sooo cute
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sooo cute

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HOW ABOUT THAT NEW TRAILER HUH AAGHH
this shot had me in a chokehold so I just had to draw ittttt omgggggg
that summer feeling
Kōno Michisei - Self-Portrait (1917)
Kohno Michisei, seen here at twenty-two, presents himself in a pose modeled on Western Renaissance master Albrecht Durer's (1471-1528) self-portrait produced in 1500. Between 1914 and 1924 a remarkable quantity of high-quality portraiture was produced by Japanese artists who blended Western and East Asian painting traditions. While some of these painters had first-hand knowledge of Western painting, most, like Michisei, culled their images from books and magazines. The young artist was raised in an environment filled with powerful iconic images. His father was a portrait photographer, an artist in both Japanese and Western modes, and an active member of the Russian Orthodox Church. These influences are readily apparent in this self-portrait. Michisei's perceptive understanding of classic Western images was based on constant perusal of his father's extensive library; a portrait's potential for psychological and spiritual impact was impressed on him through exposure to religious icons used in the Orthodox liturgy. (source)
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.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.
The Birdcage (1996) actually has an insane production story. There's loads of crazy details about both the history of the play and original movie as well as the production of the 1996 american version.
There's a great story about Williams covering for Lane in a Oprah interview.
Lane, who wasn't a well known face because he was known for his work on the Lion King, was working on another production and The Birdcage team asked for the play to be postponed so Lane could perform in the movie. Which helped convince a very hesitant Lane.
It was kinda Mike Nichols' comeback film after he made Day of the Dolphin in 1973. If you're not familiar with this spectacular flop: a man accidentally teaches a dolphin to kill the american president.
A co-author of the original French farce had the life goal of becoming a clown.
If you're curious about any of this I highly recommend Matt Baume's video which I almost always watch whenever I rewatch the Birdcage. Or more recently there was a Kill James Bond podcast episode of the movie which I found to have very interesting insight into the movie making/queerness overlap which happened.

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bela fujoshi’s dead
[x]
the "my favorite character did nothing wrong" mindset is completely unappealing to me because i love thinking about all the things my favorite characters did wrong

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Tardigrade corn maze at Treinen Farm in Wisconsin.
Vorace by Pauline Mauvière & Charles Ouvrard
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this ended homophobia
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First computer animated cat ever - “Koshechka” (”A kitty”), 1968