Feb 2, 2013

Michael Seater: Buddy for Life


Born in 1987, Canadian actor Michael Seater was on tv nonstop from 2000 to 2010, with a series of homoromantic buddy-bonding roles.

Spencer Sharpe, boyfriend of paranormal investigator Zack (Robert Clarke, left) on The Zack Files (2000-2002).

Paranormal investigator Lucas in Strange Days at Blake Holsey High (2002-2006), who has a love-hate relationship with school bully Vaughn (Robert Clarke again).

Homeless teenager Owen on Regenesis (2006-2007), who moves in with paranormal investigator David (Peter Outerbridge), but ends up mentally damaged after an experimental treatment to cure his drug addiction (I haven't seen it).





Derek Venturi on Life with Derek (2005-2009), who has a sibling rivalry with his adopted sister Casey (Ashley Leggat) and, in the first season, an intense, passionate, joined-at-the-hip best buddy, Sam (Kit Weyman).








As usual, his adult roles have involved fewer subtexts:

18 to Life (2010-2011): newlyweds move in with their parents.

The "virgin getting laid" comedy Sin Bin (2012).

Bomb Girls (2013): women work in a munitions factory during World War II. Engineer Ivan Buchinsky (Michael) is dating one of them.

But at least he gets more opportunities for shirtless, underwear, nude shots, showing off a smooth, muscular chest.

Michael is rumored to be gay in real life.  He hasn't said anything specific, but one tweet claims that a party will be "gayer than a straight bar but straighter than a gay bar," suggesting that he is familiar with bars of both varieties.

Feb 1, 2013

The Great Elephant Escape

In The Great Elephant Escape (1995), bratty fourteen-year old Matt (Joseph Gordon-Levitt) goes on safari in Kenya, where he begins a sniping, argumentative relationship with Jomo (Frederick Tocumboh M’Cormac). When a baby elephant named Ellie “falls in love at first sight” with Matt, Jomo feels slighted:

Matt: Don’t be jealous, dude. Girls love me.

Jomo: I’m not so sure how I feel about you.

Matt codes his bond with the elephant in romantic terms in order to present himself as aggressively heterosexual (“girls love me”), but Jomo’s response suggests a homoerotic dynamic at work: he is saying, in effect, “Girls may love you, but I’m not sure if I am in love with you or not.” He thus codes his relationship with Matt in romantic terms, a tactic repeated several times during the movie: when they argue and Ellie becomes upset, for instance, he says “we shouldn’t fight in front of the child,” presenting himself and Matt as parents.

The three head out for the bush when a boorish, sadistic Texas businessman buys Ellie, but they had good reason to leave anyway: Matt is upset at his divorced Mom for smooching up the hunky tour guide, and Jomo’s father is constantly berating him for being unmanly. In search of an elephant herd to adopt Ellie, they have predictably picaresque adventures, with lions, hyenas, spear-carrying Maasai (who are actually quite friendly), a jailbreak, an exploding car, and an elephant knocking over tables at a ritzy outdoor restaurant. Jomo consistently codes their relationship as romantic (and volatile): during an argument, he shouts “I never want to see you again!”, the sort of thing one says to a boyfriend, not to a buddy, and he makes the supreme sacrifice, selling the necklace passed down from his ancestors so Matt won’t have to part with his expensive American watch.

But Matt won’t accept the gay subtext: he allows no touching except during arguments, no hugging, not even when they ride the elephant together. When a tiger threatens Terry and Raji in Maya, they hold hands, but when a lion threatens Matt and Jomo, they run off in different directions. At the end of the movie, after Ellie has been adopted by an elephant herd, Matt gives Jomo a harmonica, rather a lackluster sort of offering, and then asks his mother if they can return to Africa next year to visit Ellie. His relationship with Jomo was obviously tepid and expendable. The final shot shows Mom, hunky tour guide, and Matt all hugging, with Jomo (left, recent photo) nowhere in sight.

Degrassi Junior High

During its early years, Nickelodeon aired several Canadian programs, such as You Can't Do That on Television and Rin Tin Tin: Canine Cop.  Degrassi Junior High (1987-89) was a teen angst drama set in an urban high school on De Grassi Street in Toronto. After three seasons, it became Degrassi High (1989-91), and then, after a 10-year hiatus, Degrassi: The Next Generation (2001-2009) The teens have more problems than any daytime soap opera: alcoholism, drugs, child abuse, domestic abuse, teen pregnancy, sexual harassment, stalking, HIV, suicide, disease, death, plus the usual dating triangles. Not quite as scandalous as Beverly Hills 90210, but for the children and teenagers used to squeaky-clean teencoms like My Secret Identity and Out of this World, it was a revelation.

