather uple up wh Jack he need [sic] to thk about who he is…”; “I thk is gay… not been homophobic… jt he thk he is tryg to be somethg that he is not… maybe is to one of the guys on the island [sic]!!! Moreover, on a photograph of Alex and Jack embracg bed together ments clu: “for someone that don’t like affectn, you seem to give Jack more than you have to any woman that has give you attentn [sic]… #GayMaybe??

”, and: “I’m 10000% sure he’s gay”. Here, viewers are ridg Alex for transgrsg tradnal mascule norms and dog so nflatg the bromantic portrayal as acts of homosexualy, further srng the ‘Jalex’ relatnship for not keepg wh the already blurred nf of male-male iendships portrayed on the show.

JAGS' MAXEN IS FIRST MALE AMERIN PRO SPORTS ACH TO E OUT AS GAY

However, om the public’s reactn to Alex amid his termatn of his relatnship wh Alexandra n be seen that any prence of femy, or what some may argue is subordate masculy ak to homosexualy (Connell, 1995), rais a risk for men performg (Butler, 1988, 1990; Goffman, 1959) hegemonic masculy (see also Corw, 2016).

Therefore, the absence of a woman ( this se Alexandra), some viewers d Alex as gay. The labellg of Alex as ‘gay’ by viewers is signifint when nsirg that “Gayns… is the reposory of whatever is symbolilly expelled om hegemonic masculy” (Connell 1995:79).

JAGUARS ASSISTANT KEV MAXEN BE FIRST MALE ACH MAJOR MEN'S PRO SPORTS TO INTIFY AS GAY

Further, we efully bed Mulvey’s (1975) Male Gaze to our theoretilly-rmed approach to textual analysis to enable to expla both the look om the other characters and the look of the cultural adoptn of the bromance term reprents an creased regnn that men are permted to have more diverse and homosocial mascule inti (Robson, Whe, & Anrson, 2017). However, as our analysis has unvered, those homosocial mascule inti e unr threat if women surroundg the bromance are removed om the picture.

