Contents:
- KEN HAS ALWAYS BEEN BARBIE’S GAY BT FRIEND—NOT HER BOYIEND
- TOM HOLLAND’S GAY SEX SCENE SETS SOCIAL MEDIA ALIGHT AFTER THE ACTOR SAID PLAYG THE ROLE ‘BROKE HIM’
- THE 14 BT GAY/LGBTQ MOVI ON NETFLIX
KEN HAS ALWAYS BEEN BARBIE’S GAY BT FRIEND—NOT HER BOYIEND
That clip appears The Celluloid Closet, Rob Epste and Jefey Friedman’s documentary based on Vo Rso’s study of homosexualy the movi, along wh untls exampl of how gay characters showed up, per narrator Lily Toml, as “somethg to lgh at, or somethg to py, or even somethg to fear. Some have been documents of a moment or era of gay history, some have been ed as rrectiv to s of negative clichés, and others have simply celebrated the fact that the movi n be queer, they’re here, get ed to .
TOM HOLLAND’S GAY SEX SCENE SETS SOCIAL MEDIA ALIGHT AFTER THE ACTOR SAID PLAYG THE ROLE ‘BROKE HIM’
It is nowhere near a prehensive ndown of every great movie to feature out-and-proud hero and villas, or a queer sensibily, or even jt visible (and/or risible) exampl of gay life cema; we uld have easily ma this list twice as long. The performanc are staggerg: Al Paco as the ignom Roy Cohn; Jefey Wright is the sharp-wted gay nurse who tends to him; Mary-Louise Parker as a pill-poppg hoewife wed to a closeted Mormon; Emma Thompson as an imper (and sometim sassy) angel; and Meryl Streep four rol, cludg the ghost of Ethel Rosenberg. Yet the film remas one of the first ank big-stud treatments of uncloseted gay and bisexual men, as follows eight iends (and one htler) who’ve gathered a New York Cy apartment to celebrate a birthday party.
THE 14 BT GAY/LGBTQ MOVI ON NETFLIX
It works bt as a signpost and a throwback — jt ask the all-gay st who starred the a major Broadway revival, or Ryan Murphy, who’s adaptg the cematic remake as a savage, ic perd piece for a new generatn.
It was still nsired a bad reer move for a movie star to play a gay role 2005, and Hollywood’s track rerd was ls than stellar when me to treatg homosexual romanc wh the same pth as heterosexual on (if emed f to tackle such stori at all). A page-to-screen take on Vo Rso’s semal book regardg LGBTQ reprentatn (and misreprentatn) the movi, Rob Epste and Jefey Friedman’s documentary prents the perfect show-and-tell plement to the late scholar’s work — you n lerally see the evolutn of cematic homosexualy as progrs om punchle to social pundry, sikick-and-stock-villa fodr to queers beg the hero of their own stori.