Big Eden (2000) Gay artist Henry moves from NYC to small hometown to take care of sick grandfather. A really sweet, heartwarming story. Bonus points for no homophobia (!!) plot line & a gay native american man, Pike, who is adorable and crushes on Henry.
Brokeback Mountain (2005) Who hasn’t seen this? Two shepherds and their tumultuous love story over the years.
But I’m a Cheerleader (1999) Girl gets sent to a boot camp meant to alter her sexuality. Funny and aesthetic and really cheesy but worth the watch.
Carol (2015) A young woman in her 20s, Therese Belivet is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol, an alluring woman trapped in a loveless, convenient marriage.
First Girl I Loved (2016) Girl falls in love with the most popular girl from her school. Bonus points for a nuanced and realistic portrayal of teenagers.
The Way He Looks (Hoje Eu Quero Voltar Sozinho, 2014) Brazilian coming-of-age drama about a blind boy who falls in love with his classmate. Based on a short film called “I don’t want to go back alone”, which you can find on youtube.
Holding The Man (2015) In the 1970s, two teen boys in Australia fight all obstacles thrown their way and refuse to renounce the love they feel for each other. Based on Australia’s “most famous gay biography”.
I Killed My Mother (J’ai Tué Ma Mère, 2009) Biographical drama. Directorial debut of Quebecois actor Xavier Dolan, which he also wrote, produced and starred in. My favourite film by him.
Kill Your Darlings (2013) Biographical drama/thriller. A murder in 1944 draws together the great poets of the beat generation. Peep Daniel Radcliffe and Dane DeHaan.
Laurence Anyways (2012) A drama that charts ten years in the relationship of a transgender woman’s relationship with her lover. Directed by Xavier Dolan.
Maurice (1987) The story of a gay man in the early 20th century. A really sweet film with bonus points for being a gay period drama that - spoilers - has a happy ending.
Moonlight (2016) (see title card) A chronicle of the childhood, adolescence and burgeoning adulthood of a young black man growing up in a rough neighborhood of Miami. First lgbt film (and film with all-black cast) to win Best Picture at the Academy Awards 2017.
Pride (2014) U.K. gay activists work to help miners during their lengthy strike of the National Union of Mineworkers in the summer of 1984. A truly feel-good movie every one should watch.
The Handmaiden (2016) A woman is hired as a handmaiden to a Japanese heiress, but secretly she is involved in a plot to defraud her. It’s been called a “South Korean Gothic Lesbian Revenge Thriller”. Just watch it. Trust me.
The Rocky Horror Picture Show (1975) A cult-classic and must-watch. Need I say more?
Rest of movies in alphabetical order under cut, with some commentary by yrs truly (me. a gay.)
OK. I know I said I wouldn’t mention antis here. I know. And I don’t intend to make a habit of it. (I’ll delete tonight’s posts tomorrow.)
But the claim that makes me laugh the hardest is, “If Killing Stalking were about a man and a woman, nobody would read it!!!”
If Killing Stalking were about a man and a woman, it would be Park Chanwook’s Stoker, and it would win international awards.
Let the gays have their gothic psychological thriller stories. Just like the straights are allowed to have theirs. Apparently gay people have unhealthy relationships and terrible life circumstances too sometimes???
A penny dreadful was a type of British fiction publication in the 19th century.These serials started in the 1830s, originally as a cheaper alternative to mainstream fictional part-works, such as those by Charles Dickens for young working class males. The stories themselves were reprints, or sometimes rewrites, of famous Gothic thrillers as well as new stories about famous criminals. These stories were poorly written and overdramatic,but they introduced important literary figures such as Sweeney Todd. They also introduced the figure of the vampire in the occidental culture.
I really enjoyed how the mind palace construction of TAB allows the characters to be self-conscious. This is exactly the type of postmodernist flare that I really enjoy on this show and TAB allows it to really ramp up.
Lestrade and Mrs Hudson are both in this obviously contrived piece of exposition, discussing, in part, the inevitability of Mrs Hudson’s role. As John states when he comes home, Mrs Hudson has a limited narrative function. At times she rails against this restriction and yet she, herself, cannot always fight its parameters.
Having these characters understand their roles in the story provides comic relief and acknowledges the potential sophistication of the contemporary audience. Sherlock Holmes stories have been depicted cinematically more often than any others and have been deconstructed and reconstructed additionally in literature and criticism.
