SISTAR 씨스타 × Giorgio Moroder 「One More Day」

Posted on November 22, 2016 commentaires

SISTAR × Giorgio Moroder 「One More Day」 - released on November 22, 2016.


Bradley Stern 「‘One More Day’: Sistar’s Giorgio Moroder Collaboration Is an LGBT Vengeance Thriller」


Well, here’s a K-pop music video concept you probably didn’t see coming.

Sistar, one of the reigning troupes on the South Korean girl group scene, recently teamed up with the legendary Giorgio Moroder for a brand new collaboration, called 「One More Day」. The East-West pairing alone is worth talking about – as is the pulsating, dance floor-friendly production – but it’s actually the accompanying visual, which doesn’t even star the girls of Sistar themselves, that’ll probably have everyone talking.

The LGBT-oriented narrative, which follows two young women at the heart of a love triangle gone rather dark, is something like a cross between t.A.T.u. and 「The Handmaiden」. It’s certainly more risqué than the usual gleeful, choreography-filled bulk of idol music videos: from torrid lesbian affairs to domestic abuse to one rather violent demise. (And yes, even the music maestro Giorgio himself makes a split-second cameo.)

Sistar first debuted the song live in October at the 2016 DMC Festival, with a very attentive Giorgio Moroder looking on proudly from the audience. The track then made its studio version and music video debut today (Nov. 22 in South Korea).

Watch above, and check out their debut performance of 「One More Day」 below.


SISTAR × Giorgio Moroder 「One More Day」 (2016 DMC Festival) - posted on October 08, 2016.

Author: Bradley Stern/Date: November 21, 2016/Source: http://popcrush.com/sistar-giorgio-moroder-one-more-day-music-video/



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E. Alex Jung 「Hayden Szeto on ‘Edge of Seventeen,’ and Why He Doesn’t Want to Make Asian-American Representation His ‘Thing’」

Posted on November 21, 2016 commentaires
Light spoilers ahead for 「Edge Of Seventeen」.


Sometimes, you have to have a conversation about the conversation. That’s what happened when I met Hayden Szeto, the breakout star of 「The Edge Of Seventeen」, a sweet and spiky teen comedy starring Hailee Steinfeld that opened to strong reviews on Friday. The 31-year-old actor plays Erwin Kim, an awkward and earnest paramour to Steinfeld’s morose and lovesick Nadine. Nadine thinks she’s into someone else (a white dirtbag), but in the end, she – gasp! – chooses Erwin.

As you might expect, people have been asking Szeto to speak on what it’s like to be an Asian-American actor in Hollywood, with various websites running headlines calling him an “unexpected” “Asian love interest.” I met Szeto at the end of his New York press tour in the lobby of the Bowery Hotel, and it was clear that the Canadian-born actor was already growing weary of the conversation about Asian-American representation in Hollywood – even though he thinks it’s important. What’s interesting is that Szeto is still figuring it all out himself, and this interview is a reflection of that process – by someone who doesn’t necessarily have the answers, but is trying his best. Just like the rest of us.

Your character, Erwin Kim, is very awkward and has a lot of tics and mannerisms. How did you start building those?

This being my first big feature film, I thought I would just use the nervousness that I had in my body, you know? I think suppressing it made me less interesting. As Hayden, being on that set felt like Erwin. I was trying to fit in with all these great talented actors that have quite the legacy already. So I tried to embody that and it became the physicalization of Erwin, how he behaves and how he works. But I made sure that all his mannerisms came from trying to be strong and not trying to be awkward, because if you’re trying to be awkward then it doesn’t come off as endearing.

Did you draw back on your own high school experiences?

Oh, definitely. It took no work to bring me back there, especially shooting in my hometown, Vancouver, in schools that I recognize. We shot in the Ferris wheel that I rode when I was 15. When they dress you as a high schooler and put you in an actual high school, and it being my first movie and being nervous all the time, it felt like high school, man. It took no work. I wish I could say, “Oh yeah, I had to write a diary as my 17-year-old self.” But I didn’t need to. It came so naturally, just trying to fit in with this cast.

When did you start acting?

My first dip into the pool of acting was when I was in high school, and I think that’s when I caught the bug. After college, I went back to acting school. So I’ve been doing it for a long time, over seven years. This is my first big movie so it was a long struggle. A lot of people don’t see that. They’re like, “Where have you been?” And I’m like, “I’ve been right here. What are you talking about?” I’m like every other actor in L.A. or in New York. Any bartender, every server that you meet is a triple threat. They’re so talented but they just don’t get the opportunity and it’s heartbreaking. Some of them will never get that opportunity and I was just lucky and you pray. There’s a lot of praying in this industry.

What do you think changed for this one, for this role? This is a big deal.

It’s a big deal. It’s the biggest movie I’ve ever worked on. It’s a really good part. I think you’re implying being an Asian-American, this is a big deal. Yes it is, because it’s such a character. Erwin is such a great character and it’s a revolutionary role, I feel. I’m really happy I got the opportunity to play him.

I wanted to ask you if Erwin Kim’s ethnicity specified in the original script?

It was specified, yeah.

That in and of itself is fairly rare to see.

Oh, for sure. I asked [writer-director] Kelly Fremon Craig, “Why did Erwin have to be Korean?” And she said, “You know, real life is diverse and films should reflect that.” She told me that growing up she had two best friends who were Korean and Filipino, so she wanted diversity in her film. Thank God she believed in that and she found me.

How do you feel race has affected the audition process and the kinds of roles you go out for?

Yeah. I used to. You know what, I don’t really see that it’s any easier for anybody no matter what color you are. I feel like acting in the end is just hard. We all level out. It’s not any easier for my white, straight, male actor friends or my really pretty white female friends. It’s not easier for them. The pool is so vast for them. I don’t feel there’s an advantage to being them and there’s not an advantage in being me either. I think we’re constantly at a disadvantage being actors in this industry. It’s really, really hard and nobody ever talks about that. I could sit here all day and talk to you about, ‘Oh yeah, we need more inclusion and we need more diversity.’ But nobody ever talks about the hard work you need to put into it.

I’ll tell you what really wounds me. I’ve auditioned for really, really big parts where ethnicity was not an issue and I got a chance to audition for these parts and that’s huge that they were open to that. And I heard a couple of people in the audition room saying, “I don’t know if I should waste money on acting class.” I’m like, That is offensive to me. Where do you get off thinking that you don’t need any training? You think people in the NBA or the NFL, they just practice right before the game? They just warm up and they’re ready to go? They’re in shape year-round. That’s how actors should be. Not enough actors treat it that way and then we complain about how much we’re not included. I don’t buy that for a second. People who work, people who work hard get their break. People who really dedicate themselves to this, get their break.

