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my names sweetie 3000 because the last 2999 sweeties were all destroyed

Let's fucking grab this Wednesday by the nothing

I feel like a lot of people get "All Art is Political" confused with "All Art is made with Political Intentions" which is not the same.

really a good tool for any aspiring critic or creator to develop is the ability to ask yourself - and answer honestly! - whether your disdain for something comes from a place of (perceived) wasted potential or bitter anger that anyone else dared to create something less than perfect while you were too paralysed by dissatisfaction to even attempt to do so yourself. because if it's the latter, then you'll save yourself a lot of time and stress in the long run if you start to recognise just how much of what's holding you back is your own insecurity.

Hello bisexual community

Begin killing

My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.