*BEAR-MAGAZINE.COM* THE GAY MALE GAZE

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SplScreenContentHearMa-fNigKG daohZh"><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearTleBlock-sCMXE jActCi"><div data-ttid="ContentHearRubric"><div class="RubricWrapper-dKmCNX dZhWBL bric SplScreenContentHearRubric-cLHEJQ ildzkT"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/books/send-read"><span class="RubricName-fVtemz cLxcNi">Send Read</span></a></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearHed-lcUSuI iUEiRd NbxED dfelga">The Inventn of “the Male Gaze”</h1><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearDek-emptdL iUEiRd wOnsu dJrDEb">In 1973, the film theorist Lra Mulvey ed ncepts om psychoanalysis to fe a femist polemic and a lastg shorthand for genr dynamics onscreen.</div><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl SplScreenContentHearByle-kvEhqE ejWxsm"><p class="ByleWrapper-jWHrLH bwbwth byle byl__byle" data-ttid="ByleWrapper" emProp="thor" 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In the center an eye wh a film reel for a pupil." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by David Vanadia</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP imbgVA"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG lmuXQm"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">I was probably llege when I first learned that movi uld maner my sir a manner hostile to my flourishg as a woman. My favore film at the time was “<a href=">S Cy</a>,” a 2005 neo-noir adapted om Frank Miller’s <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">graphic-novel seri</a> of the same name. The men were smokg hot, fuellg my nascent fatuatn wh Clive Owen and <a href=">Bce Willis</a> and even, maybe, some rner of my psyche, the eback biser Mickey Rourke. But, as many a noir, the women provid much of the spectacle. There was Alexis Blel playg to type as a blue-eyed Bambi named Becky; Carla Gugo as a parole officer wh a high ass a gzy robe; Brtany Murphy, a pouty wars draped a lover’s starched whe shirt; Devon Aoki, a geoly mum assass; Rosar Dawson, lethally betiful sheathed leather; Jsi Alba gyratg chaps. Their characters were assembled om new and old Hollywood typ—dizzy dam, femm fatal, “strong female leads”—neher pulatg to those s, exactly, nor revoltg agast them. A wkg, pulpy pastiche by sign, “S Cy” (directed by Miller and Robert Rodriguez) replited wh gto a cematic genre that ma a tradn out of sublimatg s anxieti about womankd via sultry, duplico characters. In one shot, the male narrator broods the background while a fish-ted rear end belongg to no character particular fills the foreground. What is that ass dog there? Where do exist wh the space of the story? And if ’s there to urt our appreciatn, who do thk we are?</p><p class="paywall">Men, possibly. Often, the days, we nont such qutns by vokg the ncept of “the male gaze.” The term was popularized, fifty years ago, by the Brish film theorist Lra Mulvey, who wrote, a 1973 say lled “Visual Pleasure and Narrative Cema,” of how the “male gaze projects s fantasy onto the female figure, which is styled acrdgly.” Mulvey sought to break down the mechanics of lookg to expose how cematic nventns rerce patriarchal fantasy, a task that she believed “lled out for the vobulary and the ncepts of psychoanalysis.” At the time, the work of the mid-century French psychoanalyst Jacqu Lan was rigur cema studi. His ncept of the gaze posed that the act of lookg was fundamental to the velopment of one’s inty. An fant, durg what Lan lls the “mirror stage,” achiev self-mastery by mung wh his or her own reflectn; the cema, the theory went, somethg siar happened as spectators formed a sense of intifitn wh the figur that they watched onscreen. Before Lan, <a href=">Sigmund Frd</a> had argued his says on fantile sexualy that lookg nferred a voyristic pleasure, <em>Schlt</em> (or, s Greek approximatn, “spophilia”). The two ways of lookg seemed some sens at odds: the former se, the subject unrstands herself via the image reflected back at her; the latter, she tak pleasure objectifyg whatever, or whomever, she se.</p><p class="paywall">Yet Mulvey argued that cema, fact, rencil this tensn, by nsolidatg both kds of lookg wh the nsumg of a particular kd of fantasy image. In a darkened theatre, our pulsory gaze is reflexive sympathy wh the mera’s terts and our pleasure stirred by the human forms onscreen, some of whom seem posed for our pesal. Those figur, Mulvey noticed, are often female; like that ass “S Cy,” they are there not to participate the narrative so much as to adorn . This cematic world do not operate a void, of urse. It is, Mulvey wr, “subject to the law which produc ”—that is, the l of the surroundg society shape what we watch. So is no cince that cematic imag tend to replite genr as patriarchy se , rercg a classic divisn between passive femy and active masculy—the “to-be-looked-at-ns eroticism” of, say, Marlene Dietrich’s famo legs the 1930 film “Moroc” vers the heroic wanrlt of her -star, Gary Cooper. As John Berger wrote his own analysis of the mascule gaze visual art, om the 1972 book “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Ways of Seeg</a>” (adapted om the BBC seri of the same name), “One might simplify this by sayg: <em>men act</em> and <em>women appear</em>.” Sometim, Mulvey later wrote, “the female spectator may feel so out of key wh the pleasure on offer, wh s ‘masculisatn’, that the spell of fascatn is broken.” But often enough, as for me wh “S Cy,” the spell holds.