I know many big casting directors in town, over at Warner Brothers and over at Fox, they’ve been doing it for 30 years, and 30 years back it was never about ethnicity, it was always about how actors embody the character and that all comes from training and comes from the soul. That comes from acting training.

Okay. But if we’re talking about 30 years ago, the character was Long Duk Dong from 「Sixteen Candles」.

Yeah, I know it.

So it’s not quite as simple as just saying that actors of color just have to work hard and they’ll get the good parts that they want. I don’t think that’s historically been true at all for people of color in the industry.

And that’s really unfortunate.

Have you seen 「Sixteen Candles」?

I’ve seen it. Yeah, 「Sixteen Candles」.

What do you think of it?

It was a great movie.

It’s an interesting movie to talk about compared to 「Edge Of Seventeen」 and the representation of Asian-American men in teen comedies.

I do really think times have definitely changed since then. Unfortunately, there is still some writing out there that still come off very offensive. Like, “Oh wow. This is still a joke? Who still laughs at this?” But I think now, it is more inclusive you know? You see Daniel Wu in 「Into the Badlands」, you see Steven Yeun, Daniel Dae Kim in 「Lost」. It’s been happening. We’ve made strides. It’s becoming normalized but I feel like what’s really holding us back is headlines. At a Q&A, some lady was talking about the desexualization of Asian males, I’m like “Who’s been saying that? You’ve been saying that. Nobody’s been saying that to us.” We amongst ourselves are saying that to each other. The people at the top are spending no energy on us and we’re talking about how we’re desexualized. I feel like that’s doing us a disservice; we do more harm to ourselves because we headline ourselves that way. Even though what we talk about, it’s not in that context. We’re trying to talk about it from a positive angle but because we headline it that way. Imagine an Asian-American kid growing up and he’s never heard of those headlines, how different he would grow up. If he grows up hearing headlines like “Asian males are desexualized,” how would he feel?

But that’s supposing that that only happens in the media. I grew up without the the internet, so I never read headlines like that. But it was definitely part of my life in some way that I didn’t quite understand or know how to articulate. I’m not necessarily disagreeing with you but I also think that the thing exists regardless of whether the media packages it. It’s possible that the media’s making it worse.

Exactly. The only thing we can do is ask, how do we limit the amount that we put that into the media? The damage that’s been done has been done. But now, how can we progress past that? I feel like we’re still having a lot of the same conversations, you know? I’m not saying we shouldn’t celebrate our victories, but I feel like we shouldn’t celebrate small victories too much, because that makes us look less than. Do you understand what I mean? Like this part bringing it back to 「Edge Of Seventeen」, it’s great. We should definitely give it a nod. But not make it too big of a deal, you know? Because I’ve been talking about it with many outlets like, “It’s making Asian guys sexy.” And that implies that Asians guys were never sexy and now we’re opening up a whole different can of worms. People are like “Whoa, what’s going on here?”

Do you feel like there should’ve been a kiss at the end?

No. I really don’t. A kiss would’ve been too predictable and that’s not what the movie’s about. It’s not about the love story between Erwin and Nadine; it was about Nadine’s journey in finding herself. She just made the good decision that she stopped beating herself up and started making the right decisions and the right person was right in front of her. The fact that she made that decision was important. We did talk about it. We did shoot several endings.

Did you shoot an ending where you kiss?

Yeah, we did. We had a couple more romantic endings, but I felt like it would’ve been too cheap. This movie has way too much heart to cheapen it right at the very end. It was such a smooth finish. It cuts right there, off her reaction. That’s all you need. I like that because it’s like, “Oh, now what happens?” There’s not going to be a sequel. We don’t want to do a sequel. Now it’s all up to audience interpretation: Where do they go from here? I think it’s very beautiful the way it ended.

Did you get super-ripped for the role?

I try to work out as much as I can, but for this role, fortunately I was pinned to a different project which required me to be very physically fit so I was on a very strict diet leading up to the movie and then I ended up walking away from that project and jumping into 「Edge Of Seventeen」. In the script, Kelly Fremon Craig says Erwin has a really nice chest. And I’m like, “Well, just make him have nice everything!” I’m just kidding, but I lost a lot of weight for this role. I definitely don’t look like that anymore. The secrets of Hollywood, man. I did a lot of push-ups before the shot. Did a lot of sit-ups before the shot. Made sure I was under a warm coat so like when you’re warm, your muscles activate. They look nicer. So it’s all Hollywood. They shot me from a hero angle, from down below. So, of course, I look nice. But I don’t look like that in real life.

What was the hardest scene to shoot?

I don’t swim, so in that swimming pool scene, it was physically challenging to mimic how to swim. I did manage to get swimming lessons from my sister a week before the shot. And Hailee, of course, helped me as well. She’s like, “Hayden, I’ll hold you.” She’s like, “Do a handstand.” I’m like, “No, I won’t do a handstand.” “‘Why?” “I’ll drown, Hailee.” I’ll save you.” “I’m not going to let you save me, True Grit. That’s embarrassing.” But it was fun. I remember doing my first cannonball ever into the pool.

Have you reflected on this as your big break?

Yeah, I definitely have. I’ve been so happy lately because I get to do these Q&As, and it’s making me learn a lot about myself: What I want to do with a platform should I have one now.

What have you learned?

I’ve learned what I stand up for. How I want to represent myself and now Asian-Americans. I feel like there’s some sort of responsibility. What I say, how I help the community. There is responsibility whether I like it or not; I’m learning how to be comfortable in that. Like this conversation we’re having now, I’m learning a lot at the same time.

I try not to get overly political, because I feel like I’m not good at that. Some people are better than me and I’m not mad about that, because I feel like we need people to lay down cover fire for some of us to advance. Because those people got political is why I probably got this audition. I’ll forever thank them for that. Ultimately, whatever we get out of this interview, I just want to represent Asian-Americans well without beating that headline into the ground like, I’m representing Asian-Americans. I can’t have that be my thing. My job is just to be a good actor, and in turn, that will represent Asian-Americans. But I can’t make that my mission statement.

