Robert Gant: Gay Action Hero

In the 1950s, there were no "openly" gay actors.  To make a public proclamation was unthinkable -- even a rumor could mean the end of your career.

Today agents, casting directors, producers, directors, and costars still encourage gay actors to pretend to be heterosexual -- at least until they're famous.  Being "openly" gay will stall your career at the start.

Robert Gant was openly gay from the start.  A practicing attorney, he broke into acting in 1994, with some guest spots on Friends, Ellen, Silk Stalkings, Popular, and Caroline in the City.  

Mostly heterosexual or unspecified characters, but he played an iconic gay character in Queer as Folk (20002-2005): Ben Bruckner, college professor, partner of central character Michael (Hal Sparks).

And in Save Me (2007), he plays Scott, a resident of an "ex-gay" halfway house who starts a relationship with another resident, drug addict Mark (Chad Allen).

And in Kiss Me Deadly (2008), he plays Jacob Keane, a spy who happens to be gay -- probably the first "openly" gay action-adventure hero in movie history, and the only one to date.

There have been lots more tv guest spots since, on Hot in Cleveland, Bones, Mike and Molly, Baby Daddy, and Sean Saves the World.  Sometimes gay characters, sometimes not.  Sitcom casting directors don't seem to care who he's dating, as long as he has a square jaw, a muscular physique, and comedic timing.

Not a lot of movie roles.  Maybe movie casting directors are still thinking "our target audience is homophobic, so.."

The Electric Company: Bringing You the Power

Kids in the 1970s who were too old for the numbers and letters of  Sesame Street graduated to The Electric Company (1971-77).  Instead of "Come and play, everything's a-ok," they yelled "We're gonna turn it on, we're gonna bring you the power!"  They taught you words with Saturday Night Live-style parodies of everything from Julia Child to The Six Million Dollar Man.  

The cast included future superstars Morgan Freeman, Bill Cosby, and Rita Moreno.

I never saw it, but I imagine that, like Sesame Street, there was only limited gay content.  Maybe just Morgan Freeman naked in a bathtub.

In 2009, a refurbished Electric Company appeared on PBS.  Instead of sketch comedy, it specialized in adventure: four kids with superpowers take on the corruption in their neighborhood (through the power of words), notably an evil anti-literacy gang called The Pranksters. Sort of like Whiz Kids, or Ghostwriter.

The kids were:
1. Athletic Hector (Josh Segarra, left)
2. His feminine-coded sidekick Keith (Ricky Smith, right)
3. His sister, singer/dancer Jessica (P-Star)
4. Intellectual Lisa (Jenni Barber)
5. Young gun Marcus (Coy Stewart)

Unlike the 1970s series, there was significant buddy-bonding between Hector and Keith, as well as between the main Pranksters, the hefty Manny (Dominic Colon) and Danny (William Jackson Harper).

And beefcake.  These were teenagers and young adults, not kids.

And gay content.  Between the 2006 pilot and the 2009 premiere, Josh Segarra starred in the gay-themed comedy The Boys Upstairs off Broadway.

Blake McIver: A Gay Little Rascal Speaks Out Against Bullying

If you saw the 1993 retread of the classic Little Rascals, you probably remember Blake McIver as Waldo, who stole Darla from Alfalfa.

He also played Derek, Michelle's antagonist on three seasons of the TGIF sitcom Full House (1992-1995).

Like many child stars, especially those who are gay, Blake found the transition to adult roles difficult.  He did some voice work, such as Menlow on the Disney Channel's Recess (1997-2000), and Eugene on Nickelodeon's Hey, Arnold (2001-03).  And then the roles dried up altogether.

He was depressed, had body issues, contemplated suicide.

No reason for body issues now.  The 28-year old has been working as a semi-nude dancer at gay clubs in Los Angeles for the last year, and has made enough money to release an album.

And to spread an anti-bullying message on the internet.  He says: "I believe we must raise awareness to protect the LGBT teens who are still being physically and verbally assaulted and fear for their lives every day. We also have a responsibility to end this suicide epidemic."

Mad Dog Morgan: Gay Outlaws in the Australian Bush

During the 19th century, many Australian men who were wanted by the law or had some other reason to vanish took to the bush, where they formed outlaw gangs, bushrangers, who robbed travelers or rode into town to rob banks.

In 1976, Davis Hopper, then known for counterculture cinema like Cool Hand Luke (1967) and Easy Rider (1969), starred in Mad Dog Morgan, a startlingly homoerotic adaption of the life of bushranger Dan Morgan (1830-1865).

He starts off as a laconic gold prospector, but viewing the government's brutality to Chinese workers pushes him into nonviolent resistance, then robbery.  Sentenced to 12 years in prison, he is brutalized -- and raped.

After his release, he is robbed and left for dead, but he is nursed back to health by the aboriginal Billy (David Gulpilil, the object of Richard Chamberlain's homoerotic desire in The Last Wave). 

The two spend the rest of the movie hugging, wrapping their arms around each other's shoulders, and sitting with their hands on each other's knees, while saying things like "You know I love you" and "I won't let anything happen to you."  When they go into a bar, the aboriginal is refused entrance until Dan says "He's with me," puts his arm around him, and escorts him inside.  

You haven't seen such an expressive gay couple on film since Robinson Crusoe on Mars.

The real Dan Morgan killed many men in cold blood, but the movie Dan Morgan and his boyfriend Billy are hippie Robin Hoods, shooting only when they must, robbing only the rich, tweaking their noses at capitalism, War, the whole military-industrial complex of 19th century Victoria.  They become celebrities.

One of their victims, Sergeant Smith (Bill Hunter), is so upset over the affront to his dignity that he vows vengeance.  He and Prison Superintendent Cobham (Frank Thring) send troops out to search for Dan and bring him back dead or alive, preferably dead. Their sadism barely conceals homoerotic desire of their own; at the end of the movie, everyone divides up Dan's body parts for souvenirs, and Cobham takes his sex organs.

There's a surprising amount of beefcake -- Billy, especially, gets some nice semi-nude shots.  And the gay symbolism and same-sex romance has to be seen to be believed.  Try to get the director's cut, not the censored version by Troma.