A Queer Reading of Taylor Swift’s Look What You Made Me Do

Last week when Taylor Swift’s new single Look What You Made Me Do hit the airways, I was devastated. While the album name ‘Reputation’ seemed promising, the lyric video seemed to confirm that Tayswi – Queen of the Secret Lesbian Club of Hollywood – was only interested in making a petty jab at Kanye West via a mostly terrible pop song. My god, I thought. Is Taylor just completely basic? 

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Please never watch the lyric video. Ever.

But when the new video directed by Joseph Khan dropped, all of my doubts perished, because THIS IS WITHOUT A DOUBT THE GAYEST TAYSWI VIDEO OF ALL TIME. (And by gayest of course I mean open to a queer reading i.e. seeing things sideways, and reading LGBTQ themes into things). Unsurprisingly the mainstream media are calling this Tayswi’s “shade” video which is simply about mocking all of her haters. They are entirely skimming over all the gay bits that they can’t make sense of (never mind that queers invented shade).

So bear with me for the incredibly long journey that is a queer reading (or really, just the most obvious and true and direct reading) of LWYMMD…

The opening shots lead us to a graveyard:

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This is surely an obvious story about Taylor’s trashed reputation, no?

Well, we are also immediately reminded of Leo Bersani’s famous paper Is the Rectum a Grave?, written in 1987 at the time when the peak of the AIDs crisis was unfolding in the USA. In Bersani’s paper he tracks the homophobic response to AIDS, but also how misogyny is also implicated in homophobia, where femininity is conflated with the “passive” bottom position in gay male sex. Bersani urges us to embrace the subordinate feminine/homosexual position as a way to contest and shatter hierarchies of power.

Here we see Taylor trying to “bury” her gaping grave that reveals her vulnerability/femininity/homosexuality:

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At the bottom of the grave we see 2014 circa Swift in her Met Ball gown, the same year of the peak rumours that her and Karlie Kloss were in a relationship:

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Much like the imagery of the video for Bad Blood (also directed by Khan) we appear to be transported to an “underground” world. We might recall that in that clip the underground involved an Amazonian-like alternate reality:

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But in this underground, Taylor isn’t fighting, she’s in a bath full of diamonds:

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While diamonds symbolise wealth, she’s not sitting in a pit of money – most clearly here we are called to think of Marilyn Monroe’s Diamonds are a Girl’s Best Friend:

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Not only was Monroe herself a famously closeted gay icon, the original song has some rather queer lyrics: “Time rolls on/And youth is gone/ And you can’t straighten up when you bend”.

Taylor’s bath is also in the centre of a room full of mirrors, recalling the saying “hall of mirrors” where one is not able to distinguish fact from fiction. But we also need to recall the intertextual reference to her earlier clip for Style, which is all about duality:

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We might also note the rainbows evident in this clip:

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And the tension between the internal masculine/feminine:

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A theme which is also represented in Bad Blood:

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But back to LWYMMD, we are met with our first glimpse of snakes:

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Which are mostly obviously a reference to Kimye’s attack on Taylor after the Famous shenanigan. BUT what about the fact that snakes appear on Taylor’s hands in a lot of her earlier video clips? For example, Style:

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Shake it Off:

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And Blank Space:

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The fact that Taylor wears many of these snakes as rings is also significant in light of her earlier ring choices, notably the fleur-de-lis of Our Song, representing chastity:

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So, Taylor has gone from a symbol of chastity, to snakes, which coincidentally are strongly associated with sexuality due to that whole Adam-and-Eve-snake-incident-thing. In other words, snakes are traditionally understood as representing sexual power. For Freud snakes were a symbol of male sexual drive, but lesbian culture has also embraced the snake namely in reference to the ancient matriarchal Minoan society symbolised by the “Snake Goddess”:

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We then see that Taylor is indeed positioning herself as snake queen:

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But she’s not only queen of snakes i.e. queen of sexual power, she’s drinking tea:

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Which seems kind of random UNTIL we recall that tea is associated with the gay community as Urban Dictionary defines: “Used within the urban gay community, ‘tea’ signifies a piece of sensitive and possibly highly sought-after information or tidbit”. Or, as A.J. Musser has argued: “While I do not want to argue that tea functions as the sign of lesbianism, it does serve as one among a collection of possible signs of female queerness”. So, here the tea drinking is not only about recalling a secret, it is a nod to lesbian stereotypes. In light of this we might see the “et tu Brute” chiselled into the columns as not only referencing Kanye as a backstabber, but perhaps also calling him out of the closet – i.e. “and you, Kanye?”

