You know you've been waiting for pics of Adam DeVine's divine d...k

 

In case you're interested (and who isn't interested?), Adam Devine has gifted us with lots of rear nudity, some "humiliation" covering-genitals shots, and, in two movies, full frontals:

I can't show the frontal (or rear) nudity here, but follow this link to Tales of West Hollywood

David Macklin: The Boy with Something Extra

I don't remember much from 1965, when we were living in Racine, Wisconsin, but I remember my dismal, depressing 5th birthday on November 19th.  My mother and I were both sick.

I got a Tell-the-Time Clock with a smiley face and gloves on its hands, but I was too sick to play with it.  There wasn't any cake.  I sat on the couch, sipping 7-Up and watching tv.  First The Flintstones, and then Tammy, with a sugary mawdlin song that's still etched into my brain.

I hear the cottonwoods whisperin' above.
Tammy--Tammy-Tammy's in love.

It was a hayseed sitcom (1965-66) about a bayou gal who becomes the secretary for a powerful industrialist and sets her sights on his fey son.

An earlier movie series (1957, 1961, 1963) had the bayou gal (Debbie Reynolds, Sandra Dee) bringing joie de vivre to effete city folk, and meanwhile falling in love with a different rich boy in each installment (Leslie Nielsen, John Gavin, Peter Fonda).  The theme song peaked at #1 on the pop charts in 1957.

My parents liked it so much that they named my sister "Tammy."

I hated the song (maybe because my father sang it at random moments for the next twenty years), but I liked the tv show, because Tammy was courting a boy (David Macklin) who didn't really like girls.  He was just playing along.

And he obviously had something extra beneath the belt.


David Macklin popped up again and again during my childhood.  A teen surfer on Gidget (1966).  A fratboy on The Munsters (1966).  A hippie on Ironside (1968). An abused rich kid on Cannon (1973). A boy who hosts his visiting aunt without realizing that she's dead on The Twilight Zone (1960, but I saw it around 1974).

His characters never liked girls, unless they were forced to, and he had a thin, haughty face and haunted eyes that made him look like he knew about the Tripods.

You never saw David nude, or even shirtless, but if you looked closely, you could tell that he belonged to the Burt Ward, Frank Gorshin, and Ken Clark club of beneath-the-belt hugeness.





He had only a few significant movie roles.  In The Young Animals (1968), new kid in town Tony (Tom Nardino, who would go on to star in the gay-themed Siege) tries to make peace between warring gangs, especially the white gang led by Bruce (David).  The Mexican was led by Paco (Zooey Hall, who would go on to star in the gay-themed Fortune and Men's Eyes with Sal Mineo).  I haven't seen it, but apparently there's some substantial gay subtexts.

Welcome to Arrow Beach (1974) is about a brother and sister who eat people.  David plays a hospital orderly who stumbles onto their nefarious plot.

David disappeared from the screen in the 1980s.  Today he lives in Albuquerque, New Mexico, where he makes ceramics, collects Sherlock Holmes memorability (especially involving Basil Rathbone), and teaches acting.  He also runs a yahoo group for movie fans, where he often publicizes issues of gay and lesbian interest.

Maybe he's gay.  His characters were gay enough for a 5 year old.

Alley Oop: The Time-Traveling Cave Man

When I was a kid in the 1960s and 1970s, the comics page of the Rock Island Argus was dismal -- no Peanuts, no Dennis the Menace, no Wizard of Id.  The Dispatch from the town next door got them, so all we had were bargain-basement knockoffs (like Winthrop) and relics from the Depression era that made no sense (like Out Our Way). The Golden Age of Newspaper Comics  (Little Nemo, Krazy Kat,  Buck Rogers) was thirty years past, and the Second Golden Age (Foxtrot, Pearls before Swine, Get Fuzzy) still thirty years in the future.

But at least there was some beefcake in Prince Valiant. And  I was intrigued by a cave man, square-headed, superbly muscled, with massive biceps and flat 8-pack abs, being held captive in a Middle Eastern palace.

What was a cave man doing in the Islamic Middle Ages?  Or in ancient Egypt, or among the Aztecs, or in the Wild West?


Eventually I discovered that the cave man was named Alley Oop, created in 1932 by V. T. Hamlin for a wacky-adventure strip set in a dinosaur-human prehistory (as in The Flintstones). But in 1939 he was zapped into the future by the grizzled Doctor Wonmug (a play on Einstein) and the young, black-haired G. Oscar Boom.  Unfazed by culture shock, Oop became a time-traveling research assistant for the duo, checking out whatever historical period the cartoonist found interesting.

