May 18, 2013

Garrett Clayton: Disney's Next Big Thing (So to Speak)

The Huffington Post, a liberal-slanted online magazine, is not usually heterosexist.  But when Jackie K. Cooper reviewed Holiday Spin (2012), he couldn't help gushing over Clayton Garrett as Blake, a teenage martial artist forced to live with his estranged father after the death of his mother.  Christmas-themed hetero-romance follows, but that still doesn't warrant the heterosexist mantra: "if there are any young girls who watch this movie, they will be more than thrilled with him."  Apparently Mr. Cooper is unaware that gay boys exist.

Garrett Clayton and his six-pack abs have been heavily promoted as "the new Zac Efron," the Disney Channel's wunderkind.  But how heterosexist is his work to date?




1. Holiday Spin features Ruben (Ralph Macchio), who has a gay-coded job running a dance studio, and has a boyfriend. . .um, I mean protege, Rob (Benji Schwimmer, who is gay in real life). But then he dumps Rob to coach Blake (Garrett), the son he hasn't seen since he was a baby.  Meanwhile Blake gives up his macho martial arts aspirations to become a dancer.  Lots of gay symbolism there.

2. Love, Gloria (2011) is about a washed-up child star Gloria who is kidnapped and held in a basement, along with an annoying female fan.  The two women buddy-bond and work together to escape.  Garrett has a minor role as Tad, but still, there's a nicely done gay subtext.

3. Garrett's character romanced a girl on Days of Our Lives, but not on Shake it Up.



4. In the summer of 2013, the Disney Channel's Teen Beach Movie featured two teenagers (Ross Lynch, Maia Mitchell) who are zapped into a 1960s beach movie. Garrett will play Tanner, the Frankie Avalon character.  The original beach movies were full of buddy-bonding and gay-vague characters.  This one, not so much, but both of the male leads are extremely feminine.







5. He has no problem with 10,000 gay blogs and websites photographing him while skateboarding, jogging, or otherwise showing off his trademark abs and bulge.

6. He changed his name from Gary to Garrett.

7. He played a dancer in The Oogieloves in the Big Balloon Adventure, so apparently he doesn't mind saying "Oogieloves."

Doesn't sound heterosexist to me.





Spring 1988: Don't Say Gay: My Committee Nixes My Dissertation Topic


When I moved to West Hollywood in 1985, I enrolled in the doctoral program in Comparative Literature at the University of Southern California.  We had to select two historical periods to concentrate on, so I chose the Renaissance and the 19th century symbolist movement.

I was also teaching at Loyola Marymount University, editing for Joe Weider's Muscle and Fitness, and living in West Hollywood (which takes a lot of time), so it took three years to finish my coursework, language exams, and comprehensive exams.  But in May of 1988, I was ready to write my prospectus, a 30-page paper that would be developed into my doctoral dissertation.



In May 1988, I gave my committee a prospectus on "Same-Sex Desire in Renaissance Drama." I concentrated on Il Marescalco, by Pietro Aretino, about a gay man who is required to get married, but finds that his friends have arranged for the "bride" to be a boy (it was not included in the 1972 Italian film I Raconti Romani di Pietro Aretino). 

No, no, no!  They cried.  You must not write about "homosexuals"!  Too controversial!  No one will hire you!

Back to the drawing board.  Maybe if I "hid" the gay people among other outsiders, such as Jews, Turks, and witches.







Whenever I was upset, I watched television.  It brought back soothing memories of my childhood, when I went to bed but my parents were still watching tv in the next room, and I felt warm and safe knowing that they were nearby.  So in between analyzing Renaissance plays, I watched The Simpsons, Married with Children, It's Gary Shandling's Show, 21 Jump Street, Alien Nation, Designing Women, Newhart, Who's the Boss, Roseanne, Head of the Class, Night Court, Wiseguy (with Ken Wahl, left), Twin Peaks, and The Golden Girls.