Next up it’s Taylor in an epic golden car crash, and as everyone has pointed out, she looks just like Katy Perry (but holding the grammy Katy doesn’t have – so shady):

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Up until recently the reason behind Katy and Taylor’s famous feud wasn’t known. Katy has since explained that it was about backing dancers. Are we really to believe that Taylor wrote Bad Blood, which features the lyrics “You know it used to be mad love” just because of a fight about backing dancers?

Maybe Taylor is trying to reference Judith Butler’s theory of gender melancholy here – you become what you cannot love…(And, not to mention that Katy came out earlier this year).

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We then see Taylor the caged bird, calling to mind Maya Angelou’s I Know Why the Caged Bird Sings, which explores questions of lesbianism among other themes. We might also note that Taylor is in an orange jumpsuit behind bars, a la Orange is the New Black.

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But importantly, Taylor’s “feast” in the cage involves a lobster and a rat:

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While rats are symbolic of new beginnings, and lobsters also represent regeneration, “lobster” is slang for “lesbian”.

We are then taken to scenes of Taylor robbing what appears to be a music streaming company. But this isn’t just about her feud with Apple, she’s also sporting the very pansexual slogan “BLIND FOR LOVE” amongst a bevy of cats/pussies:

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Of course Taylor has been upfront about her obsession with cats for some time (also a lesbian stereotype), as we see in early videos such as 22 (where she just happens to be hugging a woman while making a “V” sign…):

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And lobsters/cats aren’t the only animal symbolism Taylor has used in videos – remember that beaver from We Are Never Ever Getting Back Together who (along with a random woman) beckons Taylor away from her bed/phone call with her boyfriend?

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Back in LWYMMD, things take a turn for the extra gay, with Taylor referencing Dykes on Bikes (a lesbian pride group which began in San Francisco in the 1970s):

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While some have suggested this is undoubtably a reference to Peter Lindberg’s “Wild at Heart” shoot for Vogue in 1991, there is no doubt that the inspiration for that was this:

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We then see Taylor as the dominatrix leader of a “squad” of plastic women (note the cats also on screen – it’s her “pussy squad”), in reference to her infamous girl gang groupies:

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While the figure of “dominatrix” has its own overt sexual connotations, the imagery (as Every Outfit on SATC has pointed out) is clearly referencing the 2016 horror film Neon Demon:

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WHICH notoriously includes an extended scene involving lesbian necrophilia.

Taylor then bursts in to the metaphorical closet:

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Which also calls to mind the “door” in her clip for Fifteen where she is 800% in love with a girl and is just a completely gay story for real (lyrics include “you might find who you’re supposed to be…take a deep breath and walk through the doors”):

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In the LWYMMD closet she doesn’t meet her teen girl crush, but rather a crew of effeminate men in heels, including the notable and openly gay Todrick Hall. A lot of commentators have pointed to the “I ❤ T.S.” on the men’s shirts as a jab at Taylor’s supposed ex-boyfriend Tom Hiddleston who wore a similar shirt when they were said to be dating:

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But I think the real takeaway message here is the association between those who declare their love for Taylor, and being gay/closeted. In other words this whole scene is about Taylor’s beards.

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The finale is Taylor standing on a pile of warring alter-egos (and of course the “T” referencing not only “Taylor” but the “tea” earlier in the clip):

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Up the front we have Taylor in her Swan Lake outfit from Shake it Off, and given that this particular character was chosen out of a cast of many from that particular clip, we might also see this as a reference to the lesbian horror (see a theme here?) film Black Swan:

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With feminine horror also referenced in Taylor’s outfit as she saws the wings off a phallic aeroplane:

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In the final scene Taylor once again meets the many sides of “herself”:

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A theme of self-confrontation we have also seen in earlier clips like Out of the Woods:

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But while Taylor’s previous clips have been about “finding” herself, it is clear in LWYMMD that we the audience have not yet found the “true” Taylor.

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Or, maybe she’s all and none of these characters. Maybe she’s been trying to flag her sexuality for the longest time, with her snake rings, masculine internal duality, tea, rainbows, closet doors, lobsters, beavers and cats. I guess only time, and the rest of Reputation may tell.

(Thanks also to Clare S for helping with this piece, specifically the research on lesbians and tea). 