I really don’t care about my own vanity at all. I really care about young Asian-Americans reading it and what they get out of it. Because I’ve grown up feeling those pains of Asian-Americans. I’ve interviewed many of my Asian-American actor and actress friends and they’ve told me heartbreaking stories, like it was like a therapy session. How we improve that condition is my concern. Because my kids will grow up as Asian-Americans one day, whether they like it or not. Doesn’t matter who I intermix with, they’re still going to be Asian-American. I want them to grow up in a better place, and hopefully I can start that conversation now. That’s what I care about.

This interview has been edited and condensed.

Author: E. Alex Jung/Date: November 21, 2016/Source: http://www.vulture.com/2016/11/hayden-szeto-on-his-edge-of-seventeen-breakout.html


E. Alex Jung
Twitter: https://twitter.com/e_alexjung



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Anthony Cheylan 「Moi, Asiatique, j’ai mal devant le spectacle de Kev Adams et Gad Elmaleh」

Posted on November 20, 2016 commentaires
Update du 22/12, 09h50 : Suite à des dévoiements nauséabonds de cette tribune, Anthony Cheylan et Mouloud Achour ont publié une mise à jour à lire ici.

Vous avez déjà imaginé ce que vous ressentiriez si tout un pays – votre pays – se moquait gratuitement de vous ?

Le 4 décembre, M6 retransmettait en direct de Bercy le spectacle 「Tout est Possible」, des humoristes Kev Adams et Gad Elmaleh. L’événement était le point d’orgue de la tournée de deux artistes historiquement appréciés des Français : Kev Adams était la personnalité préférée des 7-14 ans jusqu’en 2015 (il est passé à la troisième place cette année) ; Gad Elmaleh est quant à lui onzième au classement général et son site officiel le décrit comme étant « probablement l’humoriste le plus connu et populaire d’Europe ».

Leur spectacle commun est donc un événement populaire majeur en France, d’autant plus amplifié par sa diffusion à 21 heures, idéale pour toucher un public familial.

Pendant tout le show, les humoristes se renvoient la balle et se taquinent sur des sujets plus ou moins inoffensifs. Jusqu’à ce que, en plein milieu de la soirée, le spectacle déraille.

Après une heure de show, la scène laisse place à un décor bigarré dans lequel débarquent huit danseuses européennes, visiblement grimées en japonaises. Elles se livrent à une chorégraphie avec des éventails. Au bout de quelques minutes, Kev Adams apparait alors sur scène, vêtu d’un kimono. Il arbore un chapeau rond, une tresse postiche et mime des mouvements d’arts martiaux. Au cas où le public ne l’aurait pas compris, Kev est déguisé en « Asiatique ».

La preuve : il écarquille les yeux, imite lourdement un accent chinois, lève ses sourcils et se déplace avec une gestuelle caricaturale. Le public applaudit, hilare.

Par moments, les spots semblent même diffuser de la lumière jaune vers son visage, pour que les spectateurs saisissent bien le comique de la situation. Mais ils n’en ont pas besoin : à ma consternation la plus totale, ils rient depuis le premier mot prononcé par le personnage, appuyé avec un accent grotesque (« Bondour »). Kev Adams marmonne des onomatopées censées imiter le mandarin. Dans ce qui s’apparente à une allusion au Om, syllabe sacrée du bouddhisme, l’humoriste encourage même l’audience à faire le bruit d’« un petit avion qui passe très vite ».

Racisme (définition) : attitude d’hostilité et de mépris envers des individus appartenant à une race, à une ethnie différente généralement ressentie comme inférieure.

Au bout de quelques minutes (plus exactement, trois sur les dix que durent ce sketch), il est rejoint sur scène par Gad Elmaleh, déguisé en un personnage tout aussi cliché – celui du « maître spirituel ». Pendant un court instant, un espoir : Elmaleh annonce à Adams qu’il n’est pas convaincu par cette séquence ni ce déguisement, qui risquent de « niquer vingt ans de carrière ». On s’imagine alors qu’on va assister à un sketch meta, qui va dénoncer cet humour raciste que l’on pensait disparu en même temps que la carrière de Michel Leeb.

Mais non. Bien que le personnage d’Elmaleh essaie rapidement de faire prendre conscience que cette scène et ces personnages sont caricaturaux, rien ne vient vraiment dédouaner le numéro d’Adams.

Le jeune humoriste continue ses imitations et déroule des blagues racistes (et éculées) pendant quatre longues minutes. Pire encore : en jouant vaguement la distanciation, Gad Elmaleh ne sert qu’à donner bonne conscience à son binôme et au public.

Manipulation humoristique ? Mauvaise foi ? Ratage industriel ? Maladresse gigantesque ? Le résultat est là : dix minutes de blagues racistes, d’imitations grossières et de personnages grimés de façon caricaturale. Dix minutes pendant lesquelles le public glousse sans se poser de question, sans aucune culpabilité.

Dix minutes pendant lesquelles j’ai honte.

J’ai honte pour la communauté asiatique. J’ai honte pour Kev Adams et Gad Elmaleh. J’ai honte que des sketches pareils soient encore possibles à notre époque, dans notre pays. J’ai honte de voir des spectateurs en rire. J’ai honte en lisant les innombrables tweets – tous au premier degré – de gens qui trouvent cela très drôle. J’ai honte que cela soit diffusé à une heure de grande écoute, volontairement choisie pour cibler des jeunes. J’ai honte parce que plus de 4 millions de téléspectateurs ont vu ce sketch (dont presque un tiers de moins de 50 ans selon les chiffres de la chaîne), et qu’à l’exception de mes confrères de『20 Minutes』et de『Brain』, aucun média ne semble avoir trouvé cette scène choquante.

J’ai honte de penser que, si Kev Adams et Gad Elmaleh s’étaient moqués d’autres communautés, les réactions auraient été immédiates.

J’ai honte parce que j’ai l’impression que tout cela est possible parce que – cliché encore – on pense que la communauté asiatique ne va rien dire, ni rien faire. Que le fait de la présenter – cliché toujours – comme un modèle qui s’intègre partout autorise à la traiter comme si elle ne représentait rien, nulle part.

Mais c’est terminé.
Les Asiatiques ne sont ni des guignols, ni des victimes, ni des punchlines.

Je suis d’origine vietnamienne. Pendant toute mon enfance, comme tous les gamins d’origine asiatique (et plus généralement, ceux d’origine étrangère, racisés ou pas), j’ai eu droit aux remarques et aux blagues plus ou moins racistes, plus ou moins de mauvais goût. Les mêmes que celles que Kev Adams sort sur scène. C’était il y a presque trente ans. Je pensais que la mondialisation des cultures, l’évolution des mentalités et les discours d’acceptation des minorités rendraient inconcevables des scènes pareilles en France, en 2016. J’étais sûrement naïf.

