it's always "ily" and never a frank ocean needle drop as we smile at each other on an outbound bus knowing we made it out despite it all and we lay our heads against each other in the light of the sunset

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@eddykeddy
it's always "ily" and never a frank ocean needle drop as we smile at each other on an outbound bus knowing we made it out despite it all and we lay our heads against each other in the light of the sunset

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we got august this week
Martin Blackwood you will never be wrong to me even when you are. No you’re naren’t.
and me? i noticed.
Cannot even enjoy Richard Siken at the moment without thinking about them..

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I will not feel fully represented in this fandom until some writes a fic where Naim gets cornered by Socialist Alternative outside State Library
IT WASNT PRETTY LIKE THE MOVIES IT WAS UGLY LIKE WHAT THEY DID TO MEEEE
AND WHAT THEY DID TO ME WHAT I WOULDNT DO TO ANYONE
Learning that it was Joe’s idea to have Ryan give Naim his snake ring because in that moment after the hospital scene they had to decide whether they were going to separate forever or be together forever so Ryan giving Naim the ring was a symbol of them staying together, and the reason we didn’t see Ryan give Naim the ring is because it wasn’t even in the script, it was something Joe and the costume designer came up with, has now ruined my day and I need to go play in traffic
leviticus juxtaposing industrialism with the unruly wildness of the australian bush. factories and powerlines and fences symbolising colonialist supplanting, historically linked with conformity & repression. meanwhile the bush, shot beautifully with a sense of calm and natural rightness, is freedom from those things. the mill where ryan and naim go to be themselves is abandoned and falling apart--fear still present, still controlling, but rusted and fragile. naim at the end of the film destroying the mill with fire, a tool that has been used on country by indigenous people for thousands of years to make way for new growth. idk is this anything
Leviticus subtly nods that Naim's mother is actually a deeply closeted lesbian as during the film you see she drives a 2003 Subaru Outback

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to love me is to suffer me
ryan whelan + words
#out for a run #fitness #cardio #living my best life #healthy habits
jealous? nah, this is the stance of someone who's completely unaffected
(no beers in) what is every thought you’ve ever had about me ever
If you know me you've already heard this a million times over (shoutout hystericalend 😝✌️) but I would adore the chance to talk about violence and masculinity particularly in an Australian context because Leviticus is suuuch a beautiful and complex representation of it!!
In Hunter and Ryan's specific social context, the hegemonic masculinity they aspire to is fundamentally built upon homo-phobia and -hysteria, which means it is fundamentally built against them.
(This inability to conform is actually an incredibly common experience, even for straight men, since the hegemonic masculinity in any given scenario is almost always literally impossible to achieve [though of course it has a particular potency in our religious/rural/queer context!].)
In compensatory attempts to nonetheless achieve an “honoured” (Connell & Messerschmidt, 2005, pg. 832) status and gain privilege, we often find young queer men fixating on reaffirming the subordination of the even ‘lesser’ identities around them - often the more feminine. In response to subordination, they often feel an instinct to highlight the ways in which they do have privilege. What parts of a hegemonic performance they can live up to.
This is why the intersection of shame and masculinity and homoerotic desire is so interesting to me. Ryan and Hunter throwing rocks at each other? Trying not to wince, and trying to make the other person react more? That’s such an interesting micro-level representation of this whole warring relationship, and the desire to hold some minor power and status over one another.
That’s why Ryan's relationship with Naim is so different - there’s no struggle for dominance between them. Naim has this sort of wide-eyed innocence and emotional intelligence that allows him to be less guarded... he has that shy kid energy where he doesn’t really care about performance or facade, because he’s not even properly engaging with the social environment occurring around him. An observer if you will 😏
Allow me to introduce you to a phenomenon Michael Kaufman (2012) describes as ‘men’s contradictory experiences of power’; it is the very gendered expectations that bring men privilege that force them to be so unemotional and alone. Whilst a patriarchal society may dictate that men are superior, it also dictates that they must be self-sufficient – and it also dictates they cannot express the alienation that comes from this imposed self-sufficiency. To quote therapist Terrence Real in ‘The Will to Change’ (hooks, 2004), “disconnect is not fallout from traditional masculinity. Disconnect is masculinity.”
So men end up with all this pent-up alienation and emotion (and especially the boys in Leviticus because of the whole gay situation) yet are unallowed to express it in any meaningful way. Well! There is one emotion our society does allow men to express! – and that is anger. “Real men get angry,” writes bell hooks (2004), and “anger is the best hiding place for anybody seeking to conceal pain”. And so it makes sense that so many men take whatever they may be feeling, and repackage it into a violent rage. Indeed, it is the process of socialisation in our unique cultural, structural environment that subtly teaches boys they are not only entitled to but also limited to their ability to get mad.
I feel like a lot of non-Australians don't understand this but the theme of male violence runs so consistently throughout the mythology of this country. We live on unceded land, stolen by mostly male invaders, taken with a systematic violence that continues today. The land was ‘civilised’ and conquered with anger that was deemed natural, in line with the chain of being – a ‘superior’ white masculinity violently 'transitioning' things to the 'way they should be'. This mythology reaches out from the core of our culture and permeates all aspects of our society. As Australians grow up, we watch men batter themselves on the TV playing footy, playing rugby. These things work their way into the psyche, sneakily and consistently.
And again, to think back to hegemonic expectations - Hunter and Ryan, fundamentally unable to reach that most honoured status, struggling with the loss of control that comes with that. And is violence not one of the most visceral ways to express control and dominance? And if all male emotions must be expressed through a narrow lens of rage, then those two approaching this intense mix of shame and desire with violence and rock-throwing is certainly apt. It’s almost compensatory, for what they see as a somewhat-inevitable outlet of an unfortunate truth about themselves. Repentance! Self-flagellation!
When we connect aggression and gender performance in the way Australians so often do, we normalise male violence as a natural and positive expression of masculinity – no matter how “violent or violating” it may be (hooks, 2004). Indeed, Stephen Whitehead (2002) argues that we neither compartmentalise male anger and violence as ‘legitimate’ or ‘illegitimate’, as we have so closely intertwined what it means to be a man with the ability to enact one's violent will upon others. So why should Ryan care if Hunter hurts him? That's just what men do. 😝✌️
(References, lest my Masculinities professor be disappointed in me - or you miss the chance to read some amazing books and articles!:)
hooks, bell. (2004). The Will to Change: Men, Masculinity, and Love. Washington Square Press.
Connell, R. W., & Messerschmidt, J. W. (2005). Hegemonic Masculinity: Rethinking the Concept. Gender & Society, 19(6), 829–859. https://doi.org/10.1177/0891243205278639
Kuypers, J., & Kaufman, M. J. (2012). Men, Feminism, and Men’s Contradictory Experiences of Power. SAGE Publications, Inc. EBooks, 5. https://doi.org/10.4135/9781452243627.n8
Whitehead, S. M. (2002). Men and masculinities : key themes and new directions. Polity.