Gay people appeared twice in the original series, but not among the teenagers: a teacher is rumored to be a lesbian, and one of their older brothers announces that he is gay.  Both episodes received howls of outrage from homophobic watchdog groups, and were not aired in the U.S. until later.

There was a huge cast of characters, including a number of hunks for the straight girls and gay boys to swoon over, often with underwear or swimsuit shots.  The casual nudity was quite risque by American standards.




The main focus of the original series was on Joey Jeremiah (Pat Mastroianni), a quick-witted, impertinent slacker who always wore a signature fedora (usually on his head).  In Next Generation, he returned as a used car salesman and mentor to the new generation of kids with problems (including Ryan Cooley, Jake Epstein, and Daniel Clark).



Joey had two close friends, Snake (Stefan Brogren) and Wheels (Neil Hope, left), but his strongest bond was with Wheels.  Though each dated and had relationships with girls, as they helped each other through various crises, broke up and reconciled, got jealous over each others' outside friendships, they came arguably close to the passion and heat of a homoromance.  

Jan 31, 2013

The Wizard of Id


During the early 1950s, Brant Parker, a political cartoonist living in Binghamton, New York, befriended high school student Johnny Hart, and encouraged him to submit his cartoons to magazines.  Hart placed a few in The Saturday Evening Post, but his big break came in 1958, when B.C., a comic strip about sarcastic cavemen (modeled after his friends), was picked up by Comic Creators’ Syndicate.  Soon he was being lauded as the most promising of the new crop of hip young comic artists.  Always an iconoclast, he presaged Doonesbury in introducing political satire into his daily strips, and even had characters voicing his evangelical Christian beliefs, a taboo during the period.  A few years later, Hart approached Brant Parker, who had remained a close friend, and again breaking tradition, asked him to collaborate on a strip about the sarcastic residents of a Medieval kingdom; The Wizard of Id and the partnership has endured ever since.    

Though named after the inept Wizard,  Brant Parker and Johnny Hart’s Wizard of Id is an ensemble strip, involving the daily interactions of many strongly drawn characters: tiny, blustering King Id; Troub, a hippie troubadour; Bung, the drunken court jester; Spook, who has been in the dungeon for so long that he is a mass of  hair; the Lone Haraunger, who scrawls his slogan, “The King is a Fink,” under the King’s nose; Robbing Hood, who “takes from the wretch, and gives to the peer”; and Rodney, a cowardly knight.  Id is a decidedly male preserve where women are demonized or simply ignored: the Wizard’s wife Blanche is the fat, ugly harridan who figures so prominently in the sets of Borscht Belt comedians, and the Lady Gwen has no strong personality traits, and seems to exist simply to express an unrequited love for Rodney.  Eschewing the heterosexual hijinks that preoccupy the minds of most characters in non-nuclear family strips, from Peanuts to Garfield and even Johnny Hart’s earlier B.C., residents of Id spend most of their time buddy-bonding.  When Rodney is released from a curse that turned him into a statue, it is Bung, not the Lady Gwen, who joyfully reunited with him.  Yodey, a dumb but massive squire, treats Rodney with an admiration that treads the line between hero worship and romance.  Even the King, who never expresses interest in women, rarely appears without Rodney or the Duke at his side.

The buddy-bonding alone would make The Wizard of Id a rarity on the comic page, where men usually treat each other as competitors and enemies in their incessant quest after feminine smiles.  But during the 1970s, Rodney failed to express much heterosexual interest.  In The Wizard of Id: There’s a Fly in My Swill (1973), a shapely woman passes him in the castle courtyard, while he stands oblivious.  She turns back and slaps him.  “I didn’t do anything!” he protests.  She exclaims “Don’t let it happen again!”

The Lady Gwen spends her life ardently pursuing Rodney, who acquiesces to a few dates, but otherwise displays no interest in her.  Generally in comic strips unrequited love is the domain of crude, fat, and ugly women, but Gwen is quite shapely and sophisticated.  In a world where every man is explicitly attracted to every women (except for fat and ugly ones), Rodney’s lack of passion is singularly puzzling.  In The Wizard of Id: Long Live the King (1975), Rodney takes Gwen out for a movie and a sundae, and “in appreciation,” she kisses him.  He walks away unimpressed, thinking “Now I wish I’d gotten the butterscotch.”  It is a puzzling punchline.  Does he wish that he had ordered a superior flavor to make up for Gwen’s tepid kiss, or does he believe that he might have avoided the kiss altogether by ordering for a different sundae flavor?