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Film Review: First Girl I Loved

When you are a teenager, having a crush can be truly agonising and all-consuming. It’s equal parts thrill and terror when your feelings are reciprocated, as you innocently try to work out how to turn those feelings into a relationship. But, if you happen to be a heterosexual couple while you’re navigating all this, there are endless guides on how you should act and your partnership is symbolically celebrated every day in songs, TV shows and movies. That’s why a First Girl I Loved is unusual, and so very welcome. Unlike 99.9% of films produced on the topic of love, it is unashamedly gay, even as it works through how shame feels if you are gay.

Written and directed by Kerem Sanga, First Girl I Loved is a smart, affirming film about teenage love. Dylan Gelula  plays Anne, who has fallen for senior cool-girl/softball star Sasha, played by Brianna Hildebrand. We follow Anne and Sasha as they try and figure out what the unspoken spark between them might mean, and what it could possibly lead to. Anne’s best friend Clifton, played by Mateo Arias, complicates the story with his own feelings for Anne spilling out in dangerous ways.

FirstGirlILoved_Promotional_Still_AN_CL_stairsWhile the closure of the film was a little clunky (and I wondered if they actually had a few different endings in mind), overall First Girl I Loved is utterly engrossing. The opening scenes are framed tightly and closely around the protagonists, and we remain at eye level, almost as if we are right there with them – behind the softball fence, lingering at the doorway to the bedroom, walking down the street sipping $4 wine. We’re next to them all the way, not as a voyeur, but as a friend along for the ride.

26-first-girl-i-loved.w1200.h630Gelula’s performance is very commendable. She strikes a delicate balance between unbearable apathetic teen, and captivating hero that we want to succeed. Through Anne we see just how brilliant and strong teens can be, even if they’re totally clueless. Teens are often denigrated by society writ-large for being naive, but First Girl I Loved shows the pain and beauty of fumbling through, the intelligence involved in not knowing but pushing on nonetheless. The awkward innocence of Anne and Sasha’s interactions is wonderfully executed, and there was something so familiar about their veiled giggling banter that I felt like I was watching my young self up on screen.

1As I sat watching the film unfold, I found myself desperately wanting things to work out for the characters. I wanted it to end happily not only because I was so engrossed in the story, but because happy endings for gay characters are so few and far between. It’s been great to see more films coming out that address romance between women, like Lovesong in 2016 or Carol in 2015, but many remain stories about tortured, impossible love, or a love that’s always on the horizon that we never get to see fully flourish. That’s why Imagine Me & You from 2005 is still one of the greatest lesbian romance films – not only does it relish in the genre of romcom rather than locating gayness in the seriousness of arthouse, but it moves through unspoken desire to love shouted from the rooftops.

First.Girl_.I.Loved-szn1While I can imagine some queer theorists arguing that the lack of traditionally happy endings for gay films is welcome, because who wants to live up to that heteronormative expectation anyway, it’s also pretty shit to constantly have popular culture either ignore your relationship or portray it is an inevitably difficult affair. While there is something to be said for representing the reality of homophobia and the difficulty of queer life, it is a pain that everyone else gets the option of fantasy (because let’s be real it’s not like heterosexual life really ends happily for everyone) except for gays who must remain proper realists.

The-First-Girl-I-LovedFirst Girl I Loved is no romcom, and it is serious. But it does manage to deal with difficult issues and give us a sense of both catharsis and hope, even as it leaves many things unresolved. It doesn’t make the empty promise that so many teens are barraged with that “it gets better”, but it does suggest that queer kin can be found and that inner strength is possible while traversing difficult and unknown terrain. First Girl I Loved gifts its audience a small beam of light for navigating this path, and for that it should be celebrated.

A Tale of Beards and Lavender: Imagining the Secret Lesbian Club of Hollywood

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My Internet history is a Snow/Kendrick love fest

It’s strange, but true: at least once a week I sit down and Google the celebrities I think might be not-straight. There’s Anna Kendrick and Brittany Snow (hoping the Bechloe romance of Pitch Perfect finally comes true), Leighton Meester (sure she married Adam Brody but…), Naomi Watts, and Emma Stone (to name a few). Up until fairly recently Ellen Page, Miley Cyrus and Kristen Stewart were also on my list. They make up what I like to imagine is the “Secret Lesbian Club” of Hollywood. In my mind, this is basically an underground ring of awesome gays who like to get together fairly frequently to watch Bound, talk about butch/femme aesthetic, read gender studies texts, and figure out ways to insert queer subtext into their work. And who do I imagine is at the centre of it all? Taylor Swift of course.