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Thinking about Naim Reid. Thinking about Naim going to the pastor and his wife. Thinking about Naim going to a police station and coming out to a cop.
Thinking about how the beginning of the movie introduces the idea that he is so fearful — afraid of the snake, afraid of heights, and the threat of the spider. Afraid of his and Ryan’s reflection as they’re making out. He’s so scared, and he’s just a kid, and we see over and over again this childlike trust he has in the people who are supposed to help him.
Why does he go to Hunter’s parents? Obviously there was some aspect of jealously, but Hunter and Ryan were also actively hurting each other. He doesn’t just watch them make out. He watches them pelt each other with fucking rocks and I think it was scary enough for him to regress into the idea that they genuinely needed help.
So, he does what he was raised to do. He asks for help. He watches Hunter get dragged in to the dark and he goes to the cops and he asks for help. He has that nightmare and he asks his mom for help. He’s attacked by an evil entity and he runs into the gas station asking for help and NO ONE IS HELPING HIM. Not the church, not the cops, or Izzy, or his mom.
In the end at the mill, entity Ryan tells him again that they want him to be afraid. Then in the daylight IN THAT SAME PLACE his mom confirms it. She tells him he needs fear. HE ALREADY HAS IT. He was already afraid at the beginning of the movie!!!! He’s been afraid the whole fucking time !!!!
And as my good personal friend Henry Chang once said “If you cannot be unafraid, be afraid and happy.”
So, he stops asking for help. He runs, and Ryan is there, and they cannot be unafraid but they will be happy — and I guess I’ll just be thinking about it for the rest of my life
the high quality makes their boyishness even clearer GODDD the way ryan grins when naim pushes him off, them quietly snickering abt getting off on a public bus like the naive and reckless 17 year old boys they are. i refuse to entertain any puritan outcry over "but in PUBLIC??" bc among other points of them forced to be intimate publicly because privacy equals isolation which means danger from the entity and possible harm, the bus scene works PERFECTLY to highlight their youth. ryan gives naim a wristy with someone a few seats down bc hes a horny 17 year old boy and horny 17 year old boys are fucking degenerate. this scene works bc everyone accepts that teenagers are public menances, and so despite the debatable acceptability of public sex the bus scene exudes teenage innocence. ryan and naim almost died violent and horrible deaths bc of hate and fear and leviticus refuses to let you forget for a second that they were fucking KIDS. no matter their flaws and mistakes they make throughout the film, ryan and naim were and always will be innocent victims of unjustified homophobia.