In The Wizard of Id: The Peasants Are Revolting (1971), at the end of another date, Rodney refuses the kiss.  Exasperated, Gwen exclaims “I’m a girl, you’re a boy!  Doesn’t that mean anything to you?”  Rodney responds: “Yeah, you can beat the draft.”  He nicely demolishes the presumption that the desire must adhere in sexual difference, that if we are boys we can only ever be attracted to girls.

  Of course, Rodney’s distinguishing character trait, cowardliness, has been code for gay since before the Cowardly Lion sang about being a Dandy in The Wizard of Oz (1939), but occasional strips go beyond code or a simple lack of interest in the other sex to suggest more overtly that Rodney’s interests may lie in men. In The Wizard of Id: Yield (1974), Rodney and Gwen are sitting in a bar when a tough approaches them and asks “How about a kiss?”  Rodney asks him to step outside.  We assume, of course, that he is going to fight the tough for flirting with Gwen.  But he returns a short time later, sits down, and says “If I had kissed him in here, people would have laughed at me.”  Did Rodney merely misunderstand the request? But he is never characterized as stupid, and besides, the tough would certainly have objected if he wanted a kiss from Gwen and got Rodney instead.  Did he kiss the tough because he was too cowardly to fight him?  Again, surely the tough would have objected.  The most logical conclusion is that the tough was flirting with Rodney, not Gwen, and Rodney knew it.


Jan 30, 2013

Gomer Pyle: Out at Age 82

Gomer Pyle, USMC (1964-1969) was one of CBS's popular "hayseed comedies," getting laughs from the foibles of colorfully backward hicks (others included The Beverly Hillbillies, Petticoat Junction, Green Acres, and The Andy Griffith Show).  In this case, gawky stringbean Gomer (Jim Nabors) cut his teeth as a small-town gas station attendant on Andy Griffith, then joined the marines, where his ineptness drew the wrath of gruff bulldog Sergeant Carter (Frank Sutton).

Or did it?

Gomer "takes to" Sgt. Carter immediately, following him around with a puppy-dog grin, doing everything he can to make the Sgt. hug -- um, I mean manhandle -- him. In one episode he even sends Sgt. Carter anonymous love letters.

Sgt. Carter takes longer to warm up to Gomer, but by the second season, they are comrades in arms rather than antagonists.  Both date girls, of course, and get steady girlfriends by the end of the series -- but only as fodder for plot complications.  The two are partners -- permanent, exclusive, emotionally intimate.

After the series ended, Frank Sutton and Jim Nabors remained close friends.

Before Gomer, Frank Sutton had a number of other roles in movies and on tv, includig Tom Corbett Space Cadet, The Satan Bug, and Marty.  Afterwards, he did mostly live theater, including the homophobic comedy Norman, Is That You?, before he died of a heart attack in 1974.  He never married.

Jim Nabors moved to Hawaii and became famous as a singer.  He met his partner, Stan Cadwallader, in 1975, and finally married him in 2012.  For 40 years he was quick to yell "slander" at anyone who implied that he might be gay.  When a rumor made the rounds that he had married Rock Hudson, he was careful to never come within a thousand miles of the movie star again.

So let's sum up:  for at least 38 years, he knew that he was gay, yet he screamed "I'm straight!" over and over, and threatened to sue anyone who implied that he might be gay.

He kept on insisting that being gay was something shameful through the Moral Majority, AIDS, Don't Ask Don't Tell, Proposition 8, It Gets Better...

Then, at the end of his life, he says "Oh, I was gay all along."

I can't think of any response to that.  It's just unimaginable.

Ashley Walters: from Grange to Gangster to Gay



Speaking of Ashley Walters, how often does a  rapper and former gang banger play gay characters -- twice -- and show off his physique (waist up, anyway) in a gay magazine?

One of the "brightest young stars" in Britain when he made his acting debut at age 13, Ashley starred in the long-running soap Grange Hill (1997), Coral Island (2000), Storm Damage (2000), and The Adventures of the Young Indiana Jones (2000).

In 2001, he played a kid who comes out to his father on the tv series The Bill.



According to his interview in the gay magazine Attitude, as a shy, artistic kid growing up on the mean streets, "I was attacked a lot.  I was stabbed, kidnapped, and shot at."  So the "lovely little boy that wanted hugs all the time" developed a tough facade.  He became a member of the rap group So Solid Crew (as Asher D), and released several hits, including "21 Seconds," "They Don't Know," and "Haters."