</p><p class="paywall">Though Mulvey’s say analyzed the work of specific directors—<a href=">Aled Hchck</a>’s masterfully subjective mera “<a href=">Vertigo</a>,” for stance—she was not preoccupied wh any one technician or viewer so much as wh the technologil procs by which genr dynamics are asserted onscreen and alchemized through the pleasure of spectators. The way bodi are amed, and the way the mera mov, teach to look at women the way that patriarchy already do. Over time, Mulvey’s theory of the male gaze beme an obligatory catn for works of femist film cricism. As the crics Ja Bergstrom and Mary Ann Doane put , any scholar who me afterward “felt pelled to suate herself relatn.” It also beme a favore shorthand for works of mastream cricism seekg to crique how genr plays out film and televisn. (Acrdg to one reviewer, Sam Levson’s tepidly provotive new HBO seri “<a href=">The Idol</a>,” about a pop star who bar all, “screams the male gaze.”) Var films recent years, such as Steven Sorbergh’s male-stripper trilogy “<a href=">Magic Mike</a>” and <a href=">Céle Sciamma</a>’s lbian perd piece “<a href=">Portra of a Lady on Fire</a>,” have prompted a parallel preoccupatn wh “the female gaze,” broadly fed as a humane urtg of the pleasure of women viewers. But, as other crics have poted out, when applied too broadly that term n obscure rather than illumate. <em>The New Yorker’s</em> Ey Nsbm wrote a <a href=">review</a> of the 2016 Amazon seri “I Love Dick,” adapted om Chris Krs’s <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">experimental femist novel</a>, that the term “female gaze” had bee “blunt” om ovese, “particularly wh s sentialist ht that women share one eye: a visn that is circular, mucky, menstal, timate, wise.” Contrary to Mulvey’s approach, of the “gaze” today—be the male gaze, the whe gaze, the straight gaze, and so forth—seem more vted matters of inty than the project of athetic analysis. They want to name who is dog the lookg rather than how. (No wonr <a href=">Cate Blanchett</a>, an terview for the 2015 live adaptatn of “Crella,” misheard a qutn about the “Disney villa gaze” as “Disney villian gays.”)</p><p class="paywall">What too often gets elid om current gaze talk is the possibily of lookg as an act of ambivalence. As <a href=">Frantz Fanon</a> wrote “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Black Sk, Whe Masks</a>,” his psychoanalytic study of lonialism, even the opprsor’s gaze n be a se of uncertaty; no one’s viewpot—or projectn—is entirely secure. In a 1989 crique of mastream film cricism, <a href=">bell hooks</a> turned her attentn to the prevly ignored experience of the Black female spectator. Alienated by the exclnary and racist fantasi of Hollywood cema, Black women veloped their own way of lookg, which a cril awarens of stereotyp preëmpted any straightforward intifitn wh the mammi or tragic mulattas onscreen. One did not acquire this “opposnal gaze,” as hooks lled , by virtue of beg Black and female; rather, one cultivated through the tug and pull of ristg domant ways of lookg. Mulvey, that sense, like other film theorists of the time, had ma too much of the ia that cematic imag uld impose a pot of view.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In the troductn to a 1989 llectn of her says, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Visual and Other Pleasur</a>,” Mulvey wrote that her say on the male gaze had epted om the ecstatic femist thkg of s time. Femists of the seventi unrstood the polil utily of a polemic. Mulvey, that spir, had forfeed a gree of nuance, she noted; any revisatn of her say should nsir part of the “historil moment” rather than as a ncept ma to last. But Mulvey’s say also had a forward-lookg bent that gets overlooked when prent-day crics voke the “male gaze” as a cudgel. A lifelong cephile and a filmmaker herself, Mulvey saw the emergg pennt filmmakg of the sixti and seventi an opportuny for cema to tach self om the patriarchal nventns and monied prri of Hollywood. Invokg directors of the avant-gar cludg Hollis Frampton and <a href=">Chantal Akerman</a>, Mulvey lled for the “birth of a cema which is radil both a polil and athetic sense.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">What remas vigoratg about Mulvey’s say, above all, is s tert the pacy of psychoanalysis to teach new ways of lookg. Film theorists who return to Lan have poted out that even he did not treat the gaze as a se of clear-cut self-knowledge. The film profsor Todd McGowan, a 2003 article lled “Lookg for the Gaze,” revised Lan’s readg of the <a href=">Hans Holbe the Younger</a> patg “The Ambassadors,” “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Semar Book XI: The Four Fundamental Concepts of Psychoanalysis</a>.” The large-sle work shows two men, one richly garbed and another relig drs, leaned agast a table stuffed wh objects. A memento mori the lower third of the nvas looks different om different pots of view—om head on appears as a mere smudge, but om the high-right or lower left the shape be a skull—urtg an active exchange between viewer and art object. When we look, Lan wrote, “somethg slips, pass, is transmted, om stage to stage, and is always to some gree elud .”