J’ai honte parce que les Asiatiques sont sous-représentés dans nos médias. J’ai honte parce que l’une des rares fois où une œuvre artistique les évoque à une heure de grande écoute, c’est pour les ridiculiser.

Cette année en France, une chroniqueuse TV et une blogueuse se sont faites reprendre pour s’être grimées le visage en noir. Mais les deux humoristes les plus populaires du pays peuvent faire une tournée avec un sketch de dix minutes qui véhicule les pires clichés sur les Asiatiques, le présenter en prime time et personne n’est choqué.

J’ai honte.

J’ai honte parce que le 2 août dernier, un car de touristes chinois a été dévalisé près de Roissy. Trois personnes ont fini à l’hôpital. J’ai honte parce que cinq jours plus tard, Chaolin Zhang, un commerçant d’origine chinoise, est décédé des suites d’une agression, à Aubervilliers. Une mort qui a déclenché – fait rarissime – des manifestations de soutien. En septembre, en région parisienne, l’agression d’une famille a amené le tribunal de Bobigny à reconnaître, pour la première fois, un caractère raciste et anti-asiatique dans une agression – une décision qui pourrait faire jurisprudence. Dans les trois cas, les mêmes causes : des asiatiques sont agressés parce que, dans l’inconscient populaire, les clichés racontent qu’ils sont riches, vulnérables ou qu’ils ne vont rien faire après l’agression.

Les mêmes clichés véhiculés depuis des années. Ceux que perpétuent, aussi, ces blagues qu’on voudrait nous faire croire innocentes.

J’ai honte parce que c’est le cas partout dans notre monde occidental. Cette année aux États-Unis, une blogueuse américaine a dénoncé le « Yellowface » (cette pratique consistant à se déguiser en Asiatique de façon caricaturale) en « corrigeant » des images de films qui en usaient.

En septembre, la série 「Master of None」 (qui, au détour d’un épisode intelligent et drôle, évoquait d’ailleurs la question des acteurs qui jouent avec un accent exotique – comme quoi c’est possible) a remporté un Emmy Award, l’une des récompenses les plus prestigieuses de la télévision américaine. Lorsque le créateur de la série a récupéré son prix, il s’est fendu d’un discours qui regrettait la mauvaise représentation des asiatiques dans les médias.

Quelques semaines plus tard, suite à l’agression verbale d’un journaliste asio-américain, des étudiants réalisaient des photos pour dénoncer le racisme ordinaire qu’ils subissent régulièrement : « rentre dans ton pays », « tu parles asiatique ?», « pourquoi vous avez tous la même tête ?»... Surpris et navrés par l’énormité des propos, ils les ont marqués du hashtag #Thisis2016, traduisible par « Ça se passe en 2016 ».

J’ai honte parce qu’en 2016, ça se passe en France aussi.

Surtout, j’ai honte d’avoir honte. Parce que cela voudrait dire que c’est de moi, et de la communauté asiatique, que vient le problème.

Et c’est faux.

Peut-être que les Asiatiques se sont tus pendant trop longtemps. Mais le fond du problème, c’est que tout le monde devrait avoir honte de ce sketch – et de tous ceux de ce type. C’est une question de respect. D’éducation. De culture.

Personne ne devrait accepter que des gens s’amusent à se déguiser et s’approprier des symboles culturels, pour ridiculiser des communautés et véhiculer les pires clichés. Que vous fassiez partie de cette communauté ou pas, nous devrions toutes et tous nous sentir concerné(e)s.

Nous devrions tous avoir honte de ce sketch de Kev Adams et Gad Elmaleh.

Et pas seulement les parents des gamins d’origine asiatique dont, le lendemain, les camarades se sont moqués à l’école.

Anthony Cheylan, rédacteur en chef de Clique.TV

Author: Anthony Cheylan/Date: November 20, 2016/Source: http://www.clique.tv/asiatique-honte-kev-adams-et-gad-elmaleh/

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Kevin Truong 「Queer Street Performer in South Korea Promotes Acceptance With Art」

Posted on November 16, 2016 commentaires

For Heezy Yang, watching 「Desperate Housewives」 with his mother in South Korea may have made his coming out to her a bit easier. “We watched lots of American TV series growing up,” Yang told NBC OUT. “So my mom was exposed to gay culture, and when I came out to her she was fine.”

Yang, who has spent his entire life living in Seoul, now spends much of his time incorporating his queer identity into his artwork and activism. And while many challenges still exist for the LGBTQ community in South Korea, the story of Yang and his mother may reflect a growing trend toward more acceptance for sexual and gender minorities in the culturally conservative Asian country.

Although Yang himself doesn’t like labels, he has learned to embrace the reputation he has built for himself as one of the most visible queer artists in Seoul. In fact, the young artist is literally bringing his latest street performance, 「Unjustifiable」, to some of the city’s busiest streets and pedestrian thoroughfares.

“I do 「Unjustifiable」 to bring awareness of LGBTQ homeless youth, or LGBTQ youth who are in need of help in general,” Yang said. The performance itself isn’t big or splashy. In fact, many times people walk by without even acknowledging him. But in some ways, that’s the point.

“I wanted to tell people that there are people abandoned, just like animals,” Yang said. “People are abandoned too. And the reason is their sexuality.”

In the performance, Yang sits in a large cardboard box alongside a row of smaller cardboard boxes. In each smaller cardboard box is a stuffed animal with a sign indicating why they have been abandoned. One sign states, “They have too many pets.” Another sign says, “They don’t want a one-eyed rabbit.” Yang himself is holding a sign, and on his it simply states, “Because I’m gay.”

Yang was inspired to do the performance after learning of the work done by a friend at a local shelter for homeless LGBTQ youth. “Because of Korean law the kids cannot stay at the shelter without their parents’ permission,” Yang said. “Which is obviously messed up because they were kicked out by their parents in the first place.”

Yang began to get noticed for his performance not only because of the unusual optics of seeing a grown man sitting in a cardboard box surrounded by stuffed animals, but also because identifying as openly gay in such a public setting can still be a challenge for many in South Korea.

“The life of a [sexual and gender] minority in Korea is still difficult,” said Candy Yun, who works at the Korean Sexual-Minority Culture and Rights Center, one of the largest LGBTQ organizations in South Korea. “But as a result of the sexual and gender minority movement of the last two decades, there have been more organizations than ever before and an increasing number of people are living out.”