Juvenile programs were especially good at evoking that warm, safe feeling, so I watched  The Adventures of Pete and Pete, Hey Dude (with David Lascher, top photo)Pee Wee's Playhouse, Saved by the Bell, You Can't Do That on Television, Degrassi High, Out of this World,  Katts and Dogand Tiny Toon Adventures, thus beginning a life-long interest in heterosexism and same-sex bonds in children's media. 

In September 1988, I gave my committee a new prospectus on "The Image of the Other in Renaissance Drama," comparing the image of the Jew, the Turk, the witch, and the "homosexual" in Aretino, Christopher Marlowe, and Calderon de la Barca.

No, no, no!  They cried. You compare the image of the Jew with the image of the "homosexual'!  Too controversial! No one will hire you!


 I was sick to death of my dissertation committee -- and the Renaissance.  So I got a new committee, and changed to the Symbolist Movement.  I had to "pick up a new language," so I  went to Turkey and Israel for six months, and returned in May 1989 with a prospectus for a new dissertation, "The Pastoral Ideal in Late 19th Century Fiction."  I compared The Wind in the Willows, Death in Venice, and Andre Gide's Pastoral Symphony, with a little Wilhelm von Gloeden thrown in.

No, no, no! They cried.  You claim that Thomas Mann, Andre Gide, and  Kenneth Grahame were gay!  Too controversial!  No one will hire you!

Without another word, I walked out of the committee chambers, got into my car, and drove away from USC.  I never went back. (Instead I got the Worst Job in the World.)


May 17, 2013

Spring 1973: Darry and I Write a Book

I discovered The Lord of the Rings in junior high, and thought it the best thing ever written. Heroic fantasy!  Elves, dwarfs, and wizards fighting the Dark Lord in an alternate Medieval world!  Infinitely superior to sword and sorcery (about mighty-thewed barbarian heroes in an ancient world), and to those dreary naturalistic novels that teachers were always pushing at us.  Even better than science fiction.

During the spring and summer of seventh grade, my friend Darry and I started working on our own alternate Medieval world -- if we couldn't find a "good place" in our world, why not make one of our own?   We developed a gazetteer-full of new countries, wrote historical timelines spanning thousands of years, compiled detailed genealogical charts, and learned to speak a dozen languages of Elves, Dwarves, and Men. We got ideas from fantasy novels, myths, folklore, the histories of obscure countries, and anything else we could get our hands on: we named the country of Runoe after Runde Island in My Village in Norway, and the forest-dwelling Colemonas after Coleman camping equipment. We worked fervently, every day at lunchtime and after school, on Saturday and Sunday afternoons, during holidays.


Fantasy worlds must be used as the setting for novels, so by eighth grade we were working on a plot about a Midwestern teenager named Jim swept away through a time-space warp to the world of Toulbium, where he gathered companions to fight the Dark Lord.

Everyone we told about the story screamed “You’re plagiarizing The Lord of the Rings!” But we patiently pointed out that Jim traveled west, not east like Frodo; that he got hiscompanions by accident, not through the Council of Elrond, and that the Dark Lord’s land of Moraine was bounded by dark forests, whereas Sauron’s land of Mordor was bounded by mountains.


Every Saturday we took the bus downtown to Readmore Book World to spend our allowance on heroic fantasy novels.  Between 1969 and 1974, Ballantine published 65, bright, shining paperbacks with evocative titles: The King of Elfland's Daughter, The Broken Sword, The Wood Beyond the World, Beyond the Golden Stair, Golden Cities Far.  


But there was a problem: the cover art often showed naked women.  Beefcake was highly stylized, when you could find it at all (here the Welsh god Manawyddan wades across the English Channel).

And another problem: they were unreadable, with stilted Medieval diction, boring characters, and clich├ęd plots.

The biggest problem: the male heroes were entirely obsessed with goddesses, fairy queens, and damsels in distress. With the exception of Tolkien and maybe C.S. Lewis, heroic fantasy was nauseatingly heterosexist.  The Well of the World's Desiring, the Goal of the Quest, the Reason for Living is a man falling into a woman's arms.  No bonding, no gay subtexts, no gay symbolism, no nothing.
Even the cover of Imaginary Worlds, a survey of the fantasy genre, morphs into a woman's face

It's no better today.   No matter if it is print fiction, a movie, or tv (as in Legend of the Seeker, top photo).  There may be a few battle maidens and Amazons who fight side by side, but men are always questing after women.