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Life is more interesting through a rainbow filter

Some might say this is wishful thinking. But the thing is, when you spend most of your days thinking queerly (that is, making the familiar strange, particularly with regard to sexuality and gender), you can’t help but see the world through rainbow glasses. It seems to me that “normal” is entirely a fiction, and everyone is a lot queerer than all that. That doesn’t mean there aren’t people with “opposite-sex” or “heterosexual” desires, but just that: a) what we ordinarily make of pairings along these lines belies the complexity of human experience; and b) a lot of people are probably a lot less distinctly straight (or gay) than assumed. With this in mind I look to Hollywood, which produces so many of the cultural texts we consume that show visions of a perfectly normative heterosexual life. I spend much of my time—as is tradition in queer theory—re-reading texts differently, to uncover the hidden queer subtext in popular culture. So, why not re-read the lives of actors themselves, given that we can be 99% sure that the narratives produced about them by tabloids and other press are also entirely fiction?

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Taylor Swift

For me Taylor Swift is the perfect example of someone we ought to re-read, because she is held up as the epitome of the normal, wholesome heterosexual girl of today. For one thing, she made her debut on the country music scene, which is notoriously unfriendly to the gays—despite producing a bevy of flamboyant stars who epitomise the queer concept of “camp” aesthetic (Dolly Parton, for example). The boy crushes of Swift are heavily interrogated in the media, and her relationships with women are (for the most part) understood as purely platonic. However, if you look a little closer, we can see a queer subtext in Swift’s life and oeuvre that suggests a rather more fluid expression of desire. Here are a few things to note:

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It just doesn’t look fun for anyone

She dated Taylor Lautner and it was really awkward
There is no doubt that it is common practice in Hollywood for studios to pair stars up for promotional purposes. This is referred to as “showmance”. But there is also the well-known though little-discussed practice of “bearding” (typically this refers to setting up gay male actors with female stars) or in extreme cases “lavender marriage” where the charade involves putting a ring on it (Rock Hudson is one well-noted example). We can’t be sure whether is was a bearding scenario when Swift and Lautner got together, but they sure were very showy yet extremely uncomfortable together.

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Having a much better time

She used to have a pretty intense relationship with her violinist
During her country music days, Swift toured with a band which included violinist Caitlin Evanson for eight years. Unlike those Taylor x Taylor pics, Taylor and her violinist had sparks galore. Evanson, who is ten years older than Swift once commented, “Taylor is a 40 year old in a 19 years olds body”, which is just the kind of thing you’d expect an older girlfriend to say about their younger lover.

23C707C900000578-0-image-a-68_1417800412246There was that time she apparently kissed Karlie Kloss
Karlie Kloss is supposed to be the closest of Swift’s girl-clan, and in 2014 they were spotted kissing at a club. The photos are pretty dodgy and might well be fake. But I include this point here because it started a bunch of rumours about Swift’s sexuality, which is important for the next point.

Her song “New Romantics” is probably about being more than straight
taylor-swift_240822_top.jpgSwift’s new single off 1989 includes a number of lyrics that reflect a queer subtext. These include:
1.”We show off our different scarlet letters— Trust me, mine is better”: given that scarlet letters refer to adultery, Swift is basically saying here “I’ve got other partners but they’re not who you expect”.
2. “We team up then switch sides like a record changer”: note here that Swift doesn’t seem to be just referring to switching partners, but switching sides.
3. “The rumors are terrible and cruel/But, honey, most of them are true”: this might be referring to the gay rumours as noted above.
4. “And every day is like a battle/But every night with us is like a dream”: this suggests an outside persona that clashes with what goes on behind closed doors, specifically with a partner.
5. “The best people in life are free”: this might refer to the practice of studios paying for beards. Swift is saying, the best people in life are not the ones you get contractually set up with.

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Swift romancing with Calvin Harris on her Instagram

“I Know Places” is about secret love
One thing you can say about Swift’s hetero romances, is that they are very very public. Instagram pictures posted by Swift, hundreds of photos in gossip magazines, TV interviews, and so on. However this song from 1989 refers to a love that Swift must hide away. The song also starts with “You stand with your hand on my waist line/It’s a scene and we’re out here in plain sight”, which suggests a romance that might not be perceived as one at first. This might be a reference to that phenomenon that people will believe anything before they believe you’re in a gay relationship—i.e. “oh, you’re sisters?” or “you guys are such cute best friends” etc.