But Yun said legal and institutional protections for LGBTQ individuals in South Korea are still lacking. As an example, Yun points to the requirement that transgender individuals undergo gender reassignment surgery and sterilization before having their preferred gender legally recognized by the government. Yun also noted that according to South Korean military law, homosexual acts between soldiers are still punishable by up to two years in prison.

Yun said that because no education related to sexual and gender minorities exists in schools, discrimination is still prevalent for those coming out in classrooms and work environments across South Korea.

As a result, in what is being seen as a growing need to fight this discrimination, support groups like PFLAG Korea are starting to form in the country. Much like PFLAG chapters in the United States, PFLAG Korea serves as a support network and meet-up for parents of LGBTQ children.


닷페이스 .FACE 「[성소수자 부모모임] 엄마는 널 있는 모습 그대로 사랑한단다」 - posted on June 11, 2016.

Beyond holding monthly meetings, the organization has published a guidebook for parents and participates in a wide range of public events. At the Korean Queer Culture Festival this past June, parents at PFLAG Korea gave out hugs to festival participants for more than three hours.

“LGBTQ teenagers in South Korea have a very serious rate of suicide attempts at 47 percent,” a PFLAG Korea representative told NBC OUT. “And the opposition to LGBTQ rights in South Korea is always preventing attempts [by supporters] to add the phrase, ‘Do not discriminate on the basis of sexual orientation,’ to local government or student human rights ordinances.”

But the organization is hoping that recent trends showing a growing recognition of gender and sexual minorities in South Korea will continue toward more acceptance for the LGBTQ community. They point to a Pew Research Center Poll conducted in 2013, showing South Korea had some of the most significant change when it came to societal views on whether homosexuality should be accepted or rejected by society.

PFLAG Korea attributes part of this change to the younger generation of South Koreans who are becoming more open, as well as the emergence of LGBTQ clubs and organizations on college campuses. “The young generation is actively participating in the sexual minority rights movement,” a PFLAG Korea representative said.

Heezy Yang can see this change happening firsthand and said he will continue to perform 「Unjustifiable」 as long as he sees a need. “I think it is an important time as a queer person in Korea,” Yang said. “Change is happening and we have to fight and bring awareness, and I think I can do that with my art. And I’ll do it until I get sick of it or they don’t need me anymore.”

Follow NBC OUT on Twitter, Facebook and Instagram.



Kevin Truong
Official Website: http://www.kevintruong.com/


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Laure Shang 尚雯婕 「Single Boy」

Posted on November 15, 2016 commentaires

Laure Shang 「Single Boy」【单身男】- from『Black & Golden』released on November 15, 2016.

Avec sa voix grave, ses cheveux sexy et ce clip un peu ringard, Laure Shang nous fait penser à l’icône lesbienne de l’Eurodance, Gala ! D’ailleurs, 「Single Boy」 est aussi entêtant que 「Freed From Desire」. Et pour parfaire toute cette esthétique gay 90, les paroles de ce morceau sont pour le moins intéressantes, extrait du refrain : « Single boy, single boy. Why not be a gay. No more fake, no more hate. Let us all be gay ».


En version chinoise, mais sans le clip :


Laure Shang 「Bling Bling Boy/Single Boy」【单身男】- from『Black & Golden』released on November 15, 2016.
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Peaches feat. Eisa Jocson 「How You Like My Cut」

Posted on November 06, 2016 commentaires

Peaches feat. Eisa Jocson 「How You Like My Cut」 - from『Rub』released on September 09, 2015.

Anna Cafolla 「See Peaches’ sensual, chill video for ‘How You Like My Cut’」


Filipino dancer Eisa Jocson subverts gender with her performance of male exotic dancing in the latest visual from Peaches’『Rub』

Following on from her gothic sex ritual visuals, swimming with vaginas and the freaky iPhone-shot 「Sick in the Head」, the enimagtic, ever-awesome Peaches has dropped another video for a tune from her album『Rub』.

This time, we see a “more quiet, sensual Peaches video”, according to the Canadian artist herself. Eisa Jocson is the Filipino dancer fronting the video for 「How You Like My Cut」 – the first time Peaches hasn’t made an appearance in one of her visual projects. It’s sensual and beautifully androngynous – and though we aren’t involved in a riotous desert orgy or sparring with genitals, it’s still got that Peaches stamp for a thoughtful play on norms of gender and sexuality. It’s still very much a banger too.

“I first saw Eisa Jocson perform 「Macho Dancer」 as a much longer and more involved piece for a dance festival in Berlin. Eisa recreates the male exotic dancing that happens in the Philippines only by Filipino men performed in nightclubs primarily for the enjoyment of women,” says Peaches. “I was struck by how androgynous and delicate this gender specific dance is interpreted.”

The artist is on the cusp of her UK tour, hitting up Glasgow on Friday.

Follow Anna Cafolla on Twitter here @annacafolla





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Lilian Min「Queer Asian Films Are Finally Becoming More Prevalent」

Posted on November 04, 2016 commentaires
「Spa Night」, Andrew Ahn, 2016

Only a handful of films have explored what it means to be East Asian or Asian American and queer, but 「Spa Night」 and 「The Handmaiden」 are revelatory for doing much more than that.

Within the vast canon of East Asian and East Asian American filmmaking, only a small number of films catch the attention of the Western entertainment industry. But among those, so few address queerness that that genre – queer Asian filmmaking – is scant at best. Folks in diasporic communities wanting to find East Asian characters who aren’t represented as villains and sidekicks or queer narratives that aren't laced with outdated stereotypes are often out of luck.

Which makes the arrival of two groundbreaking works that do just that this year – veteran Korean filmmaker Park Chan-wook’s 「The Handmaiden」 and Korean American filmmaker Andrew Ahn’s debut feature 「Spa Night」 – feel like a revelation.

Though both Park and Ahn are Korean in heritage, their films couldn’t be more different. 「The Handmaiden」, a lush adaptation of Sarah Waters’s Victorian era-set novel『Fingersmith』, is a historical drama in three acts. Set in Japanese-occupied Korea in the early 20th century, it follows a love story (of sorts) between an heiress and her new maid, one that unfolds with both subtlety and outright perversity.

It’s a complicated narrative, flushed throughout with the manifold plot twists and color saturation that are Park’s signature. 「Spa Night」, for its part, is a more straightforward story, but one that’s no less intense. Set in Los Angeles’s sprawling Koreatown, it follows a Korean immigrant family straining under the pressure of assimilation while their second-generation son explores his sexuality in Korean spas.