Even in naturalistic literature, as I discovered in my college class in Fiction Writing.


Benjamin Rojas: Argentine Disney Channel Teen Idol

Born in Argentina in 1985, Benjamin Rojas got his start in Chiquititas (1998), as a jungle boy who gets a girlfriend.  He gained teen idol attention in the telenovela  Rebelde Way (2002-2003), about teens in an exclusive private high school in Buenos Aires.  Pablo Bustamante (Benjamin), son of a famous politician, was the central character, a wealthy, charismatic prettyboy who falls in love with girls a lot.  I never saw it, but apparently there was some buddy bonding and a gay-vague character.  And a lot of ecstatic teen fan chatter.

Next came Floricienta (2004-2005), a teen telenovela that reprises the Cinderella story, with a poor girl becoming a nanny to a rich man, Federico (Juan Gil Navarro).  Benjamin played Federico's brother.  No gay content, but a "mistaken for gay" episode.




Same thing in Alma Pirata (2006): he puts on the swish in order to sneak into a gay nightclub.

But at least there's some buddy bonding on his resume.  La Leyenda (2008) was a classic buddy-bonding movie about two race car drivers (Benjamin, Pablo Rago).












Jake and Blake (2009-2010), a Latin American Disney Channel series shot entirely in  English, had Benjamin playing identical twins separated at birth and reunited as teenagers, when one saves the other's life.  They decide to do a Prince and the Pauper-style switch.














Cuando me sonreis (When You Smile at Me, 2011) was about a man (Facundo Arana) reuniting with his long-lost brother (Benjamin).





Harriet the Spy: Gay and Lesbian Kids

Harriet the Spy (1964), by lesbian author Louise Fitzhugh, is a classic gay-subtext children's novel about an 11-year old writer and grade-school spy.  Harriet is an oddball outsider with distinctly "masculine" interests, a penchant for dressing like a boy, and a romantic friendship with her best friend Janie.  Their male friend Sport (played by Alexander Corti, left, in the 2010 version) is also decidedly gay-coded, neat, artistic, wealthy, and fashionable.  Even the plot -- about Harriet spying on people to gather "sensitive" information, and thereby losing her friends -- can be taken as a metaphor for the secret lives of most gay people during the era, with constant fear of blackmail, entrapment, and discovery.

Fitzhugh wrote two sequels, The Long Secret (1965) and Sport (1979), which maintain the gay symbolism.  But in the 2000s, sequels by two other authors heterosexualize Sport.  Harriet Spies Again (2002) by Helen Ericson, gives Sport a crush on a girl.  And Harriet the Spy, Double Agent (2005), by Maya Gold, involves Sport and Harriet competing over the same girl.

One wonders why they heterosexualized Sport but not Harriet.  Maybe there is more cultural anxiety about gay boys than gay girls.




 There have been two film versions.  Nickelodeon's Harriet the Spy (1996), starring Michelle Trachtenberg as Harriet and gay-friendly actor Gregory Smith as Sport, leaves the gay subtexts intact.

Director Bronwen Hughes has also directed episodes of The L-Word and produced the movie Woman on Top (2009), which features a gay "best friend," so she is not unaware of gay/lesbian characters. Plus, notable lesbian actress Rosie O'Donnell plays Harriet's nanny, Golly.









The Disney Channel's Harriet the Spy: Blog Wars (2010), starring Jennifer Stone, makes Harriet a teenager who has "modern" problems like "mean girls" and "hot boys."  She is interested in a movie star, Skander (Wesley Morgan, who previously played a gay character on Degrassi High).  When he comes to town to film Spy Teen 2: The Sequel, she stalks him and blogs about him so obsessively that her friends Janie and Sport dump her, and Skander quits the movie in disgust.  But in the end she apologizes, and Skander gets a role in a new movie and hugs her.