Back in the prehistoric kingdom of Moo, Oop had a girlfriend, Oola; but during his time traveling adventures, he bonded mostly with men.  Often they were also semi-nude, with loving attention paid to their pecs and abs.

Oscar accompanied Oop on many of his adventures, sometimes an antagonist, sometimes a buddy.


At its heyday, the strip was a phenomenon, producing games, toys, Big-Little Books, comic books, and even a song, "Alley Oop," which charted at #15 in 1960. It still appears in 600 newspapers.  Modern continuities tend to bring Oola along as Oop's co-adventurer, but that doesn't eliminate the buddy-bonding.

Beefcake and Bonding in the Green Library

When I was studying French in high school,  if I ever tired of Tintin, Alix and Enak, Corentin, and Spirou and Fantasio, I could move on to the small square children's books published by the Librairie Hachette, the Bibliotheque Rose (pink) for humor and the Bibliotheque Verte (green) for action/adventure.

I preferred the green, especially Georges Bayard's Michel series, about a 15-year old and his older brother who sleuthed like the Hardy Boys (Michel a Rome, Michel en plongee, Michel et Monsieur X, etc.)  Except there were more kidnappings and last-minute rescues than the Hardy Boys faced, more stories set on boats and at the beach, and  unlike the American adventure boy series of the 1940s and 1950s  Hachette was not skimpy on the beefcake.  He was as physique-intensive as the British boys annuals.  Apparently being a teen sleuth gives you a magnificent physique.

I also liked the Italian street urchin of David Daniell's "By Jiminy" books in his French translation, Cricketto (Cricketto de Napoli, Cricketto et le petite prince, Cricketto dans la foret vierge, and so on).  He became a lean, muscular teenager, who adventured and buddy-bonded with his older friend and benefactor, Tom Trevor.  The illustrations favored black speedos for Tom and red for Cricketto.

Willis Lindquist's Haji of the Elephants is about a young Indian mahout and his Western boyfriend, in the tradition of Sabu, Jonny and Hadji, and Terry and Raji.  But in the French translation, they both became teenagers in dhotis with beautifully drawn chests and shoulders.

Rene Guillot wrote many juvenile adventure stories about massive Tarzans raised in the wilderness, such as Le Chef au masque d'or. 

And I can't even begin to count the homoerotic subtexts in Philippe Ebly's "Conquerants de l'Impossible" series, about three buffed, eternally shirtless teenagers from different time periods: Serge (modern France), Xolotl (Aztec Mexico), and Thibault (Medieval France).  They band together in a complex plot arc that decides the fate of worlds, while never so much as looking at a girl.

Ebly also wrote the "Evades du temps" series (Time Runaways), about two  teenagers, Thierry and Didier, who are hiking through a mysterious woods when they become unstuck in time, like Paul in Spellbinder.  They meet the prehistoric teenager Kouroun, who doesn't own a shirt, and band together to fight supernatural enemies and look for a way home.

They even had gay-themed novels, such as Pierre Loti's Iceland Fisherman.

I wonder if my French teacher noticed that I only borrowed the books with the beefcake covers.

In college I discovered a whole new collection, the Signe de Piste.

Salem's Lot

Speaking of Lance Kerwin, he offers a strong same-sex romance in Salem’s Lot (1979), based on the Stephen King novel.  When failed writer Ben Mears (former Starsky and Hutch hunk David Soul) returns to his home town of Jerusalem’s Lot, Maine to exorcise his demons, he demonstrates that he is heterosexual by dating a glamorous art teacher (Bonnie Bedelia), but mostly he bonds with middle-aged men, the town doctor and his former English teacher.  Meanwhile, local teenager Mark Petrie (Lance Kerwin) finds that his love of theater, art, and his best friend Danny makes him an outcast in his small town. Go figure.

Ben immediately notices Mark and asks who he is, but he never gets the nerve to speak to him.  They stare wide-eyed at each other, but each looks away when the other turns.  Later, at an antique shop, they meet each other’s gaze, and each pauses as if waiting for the other to speak.  Ben smiles shyly: he is determined to wait for Mark to make the first move.  But the teenager quickly rushes on.

Soon the boys and young men of Salem’s Lot start disappearing, or dying of pernicious anemia, and returning with glowing eyes and fangs.  Even though the hard-bodied handiman Mike (Geoffrey Lewis) grows fangs after the English teacher invites him home for the night, most of the suspicion falls upon the elderly owner of the antique shop, and upon Ben himself, who was a child during a previous run of boy-murders.  However, the real culprit turns out to be Mr. Barlow, a blue-faced Nosferatu who likes to bite boys.