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Unfortunately it actually is a big deal because openly queer stars don’t get jobs

Let’s be clear here: I don’t want to essentialise sexuality, like it’s some nugget of “truth” that can simply be unearthed like a buried crystal. But I do think there is some benefit in cracking open what is considered normal, so that we can begin to see how this is really just a fiction that *no one* lives up to. This also isn’t to condemn those who do not “come out” of the proverbial closet, because we ought to realise that attempting to live up to the fiction of normality is often enacted as a mode of survival. The horrible reality is that once stars come out they can’t survive easily in Hollywood. Among others, Ellen Page has talked about how she has struggled to get parts playing straight characters since publicly declaring her sexuality.

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Okay so my analysis sounds a lot like this trashy magazine…but the conclusion is that if we refuse the idea of “normal” then this romance isn’t actually”shocking” at all

In any case, you might be thinking: why care about Taylor Swift’s sexuality anyway—shouldn’t that be none of our business? Fair point. Perhaps when you apply a queer “re-reading” to real people it can all get a little…gossipy. Despite this, I continue to hold onto the fantasy that our icons of culture aren’t all that straight and narrow. I think I care so much because I grew up looking and acting pretty heteronormative, and was treated as such. But while I had mad crushes on boys and aspired to extreme girliness in aesthetic, my desires were not simply straight. I had girl crushes too, I just didn’t know how to make sense of my complex range of feelings. I guess that’s why I hang onto the idea that there’s a Secret Lesbian Club in Hollywood, headed by the girliest boy-mad celebrity of all…because in that alternate universe, sexuality might be hidden but it sure isn’t black and white.

 

Scourge of the Girl Crush: 7 Nearly-Gay Movies

Sam Frost and Lisa Hyde 4EVA

Sam Frost and Lisa Hyde 4EVA

I have this habit of erasing straightness from movies and TV shows, to the extent that I often remember things as explicitly gay, when really there’s heteroromance as a main focus. For example, in this year’s series of The Bachelor on Australian television, I was convinced that the main man Blake was gay, and that his top two women left at the end – Sam and Lisa – were in love (I still stalk their Instagram accounts and hold to this theory). When it all went to crap, I couldn’t help thinking it was probably because everyone was gay, and the new girl Blake picked was just the only one willing to be his beard.

It's like this see

It’s like this see

I was recently asked by a friend why I was so insistent on seeing queerness in straight romances, like, isn’t this some kind of reverse homophobia?! I answered that there are is so little queerness represented in the mainstream that by default I see queer storylines in some kind of attempt to open up space. As Jill Mackey writes about seeing the gay in the straight:

Despite [the] dearth of honest representations of ourselves and our lives, lesbians continue to see mainstream films, and we make up for the lack of representation of ourselves by “reading against the grain” for representations of women that we might appropriate and interpret as signs of lesbian love and desire

I'll save the queer reading of Princess Bride for another time

But I’ll save the queer reading of Princess Bride for another time

Of course I don’t see every romance this way and there are some “straight” partnerships I definitely love – Buttercup and Wesley, Elizabeth and Darcy and all of Love Actually, for example. But in many movies, I just can’t help seeing epic romances between the female characters, which leaves me in a state of perpetual disappointment and/or simply mis-remembering the endings (always tricking myself that the fanfic in my head actually happened). Adding to my angst is the fact that many films try and pass off any possible queer vibes as simple non-threatening “girl crushes” instead. This makes me pretty mad, because it suggests that there is a “safe” way for women to be nearly-queer, while still asserting an explicitly “no-homo” sentiment (many “bromances” also promote the message of safely-not-gay).

So, entertaining a mix of both delight and disappointment, here’s a rundown of my top seven nearly-gay-girl-couples (spoilers ahead):

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“We got played by the same guy… do you want vodka or tequila?”

7. Carly and Kate, The Other Woman
The Other Woman
has an interesting premise – when Carly finds out that she’s actually the mistress of the man she’s been dating, she becomes unlikely friends with his wife Kate (and they team up to do awful things to him). The movie explores their burgeoning friendship and (if you ask me) there is a great deal of homoeroticism in their unintended ménage à trois, particularly when they discuss their desire to still have sex with the cheating guy, yet “withhold” for each other. All I’m saying is that there is a lot of sexual tension, drunken rollicking and under-wedding-skirt action. But really for me the unacknowledged love between the two women is cemented when Carly “falls” for Kate’s handsome yet fairly two-dimensional brother. It’s like seeing her choose to take the second prize in a raffle. The bro don’t cut it.