There still is no heterosexual romance -- Harriet never "gets with" Skander (who doesn't seem interested in girls) -- and Sport remains neat, fussy, artistic,  a gay-vague best friend.  Even the crush that drives the plot seems less about Harriet's interest in the hot boy than her attempt to find an interesting topic to blog about.  The heterosexualization is minimal, a nod to the modern censors who yell that kids must never, never become aware that gay people exist.



Pinky and the Brain


The WB Network's Pinky and the Brain (1993-1999), a spin-off of the execrable Animaniacs, was about two intelligent lab rats who shared a cage and collaborated on schemes to take over the world.  At first they were coded as coworkers and bunk mates, not as romantic partners. Both had outside love affairs; Pinky was especially promiscuous, falling in love with a horse, a sea lion, and children's book heroine Pippy Longstocking.

However, there were gay "jokes" from the beginning. In a running gag, Brain has a sudden insight and asks Pinky "Are you pondering what I'm pondering?" Pinky replies with a nonsequiter that can often be read as sexual, or at least dirty, such as "I think so, Brain, but how can we get seven dwarves to shave their legs?" or "I think so, Brain, but isn't a cucumber that small called a gherkin?"

Of seventy-five recorded "pondering" responses, thirteen concern transvestism or fetish costumes — "I think so, Brain, but this time you wear the tutu" — and twelve evoke sexual double entendres — "I think so, Brain, but apply North Pole to what?"

The tag line of each episode, after the most recent plan for world domination has failed, similarly allows for a homoerotic reading:
  Brain: Let us go back to the lab and prepare for tomorrow night.
  Pinky: Why, Brain? What are we going to do tomorrow night?
  Brain: The same thing we do every night, Pinky. [Pause, while we ponder just what it is that they do every night] Try to take over the world.

When Pinky and the Brain moved to prime time in 1995, plotlines became more complex, with movie and television parodies and recreations of the basic scenario in various historic periods. The writers also added what Warner Brother's head of programming referred to as "family and romantic element."  Potential heterosexual partners did appear occasionally, and Brain was somewhat swayable, but Pinky steadfastly chose the Brain over any other love.

Most of the romantic elements, however, involved the duo's attraction to each other, which Pinky celebrated and the Brain grudgingly admitted. In "Just Say Narf", Pinky sings and flirts with a despondent Brain: he bats his eyes seductively, lays his head cozily in Brain's lap, and twirls him about in a waltz before Brain finally cheers up.

Even when the Brain takes up smoking, Pinky's attraction does not diminish: "Hello there, stinky smelly smoky boy," he says with a leer, "Do you have a monkey in your pants?" He "means" to say "Do you have a monkey on your back?", a metaphor for addiction. When he says "pants" instead, the "mistake" produces a striking metaphor that is not not sexual.

Pinky and the Brain share more than physical attraction, however; they begin to represent themselves as a closeted gay couple. A prospective employer asks Brain, "Are you married?" After a brief, awkward pause, he responds "No. I do have a ... roommate." Considering various responses and then deciding on "roommate" is — or was — a familiar strategy for hiding same-sex partners from potential homophobes. Brain gets the job and enters corporate culture as a closeted gay man — or mouse — clumsily rejecting a female suitor and inventing a lame explanation for the picture of Pinky on his desk.

When Brain's parents visit, Brain again introduces Pinky as "my ... um ... roommate." The liberated 1990's parents are not fooled, however; while constantly criticizing Brain for his poor housekeeping, poor cooking, and unrealistic career goals, they never nag him to "meet a nice girl" and get married; obviously they are aware that he already has a partner. At the end of the episode, Mom and Dad invite the two to visit as a couple at Thanksgiving.

No other cartoon of the 1990's portrayed same-sex relationships so overtly.

See also: Animaniacs

May 15, 2013

Happy Trails to Homophobes: The Roy Rogers Show

When I was a kid in the 1960s, preachers and Sunday school teachers hated all mass media: rock music ("the devil's music!"), science fiction ("atheism and evolution!"), Casper the Friendly Ghost ("the occult!").  They really, really hated television.

