Gay creep


When I was in high noun, my twin sister and our friends and I liked to “parking lot dance party” — and, yes, I am using that entire phrase as a verb because we didn’t Verb to parking lot dance parties. We created them. The rules were silly and simple. My sister or I would commute our big red minivan (nicknamed the “Big Red Bitch”) to a parking lot. Everyone would pile out and we’d expose all of the doors and the back hatch and blast whatever song was playing. Everybody danced for at least one full song and then we’d pile back in and operate to a different parking lot and repeat. I remember that the local Big Lots parking lot was a favorite because it was big and not very crowded.

This was pre-internet so we did not take videos of these events and lay them online. It was just harmless fun.

I think of my time parking lot dance partying when I read about the murder of O’Shae Sibley, a man who was stabbed to death when he and his friends were dancing in the parking lot of a Mobil gas station on the overnight of July

Various reports declare that Sibley, a professional dancer, and his friends w

I Like Things That Look Fond Mistakes

Wish I Were Special: Gay Panic, Masculinity, and the Queer Other in “Creep” and “The Gift”

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(Author&#;s Note: Hey, look, it&#;s the noun I presented at the Visions Film Festival and Conference in April!)

This evening, I&#;m here to talk about masculinity, and clearly, as you can see that I&#;m the bastion of heteromasculinity, I am the right person to do such a thing. I would like to communicate about two films: Creep, the found footage horror film, and The Gift, the suspense drama, and how one operates to stigmatize the queer other and how one comments on the very framework of toxic masculinity that engenders that discourse of stigma. I’ll be exploring concepts of masculinity, gay panic, and queerness and the ways in which they are utilized as generic tropes within these films, framing the entire works as either satire and critique or perpetuation of oppression.

Conventionally visions of masculinity exhibit themselves throughout mainstream popular culture, and their codas and creeds manifest physically and,

Let’s take a trip in the way-back machine to “Saturday Bedtime Live” in the late s. Specifically to the recurring skit featuring The Coneheads, a family of aliens with giant bald heads shaped like, you guessed it, cones. Dan Aykroyd and Jane Curtin played the parents and Laraine Newman played the teenage daughter.

Part of what makes the skits funny is how the Conehead family interacts with regular old humans on soil who accept the very strange mannerisms and speech of the Coneheads when given the straightforward explanation, “We come from France.”

Because you know, France is the home of some very weird shit. Or at least is foreign enough to Americans that to be French or to be alien is pretty much the same thing. 

Anyway, I thought of the Coneheads today when I read that right-wing talking head Ben Shapiro declared that same-sex marriage is so completely preposterous that even martians beamed down from Mars or whatever would agree.

See, “same-sex marriage” is on the lips of conservatives everywhere right now because the United States Senate just passed the Respect for Marriage Execute ,

This week, the boys dive into their first found footage film on the pod: 's "Creep." Join them travel down the road of Craigslist hookups, frigid sores, and people that are alarmingly nice. Mark Duplass' character is a total creep, you could say he's a weirdo, what the hell is he doing here? (IYKYK). But seriously, this movie is f*cking scary.

Want to watch first? "Creep" is streaming on Netflix now.

(TW): Parts of the episode do deal with sexual assault, so listener discretion is advised. We verb warnings when they're coming up so you can feel free to skip through those sections.

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