"You are more beautiful than Cinderella! You smell like pine needles, and have a face like sunshine"

“You are more beautiful than Cinderella! You smell like pine needles, and have a face like sunshine”

6. Rita and Becca, Bridesmaids
This one’s not quite as painful, because really the lesbian themes are pretty overt, so it’s not so much about reading into things as celebrating a minor storyline. These guys have a serious crush on each other, and the femme-on-femme action couldn’t be better. In fact I love them so much I can’t even remember how this storyline ends, despite seeing the film several times. I think they go back to their husbands, but in my head they get shacked up in Vegas. My only wish is that there was a lot more of the film dedicated to them and I’m still hoping for a gay wedding spin-off.

"A woman's touch can quickly fill the empty flower boxes on a window sill. One smile from her and zoom, little buds begin to bloom

“A woman’s touch can quickly fill the empty flower boxes on a window sill. One smile from her and zoom, little buds begin to bloom”

5. Katie and Calamity, Calamity Jane
What can I say about these two? They move to a hut in the wilderness and dance around singing a song called “A Woman’s Touch”. About how good the touch of a woman is. Yeah. At the end the Hollywood producers stick a weird double wedding scene in there where Katie and Calam marry some forgettable guys, but it’s pretty hard to believe. Did I mention that Calamity also sings at length about her “Secret Love“? Mmm. 

"It's time to see what I can do. To test the limits and break through. No right, no wrong, no rules for me I'm free!"

“It’s time to see what I can do. To test the limits and break through. No right, no wrong, no rules for me I’m free!”

4. Anna and Elsa, Frozen
Okay, stay with me on this one. I *get* that Elsa and Anna are sisters, but the queer themes here are out of control. I mean it’s really nice to see sisterly love represented as “true love” instead of romantic love, but it’s hard to overlook the intensely gay themes of the film. Funnily enough, when Frozen came out and was lambasted by a bunch of right-wing religious nut jobs, I agreed with their readings of the film as super gay (but obviously disagreed with the conclusion that this was a bad thing). The way I see it, there was some serious Freudian taboo stuff represented at the beginning when Anna gets “touched” by Elsa (representative of the sexual exploration that children do), but then Elsa is forced to hide her queer touch. When she runs away to the mountains and sings “Let it Go” it definitely smacks of coming out of the closet (plus she femmes up like a super high femme of excellence). Olaf the camp snowman is like a concrete manifestation of her queer desire, and not surprisingly turns up at the beginning, but doesn’t come to life until Elsa “comes out”.

"I just wanna meet I guy I like as much as you"

“I just wanna meet I guy I like as much as you”

3. Paige and Sasha, Life Partners
This movie is painful because it follows the story of Sasha, an openly lesbian woman (representation – tick), who is best friends with a straight woman Paige. When Paige gets a really straight boyfriend and stops hanging out with Sasha, everyone has a bad time, particularly anyone in the audience hoping the women would get together. Apparently this film was trying to push boundaries by representing this kind of relationship (and is based on a true story/ directed by the real-life Paige). But what you end up with is wondering why Paige stays with her super clean cut man, when Sasha is about a zillion times more interesting and dashing in every way. It’s like the film is an ad for homosexuality through painting a picture of a monotonous and droll heterosexual world. It’s very confusing.

"That's my jam. It's my lady jam."

“That’s my jam. It’s my lady jam.”

2. Beca and Chloe, Pitch Perfect
Oh Beca and Chloe! Or, as Tumblr kids refer to them, “Bechloe“. Pitch Perfect is one of my favourite movies (I would watch it as frequently as I watch Mean Girls, but I can’t deal with all the vomiting), but the non-eventuating Bechloe storyline is a killer. They have so much chemistry, they are pretty much literally on fire for each other. The shower scene! The party scene! The finals scene! OMG it’s a Bechloe love-fest! Except that it’s not, and when I re-watch I am continually reminded that there is some dude that Beca gets with at the end. I’m sorry but getting sentimental over Breakfast Club? Whatever. I’m sure Bechloe will live on in Pitch Perfect 2. And in my heart.