Did The Man from U.N.C.L.E. ever ask God's guidance in fighting the Communists?
Did The Beverly Hillbillies ever bow their heads and say grace before eating Granny's vittles?
The Flying Nun tried to brainwash you into becoming an evil Catholic.

The only program they approved of was Roy Rogers, about a singing cowboy named Roy Rogers, played by...um...long-time singing cowboy star Roy Rogers.  He never said grace before meals, either, but in real life he was a fundamentalist Christian who always mentioned God in interviews and included Christian songs in his live performances.

The preachers didn't realize that his show (1951-57) had been off the air for over ten years.  But I must have caught glimpses of the Saturday morning reruns (1961-65), because I remember hating it.  Hardly any gay content at all.


1. Like Fess Parker's Daniel Boone, Roy didn't hang out with guys like "real" cowboys.  He had a wife, Dale Evans, who sometimes rode next to him in her petite cowboy skirt, but usually stayed home to run a restaurant.

2. Like Daniel Boone, this wasn't the Old West. They had electric lights, telephones, and cars. As a kid, I found that idiotic. Why would you ride a horse if cars were available?

3.  No beefcake of any sort.  Like Fess Parker, Roy never unbuttoned a button on-screen.  There were a few semi-nude shots in movie magazines, but nothing memorable. The top photo, with Roy eating a hot dog, may look promising, but according to Darwin Porter's autobiographical novel Rhinestone Country, the "squinty-eyed homophobe" was not particularly gifted beneath the belt.

4. No dreamy boys or muscular men. Roy was hideous, with a face like a mask and tiny, beady eyes. The only other male star was Pat Brady, the cook at Dale's restaurant,  a gawky, comic-relief character who drove a jeep named Nellybelle.

5. The closing song, "Happy Trails to You," sung by the disembodied heads of Roy and Dale, freaked me out.  I distinctly remember them singing it to "cheer up" some kid dying in the hospital.  Mememto mori, a reminder of the transience of life and the inevitability of death -- not what a four-year old wants to hear about while eating his Coco Puffs on Saturday morning.

The only gay content: some buddy-bonding potential, I guess.  Roy and Pat starred in many movies together during the 1940s, and were close friends in real life.

May 14, 2013

Dave Draper Doesn't Get the Girl

Dave Draper, "The Blond Bomber," was the go-to guy for movie bodybuilders during the 1960s, when most of the bulkers had moved to Italy to do sword-and-sandal flicks.













He never appeared in the gay-vague Physique Pictorial or similar physique magazines; in fact, some of his magazine covers are rather heterosexist, sandwiching him between two women, who are lusting after his biceps.  Inside, however, we see some homoerotic subtexts, as when fellow bodybuilder William Smith gazes at Dave's biceps.

After a minor role as a guy who takes his shirt off in Who's Been Sleeping in My Bed (1963), he capitalized on the sword-and-sandal crazy anyway, showing old Steve Reeve movies as Dave the Gladiator on local L.A. TV (1964-65).

In 1966 he landed a starring role in Lord Love a Duck, a comedy about a gay-vague Mephistophiles, Alan Musgrave (gay actor Roddy McDowall), who concocts wild schemes, including murder, to grant the wishes of his friend Barbara (Tuesday Weld).  Dave was one of her wishes, but not the man she married. Alan is supposed to find him intimidating, but instead approaches him with barely-restrained eye-bulging desire.





After more minor roles as guys who take their shirts off and scare people in Three on a Couch and Walk Don't Run, Dave starred in Don't Make Waves (1967), about New Yorker Carlo Cofield (Tony Curtis), who moves to Southern California to "Turn on!  Stay loose!  Make out!"  and romance a skydiving model named Malibu (Sharon Tate).  Dave played her boyfriend, Harry Holland, who also befriends Carlo.  There's a significant gay subtext, as in most of Tony Curtis's movies.



In 1967, Dave appeared as musclemen on episodes of The Monkees and The Beverly Hillbillies.  No significant gay subtexts, though it is interesting to watch the lesbian actress Nancy Kulp pretend that she is swooning over his physique.

