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”The associatn between gay love and monstrosy proved to be pervasive film and televisn, and this — addn to the genre’s unniable “mp” factor — has ntributed to the reason horror has such a unique place gay culture. On the other, ’s notorly monized and has perpetuated damagg stereotyp about gay Hollywood loved s horror, but wasn’t too keen on lbians — or unorthodox women, for that matter.
That meant any discsn of sexualy, much ls homosexualy, had to be done via subtext. The film’s subtext is not about romance but rather an early on-screen example of the predatory homosexual.
But spe the watchful eye of censorship officials, Universal uldn’t ntrol the monster created, and the film beme a reigng example of early cema’s fascatn wh gay goln era“Dracula’s Dghter” and other d tak on lbianism l a cultural fire that explod the ‘60s and ‘70s. Replacg Fal Girl, Nancy Thompson (Heather Langenkamp) wh Fal Boy, Jse Walsh (Mark Patton), the shift genr dynamics creat some eply homoerotic subtext where Freddy Krger’s (Robert Englund) fluence over Jse’s body be ditive of an ternal battle regardg his sexualy. Poison tercuts three distct stori- penntly tled Hero, Horror, and Homo- all of which are ncerned wh experienc of both alienatn and transformatn.