"I'm with Muriel"

“I’m with Muriel”

1. Muriel and Rhonda, Muriel’s Wedding
I re-watched Muriel’s Wedding on TV the other night, and was delighted to see the glaringly obvious gay themes in there that I’d never noticed as a kid. Not only does the film indulge in an uber-kitsch camp aesthetic, but it seriously challenges the institution of heterosexual marriage by mocking it at every turn. Rhonda sweeps in and transforms Muriel’s life, and the two are miserable when they part. There is also the scene where Rhonda discovers Muriel’s book of fake wedding pictures and is utterly distraught, and when Muriel finally does get (sham) married, Rhonda sits like an outcast at the back. But your heart skips a beat when they look at each other leaving Porpoise Spit at the end – practically on the verge of kissing at every moment.

There it is, my depressing/delusionally heartening list that would make for a super marathon of film watching. If you have any other films with similar not-yet-queer themes, let me know in the comments below!

Best Lesbian Date Movie Ever

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A shot from ‘Pride’: Lesbians and Gays Support the Miners (LGSM)

Seeing as I usually only cover depressing Adam Sandler movies here at binarythis, I thought that it was high time I do a review of something more uplifting. Yesterday my girlfriend and I went to see Pridethe true story of how a gay and lesbian activist group joined forces with a mining town to fight the Thatcher government’s attacks on miners in 1984 -1985.

We assumed that it might be emotion-making – seeing as we both cried watching the trailer. But we didn’t expect quite the workout that our tear ducts got, and we laughed at our own sentimentality as our eyes welled up in pretty much every scene (to be fair to us, beforehand we accidentally primed ourselves for an afternoon of happy tears by watching Ellen Page’s coming out speech).

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Ben Schnetzer as LGSM leader Mark Ashton

Particular tear-jerkers for us were every time:
– someone mentioned the importance of solidarity
– people spontaneously sang union songs
– there was the shaking of hands/friendship between the gays and lesbians and the miners
– someone stood up for what they believe in, even though it was really tough
So yeah, pretty much the whole film.

As someone who has been involved in political struggles, particularly around students and education as well as refugees here in Australia (#HeyAsio), the movie struck a chord with me because it showed the way in which activism can fundamentally transform people’s views and bring them together to fight for a better world. This is summed up in my favourite quote from the film, from one of the miners who visits a gay club to thank Lesbians and Gays Support the Miners (LGSM) for raising money:

When you’re in a battle with an enemy that’s so much bigger, so much stronger than you, to find out you had a friend you never knew existed, well that’s the best feeling in the world. Can you see what we’ve done here, by coming together all of us? We made history!

Real-life Pride March, 1985

Real-life Pride March, 1985

Though I really wanted to know more about the struggle on the picket lines (and how they managed to maintain such an extremely long strike), the focus of the film was really the journey of the gay and lesbian group who supported the miners. It was so refreshing to see a film where intimacy between same-sex couples was the norm and where it was not made into a plot spectacle or reduced to a joke. Overall the film managed to cover a great range of struggles encountered in queer life (homophobia, parental relations, AIDS, coming out, and finding pride) as well as political organising (building coalitions, schisms forming, the difficulty of leadership, and the challenge of those who argue for “partying not politics”).

When we got home we listened to Bread and Roses as we made dinner, elated with a sense that history reveals human beings are capable of remarkable solidarity.

Worst Lesbian Date Movie Ever

Fact: If you see this film, you're going to have a bad time

Fact: If you see this film, you’re going to have a bad time

Not long ago my girlfriend and I went out to the movies together for a first date. We’d been seeing each other for a little while, but hadn’t had an “official” outing together, and a movie seemed liked a sweet pick. Now my girlfriend’s taste in film can be summed up thus: storyline about food/cooking, attractive older women (e.g. Helen Mirren), slightly progressive tone, feel good transformation of some kind, romantic. But with a dearth of The Best Exotic Marigold Hotel on offer, we had to settle for the romance factor promised by Adam Sandler’s new flick, Blended. Having not read even a single blurb about the film, our exact decision making process was Drew Barrymore? Yes. 

We were quite prepared for the heterosexual focus of the film – after all it is very unusual to find a mainstream romantic comedy that even includes LGBT side characters let alone central ones. We were not however, prepared for the barrage of homophobic insults included in the dialogue, the central messages of which were: it’s not okay to be a lesbian and it’s certainly not okay to be gendered differently. I guess that whole Adam Sandler continually making gender offensive films should have been a dead giveaway, but alas.