</p><p class="paywall">In a book published this sprg, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">A Black Gaze</a>,” Ta M. Campt, a Black femist theorist of visual culture at Prceton, picks up that stra Lan’s thkg. The gaze as she prents is not another cisive se of power; is not a diagnosis or a settled fn. (“My choice of the fe article is tentnal,” she wr, of the book’s tle.) She is terted, rather, how different art works—she c, for stance, Arthur Jafa’s quotidian <a href=">vio assemblag</a> or Deana Lawson’s boldly timate <a href=">photographic portras of Black life</a>—set new terms for an active and varied engagement between the viewer and the visual. Like Mulvey’s say, Campt’s book is forward-lookg, exhortg to “thk beyond our fort zone,” toward somethg new and speculative.</p></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="a4dkv8"></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ArticlePageChunksGrid-hfxa bDFJoo"><div class="GridItem-buujkM kHPPIF grid--em"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">There is a sketch om Terence Nance’s kaleidospic HBO edy seri, “<a href=">Random Acts of Flyns</a>,” that enlivens possibily. It opens wh <a href=">Jon Hamm</a> slouched on the uch ont of a TV set; voice-over, we hear him ask, “Do you suffer om whe thoughts?” We are watchg an mercial for a topil sludge lled Whe Be Gone that promis to elimate racial prejudice om the psyche, wh Hamm as both spokperson and patient. On the TV set, footage of polil protts is playg. He mutters, “Vlence isn’t the answer” and thks, “All liv matter?” before another bued Hamm poofs to view behd him and bs Whe Be Gone on his templ. But soon the perspective shifts: we are watchg not the fal versn of the mercial but s filmg. Hamm tak a beat to sibar wh the Black director, sistg that he is “not <em>whe</em> whe,” like the target dience of the product. The mercial rum—“ ‘I’m not racist’ spoken out loud is a classic whe thought,” Hamm explas to the mera—but a mute later the perspective shifts aga: we are Nance’s workspace, where what we’ve jt seen is revealed to be a rough cut of a sketch perhaps tend for the very program we are watchg. As Nance eds the piece on his puter, he receiv a text msage om a iend who has viewed the sketch and has some feedback: “ seems to me that as ARTISTS we should be addrsg whens ls… and affirmg Blackns more.” The scene ends wh Nance textg back, “You right…”</p><p class="paywall">A ictnls terpretatn of the sketch would home on s crique of whens. We’re meant to be amed by the ailg soul who profs, as Hamm do, “I’m not racist!” But is this a parody of whens or a parody of the crique? Should the viewer sympathize wh Nance’s prelimary sketch or his iend’s fal feedback? Each scene upends viewers’ posns and redoubl our sense of doubt. Rather than makg feel known, the sketch mak feel ashamed of our self-assurance. It is not an unpleasurable experience. As we n glean om Lan, sometim is eful to feel the gaze turned back at you. ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 PaywallInleBarrierWhWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__le-barrier article__body article__body--grid-margs"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 ContentWrapperGrid-fvkmBv jfHKjr"><div class="GridItem-buujkM kHPPIF grid--em"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG bGJnrW ArticlePageContentFooterGrid-ccsXYy fzwwkW article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0"><div class="GridItem-buujkM kHPPIF grid--em"><div class="LkStackWrapper-NFLYw kgtXXB lkstack" data-ttid="LkStack"><div class="SectnTleRoot-dBGvdq hpRFVl LkStackHear-lKjbE hejl lk-stack--headg" data-ttid="SectnTle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet bVCFRm jfOfxc QVDXy">New Yorker Favor</h2></div><div class="LkStackContent-jyKicS gPhyME"><ul class="LkStackList-gGcjdZ dnMwpz"><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>The <a href="/books/unr-review/the-rebrandg-of-mdma" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">rebrandg of MDMA</a>.</p></div></li><li class="LkStackBullet-kQRqul 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tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Agnès Varda’s Storyboard of French Village Life" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Photo Booth</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Agnès Varda’s Storyboard of French Village Life</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">A new exhibn shows the filmmaker’s startlgly origal form of cintal portraure.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span 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rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“Barbie” Is Brilliant, Betiful, and Fun as Hell" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">“Barbie” Is Brilliant, Betiful, and Fun as Hell</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Greta Gerwig’s giddily stylized visn of a doll g to life mak a ser se for the art of adaptg even the most sanized I.P.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Corrosive Appeal of Warhol’s Factory" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Page-Turner</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Corrosive Appeal of Warhol’s Factory</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">In her novel “Nothg Special,” Nile Flattery exhibs a keen eye for how often what looks like an pe hatch is another trap.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Peter C. 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