Whereas 「The Handmaiden」 focuses on how sexuality can be weaponized, 「Spa Night」 explores how it can be sheltered and closeted. And given that East Asian cultures are historically (and still) obsessed with notions of family and honor, it only follows that those obsessions would trickle over into their cultural products. Park’s other films take this obsession to stomach-churning extremes, suffused as they are with violence and brutality, but 「The Handmaiden」 eschews outright gore for other horrors.

「The Handmaiden」, Park Chan-wook, 2016 「Farewell My Concubine」, Chen Kaige, 1993

In this way, it’s reminiscent of Chinese filmmaker Chen Kaige’s 「Farewell My Concubine」, which came out in 1993 but takes place in the same cultural moment as 「The Handmaiden」. As in 「The Handmaiden」, 「Farewell My Concubine」 is based on the notion of found family – in this case, two orphaned boys who grow up in the same Chinese opera training camp and find stardom in their professional union – but unlike 「The Handmaiden」, the queerness of one of 「Farewell My Concubine」’s characters is left an unspoken secret until the film’s very end, and is used to ruin him until he’s driven to suicide. It’s a harsh (and familiar) interpretation of queerness, but if anything, it’s historically accurate. To this day, openly addressing sexuality is still considered socially inappropriate in most East Asian countries. While China has what is probably the largest queer population in the world (with the Chinese-founded gay chat app Blued hosting 15 million users to Grindr’s global user base of 5 million), attitudes about same-sex relationships, let alone Westernized queer culture, are still evolving both in terms of social awareness and legal recognition. To that point, no East Asian country or territory has yet to legalize same-sex marriage, though Taiwan is poised to become the first.

As was the case with other territorial conquests of Judeo-Christian/Western colonization, countries like China, Japan, and Korea once had societies that, if not outright accepting of homosexual relationships, didn’t persecute them. State-enforced repression of queer people is a relatively new phenomenon that’s bled over into social and cultural attitudes toward queerness. And in the face of a family-oriented culture like China’s, where until recently only one child was allowed per married couple, or Japan, with its birth-rate crisis, pressure on queer folks has been compounded: Not just to repress their sexuality at large, but to continue the family line through heterosexual unions.

「Two Weddings and a Funeral」, Kim Jho Kwang-soo,
2012
「Saving Face」, Alice Wu, 2004

Intra-family tensions are, as in 「Spa Night」, at the root of the Korean film 「Two Weddings and a Funeral」 and the Chinese-American film 「Saving Face」 – films that address even less-discussed aspects of queer Asian culture, like marriage and honor. The former, released in 2012 by out filmmaker Kim Jho Kwang-soo, follows the plight of a gay man and a lesbian woman who marry each other to please their families (a seemingly rising occurrence in the region), and while that arrangement is played for laughs, the film doesn’t shy away from the discrimination that drives queer people into these sham unions in the first place. The lead character of 2004’s 「Saving Face」, by Chinese-American filmmaker Alice Wu, struggles to come out to her family even as she falls for the woman of her dreams because of the Chinese notion of “face,” which describes both your own and your family’s social standing.

That queer East Asian folks now have any films that explore their lived experiences is a relatively new phenomenon; all of these films were made in the past few decades, and while there are many (though oftentimes censored) same-sex and queer representations in East Asian media at large, such as the popularity of Japanese yaoi and yuri works, cinema, with its moment-in-time quality, can serve as a benchmark for society at-large. There are still too few of them, but these films, across decades and continents, at least give voice to a conversation that social stigma all too often renders silent.

Film festivals centering queer Asian and Asian-American stories and creators are on the rise; it was on such a circuit that 「Spa Night」 first received notice, and now one-off screenings for the film are sold out. And even Hollywood’s most famous East Asian face has received a canonical queer rereading: While Mulan has been meme’d to examine if Shang was actually Disney’s first gay character, the version of Mulan that aired on the 2013 ABC series 「Once Upon A Time」 is bisexual. As for her upcoming live-action reboot? Perhaps she will join this small but growing canon of films that boldly explore what it means to be queer and Asian.

Follow Lilian Min on Twitter.




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Lawrence Yee 「Asian Actors in Comic Book Films Respond to ‘Doctor Strange’ Whitewashing Controversy」

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With 「Doctor Strange」 opening this weekend, the “whitewashing” controversy surrounding the casting of Tilda Swinton as The Ancient One in 「Doctor Strange」 has resurfaced.

Both director Scott Derrickson and writer Jon Spaihts have defended Swinton, rationalizing that casting a woman in the role of a man was already a diversity choice.

But some Asian visibility groups, notably the Media Action Network for Asian Americans (MANAA), have rejected these rationalizations, arguing that an Asian woman could have been cast instead of the British actress. As MANAA’s former president Guy Aoki noted, “whitewashing” of Asian comic book characters has happened before, citing The Mandarin (Guy Pearce) in 「Iron Man」 and Talia al Ghul (Marion Cotillard) in 「The Dark Knight Rises」 as examples.

『Variety』spoke to several Asian actors who have appeared in comic book films and TV shows to discuss “whitewashing” in the genre.

Benedict Wong, who plays Wong in 「Doctor Strange」, defended his costar’s casting. “Let’s champion this as a real piece of diversity,” the actor explained, echoing the writers’ sentiments. “We have two strong females leads in Tilda and Rachel [McAdams]. We have Chiwetel [Ejiofor], Mads [Mikkelsen], posh Benedict [Cumberbatch] and not-so-posh Benedict [Wong].”

Wong further explained how Derrickson and Marvel Studios head Kevin Feige dispelled stereotypes around his own character. “The idea of a man servant and tea-making sidekick isn’t that appealing,” the British Chinese actor said. “Scott and Kevin said vehemently ‘we’re not doing this.’ And I said, ‘Fantastic, because neither am I.’”

Kelly Hu has had the fortune of playing comic book characters true to their Asian origins.

Kelly Hu has been fortunate to be cast in roles true to their source material, including Japanese cyborg Lady Deathstrike in 「X2」 and supervillain China White on 「Arrow」. “I think it’s a shame,” the Chinese-American actress said of “whitewashing.” “From what I’ve been told and what I’ve read, it’s because [studio executives] think that Asian actors and actresses don’t pull in the numbers – that people aren’t going to pay to see Asians on screen. With all these borders opening up and movies going global these days, Asians make up a huge part of the population in the world, and I hope that will start reflecting in Hollywood.

Lewis Tan training for 「Iron Fist」

Lewis Tan, who stars as villain Zhou Cheng in the upcoming Netflix series 「Iron Fist」, had his own experience with “whitewashing.”

