Five things I like and five that I don't like about "My Brother, the Minotaur." #5 involves backsides and Ely d*ck

  

Link to the n*de photos

My Brother the Minotaur (2026) is an Irish animated series about a minotaur boy named Lorcan being raised by humans.

In Greek mythology, the Minotaur is a monster, the offspring of Pasiphaë and a bull, hidden away in the Labyrinth and fed human youth, but here minotaurs are humanoid beings with massive torsos and bull-horns.

Lorcan's questions about his heritage become urgent as he enters his teen years, and begins experiencing rage, hardening horns (symbolic of something or other), and disturbing nightmares.  Meanwhile, strange things are happening in the village.  His younger brother Charlie helps him investigate.

After watching several episodes, here is my evaluation:

Things I like:

1. The animation is very impressive, with stone cottages and dark forests  drawn in loving detail. The Kilkenny-based Cartoon Saloon wanted something unique, different from what other teen cartoons were doing.

2. The Irish culture.  They live on Bryony Island, named after an indigenous clinging vine.  Lorcan means "fierce one" in Irish.  You see the Irish flag and currency.  

3. Antagonist Craignelder's son Wesley Junior (Elliot Grihault, top photo and below) feels guilty about his involvement in his father's evil schemes, and may be working toward becoming an ally.  He has a poster of a sword-and-sorcery muscleman on his bedroom wall, an easy-to-miss queer code.

4. Lorcan (Ely Solan, left) and his brother have two female friends, but they never pair off into romantic dyads.  Actually, the girls have a lesbian subtext relationship of their own.

5. Many of the voice cast are queer in real life or have played gay characters.  

Ely Solan (Lucan), age 28, has a girlfriend, but he also has some potential n*de pics online (on RG Beefcake and Boyfriends)

Billy Jenkins (Charlie, the brother, left) emphasized the queer undertones as the Artful Dodger in Oliver! on stage and the tv series Dodger.

Billie Boulet (Dana, the tall, thin female friend) emphasizes the queer undertones in Anne Frank's story in A Small Light.

Michael Sheen (Antagonist Craignelder) has played several gay characters, including Robbie Ross, Oscar Wilde's boyfriend, in Wilde (1997); the closeted Carlos in Nocturnal Animals (2016); and the angel Aziraphale, who is in love with the demon Crowley in Good Omens (2019).

Elliot Grihault (his son, Wesley Jr ) is reputedly gay in real life.

More after the break

"House of Guinness": Heirs to a beer empire in 1868 Ireland. With a gay brother, shirtless hunks, Irish hiphop, and a heck of a lot of d*cks

 

Link to the n*de dudes

I've been having trouble recently, beginning reviews of movies and tv shows and then not liking them, or when I like them, there's no gay representation or beefcake, so I can't review them here.   So this time I cheated by checked in advance: House of Guinness has a gay character, and lots of the actors have appeared n*de.

Episode 1 Prologue: Closeup of the beer-making process, with the ingredients, water, hops, and so on.  A sweaty bare-chested bloke adds the fire.  I like this tv series already.  Then comes family, money, and rebellion.  

Scene 1: St. James Gate, Dublin, 1868:  As Foreman Rafferty (James Norton, left) walks through the factory, a dude asks if there will be trouble today. Of course, there's always trouble with the Guinness Family. 

Outside, someone throws a beer bottle at the logo, and Prohibitionists burn an effigy of Benjamin Guinness: "A brewer of sin and debauchery!"  His funeral is today, and they are intent on preventing his procession from making it to the church.

The Temperance Movement was nearly as popular in 19th century Ireland as in the U.S., attributing almost all crime, poverty, disease, and insanity to alcohol consumption.  

Meanwhile, Fenian Leader Patrick (Seamus O'Hara) tells his followers than the Guiness heirs  are weak and divided, so this is a perfect time to free Ireland -- by attacking the funeral procession!  "Grab whatever weapons you can find, but spare the horses -- all horses are Catholic."

England occupied Ireland until 1922, forbidding the use of the Irish language, discriminating against Catholics, and promoting stereotypes that are still common today.  There were lots of revolts, rebellions, and terrorists acts, notably from the Fenian Brotherhood.

In the factory (very impressive set, lots of workers), Foreman Rafferty tells the men to arm themselves.  They have to fight to get the boss's corpse through to the church.

The battle is accompanied by the hiphop song "Get Your Brits Out," by Kneecap. Ordinarily I dislike contemporary music in a historical drama, but not when it's mostly in Irish:

Ach Stalford agus an DUP

Gach lá, taobh amuigh de mo theach

"Go back to Dublin if you want to rap"

Anois éist, I’m gonna say this once

Yous can all stay just don’t be c*nts

 

Scene 2: Iveagh House, the Guiness family home (built 1736, now the headquarters of the Department of Foreign Affairs and Trade).  Femme, decadent Edward (Louis Partridge) complains that his button-down conservative brother Arthur (Anthony Boyle) has been in London so long, he's lost his Irish accent.

The third brother, Benjamin (Finn O'Shea, top photo) is asleep on the couch, still hung over from one of his benders.

They discuss the hypocrisy of everyone pretending to grieve, when the Irish hated him, and the English are happy that he is gone: now they can manipulate the children.  

Sister Anne tells them to shush their bickering; it's time for the funeral, and they have to act like a civilized Christian family: "Decadent Edward, change your shirt. Drunken Benjamin, change into some clothes you haven't slept in. Conservative Arthur, just change." 

More after the break

Mikel Murfi: Intellectual, Avant-Garde Bulge

Speaking of Irish men that I want to see a lot more of:

I saw the movie The Last September (1999) because Elizabeth Bowen, who wrote the 1929 novel, often included gay-coded characters.  So I figured there would be gay subtexts.

It was set during the Irish War of Independence in 1920, when a wealthy Anglo-Irish family go through romantic intrigues against the backdrop of the political crisis. I didn't see much gay subtext.

But there's a three-scene minor character, Sergeant Wilson, who terrorizes and humiliates the Irish villagers.

They get revenge by kidnapping him, stripping him naked, and sexually assaulting him (off camera).  But there's a frontal nude shot.

You have to freeze frame to see it, but his beneath-the-belt gift is astounding. Easily Mortadella+.  Definitely deserving a place on my Sausage List.

Sergeant Wilson was played by Mikel Murfi (great name!).  The Internet Movie Database lists some screen appearances, mostly in Irish movies that I haven't seen: After Midnight (1990),  Guiltrip (1995), The Butcher Boy (1997).  

In 2014 he starred in Edwart and Arlette, a gender-bending take on the Sherlock Holmes story "The Adventure of the Cardboard Box."

Most of his work has been on stage, a lot of avant-garde theater, with some gay subtext potential:

The Man in Woman's Shoes: about a man walking to town to deliver a pair of shoes in rural Ireland in 1978.

Sick Dying Dead Buried Out: the relationship between two clowns who are dying.

Ballyturk: Two men (Mikel Murfi, Cilian Murphy) trapped in a room, don't know how they got there or how to get out..

Murfi has also produced and directed a lot of avant garde plays through his theater company, Barabbas.  He's particularly interested in works that invoke the spirit of playwright Samuel Beckett.

And, apparently, have gay subtext potential.

The Country Girls: two girls from the west of Ireland in the 1950s have a relationship.

The Last Days of Ollie Deasey: a man searches through Ireland for his long-lost father.

Penelope: four men at the bottom of a swimming pool wait to die.

Knowing that he's done so much intellectual creative work, it's rather embarrassing to be thinking about something so mundane as Murfi's package.

But it was a magnificent sight.