Disillusioned at always been cast as bullies, objects of derision, and guys who don't get the girl, as if the bodybuilder was somehow inadequately masculine, Dave retired from acting to concentrate on bodybuilding and writing, and on managing World's Gym in Santa Cruz.  His personal website features many interesting articles on the history of bodybuilding, but doesn't mention gay people.

Indiana Jones: White Heterosexual Male Adventure

During the famous summer of 1981, when I went to an Italian Film Festival, moved into my own apartment, and learned about  gay German literatureThe Canterbury Tales, and the Beat Generation, I saw a dozen movies with gay subtexts, including  Clash of the Titans, American Werewolf in LondonHell Night, and The Chosen.  

Raiders of the Lost Ark was not among them. It hit  #1 at the box office that year by playing into Reagan-era conservative anxieties about gay people and gender roles (and race and imperialism).

You know the plot:

1.  Indiana Jones (Harrison Ford), whip-wielding archaeologist, is trying to steal a valuable artifact from a lost temple in Peru.  He seems to be buddy-bonding with his guide, Satipo (Alfred Molina), and even grabs his crotch to pull him out of a dangerous situation. But then Satipo betrays him and leaves him to die.

It's not just Raiders of the Lost Ark.  Indy is betrayed by Walter Donovan in the sequel, Indiana Jones and the Temple of Doom, and by Mac in Indiana Jones and the Crystal Skull.  Men are duplitious, underhanded; male friendships not to be trusted.

As a consequence, Indy has allies but no buddies.  He has an 11-year old ward, Short Round (Jonathan Ke Quan), in Temple, and in Crystal, he mentors young greaser Mutt Williams (Shia LaBeouf), who turns out to be his son.

One of his allies, the Egyptian Sallah (Jonathan Rhys-Davies) could be read as gay-vague, as he dislikes receiving a gratitude-kiss from The Girl, and spends a lot of time hugging, kissing, and fondling men. But the gay reading is minimized by making him a heterosexual father with about a dozen kids.

2. After bringing the artifact back home, Indy teaches a class in archaeology to a classroom full of female students mooning over him.  Apparently he's incredibly dreamy, swoon-worthy to the max -- but only to girls.  Heterosexism in full force.

3. Indy gets a new assignment: to track down the Ark of the Covenant that the ancient Hebrews used to destroy the Egyptian army.  (Wait -- didn't the Egyptians destroy them?).  So it's off to the Middle East, or in Temple, to India; or in The Last Crusade, Italy; or in Crystal Skull, Peru.  Unlike most archaeologists, Indy doesn't specialize in one geographic region, and he's fluent in every language ever spoken, even the Mayan language spoken 3,000 years ago in Peru!  Not heterosexist, just stupid.

4. En route  to the Middle East, Indy stops in Tibet (yeah, that's on the way) to look up Marian, a girl that he broke up with, ostensibly to get an amulet that shows the location of the Ark, but actually to get back together with her.  The most hackneyed trick in the book for getting The Girl into the plot. Indy also hooks up with The Girl in Temple (a nightclub performer who accidentally tags along) and in Last Crusade (a Nazi who falls for him and changes alliances); in Crystal Skull, Marian returns so they can reconcile. Fade out kiss. Yawn.

5. After a few more betrayals by male friends, Indy and Marian run up against the creepy, foppish Nazi Arnold Toht (Ronald Lacey), who always carries a specially-designed hanger in a black case to keep his coat from getting wrinkled.  Gay vague villains abound in the series.  Perhaps the most egregious is the swaying, jewelry-encrusted young boy, Maharaja Salim Singh (Raj Singh), who tortures Indy with a voodoo doll in Temple (yes, a Hindu with a Sikh name uses an Afro-Caribbean device).

Or maybe the butch lesbian stereotype, Nazi. .. um, I mean Commie. . .Irina Spalko (Kate Blanchette) in Crystal Skull.

6.  Turns out the the Ark of the Covenant contains spirits, who kill the evil Nazis but spare Indy and his friends.  Same thing happens in each of the sequels; the spiritual world, the laws of the universe side with Truth, Right, Masculinity, and Heterosexism.  The gay-vague, the gender-transgressive, the Nazi/Commie must perish.



