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WHY THE GAY SUBPLOTS ‘THE LIGHTHOE’ AND ‘JOJO RABB’ DON’T GO FAR ENOUGH
Take, for stance, Jennifer Kent’s The Babadook, which the tular boogeyman n be read as an allegory for a mother’s grief and trma, or A Nightmare on Elm Street 2: Freddy’s Revenge, which not so subtly hts at the protagonist beg gay. While the dynamic between the film’s two lighthoe keepers seems to be more hate-hate than love-hate, Eggers’ psychelic imagery, the psdo-domtic edy between the two lighthoe keepers, and the homoerotic overton monstrate how The Lighthoe is actually a queer romance.
But their fal nontatn, this vlence tak on overtly homoerotic ton. Both have ndidly discsed sual, heterosexual terurse already, but nothg so explicly homoerotic. Ccially, is not the homoeroticism that his slippage, but his refal to accept and acknowledge .
To me, this film is so clearly gay that an analysis of s homoerotic subtext would be like argug the sky is blue.