In 2001, at age 19, he was arrested after a "fracas" with a traffic warden, in which he was carrying a loaded gun, and sent to prison for 18 months.




Upon his release, Ashley played ghetto kids, thugs, and gang bangers, most famously in Bullet Boy (2004) and Get Rich or Die Tryin' (2005), starring rapper 50 Cent.  And in The Killing Gene (2007), released in Britain as WaZ, a serial killer forces victims to choose between themselves and their loved ones.  Ashley played one of the victims, a tough inner city gay hood.

He was also busy in television, starring as one of the amiable con artists on Hustle, a murder witness who might be a terrorist on Five Days, a drug dealer on Top Boy, and the head of a security team on another planet on Outcasts.  Some substantial buddy-bonding, and lots of shirtless, semi-nude, and bulge shots to incite the interest of gay men and heterosexual women (according to rumor, he has one of the largest endowments of any actor in the business, rivaling the foot-long Milton Berle of 1950s tv).

In real life Ashley is married with children, and a gay ally.

Jan 27, 2013

The Coral Island: Three Boys in Paradise


William Golding may have gotten the inspiration for his Lord of the Flies from The Coral Island, an 1858 novel by Scottish author R. M. Ballantyne.  But while Flies has a depressing view of the beast emerging once the veneer of civilization is lost, Coral Island is all about bringing civilization -- by which Ballantyne means the British Empire -- to the wilderness.






Three boys are shipwrecked on the desert island: 15-year old Ralph Rover, 18-year old Jack Martin, and 14-year old Peterkin Gay.  They cheerfully construct an idyllic island paradise like that in Swiss Family Robinson, hunting, fishing, sunbathing, and even inventing the sport of surfing.  The only problem is the island next door, inhabited by savage cannibals who sacrifice children to their eel god, but after the British boys trounce them in a battle, they keep to themselves.





After many months, pirates arrive, and capture Ralph.  He befriends one, Bloody Bill, and helps him fight the natives.  Eventually Bill is killed (after converting to Christianity) and Ralph returns to his friends.

After few more adventures, the natives all convert to Christianity, and the boys head for home.

In spite of the moralizing and racism, the book is a perennial favorite,still showing up under Christmas trees across the former British Empire.








The gay content is obvious:

1. The boys are described in adventure story terms as stunningly handsome and supernaturally muscular.  They are frequently nude.

2. No girls allowed.

3. Lots of nick-of-time rescues, falling into each others' arms, holding each other.

4. Jack and Peterkin form one homoromantic couple, and Ralph and Bloody Bill another.






It has been adapted for television twice.

1.  A 1983 British-Australian miniseries starring Danny Adcock, Richard Gibson (top photo) and Nicholas Bond-Owen (second photo).

2. A 2000 British miniseries starring Adam Deacon, William Mannering, and Ashley Walters (left, later photo).

A Real Heterosexual Boy: Pinocchio


Hardly anyone outside of Italy reads the Carlo Collodi novel, The Adventures of Pinocchio (1883).  If you do, prepare for a shock; it is nothing like the 1940 Disney movie.

The Disney version was about Gepetto, who wants a son but not a wife so the Blue Fairy brings his wooden puppet to life.  Pinocchio (Dick Jones, who would later become a tv star on Range Rider and Buffalo Bill Jr.) longs to be a real boy, which means obeying your parents, going to school, and conforming to 1940s society.  Of course, he fails.  He is lured to "Pleasure Island," an all-boy paradise where boys can smoke, gamble, get into fights, and stay up late, ultimately turning into donkeys.  His salvation comes when he sacrifices his life to save his father.  He is resurrected as a real boy (insert Christ metaphor here).

The gay content:
1. A son created without a wife, a single-father family.
2. An oddball outsider longs to fit in, to become a "real boy."

Later versions have often noticed -- and tried to "fix" -- the gay content, often with disastrous results.

1. The 1968 musical version starred rocker Peter Noone (right) as Pinocchio and Burl Ives as Gepetto.  It minimized the woodenness to emphasize the alternate family.



2. In 1996, Jonathan Taylor Thomas became a rather disturbing version of the wooden boy, in a film dedicated to a realistic portrayal!  What would a boy made of wood look like, act like, negotiate everyday life?

3. In a heterosexist 2000 version, comedian Drew Carey became a middle-aged Gepetto, with Seth Adkins as the wooden boy and Julia-Louis Dreyfuss as the Blue Fairy/girlfriend/surrogate mother.

4. In 2002, Roberto Begnini became a rather old version of the wooden boy.  This time he's the one who gets the Blue Fairy girlfriend.