Harrison Ford is not exactly a gay ally, although he seems ok on gay marriage. Still, I'll stick with the Die Hard series.

May 12, 2013

Austin Mahone Says He's Not Gay

I count such teen performers as Uriah Sheldon and Jimmy Bennett as gay-positive even they haven't made any public statements in support of LGBT persons, because their songs are decidedly not heterosexist, rarely if ever insisting that heterosexual desire is universal. And because their film work involves substantial buddy-bonding.

For comparison, let's look at "the next Justin Bieber," up and coming teen idol Austin Mahone.








Born in 1996, the San Antonio native and his friend Alex Constancio began posting songs on youtube when they were fifteen years old.  They went viral, a record contract appeared, and "11:11," aka "Make a Wish" hit the top of the pop charts.

It's rather heterosexist:

She's got me all worked up inside
And I know it's going down tonight,
Because she's moving and it's feelin right
Girl you got me feelin right

Soon Austin was appearing before sold-out crowds and being interviewed on every talk show on tv.  Other songs appeared, mostly decidedly heterosexist.

"Heart in My Hand": I'm never gonna find someone as beautiful as you, girl.

"Say Something":  Girl, I gotta know.

In 2012 Austin starred in his own youtube reality series, Austin Mahone Takeover, in which he does such macho-heterosexual things as play touch football and search for the perfect girl.

With all that heterosexist content, his heterosexual identity seems rather obvious, but maybe it was the videos of Austin and Alex having a pillow fight and hanging out in bed together that got fans wondering if they were gay.  Austin posted a response on youtube:


"I'm a guy, and I like girls.  I'm not gay.  People ask too many questions."



Translation:
1. All guys like girls.  Heterosexual desire is universal human experience.
2. Since all guys like girls, by definition gay men aren't guys.
3. Since to be "Not a guy" is shameful, you should never ask if anyone is gay.  It's an insult.

But that's not nearly as homophobic as the comments on the post.
"He's not gay, he's normal."
"Why you haters got to hate?"
"You people are sick!"
"Just because a guy is cute, you think there's something wrong with him!"
"I want to slap somebody!"

Makes you long for the old days when you read interviews in magazines and kept your comments to yourself.

Lalola: What Transgender Characters Always Get Wrong

The Argentine romantic comedy series Lalola (2007-2008), about a man who becomes a woman, is an international success, airing all over the world, with local remakes in Belgium, Indonesia, Greece, the Philippines, Portugal, and Spain.

However, it makes a gigantic mistake.  The same mistake that most movies and tv series about transgender people make.










Lalo (former teen idol Juan Gil Navarro, left), chick-magnet and the editor of a men's magazine, dumps Romina, who hires a witch to transformed into a woman.

 After the initial shock wears off and she adjusts to such problems as how to walk in high heels, Lalo adopts a new identity as Lola, who takes over the magazine. Newly aware of sexism, she changes the editorial focus, and meanwhile falls in love with hunky coworker Facundo (Luciano Catro).

Have you figured out the mistake yet?







The Greek version, Lola, is about the same, except Leonides Lalos (Giannis Aivaziz)  is even more obsessed with women before his transformation, and afterwards she falls in love with Fotis (Thanasis Efthimiadis).

How about now?

In the Philippine version, Lalola, Lalo (Wendell Ramos) is transformed by a distinctly Filipino magical being. This time she has a gay best friend (Keempee de Leon), but she still falls in love with Facundo (JC de Vera, top photo).






The big mistake: changing your physiological sex can't change who you're attracted to.  You like who you like.  If Lalo liked women before he transformed, Lola will like women now.

Mass media always gets this wrong.  Whether they change through magic or sex-reassignment surgery, transmen and transwomen always are attracted to the "opposite sex."

It's pure heterosexism.  Producers believe that no gay people exist, that same-sex desire does not and cannot exist, so all men are attracted to women, and all women to men.  So if a man becomes a woman, she must necessarily desire men.

At least the Greek version featured Yannis Spaliaris as a hunky model who vies for Lola's affection.