Although 「Iron Fist」 is Caucasian in the comic books, fans pressed Marvel for an Asian lead.

“I originally auditioned for the lead and was highly considered for it, but they went a different way,” Tan explained. “In the original comic, he was a Caucasian guy with blue eyes, blonde hair. I think Finn Jones fits that character very well, so I have no issues with that.”

“I think there is a large, multicultural, diverse group of people who aren’t seeing themselves represented the right way, as far as being heroes and love interests. That’s what I do stand for.”

When asked about Swinton, Tan responded, “I’m not the biggest fan of that casting choice. I can see why they wanted to switch it up. Producers, studios, directors, writers – there’s a lot of voices. I think that an Asian woman would’ve been fantastic cast in that. They said she would be too much of a ‘Dragon Lady’ or too stereotypical, but I disagree.”

Olivia Munn as Psylocke
Lana Condor as Jubilee
Karen Fukuhara as Katana

Asian actors have played Asian comic book characters in other comic book films: Olivia Munn (who is half-Chinese) portrayed Psylocke in 「X-Men: Apocalypse」. Vietnamese-American actress Lana Condor portrayed Jubilee in the same film. Over in the D.C. Universe, Japanese-American actress Karen Fukuhara portrayed Katana in 「Suicide Squad」. None of these would be considered major roles.

Rila Fukushima as Yukio

The one exception is Marvel’s 「The Wolverine」, which featured Japanese actors in major roles, including Rila Fukushima as Yukio, a female ninja and Wolverine’s sidekick, and Hal Yamanouchi as Silver Samurai. However, since the story took place primarily in Japan, the use of an Asian supporting cast was a necessity.

By whitewashing the role of “The Ancient One” in 「Doctor Strange」 – a film that’s going to dominate the box office – is a major blow to diversity and visibility, critics argue.

「Doctor Strange」 is in theaters now.


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David Grant 「Man Seeks Advice: Why Is Being Asian, Gay, And Effeminate Frowned Upon?」

Posted on November 02, 2016 commentaires
He describes himself as “Asian,” “gay,” and “slightly effeminate.” And he wants to know why that’s so frowned upon.

Writing into Reddit, a man with the moniker silverkoss asks the community why he senses so much judgement and negativity simply on account of his personality and countenance.

“Asian cultures have a lot of emphasis on conformity and introversion,” he writes, “a contrast to Western cultures which are derived from Greek philosophy where extroversion and individualism are highly prized.”

Isn’t it reasonable to accept the fact that we Asians in general tend to be more demure? Why is this looked down upon? I find it beautiful. It’s a question I ask because recently someone close to me suggested that I should be “less Asian” if I wanted to be more accepted into the gay community...

Other Redditors were quick to offer their two cents.

“Asian men are slowly breaking barriers to finally get a seat at the ‘real men’s’ table,” writes theminja.

“An example in popular cinema: the Asian character has always been relegated to tropes such as the innocent best friend, side kick, or bonafide martial arts expert....

That’s why it was a huge deal when John Cho led the romantic comedy series 「Selfie」 on ABC: because he was playing the lead in a series in which he was the desired leading character.”

He later suggests that “when there is a gay, Asian, effeminate male thrown into that mix, it makes the outward progress in society for the Asian male a little harder.”

“I wish it weren’t true,” writes koiboyy, “but sadly ideals of femininity (and therefore lack of masculinity) deal with two large Asian-dominated stereotypes: introversion and physical stature.”

“I don’t believe in them,” he continues, “but I’ll write down how traditional society, or at least mass media, portrays these ideals.”

“As an Asian-American that’s lived in Asia, I don’t think these issues of self-worth will be resolved by moving to an Asian country,”qtUnicorn advises.

“Westernization is rather global. Regardless of that, matters of self-worth can only [be] internally resolved... Once you’re more okay with your ‘feminine’ characteristics (which is, indeed, harder to do), you would probably care less if society said otherwise.”

“I am Asian, I’m gay, and I’m slightly effeminate,” writes bluesnofu. “This can be looked down upon in our masculine society because typically the man of the house is depicted as a tough, muscular individual.”

“Physical stature is another thing,” suggests koiboyy. “Asians are stereotypically smaller in height and stature, and lighter in weight.”

“People categorize size with femininity, as history, time after time, shows us how women are represented as the lesser of a couple.”

Author: David Grant/Date: November 02, 2016/Source: https://www.queerty.com/man-seeks-advice-asian-gay-effeminate-frowned-upon-20161102


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Nico Lang 「The great gay subversion of ‘Crazy Ex-Girlfriend’」

Posted on November 01, 2016 commentaires
With Vincent Rodriguez playing Josh Chan, the CW is smashing the stereotype that LGBT actors can’t “play straight”


There was a big present for fans of the CW’s 「Crazy Ex-Girlfriend」 in yesterday’s Out 100 list. Every year, the gay publication puts out a yearly guide to “who’s who” in the LGBT community, and this installment included Vincent Rodriguez III, who plays Josh Chan on the critically acclaimed musical comedy. Rodriguez is married to Gregory Wright, an aspiring voiceover artist. In August the couple celebrated their one-year anniversary at Disneyland, generating some blink-and-you’ll-miss-it headlines in gay blogs.

The revelation that Josh Chan is played by an out gay man will likely be news to viewers of the show. (Hey, it was for this viewer.) On 「Crazy Ex-Girlfriend」, Rodriguez’s character is straight. Josh is the simple but sweet “Asian bro” who loves hanging with his dudes, drinking and going to the beach, which is just four short hours by car away. More important, though, he’s also the show’s romantic lead.

Rebecca Bunch (Rachel Bloom) runs into Josh, her old boyfriend from summer camp, during a depressive spell. She has a great job at a New York law firm, where she’s about to be promoted to partner, but Josh represents the one thing she doesn’t have: happiness. Their chance meeting inspires her to move to West Covina, California, which just happens to be where Josh lives, as she repeatedly reminds everyone around her.

「Crazy Ex-Girlfriend」 has been applauded for upending stereotypes about Asian men, who are rarely allowed to be heartthrobs or love interests. As a Filipino man, Josh is more likely to be portrayed like Long Duk Dong in John Hughes’ 「Sixteen Candles」, a wacky object of amusement, than the hot guy next door. Dong speaks in an affected Chinese accent and doesn’t know what quiche is. Every time his name is spoken, a gong is heard over the soundtrack (à la horses whinnying in protest of Frau Blücher in 「Young Frankenstein」).