The heavy-handed association of vampirism and pedophilia, absent in the original novel, adds a cringe-factor to Ben and Mark’s erotic intensity.  One wonders why director Tobe Hopper didn’t cut the endless longing gazes and have Ben take a big-brotherly interest in Mark.  Surely in 181 minutes there's enough time for scenes with the two of them throwing a football around or going to a monster movie.

Or else cast Mark with someone much younger.  In the novel he is 11,  one of Stephen King’s stable of wounded outsider boys seeking replacements for fathers who are distant, dead, or psychotic killers.  But Lance Kerwin is 19, obviously an adult, not a child, and obviously in the market for a boyfriend, not a big brother.

And the wounded Ben, desperately seeking approval from father figures of his own, is pitiably unfit to be a big brother.  His mute, inept attempts at connecting with Mark suggest that he is fighting an attraction that he himself finds deeply distressing.

The climactic scene nicely combines staking vampires with staving off same-sex desire.  Ben goes to a standard crumbing, evil mansion outside of town to confront Barlow, and Mark, who was captured and tied up earlier, now escapes and literally bumps into him on the front porch.  They grab at each other: after three hours of staring, they are finally touching!

Horrified (but not shrinking away), Ben shouts “Run as fast as you can, and keep running!”  Ostensibly he wants to protect the boy from vampires, but Mark has just demonstrated that he can take care of himself.  Ben’s urgency seems precipitated more by the touch: perhaps it brought his hidden passion dangerously close to the surface.    

After Ben goes into the house, Mark waits on the porch for a moment, but he cannot run away: taking the initiative in their relationship, he confronts Ben in the crumbling drawing room.  “I told you to go!” Ben shouts.  “No!” Mark shouts back. He is not going anywhere.

Seething with rage and passion, they stand face to face, inches apart.  They must either fight or kiss.  Are they still thinking about vampires?

But then they are distracted by the gruesome death of the town doctor, the last of Ben’s old mentors.  It is time for Ben to grow up. The rest of the scene involves only a few words of dialogue, mostly “Mark!” and “Ben!”, as they stake Barlow, set the town on fire to “cleanse it” of the other vampires (the human residents have all fled), and head south in Ben’s land rover.

Two years later, they are living together in Guatemala (the surviving vampires are out for revenge, so they have to keep moving).  Both blond, tanned, and grungy, they could be brothers, but their unselfconscious touching of hands denote lovers.

One night the glamorous art teacher re-appears, a vampire with glowing eyes and fangs, and Ben stakes her.
We might conclude that Ben has finally exorcised the last of his heterosexual demons, that homoerotic love wins – except that the dread with which he first approached Mark has not subsided.  They have never relaxed and gotten to know each other.  In the novel, Ben wakes from an nightmare calling Mark’s name, and when he asks “Do you love me?”, Mark responds with a hug .  But here the two are still strangers, together out of necessity rather than love.

Salem’s Lot fails because Mark and Ben cannot express a coherent relationship. They are of the wrong ages to be substitute parent and child, they never establish a homosocial friendship, and their wide-eyed stares of unstated attraction never give way to tenderness or intimacy.  Both of the actors were comfortable with the possibility of same-sex desire. But the director linked same-sex desire too inextricably linked to pedophilia, vampirism, and dark sinister secrets to allow the love between Mark and Ben to ever break out into the light of day.

Nude Photos of Stephen Dorff

 Stephen Dorff appeared in Episode 3.1 of The Righteous Gemstones as Vance Simkins, one of the three Simpkins siblings, arch-rivals of the Gemstones.  He hasn't done much since, but hopefully he'll be around -- and shirtless -- at some point in future episodes.

Stephen Dorff has been a Hollywood hunk and dramatic and comedic staple for 40 year.  Go through his list of acting credits on the IMDB and count the movies and tv shows you haven't seen -- it will be easier. I remember his 1990s work most fondly: S.F.W,, I Shot Andy Warhol, City of Industry, Blade, Cecil B. Demented.  A surprising number of gay and otherwise queer characters.

In a 2006 interview, Dorff said that he's surprised he's not gay because when he was young, he liked to watch women...getting dressed?  Wait --why would a young gay boy want to see naked ladies?

He has displayed his chest and butt in a number of movies, and there is an extensive frontal scene in Shadowboxer (2005). 

The full post is on Righteous Gemstones Beefcake and Boyfriends