A distinct lack of chemistry

A distinct lack of chemistry

If you look up rundown of the film, you’ll get descriptions like this:
After a bad blind date, a man and woman find themselves stuck together at a resort for families, where their attraction grows as their respective kids benefit from the burgeoning relationship.

Jim positively ruins his girls by dressing them in comfortable gym gear, etc

Jim positively ruins his girls by dressing them in comfortable gym gear, etc

 

But an honest description would go like this:
A divorced woman with two boys and a widower with three girls are not very attracted to each other. They decide to shack up when they learn that they can actually teach each other’s children how to be appropriately gendered in society. The divorcee who cannot manage to control the freudian sexual impulses of her own boys, finds solace in applying makeup and hair extensions to the girl children. The widower who has managed to raise girls that are very successful at basketball and that dress in comfortable clothes, learns that he is also good at teaching boys how to “be a man” through sport and activity. They come together at a special camp for people struggling to learn how to build a normal family. 

Sounds bad? It was. And that’s not to even mention the overtly racist tones in the “Africa” (country not specified) scenes, where dark skin = dim-witted servant status at the resort they find themselves at. As per usual the darker skinned men in the film were also overtly sexualised (that old trope where  racist assumptions represent certain groups as closer to “nature”, “the body” and therefore sex).

Before: sporty, active, unhappy

Before: sporty, short hair, unhappy

After: quiet, inert, happy

After: shacked up, long hair, happy

The hardest thing for me was listening to the audience laugh at the openly anti-queer jokes, such as when Lauren (Barrymore) and her coworker are caught hugging and then make a series of funnies about how they’re not lesbians (not to mention they work at a wardrobe-sorting business called “Closet Queens” – hilarious). And then there was this beautiful scene, where Lauren approaches Jim’s (Sandler) eldest daughter who is staring wistfully at a boy that won’t acknowledge her existence:

Lauren: Maybe you should just go talk to him.
Hilary: Oh, no, no, I can’t.
Lauren: Have you ever considered changing your hairstyle?

Without blinking, the film gives Hilary a makeover from her “bad lesbian haircut” (as it is referred to) and she instantly gets the guy. Meanwhile Lauren teaches the six year old in the film how to apply makeup properly (unlike her father’s attempt, which makes her “look like the walking dead”) and Jim shows the boys how they can channel their sexual frustration into competitive sports such as boxing and throwing cricket balls at people’s crotches.

It was so unbearable that we were both quite hysterical with disbelief that such a film could still legitimately exist.

But what actually really worked for this film, was that it was so overt in its sexual and gender stereotyping, you could use it in any GEND1001 course as an exemplar par excellence of how heteronormativity functions in society. For example, here’s a few things I picked up from my viewing of Blended:

TBH you literally have to learn how to even touch each other

TBH you literally have to learn how to even touch each other

1. You have to work really hard at being heterosexual and monogamous. Most of the time people fail and become single, on the brink of slipping into gayness. In fact, most heterosexual couples have to go on training camps to really get their act together and make it work. If you don’t try hard enough as a woman, you might find yourself rejecting men altogether and spending too much time with your supportive best friend.

Everyone is a *lot* happier when they look like normal girls

Everyone is a *lot* happier when they look like a normal girl

2. Being appropriately gendered is something you have to learn. One is certainly not born a woman and there are many skills about self-presentation you will need to acquire. Having short hair is not going to cut it for getting a man. Ditto being good at sport or wearing comfortable shoes. Similarly, makeup is not something to play around with, it is serious. If you use too much everyone will see your gender efforts, so hold back. Once you’ve got the skills down, they can be handed from generation to generation via same-sex familial relations.

Stick it out for the good of humanity

Stick it out for the good of humanity

3. To avoid everyone being queer, different or interesting in any way, every family needs a mother and father. The only way to keep a lid on everyone’s non-normative gender and sexual expressions is to keep the family unit together. Sure there might not be much attraction between the mother and the father, but at the end of the day they’re going to have to close their eyes and go in for the kiss for the good of the family, and for the good of the straight world as a whole. It’s a small price to pay to make sure that we don’t get queerly gendered and sexed kids running all over the shop.

So as horrendous as it was, the takeaway from the film is that it is a parody of itself. For all you queer kids out there, let this be something to hold on to: this film reveals the truly laborious and unnatural task that it is to be “normal”.