Mario Lopez knows that gay people exist; he played gay athlete Greg Louganis. So why does his official website (spring 2004) insist that he " brings the man's view every woman wants to know more about" to his talk show The Other Half"? To add insult to injury, he then pipes up, "There's three things men always talk about - women, sports, and cars." So Greg Louganis always talks about women?
Jul 13, 2012
Jul 12, 2012
Blue Lagoon, Paradise, and the various Swiss Family Robinson adaptions of the 1980s and 1990s were heterosexist fables, with the shipwreck on a tropical island just an excuse to get a girl out of her clothes and into a boy's arms.
At first glance, the 1990 Håkon Håkonsen (released in the U.S. as Shipwrecked) is no different. Haakon (14 year old Stian Smestad), cabin boy on a ship in the 1850s, meets a young stowaway, who turns out to be a girl named Mary (Louisa Millwood-Haight).
But the romance between the two stars is minimal; they behave more like best friends than boyfriend and girlfriend.
Trond Peter Stamsø Munch) expresses no interest in women and takes a big-buddy interest in Haakon. Although he doesn't express any romantic interest, he does acknowledge the boy's erotic desirability. When they are on shore leave, Jens steers Haakon away from the ladies of the evening, admonishing him to “protect his valuables."
Although Jens steps aside to permit alone time with Mary, the result is not so much a romance as a familial connection. At the end of the movie, all three return to Norway together.
Trond Peter Munch has not acted outside of Norway. Stian Smested is currently a director, specializing in documentaries.
Jul 11, 2012
Lilian Jackson Braun’s Cat Who. . . books (The Cat Who Could Read Backwards, The Cat Who Ate Danish Modern, etc.) are about cats who “solve” the murder: they knock over a vase containing a secret message, curl up on a book with the killer’s identity hidden in the title, yowl to draw attention to a vital clue, and so on. They are pleasantly written, as charming and cozy as an English high tea, with nothing harsh or troubling, not even the murders (the victim is always an outsider, no one you cared about, and the culprit is always thoroughly reprehensible, about to foreclose on an orphanage or open a fast-food franchise). Braun describes
“400 miles north of everywhere,” with precision, consistency, and wit. Moose County
However, Braun also introduces every character with the matchmaking fervor of a male flight attendant, as someone’s heterosexual husband or wife, girlfriend or boyfriend, as married, engaged, divorced, widowed, or “single and available.” Those who are single invariably embarked on a heterosexual romance before the cats yowled at the third clue. Not only are there no gay people, there are no significant same-sex friendships at all; all human association in
, from the most
casual to the most intimate, occurs exclusively between men and women. Moose
The only potentially gay character is protagonist Jim Qwilleran, formerly a crime reporter in the
, who inherited a
billion-dollar fortune and moved north to bankroll civic improvement projects
and solve murders. A “confirmed
bachelor,” he dates but never tries to kiss his “lady friend,” librarian Polly
Duncan. He is a devotee of the theater
and the arts. He named his Siamese cats
Koko and Yum-Yum, after characters from Gilbert and Sullivan’s Mikado.
Sounds like a 1950s gay stereotype – you can’t even say his name without
lisping. But no fan seems to have ever
considered the possibility that Qwilleran could be gay. He is a “nice boy,” a gentleman, a cat
lover. Besides, any evidence of gayness
is eliminated by the sight of Polly Duncan on his arm. Having a Lady Friend allows us to forget that
gay people exist. Big
Jul 10, 2012
But Tupana also befriends another castaway, Stu (Luke Halpin of Flipper); they go fishing, and learn to dance, and touch each other's shoulders, smiling. It is Stu who actually pulls Tupana aboard the rescue boat. We are not absolutely certain, amid the fade-out hugs, which one Tupana has decided to followed.
Peter McEnery rescues a princess, but he also spends an inordinate amount of time being rescued by an older man (Tom Adams).
Tommy Kirk) trolls the beach in search of babes, but he also has a remarkably expressive bond with his best friend, Woody (Bobby Pickett).
In the comics, Robin and Jimmy Olsen date girls, but they are heartbroken when they believe that their superhero pals have found someone else. Korak Son of Tarzan rescues a young African diplomat and introduces him to a girl, but not before the duo spends many panels gazing at each other with unparalleled delight
During the Summer of Love, nearly every teenage boy, whether star, buddy, or villain, was portrayed as aggressively and unequivocally girl-crazy. Yet they often, perhaps usually, desired each other or fell in love with each other.
Their bonds were exclusive and permanent, yet always submerged beneath a girl-crazy façade. They would gaze at each other while discussing how much they liked girls, or while competing over the same girl, or while consoling each other when their attempts at getting girls faltered.
Their bonds were intense and passionate, yet always tentative, fragile, easily disrupted. They would express their desire through hints and innuendos, through subtexts and double-entendres, through ambiguities in spectacle or plot, through moments stolen from the “main” story, lest anyone notice. Lest anyone realize that two boys or two men could walk into fade-out sunsets together.
See also: Fighting Prince of Donegal
Jul 9, 2012
From the mid-1950s to the late 1970s, the Cheerios Kid, a cute black-haired boy about twelve years old, was one of the beefcake-heavy breakfast cereal icons. In a series of "damsel in distress" commercials. His companion Sue would be grabbed by a monster, pirate, space alien, or mad scientist, and yell "Help, Kid!" in a weird Southern accent. The Kid would then eat Cheerios, flex a gigantic o-shaped bicep, and pound the bad guy. Sue would gasp "My hero!"
Extremely heterosexist plotlines -- that is, if Sue was his girlfriend, not a gal pal or sister -- the nature of their relationship was never specified. No matter, the gigantic o-shaped muscles were nice to look at, and gay boys often removed Sue from the scenario and imagined that they were the ones being rescued and gasping "My hero!"
By the 1970s, Sue was an equal partner, eating the cereal with the Kid, flexing muscles of her own, and helping pound the bad guy.