NPR: Sadly, Kenya's high court has upheld antiquated laws punishing homosexual acts.
WOW: Sir Ian McKellen describes his pre-out and post-out acting in starkly different terms.
GQ: Seth Rogen 'fesses up to regretting gay jokes in early films. I wrote a whole post about how shockingly offensive Superbad is in this regard; it's nice to hear him acknowledging this:
He is aware that some of the work from that period has not aged well. “Evan recently was like, ‘By the time my kids are grown, all of our work will be deemed unwatchable.’ He's like, ‘I have no doubt about it. I think entire parts of culture will just be deemed regressive and no one will fucking watch it anymore, and there's a good chance our movies will fit into that category.’ ” But they've tried to evolve with the times, and Rogen said riding the comedic line between enlightened and neutered in the Age of Woke isn't as tricky as you might think. “I think if you actually care, then it's easy. We do not want people to feel bad when they're watching our movies. I've had people come up to me and be like, ‘That made me feel like shit when I was in the movie theater and everyone was laughing about that.’ Like the ‘How I know you're gay’ thing [from The 40-Year-Old Virgin], it's something people have been like, ‘It's not fun to be in the theater when people are laughing at that, knowing what they're probably actually laughing at.’ And I don't want anyone to have that experience watching our movies.” He laughed and—comedian's reflex—dashed off a throwaway zing: “That's why Todd Phillips makes movies. Let him have that.
NEWJERSEY.COM: A New Jersey charter school destroyed part of a student's mural that stuck up for LGBTQ visibility and rights. Now, Tyler Clementi's mom and Garden State Equality are demanding the mural be restored.
RIP GoT! Game of Thrones is over, so if you’re looking to fill your show hole full of hot men, why not check out some of our favorite upcoming shows for male nudity!
Outlander is moving to Netflix for its fifth and sixth seasons. Which means we’ll have more Scottish highlands and lowlands from Sam Heughan. We love his peachy smooth ass.
Vikings is coming back for its sixth and final season. Maybe this time we’ll finally see if series star Alexander Ludwig is hung like a Norse!
Westworld won’t be back until next year, but that gives you plenty of time to relive the robo rears on Rodrigo Santoro, James Marsden and more. Perhaps we’ll even get another FULL-frontal, like last year.
Finally, this August give yourself a preacher-round when Preacher returns for its fourth and final season. We pray there’s another scene like season two’s ass inspection! Can we get an AMEN?
Sam Salter, the dancer and model, covers Attitude, and talks about having a hard time coming to grips with being gay, a phenomenon that seems not to lessen as much as we would like in spite of all the progress we've made ...
I didn’t want to be gay at that time. The world is moving forward but there’s pressure to be a certain way in society. I felt I had to be this person who I wasn’t. I had to lower my voice, act tough, and I was not tough. I was a softy. I would cry every day. I didn’t play football, I never played PlayStation. I was a horse rider, I did ballet. It was difficult trying to be somebody who I was not.
He also speaks about his recovery, and dancing in Swan Lake.
JOE.MY.GOD.: Positive shocker — Brazil's high court has made anti-LGBTQ discrimination tantamount to racism, outlawed it.
POLITICO: Negative shocker — the U.S. government, at Trump direction, has rolled back protections for transgender people in health care. They literally want trans people to die:
The health department is rewriting an Obamacare regulation that barred health care discrimination based on sex. The Obama administration had issued a rule asserting that the provisions covered gender identity, but a federal judge blocked those protections in 2016 following a lawsuit from religious groups.
THE GUARDIAN: Sultan of Brunei returns honorary degree from Oxford over his despicable views on homosexuality.
A same-sex marriage helped him out of the closet. (Image via YouTube)
WAPO: Republican Utah County Commissioner comes out as gay:
Ivie, a Republican and a member of the Church of Jesus Christ of Latter-day Saints, says he had been attracted to men since he was 9 years old, but had always felt it was wrong. But these two experiences helped him make the decision to accept his sexuality, and begin the process of telling his family, friends and community.
That process became public this week when Ivie disclosed his sexuality in a five-minute video he posted on YouTube and Facebook. The video, published Wednesday, drew wide attention from local news sites in the conservative state.
“There is no easy way to say this," Ivie says in the video. “I might as well just jump up and say it: I’m gay. That’s my reality, and that’s what I need to talk to you about today.”
He's still a Republican, so no rah-rahs from me. Also, he may run for Congress in an attempt to unseat a rare Utah Democrat.
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Halston, Frédéric Tcheng's absorbing, exhaustive documentary about the charmed — then ill-fated — life and business of the superstar gay American fashion designer of the same name, should be the final word on what the visionary accomplished.
The sweet smell of success is never forever. (GIF via GIPHY)
Sadly, it is also an ultimately sympathetic portrait of how power and an unlimited bank account can corrupt artistry, and how blinding and fleeting success can be.
Halston Profile - YouTube
Born in Iowa, Roy Halston started as hatmaker in Chicago in the '50s, became a top draw when he worked for Bergdorf Goodman in the '60s, and seized international acclaim by designing the pillbox hat Jackie Kennedy wore to her husband's inauguration. Like many things in his career, that good fortune was rooted in his ingenius talent but taken to the next level by luck — the dent in the hat wasn't supposed to be there, but every woman who bought an example wanted the Jackie dent herself.
By that decade's end, Halston had left Bergdorf Goodman to launch his own business, and would go on to another sensational success with his shirtdress — an innovation undeniable enough that it graced not only countless female forms but also the cover of Newsweek.