One of the purposes of Mrs Hudson’s rebellion against her role in the narrative is that in the next level of narrative, that of the contemporary timeline, it provides Sherlock with the awareness of his own agency or lack thereof. Mrs Hudosn knows her role does not allow her to be someone other than she is and yet she can still change her role to some extent. She wants to be more important in the story or rather to be acknowledged as important in the story. She feels that she is a more three-dimensional character than the narrative gives her credit for.
Likewise Sherlock can see that while he is limited by his own history and personality, he can still enact meaningful change in his life. In this way Mrs Hudson is a foil for Sherlock who commiserates with her in the foyer, he can’t seem to control his role in the stories, either: he wasn’t even a major character in, ‘the dog one’, after all. This shows us Sherlock’s feelings that he has not enough agency in his own life, or his own story. (The fact that, ‘the dog one’, is also a gothic thriller that deals allegorically with sexuality and he was not really in it, is quite possibly the raison d’être of TAB. He has not yet faced these demons and he must go deep into his own narrative to do so.)
And in our narrative, the metanarrative, we can see Gatiss and Moffat enacting their own change, cognisant of the audience’s potential level of sophistication. They know that we may know little or a great deal about these stories and they are allowing us to interact with their process as it’s also the theme of their story. They are empowering themselves as they empower their main character and Mrs Hudson.
In this way, these layers are all organically interlaced. From the most meta down to the most internal level of the story, these characters are starting to know who they are and are learning what they can and can’t do. And most importantly, in Sherlock’s case, what they want to do.
If the other Sailor Soldiers were the leads in their own stories:
(Excluding Mina, obviously, because she already has her own story, and Chibi Moon, because it would ultimately be the same kind of story as Moon's)
A slice of life/underdog story about a painfully shy and lonely genius as she follows her dream to becoming Japan's youngest doctor. Dodging bullying from her peers and attempted sabotage by her superiors, it's a story about a loner overcoming isolation and winning in her own quiet way, supported by an ecclectic but excitable background cast. A similar moral to modern interpretations of Cinderella with a sleek 90s shoujo art style like Wedding Peach.
A distant, motivated, powerful and beautiful young shinto priestess is trying to live her own life and achieve her goals of becoming rich, famous and successful, but she has to waste time warding off evil demons, lost spirits and smitten boys. Kind of a cross between Ghost Sweeper Mikami and Mushishi, with a heavy, retro art style similar to Devilman.
A tall, strong schoolgirl is consistently mistaken for a delinquent and accidentally becomes the leader of a bike gang, when all she really wants to do is open a combination florist/bakery. Love confessions are mistaken as challenges for this poor Rambo romantic! A bombastic art style with shounen leanings like Binbougami Ga and Slayers.
A more relaxed and mature approach to time travel combining & contrasting it with the mystery and thriller genres. A shadowy figure cuts through time and space, piecing together mysteries and transplating people into the right places at the right time. Reuniting lovers, averting catastrophes and bridging generations without ever committing her sacred Taboos, the story slowly unravels the central character's past and her own unfixable mistakes. A solid, minimalist art style as per Naoki Urasawa's Monster combined with abstract textures and colouring like Sayonara Zetsubou Sensei.
An unfathomably graceful, rich and beautiful young lady encounters a series of problems she solves by sheer magnitude of her perfection. An affectionate parody of extravagant 70s shoujo manga serving as an elegant counterpart to One-Punch Man, with a style heavily referencing The Rose of Versailles.
Unfettered shoujo romance featuring an androgynous lead whose womanizing tendencies lands her frequently in hot water. Gathering rivals from around the world in racing, classical music and vintage automobile collecting, she must avoid their constant attempts to best her while chasing her elusive and elegant "first love" from so many years ago. Dramedy/romance with a ornamented but dynamic style like Magic Knight Rayearth or Revolutionary Girl Utena.
A slow-paced, Gothic horror/thriller manga centered around a frail and amnesiac girl, who finds herself one day incapable of leaving her family's enormous mansion after one of her father's sinister science experiments goes awry. The house has transformed into a dark maze defying any logic, and she must travel through its endless rooms to try and save him while uncovering their painful past. A visual and directorial approach like a Junji Ito version of Alice in Wonderland.