It’s just as rare, however, for a gay or bisexual man to play a romantic lead on television. While Portia de Rossi and Neil Patrick Harris have portrayed heterosexual characters on 「Arrested Development」 and 「How I Met Your Mother」, there’s an element of camp in their performances. The fact that the audience knows that the actors are both out and married to members of the same sex is part of the joke, especially given the aggressive metrosexual masculinity of Harris’ Barney Stinson.

For lack of a better term, 「Crazy Ex-Girlfriend」 plays it straight – asking us to truly believe that Rebecca could fall for this man without even the faintest hint of irony. Given the hugely positive response to Rodriguez’s Jake Ryan-esque heartthrob, the gambit appears to have worked.

His groundbreaking casting is a stunning rebuke to the long-standing belief that queer actors simply cannot play straight – because the audience won’t take them seriously. After 「Will and Grace」 actor Sean Hayes was cast opposite Kristin Chenoweth in the Broadway revival of 「Promises, Promises」,『Newsweek』’s Ramin Setoodeh infamously wrote that the openly gay star was too “queeny” for the part. “Hayes is among Hollywood’s best verbal slapstickers,” Setoodeh commented, “but his sexual orientation is part of who he is, and also part of his charm.”

While the backlash to his comments singled out Setoodeh as representing a backward way of thinking that is dying out in Hollywood, the truth is he’s not alone. During a 2014 interview with the U.K.’s『The Daily Telegraph』, 「My Best Friend’s Wedding」 actor Rupert Everett urged gay actors to stay in the closet, arguing that coming out would destroy their career.

“There’s only a certain amount of mileage you can make, as a young pretender, as a leading man, as a homosexual,” Everett said. “There just isn’t very far you can go.” Matt Damon agreed. In 2015, Mr. Jason Bourne himself told『The Guardian』that “your sexuality [is] one of the mysteries that you should be able to play” as an actor.

With celebrities like Colton Haynes, Aubrey Plaza and Jim Parsons coming out, the closet door is slowly opening. There remain, however, extremely few openly gay or bisexual leading men. The idea of being perceived as gay remains so pernicious that Tom Cruise sued former porn star Kyle Bradford for claiming that the two men had an affair – and won a $10 million judgment.

When straight actors do play gay, the audience is asked to suspend its disbelief. Charlize Theron won an Oscar for portraying lesbian serial killer Aileen Wuornos in 2003’s 「Monster」, the actress’ magazine-perfect face hidden under “ugly” prosthetics to make the audience believe she could be a homely queer murderess.

Actor Eddie Redmayne received a great deal of criticism for playing transgender painter Lili Elbe in 「The Danish Girl」, and he argued that transformation, the act of becoming another person, is merely part of the process. “Look, I’ve just played a man in his 50s with motor neuron disease,” he claimed. “I’m acting.”

That argument, however, didn’t seem to hold up when Matt Bomer lost out on playing Christian Grey, a reclusive billionaire into BDSM, in the film adaptation of『Fifty Shades of Grey』.

It’s not that queer actors can’t do heterosexual roles justice; it’s that they are too rarely allowed to do so. Hollywood is an extremely risk-averse place, where any decision that’s not based on a tried-and-true model of success is likely to be nixed. Because gay actors have not traditionally played James Bond or Superman, it means they’re less likely to be considered for those parts in the future.

That forces LGBT talent into a bind: You’re too gay to play a straight person and losing the handful of gay roles available to straight actors like Sean Penn or James Franco. What do you have left?

This year may prove a groundbreaking one in helping to break down the door for gay actors. In addition to Vincent Rodriguez’s success on 「Crazy Ex-Girlfriend」, actress Sarah Paulson won her first Emmy. Paulson absolutely slayed the competition as Marcia Clark, the prosecutor assigned to the O.J. Simpson case in 「American Crime Story」. Playing a complicated woman brought down by hubris, Paulson delivered a performance that was layered and fascinating, a career best for an extremely accomplished and versatile performer.

Although Clark is straight, Paulson is not. In real life, she’s dating Holland Taylor, whom you likely know from her roles in 「Two and a Half Men」 and 「Legally Blonde」. Prior to Taylor, Paulson was married to Cherry Jones of 「24」.

The list of queer actors excelling in straight roles is formidable. Earlier this year, Lily Tomlin earned her second Emmy nomination for Netflix’s 「Grace and Frankie」, in which she plays a recent divorcee whose husband left her for another man. Kristen Stewart, who is currently dating singer St. Vincent (aka Annie Clark), gave her finest performance yet as Maureen, a medium seeking to contact her dead brother in Olivier Assayas’ 「Personal Shopper」. Ellen Page was likewise superb in the Sundance hit 「Tallulah」, playing a drifter who kidnaps a baby.

Having openness about their personal life has only made these actors better instead of it being a handicap for them. It always felt like Kristen Stewart was hiding something in her role in 「Twilight」, as if a part of her being was not fully present in the performance. 「Personal Shopper」, however, allows the actress – who addressed longtime speculation about her sexuality for the first time last year – to play off the androgynous aspects of her persona. Slouching her way through the film in men’s polo shirts, she’s reminiscent of a young Brando. While Everett might have claimed that coming out ruined his career, Page has said that being in the closet ruined hers. “I suffered for years because I was scared to be out,” she said in a 2014 speech. “My spirit suffered, my mental health suffered and my relationships suffered.”

One of the best shows on TV,  「Crazy Ex-Girlfriend」 has already proved itself a trailblazer, dealing adeptly with subjects ranging from body positivity and mental illness to biphobia. Darryl (Pete Gardner), Rachel’s boss at her new law firm, comes out to his co-workers in a Huey Lewis-inspired number where he dismantles stereotypes about male bisexuals. “It’s not a phase,” Darryl sings. “I’m not confused, not indecisive. I don’t have the gotta-choose blues.”

But in asking audiences to challenge their notions about who can play straight and why, the CW show might have quietly pulled its most groundbreaking move yet.

Author: Nico Lang/Date: November 01, 2016/Source: http://www.salon.com/2016/11/01/the-great-gay-subversion-of-crazy-ex-girlfriend/



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BLACKPINK 블랙핑크 「STAY」

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BLACKPINK 「STAY」 - from『Square Two』released on November 01, 2016.




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BLACKPINK 블랙핑크 「PLAYING WITH FIRE」

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BLACKPINK 「PLAYING WITH FIRE」【불장난】- from『Square Two』released on November 01, 2016.



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