The epitome of '70s utilitarian elegance and comfort, Halston's work freed the female body, finding some of its biggest fans in the forms of women like Liza Minnelli (she accepted her Oscar in her friend's design) and Bianca Jagger. As Halston reveals, the man and his business entanglements were the opposite of his work's clean lines and deceptively formless chic. Rather, he was a ball of ambition who owned one decade by seemingly anticipating exactly what the consumer wanted, but would flame out spectacularly in the next decade — ironically, by pushing to make his designs more accessible to the everyday woman.
Designing uniforms for flight attendants and the Girl Scouts and aligning himself with down-market JCPenney, Halston unwittingly devalued his brand's aspirational quality, which at one point was so strong his signature fragrance became an unprecedented seller. More damningly, his entire business — name and all — were owned outright by a third party, and when they were sold to the conglomerate Beatrice, Halston's free-spending ways and his unbridled creativity were harnessed, and he was cruelly forced out.
Halston was as dead as disco.
As the film documents, Halston did not merely lose out in a business sense, he was left a man with no name, and the powers that be at Beatrice cruelly destroyed footage of his legendary runway shows and sold off his samples, the entire record of his career as a designer, as if having a garage sale. An interview with the man who could've instead ensured that such items were given to a museum but couldn't be bothered serves as the film's lowlight highlight.
Halston died of complications of AIDS in 1990 at just 57, having accomplished so much in his field, including heartbreaking failure. Through a particularly sensitive collection of interviews (Marisa Berenson, Joel Schumacher and Pat Cleveland are indispensable, while an archival talk with Elsa Peretti culd be its own film), Tcheng captures who Halston was: a fashion genie, a terrible boss, a generous dreamspinner, an imperious emperor, a tastemaker, Willie Wonka, a self-marketer of the first order, a kid from the Midwest.
A device using an actress playing a researcher does not add to the film's power or cohesion, but it is a minor misstep in the documentary Halston has always deserved.
The Skin of the Teeth, the debut project by director-writer Matthew Wollin, is a low-budget, high-style conjuring of David Lynch that pulsates with a genuine air of the unexpected.
A rare film with a queer man of color as its lead, The Skin of the Teeth begins My Dinner with André-style, documenting an awkward second date (the first was apparently a nearly anonymous fuck) between appealingly naive everyman Josef (Pascal Arquimedes) and vaguely sinister host John (Donal Brophy), who is old enough to be his daddy.
The chemistry between the men is sizzling, even as their banter feels increasingly foreboding, and things ramp up when Josef pops a random pill he finds in John's bedroom.
After that, things go South quickly in this Metamorphosis with anal sex, leading to a long, never boring sequence in which Josef is interrogated by authorities for apparently murdering John, interacts with his public defender and eventually reveals a secret he's been hiding.
It's a bit like having a lucid dream, though lucidity is not something this film values — or needs.
The Skin of the Teeth is a complete trip — no overstating it — but I felt hypnotized as it took me from point A to point B, never understanding fully where it was going, and in the end, wondering exactly where it had been. It offers no easy answers as Wollin skillfully knocks your mental feet out from under you with every twist and turn.
On top of its originality, the film is exquisitely, yet simply, shot, giving it Hitchcock-level gravitas on what I understand was a minuscule budget.
Michael D. Cohen, a comic character actor known for the Nickelodeon show Henry Danger and appearances on such hits as Modern Family, has opened up to Time about the fact that 20 years ago, he transitioned.
The actor — who does not ID as transgender, saying he was misgendered at birth — relates to trans people, and had a heartfelt reason for wanting to share his personal history:
Cohen does not use the word transgender to describe himself, but he does view himself as part of a community that typically embraces that label, and he didn’t feel he could be an outspoken advocate until he made his history known. The actor has grown restless while watching the Trump administration roll back protections for transgender people in schools and the military, as Republicans have fought bills that would protect them from discrimination in public spaces.
“This crazy backlash and oppression of rights is happening right in front of me. I can’t stay silent,” Cohen says. “The level of — let’s be polite — misunderstanding around trans issues is so profound and so destructive. When you disempower one population, you disempower everybody.”
This week’s pick is Life Like, a Lionsgate sci-fi thriller that is available on Amazon. MrMan are big fans because of ALLL the beefy ass shots.
The movie follows a couple who agree to try a brand new experiment in which they get robots to help with extra needs around the house. Things get complicated when the robot starts to get a little human.
The blond and buffJames D'Arcy plays one half of the couple, and he has the most Life Like ass in the world. Well, luckily it IS real, and we get to admire his buns a few times.
Their robot is played bySteven Strait, who definitely isn't when he kisses James in the bathroom. They are both nude! Steven's robo rump is also a little too perfect and giving us Life Like horniness.
GLAAD's 2019 Studio Responsibility Index is an informative read, pointing out that 18.2% of movies from the seven major studios had LGBTQ characters, which was up from 2017's abysmal all-time low.
Via press release:
The GLAAD Studio Responsibility Index (SRI) maps the quantity, quality and diversity of lesbian, gay, bisexual, transgender, and queer (LGBTQ) characters in films released by the seven major motion picture studios during the 2018 calendar year. GLAAD researched films released by 20th Century Fox, Lionsgate, Paramount Pictures, Sony Pictures, Universal Pictures, Walt Disney Studios and Warner Bros., as well as films released by four subsidiaries of these major studios. The report is intended to serve as a road map toward increasing fair, accurate and inclusive LGBTQ representation in film.